Thursday, September 14, 2023

Welcome to Art 130 Fall 2023

Hello everyone,

Given the recent untimely death of bell hooks, our class will be devoted to her scholarship.

Here is the 5 required books that we will be using are available from the Available from the Campus Bookstore, the publishers and Amazon. Please note that I have placed these books on reserve at the library, but some of them are being recalled and it could take a while for them to be available.

Course Introduction: Thursday, September 28 via 

Zoom: https://ucsb.zoom.us/j/83111992304

Museum Field Trip Liability Waivers. Fill out all three, and we will discuss the field trips further in class:

    1) Information about the Department of Art can be found HERE.
    2) The UCSB Diversity Statement can be found HERE and the University of California Diversity Statement can be found HERE.
    3) The UCSB Counseling and Psychological Services (CAPS) contact information can be found HERE.
    4) The UCSB Health and Wellness website can be found HERE.
    5) UCSB Department of Art Intellectual Challenge Policy: "Intellectual challenge and academic rigor are among the foundations of our program. Our faculty foster communities of inquiry and free speech based in self-awareness, individual responsibility, and an informed world view. We encourage divergent opinion and cogent argument, believing lively debate, exposure to differing viewpoints, and a certain level of discomfort are essential to intellectual and artistic growth.
     
    In our classes, students will be shown work and introduced to theories and practices that may challenge their beliefs and assumptions. Students are expected to think critically rather than react impulsively; to consider opposing viewpoints and others’ opinions and experiences with openness and thoughtfulness; and to engage in a manner befitting themselves as artists and scholars in this university, an institution of higher learning."

    1) Author: bell hooks
    Title: Art on My Mind: Visual Politics
    ISBN-10: 1565842634
    ISBN-13: 978-1565842632
    Publisher: The New Press
    Date: July 1, 1995
    Cost: $15.19 Amazon
    2) Author: bell hooks
    Title: Black Looks: Race and Representation
    ISBN-10: 1138821551
    ISBN-13: 978-1138821552
    Publisher: Routledge (2nd Edition)
    Date:October 29, 2014
    Cost: $19.97 Amazon
    3) Author: bell hooks
    Title: Reel to Real: Race, Class and Sex at the Movies
    ISBN: 9780415964807
    Publisher: Routledge (1st Edition)
    Date: September 11, 2008
    Cost: $16.35 Amazon
    4) Author: bell hooks
    Title: Teaching to Transgress: Education as the Practice of Freedom
    ISBN-10: 0415908086
    ISBN-13: ‎978-0415908085
    Publisher: Routledge
    Date: September 12, 1994
    Publisher    : https://www.routledge.com/Teaching-to-Transgress-Education-as-the-Practice-of-Freedom/hooks/p/book/9780415908085
    5) Author: bell hooks
    Title: Outlaw Culture: Resisting Representations (Routledge Classics) 1st Edition
    ISBN-10: ‎9780415389587
    ISBN-13: ‎978-0415389587
    Publisher: Routledge (1st Edition)
    Date: May 12, 2006
    Publisher: https://www.routledge.com/Outlaw-Culture-Resisting-Representations/hooks/p/book/9780415389587

    ART 130 RESOURCES:

    1) Art 130 Syllabus: can be found HERE.

    2) Weekly Reading Assignments: can be found HERE.

    3) Art 130Questionnaire: can be found HERE. Please fill this out and return it to me very quickly. There are numerous questions that relate to your access to technology during this time.

    4) Research Paper Prompt: can be found HERE. You will be selecting the photographer about whom you will write a formal research paper. You need to have selected your rough topic by Thursday, November 2 (Week 5). You may use any of the assigned books for this class, but you will also want to utilize scholarly journal articles from the Davidson Library Website (HERE). You will note that I have linked to the Art 1A page of the Davidson Library website because it is very easy to navigate, and it is very helpful. Before you select your photographer, be sure to look through your four books for inspiration, and once you have narrowed down the field I will speak with each of you individually about your proposed subject of research.

    5) If you need help finding research materials, then please reach out to our Art and Architecture Librarian, Chizu Morihara.

    cmorihara@ucsb.edu
    (805) 893-2766

    6) Office Hours: By appointment, and after class. Email: taschian@arts.ucsb.edu

    7) Group Reading Journals: You will submit your weekly reading summaries each Friday by 10:00PM PT. Your reading journals are largely intended to help you learn the material, and to identify scholarly sources that can be used in your research paper. However, they also allow me to see how you are framing and interpreting the materials the we are covering.

