Results for: books

February 24, 2015 In News and Events

Harry and Sandra Reese co-recipients of the 2015 Oscar Lewis Award in Book Arts

Article from the UCSB Current can be read here DR. GRAY BRECHIN AND SANDRA & HARRY REESE TO RECEIVE 2015 OSCAR LEWIS AWARDS FROM THE BOOK CLUB OF CALIFORNIA ON MONDAY, MARCH 30, 2015, 5-7 p.m. The Book Club of California congratulates the...

January 13, 2015

Undergraduate Courses New

1A Visual Literacy (5 Units) Large lecture course. Overview of art movements, and representational and conceptual theories relevant to contemporary art making. The emphasis will be a broader understanding of reasons for certain types of imagery presented in the media, museums, publications, galleries etc. Lectures...

March 12, 2013

Arts Colloquium – Fall 2013

April 4 - June 6, 2013 The UCSB Department of Art & College of Creative Studies presents The COLLOQUIUM, beginning on Thursday, April 4th. The COLLOQUIUM offers a wide range of voices exploring the topics of contemporary art, theory, and cultural production. Presentations are provided by emerging and established visiting artists, as well as members of UCSB's own distinguished Art faculty. All lectures are free and open to the public, held every Thursday of the Spring quarter, from 5:00 to 6:50 at Buchanan Hall 1910.<div><hr /></div><div>April 4:</div><div>Faculty Speaker: Marko Peljhan</div><div><div><div>TWO POLAR VISIONS AND A WAR </div><div>Marko Peljhan is a conceptual artist acclaimed for his complex projects based on researching and designing methods of environmental and socio/political observation and reflection using sensing and information technologies.</div><div>Peljhan is the recipient of many prizes for his work, including the 2001 Golden Nica Prize at Ars Electronica together with Carsten Nicolai for their work, polar, and the UNESCO Digital Media Prize for Makrolab in 2004. During 2008, Peljhan was appointed as one of the European Union Ambassadors of Intercultural dialogue. His work has been exhibited internationally at multiple biennales and festivals (Venice, Gwangju,Brussels, Manifesta, Johannesburg, Istanbul), at the documenta X in Kassel, several ISEA exhibitions, several Ars Electronica presentations and major museums, such as the P.S.1 MOMA, New Museum of Contemporary Art, ICC NTT Tokyo, YCAM Yamaguchi, Van Abbemuseum and others. From 2009 on he is the one of the series editors of the Arctic Perspective Cahiers series (Hatje Cantz and API). He holds joint appointments with the Department of Art and the Media Arts & Technology graduate program at the University of California Santa Barbara, and was appointed as Co-Director of the University of California system-wide Institute for Research in the Arts in 2009.</div><div><a href="www.ladomir.net">www.ladomir.net</a></div></div></div>April 11: Faculty Speaker, Laurel Beckman Space Available: opportunities for the head and heart<img style="margin-left: 0px; margin-right: 0px;" src="https://i.imgur.com/GtCwmat.png" alt="" width="350" height="205" />Working with and nurturing eccentric positions and spaces, Laurel's work highlights perception, uncertainty, and public display. Attending to themes at the crossroads of consciousness + social conditions, meta-physics + science, Laurel’s practice investigates perceptual phenomena, stage and screen space, the built and imagined environment, language, and affect. Employing a range of media and distribution strategies, her projects often enlist commercial, neglected, and civic spaces in efforts to contribute meaningfully to the cultural landscape. Beckman’s public and video projects have been presented/screened in Palestine, Australia, India, Switzerland, the Netherlands, Toronto, Macau, and throughout the United States. She is a professor of art at the University of California Santa Barbara, where she engages with her lively students, pampers her small dog, and plays the occasional ukulele.<a style="font-size: 12px; line-height: 1.5;" href="https://www.laurelbeckman.com/">www.laurelbeckman.com</a> April 18: Keith Boadwee <img src="https://i.imgur.com/mrC70kn.jpg" alt="" /> Keith Boadwee studied at UCLA in the late 80’s where he worked with Paul McCarthy and Chris Burden who have both been influential on his practice. Boadwee’s works have primarily used photography as a tool to document/distill performance based activities. Notable exhibitions include the Venice Biennial, the New Museum’s “Bad Girls”, MOCA Los Angeles’ Portfolio of Photography curated by Cindy Sherman, Bay Area Now 3, Orange County Museum of Art’s “15 Minutes of Fame: Portraits from Ansel Adams to Andy Warhol” and PS1’s “Into Me/Out of Me”. For the last 4 years, he has worked with his collaborative CLUB PAINT producing paintings and drawings that explore his continued fascination with the body, actionism, expressionist painting, sex, humor, and abjection. Recent exhibitions include solo shows at White Columns, New York, Steven Wolfe Fine Art, San Francisco, Good Children Gallery, New Orleans as part of Dan Cameron’s Prospect 1.5, Niklas Schechinger Fine Art, Hamburg and Paradise Garage, Venice CaliforniaB.A. UCLA 1989 M.F.A. U.C. Berkeley 2001 April 25: Jesse WilsonJesse Lee Wilson is an artist who lives and works in New York City. Wilson’s practice grows out of the intersection of social engagement with design, architecture, and contemporary art. Working primarily in processes that blur the line between painting and sculpture, graphic design or photography, he