Art Ball

Art Ball took place on Friday May 12, 2017. All of the galleries at Sac State were open and showing their work including paintings, drawings, sculpture, installations, new media, ceramics, and small metals. I had a blast staying up late and in the morning preparing Art Sculpture Lab for the event and had the even greater honor to be doing demonstrations in the printmaking lab in Kadema Hall with my buddy Nick Kukuruza. I did the inking demos for intaglio and he did small demos for lithography.
The entire event was amazing and really should be extended to be an all day affair. Although I missed most of the festivities, I was able to make my rounds towards the end of the night. From the printmaking room, I ventured next door to the beginning painting class. Their work reminded me of the first time I took a painting class; everyone was of vastly different levels and styles. I flipped back towards the ceramics department before heading towards metals. Their work never disappoints and everyone who came through the print lab raved about how delicious their food was. They showcased very large pots, jars, bowls, cups, and even an amazing sculpture of a man with a bear head. Metals had a variety of projects on display that highlighted techniques learned in the program. It was very similar to their show in the Witt Gallery earlier on campus.
The Seniors had a variety of media shown in the Witt and Else Galleries in Kadema Hall. Since I saw them earlier on in the week, I made my way upstairs to see more paintings from another class that worked with the figure. On my way back down, I was invited to enter a very immersive and powerful new media installation in the room across from the stairs. The narrow room had only a laptop, projector, and a giant beach ball that nearly covered the end wall. The concept of a choosing your story through clicking on images on the screen was interesting and the heavy topics of animal abuse and global warming weighed on my mind after. Unfortunately, I only had fifteen minutes to see the rest of Art Ball so I had to cut my journey short.
I almost ran to see the grad show in the Library Gallery. Being far from Kadema Hall, hardly anyone was in there by the time I walked in. I was amazed at the movement and color used in their pieces. Their work gave a different energy especially Som Sayasone's usage of clothespins that seem to spew out from the chair but also consume it. Fluff from the chair cushions and clothespins trailed behind the piece.
Luckily I was in the Library so the five minutes left was used in Art Sculpture Lab (since I left before the hanging was finished). That party continued after hours since the music was still bumping and the artists chatted with guests and fellow artists about the work. The walls of ASL were mapped out with drawings and paintings from Intermediate Drawing, Life Painting, and Advanced Painting. The collection ranged in a variety of styles and showcased a great number of students in all three classes. Every wall from the bottom floors of 106 and 108 to the loft spaces up above had pieces on the walls.
Art Ball overall was a great experience. Like I mentioned earlier, if Art Ball took place all day, there could have been festivities or booths taking place all the way across campus since the department itself is split between Art Sculpture Lab (ASL) on one side of campus and Kadema Hall on the opposite side. Due to the time constraints, I missed the new media work in Mariposa Hall and could not revisit the senior show. However, the work I did see was wonderful and there is great potential in the art department in all of the different media used. Although majority was painting, drawing, and sculpture, the addition of other forms of art was necessary and representation in the fields of new media, small metals, and printmaking in future years could expand interest in these unique fields.
Unfortunately, this was the day that I forgot my phone at home so I have no pictures to post but if you want to see images, check out @sacstateartdepartment on Instagram: https://www.instagram.com/sacstateartdept/?hl=en

