Recent Events

Coppice // Mathieu Ruhlmann // Joda Clément // A.F. Jones

Tickets: $10, purchase at the door

1st Set | 7PM | Coppice

2nd Set | 7:50PM | Mathieu Ruhlmann, Joda Clément, and A.F. Jones

Coppice is nexus. Since its foundation in 2009, we have departed from bellows and electronics to create compositions, installations, discography, instruments, arrangements for performance, software, and sculptural objects. Drawing from its expanding glossary of study, we’re currently focused on the development of new technologies, releases of recordings, and objects for installation and live repertoire with custom instruments, and electromagnetic and pneumatic processes. Coppice recordings have been released internationally, recently by Quakebasket (US), Triple Bath (GR), Agxivatein (GR), Pilgrim Talk (US), and Senufo Editions (IT). The duo will be performing their composition, “Compound Form,” a work for prepared pump organ, tape processes, transmitters and acoustic filters.

Joda Clément has been performing and composing experimental music in Canada for over 15 years, developing a unique repertoire of methods for working creatively with sound. His work utilizes analog and acoustic instruments, microphones, found objects and noises recorded from natural and urban environments, investigating hidden properties of sound, space, and recording techniques that transcend a distinction between audio and source.

Mathieu Ruhlmann is an artist residing in Vancouver, British Columbia whose work seeks to broadcast small intimate sonic happenings through the use of specialized microphones, field recordings, natural material and found objects.

A.F. Jones (Dallas, TX, 1971) is an undersea acoustician and audio engineer. His primary instrumentation is stringed instruments and analog devices, both hand-crafted and found. In addition to composition and performance, Jones records and works from his studio in San Diego, Laminal Audio. Recent material includes a compendium of composed and improvised solo recordings, “rearward through forgottenness” (2009-2013), and the upcoming “Entropy Is What the State Makes Of It”, which documents new music from Steerage, his duo project with guitarist Barry Chabala.


the spoils | MAR. 21-APR. 11

Exhibition Run: March 21-April 11
Opening Reception: 6-9PM, March 21
Gallery Hours: 11-4PM, Wednesday-Saturday

Space 4 Art presents the spoils an exhibit of new work by Carlos Castro Arias and J Noland. Using the neighborhood and grounds of Space 4 Art as their source material, Castro and Noland engaged in a collaborative process to explore the contradictions and inspirations they encountered. Considering the ever-changing dynamics of the city, while accumulating ephemera from the surrounding area, the artists created the exhibit with a nod to their respective backgrounds. While Castro, who recently moved to San Diego, reflects on sedentary and nomadic lifestyles related to the neighborhood environment, Noland, a local of many years, finds a foothold in the stereotypes of a mythic San Diego. Diverse forms emerge from re-contextualized objects, and the “natural” systems of Space 4 Art’s 16th Street lot come into play in the spoils.


Carlos Castro Arias was born in Bogota, Colombia, and received an MFA from SFAI in 2010. He was nominated for the Luis Caballero prize (2013), one of Colombia’s most prestigious awards, received a Fulbright award (2008), and recent exhibits include Old News of the Present (2014) at 21st Projects in New York City, Accidental Beauty (2013) at Museo Santa Clara, and Bogotapolis at the Stenersen Museum, in Oslo, Norway. He is an Assistant Professor of Painting at SDSU.

J Noland was born in Indiana, and has an MFA from UCSD in 2014. Solo exhibits include, Thank you for being a friend (2011), How the west was fun (2014), and Shooting the shit (2011) at Helmuth Projects, San Diego. He is a member of the URADNZA artist collective, “saying the least and saying it loud.” 



Stay Strange: Slow Death, A Noise Music Festival

3-8PM, Saturday, February 21 | $8

Stay Strange is proud to present this all day music event highlighting the best that San Diego’s experimental and noise music scene has to offer. There will also be an art installation and tarot card readings.

Featuring: Monochromacy, Glen Galloway, Michael Zimmerman, Low Filth, Alan Jones, Francisco Eme, Serious Runners (Hubbard/Relf/Nielsen/Damian)

Art installation by Xavier Ramirez, tarot card readings by Fatima Courroux, in between set music by 10Shun

Francisco Eme – 3:00-3:20 pm Alan Jones – 3:30-3:50 pm Low Filth – 4:00-4:20 pm Glen Galloway – 4:30 – 4:50 pm Michael Zimmerman – 5:00 – 5:20 pm Serious Runners (Hubbard/Relf/Nielsen/Damian) 5:30-6:00 pm MONOCHROMACY – 6:10-6:30 pm Xavier Ramirez performance- 7:00 – 7:30 pm




OUR COMMUNITY IN FOCUS: A Youth Photography Exhibit

Exhibition Run: January 15-31, 2015

Opening Reception: 5-8PM, January 15

Gallery Hours: 11-4PM, Wednesday-Saturday

Six King-Chavez High School students from the Greater Logan Heights community will showcase their photographs of their neighborhood. All images and audio/video recordings were taken during a three week photography class. A selection of the photographs will be displayed as photographic murals along Imperial Avenue.

