News

July 12: Headlands Open House

I’ve enjoyed being a member of the artist’s community at the Headlands Center for the Arts for almost two years now. When I left graduate school, I wanted to make bigger work, experiment, and be a part of a larger art community, the Headlands has certainly afforded that. Now, my stint as an Affiliate Artist is coming to a close. Join me for my last Open House before I relocate my studio back to Oakland.

My studio at the Headlands 2007, preparing work-in-progress Soft Sculpture for Brougham Hall for the FRED Festival, Cumbria, UK

My studio at the Headlands 2007, preparing work-in-progress Soft Sculpture for Brougham Hall for the FRED Festival, Cumbria, UK

The Open House is a chance to visit the Headlands’ artists, writers, dancers, choreographers and musicians in their studios. There are a number of international and national artists in residence, as well as emerging talents of all kinds. Readings and performances will also be scheduled throughout the day. The Open House is free, and I encourage you to take advantage of this thrice-yearly opportunity to visit the historic Headlands buildings (including 960, around the bend, in which my studio is located, in the basement), enjoy some great local and organic food at the Mess Hall, and visit the nearby Rodeo Beach afterwards.

Great Great Great and OK OK OK, 2009, neon and glitter pen on paper, 16.75 x 24.5 inches / 42.5 x 62 cm. I'll be showing these and other new works on paper and assemblages, as well as some projects from the Breathe Residency, at the Open House.

Great Great Great and OK OK OK, 2009, neon and glitter pen on paper, 16.75 x 24.5 inches / 42.5 x 62 cm. I'll be showing these and other new works on paper and assemblages, as well as some projects from the Breathe Residency, at the Open House.

Artists in Residence: Jacob Dahlgren (installation, Sweden), Fallen Fruit (interdisciplinary, Los Angeles), Desirée Holman (interdisciplinary, Oakland), April Martin, film/video (OH), Aaron Noble (visual, CA), Tomas Phillips (music/composition, NC), Chris Sollars (film/video, San Francisco), Lysley Tenorio (writing, CA), Barry Underwood (photography, OH)

Project Space: Robert Minervini (painting/installation, CA)

Tournesol Award: Shaun O’Dell (painting)

Headlands Graduate Fellows: Michael Arcega (sculpture/installation, Stanford), Patrick Gillespie (interdisciplinary, CCA), Vera Kachouh (film/video, SFAI), Aaron Maietta (interdisciplinary, UC Berkeley), Michael Namkung (interdisciplinary, SF State), Joshua Short (installation, UC Davis), Andrew Witrak (sculpture, Mills College)

Affiliate Artists: Colette Campbell-Jones (visual), John Casey (visual), Christina Chan (visual), Julie Cloutier (interdisciplinary), Sandy Florian (writing), David Fought (sculpture), Christopher Gray (visual), Eric Hongisto (painting), Ginelle Hustrulid (film/video), Robin Johnston (fiber/visual), Julie Lara Kahn (interdisciplinary), Pawel Kruk (visual), Justin Limoges (visual), Emily McLeod (photography), Eileen Starr Moderbacher (visual), Danielle Mourning (film/video/photography), Megan Pruiett (writing), Sarah Rosenthal (writing), James Sansing (sculpture/installation/photography), Wayne Smith (visual/sound), Melissa Stein (poetry), Emily Wilson (visual), Maw Shein Win (writing), Christine Wong Yap (interdisciplinary)
Staff: Holly Blake (painting)

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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, Values

DIY, DDIY

I was pleasantly surprised by how much I liked the installation-in-progress by resident artist Daniel Nevers at Southern Exposure. His project involves accumulating and configuring ready-made materials purchased from Home Depot.

Before I saw the work, I suspected that I’d miss a sense of intervention or critique, as Nevers’ Home Depot transactions do not disrupt manufacturing or retail business-as-usual. But then again, artists still get their paper and plaster from somewhere — Home Depot may be a more notorious multi-national big box, but it doesn’t mean that Dick Blick or other chains are any better.

Nevers is interested in “DIY as the new self-help.” I didn’t see the introspective, psychological layers to the work in my quick walk-through; perhaps I was too dazzled by so much new and shiny merchandise, which is reminiscent of the work of Jessica Stockholder.

Nevers’ installation inhabits nearly every cubic foot of the storefront gallery. Liminal spaces are framed by 2x4s and sealed behind plastic sheeting. Mounds of orange extension cords on the floor are visually attractive — sensuous, even. A screen seamed with blue-green cable ties makes a 3-D fringe, and plunger heads outfitted with tiny light bulbs form beacons on the windows. Expanding foam overflows its container, lending an oozing, vegetative quality. Visitors have to find their own narrow paths through this crammed-to-the-gills installation, and every corner reveals more unexpected colors and patterns. The effect is like walking inside an overgrown window display. Through Nevers’ comically exaggerated accumulations and arrangements, the recognizable household items — push-brooms, sawhorses — outshine their mundane identities.