    You should be summarizing the most important points that are made by the authors, and those that you find particularly interesting. You need to write in full sentences, rather than listing abbreviated ideas in the form of bullet points.

    8) Finalized Reading Groups:
    Group 1: 
    Group 2: 
    Group 3: 
    Group 4: 
    Group 5: 

    9) First Reading Assignments:

    WEEK 1 (October 3 & 5): bell hooks. Art on My Mind:Visual Politics


    Thursday, March 31:

    Group 1: Introduction, p. xi-xvi and Chapter 1, p. 1-9.

    Group 2: Chapter 2, p. 10-21.

    Group 3: Chapter 3, p. 22-34.

    Group 4: Chapter 4, p. 35-48.

    Group 5: Chapter 5,
p. 49-53 and Chapter 6, p. 54-64.

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    Art 130 Field Trips to LACMA & The Getty Center Fall 2023

    This quarter we have two spectacular field trips planned. Our first field trip is to the Los Angeles County Museum of Art (LACMA) and the second field trip is to the Getty Center. There are simply too many important exhibitions between these two museums, and therefore we will have two field trips. These field trips are all day events, and they are in lieu of the lectures that week. If you are unable to go to the Getty Center or LACMA, there is an alternative field trip for you to attend on your own during the week of our LACMA or Getty Trips. The alternative trip is to the Santa Barbara Museum of Art and the MCASB (details below). You must attend one of the Los Angeles field trips, and can do the other in Santa Barbara, if you can't make the trip to LA twice.

    PLEASE FILL OUT ALL THREE OF THE LIABILITY WAIVERS ASAP:

    1) LACMA Waiver

    2) The Getty Center Waiver

    3) Alternative Trip: SBMA & MCASB Waiver

    A FEW TIPS TO PREPARE FOR OUR FIELD TRIPS:

    1) Be sure that you have our emails with you! If you arrive late, you want to be able to find us at the museum. However, try to leave early so that you arrive on time, because reception isn't good in all parts of the museums, and you may be waiting a long time before we see your email.

    2) I would suggest eating a big breakfast since we won't be taking a break for lunch until later in the day. Furthermore, pack snacks for the road, and for lunch, unless you want to treat yourself to food at the museum.

    3) If you are driving from Santa Barbara, be sure to give yourself at least two hours to drive to LA. You never know what kind of traffic that you will encounter.

    4) Wear comfortable shoes and clothing! We will be doing a lot of walking and hiking up stairs, so you want to be very comfortable.

    5) Charge your phone since you will want to take a lot of pictures at the museum.

    FIELD TRIP #1: LACMA ON SATURDAY, OCTOBER 21

    FIELD TRIP #2: THE GETTY CENTER ON SATURDAY, NOVEMBER 11

    MANDATORY LIABILITY WAIVERS (PLEASE FILL OUT ALL OF THEM TO BE ELIGIBLE FOR ALL OF THE FIELD TRIPS):

    LACMA Liability Waiver


    Students must submit the liability waiver forms for each trip, and will not receive free admission without them. If you show up to the museum without having done this, you will have to pay full admission and you will not legally be recognized as part of the UCSB Department of Art field trip. If you have difficulty filling out your DocuSign Liability Waiver, then email your professor and our Undergraduate Advisor, Catherine Jenks: arts-undergraduate@ucsb.edu. 

    FIELD TRIP #1 ON SATURDAY, October 21: LACMA AT 12:00PM:

    Students must submit the liability waiver form, and will not receive free admission to LACMA without it. If you show up to the museum without having done this, you will have to pay full admission and you will not legally be recognized as part of the UCSB Department of Art field trip. If you have difficulty filling out your DocuSign Liability Waiver, then email your professor and our Undergraduate Advisor, Catherine Jenks: arts-undergraduate@ucsb.edu. 

    LACMA FIELD TRIP: 

    One of the important exhibitions we will be viewing is Matthew Barney: REPRESSIA (decline), and it is worth the drive alone!

    MEETING AT LACMA:

    We will meet at LACMA at the Wilshire Blvd. entrance next to the ticket office and Chris Burden's Urban Light sculpture (shown picture above) at 12:00PM on Saturday, October 21. LACMA will be providing us with free admission to the museum. I will send you the information to register for your free ticket once LACMA sends it to me.