seeks to use the representation of an object as a device to investigate what is most essential in the object’s identity. Graphic symbols and illustrative images play key roles in his investigations. Wilson’s work primarily employs materials utilized in industrial and construction applications, which he puts to work in ways that subvert their pedestrian nature and allow for flux within a given composition, in homage to the ways a material life may be re-invented.Upon completing his MFA at UCSB in 2005, Wilson received several design commissions for his installation work at the Santa Barbara Museum of Art and the UC Institute for Research in the Arts. Wilson moved to NYC in 2006 and worked as lead sculpture fabricator for artist Jeff Koons. After his blue chip art factory experience, Wilson began collaborating with architect, Jeremy Edmiston <a href="https://www.systemarchitects.net/profile_je.html">https://www.systemarchitects.net/profile_je.html</a> of SystemsArchitects on the design and installation of a community hosting venue for All Saints Church in Manhattan.Wilson has recently initiated a pilot project, Pathways Art Program in collaboration with System Architects, through a grant from the Hope for New York fund. Many of Wilson’s current projects engage artists who are homeless or in transitional housing, exploring opportunities for their expression of identity and personal narrative as a vehicle to engender dignity and empowerment through a creative practice. May 2: Ken Rinaldo(co-sponsored by MAT) Ken Rinaldo is an artist and theorist who creates interactive multimedia installations that blur the boundaries between the organic and inorganic. He has been working at the intersection of art and biology for over two decades working in the catagories of interactive robotics, biological art, artificial life, interspecies communication, rapid prototyping and digital imaging.His works have been commissioned and displayed nationally and internationally at museums, galleries and festivals such as: The Biennale of Electronic Arts Perth Australia, Exit Festival France, Transmediale Berlin, Germany, ARCO Arts Festival Madrid, Spain, The OK Center for Contemporary Art, ARS ELECTRONICA, Austria; The Kiasma Museum of Contemporary Art, Helsinki, Finland; The Australian Center for Photograhy; The Chicago Art Institute, Chicago; The Museum of Contemporary Art, Chicago; The Northern Illinois University Art Museum, Chicago; The Home Show, Seoul, Korea; V2 Dutch Electronica Arts Festival, Rotterdam, Holland; Image Du Future, Montreal, Canada; Siggraph, Los Angeles; The Exploratorium, San Francisco. He was the recipient of first prize for Vida 3.0 an international competition on Artificial life, an Award of Distinction from Ars Electronica in 2004 for the work Augmented Fish Reality, an Honorable Mention in 2001 at Ars Electronica Austria for Autopoiesis and has received numerous grants and awards including an Ohio Arts Council Grant, and 3 Battelle Endowment for Technology and Human Affaires grants. Rinaldo's work has been reviewed and edited in numerous publications and books including: Digital Art by Christiane Paul, Contemporary, ArtByte, NY; Art Press, Paris; Tema Celeste Contemporary Art, Italy; Circa Magazine, Ireland; Information Arts: Intersections of Art Science and Technology by Steve Wilson; The New York Arts Magazine; Virtualities: Television Media Art and Cyberculture by Margaret Morse; Leonardo Digital Salon, SF; Artweek, SF; Wired Magazine, SF; International Design, NY; Intercommunication # 7, a Critical Anthology of Interactive Artists, Japan; Artificial Intelligence Magazine, SF, Superdesigning Number 5, Japan and A minima Portugal. Rinaldo's work has been featured on TV and radio in Austria, Italy, Spain, Singapore, England, France, Sweden, Germany, Japan. Portugal and Finnish Public TV, as well as featured onThe Knowzone a Syndicated television show on the Arts and Sciences, National Public Radio, BBC TV and Radio, CNET television coverage of "Delicate Balance", 1994 and a one half hour special on "The Flock" for The Future, Canadian Broadcasting Corporaration; 1994.<a style="font-size: 12px; line-height: 1.5;" href="https://kenrinaldo.com/index.html">https://kenrinaldo.com/index.html</a>May 9: Faculty Speaker: George Legrady + MAT GradsGeorge Legrady holds a joint appointment in the Department of Art and the Media Arts & Technology graduate program where he is director of the Experimental Visualization Lab. His research and teaching are currently focused on data visualization funded by a Robet W Deutsch Foundation fellowship, and a robotic actuated multi-camera system funded by a National Science Foundation grant. His artwork in interactive, digital media explores the intersections between culture, narrative and emerging technologies with installations featured internationally in Asia, Europe and North America at places such as the Centre Georges Pompidou, Paris (2001); Kiasma Museum of Contemporary Art, Helsinki (2005); the International Center for Photography, New York (1994), Museum of Contemporary Art, Taipei (2007) and other places. Legrady had a retrospective of his analog to digital artworks at the National Gallery of Canada, and the Canadian Museum of Contemporary Photography in 1997. His commission for the Seattle Public Library is one of the few digital artworks to collect and parse data since 2005. "We Are Stardust" realized in collaborative with the NASA Spitzer Science Center at Caltech was featured at the Art Center College of Design (2008) and the Vancouver Winter Olympics in winter 2010.