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Review
PhD and MFA Graduate candidates: Open Studios Provides Window to Students’ Art and Lives
Submitted by yolietorres on Mon, 03/26/2007 - 12:51pm. ReviewOpen Studios Provides Window to Students’ Art and Lives
Ioana Patringenaru | March 26, 2007
One makes giant tree-like sculptures. Another makes documentaries revealing some of her darkest secrets. Yet another teamed up with cooks and anthropologists to create a vitamin-rich meal and sell it on the streets of Mexico.
They and about 50 others will show their work April 6 at UCSD’s Visual Arts campus. The student-run event includes more than 50 MFA and doctoral students. “It’s going to be fantastic,” said second-year MFA student Sara Hunsucker, one of the event’s organizers.
Professor Teddy Cruz, Yvonne Venegas, Raul Cardenas-Ozuna, and Giancarlo Ruiz: Strange New World: Art and Design From Tijuana
Submitted by yolietorres on Fri, 03/23/2007 - 2:08pm. ReviewStrange New World: Art and Design From Tijuana
Santa Monica Museum of Art
Bergamot Station,, 2525 Michigan Ave., Building G1, Santa Monica
Times rating: CRITIC'S CHOICE
This is the first major traveling exhibition to survey Tijuana's contemporary art, and one of the best samplings of any locale south of the border. Its presentation of approximately 50 works in various media by 20 young, untested artists from off the beaten track is engaging, often bitingly funny, and a wonderful antidote to the lemming-like behavior of curators at most big U.S. museums, who pay lip service to diversity as they exhibit the same safe roster of institutionally sanctioned international superstars (D.P.).
Professor Emerita Eleanor Antin and Frofessor Emerita Faith Ringgold: Feminist art exhibit measures magic, beauty
Submitted by yolietorres on Fri, 03/23/2007 - 1:22pm. ReviewART REVIEW
Feminist art exhibit measures magic, beauty
"Multiple Vantage Points" dynamically captures the feminist spirit.
By Holly Myers, Special to The Times | March 13, 2007
Thanks to an impressive display of trans-institutional organizing, feminist fever is sweeping the Southland this season, with female-centered exhibitions and events cropping up all over town. "Multiple Vantage Points: Southern California Women Artists, 1980-2006," at Los Angeles Municipal Art Gallery, is one of the largest, after "WACK! Art and the Feminist Revolution" at the Museum of Contemporary Art, and essential viewing for anyone inspired by what they see there.
Professor Emerita Patricia Patterson: Scenes from a Receding Past
Submitted by yolietorres on Wed, 03/21/2007 - 2:52pm. ReviewScenes from a Receding Past
Ordinary things are featured in the work of Patricia Patterson at Quint Gallery.
Where:
Quint Contemporary Art
7739 Fay Ave
La Jolla, CA 92037
(858) 454-3409
When: 10 am-5:30 pm Tue-Sat, Feb. 16-Mar. 31, 2007
Admission: Free.
By Vladlena Gelman | FOR SIGNONSANDIEGO
The recent prints by local artist Patricia Patterson will be on display at Quint Contemporary Art in “Scenes from a Receding Past.” Patterson’s work explores the ordinary things in life. Filled with family, friends, scenes of home and the surrounding landscapes, the prints deal with everyday subjects and visuals. Images from rural life in the Irish village of Kilmurvey, Inishmore, recorded during her travels to Ireland over the course of thirty years, also depict ordinary life and landscapes. Patterson, a former Professor of Art at the University of California, San Diego, has been featured in museums throughout Los Angeles and San Diego.
Doris Bittar's work in 'Jasour wa Kasour' straddles cultures at the Oceanside Museum of Art
Submitted by yolietorres on Wed, 03/21/2007 - 10:36am. ReviewJasour wa Kasour
Doris Bittar's work in 'Jasour wa Kasour' straddles cultures at the Oceanside Museum of Art.
Robert L. Pincus | SAN DIEGO UNION-TRIBUNE ART CRITIC
The Arabic phrase in the exhibition title “Jasour wa Kasour: The Art of Doris Bittar, 1989-2007” translates as “A Bridge and a Chasm.” As an American artist of Lebanese descent, Bittar has tried to provide just such a bridge from Arabic to American culture – for herself and others – through her art. Yet the use of “chasm” accents the nature of the divide between the actualities of Arabic societies and Western perceptions about them.
