School of Art
Paul Brach Visiting Artist Lecture Series
Thursday, September 17 @ 7:30pm in The Lund
Adrienne Truscott, one-half of the infamous Wau Wau Sisters, dressed only from the waist up and the ankles down, undresses and dresses down the rules and rhetoric about rape, comedy and the awkward laughs in between. With commentary from George Carlin, Louis C. K. and Robert De Niro, ducks, whistles, and enough gin and tonics to get a girl in trouble, she lets her pussy do the talking. Set to pop music. Can you make jokes about rape? She plans to, all night long.
Who: US native Adrienne Truscott has been making genre-straddling work for over 15 years. She is also one half of The Wau Wau Sisters, a boundary-busting cabaret act. In 2013, her critically-acclaimedAdrienne Truscott's Asking For It: A One-Lady Rape About Comedy Starring Her Pussy and Little Else! won the Edinburgh Foster's Panel-Prize and has been touring internationally ever since. She is a 2014 Doris Duke Impact Award Artist, performed recently at the Sydney Opera House’s Festival of Dangerous Ideas and The Moth, is a contributing writer for The Guardian and currently developing projects for television. As an artist, she wears many hats and is attracted to the possibility of failure as a reason to work hard on compelling ideas.
Tuesday, September 22 @ 6:30pm in F200
Brooklyn based artist Jaqueline Cedar has an MFA in Painting from Columbia University and a BA in Art from UCLA. Recent exhibitions include Brian Morris, BAM, Dutton, and 106 Green in NYC and Wharton + Espinosa in LA. Her work has also been featured in Huffington Post and New American Paintings.
Thursday, September 24 @ 6:30pm in F200
Born in Lebanon in 1980, Tarek Atoui moved to France in 1998 to study sound art and electro-acoustic music at the Conservatoire national de Reims in France. He has served as co-artistic director of the STEIM Studios in Amsterdam, a center for the research and development of new electronic musical instruments. Atoui has presented work in international venues and participated in exhibitions including the Sharjah Biennial, Sharjah, UAE (2009 and 2013); the New Museum of Contemporary Art, New York (2010); La Maison Rouge, Paris (2010); the Mediacity Biennial, Seoul (2010); the Haus Der Kunst, Munich (2010); Performa 11, New York (2011); dOCUMENTA 13 (2012) and the 8th Berlin Biennial (2014).
Tarek Atoui currently lives and works in Paris, France.
Friday, September 25 @ 6:30pm in F200
Martin Creed is a British artist and musician. He won the Turner Prize in 2001 for Work No. 227: The lights going on and off, which was an empty room in which the lights went on and off at 5 second intervals. Creed lives and works in London.
For Friday’s lecture, Martin will be bringing his guitar, sing songs, and give a talk.
Basel Abbas and Ruanne AbouRahme
Tuesday, September 29 @ 7:30pm in F200
Basel Abbas and Ruanne Abou-Rahme (b.1983) work together across a range of sound, image, text, installation and performance practices. Their practice probes a contemporary landscape marked by seemingly perpetual crisis and an endless ‘present’, one that is increasingly shaped by a politics of desire and disaster. They have been developing a body of work that questions this suspension of the present and searches for ways in which an altogether different imaginary can emerge. In their projects, they find themselves excavating, activating and inventing incidental narratives, figures, gestures and sites as material for reimagining the possibilities of the present. Often reflecting on the idea of returns, amnesia and deja vu, and in the process unfolding the slippages between actuality and projection (fiction, myth, wish), what is and what could be. Their practice, largely research based, frequently investigates the spatiotemporal resonances between seemingly disparate moments.
Overwhelmingly their approach has been one of sampling materials (both existing and selfauthored) in the form of, sound, image, text, objects and refiguring/scripting them into altogether new ‘scripts’. The result is a practice that investigates the visceral, material possibilities of sound, image, text and site, taking on the form of multimedia installations and live sound/image performances.
They have exhibited and performed internationally and founded the sound and image performance group Tashweesh. Solo exhibitions include The Incidental Insurgents , ICA (Philadelphia, 2015) and Office for Contemporary Art (Oslo, 2015), Akademie Der Kuenste Der Welt (Cologne, 2014), The Zone, New Art Exchange (Nottingham, 2011) and Collapse , Delfina Foundation (London, 2009).