<a style="font-size: 13px; line-height: 19px;" href="https://www.georgelegrady.com/">https://www.georgelegrady.com/</a>May 16: Annie Lapin Things and Ings Annie Lapin's recent practice re-imagines the painted image as a stage for the dialectic of signs and materials. The resulting paintings simultaneously engage memory and phenomenological perception by fragmenting and flattening art historical allusions through material and formal interjections. Her work exudes a mysticism and a romanticism, while self-consciously referring to it's own construction. In this way, Lapin's paintings operate in the divide between the school of materialist deconstruction and the neo-idealist school of young artists whose work, despite roots in crude materiality and self-conscious absurdism, plays with a post-ironic emphasis on spiritualism, psychology and ritual in art. She has exhibited nationally and internationally at galleries and institutions including: the Nerman Museum in Kansas City, Honor Fraser Gallery in Los Angeles, Annarumma Gallery in Naples, Italy, Josh Lilley Gallery in London, UK, and will have her first solo museum exhibition at the Weatherspoon Art Museum in fall 2013 in Greensboro, North Carolina. May 23: Christian Waldvogel Weltenblicke — From Beyond the Horizon<img style="font-family: inherit; font-style: inherit; line-height: 1.5;" src="https://i.imgur.com/UMuVwtP.jpg" alt="" />Christian Waldvogel is a conceptual artist who deals with humanity as a species, on a planet and in the universe. He operates on the assumption that understanding the «world» as such, that having a real sense of its properties and character as a sphere orbiting a star, enables his audience to achieve the sense of context necessary to become truly global citizens. Aside from conducting an ongoing series of thought experiments which cover the time span from the early renaissance to an uncharted future, he engages in cooperations with molecular biologists, physiologists, the Swiss Air Force, or NASA astronauts. He works to reflect, paraphrase and enhance the systems he lives in, and to provide his audience with the tools to do so as well, encouraging them to look at life from an outside perspective, with a critical distance. In this sense, Waldvogel’s work could be defined both as a toolkit for a reality-checkup, as well as a poetic extension of humanity's urge to expand both knowledge and territory. When the Swiss Federal Art Council presented him with a 2011 Swiss Art Award, they said: «The way in which Waldvogel realizes his idea [...] shows the artist taking control — not with the hubris underlying technology-based attempts to conquer the universe, but using a poetical approach that extends the reach of art to the universe or, rather, to human thought about the universe.» Waldvogel holds an MSci in architecture from the ETH Zurich and RISD, and his work has been exhibited in museums and institutions internationally, most notably as the official Swiss contribution to the 9th Architecture Biennale in Venice. He is a three time recipient of the Swiss Art Award, and the author of two monographs, both of which have received medals in the prestigious Leipzig competition. He has taught and lectured worldwide, and he is a member of the Swiss Institute in Rome and a Co-Chair of the ESA Topical Team Arts & Science. May 30: UCSB Second Year Art Grads June 6: Faculty Speaker: Kim Yasuda Professor Yasuda's site-specific installations incorporate a range of media to activate both interior exhibition and outdoor public space. Her three-dimensional works investigate the relationship between identity and location within the modern landscape. Yasuda's current investigations center on ways in which creative practices influence social transformation. Her work has been presented in exhibitions at the Art Gallery of Ontario (Toronto, Canada) Camerawork Gallery (London); the New Museum of Contemporary Art (New York); The Whitney Museum of American Art (Connecticut) and MIT List Gallery (Boston). She has been the recipient of visual arts fellowships from the National Endowment for the Arts, US/Japan Foundation, Howard Foundation, Joan Mitchell Foundation in Sculpture and Anonymous was a Woman Foundation. Most recently, Yasuda has worked with students and faculty from across campus as part of the "Friday Academy", a project-based curricular initiative that enlists a cross-disciplinary team of faculty, students and community professionals to work on off-site community programming. Through the FriAc, Yasuda and her students have worked on a public art program for farm-worker housing in Oxnard, CA, the repurposing of shipping containers into affordable housing, a storefront renovation and streetscape banner redesign for downtown Isla Vista, CA. Most recently, Yasuda is developing a post-graduate community arts incubator to support recently-degreed graduates in creating sustainable models for their work. Yasuda currently serves on the national advisory board as executive vice chair for the academic consortium, Imagining America, a network of 95 colleges and universities committed to publicly engaged scholarship through the arts, design and humanities, developing policy and advocacy platforms that impact the arts and higher education.<a style="font-size: 13px;" href="https://www.arts.ucsb.edu/faculty/yasuda/">https://www.arts.ucsb.edu/faculty/yasuda/</a>

