TransPOP is a compilation of sixteen contemporary Vietnamese, Korean, and United States artists whose art focuses on the shared history, turmoil, and pop culture of the three countries.
Steven Criqui (1964-2007), a lecturer in the Studio Arts department from 1995-2006, is remembered in a survey exhibition at the University Art Gallery January 10th through February 9th, 2008.
Paradox and Practice: Architecture in the Wake of Conceptualism presents seven projects that re-imagine key strategies of historical Conceptualism through the operation of paradox. Specifically, the classical Aristotelian notion of "site," conceived as a distinct physical space, is rejected.
This exhibit commemorates the loss of Bas Jan Ader in 1957, curated by Brad Spence. The artist taught at, and created and exhibited work at the University of California, Irvine. The exhibition catalogue recognizes and honors the diverse works of Bas Jan Ader.
This 1998 exhibition was curated by Anne Walsh. It includes artists Francis Alys, Lutzx Bacher, Stan Douglas, Bia Gayatto, Joseph Grigely, Evan Holloway, and Anna Mendieta.
This 1997 catalogue is a compilation of four decades of visual art at the University of California, Irvine. A Hotbed of Advanced Art celebrates the array of artists who have contributed and helped enrich UC Irvine's artist culture.
1996 marked an important year for the Philippines and Filipino diaspora as it signified the hundredth anniversary of the Philippine revolution against Spain and the fiftieth anniversary of its independence from the United States.
Curator Catherine Lord describes the word "pervert" as inspiration for this exhibit in a range of contexts in order to make a point about the word: its ability to be reversed and define a variety of audiences.
Commissioned by the University of California's President Clark Kerr in 1960, Ansel Adams' Fait Lux is a series of photographs depicting the nine University of California campuses.
The context of this show suggests a movement away from the abstract and a return to more figurative forms of representation. Attempting to define society beyond functional survival, Lynn Aldrich and Richard Sedivy collaborate different media to communicate humanity's relationship with nature.
In this catalogue Melinda Wortz, the curator for this show, describes a lecture by Henry Gledzahler at Yale University: “There are two prerequisites for having any sense of what is of value and quality in your own time. The first is a grasp of the history of art.
Carole Caroompas's works are inspired by terrifying yet fascinating childhood fairy tales. Following the recent research and interpretation of fairy tales in the 1990's, Caroompas plays with the tie between fairy tales and the human psyche.
This exhibition, after premiering in 1989 at the University of Pennsylvania, came to the University California, Irvine campus with much sponsorship and support.
Betty Freeman’s More Music People, a series of portratis of composers, was conceived following the success of Freeman’s 1972 documentary on Harry Partch.
Sheila Lichacz finds inspiration in her memories as a child searching for vessel and shell shards left by Indians on the beach. Lichacz reconstructs the vessels and shells in her paintings in their entirety, using them as historical icons.
The exhibition of paintings and drawings by Jack Ox display the ways in which the elements of music become visualized in art. Tone, duration, and pitch of the beginning of a Bruckner symphony are represented through the use of small colored strips.
Diversity and Presence is a compilation of artwork by female faculty members within the University of California system. The exhibit strives to unite and present the works of female artists, which, until the 1980s, were outnumbered by the vast number of male faculty artists.
David Ireland’s approach inquires: how does one make art if not by -- making art? Delving into the creativity behind artists' work, Ireland provokes questions that are not necessarily answered in his work.
This 1987 exhibition of iconoclastic artist Nick Vaughn's work is "the artist's personal inquiry into the possible and impossible behaviour patterns of human beings." His use of fabric, a material familiar to the viewer, "creates works of art that reflect the social and physical restrictions of
A collection of Graduate Student work from 1986 to 1987. The artists in this exihibit include Lee Abrahmov, Duane Baker C.P.I., Judith C. Chappus, Karin Feuerabendt-Steinberg, Martha Jackson, Alan Nakagawa, Drew Tracy Noll, John Rand, and Madison Webb.