Mammalian Diving Reflex (workshop/projects)
Thursday, October 8 @ 6:30pm in F200
RT: Mammalian Diving Reflex views innovative artistic interventions as a way to trigger generosity and equity across the universe. Founded in 1993, Mammalian is a research-art atelier dedicated to investigating the social sphere, always on the lookout for contradictions to whip into aesthetically scintillating experiences. We are a culture production workshop that creates site and social-specific performance events, theatre-based productions, gallery-based participatory installations, video products, art objects and theoretical texts. Mammalian’s body of work is interconnected, varied and vibrant, reflecting our unique and growing body of knowledge and expertise on the use and function of culture. We create work that recognizes the social responsibility of art, fostering a dialogue between audience members, between the audience and the material, and between the performers and the audience. In all it’s forms, the company’s work dismantles barriers between individuals of all ages, cultural, economic and social backgrounds; we collaborate with non-artists, and offer both participatory opportunities for the audience as well as the traditional option of simply watching the proceedings as they unfold. It is our mission to bring people together in new and unusual ways, in Toronto, Canada, our home-base, and around the world, to create work that is engaging, challenging, and gets people talking, thinking and feeling.
Wednesday, October 14 @ 6:30pm in F200
Laura Aguilar (b. 1959) is an alumna of East Los Angeles College and a life-long resident of the San Gabriel Valley. She began making artwork while in high school, and has continued to practice the medium of photography and video for more than thirty years. Aguilar has been featured in a wide range of art exhibitions, including shows devoted to identity categories (Chicano, gay/lesbian, woman), geography (Los Angeles, Southwest, United States), and social issues (the body, sexuality, obscenity). Her work deals mostly with portraiture, documenting social groups and identities that remain invisible in mainstream culture.
Thursday, October 15, 2015 @ 6:30 pm in F200
Often drawing on post-colonial theory, Brendan Fernandes’ work investigates the concepts of cultural identity and authenticity, and highlights the complexities of such terms in the context of globalization. His work has examined Western notions of an exotic Africa, as well as how culture is disseminated in the Western world. Through his use of language, dance, video and sound, Fernandes re-examines historical material with an eye towards experiential and affective elements.
Born in Kenya of Indian heritage, Brendan Fernandes immigrated to Canada in the 1990s. He completed the Independent Study Program of the Whitney Museum of American Art, and earned his MFA from The University of Western Ontario and his BFA from York University in Canada. He has exhibited internationally, including invitations to participate in The Third Guangzhou Triennial, Guangzhou, China (2008) and the Western New York Biennial through The Albright-Knox Art Gallery in Buffalo, NY (2007).
Thursday, October 22 @ 6:30pm in F200
Doug Lichtman is a tenured professor of law at UCLA. He joined the faculty in 2007, having previously spent ten years teaching and writing at the University of Chicago. His areas of specialty are patent law and copyright law. Lichtman’s academic work has been featured in journals including the Journal of Law & Economics, the Yale Law Journal, and the Harvard Business Review. He also writes for mainstream publications like the Wall Street Journal, the New York Times and the Los Angeles Times.
In addition to his academic pursuits, Mr. Lichtman maintains an active consulting practice, advising Fortune 100 clients and major institutional investors on patent, copyright and antitrust strategy. Recent clients include Venrock, Eton Park, Lone Pine, Microsoft, Oracle, the Associated Press, Viacom and the State of California.
Professor Lichtman has undergraduate degrees in electrical engineering and computer science from Duke University, and a JD from Yale Law School.
Borrowing Without Permission: Copyright law in general forbids the unauthorized copying of protected expression. There is a notable exception, however: the doctrine of fair use. Under that doctrine, certain types of unauthorized copying are allowed, even if the copyright holder as a result loses money or suffers a reputational hit. But what exactly is fair use, and how can artists use it? In this talk, UCLA Law Professor Doug Lichtman will take us on a guided tour of the fair use doctrine, thinking with us about Richard Prince’s appropriation art, Shepard Fairey’s famous “Hope” posters, and dozens of other highprofile fights between copyright holders and the artists who want to build on, ridicule, or comment on their protected work.
Thursday, October 29 @ 6:30pm in F200
Halil Altındere (born in 1971 in Mardin, lives in Istanbul) explores political, social and cultural codes, and focuses largely depicting marginalization and resistance to oppressive systems.
