6-9PM, Sunday, June 8, 15, 22 & 29
$40 for 1 session | $125 for all 4 sessions
Supplies NOT included, please click here for supply list.
This class is geared towards expanding your creative side by working with combined painting, collage and mark making techniques. project.. Learn how to make one-of-a-kind textural “acrylic encaustics” and mixed media paintings and drawings. Specialized attention given to line, form, value, contrast, texture, space and area of focus. Come learn in a wonderful atmosphere and unleash your creativity! All levels welcome.
ABOUT LESLIE PIERCE | www.artistlesliepierce.com
Leslie is originally from New York and as a child spent endless hours at the Museum of Natural History, where her father worked as a scientist. You could find her at any given time hanging out with the Tyrannosaurus Rex skeleton or in front of the huge dioramas. She later moved to Austin and earned a B.F.A. from the University of Texas and also holds an A.A.S. in Video Game Art from Austin Community College.
Miss Pierce is honored by having one of her pieces in the permanent collection of The Harry Ransom Research Center and has been awarded several Special Projects grants to complete large series projects shared with the community. She has founded several arts groups and is an actively exhibiting artist.
Exhibition Run: June 27-July 19
Opening Reception: 7-10PM, June 27
Gallery Hours: 11-4PM, Wednesday-Saturday
Curated by Amanda Cachia
This exhibition explores the work of two contemporary dwarf photographers, Ricardo Gil and Laura Swanson, who use different conceptual and technical methods in order to re-frame the composition of the dwarf subject. The dwarf has often been a marginalized subject in the history of contemporary art and photography, labeled as deviant, pathological, freak and “other,” so this exhibition presents the strategies that Gil and Swanson employ in order to resist reductive meanings, and offer alternative interpretations of the dwarf.
In the last two decades, Ricardo Gil developed a series of photographs where the distinct feature is how they portray they dwarfed viewpoint, for we see the world through the lens of Gil who stands at 3’9” feet tall. The outcome of this means that the subjects of his frames were shaped by his perspective – we will often only see the legs of average-height people (the remainder of their bodies chopped off at the top of the frame), or conversely, we discern Gil’s physical distance upon looking down at a dog or looking up at a girl on the monkey bars. Gil also includes a series of self portraits that range from close facial compositions to full body views of his dwarf frame, where he is juxtaposed against various objects to demonstrate a noticeable size difference, such as Gil’s corpus in contrast to a large boat, or how he lines up (or rather doesn’t line up or fit) with the height of the urinal installed at “average” height on the wall of a male public restroom.
In Laura Swanson’s series entitled Anti-Self-Portraits (2005-2008), in addition to other photos in her oeuvre, the artist has obscured or covered over her face, drawing attention to the fact that she is denying something from her viewers. Through this act of concealing, Swanson is actually revealing her vulnerabilities, fears and frustrations over being judged and stared at, simply because of her atypical embodiment. In Revelation (2009), the artist stands beside her partner, Greg, in a diptych that splits their bodies in half at the torso. Where the left side of the portrait remains ambiguous in any height difference, as their bodies side by side look ostensibly symmetrical, the right side reveals how this symmetry was actually achieved. Swanson thus endeavors to play tricks on our eyes and challenge normative assumptions around symmetry. Finally, the artist also includes a series of selfies displayed on an iPad slideshow. The images were taken quickly as a means to record and capture Swanson’s engagement with objects, architectures and spaces in her everyday environment.
In their strategies of re-directing the gaze of the viewer, privileging the dwarf subject, and more generally re-framing depictions of the short statured embodiment, I suggest that these artists significantly depart from the stigmatized status surrounding the dwarf’s representations in the work of many non-dwarf photographers. Instead, the viewer will be made more aware of the psychology of the dwarf, as a means to encourage the compassionate involvement of the viewer, as opposed to attracting a historically prevalent morbid and reductive curiosity. If we examine the power and agency held by Gil and Swanson in the photography showcased in this exhibition, viewers may come upon different perceptions of dwarfism that have received scant attention in art history and criticism. We also learn to see the dwarf from both behind and in front of the camera, with full knowledge that they are the ones in control of both sides of its lens.