This catalogue details the exhibition of collaborative photographers Suzanne Hellmuth and Jock Reynolds. Their “photographic works attempt to examine the details of meaning within a broad area of visual material." They use an interesting combination of “archival, documentary, and ...
Catalogue of exhibition commemorating the University of California, Irvine's twentieth anniversary. Exhibition featured works by Kim Abeles, Mark Lere, Marc Pally, Judy Baca, Tony DeLap, John Paul Jones, Art Nomura, and Sobn Sorenson, among others.
This exhibition of John Coplans' work from 1980-1985 was part of a series of exhibitions commemorating the University of California, Irvine’s twentieth anniversary.
Robyn Denny’s show at the University Gallery displays works that depart from his previous geometrically precise imagery. Denny’s dark yet luminous paintings executed in Southern California are, upon first approach, simple abstractions.
Jones’ devotion to creativity and rigorous experimentation encouraged him to work with many mediums. The empty space between the ghostly figures in his prints, such as Girl for Goya, Garden of Eden, Leda and the Swan, resonate art-historical, philosophical, and religious themes.
As this 1984 exhibition portrays, Bill and Merry Norris’s collection of primarily Californian artists is an eclectic and pluralistic example of contemporary art.
A major theme in Faiya Fredman’s work is elucidated in her Akroteri Series: the idea of concealment and disclosure, “the timelessness created when the overlay of time preserves what it covers." The mixed media images imitate the layers of time unearthed in the excavation at Thera (Santorini) whi
In this survey of his work between 1980 and 1983, James Ford uses architectural vocabulary in order to ask “how or if we can verify our human existence without markers of place and space." This work also addresses creation and destruction and the “confluence of past, present and future in the cu
Beth Ames Swartz’s Israel Revisited is both an “elaborate conceptual project” and “an apotheosis of art as a product of the process of life." The pieces in this series express the stark contrast between creation and destruction, using hue as the principle mode of expression.
The common thread tying Bruria, Gilah Yelin Hirsch, Beth Ames Swartz, and Michele Zackheim together is their rediscovery of the “ancient, esoteric symbolism” in their shared religion, Judaism, as well as their individual inspiration drawn from the Kabbalah.
Cork Marcheschi’s exhibition Experience at Council Grove shows the artist as both a literalist and a Modernist in that “his works are complete without reference to anything outside the materials which are presented in a straightforward manner." His materials, florescent tubing, Christmas lights,
The exhibit Abstraction in Los Angeles consists of seventy abstract works from the Los Angeles area. The exhibit brings to attention the prominence of abstract art and highlights its diversity as well as its ability to evoke a multiplicity of experiences.
The second of a two-volume series, this catalogue represents an exhibit composed of works from eight different institutions including the Los Angeles Institute of Contemporary Art, the University of California at Irvine, Mount St.
Dewain Valentine's sculptures play with the transparency and reflection of light, creating "illusions of colored light floating in space." To achieve these illusions, he primarily works with cast resin; however, in his exhibit at UAG, Valentine chooses a new medium--glass.
This show is composed of images that depict people engaging with items and instruments that evoke the laws of physics.
Richard Jackson’s early interaction with artwork was behind the scenes. Preparing works for installation at the Pasadena Museum made him very aware that many works lost their visual power when a viewer stood at a far distance.
The artists included in the 1977 exhibition Female Fantasies are “reflective of the…1970’s through their interest in combining personalized, fantasy content with stylistic or thematic material of other art historical periods." The works of Jo Anne Bourgault, Anna Guntner, Elatia Koepfli, Janice
In this solo exhibit, the use of fluorescent tubes and the silhouettes of the exhibit's own visitors stimulate a subjective experience with light. The artist, Hap Tivey, recounts experiencing light in the world within the conventions of vision, and also inside the chamber where his consciousness
This exhibition of previously unpublished images of the Kwakiutl Indians by Edward S. Curtis would better be described as an anthropological endeavor than as an artistic one. The Kwakiutl are a large number of blood-related tribes based on the coast of British Columbia.