Natalie Jeremijenko: Profit and Gloss: Only a Few Stars Sparkle at Design Triennial
Submitted by yolietorres on Tue, 03/13/2007 - 2:37pm. Review
Natalie Jeremijenko's robotic "dogs" sniff out polluted gases. They are on view in the
Cooper-Hewitt Museum's National Design Triennial. Cooper-Hewitt, National Design Museum
Profit and Gloss
Only a Few Stars Sparkle at Design Triennial
By Blake Gopnik, Washington Post Staff Writer
Sunday, March 11, 2007; Page N07
NEW YORK -- There's an impressive trade fair now on in uptown Manhattan. Designers from every walk of life are showing off the latest in high-end product.
Art Notes: Jean Lowe and Iana Quesnell
Submitted by yolietorres on Mon, 03/05/2007 - 10:31am. ReviewArt Notes:
Jean Lowe and Iana Quesnell
Written by Ingrid Hoffmeister
Notes by Ann Berchtold, Director of L Street Fine Art Gallery
The second exhibition in the San Diego Art Prize series pairs established artist, Jean Lowe with emerging artist Iana Quesnell. The exhibition titled: Green Acres, features works by both artists. Both Lowe and Quesnell have a fascination with places that humans occupy. Lowe’s concentration is on an impersonal level as it relates to “plunked down communities” which she feels have no aesthetic appeal while Quesnell’s interest is from a deeply personal level as she shares specific relationships with the places she inhabits. The visual contrast in their work is strikingly different; Lowe uses a more traditional painterly style while Quesnell works as a draftsman with graphite on paper.
Art Notes: Raul Guerrero and Yvonne Venegas
Submitted by yolietorres on Mon, 03/05/2007 - 9:40am. ReviewArt Notes:
Raul Guerrero and Yvonne Venegas
by Ingrid Hoffmeister
Notes by Teddy Cruz: Associate Professor, Public Culture and Urbanism, Visual Arts Department, UCSD
The addition of the San Diego Art Prize to the cultural infrastructure of the city, as a new platform to promote important artistic practices to the public, will hopefully point, once more, to the need to identify our local cultural capital as an instrument to shape civic value and economic development. It is therefore fitting that recipients Raul Guerrero and Yvonne Venegas share the first San Diego Art Prize show. If this cultural capital is to be revealed and exposed, it would not only be by reaffirming that San Diego’s artistic spirit is unavoidably intertwined with Tijuana’s cultural life, but also by understanding that the work of these two important local artists is a tangible expression of such possibility.
Jean Lowe and Iana Quesnell: Behind the Scenes: Prize-winning artists comment on contemporary landscape
Submitted by yolietorres on Mon, 03/05/2007 - 8:32am. ReviewBehind the scenes
Prize-winning artists comment on contemporary landscape, from strip malls to the view from a Tijuana studio
By Robert L. Pincus | UNION-TRIBUNE ART CRITIC | December 1, 2006
Thomas Kinkade knows one thing, other than how to make piles of money: that there is an audience yearning for his syrupy pictures that conjure up an adult version of Candy Land. They're instructive in their roundabout way, as cut-rate versions of seriously romantic 19th-century landscapes, which present mountains, fields and waterways as if they emitted a spiritual hush.
Alumna Lorna Simpson: Exploring Identity as a Problematic Condition
Submitted by yolietorres on Fri, 03/02/2007 - 3:37pm. ReviewArt Review | Lorna Simpson
Exploring Identity as a Problematic Condition
By HOLLAND COTTER
Published: March 2, 2007
Lorna Simpson, whose refined and impassioned work is the subject of a 20-year retrospective at the Whitney Museum of American Art, began her career with an intense interest in socially engaged “street photography” in the Roy DeCarava mode. Then she did something unexpected to that genre. And then she did something else to it.
First she decided that rather than wait for everyday life to wander her way, she would distill its political essence in carefully posed studio photographs, substituting symbol for incident. Then she added words; not descriptive captions but phrases, overheard in conversation or lifted from the news, that interacted with the images in a free-associational exchange.