    IMPORTANT SAFETY INFORMATION: LACMA’s first priority is the health and safety of our visitors, staff, and volunteers. Masks continue to be required indoors for everyone, regardless of vaccination status, until further notice. Maintaining some health and safety protocols remains critical to provide a safe environment for staff, volunteers, and visitors of all ages, including those with compromised health and families with children who cannot be vaccinated. These protocols are in place to help protect against the spread of COVID-19. 

    Please read all guidelines HERE before your visit. https://www.lacma.org/plan-your-visit

    5905 Wilshire Boulevard, Los Angeles, CA 90036
    Phone: (323) 857-6010
    Parking costs $20.00 per vehicle, and it is not part of our free admission.

    ALTERNATIVE TRIP to SBMA & MCASB:

    Santa Barbara Museum of Art
    1130 State Street
    Santa Barbara, CA 93101
    Phone: 805.963.4364
    @sbmuseart
    Tues - Sun 11 am - 5 pm
    Thurs 11 am - 8 pm
    Closed Mondays and holidays
    Free to students with ID
    https://www.sbma.net

    MCASB
    Museum of Contemporary Art Santa Barbara
    Paseo Nuevo Upper Arts Terrace
    653 Paseo Nuevo
    Santa Barbara, CA 93101
    805.966.5373
    Tues-Sat 11am-6pm
    Sun 11-6
    Closed Mon.
    https://www.mcasantabarbara.org/

    Nota Bene: The museum trip is all-day immersive experience, and therefore the museum field trip is in lieu of both of the Art 1A lectures that week (section attendance is as scheduled). If you do not go to the museum that week, or the alternative assignment, then you will receive two absences. Take a selfie at the museum, and works of art that were of interest to you, and include it in your paper as proof of attendance.
    FIELD TRIP #2 ON SATURDAY, November 11: THE GETTY CENTER AT 1:00PM:

    Students must submit the liability waiver form, and will not receive free admission to LACMA without it. If you show up to the museum without having done this, you will have to pay full admission and you will not legally be recognized as part of the UCSB Department of Art field trip. If you have difficulty filling out your DocuSign Liability Waiver, then email your professor and our Undergraduate Advisor, Catherine Jenks: arts-undergraduate@ucsb.edu. 

    We will be meeting at 1:00PM on the museum side of the tram drop off (shown above). If you are carpooling (2 or more Art 1A students in a single vehicle), then you are eligible to receive free parking, otherwise you must pay $20.00 for parking. Only Art 1A students are eligible for free parking. Parking Information: https://www.getty.edu/visit/center/parking-and-transportation/

    The Getty Center
    1200 Getty Center Dr.
    Los Angeles, CA 90049
    Parking and Transportation Information HERE
    http://www.getty.edu

    ALTERNATIVE MUSEUM TRIP: If you are unable to attend the Getty Center, and you went to LACMA with the class, then you may do the alternative assignment to the SBMA and the MCASB (listed above). You need to attend one off the LA field trips, and preferably both, but only one LA trip is mandatory.
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    Thursday, June 8, 2023

    Welcome to Art 130: Art in the Age of the Internet (Summer Session A)

    Hello everyone,

    I wanted to tell you bit about Art 130, and how we will be approaching this class. As many of you already know, I teach Art 130 as a seminar rather than as a lecture.

    This class is intended to prepare you for advanced studies and graduate school. You will be in reading groups of 4-5 people, and your group will present the weekly readings to the entire class each week. This method, which is the foundation of the graduate seminar, engages everyone in interesting discussions about the reading materials and the works of art discussed. It is an intellectually stimulating and gratifying way to learn the material and to grow academically. It is even more gratifying when you work closely with your peers in a group because you learn so much by sharing your interpretations and perceptions with one another. 

    Our topic this quarter is Art in the Age of the Internet, and I eagerly anticipate our lively discussions about the art that we encounter together.

    I look forward to meeting all of you in class when the quarter begins! Please be sure to go to the campus bookstore (or online HERE) to pick up your books, or you can order them from the publisher or Amazon. Please order them quickly because Summer Session is fast-paced and you need to be prepared on the first day. If you do not receive your copy before class begins, then please either purchase it directly from the campus bookstore or check out the copies on reserve at the library.

    Art 130 lectures will be taught in-person. If you have time conflicts with work and with other classes, or you are planning vacations during Summer Session A, then you should take Art 130 another quarter. There are also two mandatory Los Angeles museum field trips that are an important part of the class. Please make sure that you are available on Saturday, July 8 and Saturday, July 22. These two class meetings will be in lieu of some on-campus meetings those weeks. LACMA will provide free tickets only to people registered in my class, and who filled out the liability waiver. The Getty Center will supply free parking to people registered in my class who carpool (2 or more Art 130/Art 1A students in each vehicle). 

