A Conversation with
JANE GILLESPIE PRYOR
June 12, 2014
Conducted at thinhstudio, Hawthorne, California
Interviewer: Jill Thayer, Ph.D.
Interview with Thinh Nguyen (curator); Alan Nakagawa, Melanie Moore, Debra Bianculli, and Jane Gillespie Pryor (Lime Light exhibition artists); with Paulin Paris and Olivier Mirguet (Cordary Avenue studio artists).
I was invited by Artist/Curator Thinh Nguyen to have a discussion on artist emergence with the exhibiting artists of “Lime Light” (June 7-14, 2014) at thinhstudio in Hawthorne, California. Thinh, an MFA graduate from Claremont Graduate University read my CGU doctoral dissertation, “Artist Emergence in Contemporary Culture: A Dialectic in Social and Material Conditions of Southern California Artists (ProQuest/UMI, 2011), and asked that I share my experiences and findings with the group in the show he curated. I wanted to document the artists’ insights in the continuing dialogue on the topic, and most importantly, learn of their contributions to contemporary culture beyond this exceptional exhibition.
Jill Thayer: Today is Thursday June 12th 2014 and I have the pleasure of speaking with curator Thinh Nguyen, the artists of “Lime Light” exhibition including Alan Nakagawa, Melanie Moore, Debra Bianculli, and Jane Gillespie Pryor; and Cordary Avenue studio artists Paulin Paris and Olivier Mirguet. Thank you for inviting me to share in a discussion of artist emergence. As we begin, please introduce yourselves and briefly describe your work.
Thinh Nguyen: Hi. My name is Thinh Nguyen. I am a conceptual blending artist, as well as a curator, writer, and cultural developer.
Melanie Moore: My name is Melanie Moore. I am a painter and I’ve been doing ink paintings on paper that deal with micro and macro mutations, biological mutations.
Debra Bianculli: My name is Debra Bianculli. I am an artist, primarily a painter. My recent body of work includes the topic of genetic modification and industrial agriculture.
Olivier Mirguet: My name is Olivier Mirguet. I’m a photographer and I work mostly with photography. I also do installations.
Paulin Paris: My name is Paris. I’m an artist. I do paintings, sculpture, murals, and photography.
Jane Gillespie Pryor: I am Jane Gillespie Pryor. I am an artist, primarily a sculptor, working with plastic and found wood. My recent body of work deals with traps and shelters, and animal skins and the patterns that inhabit those.
Alan Nakagawa: Alan Nakagawa. I’m a sound artist.
JT: Thank you everyone.
Artists: Thank you.
JT: I would like to discuss the influences of your work and relationship to the culture, and the experiences you’ve had in the art market. Many artists just out of graduate school and those who did not attend college wonder how their work may fit into the broader discourse. How do they emerge? This was the focus of my doctoral dissertation at Claremont Graduate University entitled, “Artist Emergence in Contemporary Culture: A Dialectic in Social and Material Conditions of Southern California Artists,” (UMI/Proquest, 2011). In the study, I interviewed 30 art market participants including: artists, curators, gallerists, critics, and art administrators in exploring the mechanisms that inform artist emergence. The artists came from various socio-economic backgrounds and I discovered a number of factors that contributed to their success such as personal (family and friends) and professional (industry, peer, and patron) support structures, belief systems, networking, talent/passion/drive, marketing strategies, and other signifiers in their career pursuit. I was fascinated by their trajectories and documented their stories, which contributed to the 973-page dissertation.
Our discussion is a continuation of this by adding insight to the discourse through your experiences and observations. Since our graduate study at CGU Art, I followed Thinh’s work as an artist and curator. I offer my congrats to you all on the success of “Lime Light.” It’s nice to revisit the topic of artist emergence and hear your comments, as many artists do not discuss how they achieve visibility in the art world. I hold a respect for the aesthetic and a proprietary understanding that this level of work commands. As artists, most have an inherent desire to gain public awareness for their work. Your insights on these and other issues will contribute to our discussion. Thank you for being a part of this exchange.
Melanie, what childhood factors contributed to your career as an artist?
MM: I would say, the biggest childhood factor is the fact that we did not have television in the sense that we did not have cable TV. We had a TV, we watched movies, but on a day-day basis just to entertain myself, I would draw. Then the drawing became how I thought about the world and how I processed the world. I think that if I had watched TV shows every day, I maybe would still be creative, but I wouldn’t have that really deep background in drawing and the kind of that love for it as deep as I do.
JT: How about you, Debra, are there any childhood factors that helped pave your way as an artist?
DB: Yes. The neighborhood that I lived in was sort of rural within a suburb. It was on a wooded hill and the only street to get around it was a major roadway so, I couldn’t really get anywhere. We lived on a couple of acres of woods and I didn’t really have any neighborhood children that were my age. There was one girl across the way. I spent a lot of time with my brother; a lot of time in the woods, and so when I wasn’t doing those sorts of things, I was making art.
OM: I used to live in France. I grew up in France, in a small village in Eastern France, near Nancy. I was always interested in visual things and I started to photograph maybe at 12 or 13 years old. I wanted to be a photographer. That’s weird because I was thinking about this, when I did the installation and the show with the picture of the helicopter at night [“Supervision L.A.” May 3, 2013 at Lacen Project]. I was maybe at 13 or 14, I was collecting articles from the local newspaper, and only such weird stories about wars and everything, very dark stories. That’s funny because it makes sense with what I do now and it’s all connected.
JT: Many artists don’t think about upbringing and their childhood though many things influence where they are today. You may not want to think about it, but it’s important to embrace that because it’s part of who you are.
OM: It’s still there. You don’t think about it.
JT: Yes. We realize how far we’ve come. I have a number of questions. It’s going to be an ongoing dialogue.
Alan notes that Melanie must leave for work and requests that the conversation begins with her.
OM: Just ask her [referring to to Melanie]. For the moment, you are on the grill.
MM: It’s so great to hear everyone’s responses though.
JT: What artists or genres informed or influenced your work?
MM: I have a lot of influences. I would definitely say the color field painters such as Morris Louis and Helen Frankenthaler, the stain painting, and Sharon Ellis actually got me into painting. I saw her work and I was like, “I want to be a painter, I want to paint just like that.” I don’t paint like her at all. [Laughs] I just saw her work again in Santa Monica, she had a show up and I felt really connected to it even though my work is so different. That was really interesting to come back and see it in person, because it’s so graceful and beautiful. I would say Terry Winters has also been a big influence for many, many years.
JT: Most often, there is something from an art historical reference that influences your work or how you see the world. I see color palettes from the Fauvists or Post-Impressionists, perhaps constructs from previous movements that may circle back around. What is the relationship of your work to the culture?
