The Department of Art at the University of California, Irvine presents the solo exhibitions of Kelly Donahey, Jason Gowans, and Reinhart Selvik. This is the second round of 2017 MFA thesis exhibitions.
Kelly Donahey — University Art Gallery
Stirring Battle Scenes. U.S. troops and “Indians” take part, including the famous generals and chiefs engaged in the Battle of Greasy Grass. Exhume gold in the Black Hills of North Dakota. Historical! Educational! Of more than ordinary interest to the public. Living Picturesque reproductions combined for an Effective Illustration of Wild Western Life. Projections! Sound! See Comanche, the horse discovered with more than a dozen wounds in its hide. The sole survivor of Custer’s army. Witness the scalpings of Buffalo Bill’s Wild West Show. Marvel at Sitting Bull’s trained horse as it dances to the gunshots that killed him.
Jason Gowans — Contemporary Arts Center Gallery (Front)
Gowans’s most recent body of work is based on a series of visits to the White Sands Missile Range in New Mexico. Consisting of mural-sized photographic prints constructed from 3D modeling software as well as sculptural and text works, WSMR continues Gowans’s investigation into the history and evolution of photographic imaging and technology, focusing on how images continually shape and define our interactions with the world both consciously and subconsciously.
Reinhart Selvik — Contemporary Arts Center Gallery (Back)
Unfolding across three corresponding artworks, Residue is a sculptural installation threading together geography, memory, and traces of experience embedded in the architectures of Los Angeles. The disparate sites Selvik references become a cacophonic topology of home, neighborhood, city, and self. In Avery, an elaborate childhood prank percolates through slices of the event’s primary object. Expanded, flattened, and distorted, Avery is imbued with the hazy fickleness of recollection. In Current, two large-scale molds of city street corners form an indexical parenthesis bracketing a two-block expanse along South Street in North Long Beach and fossilizing the pedestrian vestiges of the street’s history. Lastly, in Moniker, by privileging intuition, reaction, and adaptation, thought is corporealized in the negative space between the artist’s movements. Residue uncovers the traces embedded within architecture, from the street corner to the soul. Events rest unseen within the architecture of everyday experience. Though lost in the boundlessness of distant time, events and environments continue to impact the currents of lived experience. Selvik navigates through different kinds of memory, exploring materializations of information coded into physical space. The sphere of the social becomes parenthesized, localized, and frozen.