"Venice, CA -- L.A. Louver is proud to announce an exhibition by Los Angeles-based artist [and CSUF Assitant Professor of Drawing and Painting] Rebecca Campbell that features a new series of portraits, all of woman artists.
Motivated by the lack of women’s representation in the art world, and in homage to the artists who inspire her, Campbell began her You Are Here project in Fall 2015. The first 18 paintings from this series will be installed in L.A. Louver’s second floor gallery, 13 January – 13 February 2016.
“I am not interested in making very realistic depictions; I do not sort people out by what they make; I just choose people who are serious, diligent, hard working, and good at what they do.” – Rebecca Campbell
Campbell makes each painting with the same dimensions (30 x 22 ½ in. [76.2 x 56.5 cm]), using paper that she primes with a custom pink acrylic paint. She then employs a limited palette of black, white, and gray to build the portrait. Although she approaches each work with identical parameters, Campbell imbues each portrait with a unique sense of identity, capturing their likeness with bold and gestural brushstrokes. Each sitter meets the gaze of the viewer, with her strengths and vulnerabilities candidly conveyed. Beyond subject matter, these works are a celebration of painting itself, and the quality of imagery that can only be brought forth with paint and brush. As Campbell states, “I believe deeply in process being content.”
The women painters, sculptors, writers and performers Campbell depicts include: Amy Adler, Sarah Awad, Linda Besemer, Heather Brown, Kyung Sun Cho, Patricia Fernandez, Alexandra Grant, Annie Lapin, Gwynn Murrill, Julie Orser, Susan Silton, Jennifer Steinkamp, Mpambo Wina and Eve Wood among others.
Rebecca Campbell was born and raised in Salt Lake City, the youngest of seven children in a strict Mormon family. Campbell earned her BFA from Pacific Northwest College of Art and her MFA from UCLA, graduating in 2001. In addition to California, Campbell’s paintings have been exhibited across the United States, from New York, Vermont and Florida, to Ohio, Utah, Colorado and Oregon, and overseas in Madrid, Spain, and Basel, Switzerland. In 2011, she was featured alongside Angela Ellsworth in the two-person exhibition A Peculiar People at the Phoenix Art Museum, Arizona.
Concurrent to the L.A. Louver exhibition, Campbell’s work may be seen in Dreams of Another Time, a two-person exhibition with Samantha Fields, curated by Kristina Newhouse at the University Art Museum, California State University, Long Beach (30 January – 10 April 2016). A solo exhibition of Campbell’s work titled The Potato Eaters will be on view at the Lancaster Museum of Art and History, Lancaster, California (7 May – 24 July 2016) and travels to Brigham Young University Museum of Art, Provo, Utah (30 September 2016 – 18 February 2017)."
You Are Here was recently profiled on the National Public Radio morning news program, All Things Considered and in Hyperallergic.
Visual Arts alumna Natasha Shoro will be showing at Soka University Founders Hall Art Gallery beginning February 1, 2016. See below for more details, or visit the Soka University website.
SECOND WAVE: Aesthetics of the 80s in Today’s Contemporary Art
November 14, 2015 - March 19, 2016
UCR ARTSblock, Culver Center of the Arts
3824 Main Street • Riverside, CA 92501
Exhibition Talk with CSUF art history major, Joseph Valencia
"Second Look on Second Wave"
Saturday, Jan. 30,2016 at 4 pm
Artist and CSUF alum D. Hill will be performing with Claremont Graduate University alum, artist Takeshi Kanemura, on Saturday, Jan. 30 at 5 pm in a piece called Transceiver.
SECOND WAVE: Aesthetics of the 80s in Today’s Contemporary Art explores the influences of the artistic styles and subject matter from the artists in the 1980s on a new generation of artists, who were born or raised in this period, and have expressed the importance of this decade from nearly thirty years ago on their own work.
The exhibition features the work of two CSUF Visual Arts alums: Greg Eberhardt (MFA, Drawing & Painting) and D. Hill (MFA, Creative Photography). The College of the Arts and Department of Visual Arts congratulate Eberhardt and Hill on their most recent professional accomplishment.
Similar to Neo-Expressionist artists Georg Baselitz and Jean-Michel Basquiat, who depicted their subjects in brutish manner with expressive brushstrokes and intense color textures, Gregory Eberhardt directs explicit rawness in his work through an overload of imagery that channels a mash-up of art historical references and pop culture.
In Bogey Downers, Eberhardt utilizes intense mark making and overlapping, figuration, as a kind of hand-made reaction to the blur of images that is circulating on the web. Creation of Monsters continues his exploration of visual references citing iconographic figures particularly in art history, such as, positioning his own figures that reference those Leonardo di Vinci’s The Last Supper while continuing the scene to the next panel that takes note of Michaelangelo’s Genesis.
TRANS is a body of work in three parts: performance, video, and photography. The project delves into complex layers of gender performance by magnifying the conventional ideas of femininity and masculinity. Hill’s photographs from video stills examines the construction of identity, the nature of representation, and the artifice of photography, similar to the concerns explored by Cindy Sherman, who came to prominence in the 1980s. in her photographs of constructed tableaus and female characters. In earlier works such as the Complete Untitled Film Stills (1977-1980) and Centerfolds/Horizontals (1981), Sherman, known for her conceptual portraits, invented personas that relied on facial expression and gestures to tell a story. Hill employs tropes from popular 80s music videos to illuminate the performer’s vanity and viewer acceptance. His performance is translated intoboth photograph and video format to represent various media platforms that impact the characteristics of celebrity status.
