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Friday, March 13, 2009

MUSEUM OF CONTEMPORARY ART SAN DIEGO ADVANCE EXHIBITION SCHEDULE THROUGH NOVEMBER 2010

from : MCASD | Museum of Contemporary Art San Diego - CA, USA

JASPER JOHNS: LIGHT BULB
January 18, 2009 – May 10, 2009 (LJ)

Jasper Johns: Light Bulb focuses on Jasper Johns’s first sculpture, Light Bulb I (1958), a recent gift to MCASD. The exhibition brings together for the first time Johns’s light bulb sculptures and related drawings and prints, including several drawings and modified prints from the artist’s collection that have never before been exhibited.
Curated by MCASD Senior Curator Dr. Stephanie Hanor, Jasper Johns: Light Bulb was on view at the Princeton University Art Museum from October 4, 2008 through January 4, 2009. After MCASD, the exhibition will travel to other venues around the country, including the Henry Art Gallery at the University of Washington, Seattle (July 11, 2009 through October 18, 2009).
Jasper Johns: Light Bulb is organized by the Museum of Contemporary Art San Diego. The exhibition is made possible by generous contributions from the M & I Pfister Foundation and Iris and Matthew Strauss. Additional support comes from MCASD's International Collectors; the National Endowment for the Arts, a federal agency; and the County of San Diego Community Enhancement Fund. Institutional support for MCASD is provided by the City of San Diego Commission for Arts and Culture. Corporate support for the exhibition is provided by Charles Schwab & Co., Inc.

CERCA SERIES: JAVIER RAMÍREZ LIMON
January 18, 2009 – May 10, 2009 (LJ)

Tijuana-based photographer Javier Ramírez Limón mines the ground between photography as straight journalistic document and as a source for conceptual and poetic interrogation. He attains this through breaks and alterations in the image’s representational façade that take various forms: textual application, digital manipulation and, as for this Cerca Series, the pairing of two independent bodies of work to create a third.
The exhibition presents two straight-photographic series that document different moments in the process of migration and adaptation of Mexican communities in the Southern United States. Ramírez Limón’s color portraits in the series Mexican Quinceañera capture central characters in real festivities celebrating the 15th-birthday of adolescent women living in San Diego County—the equivalent to “Sweet 16” parties in the United States. These images are brought together with black-and-white landscape photos taken in an area of the Sonoran desert known as Altar—a remote and dangerous region where illegal migrants and drugs are smuggled north.
Ramírez Limón conceptualizes these pairings as a form of infiltration of the social and ethnographic content of one series into the other that makes the new work at once more informative and also more open to interpretation. The landscapes infiltrate or seep into the cultural discourse of the Mexican Quinceañera series, becoming a backdrop to that celebration and its characters and offering a shorthand social history of a community. This exhibition is curated by MCASD Assistant Curator Lucía Sanromán.
Cerca Series: Javier Ramírez Limón is sponsored by The Frame Maker. The exhibition is made possible by a grant from the LLWW Foundation and gifts to MCASD's Annual Fund.

COLLECTORS XXIV
January 18, 2009 – May 10, 2009 (LJ)

MCASD’s premier Membership groups—the Contemporary Collectors and the International Collectors—have provided significant funds for the acquisition of new works for the Museum’s collection through their annual dues. This year’s selections include a variety of works assembled by MCASD’s curatorial staff to be voted on for purchase at the Collectors’ annual selection dinner on April 22, 2009.
Featuring an array of media, including sculpture, photography, painting, and video, the proposed selections are by both established and emerging artists. The exhibition of these works demonstrates the importance of these groups as the Museum continues to grow its collection, as well as enhance its strengths and expand in new directions. The support of the Contemporary Collectors and International Collectors has allowed MCASD curators to discover new artists, enrich the Museum’s collection, and build an engaged and informed community of contemporary art collectors and supporters in San Diego.