February 28, 2011

Colloquium Spring 2012

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February 6, 2010

Graduates 2010

Laura Krifka Fine Arts <img src="/sites/default/files/imported/people/graduate/images/krifka_image_2.jpg" alt="" height="161" /> My practice explores and dissects psychological fantasies of power and identity. In particular, I am interested in the ways in which Western Society constructs a history and a basic identity for a mass culture, as well as the way those ideas have seeped into the private perceptions of the self. In my work I create a world in which the fantasies and clichés of the western world can combine and breed, creating a hyperbolic landscape peopled with a society lost in their own myth. <a href="https://www.laurakrifka.com">https://www.laurakrifka.com</a> <img src="/sites/default/files/imported/people/graduate/images/krifka.jpg" alt="" /> <hr size="1" noshade="noshade" /><hr size="1" noshade="noshade" /> Masha Lifshin Digital Art, Iconographic Kitsch <img src="/sites/default/files/imported/people/graduate/images/lifshin_image.jpg" alt="" height="161" /> My work explores alternative materials and modes of distribution in order to offer incisive commentary on our common cultural milieu. This shared conceptual foundation unifies the variety of media and visual styles within my body of work. Working in digital media and online has tremendous power to reach broad audiences outside of art institutions. Graffiti holds the same promise for a completely different kind of audience, while also uplifting and reclaiming derelict sites. Comic books, illustration, and other forms of sequential art are accessible and readily reproducible media free from connotations of high art exclusivity. Styrofoam Halloween decorations, garden gnomes, tawdry underwear, and airline safety information cards are mainstream vehicles of cultural meaning and irresistible candidates for the détournement that underlies my entire art practice. <img src="/sites/default/files/imported/people/graduate/images/mlifshin.jpg" alt="" /> <hr size="1" noshade="noshade" /><hr size="1" noshade="noshade" /> Lauren Norby Fine Arts <img src="/sites/default/files/imported/people/graduate/images/norby_image.jpg" alt="" /> The artistic practice of Lauren Norby spans genres and media, but continually revisits themes of humor, entertainment, and narrative, while posing critical questions about the nature of art and art-making. <img src="/sites/default/files/imported/people/graduate/images/laurennorby.jpg" alt="" /> <hr size="1" noshade="noshade" /><hr size="1" noshade="noshade" /> Karen Spector Fine Arts <img src="/sites/default/files/imported/people/graduate/images/spector_image.jpg" alt="" />  <a href="https://www.karenspector.com">https://www.karenspector.com</a> <img src="/sites/default/files/imported/people/graduate/images/spector.jpg" alt="" /> <hr size="1" noshade="noshade" /><hr size="1" noshade="noshade" /> Shane Tolbert Fine Arts <img src="/sites/default/files/imported/people/graduate/images/tolbert_image.jpg" alt="" /> From McMansions to cul-de-sacs, my paintings investigate the eerie aspects of suburban culture starting with the home. The homes in my paintings act as metaphors for stability. Portraits of people whose stories are sometimes harmless and playful while others evolve into something more sinister. My paintings engage in an ongoing dialogue between abstraction and representation where the landscapes invert the suburban home, leaving the viewer a shameless voyeur in the world of each painting. <a href="https://www.shanetolbert.com">https://www.shanetolbert.com</a> <img src="/sites/default/files/imported/people/graduate/images/tolbert.jpg" alt="" /> <hr size="1" noshade="noshade" /><hr size="1" noshade="noshade" />Raymond Uhlir Fine Arts <img src="/sites/default/files/imported/people/graduate/images/uhlir_image.jpg" alt="" /> Raymond Uhlir regurgitates the cartoons and art historical influences of his youth, hoping to create a context for his work that allows it to communicate to those of us who experienced our first tastes of visual culture in Technicolor motion. <a href="https://www.raymonduhlir.com">https://www.raymonduhlir.com</a> <img src="/sites/default/files/imported/people/graduate/images/raymonduhlir.jpg" alt="" /> <hr size="1" noshade="noshade" /><hr size="1" noshade="noshade" /> Stephanie Washburn Fine Arts <img class="imgp_img" src="/sites/default/files/imagepicker/3/washburnfortroy.jpg" alt="Image" />  https://www.swashburn.com/ <img src="/sites/default/files/imported/people/graduate/images/swashburn.jpg" alt="" />

