Wattis Institute News

Posted on Thursday, February 26, 2015 by Laura Braun

A central idea for Nairy Baghramian’s exhibition is a consideration of the nature of the prop. Her departure point is a scene from Les Demoiselles de Rochefort, a 1967 musical film by Jacques Demy, starring Catherine Deneuve and Gene Kelly. In several scenes of the film, Demy uses artworks as props to help build his characters and their relationships to the world. Instead of being independent works of art, the objects perform cameos or stand-ins for the film’s plot, such as a portrait of an “ideal woman.”

Posted on Monday, February 23, 2015 by Brenda Tucker

Martin Wong: Painting Is Forbidden
An exhibition by the CCA Curatorial Practice Class of 2015

March 13­–April 18, 2015

The Next 25 Years: Propositions for the Future of Curatorial Education

Posted on Tuesday, February 17, 2015 by Laura Braun

“[T]he efficiency, quantity and immediacy of information and information-systems has placed art and the artistic gesture at risk of being identified, categorized, digested, cannibalized and made into information before it has a chance to begin being art,” the curator Anthony Huberman has written. “Curiosity is being castrated by information.” Hammons’s paintings exemplify a considered response to that condition. They confront you with a sustained refusal, cloaked in beauty.

Posted on Friday, February 13, 2015 by Laura Braun

Elga Wimmer PCC, in association with curcioprojects, presents the solo exhibition, Atmosphere in White, of French-born and NYC-based artist Nicola L. Originally presented at last year’s Biennial of Liverpool, curated by Anthony Huberman, Atmosphere in White spans five decades of functional objects and furniture and conceptual sculptures fully incorporated into Nicola L.’s ideologies of body and spiritual imaginings. 

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Posted on Thursday, February 5, 2015 by Laura Braun

Brussels-based artist duo Jos de Gruyter and Harald Thys make their U.S. solo debut with the show “Tram 3.”

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Posted on Friday, December 19, 2014 by Laura Braun

Anthony Huberman was appointed the director of the CCA Wattis Institute in August of 2013, but only really started reshaping the institution this fall with an intriguing—and fairly democratic—strategy for presenting and thinking about contemporary art.

Posted on Thursday, December 18, 2014 by Brenda Tucker



Jos de Gruyter and Harald Thys

Curated by Anthony Huberman
January 21–April 18, 2015

Posted on Friday, December 5, 2014 by Laura Braun

Mark Schinwald gives inanimate objects personalities of their own: they have good moods, bad moods, nervous tics, and psychological baggage. His paintings, sculptures, and installations have “issues,” in the way that most relationships do. Conversely, he also imagines a world where a state of mind could give rise to an object. “What if,” the work asks, “a moment of anxiety could generate a neck brace?” Clearly, this gives a whole new meaning to what we say when we talk about prosthetics.

Posted on Monday, December 1, 2014 by Laura Braun

This is an impossible body.Some parts are painted, some are bagged, some stand straight, and others are perched up high.A network of metal rods holds them together, forming a central nervous system that allows each painting, sculpture, or piece of architecture to function as a dispersed limb of a single organism. As such, they belong with and fold into each other. Objects migrate into paintings, and bodies find a way to slip into objects.

Posted on Monday, December 1, 2014 by Laura Braun

Established in 1998 at the California College of the Arts, CCA Wattis Institute for Contemporary Art is a venue for exhibitions as well as a place for research. Exhibitions focus on one artist at a time, with the current exhibition showcasing the work of Austrian artist Markus Schinwald. A joint venture with SFMOMA, this site-specific installation features sculptures made from Chippendale-style table legs that wrap around poles as well as modified 19th-century paintings.