RISING TIDE: FILM AND VIDEO WORKS FROM THE MCA COLLECTION, SYDNEY
February 22, 2009 – June 21, 2009 (JB)

Rising Tide: Film and Video Works from the MCA Collection, Sydney is co-organized by MCASD and the Museum of Contemporary Art, Sydney as part of an exchange of exhibitions between the two institutions.
Focusing on selections of Australian video art from MCA Spermanent collection, the exhibition features works by Destiny Deacon, Virginia Fraser, Shaun Gladwell, Anne Kay, The Kingpins, Jess MacNeil, Todd McMillan, Kate Murphy, David Noonan, Susan Norrie, Patricia Piccinini, Jane Polkinghorne, Tony Schwensen, and Daniel von Sturmer. This exhibition is curated by Dr. Stephanie Hanor, MCASD Senior Curator, and Rachel Kent, MCA Sydney Senior Curator.
Rising Tide is made possible by Dr. Peter C. Farrell. The project has also been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and The ResMed Foundation.

MODERN MASTERS
February 22, 2009 – April 19, 2009 (JB)

This exhibition highlights works by such major modern artists as Willem de Kooning, Morris Louis, Joan Mitchell and Mark Rothko. The featured paintings represent the pinnacle of American mid-century art practice, including Abstract Expressionism and Color Field painting. The exhibition includes Morris Louis’s exquisite veil painting Beth Beth (1958), Adolf Gottlieb’s calligraphic Red + Red (1953) and Robert Motherwell’s Open #117 (1969), prime examples of each artist's work at pivotal moments in their careers. The exhibition also includes a vibrant abstract composition by the prominent German painter, Gerhard Richter.
On view at MCASD’s Downtown Jacobs Building, the works in Modern Masters demonstrate the originality, innovation, and quality of modernist painting from the mid-1940s to the early 1970s.
Modern Masters is made possible by a generous gift from Fritz and Nora Sargent.
PRIMARY FORMS: ILLUMINATED AND OPAQUE
Opening March 2009 (1001)
Primary Forms: Illuminated and Opaque features Minimalist and Post-Minimalist works from MCASD’s collection. As squares and cubes are the basis of the modular sculpture by Sol LeWitt, so are circles and spheres the foundation for Keith Sonnier’s 1970s incandescent light reliefs that explore this medium’s reflection and diffusion. Primary forms also echo in Stephen Antonakos’ staked neon light sculpture, as well as in the hanging neon pieces of Las Vegas-based Pasha Rafat—an artist of a later generation whose work is indebted to both the rigor of LeWitt’s form, and to Antonakos’ use of neon to inform and articulate space.
Two recent acquisitions of theatrical light and glass-pane wall reliefs by Sonnier, exhibited for the first time, are presented with another work, their equivalent in neon. A light box by Chilean artist Alfredo Jaar utilizes the same shapes—the square and the circle—but now as part of a documentary piece that remains, nevertheless, a beautiful exploration of luminosity through colored film. Finally, a two-channel video by the Mexico City-based British artist Melanie Smith completes this lighthearted meditation on formal variation, revealing the sheer labor and exertion behind such pure manifestations of light and matter.

JANE HAMMOND: FALLEN
April 26, 2009 – July 5, 2009 (JB)

Jane Hammond’s Fallen features a low platform covered by a large field of colorful, handmade leaves, each inscribed with the name of a U.S. soldier killed in Iraq. Based on actual leaves gathered by the artist beginning in 2004, the leaves in Fallen are comprised of color inkjet prints on the front and back, as well as acrylic paint and gouache. The spread of the installation grows as soldiers die. The first version of Fallen opened in 2005 with 1,511 leaves; recent iterations have included more than 3,500. The exhibition at MCASD will open with over 4,000 leaves.
Jane Hammond: Fallen is on loan from the Whitney Museum of American Art. Its exhibition at MCASD is made possible by a generous gift from Sheila Potiker.

SANDOW BIRK
April 26, 2009 – July 5, 2009 (JB)

Through painting, drawing, and printmaking, Sandow Birk explores contemporary social issues using styles often appropriated from iconic art-historical works. Several large woodblock prints from Birk’s series entitled The Depravities of War are themselves inspired by two earlier print series: Miseries of War by the French artist Jacques Callot (1591-1635) and Disasters of War by the Spanish artist Francisco de Goya (1746-1828). These prints combine traditional woodcut techniques with modern imagery including Jeeps and concrete bunkers. In keeping with their sources in Goya and Callot, the imagery is brutal and grotesque. The satirical realism of Birk’s painting, Secretary of Defense Donald Rumsfeld Presenting His Plan for the Invasion of Iraq, is very different in form from the woodcuts but provides related commentary on the depravities of war.