Altındere has been a central figure in the Turkish contemporary art world since the mid-1990s, not only as an artist but also as the publisher of Art-ist Magazine and as a prominent curator. The artist who reversed the conceptions of nation-state and authority through works on everyday objects like identity cards, banknotes, stamps in his early productions, started to focus on subcultures, gender and odd-but-ordinary situations of everyday life after the 2000s. His ironic and political approach can grasp the audience easily. His works have been included in exhibitions at the Documenta, the Manifesta, and the biennials in Istanbul, Gwangju, Sharjah and São Paulo, as well as at MoMA/PS1, New York.
Thursday, November 5 @ 6:30pm in F200
Over the past two decades, Susan Philipsz has explored the psychological and sculptural potential of sound. Using recordings, predominantly of her own voice, the artist creates immersive environments of architecture and song that heighten the visitor’s engagement with their surroundings while inspiring thoughtful introspection. The music Philipsz selects – which has ranged from sixteenth century ballads and Irish folk tunes to David Bowie’s Ziggy Stardust – responds specifically to the space in which the work is installed. While each piece is unique, the storylines and references are often recognizable, exploring familiar themes of loss, longing, hope, and return. These universal narratives trigger personal reactions while also temporarily bridging the gaps between the individual and the collective, as well as interior and exterior spaces.
Born in 1965 in Glasgow, Philipsz currently lives and works in Berlin. She received a BFA in Sculpture from Duncan of Jordanstone College in Dundee, Scotland in 1993, and an MFA from the University of Ulster in Belfast in 1994. In 2000, she completed a fellowship at MoMA PS1 in New York. Recipient of the 2010 Turner Prize, the artist was also shortlisted for Glenfiddich Spirit of Scotland Award that same year.
Cecilia Fajardo Hill
Thursday, November 12 @ 6:30 pm in F200
Cecilia Fajardo-Hill is a British/Venezuelan art historian and curator in modern and contemporary art, currently based in Southern California. Fajardo-Hill has a PhD in Art History from the University of Essex, England, and an MA in 20th Century Art History from the Courtauld Institute of Art, London, England.
Fajardo-Hill was the Chief Curator and Vice-President of Curatorial Affairs at the Museum of Latin American Art, MOLAA in Long Beach, California Between 2009 and 2012. She was the Director and Chief curator of the Cisneros Fontanals Arts Foundation (CIFO) and the Ella Fontanals Cisneros Collection, Miami, USA between 2005 and 2008, and she was general director of Sala Mendoza, Caracas, Venezuela, between 1997 and 2001. She has curated and organized numerous group and solo exhibitions of international artists such as Susan Hiller and Mona Hatoum and emerging and mid-career contemporary artists from Latin America such as Johanna Calle, Mariana Castillo Deball, Leandro Erlich and Javier Téllez. Fajardo-Hill has published broadly on contemporary art and artists from Latin America.
Friday, November 13 @ 6:30 pm in F200
Carolyn Christov-Bakargiev is the Edith Kreeger Wolf Distinguished Visiting Professor in Art Theory and Practice at Northwestern University (2013–15), Getty Visiting Research Scholar (2015), and was recently appointed as Director of Castello di Rivoli Museo d’Arte Contemporanea and GAM – Galleria Civica d’Arte Moderna e Contemporanea di Torino, commencing on January 1, 2016. She drafted the 14thIstanbul Biennial, titled SALTWATER. A Theory of Thought Forms (5th September – 1st November 2015). Previously, she was the artistic director of dOCUMENTA (13) (2012); the artistic director of the 16th Biennale of Sydney, Revolutions—Forms That Turn (2008); and senior curator at P.S.1 Contemporary Art Center, a MoMA affiliate in New York, from 1999 to 2001
“On Saltwater: a Theory of Thought Forms. The 14th Istanbul Biennial 2015”
This lecture explores the relationship between the 14th Istanbul Biennial titled "Saltwater. A Theory of Thought Forms" and 19th and early 20th century theosophist Annie Besant's notion of thought forms and their impact on action and the world today, at a critical moment for Turkey and the region.
Tuesday, November 17 @ 7:30 pm in F200
Although his practice incorporates performance, sculpture, and video, artist Jonathan VanDyke is often labelled a painter. He works outward from the medium of painting to explore how personal relationships affect the form and creation of works of art.
