Archive for 2013
Curated by Michael Moshe Dahan
Nov 11, 2013 to Dec 02, 2013
Pasolini Film series image

In anticipation of artist Yoshua Okón's new commissioned work for the CAC Gallery in January of 2014, the University Art Gallery and the Department of Art present SEX, MONEY, FASCISM: A PASOLINI FILM SERIES.   Yoshua Okón will produce a film installation on the murder of Pier Paolo Pasolini, the controversial Italian filmmaker, poet, writer and intellectual. Giuseppe Pelosi, a seventeen-year-old hustler, was arrested and confessed to murdering Pasolini. However, in 2005 Pelosi retracted his confession, bringing renewed attention to both Pasolini’s homicide and artwork, the latter of which was regularly the subject of censorship.


Pasolini's first novel Ragazzi di Vita (1955), which dealt with the Roman lumpenproletariat, resulted in obscenity charges. His final work, Salò...


The Symbolic Landscape: Pictures Beyond the Picturesque
Curated by Juli Carson
Oct 03, 2013 to Nov 27, 2013
Monica Majoli, Black Mirror (Amy), 2011, oil on panel, 16 x 20". From the diptych Black Mirror (Amy), 2011-12. Photo credit: Douglas M. Parker Studio

The Symbolic Landscape’s thematic derives from Rosalind Krauss’s critique of pictorial form, made in her 1984 essay “The Originality of the Avant-Garde.”  There she reminds us that Jane Austen had challenged the conventional notion of the “picturesque” as early as 1818, at which time the picturesque was conceived as being “remarkable for its singularity” and thereby “afforded a good subject for landscape.”  Krauss is quick to point out the semantic paradox of conflating “singularity” (nature) and “landscape” (painting), well before the avant-garde would ponder the same phenomenon within the field of art.  For it was this same  paradox that directed a branch of modernist and postmodernist artists throughout the twentieth century, from Marcel Duchamp to Sherrie...


A Twice Lived Fragment of Time
A Solo Exhibition by Will Rogan, Curated by Allyson Unzicker
Oct 03, 2013 to Nov 27, 2013

Will Rogan’s solo project, A Twice Lived Fragment of Time, connects the past to the present through the simple act of collecting and organizing obsolete imagery. Composed of images gathered from de-accessioned library books, Rogan’s artwork sheds new meaning on what has been forgotten. This archive of the outmoded not only references the desires of a nostalgic return; it also probes the politics involved in governing information to the public. In the process, poignant questions arise. At what moment in time is information yielded obsolete, and to what end are decisions made to relinquish this information from our systems? Revisiting these fragments of time now lost, Rogan’s work reaches out to the past imaginatively to rethink our future.


Will Rogan received his...


Cabo Nombre
A Solo Exhibition by Zinny / Maidagan
Jan 10, 2013 to Mar 16, 2013
Image, Cabo Nombre, Zinny, Maidagan

Continuing our Critical Aesthetics Program, the CAC presents Dolores Zinny and Juan Maidagan's Cabo Nombre, a site specific installation addressing Jack Langson Library, 1 of 8 original buildings on UCI campus designed by architect William Pereira in 1965.  In an attempt to learn and appropriate the façade of this iconic builiding, Zinny / Maidagan present large-scale hand-made drawings on paper and unfolded planes of fabric.  Historically, the library's serial repetition of architectonic units stemmed from the economic and technological availability of "pre-cast concrete."  More specifically Langson's façade consists of a three-dimensional element repeated in an almost military order in relation to the broken line of the surrounding mountain's horizon vista, contrasti...


If Memory Serves
Curated by Kellie Lanham, Isabel Theselius, and Allyson Unzicker
Jan 10, 2013 to Feb 09, 2013
Image, If Memory Serves, Christina David

Remembrance of things past is not necessarily the remembrance of things as they were.

- Marcel Proust   


Continuing our Critical Curatorial Series, the UAG presents If Memory Serves, an interdisciplinary exhibition of international emerging artists.  Conventionally, we understand memory as reflecting a coherent personal history.  However, memory simultaneously produces an illusory chronicle — a paradoxical combination of what is lived and what is perceived.  We might ask, therefore: what or whom does memory serve?  As a response to this quandary, If Memory Serves examines the act of remembrance as both an individual and collective production.  Through and across various mediums — including hyperrealist drawing, large-sc...