Hill’s video interpretation of TRANS (2014) will be on view from November 14 through December 28, as a part of the Culver Center Digital Mural Project Series, located on the façade of the Culver Center of the Arts.
Visual Arts alums Nadia Kim and Stephanie Burtner have advanced to the finals of the Walt Disney Imagineers (WDI) Imaginations Competition. This prestigious competition includes teams from all over the country who then develop and pitch a Disney themed attraction. Kim and Burtner will spend part of January at WDI working on their final project with the Imagineers.
For more information and press requests, please contact:
Niki Blumberg (323.954.7510x10 or by email N.Blumberg@dcpublicity.com)
Peter Goldman (323.954.7510x12 or email P.firstname.lastname@example.org)
December 5, 2015 - January 5, 2016
Q ART SALON
205 N. SYCAMORE STREET
SANTA ANA CA 9270
Art educators see the creation of artwork differently than other artists. Their work is the product of ideas, the result of decisions, and the sum of cumulative understanding—before, during and after the moment of creation. Educators constantly have an awareness of the student as the viewer; a growing peer who is more informed and critical, looking at the instructor’s work for guidance, direction or distinction. Through repetition, an art instructor may practice anatomy, structure, composition and drawing on a different level, and with other intentions—information becomes second nature, understood without thinking. From sketch to gesture, structure to form, anatomy to expression, the work moves toward understanding, clarity and expression. Fleshed Out is how we understand that process.
The intersection of narratives, as the model, student, viewer and artist all arrive at the same moment from completely different places, simultaneously crossing in the moment of creation, understanding or contemplation of the work before leaving again in new and sometimes altered trajectories. It begins in a different place for students of art, for whom every observation from life is a test as well as an opportunity to practice seeing the world through art. For the instructor, much of the observation feeds a pool of knowledge that can be turned into a supplement or can support existing knowledge. So, at the core, it’s different to draw from life than to teach how to draw from life.
The work of these the artists in Fleshed Out operates as a metaphor for the teaching process itself, bringing an idea to light, demonstrating understanding and pushing for even deeper layers within themselves. These artists explore the world outside of their own consciousness as a means of sharpening the mind and layering understanding on to experience through metaphors like marks on paper or paint on canvas. When the figure or form is investigated and understood then it can be made a part of an artist’s process or work as a concept, and can be discussed, debated and deconstructed. Seeing the structure beneath the form or the history behind the process is inherently a part of the instruction, which begs the question; do those who teach art see and understand more or differently?
Fleshed Out features ten artists who are currently teaching meaning, representation, structure and symbolism to future generations of artists. California is hub for fine art, and these ten California artists and art educators are helping to shape the way contemporary art will evolve with their efforts.
Featuring work by Leslie Batty, Joe Forkan, Caleb Henderson, Robin Johnson, Eric Jones, Serena Potter, Nick Potter, Nicholas Spohrer, Kevin Stewart-Magee and Pamela Wilson, Fleshed Out explores the unique practices and expressions academic artists utilize, with their distinctive disposition and role in contemporary art.
Evan Senn & Kevin Stewart-Magee
New Britain Museum of American Art
56 Lexington Street | New Britain, CT 06052
New Media: Julie Orser
August 22, 2015 – January 3, 2016
Opening Reception | 5:30 - 7:00 pm, Thursday, October 8, 2015
6:00 pm, Artist Remarks
Inaugurating the new, larger New Media & Digital Art space in the McKernan Gallery will be Los Angeles-based contemporary video artist Julie Orser, who will screen Always Green, Ever-Living.
Orser utilizes a series of point-of-view shots coupled with a section of repeating dialogue extracted from the film Vertigo. As the video loops, alternating times of day, the camera wanders Hitchcock’s original Redwoods location in search of Madeleine creating a poetic and disorienting meditation on time and place in cinema. Orser’s awareness of film history, character reference, and overall engagement with American cinema draws the viewer into the Redwoods and ”dances on the line between becoming its own genre of experimental film and commenting on the history of film.”
Orser received her MFA in Studio Art from California Institute of the Arts and a BFA in Photography at Pacific Northwest College of Art. Her videos, photography, and multi-channel installations have been exhibited at a host of museums and galleries across the country and around the world. Orser was awarded the 2010 California Community Foundation Visual Artist Fellowship for Emerging Artists, the 2014 and 2009 Investing in Artists grants from the Center for Cultural Innovation, and the 2014 ARC grant. Julie is the co-founder of ART OFFICE for Film & Video and Assistant Professor in the Creative Photography Program at California State University, Fullerton.
The Department of Visual Arts is pleased to announce the following upcoming lectures and events for Professor of Art, Bryan Cantley:
Lectures | School of Architecture, University of South Florida, Oct 13, 2015; Los Angeles Institute of Architecture and Design, Oct. 8, 2015
Solo exhibition | opens November 18, 2015
Christopher Mount Gallery
Pacific Design Center, DesignLab
8687 Melrose Ave., Suite B267
West Hollywood, CA 90069
Drawings published in Surreal Architecture, by author Neil Spiller (late 2014/early 2015)