Research and development of a new, site-specific participatory event
Sound Artist Joshua Michele Ross continues to advance concepts begun in his GCAC artist-in-residence pandemic period project, The Adjacent Possible.
In his new work, Seance to Summon a Garden, Ross has gathered extensive field recordings from Descanso Gardens in Southern California. These sounds, the pulse of a hummingbird’s wing, the calls of a yellow-headed blackbird, woodpeckers nesting, a plane flying overhead, and sprinklers at dawn, have been assembled into a series of independent, musical clips that participants can play in magical, unique combinations.
Using wireless headphones for an immersive experience, Ross plays the role of a medium, guiding participants to channel their garden “instrument.” Together, they enter “the realm of sonorous being,” where participants rehearse and perform a piece of garden music. Each performance will be recorded and published, creating a collaged, sonic portrait of Southern California ecology.
Seance to Summon a Garden explores the reparative power of sound, memory, and ecology. The experience is one part old-time radio drama,65e one part guided meditation, and one part high-tech improvisatory orchestra.
ABOUT THE ARTIST
Joshua-Michele Ross is a performance and sound artist whose work centers on time, memory, and the restorative power of listening. He splits his time between Oakland, California and New York City.
We’ve Always Been Here, Like Hydrogen, Like Oxygen
Double channel video // 7min 22sec // 2020
Artist LaRissa Rogers washes her body as a ritual of labor and self-care. She does this on the Richmond Slave Trail and the African Burial Ground in Richmond, VA, and places her body in these locations to comment on notions of safety within public and private spheres. The spaces in which Black people and their bodies should be safe and cared for yet are vulnerable and exposed. The use of oranges stems from the Latasha Harlins Murder of ‘92 but becomes a metaphor for talking about the erasure of women of color throughout time and space.She washes her body with oranges and oranges cast from orange juice on one screen, while slowly caressing and subsequently melting a frozen orange on the other. The text alternates on both screens, one side speaking to the physical and psychological repercussions of white supremacy and the other reflecting upon the need for love, safety, and restoration to expand the spaces and possibilities for black people to exist without being under a constant state of threat.
The artist is interested in the relationship between survival and self-care. During the repetition of washing herself on the slave trail, the oranges and landscape become implicated in the ritual of memory, commemoration, identity, and self-realization. Commenting on the connectivity of time, and how the past and present exist simultaneously, the performance becomes an act of self-care while imagining a place where Black women and girls are protected and cared for. Washing becomes synonymous with care as a labor of resistance, love, and healing. Bathing her body in oranges attempts to make that invisible labor of self-care more visible as the oranges stain the artists clothes.
ABOUT THE ARTIST
LaRissa Rogers (b. 1996) is a visual artist born in Charlottesville, VA. She holds a BFA in Painting and Printmaking and BIS in International Fashion Buying from Virginia Commonwealth University. She has exhibited work and performed in institutions such as ICOSA in Austin TX, Fields Projects in NY, Welcome Gallery in Charlottesville VA, Target Gallery in Alexandria VA, 1708 Gallery in Richmond VA, Second Street Gallery in Charlottesville VA, The Bridge Progressive Arts Initiative in Charlottesville VA, Black Ground in Cali Colombia, W Doha in Qatar, The Fronte Arte Cultura in San Ysidro CA, Frieze Seoul in Korea, Documenta 15 in Kassel Germany, and the Museum of Contemporary Art in Virginia Beach VA. She is the 2021-2022 Visual Arts fellow at the Virginia Museum of Fine Arts, a 2021-2022 Black Spatial Relics artist in residence, and a 2021-2022 grant recipient of the Black Artists and Designers Guild Creative Futures Grant. She is currently pursuing her MFA in New Genres at the University of California Los Angeles and is a 2022 summer artist-in-resident at BEMIS Center of Contemporary Arts.