Recent Headlands Center for the Arts resident David Moises also uses consumer-grade appliances and tools as foundational materials in his work. Moises, though, intervenes in the objects’ functions to create viewer-interactive kinetic works, such as gasoline-powered hobby horses. He spoke about his interest in examining a tool’s potential, like liberating a bumper car from its electric floor.

Lisa Anne Auerbach‘s manifesto, “DDIY: Don’t Do It Yourself” (Journal of Aesthetics and Protest, #6), directly critiques DIY as co-opted by corporations and lifestyle magazines. In keeping with the manifesto style, the premise is indicting, the tone hyperbolic. Auerbach proposes “Don’t Do It Yourself,” which sounds a lot like the original spirit of DIY, with the revisions of hiring professionals when appropriate and trading services whenever possible. DDIY “is un-commiditized, barter-based, community-crazed and liberating.”

I have shared Auerbach’s disgust at the ridiculous extent of DIY ubiquity (e.g., God’s Eyes, the pre-school age appropriate art activity, on the cover of Readymade Magazine), and the marketing of rudimentary creative trends like scrapbooking.

As an artist and freelance graphic designer, I also agree that expertise should be valued accordingly. But though bartering can be fruitful, I think it’s an alternative to monetary compensation that should be carefully negotiated and never presumed. (Until the day landlords and HMOs accept payments in home-baked bread or knit hats, independent contractors should be spared the indignity of defending the value of their services.)

At the same time, I see nothing wrong with DIY. My parents rototilled their own land, sewed their childrens’ clothes and repaired their own home. But they didn’t call it DIY; it wasn’t a fashion or political statement, or a way of demonstrating indie community values. Their way of life has been largely abandoned because of marketing and consumer culture, true, but also due to affluence and de-skilling. Auerbach hopes to reclaim creativity and skill-building, but she disdains DIY-marketed products. But rejecting consumer culture — including DIY-marketed products — is as easy as it’s always been: shop less and do it yourself more often.

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Art & Development

The Original, with cross-references

It’s impossible to be truly original or free of influences. (See postmodernism.)
Besides, originality is overrated. (See Appropriation Art.)

I saw my past and future in other artists’ works today.

THE PAST

“Seven Future Gifts” (2008) is an installation by Mircea Cantor (see a photo on VVork.com) of ribbons and bows around empty spaces, suggesting absent gifts. The shape is very similar to my “Absent Presents” (2007) series of sculptures.

Christine Wong Yap, Green Present, 2007

Christine Wong Yap, Green Present, 2007

But the similarity doesn’t bother me.

As I mentioned in the previous post, what matters is not who comes up with an idea first, but who does it best (a cousin to the cynical saying, If you can’t do it better, make it bigger).

Cantor’s Future Gifts are significantly bigger; they appear to range in scale from about one foot tall to 10 feet tall. In terms of engineering and craftsmanship, the concrete Future Gifts are easily more impressive than my Absent Presents, of modest scale and materials (balsa wood, paper and glue).

Yet for all their similarities, Cantor’s Future Gifts function completely differently than my Absent Presents. What mattered to me most were the concept of a vessel for the viewer’s projections, my skepticism of the role of the artist, the play on words, the colors, the ho-hum store-bought materials juxtaposed with Minimalist forms. Cantor, I’m sure, meant to reference Minimalism as well, but to a contrasting result: the Future Gifts‘ monumental scale, unfinished concrete and simple, unvarying bow are funereal, high-art serious. I’m guessing the extreme shifts in scale are a result of an interest in the phenomenological experience. And perhaps by repeating the same exact shape throughout seven gifts, Cantor may be making a point about industrial modes of production and consumption. I’m also interested in consumption, but in a dorky, Christmas store display sort of way. Whereas the Future Gifts are serious, the Absent Presents’ human scale, festive colors, and exuberant bows are playful. The Absent Presents wink at viewers.

THE FUTURE

During my research for the Anti-Campfire project, I came across the engrossing factoid that diamonds and graphite are both allotropes of carbon. This is a rich metaphor — diamonds are rare, valued for clarity and refractivity, while graphite is common, dark, cheap.

Naturally, I wanted to make drawings of diamonds in graphite or charcoal (another common carbon allotrope). Conceptually, such a drawing would raise the question of value, by conflating the artist’s labor with great beauty, and the work of art with a pricey commodity. I was also greatly interested in the implications of the interconnectedness of light and dark / optimism and pessimism. I printed photos of famous diamonds and brought them to my studio a few months ago.

I hadn’t actually made any drawings, but tonight I saw what the drawings would look like, more or less, courtesy of Sylwia Gorak.