February 6, 2010

Lisa Jevbratt

Professor Network, Interdisciplinary, Interactive Art, (100% Art) <img src="/sites/default/files/imported/people/faculty/images/lisa1.jpg" alt="" width="180" /> Professor Jevbratt's work - ranging from internet visualization software to biofeedback and interspecies collaboration - is concerned with collectives and systems, the languages and conditions that generate them, and the exchanges within them. The projects explore alternative, distributed and unintentional collaborations and expressions of these collectives. Her projects have been exhibited internationally, in venues such as The Walker Art Center (Minneapolis), Banff Centre for the Arts (Canada), The New Museum (New York), The Swedish National Public Art Council (Stockholm, Sweden), and the Biennial at the Whitney Museum of American Art (New York). Her work is discussed in numerous books, for example, in Internet Art by Rachel Greene and Digital Art by Christiane Paul (Thames and Hudson). Jevbratt also publishes texts on topics related to her work and research, for example in the anthology Network Art - Practices and Positions (Routledge). <a href="/people/../faculty/jevbratt/">https://www.arts.ucsb.edu/faculty/jevbratt/</a> <img src="/sites/default/files/imported/people/faculty/images/jevbratt.jpg" alt="" /> <img src="/sites/default/files/imported/people/faculty/images/lisa2.jpg" alt="" width="180" />

February 6, 2010

Dick Hebdige

Professor, Interdisciplinary/Experimental Studies, (50% Art, 50% Film and Media Studies) <img src="/sites/default/files/imported/people/faculty/images/dick1.jpg" alt="" /> Professor Hebdige has published extensively on popular culture, media and critical theory and contemporary art, music and design. He has recently published long-form essays in the following: catalog for MOCA Murakami retrospective (New York. Rizzoli, 2007), Bullet-Proof I wish I was: The Lighting and Stage Design of Andi Watson (San Francisco. Chronicle Books, 2011); catalog for PST exhibition at Palm Springs Art Museum, Backyard Oasis: The Swimming Pool in Southern California Photography, 1945-1982 (New York & London. Prestel Publishing, 2012) ; and in Two Cabins by James Benning (New York. A.R.T. Press, 2012). He lectured at the following institutions: Cranbook Academy of Art, University of East London, Metropolitan University, University of Malmo, University of Toronto, University of Austin, TX, Vienna Academy of Fine Arts, Rietveld Academy, Stedelijk Museum, and Wits University, Johannesburg. Hebdige also inaugurated the interdisciplinary Desert Studies Program through University of California Institute for Research in the Arts and has been the Director of the Interdisciplinary Humanities Center.  <img src="/sites/default/files/imported/people/faculty/images/hebdige.jpg" alt="" />

February 6, 2010

Graduates 2005

Ethan Kaplan Digital Media / Media Studies / Critical Theory <img height="161" src="/sites/default/files/imported/people/alumni/images/kaplan.jpg" alt="" /> Ethan Kaplan is a media artist working mostly in the area of virtual embodiment of identity through online communities. As such, his work exists as a website (murmurs.com), discourse around the website, discourse around the catalyst for the website (the band R.E.M.) and the software that runs the website. Whether this means that Ethan is an artist, a theorist or a computer programmer is up to question. Whether his website is an artwork, the audience for the artwork or a hybrid state between is likewise up to question. Whatever the delineation, Ethan remains fascinated with computer mediated communication, the expression of fanaticism through it and the technology that enables it. Murmurs.com has been among the largest and most respected band websites since its inception in 1996. Ethan has had his work covered and shown on VH-1, CNN, Associated Press, National Public Radio, MTV, New Music Express Magazine, Q Magazine and other media outlets. He is an alumni of UCSD (Visual Arts) and is getting an MA in Media Arts and Technology at UCSB, as well as an MFA in the Department of Art. <a href="https://www.ethankaplan.com">https://www.ethankaplan.com</a> <a href="https://www.murmurs.com">https://www.murmurs.com</a> contact ethankap at murmurs dot com <hr size="1" noshade="noshade" width="550" color="silver" /> Jay Lizo Fine Arts <img src="/sites/default/files/imported/people/alumni/images/lizo.jpg" alt="" /> The structural ideas I'm interested in revolve around the morphology of language, essentially language games. I'm curious about how something very simple such as a word or a image can generate a assoicated web of thought for an experience. This experience or experiences can range from a pubilc or private memory to a fictional or historical narrative. This usually manifests itself through different formats like text, image, material, or sound and somtimes combining these elements into one object. The painting "The Devil's End" comes from a continuing body of work based of a Godard's "Sympathy for the Devil". The film acts as a machine generating images for me to consume and recycle back as a hybridized and alienating space. contact jlizo at earthlink dot net <hr size="1" noshade="noshade" width="550" color="silver" /> Andrew Prince Sculpture <img src="/sites/default/files/imported/people/alumni/images/prince.jpg" alt="" /> Andrew's artwork appropriates design cues from consumer goods in an attempt to reveal cultural nuances. His personal process employs the use of readily available materials maximizing the ever-present concern of time and effort efficiency. contact an_drew_prince at yahoo dot com <hr size="1" noshade="noshade" width="550" color="silver" /> Teja L. Ream <img src="/sites/default/files/imported/people/alumni/images/ream.jpg" alt="" /> Pirates, photos, videos, installations, words, pages, books, birds, femme fatales, music, stickers and deadly stiletto heels. <a href="https://www.tejaream.com">https://www.tejaream.com</a> <hr size="1" noshade="noshade" width="550" color="silver" /> Ben Ritter Installation, Digital Media <img height="161" src="/sites/default/files/imported/people/alumni/images/ritter.jpg" alt="" /> Anti-Nautilus is an assembly which can consist of any type of material. It can be language, a pattern of thinking, mathematics, architecture, sculpture, organic matter, science, computer programming, social activity, an art movement, or a human psyche. The Nautilus, on the other hand, is equally abstract. It is not just a type of shell but a symbol for a mode of existence. The Nautilus represents a scientific, artistic, or critical methodology that seeks to reduce the material world to a sign-system intelligible to human reason. This mode of thought might believe that the whorls of the nautilus shell unfolding in the Fibonacci sequence is symbol of the secret mathematical order of the universe, that the world is a vast set of ciphers open to human understanding. <a href="https://www.uweb.ucsb.edu/~britter/">https://www.uweb.ucsb.edu/~britter/</a> contact b_ritter at hotmail dot com <hr size="1" noshade="noshade" width="550" color="silver" /> Rebecca Tuynman Photography <img width="161" src="/sites/default/files/imported/people/alumni/images/tuynman.jpg" alt="" /> Rebecca Tuynman's art work seeks to define the ability of an object to contain and transmit human personality. Using photography as her primary medium, she designs participatory art projects that always seek inclusiveness. <a href="https://rebeccatuynman.com">https://rebeccatuynman.com</a> contact rebecca at rebeccatuynman dot com