MM: What I think about is these microbiological mutations. It’s me thinking about where we all came from. Where, and how we got the way we were. Even though I know there’s a lot of science documentation and all of that, there’s also this mystery and beauty, and how everything got put together. Even on a day-to-day basis that could be seen, that micro little relationship can be seen in a relationship between people as well. Growing through their life, and changing and interacting with other people. A lot of times my forms are interacting with each other. It’s almost like a little story sometimes they tell.
JT: Yes, an excellent parallel between microbiology and the human condition. Is your organization process linear or non-linear?
MM: I would say non-linear. I’m all over the place, things circle back around all the time. In fact, after I graduated with my MFA, I felt I was just one step in front of where I was when I graduated with my BA. Of course, I had a wealth of knowledge and experience, and I had seven years between my BA and my MFA, but somehow, these ideas that I had started then had circled back around, they were always there but they had come to the surface more. Everything seems to circle around in my studio. I have several things going on at once that I hop from one thing to the next, and everything informs one another.
JT: Is your intent to express an idea or feeling, or is the idea or feeling a result of your work? In other words, do you have a preliminary intention or does that come forth upon viewing the work?
MM: I would definitely say I have an initial intention. There’s definitely a nugget that the work grows from but as I go through the work, the original idea starts to fade and then I start to respond to what it has become. I try not to anchor myself so much to that original idea.
JT: Sometimes the work evolves on the canvas or in an installation, and these serendipitous effects occur, results that are unplanned and better than you could ever imagine. This freedom is good, but other times, boundaries can also incite the creative process. Do you feel alienated or connected to a broader community when you work?
MM: Do I feel my work is connected with a group of artists in a way?
JT: Are you solitary when you work focusing solely within yourself or are you open to an exchange with others during the process?
MM: I definitely enjoy my studio time and being by myself, but inviting colleagues in to do studio visits. Especially just in this past year, I’ve done that more now because this is a new, body of work for me. I worked on it and then getting it out there, so to speak. Having other people see the work and comment on it has been really invigorating and gets me energy to go back in the studio. It’s like, some public times, some private times, some public times, some private times.
JT: Do you draw inspiration from seeing art or do you prefer to focus on your own process?
MM: Looking at art is really important, but I think there is a fine line. It depends where I am in my creative process in the studio. Sometimes it can be frustrating when you go out and see too much stuff at once. If maybe your stuff, you don’t see it fitting in with some other things that you are seeing. You can get a little frustrated with yourself, you’re like, “Oh, well, I’m really excited with what I’m doing, but I don’t see how it fits in with the fabric of the L.A. art world,” especially, when you’re going to gallery shows. For me, it’s always been a touch and go… I mean, I’m always looking at art, but I know at times it can be a little overwhelming and sometimes I have to step back and be, “You know what, I’m not going to look at anything for a while.”
JT: That’s true. In my last gallery trek, I did not see any common narratives in the work. Each exhibit was unique. The methodologies were fresh. That is the best way I can describe it. It’s good to view what’s out there as we continue on our own path.
[Melanie excuses herself to leave].
JT: Melanie, it has been a pleasure speaking with you, continued success with your career.
MM: It was such a pleasure. I’m so sorry I have to leave. Thank you everyone for accommodating me.
AN: We’ve got a preview of the questions now. We’re thinking about it while you’re asking them.
OM: Now, the answers are going to be completely different.
JT: When I was interviewing the artists for my paper, many of them said, “I never really thought about that.” Or “Yes, it’s interesting to actually vocalize that, as sometimes you don’t take time to think about these things.” I really enjoy hearing everyone’s comments.
PP: That would be a great question, I think.
JT: Today, artists are taking control of their careers and marketing their “brand” through online platforms and social media integration. I hate to use the term “brand,” in referencing fine art, but there are certain degrees of that context. Art marketing has greatly changed from the days of galleries promoting a stable of artists.
The conversation turns to the artists’ education. Some pursued transdisciplinary areas such as: Philosophy, Communication, and Journalism concurrent to undergraduate and graduate degrees in Fine Art. The artists attended Claremont Graduate University; California State University, Los Angeles; University of California, Irvine; Syracuse University; School of Journalism, Strasbourg, France; Ecole Nationale des Beaux Arts Paris, Paris X Nanterre France; and Ecole Van Der Kellen, Brussels, Belgium.
JT: Alan, what people or genres influenced your path?
AN: Art Blakey.
JT: Would you describe his work?
AN: Art Blakey is primarily a bebop drummer. He had a good group called the Jazz Messengers. Although he comes from the bebop tradition, he wanted to instill in the younger musicians the training of bebop so he cultivated quite a few of the famous jazz musicians and composers that we know today. Supposedly, the moment they were good or he felt like they were great, he would fire them and hire somebody else. I like that.
JT: Do you abide to that professional acumen?
AN: Yes. Absolutely.
JT: I find there is a confluence of performing and visual arts. Kandinsky was influenced by music. How about you Jane?
JGP: When I was getting into sculpture, I would say a lot of female sculptors like Louise Bourgeois, Eva Hesse, Lee Bontecou, and Tim Hawkinson. I’d say now who’s influencing my work, I think about Liz Larner, Wolfgang Laib, and Robert Gober. It’s an odd collection of people, I think.
JT: I see that in your work.
JGP: Oh, good.
JT: What about you Paris?
PP: I think my first influence was my great grandfather Carolus Duran. He was a painter, a portraitist mostly. He was Sargeant’s teacher. His paintings were at the Louvre, now they are at the Musée d’Orsay and the Metropolitan, among other museums, his family portraits were around when I grew up, it was the first influence. Also on the family side, my father is a real draughtsman, I always loved to look at him drawing, just to see how much you can convey with a pencil, it’s a very mysterious thing because it’s just a line and it’s so simple.
JT: There’s a purity and honesty to drawing.
PP: Yes, because it’s very clear. It’s transparent somehow. Then after that, doing philosophy studies, I was very influenced by Marcel Duchamp, because he opened so many doors. Before him, art was almost a guild corporation with specialists working in very precise and definitive ways. And certainly, Duchamp opened the door, the windows, and that’s where we are now. What’s funny is that it took a little bit of time before that… things became actual. I think the other big influence was Warhol. Warhol did somehow the same thing as Duchamp, but in another way regarding the pop culture and the object. Suddenly, if you add the Ready-Made plus the object, it’s where we are. It’s where I feel I am, and then I have to deal with that, which is not an easy task. I think it’s something working within my work that’s influenced.
JT: Duchamp’s work is important, and of course, Warhol, looking at the everyday object in social commentary.