Gorak is an Artist in Residence at the Headlands Center for the Arts, where she presented her work, including a past series of charcoal drawings of famous diamonds. She mentioned her interest in the conceptual logic of depicting a diamond with a material of the same base element — same as me. The results were nice charcoal drawings — accomplished, probably better photo-realist images than I could have done.

So I found myself in the funny position of looking at images that I had considered making, but finding the conceptual rationale sort of one-dimensional (“Thunk!”). It sort of offered me a peek beyond my own subjectivity. I’m interested in conceptual art when it gives viewers more to tease out beyond visuality; but if the concept engages the mind for only a second or two, that’s not good enough. There has to be a better payoff.

THE PRESENT

A lot of artists fear being unoriginal, so they usually wince when they encounter similar work by other artists. Whatever. Here’s a new saying: Similarities happen. It’s not the worst thing in the world. In fact, it can work out for everyone.

—–

[I’m not always so peppy. There are other times, like when I feel like Eric Clapton crying after a Jimi Hendrix concert: I’ll never be that good! Grab a tissue box and click over to Abelardo Morrell’s photos of interiors made into pinhole cameras at Bonni Benrubi Gallery.]

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Art & Development

Headlands Open House / Home for Artists

One of my favorite things about being part of the Headlands community is the post-Open-House walkabouts. Since I’m reluctant to leave my studio during the Open House, it’s nice to go around to the other artist’s studios and see everything I missed. We visited about two dozen studios tonight. I love visiting studios and hearing artists talk about their work.

Here are a few photos. Click on the image for a larger file.
headlands center for the arts post open house walkable photo collage

And if you were caught in Fleet Week traffic and missed Open House, here’s a 360 shot of my studio. Click on the image for a larger file.
lorem ipsum series, miniature charcoal ingots, the best person i can be lighted sign

I haven’t got installations up in my studio, because I’ve got an installation and sculpture out at Bay Area Now‘s Galleon Trade exhibition at YBCA, and am also preparing for the Headlands’ Mystery Ball on Oct. 25. The Lorem Ipsum series (2 panels plus 2 hand-drawn wall texts) will appear in Kearny Street Workshop’s Shifted Focus exhibition, which opens Oct. 25 as well.

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Sights

Missed connections

The good news is: we’re halfway through Mercury Retrograde.
The bad news is: we’re halfway through Mercury Retrograde.

Feeling frustrated? Misunderstood? Like you’re speaking a different language than everybody else? A friend has posted a fine astrological and personal account of Mercury Retrograde. It totally describes my experience with Mercury Retrograde where all communication goes down the drain. Everything seems haywire, bent out of shape. Plus, it’s got an animated GIF, to boot.

In my text based work, I thought a lot about the general inadequacy of language, and the gap between word and meaning. And after the recent campaign debates, I find myself unable to resist seeking out colleagues who can vet my perceptions—Nooo, he didn’t say that! She totally dodged the question! Did you see that? Tell me I’m not alone here. We aren’t speaking different languages, are we?

Regardless, hopefully, those of you who can make it to the Headlands Open House will do so. Of course since it’s Mercury Retrograde, double check your calendar, bring directions, and don’t forget to say hi to me in my studio in the basement of 960.

Fall Open House
Sunday, October 12, noon–5 pm
Headlands Center for the Arts
944 Simmonds Road, Sausalito, CA (directions)

A relic in my studio from The Best Person I Can Be in the recent Headlands' eNews. Will you look at that!

A relic in my studio from The Best Person I Can Be in the recent Headlands' eNews. Will you look at that!

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Community

brilliant!

tomorrow is for those who can hear it coming, Julio Cesar Morales‘ current exhibition at New Langton Arts, is brilliant, literally and figuratively. I’m very inspired by how buttoned-up Julio keeps his big video / photo / neon installations. The content is really fantastic — the intersections of Mexican/settler cultures in early California, spelled out in a sequence of images that alternate between tantalizing and visceral. The costumes and decor are spot-on; the cinematography in the video’s is beautiful, quality HD. Very impressive! Congrats to the artist and the non-profit New Langton on such a beautiful exhibition.

And congrats to the latest artist-recipients of the Macarthur “Genius” Grant, including current Headlands AIR, Walter Kitundu, one of the most unconventional artists in the Bay Area, and one of the humblest people around.

Both of these artists are persistent (Walter sold his jeep — which was once his father’s — to fund his Icelandic residency a few years back) and generous (Morales runs an artist-run space and shows often at non-profits; Walter also shows at non-profits like the Luggage Store, performs music, and works at the Exploratorium). So it’s great to see these artists get their dues. And it’s nice to have two more reasons not to worry about being under-the-radar in the Bay Area or showing in non-profits.

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