Archive for 2014
Taking The Discipline: A Herzog Film Series
Curated by Andrew McNeely
Oct 13, 2014
Film still from Ballad of the Little Soldier 1984

As part of the UAG's continuing programming for the fall, the gallery is pleased to announce five screenings of the work of German director Werner Herzog. Among the many filmmakers to emerge out of the 1970's New German Cinema Movement--Margarethe von Trotta, Rainer Werner Fassbinder or Wim Wenders--Herzog arguably has enjoyed the most broad acclaim for his films. This is in spite of the fact that Herzog's work routinely came under attack by both the Left and the Right for his often heavily aestheticized sensibility that equivocated between documentary and fiction. This series shall present a non-chronological overview of some his lesser known "documentary" works to frame two films which are widely considered his masterpieces--Herz Aus Glas (1976) and Fitzcarraldo (1982).   



Ed Moses: Cross-Section
Curated by Kevin Appel & Juli Carson
Oct 11, 2014 to Dec 13, 2014
Ed Moses, The Red One (detail), acrylic on canvas, courtesy of Jill and Duane Meltzer
As part of its Major Works of Art Series, The University Art Galleries (UAG) proudly presents Cross-Section, a solo exhibition by Ed Moses. Utilizing all three galleries and featuring works from the 1960s to the present, Cross-Section traces the common thematic thread binding Moses’s prolific and continuous act of exploration. In so doing, the philosophical continuity of the artist’s disparate visual strategies is framed - strategies the artist has repeated and contradicted as his investigation into the painted form has changed direction or reversed course over the past five decades. The curatorial perspective, in turn, provides a rhizomatic framework to Moses’s oeuvre – a genealogy of these strategies – in place of the conventional, chronological account typically used by mu...


Adorno Likes Gray
10th Annual Guest Juried Undergraduate Exhibition, Curated by Juli Carson and Daniel Joseph Martinez
Apr 03, 2014 to Apr 20, 2014
Adorno Likes Gray: 10th Annual Guest Juried Undergraduate Exhibition

In Negative Dialectics, Adorno claims that “grayness could not fill us with despair if our minds did not harbor the concept of different colors, scattered traces of which are not absent from the negative whole.  The traces always come from the past.”  Enter the tenth annual juried undergraduate exhibition, Adorno Likes Gray.  The exhibited artworks offer different libidinal traces of the past across the fields of art and politics – a matrix of lotteries, torture, grids, queerness, formlessness, psychopathology, abstraction, suicide, genocide and transcendentalism – the different colors of the negative whole called critical aesthetics.  Curated by Juli Carson and Daniel Joseph Martinez, the exhibition features artwork by Steven C. Crane, Katelyn Dorroh, Ma...


An Undergraduate Solo Project by Kat Hamrock
Apr 03, 2014 to Apr 20, 2014
Scab(s): An Undergraduate Solo Project by Kat Hamrock

In conjunction with the tenth annual juried undergraduate group exhibition UAG presents the annual undergraduate solo project by Kat Hamrock.


Scab(s) is an exhibition comprised of two parts: Blueprint and An Ode To.


Blueprint reveals itself through reflective tape that has been placed into each of the corners of the Room Gallery. The tape forms an invisible line drawing, which reiterates the original architectural structure of the institutional space.


By using tape, the walls of the institution bond in a way that creates a co-dependent cycle between the artist and the institution.  Without the artist (acting as the adhesive), the walls of the institution wouldn’t be able to stand on their own. And without the institution, the artist’s work...


Salò Island
A Solo Project by Yoshua Okón, Curated by Juli Carson
Jan 09, 2014 to Mar 15, 2014
Yoshua Okón, Salò Island, 2013, (video still) 3 channel video, 31m 30s

Yoshua Okón’s Salò Island conceptually begins with a crime scene: the murder of Italian filmmaker Pier Paolo Pasolini. 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 film, Salò, or the 120 Days of Sodom (1975), was a scathing critique of fascism that employed explicit scenes of sadistic violence. Based on the novel 120 Days of Sodom, by Marquis de Sade, Salò is considered his most cont...


The Measure of All Things
Curated by Amy Sanchez and Andrew McNeely
Jan 09, 2014 to Feb 08, 2014
Tomashi Jackson, Red Handed, 2010, Oil Stick Live Drawing Performance - courtesy of the artist

The body which we inhabit and which is for us the irreducible measure of all things is not in itself irreducible.

-David Harvey, Spaces of Hope

Had Karl Marx been present when Protagoras made the famous assertion that, “man is the measure of all things,” he might have offered the correction that: labor is the measure of all things. Systems of production form the circumstances of our existence, yet these systems are determined by the basic agency of the body itself. Therefore, in continuation of UAG’s winter series, the Critical Curatorial Studies program is excited to announce the forthcoming exhibition The Measure of All Things. This exhibition brings together works by Julián D'Angiolillo, Tomashi Jackson, Ro...


Cult of Splendor
A Solo Exhibition by Victoria Fu, Curated by Kellie Lanham
Jan 09, 2014 to Feb 08, 2014
Victoria Fu, Cult of Splendor, 2014, installation view, photo by Elan Greenwald ©UCI UAG

In Siegfried Kraucer’s 1926 essay Cult of Distraction he describes the opulent movie palaces of the 1920s as possessing a “surface splendor,” one enticing viewers to forget the hardships of living within an industrial society.  The intoxicating lure of the screen and its ability to take us out of our harsh reality is as relevant now as it was some 100 years ago. As movie palaces have given way to other spectacular screens  – television, smart phones, laptops, and tablets – we find that magnificent distractions still have an enduring following: this is the site of Victoria Fu’s solo exhibition Cult of Splendor.  In a constellation of Fu’s 16mm films and digital video installations we encounter such diverse topics as appropriation and the unclear ethics of Internet use,...