10/03/2015 - 12/20/2015
10/05/2015 - 10/09/2015
10/05/2015 - 10/06/2015
D300 Gallery: Camila Romero BFA ART
D301 Gallery: Rebecca Rose BFA ART
L-SHAPE Gallery: Weng San Sit MFA PHOTO
MAIN Gallery Perimeter: Melanie Berry MFA ART
A402 Gallery: Calla Donofrio BFA ART
LIME Gallery: Minkyung Choi MFA ART
MINT Gallery: Hannah Bates BFA PHOTO
ART: Tone Olaf Nielsen is an independent curator, whose practice is based on a firm belief in the ability of artistic and curatorial work to contribute to social and political transformation. Nielsen advances a conception of the curated exhibition as a transnational-transdisciplinary platform from where to address the root causes of social, economic, and environmental inequities and to present other ways of organizing the world. In 2005, she formed the transnational feminist curatorial collective, Kuratorisk Aktion, with feminist curator Frederikke Hansen. Working internationally out of Copenhagen, Kuratorisk Aktion produces exhibitions, publications, and discussions that probe into the complex relations between historical colonialism and capitalist globalization from a postcolonial-transnational feminist perspective.
Based in Copenhagen, Morten Goll holds an MFA from the Royal Danish Academy of Fine Arts and an MFA from Otis College of Art and Design. He is the cofounders & executive director of the Trampoline House: a user-driven refugee justice community center located in Copenhagen, where refugees and residents of Denmark can meet, share experiences, and work together for a just and humane refugee and asylum policy. The center operates as a non-profit, selforganized platform for social interaction, knowledge exchange, and solidarity building across boundaries of privilege, exclusion, and inequality, and offers a series of services and activities intended partly to inform the Danish population about the conditions for refugees living in asylum centers or underground, and partly to provide refugees and asylum seekers in Denmark with a platform from which to better their situation.
CalArts, Butler Building 4
CRITICAL STUDIES: David Shields is the author of thirteen books, including How Literature Saved My Life (forthcoming from Knopf on February 5, 2013); Reality Hunger: A Manifesto (Knopf, 2010), named one of the best books of the year by more than thirty publications; The Thing About Life Is That One Day You'll Be Dead (Knopf, 2008), a New York Times bestseller; Black Planet: Facing Race During an NBA Season, a finalist for the National Book Critics Circle Award; Remote: Reflections on Life in the Shadow of Celebrity, winner of the PEN/Revson Award; and Dead Languages: A Novel, winner of the PEN Syndicated Fiction Award.
His essays and stories have appeared in the New York Times Magazine, Harper’s, Esquire, Yale Review, Village Voice, Salon, Slate, McSweeney’s, and Utne Reader; he’s written reviews for the New York Times Book Review, Los Angeles Times Book Review, Boston Globe, and Philadelphia Inquirer. His work has been translated into fifteen languages. Shields has received a Guggenheim fellowship, two NEA fellowships, an Ingram Merrill Foundation Award, a Ludwig Vogelstein Foundation grant, and a New York Foundation for the Arts Fellowship. He lives with his wife and daughter in Seattle, where he is the Milliman Distinguished Writer-in-Residence at the University of Washington. Since 1996 he has also been a member of the faculty in Warren Wilson College’s low-residency MFA Program for Writers, in Asheville, North Carolina.
For me, Shields says of the lyric essay, it's the orchestration of theme, always. It's about how beautifully the mosaic comes together. I've always loved that. Like the way a great painting comes together. That's the formal challenge of the lyric essay or literary collage - this apparently rather random gathering of material.
REDCAT: The two different programs that make up this year’s festival from the CalArts Center for Experiments in Art, Information and Technology (CEAIT) offer a triad of avant-garde techno music-makers. One night features Bonnie Jones, whose “no-input” style of sound-text performances...Read more