PP: The difference today, I think, is that when Duchamp did those incredibly new pieces, we could comprehend them conceptually. Today, we see them differently because of the Internet, globalization, computer society, and all that. It becomes real and tangible, and we’re confronted with it. It’s not an idea anymore and I think that has a new credible influence in the art dynamic including the way you relate to art, including the way you present art, including the way you sell art. I think we still have very old ideas about all that. But, we better change because reality is changing faster than our ideas. I have also a local influence, Ed Moses. I met Ed a few years ago and I was lucky to do my first show in LA with him. It was a small show, but it was very important for me, because I think somehow he’s very Californian. That was something so different from all the other influences I could have had. I could understand why it was a good place for me to be in California.
PP: He has his storage here. He’s not far.
JT: What a great experience.
PP: Yes, it is.
JT: And Olivier, what are your thoughts?
OM: When in France, I was influenced by American photographers. It was my model. Walker Evans––the biggest one, Robert French, Robert Adams, mostly, Lewis Baltz, and then I was lucky because I did a show in France with Lewis Baltz. When I started to photograph, I was trying to copy them but it didn’t work because I was in France. I tried to find my way of copying them but find my own style. When I came here, that was a model, but that’s what I didn’t want to do, because when you are French and go to another country, you can’t do the same thing, you are not American. It’s really important. You have to find a way to capture the place where you are… I mean you’re French. You have a different vision of them. They are a model and an anti-model at the same time so I tried to photograph the same way when I came. It’s so obvious. I’m used to it but when you arrive in America, you have the cars, and you have the roads and it doesn’t work. When you try to photograph this, you can’t do it. You can do it, but it doesn’t work.
JT: Right, but you’re applying your distinct methodology.
OM: Yes, so I tried to find a way to do something else, to show something else. It’s very hard. I think it’s harder to find a way to photograph something when you’re not in your country. You try doing something exotic and it doesn’t work. That’s what most of the French photographers do when they come to America to work for 10 days or three weeks, it doesn’t work.
JT: Perhaps other skills might be heightened because of those challenges. We’re glad you’re here and exploring those things as you recognize what those challenges are. And how about you Debra?
DB: I don’t really think of my influences as a particular person or a particular body of work. Right now, it’s more of having the web at your fingertips, is really my influence. I think the idea of being able to be in your studio and be amongst all of the images in the world at the exact same time is probably my biggest influence because my work is so scientifically based, that 70% of my research is done on the web, so, not so much looking at other artists as looking at microscope slides and agricultural landscapes for me.
JT: Excellent. What about you Thinh?
TN: Living in a little village in Vietnam, I didn’t really have any exposure to art. The only exposure to art that I had in Vietnam was this one bohemian painter on the street. He has no arms and only one leg with two toes and he was painting landscapes. At that moment I thought, “If he can do it, I can do it too. I want to be like him.” Being that I was diagnosed with Polio and was basically handicapped, that was my moment of realization. “You can do this.” But of course, I don’t know how to do it as a career; I just knew that was the inspiration. I really don’t think one particular artist influenced me but rather the theoretical and conceptual dialogues behind each historical movement, that’s where I distilled from history. And I incorporate them into my art. As you can tell, the whole combined thing from Marcel Duchamp and Rosenberg that I’m appropriating is there in my work, there is the Feminist theoretical background, as well as the queer theories, all of these theories and concepts is a part of my work. It was kind of funny David Pagel once told me, “You are like the Doctor Frankenstein of concepts. You combine everything together and sew them up.” I thought, “Oh, great, that’s kind of true.” When he said that I began to be interested in literally theories. The word that describes what I’m doing is called, “conceptual blending.” That’s kind of what I feel my practice is. I’m blending a lot of concepts together from past, present, future and what have you, all just mingled together and co-exist in a particular project.
JT: What led you to your study at Claremont?
TN: I always wanted to do art, but was discouraged by my family; who told me “Go into pharmacy… Go into being a doctor, lawyer, blah, blah, blah, blah.” I said, “No, I want to do art.” And of course, I have to make them happy. I actually went into art and education. They said, if I can’t make art as a career, I could be a teacher. And that’s what I did. I got my degree, came out, teach high school, and then realized, Shoot, I do not want to do this. I wanted to be an artist just like that one artist on the street. He has no arms and only one leg with two toes. I want to be like him. I went back to school to get my BFA in Fine Art – came out of undergrad, I tried to get into the art world, tried to sell my work, establish myself, have a studio, and then do the whole art business thing, which I was able to survive doing that, but then realized I need more rigorous and conceptual backing behind my work. And that’s when I decided to drop everything and go back to school. I went to Claremont. It gave me the platform to really think about my work critically and that’s when history, theories, and conceptual ideas really come into place. Then, of course, here I am today.
JT: Yes, theory and practice apply to our everyday art making. Alan, is your organization process linear or non-linear?
AN: It’s both.
JGP: I thought the same thing when you asked Melanie, and then I thought maybe I need better definitions for what would be a linear and non-linear process, because I feel like it’s both.
JT: It’s according to your own context. You can interpret whatever is applicable for your work.
JGP: Yes, I think both.
JT: What about you Paris?
PP: I think for me, art has mostly to do with consciousness and your own awareness of things. Then working on art and realizing that I’m working on a system and that system is actually really big. I see it, I have different method of visualization but it could be seen as a tree. When I work, I take some elements from that tree and connect them with others elements. Then the dynamic from there would liberate and create another branch or something. I think it’s a very dynamic process, but it’s a process where somehow I construct myself in the same time. It’s a conscious process. I really want to see how I transform or bend my vision of things, what can I see and those kinds of questions. I think organization is the key because it’s the discipline, it’s how do you work every day? How do you clean your studio? How do you do all those things that enable you to make the art you do?
JT: Professional acumen and discipline are important. Just getting up in the morning, coming into the studio, doing work whether you feel like it or not, and seeing what happens is part of the process.
PP: Also working on the process, you work on yourself. Working on yourself, you work on the process.
PP: For me, that is really the key because I think what I love is when people can be engaged when they look at art, as art is a dynamic energy of transformation. That’s the goal.
JT: When people see art, they draw from their own experiences and influences whether from childhood, culturally, historically, economically, or spiritually––whatever informed their lives to that point. In art viewership, people may see the intention of the artist or perceive it in their own way. There are many concepts in visual perception that I find interesting. What about you Olivier?
OM: I don’t know because I don’t make a living of my artwork. I do maybe one piece a year.
JT: Are you linear or non-linear in your organization? When you’re approaching your work do you have a set process or do things evolve organically?
OM: I don’t know how it goes from time to time. I spend three weeks on that project and now it can take three years.
JT: And you Debra?
DB: I was thinking about this. For me, it’s almost like Paris said, it’s sort of the idea of consciousness. I think of it as awake and dreaming. There are points in my studio where I know exactly what I’m trying to get across, there’s research behind it, there’s a lot of sketches. From those sketches whatever proportion they are, I transform the canvas into the exact proportion so my canvases are often strange, strange proportions because they come exactly from the sketch so that’s really linear for me because I want that to be exact. Because I can’t recreate on the canvas, the shear sub-consciousness of what came out of me in the sketchbook. There’s that preciousness versus non-precious thing. In the sketchbook, it’s just sketching and always comes out exactly the way I want and I can never transform that if I just go directly to the canvas. I have to be very orderly in the beginning and get it on the canvas the way I want. Then once it’s on the canvas, I can go back into that sort of dreaming state where I can let things happen.