Fox Maxy is a film director and artist in San Diego of Kumeyaay and Payómkawichum ancestry. The artist’s work has screened at the Museum of Modern Art’s Doc Fortnight, BAMcinemaFest, LACMA, BlackStar Film Festival, ImagineNative Film Festival, and Rotterdam (IFFR), among other places. In 2022, Fox was named as Sundance Institute’s Merata Mita Fellow, in honor of Merata Mita (Ngāi Te Rangi/Ngāti Pikiao), one of the first Maori women to write and direct a feature film. Fox Maxy was recently named fellow at the Vera List Center for Art and Politics.
iHOLA! UNCONFIRMED MAKESHIFT MUSEUM IN SANTA ANA May 7 – June 12, 2022
a socially engaged artist-in-residence project Phase 1 – Saturday, May 7 from 7-10PM
storefront gallery research and development
Artist Mariangeles Soto-Diaz’s practice is multilayered. She describes herself as a “prismatic, conceptual maximalist” who integrates social practice, performance, and installation, approaching each project with combinational freedom and multiple entry points for the audience. For the first phase of her GCAC residency, Soto-Diaz will open the storefront gallery space as a planning location for conversations and methods to get input from community members, framing this process with her quirky artist project the Unconfirmed Makeshift Museum (UMM). Soto-Díaz defines Unconfirmed Makeshift Museum as “a flexible project space with a playful utopian sensibility, conceived as a portable intervention in both neighborhoods and art worlds. It is a curatorial experiment intended to decentralize circulation of contemporary practices, and it integrates the sensory, poetic, political, and affective dimensions of the everyday.”
For her UMM project at GCAC, Soto-Diaz will begin by activating the gallery space with an installation-in-progress and a participatory activity aimed at both highlighting the collective knowledge of the community and creating a welcoming space for experiencing art. “Viewers will be invited by one of several UMM Questions Operations Managers to complete a questionnaire, where they can share about their experiences with contemporary art spaces, and anyone in their lives who they see as especially creative and resilient in any way, not just through conventional art making.” Soto-Diaz will then incorporate visitors’ responses into the next phase of the work, engaging and following up with viewers about their ideas as the project develops. “Having had experience with essential care, I have been thinking of how not just the language of care, but other languages of being, can function in the realm of relationality. How can everyday dreaming, dancing, storytelling, proverbs, and celebratory moments effectively channel and transmit knowledge and even healing memories for a future time?”
As part of the research for her project, Soto-Diaz is consulting with CSUF College of Health and Human Development Associate professor Claudia Pineda about qualitative research methodologies and Pineda’s work on resilience. Her UMM project at GCAC will continue in the coming months and will be followed by a different project in the Gallery exhibition space beginning later in summer that will build on her recent work in martial arts and performance.
ABOUT THE ARTIST Mariangeles Soto-Diaz [US/VE] began her art and judo studies in her native Venezuela, the once-promising oil-and-abstraction-producing nation that has become one of the most unstable and violent countries in the world. In her recent work, Soto-Diaz has merged her judo and creative practices to explore the dynamics of power and vulnerability. Moving across traditional art categories, she creates multilayered projects that are at once political and personal, with a nomadic conceptual practice based on relational self-determination.
Soto-Diaz’s work has been exhibited at the Orange County Museum of Art, the SUR:Biennial, the Everywoman’s Biennial (London/NY), 18th Street Art Center, MAK Center for Art and Architecture, MASS MoCA, El Museo del Barrio in NYC, the Stanley Museum, the Fullerton Museum of Art, and the Wignall Museum, among other venues. She began her art studies at the Federico Brandt School of Art in Caracas, and holds a BA in Psychology and Art from Hampshire College, an MA from the California Institute of the Arts and an MFA from Claremont Graduate University. When not in lockdown, she trains at Bunasawa’s Dojo in Costa Mesa and at the Kodokan Judo Institute in Tokyo.
UMAR RASHID and CALEB DUARTE in conversation with BILL KELLEY, JR.
Tuesday, March 8, 5:00 p.m.Zoom link: https://csub.zoom.us/j/81703682625 The event is free and open to the public, presented live via Zoom with a recording available for post live-stream viewing.
ConSortiUm, a collaborative project of art museums and galleries from the California State University (CSU) system, is pleased to announce the Spring 2022 speaker event for our ongoing virtual event series PLATFORM. Launched in September 2020, PLATFORMactively engages students, faculty, staff, and communities through live virtual conversations with contemporary artists, collectives, and curators whose work is critical to current re-imaginings of the art world and the world at large.
This event is co-sponsored by SF State Fine Arts Gallery, CSUF Grand Central Art Center, CSUBakersfield Todd Madigan Gallery, CSU Dominguez Hills University Gallery, CSU Fullerton Begovich Gallery, CSU Sacramento University Galleries, and CSU Northridge Art Galleries.