Ricardo Gil, Walking Man and Mannequins, c. 1996, giclée print
This exhibition is sponsored by the Dwarf Artists Coalition for the Little People of America, and is held in conjunction with the annual Little People of America convention (http://www.lpaonline.org/national-conference-2014) hosted by the Manchester Grand Hyatt Hotel in downtown San Diego from July 4 – July 10, 2014.
This activity was sponsored by California Arts Council and National Arts and Disability Center at the University of California Los Angeles.
This text is an excerpt from an essay that will appear in a special issue of the Review of Disability Studies journal on Art History and Disability Studies, forthcoming.
Exhibition Run: June 27-July 19
Opening Reception: 7-10PM, June 27
Gallery Hours: 11-4PM, Wednesday-Saturday
Curated by Amanda Cachia
This exhibition includes the work of 7 female contemporary artists, who perform their complex embodiment through their vantage point of crip time. How might a disability perspective bring new understandings of temporality through mobility across various public spaces? Inspired by Alison Kafer’s new book, Feminist, Queer, Crip (2013), how might crip time become a powerful resistant orientation for the disabled subject, that yields productive insights into alternative constructs about the cultural rationality of time? Through the performance-based work of artists Liz Crow, Arseli Dokumaci, Helen Dowling, Heidi Kayser, Noëmi Lakmaier, Laurence Parent and Sunaura Taylor, we come to understand crip time as not only a slower speed of movement, but also a re-orientation to time and bodies that might offer a new methodology for thinking about alternative futures for the disabled subject. In other words, how can crip time become a way of life and how can slow motion become a deliberate, politicized act? The exhibition includes videos, drawing, sculpture and mixed media installations that present the comingling of crip time, intersectional identity, the senses, language, interpretation and access.
ABOUT LIZ CROW
In 2013, British artist-activist Liz Crow staged a live 48-hour performance/protest called Bedding Out where she acted out her “bed life” with the public. How is time in bed spent differently by a disabled person? How can stillness be a form of activism for disability? Through this durational activity, and by sharing what is ordinarily a private aspect of her life as a woman in a wheelchair, Crow was hoping to make the public more aware of the invisible aspects of being a disabled person. For Crow, “bedding out” was a way of “speaking out.” Throughout the 48-hour period, Crow staged five scheduled “bedside conversations” in order to talk about the change in benefits for disabled people in the UK that occurred the same week as her performance.
ABOUT ARSELI DOKUMACI
In Arseli Dokumacı’s PhD project entitled “Misfires that matter: Invisible disabilities and performances of the everyday,” she investigates everyday practices in relation to mobility-related pain and impairments and created a two-hour ethnographic documentary on the everyday lives of people living with rheumatoid arthritis (RA). An abbreviated version of this documentary, entitled “Taskscapes” (Tim Ingold, 2000) is included in this exhibition. Mundane tasks, which are almost automatically performed when in good health, require effort and planning when pain accompanies movement. Therefore people with RA tend to create new techniques of executing quotidian tasks. These improvisations, which remain invisible in the flow of daily life, are rendered visible in these videos as emerging “taskscapes.”
ABOUT HELEN DOWLING
In the video, Breaker, the man with the disability is Dowling’s older brother, John. He has cerebral palsy. The other man is a local breakdancer. The artist asked them to attempt to copy each other’s physicality through a series of movements or exercises. Essentially, John copied the breakdancing and the breakdancer copied the disability, or copied the “crip time.” The artist wanted the resulting footage to blur the lines of what should and can be copied, learnt and taught. Mimicking another person also carries references to both flattery and cruel behavior, which John has had to endure all too frequently. Dowling wanted to turn the act of copying someone who is disabled into an act that is challenging and something that within this video is admired instead of evoking scorn or, sometimes even more harmful, pity.