JT: Thinh, your thoughts?
TN: I like to think of art as a business and so it’s very structured. Everything has its structure for it to work. Organization is the key for me in my practice. It’s not so linear in terms of my own art making, it’s more of I have an idea and I want to flush out the idea beforehand then into the making, and then the work evolves itself into different ideas, and manifests itself within that process. It’s organically done. But the structure of the business side always has to be right on.
JT: In making these informed decisions, you can allow that stream of consciousness. Do you have a belief system that informs your life and work?
TN: I don’t have any religious belief system per se.
JT: It doesn’t have to be religious.
TN: I think great art has vulnerability and honesty. I like to see that within my work in particular, and in others. Just lay it on the table and be vulnerability to the viewer. To me, that gives you a sense of connection whether it’s with a community or just one person.
JT: It hooks back to the relationship of your work to the culture as well. Debra, do you have a belief system that informs your life or work?
DB: Yes. I’d say I’m really searching for hidden truths. My work is really about illustrating findings that impact everybody that nobody talks about. And so, my belief system really is anti-self and it’s really global.
JT: Excellent. Olivier?
OM: I don’t know. I don’t have a religious belief but the same thing. My own point is to maybe to question the place where I live and try to find a key to understand it. Maybe to find my place also is difficult because as I said, I’m working somewhere else for my living. So I just work. It doesn’t have this special feeling that it brings me when I do my photographs and my installation. The way of walking in the street, trying to find something on ground or to find an idea, so I think that’s it.
PP: Yes. It’s always there because it’s deeply embedded in the structure of my work. I think I see that from a philosophical point of view because I’ve been trained in philosophy. I’m also very interested in the hermetic tradition, which is philosophical, but was under the carpet for millennium. It’s totally available now. And, I’m really interested in the Eastern religions. My grandmother was born in 1902. When she was 50, she was a widow. At that time, she had lost a child, and went to India by herself. She started becoming involved in yoga and she found a guru, I think that had an influence on me, this is coming back now. It’s also hard. I want somehow to relate to these people. I’m trying to touch people on the symbolic level because it’s what interests me. Somehow, I want to go deep in myself and in the people who look at my work. Then it’s why I use for example things that are very mundane sometime because everybody can relate to symbols because we all see symbols. I’m just pulling somehow, not twisting but changing the angle and the light, and then suddenly we look at them we can look at them differently and then we can relate to them. The level of relation it’s only depending on our own vision somehow than it’s always that dynamic things where there was – we create illusion to make us looking into other direction or other illusion and we in that game.
JGP: I wouldn’t say that art is my religion, but I think as humans we have some natural inclination to create and make things. It doesn’t necessarily have to be fine art. So I feel like when I’m creating art, I am participating in this human practice to be creative problem solvers. This is a kind of a deep human connection that I feel I’m participating in. Then in my work specifically, I am very interested in some ancient texts and some rituals. I look at hunting rituals and ceremonial rituals, and a fair amount of things like that.
JT: Alan, what are your thoughts on belief systems?
AN: I have no idea.
JT: Many people have beliefs systems that exist, but they may not be conscious of them.
AN: What are your belief systems?
JT: I look at influences from culture and my upbringing.
AN: What culture?
JT: Contemporary culture that may include media driven technologies, consumerism, environmental issues, ethical concerns––all of these.
AN: These all drive your belief systems?
JT: They inform how I see the world. I was raised a Christian though my mother was Jewish. We later converted to Catholicism. I believe that our belief systems contribute to how we see the world. I think everyone has a belief system. It doesn’t have to be religious or spiritual. It’s what makes them tick, what drives their acumen, their approach, and perspective.
AN: Other than spiritual or religious belief systems, what other belief systems are there?
JT: For example, how you conduct yourself ethically or professionally. How others see you. Values––your conduct as a friend, as a colleague, as family, your commitment to others. This may include the cultural belief systems that you were raised with, the respect you have for your parents, and factors that inform your understanding of self.
AN: Like etiquette?
JT: Etiquette is something that you learn. How you hold a folk, what spoon to use, or how to place your napkin. I’m talking about foundational beliefs and values.
AN: You say that etiquette is not a belief system?
JT: To me, it may be the result of a belief system though it’s a matter of one’s own interpretation.
AN: Everything you’ve mentioned is a result of a belief system. Although you’ve given examples of peripherals or facts, you haven’t told me what your beliefs are.
JT: My belief systems are the influences around me. My spiritual beliefs inform my understanding of the world, and how I react and respond to people and situations.
AN: That’s a very important thing. For instance, etiquette, I heard on the radio recently that party etiquette is to never make your guest feel uncomfortable. That’s deeply rooted in a very communal, keeping the safety of the community together, which is embedded in this sort of tribal kind of thing. So one can say that even pre-religion or spirituality in some philosophical realm that, that simple thing of having a party and how you treat your guest is rooted in something much deeper than religion or spirituality.
JT: Yes, you make a valid point when you put it in that context. I believe that etiquette stems from values.
AN: Like the fork.
JT: Actually, etiquette itself…
AN: That’s just part of it.
JT: …. stemming from the values you acquired as a child.
AN: My favorite one is scissors. Never hand somebody the sharp end of scissors facing towards them. In some cultures, that actually is meaning that you wish death upon them soon. Like in the South or in Africa.
JT: In terms of belief systems––and again, we each have our own understanding of these, they may change. My foundational beliefs inform how I act and respond. I hope to grow in my understanding, as there is always something I can do better. I’m open to honing those belief systems that were ingrained and discover what exists. Thank you for pursuing the question.
AN: Yeah. That was good.
JT: Is quality of work an issue in creation, in viewership, and critical validation? Let’s deconstruct it. Is quality of work an issue in creation?
DB: Who’s the judge?
JGP: You’re the judge. You are, if you are creating it.
JT: Or the viewer or the critic…
DB: That’s the issue.
JT: Right. That is the issue.
PP: It depends on when you do it, when you do the work. I mean, I don’t care about quality.
DB: Whatever I make is good enough, that’s how I feel, I’m making it, deal with it! [Laughs]
JT: Is quality of the work an issue in critical validation? If others look at your work, do you think they consider the intent, the creation, methodology, and quality?
PP: Validation is an important element because it would be very difficult to do something completely against all our fears. It would be a tough place. It has to. We all rely on validation, it’s a pending question.