Badass Printmaker LURAC

Luis Campos-Garcia also known as Lurac, is a badass printmaker and an amazing artist overall who is very involved in his community. He is the curator of Sol Collective and his faith in community has lead him to not only create fabulous relief prints but also promote the importance of art for the people and the affects politics has on everyone.
Lurac started the talk with a deep breath in and a beautiful song played on a turtle shaped wind instrument (that I should have asked what it was called). With a traditional melody and soothing tone, the sounds created a sense of peace and immediately I was focused, excited to hear what he had to say. Immediately when he started speaking, Lurac's passion showed. Smiling throughout the entire talk, he emphasized how art inspires, gives voice, and empowers people.
His goal was to create something meaningful and relatable across cultures even though some of his imagery was culturally specific. When explaining his work with artists that He explained that the day of the dead skeletons symbolize that although we may be different in skin and culture, we are all human. This allows the viewer to see themselves or other people within his work.
Lurac's work is very culturally driven, fusing traditional and contemporary images in unique ways to connect the past and the present. Drawing from images from Mesoamerican culture, Lurac's influences stem from Mexico City where he originally studied graphic design. Mexican muralists and Taller de Grafica Popular (TGP - People's Graphics Workshop) were very influential on his art. Mexico City also had a big student movement which Lurac was a part of. He collaborated with fellow artists to create signs and promote the importance of art utilizing all forms of art.
He talked about Taring Padi, a collective based in Indonesia that work on large scale woodblocks. They make the printing process a ceremony with printing parties with music and dance. Music would be played as the printers ink the plate and after the fabric or paper is placed on top, people would be invited to dance on it.
As a contemporary artist, he loved the idea of taking art out of the gallery and making it accessible to everyone. He created the mobile art tent which displayed some of his work and the work of fellow artists during Crocker Art Museum's Block by Block event. He invited people of all ages to try printmaking techniques. His prints utilize screen printing, relief printing, and digital printing techniques.
In response to a question about the rise in popularity of graphic design as opposed to art, he stated that in recent days there seems to be a resurgence in printmaking, a "Print Renaissance" he called it. He said that the reason why printmaking is still around despite the rise in digital media is that it "gives you a sense of the human hand." As an aspiring printer myself, I might be biased when I say that his statement is 100% true.
He was very helpful when I asked about good carving tools to use, recommending Power Grip as a decent wood carving tool that's easy to find. He even recommended a few places for printmaking supplies as well. After the talk, he showed a few of us who stayed behind a couple of projects by Sol Collective and chatted some more about events the collective hosts. Check out Lurac's workshop at Sol Collective this Saturday morning!

Hidden Treasures

Antony Marshall explaining the space

Hidden Treasures showcased the work of the Sacramento Fine-Metals Guild during April 10-14 this year. Members of the guild are Sac States very own students who have taken the jewelry or metal smithing classes. The show described the different methods used in working with small metals with text on the wall next to the section that the group of projects that utilized that particular technique.
Curated by Sac State Alum Antony Marshall, I was able to ask about how he designed the layout especially since many of the pieces are small and the lighting in the Witt Gallery is very difficult to maneuver. The gallery setup was very minimalistic. Necklaces hung on the back wall (to also prevent stealing). The largest (and hardest things to steal) were masks by the door on top of white blocks and several other repousse works were also on white blocks. The bowls and small boxes were on floating shelves from Ikea. The spoons were on a slanted white shelf. Everything touched a wall, making the room seem very spacious. Marshall added lights to the odd corners of the gallery to help brighten the awkward areas with shadows.

Nikole Ballen's Elvish Headress

One of my favorite pieces was Nikole Ballen's Elvish Headress. I had the pleasure last semester to see Ballen wear the headress when it was near completion. Made of copper, silver, and clay, the headress is the embodiment of feminine power and mysticism. The large stone in the center is like a keystone that supports the daintiness of the droplets hanging from the chains.

The Sacramento Fine-Metals Guild is a student run organization at Sac State that creates wonderful work such as these pieces shown. Their dedication to their craft has been a driving force in what makes the small metals programs great. I highly recommend joining even if you have not taken a small metals class because the members are very friendly and would help teach basic techniques in the lab.

Chilling with Marshall

Variety of styles were exhibited in each section

Feminist work in Hippie Modernism

I started writing my Exhibition Review all wrong so I decided to paste what I wrote about Sheila Levrant de Bretteville here:

Pink and Everywoman

Sheila Levrant de Bretteville is an American artist and graphic designer whose feminist principles drive her work. She worked as an instructor at CalArts where she met Judy Chicago, one of the leading ladies of feminist art at the time, and Arlene Raven, a feminist art historian who co-founded various feminist art organizations in Los Angeles. The three of them founded the Feminist Studio Workshop and the Los Angeles Woman’s Building, which was a nonprofit feminist cultural center.

