Community, News

The Shop

The Silverman Gallery in San Francisco is launching an exhibition called The Shop, which is

a curated exhibition/ pop up shop featuring artist editions, prints and other ephemera. In the spirit of Fluxus, DIY and punk, THE SHOP explores the ongoing dialogue between printed culture and artistic production, tracing the ways in which self-produced multiples blur the divide between art and commerce….

Featured artists: Ari Marcopolous, Bozidar Brazda, Matt Keegan, Tammy Rae Carland, Ryan Foerster, Malik Gaines and Alexandro Segade, Christina McPhee, Job Piston, Joseph Akel, BLAND, Aaron Krach, Luke Fishbeck, Marc Arthur, Neil Ledoux, Susan Silton, Yuval Pudik and many more!!!

I love artist’s editions and multiples — I’ve been making them for some time now, and it’s an odd corner of the art world to operate in, because it acknowledges both that artists should be paid for their work and art can be affordable.

I’m really excited about the show, and will definitely make it at some point to see it — but I won’t be there on the opening, because it coincides with the opening of Involved, Socially, at Triple Base Gallery, and if I may shamelessly self-promote it, it’s an exhibition curated by Michelle Blade featuring the works by Amanda Curreri, David Horvitz, Mark McKnight, Jessica Williams and Christine Wong Yap.
August 6–September 6, 2009
Opening Reception: August 7, 7–10pm
Triple Base Gallery
3041 24th Street, San Francisco, CA
gallery hours: Thu-Sun 12-5pm

I’ll be showing a new installation and my first curatorial project — an international mail art swap among multi-disciplinary and conceptual artists. I find the practices of invited artists completely intriguing and hope you will too.

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Community

Art reviews: Steven Barich, Scott Kildall and Victoria Scott, Pae White

After knocking out a new screenprinted edition (see it at the Headlands Open House July 12, or at The Kiss of A Lifetime in Newcastle and London) and attending the artists’ talks at the Headlands yesterday, I decided to knock off and go enjoy some galleries this Friday afternoon.

Steven Barich: The Logic Stone and other new work
Rowan Morrison Gallery
Oakland, CA

steven barich the logic stone rowan morrison gallery
Image source: Rowan Morrison Gallery.

Steven Barich‘s show at Rowan Morrison is comprised of a series of mostly-compact graphite drawings of logic stones, in which the stones themselves are rendered in a pixelated greyscale grid. The images in reproduction look flat, but the drawings have a lot of “hand” in them; the teeny scale of the pixels seems to point your attention to the tooth of the paper, the grains of graphite. “Technology v. Nature” seems to be an overworked thread in contemporary art, but Barichs’ drawings depict as well as enact this dichotomy. The labor of representing a machinelike perfection in pixels is contrasted with the labor in representing the baroque carvings of the stands. It’s also interesting to notice that so much pixel-based hand-made contemporary art uses full color spectra, whereas Barich’s work is limited to shades of grey. I imagine it’s not an easy task to create random patterns with only value contrast to work with. While the premise behind The Logic Stone may seem straightforward, these deliberate reductions reveal a tight conceptual and technical approach.

re:con-figure
Kala Art Institute
Berkeley, CA

no matter scott kildall victoria scott
Scott Kildall and Victoria Scott, Pot of Gold. Image source: No Matter website

Kala’s new gallery space on San Pablo Avenue is spacious, with high ceilings, a nice balance between open space and smaller nooks, and great walls and good lighting. The current exhibition, re:con-figure, features the work of several past Fellows or AIRs, who exemplify a certain Bay Area contemporary art diversity. On view were video-papercut-installations, mixed media collages, photo-sculptures, performance-installations and kinetics-installations (and noticibly, not a whole lot of traditional printmaking per se. re:con-figure seems to announce that Kala is a contemporary art presenter, in case you still thought of it as a intaglio-oriented printmaking atelier.)

I really enjoyed Scott Kildall‘s and Victoria Scott‘s No Matter project of humorous cut-and-fold assemblies. The objects appear to be inspired by Kildall’s ongoing interest in virtual reality; the planar, crappily-colored objects bring Second Life hokeyness into “first life” materialization. This project is similar to eTeam‘s (Hajoe Moderegger & Franziska Lamprecht) Second Life Dumpster , but No Matter embodies the cheap crappiness I found lacking.