TN: I think it’s a question of emphasis. What is your emphasis in terms of what you’re making. An instructor once told me, “Thinh, you need to use better quality materials.” I said, “Well, I collect detritus to make my art.” So quality of material has nothing to do with the process.
JGP: It doesn’t. It is a different type of quality.
JGP: But it influences it. So it’s not high quality but a low quality.
JT: It could be the quality in your articulation or presentation of the process, not the quality of the materials.
TN: That’s why I said, “Where is your emphasis?” in terms of that. I think different people have different ideas in terms of quality. For me it’s the quality of the work and its impact, and the agency it has. Not so much about materiality or the validation of the work per se, but what kind of impact it makes.
JT: Excellent comments. This segues to my next question. What qualifies artist legitimacy or legitimacy in art?
AN: I think the most important thing is consistency. In other words, not just the work but that you are working. Sometimes we all meet people who say, “I’m an artist too, but I haven’t produced anything in 10 years.” But in their mind, they are still an artist. They may even actually propose something, but it’s five-year old work. What did we do five years ago? I don’t think we would propose that, right? I think that’s very, very important.
JGP: Context. Yes. I think it could even be old work, but the question was about legitimacy right?
JT: Right. What qualifies artist legitimacy or legitimacy in art?
JGP: Yes. I think institutions do. I think the public does and popular consensus does. The context of galleries and museums legitimizes work.
JT: What do you think Paris?
PP: I think it’s the way you belong to that social fabric. What is it that you bring that will transform, change things? I’m always amazed by the power of painting and sculpture too. It will change a space, just like that, right away. It will have an influence on people, it will change them… it’s very effective. Then I think our legitimacy comes from that too, it’s the effect we have on our self and around us.
OM: I would say consistency is a good point. I would say, maybe the work, the way you work, everything and also the way people react when they are in front of your work. Not so much, I mean, it’s great to have institutions gathering to see it. I don’t know, I mean, it keeps you going. But I prefer to have a public reaction in front of the audience instead of any other institution or art critique, sorry. Yes, I mean, it’s good, but mostly the work and the public’s vision.
DB: I think it’s a question of when I think about stamina and I think about how long can you maintain your practice over a period of time in the face of the odds. Of course, your practice should change in some capacity, but I think that also validation has a lot to do with it too. Whether you are working completely alone and all that validation has to come from yourself, or you are getting it from the community, they are both equally as beautiful and as valuable.
TN: I think legitimacy is a very, very slow process in the perspective of history. Still, there are artists that are totally so-called un-historicized or un-legitimized in terms of the historical canon or historicizing them. It is a cultural machine that either includes or excludes. I love Judy Chicago’s perspective, “That legitimacy in history is written by those in power.” For me, in some sense, I am against that so I take Judy Chicago’s attitude of inclusiveness. How can I legitimize my own work? And that’s basically, the work that I’m doing without depending on this whole culture system. Or perhaps I play within that culture system and then see how I can transgress it.
JT: We should empower ourselves rather than acquiesce to the powers that be.
TN: Yes. The question I once asked Roland Reiss when he was doing his lectures about his success as an artist at CGU, “How do you see yourself as a successful artist as you’ve been in Documenta and numerous exhibitions?” I find his answer to be very interesting because he said, “When I feel happy with the piece I made, then I’m successful.” So, it could be from a personal to a social, cultural, and even historical perspective. But for me it’s the question of how do we empower ourselves as individual artists? And how do we become participants in the culture and change the very structure of that culture that only continues to legitimize certain kinds of art?
JT: Thank you, Thinh. Let’s discuss art marketing, which is more visible in our culture than ever before with social media and online platforms. There are many approaches used, whether or not you may feel it crosses the line between aesthetic and commodified culture. What have you done to get the word out?
TN: I approach each and every artist here. This is sort of my little pitch… I will always try to cultivate a wider audience for them. Paulin and I had this long conversation about audience. Can a work of art be a work of art without an audience? I think art needs an audience. It doesn’t have to be the so called, “institutional” or “critical audience.” It could be any kind of audience, whether it’s within the community, art enthusiasts, and what have you. Curating this show out of my own studio (thinhstudio), I choose artists that I believe in, and I’m constantly cultivating an audience for their work, as well as for my own work. That’s why I reached out to you. That’s why I reach out to so many media outlets. I also believe that even using the so called, “promotional systems,” what really comes down to it at the end of the day is you have to have good work to cultivate the audience. Having an audience is what makes your work in a sense.
JT: So you can look at it as image awareness, community outreach, and again, broadening the discourse. I asked some of you if you were able to talk to those attending the opening about your work. What can you share?
AN: I’m glad you asked that. This was the first time that I actually had the sound beds autonomous. In the past three times that I’ve presented them, I was performing the music live. I really couldn’t’ talk to any body or they tried to talk to me but it was a very limited conversation. But this time when Thinh gave me the opportunity, and he showed me the room. I said, “It would be great if it just lived by itself and then I could hang out with friends and people,” which is what I did.
JT: It’s good that you had the opportunity to talk about the work and observe the interaction of viewers with your art.
AN: Yes. It was the first time.
JGP: Alan, was it different watching people not performing?
AN: Well, there was a gamut of responses, but I enjoyed seeing people perplexed coming out, like perplexed, saying, “How was that?” My favorite response is always, “Oh, I didn’t know you could experience music like that.” I had one person, not this time, but I think this was at the Red Cat [CalArts], she said something like, “Actually, I didn’t hear this, somebody reported this to me, but it was somewhere in the audience. Someone said, ‘Why the hell didn’t someone tell me earlier that you could experience music like this?’” That was great. I like that.
JT: I’m glad to hear that. Jane, what are your thoughts?
JGP: The opening was great. Thinh did a wonderful job of it. [Applause]
JT: Yes, I saw some of the press. Kudos!
JGP: I have a friend that had a show at a gallery and the gallerist didn’t really speak to her the whole evening, and it was a solo show, and wasn’t introducing her to people. That popped in the back of my head as we were here at the opening, because Thinh did such a wonderful job of, “Here, Jane, meet this artist, and meet this artist.” You were great Thinh. I think this is a welcoming environment where viewers don’t feel intimidated. Of course, that’s not a survey of everything, but I just felt it was really unpretentious and people were really interested in the work and talking to the different artists. I thought it was refreshing.
JT: Paris, your thoughts?
PP: I think it’s always great to see that many people and also, because it’s a special moment to share art. You are showing things that are very personal to people and it’s a very sacred thing. A lot of people just don’t see that. They see the mundane thing, I’m going to get out, see some friends, have a good time, get some drinks. But, it’s more profound because we are sharing something on a very intimate level. I’m really happy when I see people and kids, and all the things that go on, because it’s a way to nourish our symbolic dimension. There is something really deep into that moment of sharing. Yes, it was great. Thanks Thinh for being able to do it.
DB: I concur.
