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Artwork for InterArts Collaborative Symposium.

5th Annual InterArts Collaborative Symposium (Formerly Film As a Collaborative Art)
The Empty Space
Tuesday, May 10th 2pm-6:45pm 
Recital Hall (CPAC #110)

Featured Guest Artists: 
Cloud Eye Control
(Miwa Matreyek and Chi-wang Yang)

Gloria Cheng
MONTAGE: Great Film Composers and the Piano

CSUF Student Collaborative Multimedia Projects:
Video Art Students of Visual Arts Faculty Julie Orser and Student Composers & Performers of Music Faculty Pamela Madsen, Ken Walicki, and Eric Dries 

2:00pm – 3:00pm Lectures by Cloud Eye Control’s Miwa Matreyek (Animator, Designer, and Multimedia Artist) and Chi-wang Yang (Director of Theater and Performance)
3:00pm – 4:00pm Gloria Cheng: MONTAGE: Great Film Composers and the Piano
4:00pm – 4:30pm InterArts Collaborative Lecture: The Empty Space (Theater Faculty Anne James, Joris Hoogstedter, Siena Marilyn Ledger)
4:30pm – 6:15pm Screenings of Student InterArts Collaborative Projects
6:15pm – 6:45pm Reception

*Part of the New Music Series/InterArts Collaborative Projects Series
*Directors of InterArts Collaborative Projects:  Pamela Madsen, Music | Julie Orser, Visual Arts | Anne James, Theater 

Featured Guest Artist bios

Cloud Eye Control

Cloud Eye Control is a collaborative performance group from Los Angeles comprised of three members: Chi-wang Yang, Miwa Matreyek, and Anna Oxygen. We create original works that uniquely combine interactive media with live performance. Since our inception in 2004 we have created three original works that have been presented both nationally and internationally. Whether through the discovery of powerful crystals underground, or one woman’s interstellar search for a new home, a common theme in our stories is human adaptation in a technological world. To realize these stories, we project pre-rendered animation and live camera imagery onto various surfaces on the stage, and this imagery functions as scenery and virtual actor. Both high and low tech methods are used to allow the live actor to interact with the media. These methods range from custom-built interactive video software to the physical manipulation of video puppets.

Miwa Matreyek
Cloud Eye Control

Miwa Matreyek is an internationally recognized animator, designer, and multimedia artist based in Los Angeles. She creates animated short films as well as live works that integrate animation, performance, and video installation. Arriving to animation from a background in collage, her work explores how animation transforms when it is combined with body, both physically in her performance pieces, as well as a composited video element in her short films. In her projection based performances, animation takes on a more physical and present quality, while body and space take on a more fantastical quality, creating an experience that is both cinematic and theatrical. She is interested in the slippery meeting point of cinema and theater/performance, the moments of convergence where fantastical illusions are created, and the moments of divergence where the two struggles against each other. Her work has been shown internationally at animation/film festivals, theater festivals, performance festivals, as well as art galleries, science museums, tech conferences, universities, and more. Some past presentation include TEDGlobal (UK), MOMA in New York, Sundance Film Festival, Wexner Center for the Arts, Anima Mundi Animation Festival (Brazil), Time Based Arts Festival, REDCAT, ISEA, the Exploratorium, Fusebox Festival, and many more. Matreyek received her MFA (2007) in Experimental Animation and Integrated Media at the California Institute of the Arts. She is one of the founding-member and core-collaborator of Cloud Eye Control. Matreyek is a recipient of the Creative Capital grant for Performing Arts in 2013. She is also a recipient of the Princess Grace Award for film (2007) as well as subsequent Special Project awards from the Princess Grace Foundation, and a 2016 Sherwood Award winner.

Chi-wang Yang
Cloud Eye Control

Chi-wang Yang is a Los Angeles-based director of theater and performance. Whether in the form of plays, operas, concerts or installation; his work is physical, experimental, and collaborative. He is committed to expanding notions of identity and theatrical form and to exploring the unstable intersections of body, narrative and technology. He is a founding member and co-artistic director of Cloud Eye Control. Yang received his MFA in Theater Directing and Integrated Media at the California Institute of the Arts, and his BA from Brown University. He is currently faculty at CalArts, where he serves as Assistant Dean for the School of Theater, and Associate Artistic Director of the CalArts Center for New Performance. His work has been presented at theaters and galleries internationally, including REDCAT, Baryshnikov Arts Center, Havana International Film Festival and the Edinburgh Fringe. Past directorial projects include This From Cloudland, by Kristen Kosmas, They Are Dying Out, by Peter Handke, and The Closest Farthest Away/La Entrañable Lejanía, a groundbreaking international collaboration between American and Cuban artists. 