    Mandatory Museum Field Trips & Liability Waivers:

    Fill out the museum liability waivers before our first class meeting. Both trips require Liability Waivers (and they are hyperlinked below):
    Required Books: 
    Eva Respini. Art in the Age of the Internet: 1989 to Today 
    Melissa Gronlund. Contemporary Art and Digital Culture 
    Eva Respini. Art in the Age of the Internet: 1989 to Today 
    (Also available from Amazon, Davidson Library Reserves and the Campus Bookstore)
    Melissa Gronlund. Contemporary Art and Digital Culture 
    (Also available from Amazon, the Campus Bookstore and Davidson Library Reserves).

    See the class syllabus HERE and the weekly reading assignments HERE. There are copies of Eva Rispini. Art in the Age of the Internet: 1989 to Today and Melissa Gronlund. Contemporary Art and Digital Culture on reserve at the Circulation Desk at Davidson Library.
    ART 130 RESOURCES:

    1)     Art 130 Syllabus: can be found HERE.

    2) Weekly Reading Assignments: can be found HERE.

    3) Art 130 Questionnaire: can be found HERE. Please fill this out and return it to me very quickly. There are numerous questions that relate to your access to technology during this time.

    4) Research Paper Prompt: can be found HERE. You will be selecting the artist about whom you will write a formal research paper. You may use any of the assigned books for this class, but you will also want to utilize scholarly journal articles from the Davidson Library Website (HERE). You will note that I have linked to the Art 1A page of the Davidson Library website because it is very easy to navigate, and it is very helpful. Before you select your photographer, be sure to look through your four books for inspiration, and once you have narrowed down the field I will speak with each of you individually about your proposed subject of research.

    5) If you need help finding research materials, then please reach out to our Art and Architecture Librarian, Chizu Morihara.

    cmorihara@ucsb.edu
    (805) 893-2766

    6) Office Hours: By appointment. Email: taschian@arts.ucsb.edu

    7) Group Reading Journals: You will submit your weekly reading summaries each Friday by 6:00PM PT. Your group reading journals are largely intended to help you learn the material, and to identify scholarly sources that can be used in your research paper. However, they also allow me to see how you are framing and interpreting the materials the we are covering.

    You should be summarizing the most important points that are made by the authors, and those that you find particularly interesting. You need to write in full sentences, rather than listing abbreviated ideas in the form of bullet points.
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    Thursday, April 27, 2023

    Art 130 Reading Schedule for Weeks 5 & 7

    Here is the updated reading schedule for weeks 5 and 7. We may not have time to discuss the final chapters from Michael Fried's Why Photography Matters As Never Before, but you can use any of the chapters in this book for your research paper.

    WEEK 5 (May 1 & 3): Susan Sontag. On Photography

    Rough paper topic due: Thursday, May 4th by 6:00PM PT

    Monday, May 1: On Photography

    • 
 Chapter 1: In Plato’s Cave, p. 3-24. (Group 1)

    •  Chapter 2: America, Seen Through Photographs, Darkly, p. 27-48. (Group 2)

    •  Chapter 3: Melancholy Objects, p. 51-82. (Group 3)

    •  Chapter 4: The Heroism of Vision, p. 85-112 (Group 4: p. 85-99. Group 5: p. 100-112.)


    Wednesday, May 3: On Photography

    •  Chapter 5: Photographic Evangels, p. 115-149. (Group 1: p. 115-131. Group 2: p. 131-149)

    •  Chapter 6: The Image World, p. 153-180. (Group 3: p. 153-166, Group 4: 166-180.)

    •  Chapter 7:  A Brief Anthology of Quotations, p. 183-207 (Group 5). These quotes are pretty amazing, and this is a fast and enjoyable chapter.


    WEEK 6 (May 8 & 10): LACMA Field Trip on Saturday, May 13. All day trip. No on campus meetings this week.

    WEEK 7 (May 15 & 17): Michael Fried. Why Photography Matters as Never Before

    Monday, May 15: Why Photography Matters as Never Before

    •  Introduction, p. 1-4 (Group 1)

    •  Chapter 1:Three Beginnings, p. 5-35.
 (Group 1: p. 5-18. Group 2: bottom of p. 18-35.)