TN: Like I said, the reason why I did this was because I wanted to cultivate a wider audience. A lot of the viewers that come through thinhstudio, are actually non-artists. They are not really a part of the so called art market or the art world, they are just every day working individuals who enjoy or who want to go see art. It’s very unpretentious. They come in, they like the environment and some of them say, “Oh my god, I loved it, it’s so warm and welcoming,” I guess that’s what I hope and trying to do – art is not so intimidating. I have a lot of friends that are not artists, and they said, “No, I’m too afraid to even approach art and look at art because I don’t understand what it’s all about.” Well, that’s why I want to do this–making art more approachable. I believe in the accessibility of art and a lot of institutions prevent it by having this veneer, and not allowing us to have that personal relationship with art. That’s why I’m so glad Jane, Alan, and Melanie did the artist talks to the tour group and they were so happy. They were like, “Wow, we learned so much, you know….”
AN: And they were part of it too.
TN: Of course, Olivier and Paulin, did the talk as well. This one older lady, I loved her so much, she told me, “Oh my god, what the f— is this? It’s way in the f— out of nowhere, but I absolutely love it because when I go to galleries, I can’t talk to anybody.” I said, “Thank you so much, that’s the best compliment I’ve had so far!”
JT: Yes, to make the work approachable. Sometimes we have these misconceptions without knowledge or understanding of what’s going on. Once we gain some insight, we feel a bit more comfortable. At least I do. One reason that I returned to graduate school was to gain a better understanding of these critical issues. What you described is not just happening in LA, it’s happening globally. Being connected with other artists is important. You can videotape the process or event and post it on YouTube, Vimeo, or social media channels as an example.
TN: This is going to happen.
JT: We are all trying to succeed and grow as individuals in our work. It’s looking at what else is out there. I would like to see a global exchange. There may be artists and studios internationally doing exactly what you are doing. Once it’s out there, connections can be made, and collaborations are formed. Being open to that exchange could be very interesting. I want to mention a few marketing strategies that you may or may not have pursued:
- Targeting your audience with demographics and psychographics
- Database Development: qualified email and mailing lists
- Gallery Guides: print and online directories
- Social Media Integration: Facebook, LinkedIn, Twitter, Google+, Instagram, YouTube, Vimeo
- Press Releases: print, electronic, and digital media
- Networking: personal family and friends, professional peers and alliances
- Search Engine Optimization: html programming keywords in websites, blogs, and online media
- Multi-media: sharing audio, video, image, and interactive pieces through social media
- Strategic Partners and Alliances: aligning with other artists, galleries, museums, corporate clients, sponsors, and patrons
- Art Shows and Art Walks: Coordinating with other artists, galleries, and organizations
TN: Trust me, I did most of them. [Laughs]
JT: Yes, I understand that you have employed much of this, but I share these suggestions for those who have not. For example, acoustic sculptor Michael Brewster has audio and video clips on his website. You can experience the context of his site-specific installations through auditory and visual perception. Search engines find this media as it propagates for better results and rankings.
TN: Just to touch on that, I want to acknowledge Alan who’s an established artist here in LA.
JT: Of course… Alan, you’ve been in your practice for how many years?
AN: About 30 years.
JT: Congrats on your recent accolades.
Alan is a recipient of the California Community Foundation Fellowship for Visual Artists; and City of Los Angeles, (COLA) Individual Artist Fellowship, Department of Cultural Affairs.
TN: It’s such an honor to have Alan here and to support us as a space, as well as other emerging artists.
JT: Thank you for joining us.
TN: Just like you advised, alignment.
AN: This has been great.
JT: You are paving the way. Products can also be a promotional tool.
AN: I have an album.
JT: Yes! Another example is Absolute Vodka. They use artists and cultural figures in their promotional strategy. That might be pushing it. [Laughs]
TN: I’m going to have it soon. [Laughs]
AN: Absolute Thinh. [Laughs]
JT: Again, it’s the context you feel appropriate for the visibility of your work. Though aesthetic and meaning are considered, media is changing, the culture is changing, and so is the message. But the most important thing is to be true to yourself, be mindful, and get your work out.
PP: I think it’s difficult, as we carry the souvenir of what it is to be an artist. But the rules are completely different, as you remind us. If we don’t acknowledge that, we’ll be in trouble because it’s like painting our self with a brush of invisibility.
JT: That’s true.
PP: In the mid-20th Century, the art scene in Europe included probably 500 people and when I say 500, I’m generous. Today, this is the art scene for one community.
JT: The relationships we form in our coteries of art create not only foundations, but lasting ties in our success. Any other comments before we conclude?
TN: Thank you Jill so much for this. We appreciate it.
JT: It was my privilege.
TN: You point out something that’s really important. I told most of the artists, when we do studio visit with them – we create a small niche of community or clique, and you see this very often with exhibition openings around LA or anywhere in the world for that matter, is the same clique that goes from one show to another and their audience is limited within that circle. For me, it’s how do you cultivate audience outside of those circles? That was why I decided, let’s open my studio and do my own thing as an experiment to see what could happen. I feel so far it’s been successful, because I’m able to cultivate people outside of the art world audience in the community who are interested and actually looking for art, and are not afraid to look at it. I approach each and every artist with the question, “Would you be interested in cultivating a wider audience?” We need to cultivate a wider audience.
JT: I think you will find by opening that dialogue, people will to refer you to others, key people in cultural institutions, as I know they already have. Eventually, word trickles down. What you’re doing is exceptional. I enjoyed talking with each of you and wish you continued success. Thank you all.
TN: Thank you so much Jill for sharing. I appreciate it. Thank you Alan, Melanie, Jane, Deborah, Paulin, and Olivier for being here also.
Artists: Thank you.
[End of transcript]
The audio recording and narrative transcript is in the public domain and may be used without permission. Quotes and excerpts must be cited as follows: Oral history interview at thinhstudio by Jill Thayer, Ph.D., 2014 June 12. Photographs courtesy of thinhstudio, the Artists, and Jill Thayer, Ph.D., are copyright protected and require expressed permission by the contributors for use. Other photographs and art images are copyright protected and may be used without permission, and cited as follows: [Image title] ©2014 [Artist or Photographer]; Oral history interview at thinhstudio by Jill Thayer, Ph.D., 2014 June 12, Los Angeles, California. • http://www.jillthayer.wordpress.com • http://www.artnarratives.wordpress.com.
Jill Thayer, Ph.D. is an artist, educator, and curatorial archivist. She is Associate Professor of Art History for Allan Hancock College, Santa Maria, California; and online faculty at Santa Monica College in Art History: Global Visual Culture; Southern New Hampshire University in Humanities/Art History and Marketing; and Post University in the MBA Marketing program for the Malcolm Baldrige School of Business. Jill is contributing writer for Artvoices Magazine, Los Angeles; and Artpulse Magazine, Miami. Her postdoctoral project, “In Their Own Words: Oral Histories of CGU Art,” featuring Professors Emeritus, Professors, and Alumni of Claremont Graduate University is included in Archives of American Art at The Smithsonian Institution.