February 6, 2010

Graduates 2007

MFA 2007 Thesis Catalogue Available at www.LuLu.com <a href="https://www.LuLu.com">https://www.LuLu.com</a> <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Mark Batongmalaque Fine Arts <img height="161" alt="" src="/sites/default/files/imported/people/alumni/images/bantongmalaque.jpg" /> My life is actually really good. I did not have any harder a time or easier a time growing up than the majority of people in the country. My life has been adequately medium, in the grand scope of fantastic and tragic lives. I never really feared for my life. I graduated high school without worry of not doing so and without being considered to be valedictorian. I collect comic books. I go to a state run college, not at all an ivy league. I drive a working car without leather upholstery. I eat fast food. I work to buy things, but I never really struggled. I do my own laundry. I record shows off the TV. I have a favorite candy bar and it’s not imported from a foreign country. How are things with you? I am amoral and it is a Twix®. <a href="https://www.myspace.com/markiscooler">https://www.myspace.com/markiscooler</a> contact mbatongmalaque at umail dot ucsb dot edu <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Jenn Figg Fine Arts <img height="161" alt="" src="/sites/default/files/imported/people/alumni/images/figg.jpg" /> <a href="https://jennfigg.net">https://jennfigg.net</a> contact jenn at p3arts dot com <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Tatiana Ginsberg Fine Arts <img height="161" alt="" src="/sites/default/files/imported/people/alumni/images/tatiana.jpg" /> Handmade Paper, Installation, Artists' Books, Natural Dyes, etc. <a href="https://www.tatianaginsberg.org">https://www.tatianaginsberg.org</a> contact tginsberg at juno dot com <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Michael Godwin Fine Arts <img height="161" alt="" src="/sites/default/files/imported/people/alumni/images/godwinthumb.jpg" /> Michael Godwin received his BA in Archaeology and Art History from Columbia University; after working as a Halloween product designer and prototyper in Oakland for several years he decided to pursue an MFA at UCSB. He spent his time here developing elaborate strategies for giving away his artwork for free and documenting the process with fancy digital interfaces. Recently he's been developing a non-profit religious group, The Church of Drawing, to continue his mission of human betterment through drawing. contact godwin at umail dot ucsb dot edu <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Christine Gray Fine Arts <img height="161" alt="" src="/sites/default/files/imported/people/alumni/images/christine.jpg" /> In Christine Gray’s paintings, images of plants, animals, and other ‘natural’ commodities are positioned in empty fantasy landscapes. She represents landscape through several degrees of mediation (first through building modest micro-sculptures, then through painting.) Affectionate realism is utilized in the paintings in order to emphasize the constructed nature of each landscape model. The paintings function by passing themselves off as ‘the real’ while at the same time retaining their connection to the imagination and to the hand-made. This removal from the real reflects the prevalent contemporary anxiety toward not only so-called ‘nature’ but also toward ‘the real’ itself. Image: Cubist Lemming, 2006, 11.5" x 11.5" oil on panel. <a href="https://www.christinegray.com">https://www.christinegray.com</a> contact christinegray at umail dot ucsb dot edu <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Terrence Handscomb Fine Arts <a href="https://www.terrence.org">https://www.terrence.org</a> contact maymale at verizoon dot com <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Anne-Marie Hansen Fine Arts <img height="161" alt="" src="/sites/default/files/imported/people/alumni/images/hansen.jpg" /> Anne-Marie is an international student, who has an MA in digital media design from Designskolen Kolding, Denmark. During her design studies she collaborated with industrial design and architect students in order to develop concepts for interactive installations such as learning-, information- and playful environments. She did two internships in the Netherlands: One at STEIM (studio for electro-instrumental music), where she studied sound design and sensor mapping. One at Montevideo (Netherlands Media Art Institute), where she studied camera tracking and gesture recognition. She graduated from the design school in 2005 with a collaborative project - an interactive playground that encourages children in the age from 7-11 to play outside using their body. She received a Fulbright grant in order to continue her studies at the MFA program at UCSB, where she is exploring performance possibilities and audio/visual system designs in interactive environments. <a href="https://www.uweb.ucsb.edu/~annemarie_s_hansen/">https://www.uweb.ucsb.edu/~annemarie_s_hansen/</a> contact annemarie_s_hansen at umail dot ucsb dot edu <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Billy Hood Fine Arts contact b_illhood at yahoo dot com <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Nichole Van Beek Fine Arts <img height="161" alt="" src="/sites/default/files/imported/people/alumni/images/nvbwilly.jpg" /> I disassemble and re-assemble images to extend the time spent mulling over the implications of their existence. <a href="https://www.nicholevanbeek.com">https://www.nicholevanbeek.com</a> contact nvb at umail dot ucsb dot edu