ABOUT HEIDI KAYSER
Slippage is the extension of an original collaboration between Heidi Kayser and Yelena Gluzman. This short video explores the relationship the stenograph has with the stenographer’s body, as a tool for access, communication and translation. It is a compilation of the original footage of Heidi’s filming of an anonymous stenographer during an interview, in addition to two different YouTube clips Yelena had sourced. Heidi’s creative editing of the three image sources meant that the final outcome of the video was a very rapid succession of inter-changing images, as if the screen was a collage. What is to be gained from the slippages, gaps and distractions in one mode of communication to another in this important mode of crip time? This work is accompanied by documentation that reveals audio description as a complex process, including the script and instructions.
ABOUT Noëmi LAKMAIER
In the documentation of the living intervention/performance, One Morning in May (2012) by Hydar Dewachi, on the 28th of May 2012, Noëmi Lakmaier set out from Toynbee Studios in Tower Hamlets towards the City of London, hoping to reach one one of London’s most iconic buildings the ‘Gherkin’. This normally easy 1 mile stroll was a slow and exhausting test of endurance, as she did it on her hands and knees. Smartly dressed in business attire she crawled through the everyday street life of London, her clothes getting increasingly dirty and torn. After 7 hours she crossed the border from the Borough of Tower Hamlets to the City of London.
ABOUT LAURENCE PARENT
In Canadian artist Laurence Parent’s video, entitled Cripping the Landscape 1: Québec City, (May 23, 2013), the artist has used a “herocam” to chart her thirty-five minute journey on foot from the University of Laval to the train station in Québec City, which was a distance of five kilometers, told from the temporal point of view of her wheelchair. In this intimate narrative, Parent exposes the dangers, barriers and inaccessible points encountered throughout her journey, but also attempts to provide a unique temporal and phenomenological view of urban space through the lens of wheelchair embodiment.
ABOUT SUNAURA TAYLOR
For this exhibition, Taylor has contributed typing sticks that she uses for painting with her mouth. She goes through these sticks that she makes from wood and plastic every 1-2 months, before they get chewed and destroyed. They are physical debris left over from writing her thoughts down and also act as symbols of Taylor’s personal crip time. The artist has developed a series of watercolor self-portraits, where her corpus has been replaced with versions of her personal wheelchairs that she has owned since she was six years old. She has had 7 main chairs and 3 or 4 alternates. Taylor’s portraiture of wheelchairs not only documents crip time through the physicality of an object as an extension of her embodiment and identity as a disabled person, but these artworks also offer crip time through a historical and nostalgic lens. http://www.sunaurataylor.org
Arseli Dokumaci, “Taskscapes,” (Tim Ingold, 2000) 2013, video still
This activity was sponsored by California Arts Council and National Arts and Disability Center at the University of California Los Angeles.]]>
7PM, Wednesday, July 9
GET TICKETS: https://www.artful.ly/brnmusic
By Blair Robert Nelson, Composer/Performer
Featuring Kristopher Apple, Violinist
Composer/Performer Blair Robert Nelson explores over a century of audio technology through his generative song cycle. In collaboration with violinist Kristopher Apple, six mainstage performances at Space 4 Art reveal our relationship with musical memory and how we adapt to emerging discoveries. kristopherapple.wordpress.com #HackingImprov
ABOUT BLAIR ROBERT NELSON
Blair has performed his collaborative compositions at the University of California San Diego, Calit2, San Diego Art Department, California State University San Marcos, San Diego Stage 7 School of Dance, Canvas Gallery San Diego, San Diego State University, San Diego Space 4 Art, and the Roy and Edna Disney CalArts Theater Los Angeles.
He received a Master of Fine Arts in Sound Design from the University of California, San Diego Department of Theatre and Dance and holds a Bachelor of Music in Theory / Composition from Concordia College – Moorhead, Minnesota. www.blairrobertnelson.com
7PM, July 26 — COMIC-CON WEEKEND!
$5 – ALL AGES!
Space 4 Art Classroom
Stay Strange presents SEAL OF DISAPPROVAL: DEVIANCY & DELINQUENCY. This special art event will explore the possibilities that superheros are not all that perfect and display unusual idiosyncrasies in their normally flawless character.