JANE GILLESPIE PRYOR
2011 MFA, Interdisciplinary Art and Social Practice, Claremont Graduate University, Claremont
2007 BFA, Drawing and Painting, California State University, Fullerton
2007 BA, Art Education, Accredited, California State University, Fullerton
2015 Composite: American Born, Greenleaf Art Gallery, Whittier College, Whittier (forthcoming)
2012 Untitled (search, collect, paint), Marymount College Art Gallery, San Pedro
2011 Of Bound and Balls, East Gallery, Claremont Graduate University, Claremont
2010 Canvassing Peace, American Friends Association Gallery, Los Angeles
2009 Anyone Can Be An Artist, LA Annex Collective, Downtown Los Angeles
2008 My Land, Spring Art Collective Gallery, Los Angeles
2007 A Bright New Day, Chi Phoenix Association Gallery, Los Angeles
2006 An Intimate World, Cal Sate Fullerton Exit Gallery, Fullerton
SELECTED GROUP EXHIBITIONS
2014 Biomythography: Secret Poetry and Hidden Angers, Claremont Graduated University Galleries, Claremont
Olly Olly Oxen Free, Offramp Gallery, Pasadena
Rave and Rave #2, Le Couac, Villeurbanne, France
LA n CV, Coachella Valley Art Center, Coachella Valley, Indio
Bodies, Northern Seattle Community College Art Gallery, Seattle, WA
2013 Holleweenie, Los Angeles Theatre, Los Angeles in collaboration with Yoshie Sakai
Momentum, Pop-up exhibition at West Hollywood Park, West Hollywood
Install: WeHo “Good Queer”, Pop-up exhibition at El Toval Lot, West Hollywood
2012 Un-Space Ground, College Art Association Symposium and Exhibition, Los Angeles Convention Center curated by Deborah Oliver: Irrational Exhibits and Ed Woodman: AiOP
Voyeur: Repositioning the Gaze, Truman State University Art Gallery, MO
curated Brandelyn Dillaway 2012 Curatorial Fellow
So-Cal Pacific Asian Artists, Gallery Rheeway, Los Angeles
2011 Mix-Media Show, Coastline Community College Gallery, Huntington Beach
Irrational Exhibits 8, Track 16, Bergamot Station, Santa Monica curated by Deborah Oliver
VEX Again, dA Center for The Arts, Pomona
Emergent 12, Object Gallery, Claremont
2010 Traces, Peggy Phelps/East Gallery, Claremont Graduate University
MUC presents “A Video Show”, Mandrake, Culver City, Los Angeles
Revisiting Beauty, Orange County Center for Contemporary Art, Santa Ana
2009 Without: Themed Biennial, UCLA New Wight Gallery, Los Angeles
For Love or Money, The Brea Art Gallery, City of Brea
LA to OC: Extreme, Orange County Center for Contemporary Art, Santa Ana
2008 California Visual Artists, 2nd City Council Gallery, Long Beach
Unfolding Nature, The Grind Gallery, Mar Vista
Guest Artist: Internal Landscapes, Spring Art Collective Gallery, Los Angeles
A Night of Art, Barnsdall Gallery Theatre, Hollywood
Abstraction, Koo’s Art Center, Long Beach
2007 Member Show, 2nd City Council Gallery, Long Beach
ArtCast Show, Cal State Fullerton Exit Gallery, Fullerton
Feature Artists: Internal Landscapes, Mountain Bar, Los Angeles
2006 SCURR, Occidental Collage, Los Angeles
SELECTED PERFORMANCES AND INTERVENTIONS
2013 LA Road Concert, Mulholland Drive, Los Angeles
2012 AiOP: MODEL, 14th Street, Manhattan, NY
Artist Anonymous, Museum of Modern New York, NY
Artist Anonymous, New Museum, Bowery, NY
Silent IS Golden, USSSA performance rally, Pershing Square Park Los Angeles
2011 Third Strike: 100 Performances in a Hole, SOMArt Cultural Art Center, San Francisco
Artist Anonymous, Los Angeles Contemporary Museum of Art, Los Angeles
Geishas Walking, Glow Festival, Santa Monica
Artist Anonymous, Museum of Contemporary Art, Los Angeles
2010 Artist Anonymous, Caldwell Gallery, Armory Center for the Arts, Pasadena
Side Walk, Downtown LA Artwalk, Los Angeles
Artist Anonymous, San Francisco Museum of Modern Arts, San Francisco
About Town, Downtown San Francisco, Starbucks, Macy Mall, San Francisco
2009 Silenced, Claremont Graduate University, Los Angeles
Geishas Walking: Downtown LA Artwalk, Deborah Martin Gallery, Los Angeles
LECTURES AND SEMINARS
2012 Artist Talk, United Society of Subversive Artists Convergence, Pasadena
Artist Talk, United Society of Subversive Artists Convergence, San Francisco
2011 Artist Talk, University of California Santa Barbra, Santa Barbra
Artist Talk, Marymount College, Palos Verdes
Critical Art Theory Seminar and Discussion Group, Claremont Graduate University
2010 Professional Artistic Development Seminar, Claremont Graduate University
2009 Intuitive Art Seminar and Workshop, Studio 528, Downtown Los Angeles
2008 Artist Talk, Orange Coast Community College, Costa Mesa
AWARDS AND HONORS
2013 Halloweenie Exhibition Fund, Gay Men’s Chorus of Los Angeles Non-profit Organization
Momentum Exhibition Fund, One City One Pride Art Festival, City of West Hollywood
INSTALL: WeHo “Good Queer” Exhibition Fund, City of West Hollywood
2012 INSTALL: WeHo Exhibition Fund, Pasadena Art City Council and City of West Hollywood, Sponsor by Los Angeles Contemporary Exhibits and ONE Archive Gallery and Museum
2011 Walker/Parker Memorial Fellowship, Claremont Graduate University
2010 Fernandez Prize in Art, Claremont Graduate University
2010 Claremont Graduate University Art Fellowship
2014 Feature: Thinh’s Limelight Art Exhibit, Forth Magazine
Illuminted From Above Hawthorne’s Cordary Avenue Glowing With Artists, Easy Reader News
Burried Treasure: An Artist’s Enclave In Hawthorne Rises to The Surface, Easy Reader News
2013 Atomic Bombs and Shotgun Shell Trees: Hawthorne Has an Art Scene, Los Angeles Magazine
Halloweenie 2013 to Benefit Gay Men’s Chorus of Los Angeles’ Alive Music Project, Huffington Post, Oct. 10, 3:55 PM http://www.huffingtonpost.com/jason-mannino/
Emerging Artist Selection 2013: Thinh Nguyen, be-Art Magazine, Jan. 30