February 6, 2010

Colin Gardner

Professor Integrative Studies/Critical Theory, (100% Art) <img id="imgp_img" title="loseycover.jpg" src="https://artsite.arts.ucsb.edu/sites/default/files/imagepicker/11/browser/loseycover.jpg" alt="" width="126" height="192" /><img src="https://www.palgrave.com/products/ShowJacket.asp?ISBN=9781137014351&width=385&height=625" alt="" width="135" height="192" /><img id="imgp_img" title="reiszcover.jpg" src="https://artsite.arts.ucsb.edu/sites/default/files/imagepicker/11/browser/reiszcover.jpg" alt="" width="128" height="192" /><hr /> Working at the intersection of film-philosophy, Deleuze studies and interdisciplinary media theory, Colin Gardner received his B.A. and M.A. in History from St. John's College, Cambridge and Ph.D. in Cinema Studies at UCLA before becoming Professor of Critical Theory and Integrative Studies at the University of California, Santa Barbara, where he teaches in the Departments of Art, Film & Media Studies, Comparative Literature, and the History of Art and Architecture. He is also developing a course on transversality and popular media for the College of Creative Studies to be offered Fall 2013. His most recent book is Beckett, Deleuze and the Televisual Event: Peephole Art (Palgrave Macmillan, 2012), a critical study of Samuel Beckett's experimental work for film and television and its connection to Gilles Deleuze's ontology of the image in Cinema 1 and Cinema 2. Excerpts have appeared in Deleuze Studies Journal (2012) and Continuum Books' Gilles Deleuze: Image and Text (2009). Gardner contributed the chapter on Roland Barthes to Felicity Colman's Film, Theory & Philosophy: The Key Thinkers (Acumen, 2009) and is currently collaborating with Dr. Colman on a Three Volume Encyclopedia of Film-Philosophy, due to be published in 2015, which attempts to bridge the gap between continental and analytic approaches. Gardner has also published two books in Manchester University Press’s “British Film Makers” series: a critical study of the blacklisted American film director, Joseph Losey (2004), and a monograph on the Czech-born, British filmmaker and critic, Karel Reisz (2006). The latter study led to his being a featured interviewee in Karel Reisz: This Filming Life, a 2012 Czech documentary film produced by Jarmila Hoznauerová and directed by Petra Všelichová (a Co-Production of Czech Television – Ostrava Telvision Studio). Related research on Losey has also appeared in Trudy Bolter’s Le politique éclaté (Paris: L’Harmattan); the Franco-American film journal, Iris; the Parisian web-based theoretical journal, Critical Secret No. 6 (2001), Interdisciplinary Humanities (2002), Media History (2006), and Lo Sguardo dei Maestri's Joseph Losey: Senza Re, Senza Patria (Milan: Il Castoro, 2010). Gardner is also the author of critical essays on Bob Rafelson’s Five Easy Pieces (for Creation Books' Jack Nicholson: Movie Top Ten, edited by Mikita Brottman); as well as a theoretical study of Diana Thater’s video installations in Space, Site, Intervention: Situating Installation Art (Erika Suderberg, ed.) for the University of Minnesota Press. His extensive list of catalog monographs includes essays on Mike Kelley for the Whitney Museum of American Art, John Baldessari for the Graphische Sammlung, Albertina in Vienna, Wallace Berman for Amsterdam's Institute of Contemporary Art, video artist Rachel Khedoori for the Kunsthalle in Basel and Mike Bouchet's film works for Sternberg Press in Berlin. On a local level, Gardner has worked extensively with the Santa Barbara Museum of Art (as blogger, panelist and lecturer) and the Contemporary Arts Forum (CAF), including catalog essays for Sandow Birk's “Prisonation” series, Linda Stark's “Runaway Love” retrospective, and the 2001 group exhibition, “Diabolical Beauty,” co-curated with UCSB Professor, Jane Callister. Gardner was also co-curator and co-editor of Damaged Romanticism: A Mirror of Modern Emotion, an exhibition and accompanying