The renderings in 3D animation can be woefully inadequate, so to create 2D prints that cut and fold into truly 3D counterparts is a brilliant rhetorical gesture. Even when the wood-grained Contact paper-wrapped shelves and chalky inkjet paper announce their media a bit too obviously, it works with the spirit of the piece, which seems to saying that Second Life is Camp, and the artists intend to honor to the spirit of the Camp with its own oblivious pretensions. The ridiculousness is appreciated, since by acknowledging the artifice of virtual reality, the artists might be acknowledging the artifice of artmaking itself.

Pae White: In Between the Outside-In
New Langton Arts
San Francisco, CA

pae white in between the outside-in
Image source: New Langton Arts website

Pae White’s show at New Langton Arts may be one of the most surprising art experiences I’ve had in the Bay Area in the past two months. It’s killer. So killer, I’m shocked and dismayed how little press I’ve seen on it, and how no one has told me that I have to see the show. So I’m telling you now: You have to see the show. Especially if you like how the self is brought to the fore in installation art, have any interest in digital animation, or, like me, you find disorienting perceptual experiences and your resulting hyper-awareness to epitomize the best that contemporary art can offer. It’s Earth Art, yes, but unconventionally so, and it seems to be fully Romantic in nature, in the sense of presenting a techno-digital-Sublime that’s otherworldy and quite possibly terrifying.

I’ll add that the show ends July 18th, and say no more.

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Art & Development, Community

art art art weekend part two

Christine Wong Yap, You Have to Get Through it to Get To It / You Have to Get To it to Get Through it, 2009, ink on paper 7.625 x 11.5 inches each. Produced in the Breathe Residency at Chinese Arts Centre.

Christine Wong Yap, You Have to Get Through it to Get To It / You Have to Get To it to Get Through it, 2009, ink on paper 7.625 x 11.5 inches each. Produced in the Breathe Residency at Chinese Arts Centre.

This installment of my art weekend update starts off with a few happy observations concerning last Saturday’s Southern Exposure’s Pop Noir auction at Electric Works:

First, it seemed like a successful fundraiser. The bidding was active and collectors seemed to enjoy getting worthy works and good deals while supporting SoEx. It was really great to see people buying art. Non-profits are struggling more than usual, so it’s great to see arts supporters persist.

Second, SoEx puts on a great auction. They got really great donations of local food and booze; the auction was run really smoothly, and the installation seemed to fit an incredible amount of work on rather limited wall space really well.

Third, my donation (pictured above) went at above the retail price; not bad when the minimum bid starts low. It’s nice to see your work appreciated so measurably. I’m not opposed to partnering with the right gallery, but lately, I’ve enjoyed the freedom to just make whatever I feel like, and get on with collaborations with artists and friends.

In the end, my attitude is the same as Leonard Cohen’s, who was recently quoted in “Careless Whisper” by Jennifer Allen in Frieze Magazine (April 2009):

I didn’t want to work for pay, but I wanted to be paid for my work.

In that spirit, I’ve made some works available.

Christine Wong Yap, Dime Store Advice, 2009, China marker on foil-laminated cardstock, 11.75 x 16.5 inches. Produced in the Breathe Residency at Chinese Arts Centre.

Christine Wong Yap, Dime Store Advice, 2009, China marker on foil-laminated cardstock, 11.75 x 16.5 inches. Produced in the Breathe Residency at Chinese Arts Centre.

Christine Wong Yap, Untitled (Lens Flare, Small Mirror), 2007, Etched mirror, colored pencil, frame, 13 x 16 x 2 inches

Christine Wong Yap, Untitled (Lens Flare, Small Mirror), 2007, Etched mirror, colored pencil, frame, 13 x 16 x 2 inches

Christine Wong Yap, Cheap and Cheerful #3, 2009, neon and glitter pen, 11.625 x 7.75 inches. Produced in the Breathe Residency at Chinese Arts Centre.

Christine Wong Yap, Cheap and Cheerful #3, 2009, neon and glitter pen, 11.625 x 7.75 inches. Produced in the Breathe Residency at Chinese Arts Centre.

Christine Wong Yap, Cheap and Cheerful #10, 2009, neon and glitter pen, 11.625 x 7.75 inches. Produced in the Breathe Residency at Chinese Arts Centre.