VanDyke is a New York City-based artist who received an MFA in Sculpture from Bard College in 2005 and attended the Skowhegan School in 2008. Recent solo exhibitions include Oltre l’oblio at 1/9 unosunove in Rome and The Painter of the Hole at Scaramouche in New York, both in 2013, and Trausnitz at Loock Galerie in Berlin in 2014. Major performances include the forty-hour works The Long Glance at the Albright-Knox Art Gallery in Buffalo in 2011 and With One Hand Between Us, part of Performa 2011. His performance work and installation Obstructed View was commissioned by The Power Plant in Toronto as part of their 2011-2012 exhibition Coming After. His durational performance work Cordoned Area, made for the dancers David Rafael Botana and Bradley Teal Ellis, has appeared at The National Academy Museum, New York (2013), Vox Populi, Philadelphia (2012), and Socrates Sculpture Park, New York (2011).
In 2015, VanDyke will present a series of new performances at Storm King Art Center called Movements for Monoliths, a solo project at ABC Berlin, and a solo exhibition at 1/9unosunove, Rome, titled L blue N black I green M orange K violet.
Thursday, November 19 @ 6:30 pm in F200
Kant, Beauty and the Brain: Kant’s aesthetic theory and its lessons for our understanding of human cognition: In this talk I will describe Immanuel Kant’s aesthetic theory, as given in the last of his three great Critiques: the Critique of Judgment (1790). Perhaps surprisingly, his account of the nature and origin of the judgment of beauty turns out to play an essential role in his wider theory of human cognition (how human beings make sense of and represent the world). I will relate his account to current questions in philosophy and neuroscience, arguing that Kant’s theory gives a unique perspective on fundamental questions about scientific discovery and artistic creation.
Linda Palmer received her B.S. in Information and Computer Science and her Ph.D. in Philosophy from the University of California at Irvine, working under Profs. D.W. Smith and W. Bristow at UCI and H.E. Allison at UC San Diego. She was Research Faculty in the Philosophy Department at Carnegie Mellon University and member of the Center for the Neural Basis of Cognition in Pittsburgh, PA from 2004-2009; she joined the Department of Anatomy & Neurobiology at UC Irvine in 2009, where she works with Profs. Gary Lynch and Christine Gall.
Tuesday, December 1 @ 7:30 pm in F200
Nicola Costantino was born in Rosario, Argentina, on November 17, 1964, into a family of Italian descent. As a child, she was a little unusual, with remarkably popping eyes and too many scientific and technical leanings. At home, Spanish was forbidden until late in her adolescence. That was also when she was exposed to visual arts through a book about painting that her mother’s second husband purchased. Back then, visits to museums and art galleries were very few and far between.
Cochon sur canapé (1992), her first solo show, is considered a forerunner of contemporary Latin American art. In 1994 she is admitted into Antorchas Foundation’s Barracas Workshop, coordinated by Suárez and Benedit and moves to Buenos Aires, where she settles down and starts working. In 1998 she represents Argentina in San Pablo biennial and then begins to take part in several exhibits in museums around the world, such as those of Liverpool (1999), Tel Aviv (2002) and Zurich (2011). In 2000, she performs a solo show at Deitch Projects (New York); her Corset of Human Furriery becomes part of the MOMA collection. In 2004 she presents Animal Motion Planet, a series of orthopedic machines for stillborn animals, and Savon de Corps, a work that causes great impact in mass media. Her reunion with Gabriel Valansi in 2006 leads her way into photography, where she has more than 30 works in which she always takes the leading role embodying different characters of photography and other art forms. Her interest in video performance drives her creation of self-referential work Trailer (2010), her first cinematographic-like production, as well as her embodying of a historical and emblematic female character like Eva Perón in Rapsodia Inconclusa[Unconcluded Rhapsody] (55th Venice Biennial, 2013).
Thursday, December 3 @ 6:30 pm in F200
Basma Alsharif is an artist/filmmaker of Palestinian origin who was born & raised nomadically, and developed her practice between Chicago, Cairo, Beirut, Amman, Sharjah, and the Gaza Strip. She was invited to the Malmo Art Academy of Lund University in 2004, received an MFA in 2007 from the University of Illinois in Chicago, and recently moved to Los Angeles.
She is represented by Galerie Imane Fares in Paris France and distributed by Video Data Bank.
