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.Read the rest
Posted on Wednesday, July 3, 2013 by Allison Byers
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.Read the rest
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.Read the rest
"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.Read the rest
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).Read the rest
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).Read the rest
Americana: 50 States, 50 Months, 50 Exhibitions
CCA Wattis Institute, 2012
Hardcover, 240 pages, $25
This catalogue, designed by Jon Sueda (Graphic Design faculty), documents a five-year-long series of exhibitions that examined the 50 American states, featuring artworks, historical artifacts, curiosities, and aspects of the overlooked and the little-known. The series was coorganized by Wattis Institute director Jens Hoffmann and CCA's Graduate Program in Curatorial Practice.Read the rest
Posted on Monday, December 10, 2012 by Susannah Magers
Pae White, muhf-uhl, 2012
Susannah Magers (MA Curatorial Practice 2011) spent five months in 2012 on site as the visitor engagement manager at the exhibition International Orange, a FOR-SITE Foundation project located in Fort Point, near San Francisco's Golden Gate Bridge.
It is the latest and most ambitious project yet produced by the foundation, a San Francisco-based nonprofit dedicated to the production of art about place.
What It's Like to be at International Orange
When I tell people I work in a fort underneath the Golden Gate Bridge, their reaction usually registers surprise, followed by confusion ("Wait . . . where?"). The date is October 25, 2012, and I have spent the past five months, five days a week, on site as the visitor engagement manager at the exhibition International Orange.Read the rest
Posted on Thursday, September 20, 2012 by Allison Byers
Last week, Disjecta announced the first exhibition presented by the space's 2012-2013 curator in residence, Josephine Zarkovich. For this first show of the season, Zarkovich brought in Oakland-based artist Suzy Poling, who, according to the press release, "has created a series of large-scale experimental photographs and video installations that address issues of ecology, materiality, and regeneration" in an exhibition titled Elemental Forces.Read the rest
Posted on Tuesday, August 28, 2012 by Joyce Grimm
On Wednesday, September 19, 2012, CCA Film and Fine Arts faculty member Lynn Marie Kirby, together with collaborator Alexis Petty, will present The 24th Street Listening Project at the Brava Theater in San Francisco. The evening will include the screening of a new video by Kirby exploring the neighborhood through color and language mapping, a musical performance reflecting local stories and topography, a book release, and the launch of the new website, 24thStreetListeningProject.com.Read the rest