    •  Chapter 2: Jeff Wall and Absorption, p. 37-62. (Group 3)

    •  Chapter 3: Jeff Wall, Wittgenstein, and the Everyday, p. 62-93. (Group 4)

    •  Chapter 4: Barthes’s Punctum. p. 95-114. (Group 5)

    •  Chapter 5: Thomas Struth’s Museum Photographs, p. 115-142. (Group 1: p. 115-137. Group 2: 138-142.)


    Wednesday, May 17: Why Photography Matters as Never Before

    •  Chapter 6: Jean-François Chevrier on the Tableau Form, p. 143-189. (Group 2: 143-161. Group 3: p. 162-189.)

    •  Chapter 7: Portraits, p. 191-233. (Group 4: p. 191-210. Group 5: p. 211-233.)

    • 
 Chapter 8: Street Photography Revisited, p. 235-259. (Group 1)

    •  Chapter 9: Thomas Demand’s Allegories of Intention, p. 261-302. (Group 2: p. 261-281. Group 3: p. 281-302)

    •  Chapter 10: Good Versus Bad Objecthood, p. 303-333. (Group 4)

    •  Conclusion: Why Photography Matters as Never Before, p. 335-352. (Group 5)

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    Friday, April 7, 2023

    UNEARTHED FEATURING GEMSTONE-INSPIRED PAINTINGS BY CATHERINE JENKS

    Exhibition:

    Unearthed features 18 paintings that are inspired by the weight of gemstones in our society. They have served roles both practical and symbolic throughout religion, art, jewelry, science, technology and literature. Throughout history, they have often been assigned symbolic meanings based on their visual characteristics. Unearthed explores this desire to use a visual language of colors and shapes to give a tangible form to our intangible emotions and experiences.

    Artist Bio:

    Catherine Jenks is an artist using paint as a tool and language to express, examine and understand the human experience. She is interested in influencing the viewer’s perception and psychological responses through manipulating color, rendering and composition. Her delicate, representational oil paintings dance along the fine line of displaying the beauty of reality and within the physicality of paint. Her paintings provide opportunities for reflection and reminders that everything is worthy of a close look. Catherine has a B.A. in Art, with an emphasis in Painting, from University of California Santa Barbara’s College of Creative Studies. She currently lives and works in Santa Barbara, CA and is the Undergraduate Program Manager for UCSB's Art Department.

    Artist Statement:

    My current body of work, Unearthed, explores the weight of gemstones in our society. From grinding lapis lazuli into painting pigments, to using diamonds in engagement rings, they have served roles both practical and symbolic. We see them in religion, art, jewelry, science, technology and literature. Throughout history, people have equated various gemstone characteristics with symbolic meanings. This desire to have a tangible form for intangible subjects is something I often explore in my art. I’m interested in giving an image to our invisible thoughts and feelings. Painting these stones has let me examine my own visual language in comparison to the history of each stone. Often, they align with my own interpretation of their characteristics, like the fiery red and orange carnelian being linked to strong, proactive energies or the pale blue of blue lace agate being soothing. 

    In art, flowers and fruit have often been used as a memento mori. Their quick and fragile life cycle serves as a reminder of the temporary nature of life. I find that stones act as a memento mori in a contrasting fashion. Gems have been around for thousands of years before us and they will last beyond us too. Our desire to own and alter these stones is an interesting example of the commodification of the natural world and our desire to wield a bit of its immortal power. The history of these stones has both beauty and bloodshed, but what ultimately stands out to me are how people use them to attempt to understand the world around them, whether through science or stories. And that is what I consider to be the most compelling core of making art. What does it mean to be a fragile human on a floating rock? How can we make the most of this experience? Can we go through a similar metamorphosis as minerals transforming into gems? 

    We all have to find our own answers to these questions, but personally, I’ve found insight through these paintings. I make the most of life by experiencing deeply, feeling deeply, and taking moments to look at the world as if everything has the possibility to be a precious gem. 

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    Thursday, March 23, 2023

    Art 130 Events Featuring Artist Nicholas Galanin

    Photo Credit from the Artist UCSB Arts Colloquium Thursday, November 5, 2020.

    This quarter we have the rare opportunity to engage directly with an artist who is giving an Artist Talk for Arts & Lectures, who is also talking with my Art 1A students in lecture, and who is included in an important LACMA exhibition we will be seeing this quarter.