Her works have shown in solo exhibitions, biennials, and film festivals internationally including the Jerusalem Show, the New York Film Festival, the Berlinale, Videobrasil, and Manifesta 8. Basma won a Jury Prize at the 9th Sharjah Biennial, received the Marion McMahon Award at the Images Festival in Toronto, and was a guest of the Flaherty Film Seminar in upstate New York. She was recently part of the New Museum’s Here and Elsewhere exhibition and is currently a resident of the Pavilion at the Palais de Tokyo in Paris from November 2014 - June 2015.
USC 7 | TBD Workshop and Lecture
Tuesday, December 8 @ 7:30 pm in F200
Hyperallergic: MFA Class of USC’s Roski School Demand Dean’s Removal
Thursday, December 10 @ 6:30 pm in F200
Based on extensive periods of research and enquiry, Wael Shawky’s work tackles notions of national, religious and artistic identity through film, performance and storytelling. Whether instructing Bedouin children to act out the construction of an airport runway in the desert or organizing a heavy metal concert in a remote Egyptian village, Shawky frames contemporary culture through the lens of historical tradition and vice versa. Mixing truth and fiction, childlike wonder and spiritual doctrine, Shawky has staged epic recreations of the medieval clashes between Muslims and Christians in his trilogy of puppet animations – titled Cabaret Crusades: The Horror Show Files (2010), The Path to Cairo (2012) and The Secrets of Karbala (2014) – while his two-part film, Al Araba Al Madfuna (2013), uses child actors to recount poetic myths, paying homage, rather than mere lip-service, to the important narratives of yesteryear.
Wael Shawky was born in Alexandria in 1971 where he lives and works. Recent solo exhibitions include MATHAF, Doha and MoMA P.S.1, New York (2015); K20 Düsseldorf (2014-15); Serpentine Galleries, London (2013-14); KW Contemporary Art Institute, Berlin (2012); Nottingham Contemporary (2011); Walker Art Center, Minneapolis (2011); Delfina Foundation, London (2011) and Cittadellarte – Fondazione Pistoletto, Biella (2010). He has participated in the 11th Sharjah Biennial (2013); Documenta 13, Kassel, (2012); the ninth Gwangju Biennial, (2012); SITE Santa Fe Biennial (2008); Istanbul Biennial (2005); and the 50th Venice Biennale (2003). Recent awards include the inaugural Mario Merz Prize (2015); the Award for Filmic Oeuvre created by Louis Vuitton and Kino der Kunst (2013); the Abraaj Capital Art Prize (2012), the Schering Foundation Art Award (2011), as well as The International Commissioning Grant and an award from the Lower Manhattan Cultural Council, in 2005. Shawky founded the educational space MASS Alexandria in 2010.
Tuesday, December 15 @ 12 pm in F200
Tania Bruguera was born in 1968 in Havana, Cuba. Bruguera, a politically motivated performance artist, explores the relationship between art, activism, and social change in works that examine the social effects of political and economic power. By creating proposals and aesthetic models for others to use and adapt, she defines herself as an initiator rather than an author, and often collaborates with multiple institutions as well as many individuals so that the full realization of her artwork occurs when others adopt and perpetuate it. She expands the definition and range of performance art, sometimes performing solo but more often staging participatory events and interactions that build on her own observations, experiences, and interpretations of the politics of repression and control. Bruguera has explored both the promise and failings of the Cuban Revolution in performances that provoke viewers to consider the political realities masked by government propaganda and mass-media interpretation. Advancing the concept of arte útil (literally, useful art; art as a benefit and a tool), she proposes solutions to sociopolitical problems through the implementation of art, and has developed long-term projects that include a community center and a political party for immigrants, and a school for behavior art.
Tuesday, December 15 @ 7:30 pm in F200
Bangkok-raised artist Korakrit Arunanondchai engages a myriad of subjects such as history, authenticity, self-representation, and tourism through the lens of a cultural transplant. His work seeks to find a common ground in artistic experiences through a pastiche of styles and mediums.
Korakrit Arunanondchai (Thai, b. 1986) earned his BFA from the Rhode Island School of Design in 2009 and his MFA from Columbia University in 2012. He has had several solo exhibitions at CLEARING gallery in New York and Brussels and has been featured in major group exhibitions at the Sculpture Center, the Fisher Landau Center, MoMa PS1 and the Art Basel Miami Beach.