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Past Exhibitions – 2008 September 6–December 7, 2008 The Offering Table: Women Activist Artists from Korea Curated by L. Inson Choy Seven artists from the Seoul-based group Ipgim participate in the rediscovery of women's traditions and history in The Offering Table: Women Activist Artists from Korea. The ambition of these artists is to rai Often working as a group under the name Ipgim which imprecisely translates to “air,” they have been invited to participate in numerous projects including the Busan (Korea) Biennale in 2004 sharing the stage with the world famous Guerilla Girls. As successful individual artists they have been shown in major galleries and participated in group shows in Korea as well as China, Japan, United States, Germany and France. Their art resonates as women sharing a common history of struggle to find voice in the still male-centric society. Kwak Eunsook, Hysteria/Crevice (video still), 2008. Video installation; 4 minutes, color, sound. Courtesy of the artist. Ginger Wolfe-Suarez: As Long As I Live You Will Live Curated by Jessica Hough Ginger Wolfe-Suarez: As Long As I Live You Will Live pulls together the artist's solo works alongside works made with her mother, Jeanne Moen Wolfe. Wolfe-Suarez’ is an artist who has a pluralistic practice rooted in conceptual art-making, writing, and organizing. Her work is informed by feminist ideas, his Wolfe-Suarez is based in the East Bay. She is founder of InterReview, an experiential art collective and journal on the history of conceptual art, and has been the editor for the past six years. Jeanne Moen Wolfe, lived in the Bay Area during the Vietnam War and was a part of the peace movement. She now lives in Georgia. Ginger Wolfe-Suarez, work camp (detail), 2007–08. Multimedia installation, Courtesy of the artist. June 18-August 3, 2008 The theme of small scale, grand narrative ties together the four exhibitions on-view this summer at the Mills College Art Museum. Charlotte Schulz: An Insufficiency in Our Screens Charlotte Schulz's charcoal drawings invite the viewer to explore strange composite architectural spaces in which dreams blend with memory and reality. Fragments of buildings are tethered together, and interior unfolds into exterior and back again. The spaces she renders appear to be unpopulated, allowing the viewer to easily step in as protagonist.
Curated by Thomas Trummer The maximum of all possible hate is realized in the eternal moment, and we cleave to our screens as it unfolds in that disquieting way (an incompossible) (detail), 2005, Courtesy of the artist The selection of work navigates big ideas, including the question of why specific events happen as they do, when the potential for any number of possible outcomes exists in the universe. The phrase "an insufficiency in our screens" introduces each title in this series of drawings, as Schulz explores an interest in both metaphysical and physical "screens," and how they filter experience and mediate information in our everyday lives. Charlotte Schulz lives and works in Beacon, New York. This exhibition was organized by The Aldrich Contemporary Art Museum. Divine Visions Worldly Lovers 
Curated by Robert J. Del Bontà The diverse deities of South Asia are major themes in Indian painting but romantic love also plays a large role in the intensely-colored, and often small-scale, works. Both of these themes can be seen repeated often in the Janeff collection of Indian paintings. This Bay-Area collection, which includes work from the fifteenth to the twentieth century, highlights many styles and trends found in Indian art. Indian artists constantly played with various painting approaches- conflicting ones such as realism and abstraction-and often within a single work. Perhaps confusing at first, upon closer inspection this layering of artistic conventions can be subtle and sophisticated. With the advent of the Mughal style, associated with a Muslim dynasty founded in the sixteenth century and ultimately ruling most of North India, European realism was introduced, particularly in the portrait tradition. The accomplished academic style developed in Mughal ateliers combined Indian and Persian styles with Western realism. A full-color illustrated catalogue accompanies the exhibition. The Life and Times of Sarah McEneaney Curated by Melissa Feldman
Sarah McEneaney Selections from the Mills College Art Museum and F.W. Olin Library Special Collections Curated by Janice Braun and Jessica Hough This summer's focus on small scale has inspired us to delve into the collections of both the Art Museum and Library to discover works, which might be modest in scale, but large in impact. The selection includes individual works by Pop artist Andy Warhol, 18th century painter Angelica Kauffman, and early 20th century African American artist Sargent Claude Johnson. May 4−June 1, 2008 MFA Exhibition 2008
From a mountain of washing machines to translucent paintings hung from a wire web, the second year graduate students create fresh work for the Master of Fine Arts Exhibition 2008, on-view at the Mills College Art Museum from May 4 through June 1, 2008. For her installation, Trisha Grover hand-melts plastic into forms of subtle beauty but with a material that is directly associated with human waste. She is interested in the necessary denial required to consume and discard permanent things in a society that rarely is confronted with its garbage. Michael Hall explores the effects of control and protection in his paintings and videos. Using material culled from web sources and a personal archive of found and original photography and video, Hall produces enigmatic imagery. Through humor, scale, cropping, rhythm and juxtaposition he asks viewers to reexamine their relationship to what they are seeing and the application those images have in their lives.