For more information, contact Avital Aboody - or 619.858.0563

Funds for this project were provided by Synergy Art Foundation and The San Diego Foundation through a grant made possible by the Ariel W. Coggeshall Discretionary Fund.


Celebrate 5 Years of Space 4 Art!

6-9PM, December 16

Join Space 4 Art as we celebrate our 5 year anniversary! Meet and mingle with board members, current tenants, and staff to toast the holidays and recognize this important milestone. Music provided by The Amandas.

In true Space 4 Art style, please bring an appetizer, dish, or dessert to share. BYOB. Hope to see you there!




Riding to Amarillo

Exhibition Run: December 6-January 7, 2015

Opening Reception: 7-10PM, December 6

Gallery Hours: 11-4PM, Wednesday-Saturday

Featured Artists: Julen Agirre, Lorea Alfaro, Iranzu Antona, Lehior Bilbao, Jorge Núñez, Usoa Fullaondo, Jon Otamendi, Damaris Pan, Unai Requejo, and Oltaz Vilariño

The exhibition "Riding to Amarillo", opening reception December 6th  7-10PM is the final part of an exchange between a group of UC, San Diego graduates who showed work in Bilbao. "Riding to Amarillo" consists of a diverse group of professional artists from Bilbao who be showing at Space4Art.

In conjunction with this exhibition, a smaller group of the San Diego artists will be exhibiting at UCSD's SME Visual Arts Gallery (opening November 20th), this exhibition will be a reprisal of their exhibition in Bilbao.


KINFOLK | Nov 8-21

Kinfolk:  An Interactive Contemplation Through Visuals and Sound

By Jenna Ann MacGillis & Robert Mason

Installation Run: Nov. 8-21, 2014

Participation is invited on November 8 from 6-8:30PM at Space 4 Art

Viewing and educational tours by appointment only - contact Jenna Ann MacGillis (

Closing Celebration: 6-8PM, November 21 (enter at 340 16th Street)

Witching for graves is a gift I wish I had. At Cainsville Cemetery, standing atop my ancestors' grave site in farm country Missouri, my first witching attempt was a small disappointment. Instead of crossing or tilting furtively downward at the site of an unmarked grave, the wire in my hand either fell limp or refused to move at all.

My first installment of Kinfolk, comprised of three totems, with sound design by collaborator Robert Mason, is a task toward gathering just a few of my relations. My faith in using familiar sounds, objects, and basic materials (rope, paper, and glue) to construct symbolic representations of my heritage is my best attempt at waking the dead and inviting them to the party. Present and past meet at the crossroads of everyday gestures, the sweeping away of time. Passages found in my grandmother's schoolhouse primer remind me that the principles of hard work—cultivating and planting, gratitude, empathy, and sharing—are common threads, ever pressing in the here and now on my corner of 16th and J.

- Jenna Ann MacGillis


Jenna Ann MacGillis, Creator of Desperate Characters of Mercer County, is an artist and long time resident of Space4Art. Her work plays with the limitations of common everyday materials  to both imagine and materialize the invisible, unspoken, forgotten, lost, and long ago.

Robert Mason is a Sound Designer and owner of Doghouse Productions, a San Diego based audio production company. His passion lies in revealing the beauty of pure sound, and the power of it's synergy with the other senses.


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7PM, October 11 - Classroom

$5.00 suggested donation - ALL AGES!

LES TEMPS BARBARES is the solo abstract noise project of Pablo Dodero.

Pablo Dodero, a musician born in La Paz, Baja California. Growing up and commuting in between Tijuana y San Diego he was been an active member of the TJ/SD music scene since the late 90's. The constant flux of cultures and idiosyncrasies around him influenced him in a way that can be appreciated upon listening to Late Nite Howl his current protect which meshes Folk / Psych / Indie as well as his Drone / Noise act Les Temps Barbares.

When he is not booking shows, rehearsing, playing out or collaborating with artists he likes to eat Korean food with his wife Arlene and build lego robots with his son Nico.

MICHAEL ZIMMERMAN. First solo show from this organist and lead synthesizer artist from Die Mißbildungen Des Menschen, hING and the Zsa Zsa Gabor Big Band. Michael has been on San Diego's hardcore scene since the early 90's brutalizing his tortured instrument.

The outlandish sound that emits from his keyboard creates temporal noise-notes of sonic dissonance. Quite the outsider music connoisseur, Michael incorporates a variety styles onto his minimal and cold atonal palette. Unique to this genre, spoken word is utilized in his art to further generate aural codes of mass confusion.