close up of Pink

De Bretteville also created a feminist newspaper called Everywoman in 1971 in which all of the women featured in the paper got two full spreads to work with. This piece was displayed in a glass case below Pink, an offset lithograph on paper created in 1971. Both Everywoman and Pink are very minimal in color, using only grey and pink. For Pink, the responses to the color by different women were stitched together in a quilt like graphic. Another minimalistic quality is the usage of such a grid system, however the powerful feminist messages within the work conceptualize the piece. Strong images of young women and girls were sparingly placed next to phrases such as “Little girls don’t know why, but, little girls are pink,” and, “Pink is childish. I’m not pink now.” Some associated the term to love or a memory of their childhood. Some messages embraced pink, some rejected, some spoke of the journey through both such as one woman saying “And then I HATED PINK. Now pink has become a symbol of liberation for me.” De Bretteville wanted to show how much of a strong association women tie to feminism through the color pink and how social constructs shape women’s depictions of a simple color.

Hip-hip Hooray for Hippie Modernism

Outside of BAMPFA

Hippie Modernism at the UC Berkeley Art Museum and Pacific Film Archival (BAMPFA) showcased a variety of artists that represented hippie counterculture and the historical events that occurred globally during the 60’s and 70’s. Hippies were members of liberal counterculture that advocated ideas such as a close relationship with nature, spirit, communal living, artistic experimentation, and recreational drugs. They were advocates for the environment and peacefully protested for equal rights during the fight for Civil Rights and for peace during the Vietnam War. Their counterculture aesthetic rarely has this kind of attention in history or even a gallery showcasing their contribution to their culture.

Lower floor of the gallery

            On April 22^nd, the museum was free. Protestors marched the streets outside and people of all ages were walking around the neighborhood. For a busy Saturday evening, BAMPFA was not as crowded as expected. Overall the gallery was spacious. It was almost like a maze the way the different sections of the gallery space were broken up, especially on the lower floor with the split-level area that opens into another room. The show was split onto two levels because of the amount of work. There were two larger installations that people could go inside of. Those were placed into the center of the rooms, which utilized the large rooms well because a lot of the work were screen-printed posters and photographs that were hung on the walls alongside video and performance art displayed on flat screen TVs.

Corita Kent's silkscreen posters

The colorful array of psychedelic colors signature to the hippie aesthetic were utilized in a variety of forms in photography, print, sculpture, and installation. The signature poster style of Hippie culture was demonstrated by Corita Kent in her silkscreen anti-war posters that utilized text as well as incredibly vibrant neon colors next to more neutral yet still saturated colors.

USCO's two pieces with guard trying to sneak away

The installations were very engaging and immersive. However, some installations were weaker because of how intense the lighting is in the gallery. The flashing lights in USCO’s installations may have had a more powerful effect if it were in a room with dimmer lighting.  Shiva (1965) was a massive painting with electric lights around the perimeter that would blink in a timely manner however, the red lights could only be seen if paying attention up close. When further away, the gallery lights wash out the red bulbs. Drop City’s The Ultimate Painting (1968/2011) digital print with strobe lights and a motor did not have that same problem because it was encapsulated in their dome titled 8-Fold “Polar Zonohedron” (1966/2011) made of painted wood, mylar, and composite panels.

            Revisiting and reflecting upon the sociopolitical issues that we are still fighting today made Hippie Modernism a great contemporary show to see. Although it is questionable if the architecture of BAMPFA helped the show with the split-levels, but for what they had to work with, the gallery space was used up in a meaningful way that did not take too much attention away from the art. It was informative of the key movements and ideas in the art making of the time and brought to light a counterculture that does not get the recognition it deserves. Hippie Modernism is on display at BAMPFA until May 21, 2017.