Joanne Hashitani makes paintings and installations composed of strands of invisible thread. She creates repetitive, translucent marks that accumulate to form fields or masses, which sit on a grid of thread that provides the structure for the work. There is fragility and strength in the work as it responds to the fluctuations of light and movement in the surrounding space. Ann Kim's The Spectacle consists of paintings on paper that address the issue of "violence as spectacle." Her past investigations of ego/alter-ego, oil/water and figure/shadow have brought her to further explore the dualities of the polemic nature of violence, and solitary guilt/collective violence in this series. Reiko Kubota uses video and sound to create a total experience. Through her interactive installations she intends to transform the notion of her work's physicality through to surround viewers in a sensual experience. David Linger's paper thin, porcelain panels feature deeply embossed text and screen-printed images. The narratives Mr. Linger projects in his multiple-panel works combine stories based on emotional states culled from the corners of his past with related images from a variety of sources. Daniel Nevers uses everyday objects from the hardware store, such as washing machines, saw horses, and straps, in his sculptures in unexpected ways. Influenced by pop psychology and armchair philosophy, his work simultaneously pulls viewers in and pushes them away while asking what it means to purposefully construct nonsensical barriers. During the past few years, Sandra Ono has rekindled her childhood fascination with studying cellular structures and scientific renderings. Working in mixed media, she amasses forms to give physical weight and presence to different internal states. Her current work attempts to depict the experience that lies between the visceral and the cerebral.
Jennie Ottinger's installation of drawings, gouache paintings, and projected images entitled Third Thing invites the viewer to derive their own meanings from the juxtaposed elements. She seeks to find the curious ways a certain image, if sweet and playful, can become sinister or threatening, creating a new idea beyond the individual images. Robb Putnam creates emotive animal characters out of fabric, thread, glue and other mixed mediums. This "family" of cast-off entities, imaginary friends and monsters may strike the viewer as both inviting and repellent. Ethan Worden makes objects that resist being themselves. They are things we know-identifiable and essentially pragmatic-yet through manipulation of scale, context, or configuration, they confound our expectations and project themselves into an absurd and lyrical space. Worden's practice asks viewers to examine the qualities of familiar and functional objects, but also to evaluate their own habits of seeing and interpreting their surroundings. April 2–20, 2008 Antithesis: 2008 Senior Thesis Exhibition The Mills College Art Museum announces Antithesis,
Aurora Arding works with audio and electronics to supply a visceral harmony to visual representations of the human body. She uses audio feeds and electronics to create interactive sculpture. Molly Bower creates sculptural works with recognizable materials and illustration such as gestures. Her work represents the difficulties of communication and the fragility of comprehension through the use of bird-like paper and wire forms. Kristin Doner takes abstract photographs of decaying structures, plants and rocks, then stitches the prints together, creating fantastical structures and amorphous blobs. Aviana Lynn creates sculptures that are abstract investigations of commonplace materials, such as gauze or plastic wrap. She uses layering in order to create unexpected texture and varying levels of transparency.