Christine Wong Yap, Cheap and Cheerful #10, 2009, neon and glitter pen, 11.625 x 7.75 inches. Produced in the Breathe Residency at Chinese Arts Centre.

If you’re interested in providing a good home for any of these works, please email me at cwy (at) christinewongyap.com, and I’ll send over a link where you can get prices (ranging from under $100 to a few hundred and up) and more info about these and other available works. Cheers.

If original art is out of your price range, consider multiples and books, available at my Store.

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Community

art art art weekend part one

Installation by Sam Lopes, Joy Fritz and Friends at Blankspace Gallery.

Installation by Sam Lopes, Joy Fritz and Friends at Blankspace Gallery.

Nipped in Sam Lopes’ opening at Blankspace Gallery in Oakland, CA. To be more specific, the exhibition, “Just because there are questions doesn’t mean there are answers,” is a show of “new collaborative work by Sam Lopes, Joy Fritz and Friends.” The works were what JC (not that JC) might have called craptastic, where craftsmanship seems deliberately hobbled, so that naive drawing styles in odd materials (crayons and oil pastels) take precedence. The show is really colorful and sweet, and compellingly nostalgic for the 1970s. It turns out the depiction of of handicrafts from the shag carpet era might be inspired by nostalgia for a gay heyday.

lopes

Drawing by Sam Lopes, Joy Fritz and/or Friends

There were some passages that reminded me, in a good way, of Ben Shahn’s work, where the line seems so unfettered you can’t tell when it’s good or bad, but you just know that it’s exuberant.

In contemporary art, “decorative” is usually used derisively, but I’m starting to re-think this prejudice. Certainly, I’m more interested in work that has interesting and rigorous conceptual intents, but I’m also beginning to suspect that decoration and conceptual rigor are not as oppositional as presumed. In a way, decoration is not entirely free of function—people seem to have an innate decorating impulse, tied maybe to creativity and expression as well as aspirations and the need to see themselves reflected in the world. At a basic level, it seems to fill a desire to find a voice or secure a space in the material world.

lopes

Drawing by Sam Lopes, Joy Fritz and/or Friends

There’s a lot of decoration in “Just because.” It’s in the selection of subjects that lend themselves to high-spirited colors and patterns, like bedspreads with fringes, wallpaper, bolero jackets and hand-knit rugs. And while I’m sure this decorative impulse was driven partly by pleasure and the unadulterated love of drawing, I also suspect that the choices were not entirely formal, and the use of pattern and decoration suggests something about art being, fundamentally, a craft, and craft being more akin to hobby-like forms of self-expression, rather than a selling point of marketable art objects.

It’s East Bay Open Studios this weekend, where everyone and their purse-making sister, graf-merging cousin, and urban-artifact-re-arranging uncle open their studios to the public. I think that membership-based art organizations are critical to building and sustaining a vibrant local art community, of course, but the experience of seeing so many different kinds and qualities of art can have low returns when taken all together. It’s like going to an international buffet, and you end up getting hummus on your sushi and chow mein in your bread pudding.

I stopped by a few different studios in Oakland today. I found it strange that only half of the studios in a certain complex were open. I realize that registration for Open Studios requires a hefty membership fee, but still, it seems like a missed opportunity to not be in your studio if the public is going to be wandering through your building anyway.

terry furry

Works on mounted Kraft paper by Terry Furry at Swarm Studios.

Terry Furry’s a genuine, nice guy, so it’s hard for me to be objective about his work, but I really enjoyed his latest batch of paintings on mounted Kraft paper. I know that some of their appeal stems from a certain graphic design or illustration-y cleanness. Still, these still-lifes of a boy’s or man’s personal effects are more ambiguous than his previous figurative paintings, and hence, more open-ended and compelling. The empty spaces seem less like formal devices, and a little more affective.

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Citizenship, Community, Research

Things are grim, but I can’t stop thinking about happiness.

Where my mind’s been at:

Positive psychology — a relatively new field of evidence-based self-help for being happier. Think of it like the shift in medicine from treating illness to increasing wellness. As Tal Ben-Shahar, PhD, writes in Happier, pretty much everything we want in life ultimately leads back to happiness.