book that was initiated by the Blaffer Gallery in Houston in 2008 and subsequently traveled to the Grey Gallery at NYU and the Parrish Museum on Long Island. Most recently Dr. Gardner has expanded his research into the area of Media Geography (he was adjunct faculty in Geography at San Diego State University from 2011-12). This has taken the form of conference papers as well as a chapter on Tomas Gutierrez Alea's seminal Cuban film, "Memories of Underdevelopment" in James Craine, Giorgio Curti and Stuart Aitken's collection, The Fight To Stay Put: Social Lessons Through Media Imaginings of Urban Transformation and Change (Franz Steiner Verlag, 2013). He is currently developing an essay on Stan Douglas for James Craine's forthcoming Ashgate collection, A Companion to Media Geography: Place/Space/Media. Apart from regular attendance at Francophone, Deleuze Studies and Film-Philosophy conferences throughout Europe and the US, Gardner's public lectures include a keynote address for Loyola Marymount University's Operation STEAMroller interdisciplinary conference in 2012; discussions of Stan Douglas’s video work at Cal Arts and the Museum of Contemporary Art, Los Angeles; Diana Thater’s “Knots + Surfaces” projected DVD installation for New York’s Dia Center for Arts’ Robert Lehman Lecture Series (published in 2006); “Decentered Spectatorship: Constructing a Hybrid Scopic Space in Recent Art Film and Video,” at Louisville’s Speed Art Museum; and an analysis of cinema and the brain for Warren Neidich’s “The Mutated Observer: Neurological Structures, Perception and Visual Culture” at UC Riverside’s California Museum of Photography. <a href="https://www.colingardner.net/">https://www.colingardner.net/</a> <img src="/sites/default/files/imported/people/faculty/images/colinrgardner.jpg" alt="" /> <img src="/sites/default/files/imported/people/faculty/images/colin2.jpg" border="1" alt="" width="120" height="182" /><img src="/sites/default/files/imported/people/faculty/images/colin3.jpg" border="1" alt="" width="127" height="182" /><a href="/sites/default/files/imagepicker/11/Jack_2.jpg" target="_blank" rel="noopener noreferrer"><img style="width: 132px; height: 179px;" src="/sites/default/files/imagepicker/11/Jack_2.jpg" alt="Image" /></a><img src="/sites/default/files/imported/people/faculty/images/colin6.jpg" border="1" alt="" width="124" height="179" /><img src="/sites/default/files/imported/people/faculty/images/colin5.jpg" alt="" width="144" height="179" /> <a href="/sites/default/files/imagepicker/11/Colman_3.jpg" target="_blank" rel="noopener noreferrer"><img style="float: left;" src="/sites/default/files/imagepicker/11/Colman_3.jpg" alt="Image" width="130" height="180" /></a><img style="float: left;" src="/sites/default/files/imagepicker/11/Deleuze.jpg" alt="Image" width="122" height="179" /><a href="/sites/default/files/imagepicker/11/Losey_2.jpg" target="_blank" rel="noopener noreferrer"><img src="/sites/default/files/imagepicker/11/Losey_2.jpg" alt="Image" width="129" height="179" /></a><a href="/sites/default/files/imagepicker/11/Losey_2.jpg" target="_blank" rel="noopener noreferrer"><img class="cover" src="https://coverart.oclc.org/ImageWebSvc/oclc/+-+041758289_140.jpg?SearchOrder=+-+OT,OS,FA,GO" border="0" alt="Mike Bouchet : selected works 1989-2009" width="140" /></a><img id="summary-frontcover" title="Front Cover" src="https://bks2.books.google.com/books?id=1JZIAQAAIAAJ&printsec=frontcover&img=1&zoom=1&imgtk=AFLRE73jeY5mrsazoCG8sFbxV_L7zLc8u0GozEgH6bvCU9jKW41IArDY75GlCLPST3qrZz7Er_OXqGM6-0frbgPVpk-nedAQSpEGt7OnKkva_b-_caM6JiMhkSPJr6vPciVL90FC5z96" border="1" alt="Front Cover" width="128" height="179" /><a href="https://www.amazon.com/gp/product/images/9080096830/ref=dp_image_0?ie=UTF8&n=283155&s=books" target="AmazonHelp" rel="noopener noreferrer"></a><a href="https://www.amazon.com/gp/product/images/0874270871/ref=dp_image_0?ie=UTF8&n=283155&s=books" target="AmazonHelp" rel="noopener noreferrer"></a> <hr />