MIX: NINE SAN DIEGO ARCHITECTS AND DESIGNERS
May 22, 2009 – September 6, 2009 (LJ)

MIX: Nine San Diego Architects and Designers presents the work of nine architects and designers who lead local architectural design firms that are redefining housing design and development in this city and beyond. estudio teddy cruz, LUCE et studio architects, Sebastián Mariscal Studio, Studio Public (James Brown and James Gates), Rinehart Herbst (Todd Rinehart and Catherine Herbst), Lloyd Russell, and Jonathan Segal FAIA, are representative of a generation of architects and designers who have pursued sophisticated design forms aligned with a critical understanding othe economic and social context of our region. These qualities, often learned from the lessons of previous architects in this city, have contributed to the creation of original built architectural pieces and progressive housing models.
In 1982, MCASD, then known as the La Jolla Museum of Contemporary Art, organized a now iconic exhibition, entitled The California Condition: A Pregnant Architecture, that presented the work of 13 original California architects at the forefront of the field. More than 26 years later, MIX: Nine San Diego Architects and Designers marks MCASD's institutional commitment to continue to chart and support the work of innovative designers and architects, but today with a regional focus that speaks of the emergence of a specific “San Diego Condition” whose preeminence is attaining more renown outside of our city than in our community.
MIX aims to correct this situation by apprising the public of this outstanding work through an exhibition that demonstrates each architect’s and designer's expertise and experience in designing and building spaces appropriate to a location. Each architect, designer, and architectural firm has been invited to define their own presentation for this exhibition. In addition, there will be related public programs. The exhibition is curated by Dr. Hugh M. Davies, The David C. Copley Director, and Lucía Sanromán, Assistant Curator.
MIX: Nine San Diego Architects and Designers is made possible, in part, by The Getty Foundation, which supported the project’s interpretive materials and research. This is the third of three exhibitions in a series called Connecting to Place. Additional support comes from the County of San Diego Community Projects Fund and the Office of Supervisor Pam Slater-Price, the San Diego County Community Enhancement Program, and MCASD’s Annual Fund donors.

ABSTRACTION FOR EVERYDAY LIFE
May 22, 2009 – September 6, 2009 (LJ)

Abstraction for Everyday Life plays on the opposition between abstract forms of art-making and representational art by focusing on the work of women artists in MCASD’s collection who have included the experience of the everyday while remaining tied to formalist concerns. This exhibition is curated by MCASD Assistant Curator Lucía Sanromán.
Abstraction for Everyday Life is part of MCASD’s multiyear collection interpretation initiative, Connecting to Place, funded by The Getty Foundation. Additional support for the project comes from the Cochrane Exhibition Fund and the County of San Diego Community Enhancement Fund.

ATTEMPT TO RAISE HELL
Opening July 2009 (JB)

Attempt to Raise Hell is part two of the exhibition series celebrating the 25th anniversary of the appointment of Dr. Hugh M. Davies as the Museum’s David C. Copley Director and will feature notable installation works, paintings, video, and sculpture brought into the Museum’s collection throughout his tenure. Making use of the large galleries in the Jacobs Building, the exhibition will feature large-scale works by Ann Hamilton, Vito Acconci, Erik Levine, Charles Gaines, and other installations. Attempt to Raise Hell is sponsored by a generous contribution from Drs. Stacy and Paul Jacobs.

OCTAGON™: THE EXHIBITION
Opening July 2009 (JB)

Over a four-year period, Los Angeles-based artist Kevin Lynch was given unprecedented access to document the Ultimate Fighting Championship, the world’s leading professional mixed martial arts organization, both ringside and behind the scenes. This exhibition presents Lynch’s large-format, chromogenic prints selected from the artist’s photographic narrative of this epic experience. In these photographs, Lynch manages to capture the rawness of the fighters and their fights and the atmosphere of the arenas. Using a globe light in order to best emulate locker-room lighting, Lynch’s portraits of the fighters illustrate their vulnerability and their honor. “It’s not really a flattering light,” says Lynch, “but it’s a very honest light.” Lynch is internationally recognized for his growing portfolio of conceptual portraiture.

