Curatorial Practice News

Posted on Monday, September 16, 2013 by Allison Byers

"Words and Places" was not really a solo exhibition; the curators, CCA's graduating curatorial studies students, included videos by other artists that anchor Adnan's life in her three native cities.

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Posted on Monday, August 26, 2013 by Allison Byers

DC: How did your experience as a CCA graduate student affect your art and career path, and what do you recommend for aspiring artists interested in these types of graduate programs?

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Posted on Friday, August 23, 2013 by Claire Fitzsimmons

Aimee Le Duc (center) with artists Jenifer Wofford and Stephanie Syjuco at the SFAC’s Passport 2012 event

The San Francisco-based curator, writer, and arts administrator Aimee Le Duc (MA Visual Criticism 2003, MFA Writing 2004) resists the concept of the curator-as-itinerant-worker, traipsing around the world, dropping in and out of various local situations.

Rather, you might call her a homegrown talent, with deep roots in a particular place. CCA, the San Francisco arts community, and the city itself have shaped her and her career. And now Le Duc sees her role as galleries manager at the San Francisco Arts Commission essentially as giving back.

"I feel very, very lucky. I've got a network that I use every day, and it includes many teachers and peers I first met at CCA. This network has sustained me, and I now see my role as sustaining it."

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Posted on Friday, July 19, 2013 by Lindsey Westbrook

The Ninth Page: Etel Adnan's Journalism 1972-74
CCA, 2013
Paperback, 128 pages, inquire to purchase

This book accompanies the thesis exhibition of the class of 2013 of CCA's Graduate Program in Curatorial Practice. It was edited by faculty member Julian Myers-Szupinska and student Heidi Rabben, and it was designed by Graphic Design faculty member Jon Sueda.

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Posted on Wednesday, July 3, 2013 by Allison Byers

BACKGROUND: Prior to her tenure at Art in General, Finn served as the programs administrator at the Lower East Side Printshop, and curated “You can't get there from here but you can get here from there,” an exhibition about written directions and performance in conceptual art, at apexart. She earned her Master’s in curatorial practice from the California College of the Arts and received a BFA in fiber and material studies at the Cleveland Institute of Art.

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Posted on Tuesday, June 4, 2013 by Lindsey Westbrook

When Attitudes Became Form Become Attitudes
CCA Wattis Institute, 2013
Office Binder, 278 pages, $40/$75 (regular/special edition)

The CCA Wattis Institute's fall 2012 show, curated by Jens Hoffmann, was a sequel to the legendary 1969 exhibition When Attitudes Become Form curated by Harald Szeemann for the Kunsthalle Bern, Switzerland. This catalogue, designed by Graphic Design faculty Jon Sueda of Stripe/SF, follows the "office binder" format of the original catalogue, and also features works that are interventions directly into the book. The special edition includes a set of three posters by the Brazilian artist Alexandre da Cunha, and the regular edition has one of the three posters.

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Posted on Wednesday, May 15, 2013 by Allison Byers

“Words and Places: Etel Adnan,” organized by the graduating class of the Graduate Program in Curatorial Practice at California College of the Arts, is an impeccably timed exhibition, a gift to those of us who wanted to learn more about Adnan after encountering her paintings and tapestry at last summer’s Documenta.

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"Three hours of sitting in a chair and kissing my girlfriend seemed like an amusing thing to get paid for," muses Susannah Magers (MA Curatorial Practice 2011), reminiscing about the work-study position that she’ll probably always remember as one of the oddest jobs of her career.

Between 2007 and 2012, Magers and dozens of other CCA undergrad and grad students got paid by the college to serve as interpreters of artworks by the contemporary art phenom Tino Sehgal. The Sehgal artworks were presented one at a time, continuously over those six years, at the CCA Wattis Institute for Contemporary Arts, in conjunction with its regular exhibition programming. The participating students all had to audition, and then, if selected, went through a rigorous training and worked many hours a week for the 12-week duration of the piece.

Often the works called for interactions with gallery visitors that were deliberately disjunctive -- somewhere between pranksterism and institutional critique -- and surprising to many attendees, who showed up expecting a nice, sedate gallery experience rather than some kind of live intervention.

For some of the students it was a thrilling brush with fame in the form of an international art star. For others it was just another (albeit pretty out-there) work-study gig. A few finished their first day in tears. And many came away from the experience with their own artistic or curatorial practice forever changed.

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Posted on Sunday, January 6, 2013 by Lindsey Westbrook

Institutions by Artists
Fillip Editions, 2012
Paperback, 224 pages, $20

Visiting scholar Kristina Lee Podesva edited this book, which includes texts by CCA alumni Peta Rake (MA Curatorial Practice 2012) and Ola El Khalidi (MA Curatorial Practice 2012). Artist-run initiatives in North America provided a space for the presentation and legitimization of experimental work and for the assertion of socially progressive and politically radical ideas and questions. In making such spaces available, artist-run initiatives have operated alternately as flash points for heated debates and controversies, as well as platforms for social understanding and remaining for their audiences. The book presents a collection of texts addressing the performance and promise of contemporary global artist-run centers and initiatives within the historical contexts that saw their emergence. Texts address centers in Amman, Jordan; Brisbane, Australia; Vancouver; Zurich; Tokyo; and Barcelona. The book is published as part of Fillip's ongoing Folio Series, which presents anthologies of new and previously published questions on international contemporary art.

Podesva organized an international conference of the same name as the book. Sessions of the conference are available for viewing at www.arcpost.ca. The Curatorial Practice alumni involved were Peta Rake (2012), Ola El Khalidi (2012), Matt Post (2009), and Chris Fitzpatrick (2009).

Reports on the conference:
http://new.a-n.co.uk/news/single/new-and-old-futures-talking-artist-self...
http://www.canadianart.ca/features/2012/10/17/institutions-by-artists/

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Posted on Sunday, January 6, 2013 by Lindsey Westbrook

Hopelessness Freezes Time: 1967 Detroit Riots, Detroit Techno and Michael Heizer's Dragged Mass
Kunstmuseum Basel, 2011
Hardcover, 100 pages, 25 SwF

Produced on the occasion of Edgar Arceneaux's exhibition at Museum für Gegenwartskunst, Kunstmuseum Basel, Hopelessness Freezes Time: 1967 Detroit Riots, Detroit Techno and Michael Heizer's Dragged Mass presents artworks, research, and writing from the artist’s collaboration with art historian Julian Myers (Curatorial Practice faculty).

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