ABOUT THE SPEAKERS Umar Rashid (also known as Frohawk Two Feathers) employs writing, illustration, painting, and sculpture to construct fabulations or, put simply, alternative historical narratives that reference a panoply of cultures, collapsing geography and time. At the core of his practice is a reimagining of romantic history painting and eighteenth-century colonial scenes. His work is informed by recognizable cultural references, whether historical materials such as Egyptian hieroglyphs, ledger art, Persian miniature painting, and illustrated Spanish colonial manuscripts or more contemporary phenomena such as the hip-hop era of the 1980s and 1990s. Alongside these identifiable sources—often regarded as “truth”—are unseen, fantastical stories, with Rashid taking on the role of what one might call a fabulist. His painterly tales complicate the idea of what is true and false, prompting us to consider whether the “truths” that we are taught may in fact be lies.
Caleb Duarte is best known for creating temporary installations using construction type frameworks such as beds of dirt, cement, and objects suggesting basic shelter. His installations within institutional settings become sights for performance as interpretations of his community collaborations. Duarte has created public works and community performances at the World Social Forum in Mumbai, India; Santiago de Cuba, Cuba; El Pital, Honduras; and throughout Mexico and the United States. He is co-founder of EDELO, a Spanish acronym for (Where the United Nations Used To Be), a house of art in movement and an international artist residency of diverse practices in San Cristobal De Las Casas where he has collaborated with autonomous indigenous Zapatista collectives, communities in movement, and working children and refugees. Caleb Duarte is a professor of sculpture at Fresno City College in Fresno California where he has his studio. He continues to work with Central American unaccompanied minors currently seeking asylum working in community performance, sculpture, film, and painting.
Bill Kelley, Jr. is an educator, curator and writer based in Los Angeles. He holds a PhD in Art History, Theory and Criticism from the University of California at San Diego (UCSD) and a Masters in Art History from the University of New Mexico, Albuquerque (UNM). He currently holds the position of Associate Professor of Latin American and Latino art history at California State University Bakersfield (CSUB). Kelley’s current research focuses on collaborative and collective art practices in the Americas. He has written for such journals as Afterall, P.E.A.R., and Log Journal, and has co-edited an anthology with Grant Kester of collaborative art practices in the Americas entitled Collective Situations: Readings in Contemporary Latin American Art 1995-2010 (Duke University Press, 2017). He is currently Curator and Lead Researcher of Talking to Action: Art, Pedagogy and Activism in the Americas, a research, exhibition and publication platform, currently on tour, examining community-based art practices for Otis College of Art as part of The Getty’s Pacific Standard Time: LA/LA initiative. Kelley also recently edited the bilingual volume Talking to Action: Art, Pedagogy and Activism in the Americas (University of Chicago Press, 2017).
ABOUT CONSORTIUM ConSortiUm is a ground-breaking collaborative that generates opportunities to include artists, curators, students, faculty, staff, and other allies from across the CSU campuses in visual arts-based dialogue. The CSU system represents the largest public four-year college system in the country, with more than 480,000 students enrolled at twenty-three campuses. Formed in Spring 2020 in response to the distance learning implemented by the CSU during the Covid-19 pandemic, ConSortiUm members are dedicated to responding to current societal issues and the pressing demand for an end to systemic and overt racism in California and beyond. ConSortiUm’s participating CSU art museums and galleries include Bakersfield, Todd Madigan Gallery; Chico, Janet Turner Print Museum and Jacki Headley University Art Gallery; Dominguez Hills, University Gallery; East Bay, University Art Gallery; Fresno, Center for Creativity and the Arts; Fullerton, Nicholas & Lee Begovich Gallery and Grand Central Art Center; Humboldt, Reese Bullen Gallery and Goudi’ni Native American Arts Gallery; Long Beach, School of Art and Carolyn Campagna Kleefeld Contemporary Art Museum; Los Angeles, Luckman Gallery, Luckman Fine Arts Complex and Ronald H. Silverman Fine Arts Gallery; Northridge, Art Galleries; Pomona, W. Keith & Janet Kellogg University Art Gallery and Don B. Huntley Gallery; Sacramento, University Galleries; San Bernardino, Robert and Frances Fullerton Museum of Art; San Diego, University Art Galleries; San Francisco, Fine Arts Gallery; San Jose, Natalie and James Thompson Gallery; Sonoma, University Art Gallery; and Stanislaus, University Art Gallery and Stan State Art Space.