Victoria Jarvis uses photography to look at everyday objects such as mattresses and dishes in their post-used state and investigates whether their final condition is one of mistreatment or one of a quite necessary over-use. Melanie Lombard makes large scale figurative paintings using big brush strokes and bold colors, enhancing and abstracting the physical and emotional impact of her subject matter. Rosanna Scimeca uses rusty salvaged metals and animal parts (both real and fake) such as rooster feet and a swine heart to create a two and three-dimensional installation that explores ideas of human conditioning and survival. Her works invite the viewer to re-examine familiar associations by taking them out of their natural context and scale. Kimi Taira makes paper and vellum cutouts of abstracted calligraphic forms to compose through installation. She is interested in the gap between thought and written communication, the "appearance" of meaning, and the process of deciphering thought. Special Events: Saturday, April 12, 2008 BACAN is a free event presented in conjunction with the senior exhibition and invites all students from Bay Area colleges for a night of art and music entertainment in the museum gallery. The event will feature DJ The Kone, a limited bar, and January 16–March 16, 2008 We Interrupt Your Program Curated by Marcia Tanner, Independent Curator We Interrupt Your Program is a group show of video and new media works by fourteen emerging and mid-career female artists. Through their work, the artists intervene in, reconfigure, augment, and/or re-contextualize dominant narratives of war, violence, power, science, technology, gender, and the natural environment from a feminist, or at least female, perspective. The exhibition includes work made by computer-manipulated video, video installation, interactive sculpture, and photography. All of the artists respond to mainstream media including network television, mass market feature films, computer and video games−interrogating them as restrictive cultural vocabularies that routinely exclude the female voice and point of view. Their work is powerfully expressive, conceptually complex, technically accomplished, uses humor and satire, and is relevant to our culture's historical moment.
Golden Oldies, 2006–07
TEXTile (detail), 2006
Afflicted Powers, 2007 Public Programs Saturday, September 13, 9-5pm Wednesday, October 8, 7:30pm Curator Marcia Tanner in conversation with Jean Shin and Claudia X. Valdes February 20, 7:30 pm March 12, 7:30 pm May 9, 2008, 7:30 pm All programs are in Danforth Lecture Hall, Art Building Related Exhibitions January 17−March 15, 2008 January 18−February 24, 2008 March 8−December 31, 2008 March 27−May 24, 2008 March 29−June 29, 2008 |
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Overview Tuesday-Sunday 11:00 am–4:00 pm Wednesday 11:00 am–7:30 pm Admission is free. Contact Information Art Museum Aron Art Center P: 510.430.2164 F: 510.430.3168 E: museum@mills.edu |
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se awareness about the emerging feminist art movement that is taking place in Korea to challenge patriarchal Confucian beliefs. They share a strong desire for socio-political change stemming from personal experiences with issues that still plague women in the work and domestic spaces.
tories, and theories, and often addresses alternative ways of understanding history.
The Life and Times of Sarah McEneaney represents the Philadelphia-based artist's West Coast debut and features 18 paintings from 2000 to the present. McEneaney works in a miniaturist's view that encompasses the grandeur of nature, socio-political issues, personal trauma and fantasy as well as the life of an artist, a working woman, a home and pet owner, and a community activist. McEneaney lives and works in Philadelphia, PA.
the 2008 Senior Thesis Exhibition, on-view from April 2-20, 2008. The artists featured in this exhibition are undergraduate students presenting their final thesis projects, and have studied with Mills College art faculty: Jesus Aguilar, Freddy Chandra, James Fei, Samara Halperin, Hung Liu, Bernie Lubell, Robin McDonnell, Anna Murch, Ron Nagle, Sean Olson, Moira Roth, Lisa Solomon, Laura Splan, Michael Temperio, Deirdre Visser, and Catherine Wagner.
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