Look for Michael's debut release later this year on Stay Strange Records.



Occupy Thirdspace

Exhibit Run: September 27-October 25

Opening Reception & Interviews with Artists: 7-10PM, September 27 (Music provided by Sonidero Travesura)

Contemporary Transborder Art History Panel Q & A: 11AM, October 24 - UCSD, SME, Visual Arts Presentation Lab, Rm #149

Closing Reception: 7-10PM, October 24 (Music provided by Sonidero Travesura)

Gallery Hours: 11-4PM, Wednesday-Saturday

Featured Artists: Alida Cervantes, Cog•nate Collective, Emily Sevier, Jamex and Einar de la Torre, Julio Orozco, Kate Clark, & Marcos Ramírez Erre

Curator Sara Solaimani has worked with the artists and Space 4 Art to design a showcase of contemporary artworks that question the transborder condition and the effect of the border on the lives of individuals.

Occupy Thirdspace is an effort to feed into an ongoing collaborative channel and double-learning between the UCSD Visual Arts Department and important artists in and from North Baja California to enrich the contemporary art history of the borderlands.

These artists’ work address the questions: To what degree, socially, is Tijuana-San Diego a region? What can art do to respond to the antagonism that haunts both sides of the border? The exhibition and closing panel’s objective is to contribute to the field that views the transborder as both an experience of traversal and as a state of being constantly conditioned by the daily terror of militarized transborder spaces.

Occupy Thirdspace is an exhibition featuring surrealist painting, a delicate ironwood installation, an industrial-scale anti-monument, a hand-processd 16 mm silent film, a neo-baroque12-foot altar, a transparent barrier invisibly emitting narrative sound, a live radio broadcast, and the exchange of Paleolithic geological fragments which inspired a graphic novel.

The Contemporary Transborder Art History panel presenting speakers Norma Iglesias Prieto, Emily Hicks, and Amy Sara Carroll is at the UCSD Structural Materials and Engineering Presentation Space on Oct 24, 2014 at 11AM. Schedule below --

TRANSBORDER ART HISTORY PANEL 10:30AM Coffee, brunch, conversation 11:00AM Sara Solaimani: Occupy Thirdspace Premise and My 'Register' 11:30AM Norma Iglesias Prieto: From Non-border to Transborder Art Practices 12:30PM Amy Sara Carroll: Pre-Occupy Thirdspace 1:30PM Emily Hicks: Political Sorcery and a Magical Garden Behind El - Lugar del Nopal: Border Art

***Refreshments will be served.










Exhibit Run: November 8-29 Opening Reception: 7-10PM, November 8 Gallery Hours: 11-4PM, Wednesday-Saturday

Lucette is a collaborative exhibition by Brooks Dierdorff, Jared Haug, and Kyle Thompson. Using as inspiration the survival story of the Robertson Family, whose sailboat The Lucette was sunk by killer whales in the middle of the Pacific Ocean in 1971, Lucette explores ideas about fate and chance, fear and boredom, enforced leisure, and temporal plasticity. Dierdorff, Haug, and Thompson chart the effects of a situation in which, as survivor Douglas Robertson reflected years later, “One part of you craves normality but the boundaries have been moved so far you can’t really do that.”


Jared Haug received his MFA from the University of Oregon. Past exhibitions include Pacific Sky, Eugene OR; Rocksbox, 12128, and Recess, all Portland, OR; and Human Resources, Los Angeles, CA. Haug was a co-founding member of Ditch Projects in Springfield, OR. He teaches art at Oregon Coast Community College, Newport.

Kyle J Thompson is an interdisciplinary artist working across scales and materials. He is a co-founder and director of 12128, an experimental exhibition space in Portland, Oregon, and formerly was an adjunct faculty member in the Department of Chemistry at Lewis & Clark College. He currently attends the MFA program at the University of California San Diego. Incorporating chemical theory into performance, video, and 3D renderings, Thompson’s work elucidates a flawed relationship to the sub-microscopic through empirical explorations of matter, coupled with an action-based physical impulsivity. Allowing these dissonant worlds to intersect generates a nonlinear type of crosstalk between the molecular and the experiential. The notion and act of measurement lies at the core of this work, and provides a context in which everything from simple games and punk music to chemical experimentation can coexist.

Brooks Dierdorff is an interdisciplinary artist working in photography, video, sculpture and performance. He has exhibited his work both nationally and internationally at galleries that include Salander O’Rielly in New York; Punch Gallery in Seattle; the Disjecta Interdisciplinary Art Center in Portland; High Desert Test Sites in Joshua Tree, California; Johalla Projects in Chicago; and the Ulrike Hamm Gallery in Bissendorf, Germany. His work has been written about in publications including Daily Serving, Visual Arts Source, Oregon Arts Watch, and Justice League PDX. For 3 years Dierdorff was co-director of Ditch Projects, an artist-run exhibition space in Springfield, Oregon. He received his BA from the University of California, San Diego in 2007 and his MFA from the University of Oregon in 2012. Currently Dierdorff is a Visiting Assistant Professor at Southern Oregon University in Ashland, Oregon.