Frances Butler fused traditional quilting
with exuberant colors

Being a part of art while looking at art

The Diggers were a theater group and helped
their community by promoting art and
giving goods for free

One of the best installations in show

Channeling modern weab culture with hippie counterculture

Crown Point Press

Signage at the bottom of the stairs

The printmaking class' annual visit to Crown Point Press at 20 Hawthorne St in San Francisco was on March 16. Every semester, Professor Mark Emerson takes his printmaking class to visit Crown Point Press, a well established printmaking studio founded by Kathan Brown in 1962. Crown Point invites artists who are not printmakers to work with their printers and experiment with various printing processes for a week. They are also the creators of Magical Secrets, an instructional book on the many different etching processes and the in depth guide on everything you need to know to use them. Famous artists such as Wayne Thiebaud and Richard Diebenkorn worked with Crown Point occasionally. Their pieces can be seen in the gallery from time to time.
The building is an old newspaper facility in the Yerba Buena area. I absolutely love this place! A very welcoming vibe and a peaceful energy that flows throughout the building. Up the winding staircase to the second floor, the door is open and inviting you to step inside where the magic happens. The ceilings are high and the windows are large, flooding daylight into the space. Their gallery is small but the shows are phenomenal showing a variety of ways artists could use the same etching techniques.
We started our field trip with a guided tour from Sasha Baguskas, the editor and publications manager at Crown Point. She explained the history of Crown Point and talked about the processes of prints currently exhibited in their gallery. Usually there aren't many relief prints but this time around there were a few. Focusing mainly on intaglio prints, the discussion was mainly about dry point, aquatint, sugar lift, spit bite, and both hard and soft ground etchings. (I would explain them all but it would take all day.) Baguskas talked about the quality of line that is created through etching that is very different from that of a drawing. She said that Diebenkorn appreciated the velvety quality of the softness of the ink. He collaged different pieces of paper to come up with a composition that read easily
After the tour of the gallery, Baguskas took us on an exclusive tour into the back rooms to the studio space. She explained each room, taking us around until we reached the largest press beds where the printers, Emily York, Sam Carr-Prindle, and Courtney Sennish, were busy inking plates. They were working on a three color photo gravure print. The artists are never working when we visit, so our class examined the inking and printing processes of the printers. I love the thud of the press bed when the plate finishes going through and the plop of the blankets when they systematically throw them over the roller. Sadly my phone ran out of memory before the plop. Next time... Anyways Sennish explained the photo gravure process better than I did in my previous post so check out the video! (hopefully I can get it to work soon)

Diebenkorn's proofing process

Staring at the proofs hoping to absorb some knowledge

Baguskas (right) explaining the collaging Diebenkorn used to proof Green (1986)
with Professor Emerson and super awesome relief printer Luis

Love the windows! Tom Marioni prints on the left side.

Just to show how far back the space stretches

Smaller press bed

Tools!!!

Left to right: Sam Carr-Prindle, Courtney Sennish, and Emily York

Check out their website: https://crownpoint.com/

Breuer's take on Printmaking

Noah Breuer is up for consideration for the printmaking position at Sac State. He had an artist talk in Mendocino Hall on March 15, 2017. He talked about utilizing printmaking in various ways beyond the traditional ink on paper, delving into his experience with lithography, screen prints, and relief printing. He studied traditional woodblock printing in it's birthplace: Japan. Breuer's process of idea building was from personal material that he would gather and mold into a body of work. For example, he layered screen prints on cut foam core and lithographs of baseball cards to create textures. One of my classmates did not find the compositions clear. He explained that the effect would probably be more meaningful if he used one less color. I agree with him because although he was using image as texture, his main concept got lost in the textures that were created by the layering of multiple colors especially in his baseball prints. Breuer was utilizing the dot pattern layered over collaged litho printed cards plus four to five colors all at once and although the initial idea was interesting, the image does not engage the viewer to look deeper into the piece because there is so much going on.
The interesting fact about his work is that he utilizes digital media in the carving of his plates. Mixing vectorized images carved into the wood with a machine, he layered images and used them in a variety of ways. However, I question whether that is fine art or more commercialized art. Printmaking has always been on that borderline because of the ability to reproduce an image, but they are limited in how many copies they can make before the plate or etch starts to fall apart. Because of the addition of technology, identical plates can be cut and inked again with precision and ease. Although the integrity of the plate may degrade over time, the reproducibility of the plate itself makes it easier to make mass productions of the same piece.

Third row seat for the lecture.

Breuer is hella tall.