    We will be attending Nicholas Galanin's Artist Talk at Campbell Hall, and he will also come and speak to my Art 1A class before his A&L talk. Additionally, we will be seeing his artwork on our trip to the Los Angeles County Museum of Art (LACMA). This is very special that we are able to meet him in-person, hear him give an Artist Talk, and see his work in-person.

    Artist Bio: 

    Nicholas Galanin (b. 1979) Lingít/Unangax̂/ Multi-Disciplinary Artist

    Nicholas Galanin’s work is rooted in his perspective as an Indigenous man connected to the land and culture he belongs to. His work is embedded with incisive observation and critical thinking to advocate social and environmental justice. Galanin’s work expands and refocuses the intersections of culture, centering Indigeneity through concept, form, image, and sound. 

    His works are vessels for knowledge, culture and technology – inherently political, generous, unflinching, insistent and poetic. 

    Deftly engaging with past, present and future, Galanin celebrates the beauty, knowledge and resilience of Indigenous people. His work counters assimilation; insisting on differences as strengths. Rejecting binaries and categorization, Galanin works to envision, build and support Indigenous sovereignty. 

    Over the past two decades his work has ranged across media, materials and processes; in which Galanin has splintered tourist industry replica carvings into pieces, the rearranged pieces evidence the damage of commodification to culture through photos, objects, and video. His practice includes customary cultural objects, petroglyphs in sidewalks and coastal rock, masks cut from anthropological texts, and a taxidermied polar bear melting into a pool of it’s own fur. 

    In 2020 Galanin excavated the shape of the shadow of the Capt. James Cooke statue in Hyde Park for the Biennale of Sydney, examining the effects of colonization on land, critiquing anthropological bias, and ultimately suggesting the burial of the statue and others like it. In 2021 he created a replica of the Hollywood sign for the Desert X Biennial in Palm Springs CA, which reads INDIAN LAND, directly advocating for and supporting the Land back and real rent initiatives. Galanin holds a BFA from London Guildhall University in Jewellery Design and an MFA in Indigenous Visual Arts from Massey University in New Zealand, prior to which he apprenticed with master carvers and jewelers in his community; he is represented by Peter Blum Gallery in New York, his music is released by Sub Pop Records in Seattle. Galanin lives and works with his family on Lingít Aani, Sitka, Alaska.

    Nicholas Galanin's Artist Statement: 

    Culture is rooted in connection to land; like land, culture cannot be contained. I am inspired by generations of Lingít & Unangax̂ creative production and knowledge connected to the land I belong to. 

    From this perspective I engage across cultures with contemporary conditions.  

    My process of creation is a constant pursuit of freedom and vision for the present and future. Using Indigenous and non-Indigenous technologies and materials I resist romanticization, categorization and limitation. I use my work to explore adaptation, resilience, survival, active cultural amnesia, dream, memory, cultural resurgence, connection to and disconnection from the land. 

    Nicholas Galanin's Website: https://galan.in/

    Nicholas Galanin's Instagram: @nicholasgalanin

    Nicholas Galanin Events for Art 130 on Wednesday, April 19 and Saturday, May 13:

    1) Nicholas Galanin will come and talk to my Art 1A class on Wednesday, April 19th from 12:30-1:45 (HSSB 1174). You are invited!

    2) We will attend the Arts & Lectures Artist Talk featuring Nicholas Galanin on Wednesday, April 19th at 7:30PM at Campbell Hall. See registration details here. You must register to attend and admission is free. This is in lieu of our class on Monday, April 17. 

    3) We will see Nicholas Galanin's work in-person at the Los Angeles County Museum of Art (LACMA) on Saturday, May 13. Galanin's work is featured in the exhibition, Conversing in Clay: Ceramics from the LACMA Collection.
    Screenshot video LACMA. I Dreamt I Could Fly (video linked below)

    "Nicholas Galanin’s I Dreamt I Could Fly (2013. Detail above) is a dramatic installation of 60 blue-and-white porcelain arrows suspended in an arc as if in mid-flight. By choosing this material, Galanin relates the arrows’ fragility to the impact of ongoing persecution on Indigenous people in the United States. The curators juxtapose it with an 18th-century Dutch tobacco jar to represent the ceramic tradition Galanin appropriates because the jar’s depiction of Indigenous North American stereotypes also demonstrates the insidious normalization of the subjugation he decries." Source See Nicholas Galanin discuss I Dreamt I Could Fly (HERE).

    4) I invited Nicholas Galanin to give an Artist Talk in my class, Arts Colloquium, on Thursday, November 5, 2020. Here is the recorded talk: 
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