The idea is to increase happiness in daily life, rather than dealing with unhappiness only during moments of crisis.

[See also Dr. Martin Seligman, Prof. Philip Zimbardo and Dr. Walter Mischel (whose research was the subject of a great article by Jonah Lehrer recently in the New Yorker Magazine).]

Practicing gratitude is one of the oft-cited methods of increasing happiness.

I’m tremendously grateful for friends helping friends. I know, I know, everyone’s hurting now financially. But a lot of artists are freelancers, and while freelancing is typically like riding a roller coaster, it seems like a lot of my peers are feeling lost in a free fall. These are bright, hardworking people doing everything from graphic design, to interactive art direction, to preparator/installation to cooking.

The financial safety nets are being strained, but it seems like social bonds are staying strong… Artists helping artists. Freelancers helping freelancers. I’m so grateful to be in an art community, in which, even in lean times, can exhibit generosity instead of competition.

If you can support the arts in these times, for goodness’ sake, here’s how (and where and when!):

travis meinholf art
Formerly San Francisco-based, now Berlin-based artist Travis Meinolf is in the unenviable position of raising funds for a matching grant (good luck!) for his kind of hilarious but also strangely innovative practice of action-weaving. Like his healthy ‘stache, Travis’ participatory weaving seems impossibly sincere (his last project resulted in 12 volunteer-made blankets being donated to a women’s shelter). He’s a good guy and a hard worker and I wish him the best of luck in sowing his weaving projects ’round the world… Contact Jennifer McCabe, director of the Museum of Craft and Folk Art at jmccabe@mocfa.org to make a contribution towards Meinolf’s exhibition. (Image source: actionweaver.com)

(In case you missed it, I mentioned Scott Oliver’s totally fund-able project about my beloved Lake Merritt in a previous post.)

This Saturday night is Pop Noir, an auction to benefit Southern Exposure, an alternative art space that’s consistently invested in local artists, community engagement, and excellence in contemporary art. This female-led organization has always pushed the envelope, and I’m very proud to donate a pair of text-based drawings to support their work. Over a hundred and fifty other local artists have donated work too. Countless volunteers are contributing time. But it’s all for naught without buyers. So come on down—with auction prices starting at a fraction of the retail price, the price is right. Look for some really nice pieces by Weston Teruya, The Thing Quarterly by Allora and Callzadia, Michael Hall, Laurie Reid, Jeff Canham, Jamie Vasta, Edgar Arcenaux, Dustin Fosnot, and yours truly (pictured as follows).
weston teruya artThe Thing Quarterlymichael hall artlaurie reid artjeff canham artjamie vasta artedgar arcenaux artdustin fosnot artchristine wong yap art
(Image sources: Southern Exposure’s Pop Noir Auction Artists

Pop Noir will be held at the gorgeous galleries at Electric Works at 8th and Mission Streets in San Francisco. Tix, more info, pics of the auction lots, and absentee bidding details here. Hope to see you there.

Stephani Martinez, Daily Cakes - Extra Fancy, 2009, Variable, Doilies, Plaster, Gold Leaf
(Image: Stephani Martinez, Daily Cakes – Extra Fancy, 2009, Variable, Doilies, Plaster, Gold Leaf. Image source: Intersection for the Arts’ 2009 Benefit Art Auction.)
Of course the other amazing alternative art space in San Francisco is Intersection for the Arts, who is well-respected for the rigor of their programming, and renown for making miracles on a shoestring. Like many non-profits, the downturn is hitting their typically lean infrastructure hard. Intersection’s auction comes up next weekend, on the following Saturday, June 13.

Daniel Tierny, Double Jump, 2009, Tape on lambda print, 23 x 33 in., Courtesy of the Artist and Steven Wolf Fine Arts, San Francisco.
(Image: Daniel Tierny, Double Jump, 2009, Tape on lambda print, 23 x 33 in., Courtesy of the Artist and Steven Wolf Fine Arts, San Francisco. Image source: Headlands 2009 Benefit Auction, Artists, Daniel Tierney.)
Wednesday, June 10, the Headlands Center for the Arts holds their auction at the Herbst International Exhibition Hall in the Presidio. I’ve been an Affiliate Artist at the Headlands for a year and a half. The Headlands is an amazing locus for an international and local art community. When I think about relocating, few places compare with the quality of the Bay Area arts scene, partly because of the Headlands’ role in drawing international artists in residence to the area.