The original idea came from artist M.J. Stevens, who created an illustrated series called ‘Screwed Up Superheroes’. His caped crusaders suffered from some sort of physical or psychological abnormality. One of those creations was titled Massively Muscled Man. He’s very, very strong, but unable to move due to his size. Another un-superhero has the power of upside-down flight. However beneficial that may be. M.J. will be displaying some of these mighty miscreants (plus a ton of new ones) at the show.
Larry Caveney will be presenting his violent and disturbing Francis Bacon inspired superhero paintings. Faces smeared, appearances barely visible. But due to the familiar costume or colors that we’re used to, the characters are instantly recognizable. A total mind trip!
Shock performance artist XR will be performing as well as displaying some of his wildly imagined superhero street art.
Neu-grotesque artist Vanessa Martinez will be horrifying the audience with grim and decrepit anti-superheros.
Beat-maker TENSHUN will also have rare art on the walls of the Space 4 Art.
This will ultimately be an interesting show for all ages and shall bring a refreshing jolt of strangeness to this year’s comic convention.
Which is what I’m really getting at. When I’ve gotten rid of information, I can start to go, ‘Oh. Maybe that’s what I meant, that’s the thing that needed to be saved from the flames,’ because I don’t know until I actually do it.
Acrylic and prism pencils on arches paper
Media: Acrylic, oil, dry media
Roy believes the integration and reconciliation of opposites produces harmony. In his painting, he likes to explore both his Dionysian and Apollonian aspects. He derives his ethics from the notion that one acts only to increase the number of choices. Edges are a source of fascination for him.
Roy’s skills span a wide range, including painting technique, teaching, topic exposition, and so forth.He earned a BFA from the University of New Mexico (1983).
Roy serves on the board of Hostelling International (formerly American Youth Hostels), and recently completed an artistic effort in their Community Walls program.]]>
Apprentice Architect / Sculptor
I obtained a bachelors degree from SDSU in 2000 with a degree in fine art with an emphasis in sculpture.
In 2007 I earned a Masters degree in Architecture from the Newschool of Architecture and Design.
I am currently working towards licensing in architecture, taking on my own design projects as well as trying to find the time to work on art.
That’s all for now.
I like to make things and try to make art out of things that people may not think of as art. What motivates me is the excitement of doing something new. Because I have never done a particular idea before, or seen it before, there is a lot of experimentation in what I am trying to do and that is very exciting to me. My excitement is what informs me. If I feel excited about what I am doing, then there might be something there. I have an idea in my mind of how I want something to come out, but until I do it, there is an element of uncertainty. There is an excitement and an anticipation of how the piece will come together and that motivates me to work. After that initial idea I try and clear my mind before I actually start working. I guess I start my work like an action painter would. There is an element of chance in all this but I am controlling it. It is as if I am just getting acquainted with the work. My work is a series of steps that get more and more focused. They start off broad but then I use different techniques that focus them. I don’t like people to know how I do things. I feel that is part of the mystery of the work.
I play in bands (Moviegoers, Island Boy) and engineer/mix records for other bands (LABS, Smiles Davis, Mangoose Society to name a few). I also actively collaborate with mixed-media artist Jessica Sledge on all kinds of fun projects.
With the powerful stature and gestural grace of his work Bob Jones references classical sculpture and the idea of the heroic. His figures are reinvented as temporal beings that do not stand still in time but move through it, threatening to be lost in time at any moment. Bob’s figures tell an interesting narrative as they seem to suffer from the pressures and forces of the world they exist in but do not dissolve completely. They push back and hold their position in space, establishing their human presence.
In order to achieve this type of delicate balance between form and chaos the sculptor jumps vigorously between careful observation of the figure and its destruction. Bob is constantly adding and obliterating information relying on his eye to decide when the correct balance is struck. He sculpts directly in wax but sometimes uses molds to switch back and forth between materials. The use of molds allows him to evolve a single sculpture in multiple directions and also to capture the unique qualities and textures of different materials.
Bob Jones is continuing his work taking on new concepts and materials. He is open to project commissions, including portrait heads. You can see more of his work at http://www.robertmichaeljones.com/