Gloria Cheng 
MONTAGE: Great Film Composers and the Piano

MONTAGE: Great Film Composers and the Piano features six film composers who have amassed 73 Oscar nominations and eight wins. “But,” ponders the introductory essay to Gloria Cheng’s recent CD, “what melodies, harmonies, what cadences haunt their private dreams?” Hear selections from pieces written expressly for her by John Williams (Star Wars, Jaws, E.T.), Bruce Broughton (Silverado, Young Sherlock Holmes), Don Davis (The Matrix, Beauty and the Beast), Michael Giacchino (Up, Lost, Ratatouille) and Randy Newman (Monsters, Inc; Toy Story). Alexandre Desplat (The Imitation Game, Grand Budapest Hotel) contributed a piece originally written for Lang Lang. A documentary film chronicling the composers and Cheng during their recording process completes the performance.

Pianist Gloria Cheng, has been presented in recital by the Ojai Festival, Chicago Humanities Festival, William Kapell Festival, and Tanglewood Festival of Contemporary Music, and as a soloist on leading concert series including Carnegie Hall's Making Music, Cal Performances, Stanford Lively Arts, and at (le) Poisson Rouge. Described by the San Francisco Chronicle as “an eloquent champion for new and recent music of all stripes,” Cheng devotes her recitals and recordings to explorations of significant interconnections amongst composers. Her 2008 Piano Music of Esa-Pekka Salonen, Steven Stucky, and Witold Lutosławski was awarded the Grammy for Best Instrumental Soloist Performance without Orchestra, and her 2013 release, The Edge of Light: Messiaen/Saariaho nominated for Best Classical Instrumental Solo. In 2015 she launched MONTAGE: Great Film Composers and the Piano — a CD, recital, and documentary film project featuring new works written for her by Bruce Broughton, Don Davis, Alexandre Desplat, Michael Giacchino, Randy Newman, and John Williams. Cheng has been active in Los Angeles with Piano Spheres, Jacaranda, and the HEAR NOW festival, and recently curated BEYOND MUSIC, an international symposium at UCLA of composers and media artists including Kaija Saariaho, Jean-Baptiste Barrière, and Bill Viola. She is often invited to speak about contemporary music, and in 2012 served as Regents Lecturer at the University of California, Berkeley. After earning a B.A. in Economics from Stanford University, Cheng received graduate degrees in performance from UCLA, as a student of Aube Tzerko, and from the University of Southern California, as a student of John Perry. She now teaches at the UCLA Herb Alpert School of Music where she has created new courses and programs to unite performers and composers.

The Empty Space
(Theater Faculty Anne James, Joris Hoogstedter, Siena Marilyn Ledger)
The Empty Space, by undergraduate student playwright, Siena Marilyn Ledger, first debuted in Fall 2014 as a part of CSUF’s Theatre Department’s monthly “BA Showcase”. This abstract piece explores the interplay between our physical existence and the reality that lives just as vibrantly in the mind. Associate Professor Anne James proposed further development of the play as part of the Voice and Movement program’s, “New Works/Physical Theatre Initiative”, whose mission is to create a forum for students and faculty across the College of the Arts to develop original works emphasizing a physically expressive style of storytelling while pursuing off-­‐campus international venues to showcase this new material. With the support of an Instructionally Related Activities (IRA) grant, Professor James (as the play’s Director), Guest Artist/Movement Director, Michael Polak, and a company of CSUF student artists from the Department of Theatre & Dance and School of Music transported “The Empty Space” to the University of Wales Trinity Saint David in February 2016. Here it made its international debut as part of the celebration of CSUF’s 15-­‐year exchange with this institution. In partnership with InterArts Collaborative Projects, Dr. Pamela Madsen mentored three student composers in the development of the show’s original soundscape. Professor Julie Orser supervised graphic design student, Nhan, with the design of all of the media materials. The success of the “New Works/Physical Theatre Initiative’s” debut project, along with changing workplace needs in the entertainment industry, has inspired a new B.A. in Theatre Arts degree: Specialized Studies in Theatre Concentration with an Emphasis in Physical Theatre, beginning in Fall 2016.


"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.

(Top, L to R) Greg Eberhardt: Performer, 2012, Oil on canvas, From Private Collection; Creation of Monsters, 2015, Oil on canvas, Courtesy of the artist; Bogey Downers, 2015, Acrylic and spray paint on linen, Courtesy of the artist

(Bottom, L to R) D. Hill: TRANS, 2014-2015, Digital inkjet photographs, Courtesy of the artist (detail); TRANS, projected as part of the Culver Center’s Digital Mural Project Series

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.

Exhibition brochure
Exhibition press


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.

December 2015

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
Peter Goldman (323.954.7510x12 or email


Fleshed Out
December 5, 2015 - January 5, 2016


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)