Code Defied

Exhibition Run: September 10-20

Opening Reception: 6-9PM, September 13

Gallery Hours: 11-4PM, Wednesday-Saturday

Space 4 Art artist Leslie Pierce will be showcasing her, "Code Defied" series. Join her for the opening reception on September 13th from 6-9PM. This event is sponsored by Tito's handmade Vodka made in Austin, Texas.

"I create excerpts from contemporary culture and use line, form, color and contrast to blur the boundaries between realism and abstraction. I am motivated by contemporary culture and very interested in modes of communication, and how we absorb such an amazing amount of visual stimuli on a daily basis. My art reflects how this information hits our retinas, how images can be reduced and combined, and different ways in which information is translated, re-assembled and ultimately interpreted by thought. In this series,"Code Defied", I am distilling scenes from photo references- most of which I have taken, into painted lines of color and areas of tone. This reduction serves to slice reality into bands of light and shadow that build up into volumes and captivating compositions."



Through a glass, darkly

Exhibition Run: August 16 - September 6, 2014

Opening Reception: 7-10PM, August 16

Gallery Hours: 11-4PM, Wednesday - Saturday

Space 4 Art presents the work of Shana Demassi, Ana Teresa Fernandez, and Erika Ostrander. Using materials as disparate as tar, hair and glass, the presented works deal with sense and immediacy through performance, sculpture and projection. These common substances morph beyond their familiar forms and ask the viewer to reconsider notions of reflection and transience. The exhibit includes a performance by Ostrander during the August 16th reception.


Shana Demassi was born in San Diego, California, and has lived and worked in Italy, San Francisco and Los Angeles, where she obtained her BFA from the Art Center College of Design in Los Angeles. She is currently completing her MFA at UCSD.

Ana Teresa Fernandez was born in Tampico, Mexico and lives and works in San Francisco, California. She recieved a BFA and MFA from the San Francisco Art Institute. Her work has been exhibited at the Tijuana Biennial in Mexico, Yerba Buena Center for the Arts in San Francisco, and the Oakland Art Museum, among others.

Erika Ostrander was born and raised in Los Angeles, California.  She received her BA and MA from California State University Northridge and is currently completing her MFA at UCSD.  Erika has exhibited her work in Los Angeles, New York, Santa Ana and San Diego.

Image Credit: From the Middle of The Cloud, I Call Your Name, Erika Ostrander 2014

PRG14_IMG_Ostrander, Erika



Performing Crip Time: Bodies in Deliberate Motion

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.


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.


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.”


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.


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.


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.


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.


Dokumaci image for postcard copy

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.


Composing Dwarfism: Reframing Short Stature in Contemporary Photography

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 ( 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.


DYNAMIC MIXED MEDIA | June 8, 15, 22 & 29

Dynamic Mixed Media with Leslie Pierce

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.



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.



STAY STRANGE | July 26, 2014



$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.


#HackingImprov | July 9, 2014

#HackingImprov: A Generative Song Cycle

7PM, Wednesday, July 9

Admission: $10


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. #HackingImprov


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.





New Vocables


3PM, Saturday, May 24


STAY STRANGE presents NEW VOCABLES - Solo vocal experimentation featuring AEDWYRRDE LANCSAUBRE AL-HAZRED and KARL BLAU.

Join us for the third installment of this annual series where we explores the human vocal chords as an instrument. In the grand spirit of Yoko Ono, Mike Patton and Sainko, artists will utilize only their mind and body to create unworldly sounds.


Extratonicity, Glossolalia, and Thaumaturgy. At age 11, AEDWYRRDE proposed to his singing teacher that he sing "The Telltale Heart" by Alan Parsons. A song about chopping someone up and hiding his body in the walls. She suggested instead "Wildfire", a song about chasing after a dead woman and her ghost horse. At age 12 he proposed "Stairway to Heaven". A song about... everything, but I ended up singing "Heaven on the Seventh Floor", a song about having sex in an elevator.

Open your ears, open your hearts, open your minds...


Karl Blau, hailing from beautiful Anacortes, Washington State, is a singer and multi-instrumentalist with a passion for recording music. He has performed solo and in bands (EARTH, Your Heart Breaks, Laura Veirs, Bright Black Morning Light, Maher Shalal Hash Baz, D+, The Gift Machine, The Solvents, The Microphones/Mount Eerie, Little Wings, Lori Goldston to name some), touring across the globe since the mid 90s.

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