Wattis Institute News

Posted on Thursday, August 8, 2013 by Allison Byers

THE CCA WATTIS INSTITUTE FOR CONTEMPORARY ARTS

PRESENTS THE EXHIBITION

City of Disappearances

September 10-December 14, 2013

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Posted on Thursday, August 8, 2013 by Allison Byers

Brian Gross Fine Art, Catharine Clark Gallery, Jack Fischer Gallery, and George Lawson Gallery have all recently moved to within a few steps of one another on Utah Street and Potrero Avenue, the San Francisco Business Times reports, just across the freeway from the California College of the Arts and its Wattis Institute.

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Posted on Thursday, August 1, 2013 by Allison Byers

Indeed, the relocating artists will join Southern Exposure, Steven Wolf Fine Arts and the California College of the Arts, among others, which also recently installed a new gallery for contemporary arts — a massive, gymnasium-sized spaced designed by architect Mark Jensen.

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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 Friday, June 21, 2013 by Allison Byers

The group of artists was selected by a jury composed of Regine Basha, a guest curator who chaired the selection process; Mr. Finkelpearl; Curator Larissa Harris; Prerana Reddy, director of public events; Jason Yoon, director of education; Chuck Close Rome Prize-winning artist Daniel Bozhkov; and Anthony Huberman, director of the CCA Wattis Institute for Contemporary Arts.

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Posted on Monday, June 10, 2013 by Allison Byers

During a recent visit to the new Hosfelt space, I was impressed by its openness, the gallery’s white floors and abundance of natural light greatly enhancing the excellent exhibition of new interactive sculptures by Alan Rath. The Utah Street location has the additional benefit of being situated near other recently completed art spaces in the neighborhood.

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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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Posted on Tuesday, May 7, 2013 by Allison Byers

The Museum of Contemporary Art Detroit has named Jens Hoffmann as its senior adjunct curator, reports Mark Stryker of the Detroit Free Press. He will concurrently work as director of exhibitions and public programs at the Jewish Museum, New York. In this new role, Hoffmann will also be responsible for the curatorial program at MOCAD, which includes two to three exhibitions per year.

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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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