1C Spring Visiting Lecture Series – Schedule and Artist Descriptions
Thursdays, 5 – 6:50pm from April 5th to June 7th, 2012
Girvetz Hall, room 1004, UCSB campus
Thursday, April 5th Eve Fowler
Thursday, April 12th John Pylpchuk
Thursday, April 19th Frances Stark
Thursday, April 26th: John Divola
Thursday, May 3rd Carlee Fernandez
Thursday, May 10th Dick Hebdige
Thursday, May 17th Ben Weiner
Thursday. May 24th Lisa Lapinski
Thursday, May 31st Lisa Jevbratt
Thursday, June 7th Kip Fulbeck
“43 Books…” (Installation view), 2010
Eve Fowler is a photographer based in Los Angeles. Her pictures explore provocative subject matter — for instance male hustlers, lesbians, or transgendered individuals — but she deliberately supplies no explanatory titles or captions. In her early work, she photographed men who were loners — disconnected sex workers in New York and Los Angeles. She then began photographing androgynous men, which then moved into photographs of longhaired, shirtless androgynous men who resemble some of the transgender women she photographs today.(bio info from Dennis Cooper Gallery blogspot, originally posted February 11, 2009)
Eve Fowler was born in Philadelphia in 1964, and earned her BA from Philadelphia’s Temple University before proceeding to an MFA in Photography at Yale. Fowler’s collage and photographic practice is a documentary examination of ambiguity, whether in gender or the medium itself. Recent exhibitions have been held at Horton Gallery, New York; White Column, New York; Museum of Modern Art, San Francisco; Fowler’s work is held in the collections of the Smithsonian Institution and the New Museum of Contemporary Art, New York, among others.(bio info taken from Greater LA website, originally posted, April 5, 2011)
“You control my rage, I will control the world”, 2007
Working across a range of media Pylypchuk populates his paintings, sculptures and films with a menagerie of dysfunctional furry creatures composed in various tableaux through which the artist examines the human condition. The mini dramas Pylypchuk stages always have wider philosophical implications for our ideas of love, rejection and pain. Typically humorous and cruel the titles of these works express the blackly ironic personal thoughts of Pylypchuk’s protagonists.(bio info published by Allison Jacques Gallery in conjunction with a solo show in 2009)
John Pylypchuk is an Canadian painter and sculptor, living and working in Los Angeles. He studied in 1996 at the Yale University Summer School of Music and Art, New Haven, earned a BFA with Honors in 1997 at the University of Manitoba, and an MFA in 2001 at the University of California, Los Angeles. (bio info from John Pylypchuk’s Wikipedia page)
“The New Vision”, 2008
Frances Stark (°1967, Newport Beach,California) is based in Los Angeles, California. She received her MFA from Art Center College of Art and Design (Pasadena, California), and is currently an Assistant Professor at University of Southern California Roski School of Fine Arts (Los Angeles, California).
Through both writing and visual art, Frances Stark addresses the conditions of creative labor, producing candid and affecting work about the nature of artistic practice and the corresponding yet integral banality of the everyday. The artist’s body of work stands as a self-reflexive inquiry into the process of artistic production, and the often-elided demands of daily life.
From, The “Zuma Beach” Series, 1970’s
John Divola (b. 1949, Los Angeles) BA, 1971 California State University, Northridge; MA 1973: MFA 1974, University of California, Los Angeles. Since 1975 he has taught photography and art at numerous institutions including California Institute of the Arts (1978-1988), and since 1988 he has been a Professor of Art at the University of California, Riverside.
Since 1975, Divola’s work has been featured in more than sixty solo exhibitions in the United States, Japan, Europe, Mexico, and Australia, including Galerie Marquardt, Paris, 1990; Seibu Gallery, Tokyo, 1987; the University of New Mexico Art Museum, 1982; The Patricia Faure Gallery, Los Angeles, 2000; and Janet Borden Gallery, New York, 2001. Since 1973 his work has been included in more than two hundred group exhibitions in the United States, Europe, and Japan, including: “Mirrors and Windows,” The Museum of Modern Art, New York, New York, 1978; “1981 Biennial Exhibition,” Whitney Museum of American Art, New York, New York. 1981; “California Photography: Remaking Make-Believe,” Museum of Modern Art, New York, New York. 1989. “The Photographic Condition,” The San Francisco Museum of Modern Art, San Francisco, California. 1995; “Photo Binennale, Enschede (Obsessions. From Wunderkammer to Cyberspace),” Rijksmuseum Twenthe, Enchede, Netherlands. 1995 “Made in California: Art, Image, and Identity 1900-2000, Los Angeles County Museum of Art, 2000; “Architecture Hot and Cold,” The Museum of Modern Art, New York, 2000, and “Los Angeles 1955-85,” Centre Pompidou, Paris, 2006, “The Conspiracy”, Kunsthalle Bern, Switzerland, 2009. (bio info taken from artist’s website)
Born in Santa Ana, California in 1973, Carlee Fernandez received her MFA from Claremont Graduate University in 1999. She had a solo exhibition at ACME. (Los Angeles, California) in 2010, and her work was included in the 2010 California Biennial at the Orange County Museum of Art (Newport Beach, California). Her work has been exhibited in “Phantom Sightings,” a show originally at the Los Angeles County Museum of Art, which also traveled to the Museo Tamayo in Mexico City, and at Villa Arson in Nice, France, and is in the permanent collections of the Los Angeles County Museum of Art (Los Angeles, California); the Nerman Museum of Contemporary Art (Overland Park, Kansas); and the San Jose Museum of Art (San Jose, California). Her work has been published in Art Tomorrow and Sculpture Today. A recipient of the 2008 California Community Foundation Fellowship, Fernandez is represented by ACME., Los Angeles.