The title of the 1975 University of California, Irvine exhibition Private Spaces "refers to the involvement of the viewer in the spaces of his or her own mind, as well as the artists’ use of personalized imagery in small enclosed spaces." Anthony Berlant, Joseph Cornell, David Furman, Robert Gra
This exhibition celebrates the first ten years of the University Art Gallery with a general “documentation, rather than a [more specific] demonstration of purely aesthetic taste" of the Gallery's history. The artists included in the show have attended and / or taught at the University of Califor
This compilation of works by Peter Lodato explores the idea of illusion and space including its symbolic allusionistic powers, representations, and the parallels that exists between psychological space, physiological space, color, and light.
After living and studying Art History on the East Coast, Pashgian went back to her roots in Southern California. Here she occupied herself with the rendering of natural light in her art.
The four dynamic and soulful Chicanos in this show display a wide range of backgrounds, from the Los Angeles area to various parts of Mexico. The artists' individual paths through college as well as religious anecdotes are represented as documentary images in the catalogue.
In an interview with Maria Nordman, Barbara Haskell, Curator of the Pasadena Musuem of Art, and Hal Glicksman, Director of the Art Gallery, University of California, Irvine, pry for answers and share their interpretations of Nordman’s work.
Milton Avery (along with Hans Hofmann) is especially known for having "kept Fauvist concerns alive when Abstract Expressionism, with its adaption of Cubism, held sway in America as the dominant force in modernist painting." His work exhibits interest in the Fauvist concern with color, rather tha
Painter John McLaughlin's work is similar to the work of the Russian Constructivists and De Stijl group in that it employed the same notion of pure painting.
The five Los Angeles sculptors featured in this exhibition exhibit a number of qualities in common with one another although they do not share any group affiliation.
This 1970 exhibition commemorated the opening of the permanent Art Gallery at the University of California, Irvine. Included are Lichtenstein's interpretations of Monet's serial Haystack and Cathedral images.
This exhibit examines manifestations of landscape art throughout fifteenth century Europe.
New York: The Second Breakthrough is a compilation of artwork dating from the first half of the 1960s-- a decade of extreme artistic culmination in New York. The exhibit is unique in that it brought to Irvine works that had yet to have ever been displayed in Southern California.
This 1968 joint exhibition by Universities of Irvine and Davis is a “visual anthology of intimate works on paper by artists who have contributed in a significant manner to twentieth century art." Its purpose was to allow viewers the opportunity to “study and compare” the featured works “for an i
Faculty '68 exhibits the art work of the University of California, Irvine's School of Fine Arts' faculty. Included in this exhibit are works by distinguished faculty members Tony Delap, Robert Irwin, Vija Celmins, Craig Kauffman, and Richard Smith.
When asked what his sculptures were meant to express, Charles Mattox explained he desired to reflect technology that conditions our culture. Mattox was provoked to create his first kinetic sculpture after reading the analyses of Siegfried Gideon and Lewis Mumford on technology.
Various artworks selected from the collections of Mr. and Mrs. Robert Rowan including works by Roy Lichtenstein, Kenneth Noland, Morris Louis and Andy Warhol, as well as works by many other notable artists.
In 1954 The Hunt Foods and Industries created a foundation to establish a Museum of Art Collection. This collection is comprised of European and Oriental works of all periods that have been collected by the Hunt Foods and Industries under the leadership of Mr. Norton Simon.
The exhibit focuses on the art works of Europeans Francis Bacon, Balthus Klossowski de Rola, Jean Dubuffet, Alberto Giacometti, and Giorgio Morandi.
The Abstract Expressionist Ceramics exhibit focused on the revolutionary advancement of ceramic art in the 1950s. The advancement was due in large respect to a group of artists on the West Coast who became deeply involved in the creation of abstract ceramics in the 1950s.
Twentieth Century Sculpture explores the shift of sculpture from a durable art form of the past, which was primarily linked with architecture to a new fragile form of sculpture in the twentieth century.