So there you go. Support an artist directly, or support the organizations who support the artists. And take home some artwork!

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Community

Good art

David Gurman, "The Nicolas Shadow," 2009

David Gurman, The Nicolas Shadow, 2009

David Gurman’s The Nicolas Shadow installation at St. Ignatius Church in San Francisco is pretty great. Though I’m quite secular, I really enjoyed my visit to the church, which is on the corner of the USF campus. The exhibition in Manresa Gallery, Icons and the Iconic, is an interesting mix of traditional icons, modern icons in the traditional style, and a few modern and contemporary works. Gurman’s installation is stunningly beautiful in a meditative way, and yet its content (a large bell tolls every hour counting the number of civilian casualities in Iraq) is explicitly political.

I also attended Claire Fontaine‘s artists’ talk at the Wattis Institute tonight. The Paris-based collective has been showing interesting conceptual work with radical interests at the Wattis and the Tate Modern for a few years, and it was really cool to see the artists speak with such intellect, humor and humility. Their work at the Wattis consists of texts spelled out in fluorescent tube light fixtures, in what they coined “K-Font” (sp?).

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Community

Points of Reference: posters, typefaces, Lake Merritt

The artists behind Shotgun Review are doing some really interesting individual and collaborative projects.

I’m SUPER digging the two projects on Joseph del Pesco‘s site right now.

pile of artist's funding posters
State of the Arts, The Present Group & Horwinski Press, December 2008.
Image source: http://delpesco.com/

Beautiful posters influenced by wood type and mixed-fountain printing, demanding better working conditions for artists. What’s not to like?

Black Market Type & Print Shop
Joseph del Pesco, Black Market Type & Print Shop, Articule, Montréal, June 2008
Image source: http://delpesco.com/index.php/P1/

Artist’s typefaces—I love it! It’s a great coincidence, because after working on hand-lettering during the Breathe Residency, and reading Ellen Lupton’s Thinking with Type recently, I decided I’d like to design a typeface. It’ll probably be a display face, exuberant and expressive at the risk of legibility. But I figure it’ll be an art project, not a design project; I know enough to leave the development of extensive type families to the pros.

There are so many crappy fonts in the world already, why bring another one into existence? Well, the fact is, even typographic design can be a little subjective; Blackletter was considered very legible in the early 20th century among Germans and inscrutable in other parts of the world. And history, as well as Lupton’s book, is filled with other examples of typefaces that were reviled in their time. For example, Baskerville, a typeface that many modern eyes would consider just another serif roman font, rather boring and not particularly distinctive, was reviled for

Blinding the Readers in the Nation; for the strokes of your letters being too thin and narrow, hurt the Eye.

–as quoted in Ellen Lupton’s Thinking with Type

Scott Oliver's Once Upon A Time, Happily Ever After, audio tour of Lake Merritt, Oakland, CA

Scott Oliver's Once Upon A Time, Happily Ever After, audio tour of Lake Merritt, Oakland, CA

I’ve always liked Scott Oliver‘s material investigations/post-conceptual modifications of everyday objects, and his next project—an audio tour of Oakland’s Lake Merritt—totally floats my boat for two reasons.

A. I love Lake Merritt, it’s one of the few things that keep my regard for living in Oakland really high.

It’s a nice open space in the middle of the tree-starved flatlands, and while it’s not the most natural of places, it plays an important role larger ecosystems. Lake Merritt is not a “man-made lake,” but an estuary, which is why it’s a unique habitat for migratory birds.

It’s also a nice public space used by a cool cross-section of residents: runners, walkers, people who put on jogging suits to get coffee at Peet’s, guys hanging out in their cars all day, serious athletes running the stairs, office workers and families from all walks of life.

B. Oliver’s working with some really bright collaborators, and bringing onboard a lot of local arts organizations. Any local histories can be tricky, but Oliver’s got the right approach.

Oliver’s got a matching grant, so he needs to raise matching funds in the form of donations from individuals. Matching grants are challenges in any situation, but I don’t envy his position in this economy.