AUTOMATIC CITIES: THE ARCHITECTURAL IMAGINARY IN CONTEMPORARY ART
September 26, 2009 – January 31, 2010 (LJ)

Automatic Cities is the first major exhibition to assert and explore the concept of an “architectural imaginary” in contemporary art. The term refers to architecture in the broadest sense, comprising images of sites and cities built and unbuilt, rising from collective experience and imagination. The influence of the architectural imaginary on the visual arts will be mapped in an international context, setting work by prominent, architecturally engaged artists in dialogue with that by emerging practitioners from around the globe.
The exhibition includes works by 14 artists and one artists’ collective hailing from around the globe: Michaël Borremans (Belgium), Matthew Buckingham (New York), Los Carpinteros (Cuba), Catharina van Eetvelde (Paris, born Belgium), Jakob Kolding (Berlin, born Copenhagen), Ann Lislegaard (Copenhagen, born in Norway), Julie Mehretu (New York, born Ethiopia), Paul Noble (London), Sarah Oppenheimer (New York), Matthew Ritchie (New York, born London), Hiraki Sawa (London, born Japan), Katrin Sigurdardottir (US, born Iceland), Rachel Whiteread (London), and Saskia Olde Wolbers (London, born Netherlands). Participating artists are encouraged to stretch the boundaries of their practice by making new, site-responsive works for the exhibition. Automatic Cities is curated by MCASD Curator Robin Clark.
Automatic Cities: The Architectural Imaginary in Contemporary Art was organized by the Museum of Contemporary Art San Diego. The exhibition and catalogue are supported by a generous contribution from David Guss; and grants from the National Endowment for the Arts, a Federal agency; the Graham Foundation for Advanced Studies in the Visual Arts; and the American-Scandinavian Foundation. Education programs are supported by the County of San Diego Community Enhancement Fund and the Institute of Museum and Library Services.

DUCHAMP AND CORNELL: MUSEUMS IN MINIATURE
September 26, 2009 – January 31, 2010 (LJ)

The exhibition, drawn primarily from MCASD’s collection, will explore the use of collage, assemblage, and staged tableaux by artists Marcel Duchamp and Joseph Cornell as plays on the notion of an exhibition space. Evocative juxtapositions, absurdities, and rebuses abound in Cornell’s work, demonstrating the enduring influence of Duchamp’s practice, and of Surrealism more broadly during the second-half of the 20th century. Duchamp’s “miniature museums” are ironic, polemic, and humorous, whereas Cornell’s are richly textured and extraordinarily poetic. Museums in Miniature also will showcase the gift of four box constructions donated to the Museum by the Joseph and Robert Cornell Memorial Foundation. This exhibition complements Automatic Cities: The Architectural Imaginary in Contemporary Art and is organized by MCASD Curator Robin Clark.

TARA DONOVAN
Opening October 2009 (JB)

Tara Donovan’s sculptural installations are based on the physical properties and capabilities of a single accumulated material. She uses prosaic items including electrical cable, adding machine paper, straight pins, paper plates, and toothpicks. These materials are arranged in a manner that sometimes mimics the organization of geological or biological forms. Through this subtle and remarkably affecting presentation, drinking straws may suggest clouds and plastic cups may call to mind a brittle winter landscape. Part of the intrigue of Tara Donovan’s practice lies in the way she is able to present a mass of unaltered, simple objects that do not disguise what they are while simultaneously suggesting a range of richly poetic associations.
Organized by the Institute of Contemporary Art/Boston, this is the first major museum survey of Donovan’s work. Tara Donovan was on view at ICA/Boston from October 10, 2008 through January 4, 2009, before traveling to other venues, including MCASD’s Jacobs Building in downtown San Diego in fall 2009. The San Diego presentation of Tara Donovan is organized by MCASD Senior Curator Dr. Stephanie Hanor.

CERCA SERIES: MARA DE LUCA
Opening October 2009 (JB)

The exhibition will present Mara De Luca’s long-term project Stations (2006-2007) together with a site-specific altarpiece triptych. Stations is an installation of 14 paintings loosely based on Barnett Newman’s Stations of the Cross (1958-64). Each painting in the series proposes a conversation between abstract fields of color, painstakingly painted in a manner reminiscent of Newman's subtle Post-Painterly surfaces. These abstract canvases are overlaid with illusionistic motifs taken from, among other images, Baroque painting, Hollywood studio advertisements, televised war coverage, and political propaganda.
As a series, these paintings address the collision between abstraction and its visual and ideological opposite: illusionist or realistic images made in the service of mass media advertising. Through these strategies the Los Angeles-based artist radicalizes the apolitical intentions of post-WWII American abstract painting, suggesting that mass media and high art are part of a single visual universe of ideas and ideologies whose meanings are mutually dependent. This exhibition is curated by MCASD Assistant Curator Lucía Sanromán.
The exhibition is made possible by a grant from the LLWW Foundation and gifts to MCASD's Annual Fund.

