Congratulations to CCF Fellows, part two
Martin Durazo Artist Statement: “My sculptural and installation work is inspired and created from mass produced objects that are often illicit in nature…” (continue reading on CCF website here)
Link to Fernandez’ page on the “How Many Billboards?” project (MAK Center) website, here.
Fernandez’ Artist Statement: “My work examines the intersections between private and public space, personal and historical narratives, ex-urban and city spaces and the cultural border and historical relationships between the United States and Mexico….” (continue reading on CCF website here)
Patricia Fernandez Artist Statement: “Applying an archeological approach to the family archive, my work questions the expectations of inherited history and the inaccuracy of memory…” (continue reading here)
Jocelyn Foye Artist Statement: “Raised by a taxonomist in New England, I produce work that incorporates an understanding of this scientific practice of observing and collecting. Currently, I am trying to capture and illustrate how the recurrence of everyday processes derived from labor produces a fundamental visual pattern…” (continue reading here)
Link to “The Map Quest,” and interactive web project in collaboration with Jean Robison.
Charles Gaines Artist Statement quoted in its entirety:
“Before 1990, my work investigated the role systems played in the construction of forms and objects. I used numerical systems of progression as a way to form strategies of change where change itself was determined by the rules of the system, or I used numbers to form plotting systems that allowed me to sequence objects (mostly natural objects).
Since 1995, my interest moved from the use of systems and numbers to language itself. I foregrounded two critical concepts: the postmodern sublime and metonymy. I made works that combined drawn or photographic images and/or text in provocative ways to imply or insinuate connections between them, forming a metonymic chain. For example, in String Theory: Rewriting Fanon (2010), I radically changed the sequence of words from Franz Fanon’s Black Skin White Masks. The resulting arbitrary word sequence required the viewer to form metonymic conflations in order to realize meaning from sentences that were not formed with the intention to express specific ideas.”
Blessed are those who are capable of eloquence and who also value brevity.
You should know, my friends, that Charles Gaines has trained some of the most influential artists in Los Angeles during his tenure at CalArts. You should thank him for this and also we must thank Charles Gaines for continuing all the time to experiment and to explore in his practice, to state and restate, to take risks and run with them to places we could not expect – except that once he shows us where he is, what Charles Gaines does and makes, makes a great deal of sense. And it disturbs us from our comfortable notions of what is possible.
When I visited “Lurid Stories: Charles Gaines Projects 1995-2001 curated by Julie Joyce at the Luckman Gallery at CSULA it was my first experience with Gaines’ art. I still read the publication often enough to keep in touch with it, and now I have a long relationship with the artist’s work. This would not happen if I came across a work in a gallery show – or it would happen much more slowly. My mind was open, I had no concept of what I might find inside, and consequently my head exploded on that night in 2001. You should be so lucky. This is why I go so many places: there is always a chance that I will be led to an exhibition that I will be thinking about ten years after I see it. I have no way of knowing when this might happen. Why take the risk? Rant over.
So good people who read Notes, if I tell you that I feel quiet and humbled as I write these words you ought not be surprised. Charles Gaines the artist changed the way I think and Charles Gaines the teacher encouraged several of the artists whom I most admire to be… better, always better.
Link to the video “Explosions,” and a talk that Gaines gave at Susanne Vielmetter in Berlin. This is a nice film – Charles Gaines speaks over views of the exhibition installation and then walks us through the show.
Link to some videos on Janie Geiser’s site here.
Geoser’s Artist Statement: “As an experimental filmmaker, I’m intrigued by the intersection of artifice and real life…” (continue reading here)
Film on CCF site here.
Alexandra Grant Artist Statement: “My work is a long-term engagement with language in painting, drawing, sculpture and social practice. Most of my endeavors are collaborative by nature – seeking out writers and writing that I believe keep the “word” alive in a variety of settings with different audiences…” (continue reading here)
CCF part one: Congratulations to CCF Fellows, part one
CCF part two: Congratulations to CCF Fellows, part two
CCF part three: I, embarrassed, blog before you…