Fernandez’ sculptural and photographic work transforms natural objects such as taxidermy animals or human bodies into new configurations that challenge the boundaries of singularity and formal distinction by blurring traditional epistemological categories. Christopher Knight, writing in the Los Angeles Times, remarks that her ensembles “mix reverence for the natural world with art’s imaginative wildness, trading conceptual places in unexpected ways.” Binary categories such as animal/human, femininity/masculinity, instinctual survival/cultural constraints, beauty/grotesque or death/life are unsettled in works which address, as Marlena Doktorczyk-Donohue comments in Art Ltd., “a rhizome of rich ungoverned allusions to many related things: to biology, biography, family, identity and lineage.”
“C10H22O7 + C10H16 + C18H32O2”, 2010
Ben Weiner derives imagery for paintings and videos by magnifying commonplace materials of artifice, such as beauty products, art supplies, and artificial food ingredients. By amplifying their mesmerizing texture, luminosity and elasticity using macro photography, Weiner allows the inherent illusionistic properties of these materials to form the embryos for works of art. Based on these photo sessions, Weiner alternately paints large-scale, meticulously detailed compositions, and creates dream-like time-lapse videos. Such works confound object, subject, and medium, reflecting the permeation of artifice and imitation into ordinary experience in the digital age.
Ben Weiner was born in Burlington, VT in 1980. He currently lives and works in Los Angeles, CA. His work has been included in exhibitions at The Aldrich Contemporary Art
Museum, Ridgefield, CT; The Carnegie Art Museum, Oxnard, CA; The Frederick R. Weisman Museum of Art at Pepperdine University, Malibu, CA; The Riverside Art Museum, Riverside, CA; and Artspace, New Haven, CT. Recent solo exhibitions have been held at Mark Moore Gallery, Santa Monica, CA, and The Tarble Arts Center, Eastern Illinois University, Charleston, IL . His work is in collections including Sammlung Mondstudio (Germany), Progressive Insurance (OH), and Freidrick R. Weisman Foundation. Weiner holds a BA from Wesleyan University and studied independently with muralist Jose Lascarro at the Universidad de las Americas, Puebla, Mexico.
“Mimpy Mimp #2 (Aztec Register)”, 2004
Lisa Lapinski’s imaginative sculptures incorporate mainstays of their genre—wood and wire, cement and clay—as well as painting, photography, drawing, and more unconventional materials such as ornate wallpaper, nail salon advertisements, boxed foodstuffs, and Snoopy figurines. Her work often resonates with narrative meaning deriving from philosophical, historical, and psychological sources. Lapinski’s sculptures are intricately crafted and formally compelling. Yet through her unexpected combinations of imagery and materials—both playful and foreboding—viewers are drawn to attempt a deciphering of the uncertain narratives. Lapinski imports materials and histories to generate new forms: “I don’t think any material dies,” she has commented. The components of her sculptures lead double lives—as discrete objects with their own pasts, and as interconnected parts of the artist’s sculptural constellations, in which histories collide and meanings multiply.(bio info taken from the Whitney Bienialle 2006 website)
Jevbratt is a Swedish born new media artist, currently a professor in the Art Department and the Media Art Technology program at University of California, Santa Barbara. Her work, ranging from Internet visualization software to biofeedback and interspecies collaboration, is concerned with collectives and systems, the languages and conditions that generate them, and the exchanges within them. The projects explores alternative, distributed and unintentional collaborations and the expressions of the collectives they create. Her work has been exhibited extensively in venues such as The Walker Art Center (Minneapolis), Banff Centre for the Arts (Canada), The New Museum (New York), The Swedish National Public Art Council (Stockholm, Sweden), and the Biennial at the Whitney Museum of American Art (New York); and it is discussed in numerous books, for example in “Internet Art” by Rachel Greene, “Digital Art” by Christiane Paul and “Art + Science Now” by Stephen Wilson (Thames and Hudson). Jevbratt also publishes texts on topics related to her projects and research, for example in the anthology “Network Art – Practices and Positions” ed. Tom Corby (Routledge). Last year her current project “ZooMorph” was awarded a Creative Capital grant.
From, “The Hapa Project”
Kip Fulbeck is a pioneering artist, spoken word performer, and filmmaker. He has been featured on CNN, MTV, The Today Show, and PBS, and has performed and exhibited in over twenty countries and throughout the U.S. He is the author of several books including Mixed: Portraits of Multiracial Kids; Part Asian, 100% Hapa; and Permanence: Tattoo Portraits, as well as the director of a dozen short films including Banana Split and Lilo & Me
Fulbeck teaches as a professor of art at the University of California, Santa Barbara, where he received the University’s Distinguished Teaching Award and has been named an Outstanding Faculty Member five times. In recognition for his work promoting multiracial awareness, he was awarded the inaugural Loving Prize at the 2009 Mixed Roots Film & Literary Festival and also named a cultural pioneer at Harvard University. A complete overachiever despite being only half-Chinese, he is also an avid surfer, guitar player, ocean lifeguard, pug enthusiast, and the 2011 Masters swimming National Champion in the 50 freestyle. (bio taken from artist’s website)
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