DARKROOM: PHOTOGRAPHY AND NEW MEDIA IN SOUTH AFRICA 1950-PRESENT
February 21, 2010 – May 16, 2010 (LJ)

Photography, both documentary and pictorial, has always been a powerful tool for shaping perception and affecting change. In South Africa, its role has been particularly distinguished by its cultural and political history. Darkroom will examine recent developments, including increased use of new media and video art to address issues of complex identity and multiculturalism, as well as artists’ abilities to remain connected to contemporary trends and active in the international milieu.
Organized by Tosha Grantham, Assistant Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts, the exhibition features over 80 photographs, and a variety of mixed-media, photo-based works and video projections.

VIVA LA REVOLUCIÓN: A DIALOGUE WITH THE URBAN LANDSCAPE
July 17, 2010 – November 28, 2010 (JB)

For the first time in history, the majority of the world’s population lives in urban communities. Urban settings and their corresponding lifestyles are major sources of inspiration in contemporary culture, evident within the work of young artists who have rejected academic trends and ideas, instead embracing urban styles and subcultures as their primary source of inspiration. This is an historic revolution in visual culture, in which the codes and icons of the everyday—found on the streets, and in graffiti, signage, waste, tattoos, and graphic design—have been appropriated and used as an integral part of contemporary artistic practice. Artists are often as much a part of youth culture as they are participants in the art world, and they follow earlier practitioners such as Jean-Michel Basquiat and Keith Haring, who in the 1980s used the style and systems of dissemination of the street to make and promote their work. Far removed from the tradition of landscape painting portraying idyllic settings, the urban landscape is a source of inspiration, a platform for innovation, and a vehicle for expression.
Organized by guest curator Pedro Alonzo, Viva la Revolución: A Dialogue with the Urban Landscape will explore the dialogue between artists and the urban landscape using four approaches: work on view in MCASD’s galleries; commissions and interventions in public space; street bombing throughout San Diego; and work by various artists in a single collaborative site outside of the Museum.
Artists in the exhibition often appropriate the city’s physical elements to create their work, such as Barry McGee’s use of cars for sculpture, Mark Bradford’s incorporation of signage into his paintings, and Moris’s use of criminals’ tools and weapons to make installations. Other artists use the city as a platform: Shepard Fairey and Space Invader have both dedicated their adult lives to reaching cities around the world with their ongoing interventions and campaigns. Likewise, for the collective FAILE, city walls function as a sketchbook, or as the inspiration for studio paintings. The exhibition will also feature work by Dr. Lakra and Mike Giant, both actively involved in tattoo practice and who incorporate the style and techniques of tattooing into their art. Finally, many artists in the exhibition express their strong political view-points and agendas. For example, social inequality has led Akayism to study the empty and forgotten spaces in cities to create dwellings, parks, and swings for those in need of more than food and shelter, while Fairey’s work has recently become synonymous with America’s political change.
Institutional support for the Museum of Contemporary Art San Diego is provided in part by the City of San Diego Commission for Arts and Culture.

MUSEUM OF CONTEMPORARY ART SAN DIEGO

Founded in 1941, the Museum of Contemporary Art San Diego (MCASD) is the preeminent contemporary visual arts institution in San Diego County. The Museum’s collection includes more than 4,000 works of art created since 1950. In addition to presenting exhibitions by international contemporary artists, the Museum serves thousands of children and adults annually at its varied education programs, and offers a rich program of film, performance, and lectures. MCASD is a private, nonprofit organization, with 501c3 tax-exempt status; it is supported by generous contributions and grants from MCASD Members and other individuals, corporations, foundations, and government agencies. Dr. Hugh M. Davies is The David C. Copley Director at MCASD.
Institutional support for the Museum of Contemporary Art San Diego is provided in part by the City of San Diego Commission for Arts and Culture.
www.mcasd.org

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