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Episode 5: Looking Back
91 92 93, MAK Center
May 11, 2011
Excerpt of Simon Leung walking us through his installation “Warren Piece (in the 70s)”
Simon Leung presents “Warren Piece (in the 70s)”
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Tag Archives: photography
“91 92 93″ Photos
Paul Pescador performing at “1, 1 1/2, 2″
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Episode 4: Developing Relationships
1, 1 1/2, 2, Human Resources
May 14, 2011
Every ten minutes for the first hour of the opening reception, Paul Pescador replaces one (or two) of the photos on the wall with a new one.
Episode 5: Looking Back
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Simon Leung, Andrea Fraser, Lincoln Tobier: 91 92 93
MAK Center
May 11, 2011
Looking Back documents the opening reception of 91 92 93, an exhibition that revisits and reworks aesthetic paradigms created by key projects from the early 1990s. Held at the MAK Center in Los Angeles, Andrea Fraser, Lincoln Tobier, and Simon Leung present new installations and performances based on seminal earlier pieces. Not only do the new works reflect contemporary critical positions, they also incorporate recent history and the modernist context created by the landmark Schindler House. The exhibition gives the artists and their audiences the opportunity to re-evaluate artistic methodologies and theories first posited two decades ago.
Similar to the way in which all three artists revisit particular works that they produced in the past such that the current works expand and recontextualize upon original concepts, this last episode of the Emerge Through Art video-web series draws upon ideas of looking back and learning from past experiences as a way to actively incorporate and involve one’s self and one’s art in contemporary issues and debates.
Andrea Fraser is a New York-based performance artist, mainly known for her work in the area of institutional critique. She is currently a professor in New Genres at the University of California, Los Angeles.
Lincoln Tobier was born in 1964 in New York, and currently works out of Los Angeles. His projects embrace a variety of media including sculpture and painting, as well as, video and radio. He has exhibited both nationally and internationally.
Simon Leung was born in Hong Kong and studied at UCLA, Columbia University, and the Whitney Museum Independent Study Program. He has taught in the Studio Art Department at UC Irvine since 2001. Simon Leung’s work is project-based and very often collaborative.
Since its inception in 1994, the MAK Center for Art and Architecture at the Schindler House has been making a unique contribution to the artistic and cultural landscape of Los Angeles. Offering a year-round schedule of exhibitions, lectures, symposia, and concerts, the MAK Center proudly presents programming that challenges conventional notions of architectural space and relationships between the creative arts.
“1 1 1/2 2″ Photos
Episode 4: Developing Relationships
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Paul Pescador: 1 , 1 1/2, 2
Human Resources
May 14, 2011
JM Productions presents the fourth episode of the Emerge Through Art video-web series, Developing Relationships, featuring documentation of Paul Pescador’s solo exhibition at Human Resources, 1, 1 1/2, 2. Using the space as a theater, art gallery, and screening room simultaneously, Pescador explores the relationship between live events, performances, everyday objects, and their photographic documents. These photographic documents are used as the source material for the creation of new social interventions. Performances become images. Images become books. Books become films. 1, 1 1/2, 2 is a culmination of a one year investigation, which explores the use of numerical systems to dictate social dynamics and personal relationships. The social relationships in this project being 1: the individual, 1 1/2: the individual and remnants or absence of another, and 2: the couple, the pair, or the double.
Similar to the way in which Pescador is exploring the dynamics between juxtaposed correspondences and their social implications, the episode expands upon the idea of identifying/creating relationships among objects and people as a means to better progress and hopefully succeed in the process of developing as an artist and/or learning more about art and the art world.
Paul Pescador is a Los Angeles based artist, art organizer, and filmmaker. His interest in small-scale actions and gestures manifests in the form of photographic objects, performance events, and curated exhibitions. He co-directs Workspace, a project space in Lincoln Heights, and is an MFA candidate at the University of California, Irvine.
Human Resources is an art/performance space run by a team of creative individuals that seeks to broaden engagement with contemporary and conceptual art while emphasizing performative and underexposed modes of expression.
Dorit Cypis at Work
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Episode 3: Connecting the Dots
A Symmetry, Las Cienegas Projects
March 5, 2011
Extended footage of Dorit Cypis setting up before the opening of A Symmetry.
Guests Interview at “A Symmetry”
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Episode 3: Connecting the Dots
A Symmetry, Las Cienegas Projects
March 5, 2011
Deleted scene. Just a little bit we left out.
Artist Interview: Ken Gonzales-Day
Episode 3: Connecting the Dots
Profiled, Las Cienegas Projects
March 5, 2011
Can you tell us about the ideas around the exhibition?
The exhibition is called Profiled, and it revolves around issues of thinking about racial formations. It’s looking at Western canons of beauty ranging from the Apollo and the Venus to 19th century and early 20th century attempts to categorize racial differences. All of these are part of the spectrum of racial representations that I’ve been looking at for a number of years, but in this particular project, i’m really dealing with the history of sculptural representation and the legacies that are embedded but unseen in those histories.
How would you define your art practice?
If one were trying to think of how I would define my practice, I think that can be a challenge both for myself and for others. Often my projects are research oriented and tend to take the form of photographs or photographic installations. But I’ve also done work dealing with appropriated images. I’ve done sculpture and drawing and even painting, but I’m most known and have been working as a photographer in recent years.
What are your sources of inspiration?
For most artists who work in a conceptually driven practice, inspiration is not really the kind of notion that we are particularly drawn to in the sense that inspiration one thinks of Kant’s critique of judgement and notions of the sublime, and that’s really not the approach that most people that I know work from. I think it’s more about projects that are investigating a question, or a set of questions, or a set of relationships, and we can think of a number of aesthetic models that have come since Kant, since the enlightenment, from relational aesthetics to surrealism to whatever, and so my practice would be, I think, most closely linked to what is termed conceptual photography.
What advice could you give to artists still in school?
I would say that the best advice would be to follow your passions and find ways to connect your work to other issues in the world, whether that’s other artists, whether that’s social issues, whether that’s personal or emotional issues, but I think that it has to have a relevance, first of all for yourself, and then hopefully as you find an audience, people will find your particular contributions. But I think you have to love it all the time. You have to want to do it. It’s a lot of work, and not a lot of return; so you have to have some pleasure in it.