Once Upon A Time, Happily Ever After: An Audio Walking Tour of Lake Merritt will offer an immersive audio experience to listeners—using a mixture of ambient field recordings, interviews, music and narration to weave an idiosyncratic but approachable narrative that will guide listeners through the various natural and artificial elements that surround Lake Merritt. With an emphasis on local history, cultural diversity, urban ecology, and the power of imagination, Once Upon A Time, Happily Ever After will explore the invisible that surrounds the visible—the stories and forces that shape the lake and our perceptions of it. Once Upon A Time, Happily Ever After will be free to the public and widely accessible to Lake Merritt visitors through both on-site and remote locations.

To support the audio tour of Lake Merritt, email Scott Oliver at: knot (at) sbcglobal . net.

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Community

Wunderflator, Junk Spaces, Hunger, Drucker

Life in California is pretty great.

Yesterday I drove down to Stanford University for Wünderflater, the MFA show by Reed Anderson, Michael Arcega, Kazumi Shiho, Cobi van Tonder and Jina Valentine. Palo Alto always strikes me as a surreal idyll, but the cool breeze, setting sun and beautiful arty people had me savoring my good luck of living in California. I might have lingered a bit too long, though, as my time inside the exhibition was too brief. Still, the inflatable structure containing a room displaying studio detritus made a lot of connections, which I haven’t yet all sorted out…. The inflatable reminded me of Ant Farm’s early inflatables, which were meant to radicalize architecture, though I was told that the inflatable in Wünderflater is meant to evoke a dream scene, which it does in a metaphoric, rather than theatrical, way. The detritus reminded me of Goldsmiths’ Professor Irit Rogoff’s comment at Global Modernities at Tate Britain that much of the Nicolas Bourriard-curated Triennial was about the re-presentation of junk spaces. For example, Bob and Roberta Smith’s installation combines hand-painted signs literally with junk that would turn up on Bob Smith’s street corner, and Franz Ackermans’ de-constructed installation about immigration and borders was strewn with flags on the ground. I thought that for the MFA grads to refuse to show spectacular, finished, marketable work — their “brands” in the art worlds — is pretty courageous and really interesting in the context of thinking about the hangover of overproduction in a globalized manufacturing system.* And strangely recursive and shockingly straightforward at the same time — exhibiting the objects (that exist directly in the world) that are banal and yet inspiring for the creative process of making more objects to exist in the world… It may not be the most earth-shattering show ever, but it evinces a really interesting sequence of ideas and actions…

[*Likewise with Weston Teruya‘s work at Patricia Sweetow Gallery — sure, the works on paper are these human-less narratives of ecological disaster, yet the pictures are populated with the signifiers of consumption/overconsumption… of maybe sea garbage washed ashore, adrift without nationality and mortally banal in their ubiquity.]

During the after-party (which was kindly serviced by a taco truck and tamale ladies: brilliant!), I got a peek at the amazing, huge studios. It looks like each MFA grad gets their own studio building. I was agog. It made me want to go to Stanford for another MFA. After the brief flash of jealously passed, I added the vision of a luxuriously large, comfortable studio in a wooded grove to my new found hunger. Since I’ve been back from the Breathe Residency, I’ve been living more intently and intensely, filled with this urgency to go for it, to get what I want — to be an artist all the time, not just for as long as I can afford it, or dependent upon deadlines / external validation. To just live it. To be hungry, to be unstoppable, like Pacquiao.

If you’ve read the blog before you probably know I’ve got a healthy obsession with artist and theorist Johanna Drucker. In addition to my good fortune of living in beautiful Calfornia, I’m also happy to share the good fortune of hearing Drucker deliver a keynote address for an event affiliated with an exhibition I’m in. It’s coming up on Wednesday, and I would wager a pretty penny that you won’t be sorry if you take the time to come out to Santa Clara for it.

Tactical Digital Aesthetics
Wednesday, May 20, 2009, 6:00-8:00 p.m., free
An evening of art and conversation exploring new media, remediation, and cultural politics. Keynote by Johanna Drucker; roundtable by Ray Beldner, Stephanie Syjuco, Anthony Discenza, and Johanna Drucker; and moderated by Katie Vann and Kathy Aoki. Co-sponsored by the de Saisset Museum; the Public Engagement Program of the Center for Science, Technology, and Society; and a SCU Technology Innovation grant.

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