2012 Art in Odd Places: MODEL, exhibition catalogue, New York
Voyeur: Repositioning The Gaze, exhibition catalogue, Truman State University Exhibition
Visual and Performance Art in Unexpected Public Places, Art in Odd Places: Los Angeles
2011 New Gallery on the San Pedro Art Scene, Grand Central Newsletter of San Pedro
INSTALL: WeHo Exhibition Announcement, One Archives Gallery & Museum
Video Capsule Irrational Exhibit 8, Irrational Exhibits, Apr. 16
2010 Objective Affection, Claremont Graduate University Publication
Revisiting Beauty, exhibition catalogue, Orange County Contemporary Center of Art
2009 Without Biennial, exhibition catalogue, University of California, Los Angeles Catalogue
LA2OC: Emphasis Extreme, exhibition catalogue, Orange County Contemporary Center of Art
2008 Simple Outstanding, District Magazine, Long Beach, July 2008
Artist Resources, Vietnamese American Arts and Letters Association, Jan. 2008
2011 M.F.A. Studio Arts, California State University Los Angeles, Los Angeles, CA
2004 B.F.A. Syracuse University, College of Visual and Performing Arts, Syracuse, NY
2014 Recent Paintings, Mitchabrim Community Center, Los Angeles, CA
Limelight, Thinh Studio, Hawthorne, CA
One For The Road, Hudson|Linc, Los Angeles, CA
2013 Margin Release Right, West LA College Art Gallery, Los Angeles, CA
True Blue, Sangria Fine Arts, Lake Balboa, CA
2012 Metabolize, Market Gallery, Los Angeles, CA
Sex and Candy, Sangria Fine Arts, Lake Balboa, CA
2011 C.A.N.D.I.E.D., MFA Show, FA Gallery, Cal State University, Los Angeles, CA
Ready Made Color, Luckman Fine Arts Gallery, Los Angeles, CA
2010 Felipe Ehrenberg Retrospective, Collaborative Mural, MOLA, Long Beach, CA
2009 Red Rover, NightHawks LA at Bedrock Studios, Los Angeles, CA
2008 The Canvas Project, Art House Coop, Atlanta, GA
Naughty! Naughty! Wabi-Sabi!, The Hive Gallery, Los Angeles, CA
2007 Small Wonders, Pharmaka Gallery, Los Angeles, CA. Curated by Holly Myers
Faculty Biennial Exhibition. Worcester Art Museum, Worcester, MA
2006 Autumn Annual Juried Show, WAG Gallery, Worcester, MA, Curated by Nato Thompson
Smile: An American Icon, Worcester Historical Museum, MA
2012 Metabolize, Market Gallery, Los Angeles, CA
033 7 82 69 20 54
Olivier Mirguet was born in 1972. He is a photographer and lives in Paris and Los Angeles. His current work explores places that represent power and surveillance. A series devoted to North Korea in 2002 is the starting point of his project. It was awarded with the World Press Photo Prize in 2003. Seeing without being seen is the idea he proceeds in Los Angeles. His new work continues to explore surveillance: cameras, cropped paparazzi’s pictures, and vision of Los Angeles through the searchlight of police helicopters. Mirguet is represented by Agence Vu in Paris since 2003.
– “Paparazzi ! “, Centre Pompidou Metz, France. February-april 2014. Curator : Clément Chéroux (Chief Conservator Centre Pompidou Paris), Quentin Bajac ((Chief Conservator Moma New York), Sam Stourdzé (director Musée de l’Elysée, Lausanne)
– “Paparazzi ! “, Schim Kunsthalle Francfort, Allemagne. June-october 2014
– “Scrap City”, ArtLook Gallery, Los Angeles. June 2014
– “Supervision LA”, Lacen Gallery, Los Angeles, USA. May 2013
-” In the night “, Photobiennale Moscow, Russia. April 2010
– “Chopers”, Images Singulières, Sète, France. June 2011
-” SupervisionL.A. “, 7th international Biennial Photography and visual arts, Liège, Belgique, march 2010
-” SupervisionL.A.”, Galerie du Château d’Eau, Toulouse, France. Février – march 2009
-“Identités photographiques Européennes”, Nuit Blanche, Paris, Octobre 2008. Curator Quentin Bajac (Conservateur en chef Moma New York)
-” Nuit de l’Europe “, Rencontres d’Arles 9 juillet 2008. France. Commissariat de Quentin Bajac ((Chief Conservator Moma New York)
-” SupervisionL.A. “, Biennale Art Grandeur Nature, Seine Saint Denis, France. September– november 2008
-“Transphotographia”, Photographic Festival, Gdansk, Poland. August-September 2007
-” 17h16 “, Maison Européenne de la Photographie (MEP), Paris, France. February 2005.
-” North Korea, another journey “,Tri Postal de Lille, France. Festival Transphotographiques, may 2005.
Awards and Collections
-World Press Photo 2003 for « North Korea». 2nd prize general news stories.
-Public Collections : Fonds National d’Art Contemporain (Fnac), Maison Européenne de la Photographie, Bibliothèque Nationale de France, Drac Seine Saint Denis.
-Private Collections : Galerie Juana de Aizpuru, Madrid. François Moret, Los Angeles.
-“Supervision LA”, Editions du Château d’Eau, mars 2009
-“Photo Graphisme”, Amaniman editor, 2006
-“Photo Poche VU”, Actes Sud editor, 2006
-“17h16 “, Editions Khiasma, novembre 2005
-” Sarava”, Editions Naïve/Actes Sud, octobre 2005
-Filmmaker, DP, editor “Personne Ne Bouge”, Arte, since november 2011. Stories on litterature, cinema, music, photography. 10′ length
-Filmmaker, DP, editor “Arte Info” , “Arte Culture”, Arte, since september 2009. Los Angeles. 2’30 length
-DP “Tracks”, Arte, since may 2013.
-Filmmaker, DP, editor, monteur, RTBF since september 2009.
-Filmmaker, DP, editorr “Global Mag”, Arte. Aprill 2011-April 2012. Los Angeles. 11′ length
-Filmmaker, DP, editor (Avid/Final Cut) “Métropolis”, Arte, 2007-2011. Stories on litterature, cinema, music, photography. 10′ length
-DP “Philarmonique of Jean Nouvel”, 52′ in production. Arte – Electron Libre. October 2014
-DP, “Movie Couples, 2 x 52′, Orange TV – Adamis. May 2014
-DP “Inside Out, an homosexuality story”,52′, Arte-Agat Films June 2014
-DP “From stars to president”, 93′, Direct 8. March 2014
-DP “Off the Grid”, 52′, Enquête Exclusive M6. January 2014
-DP “Series Addicts” (Canal Plus-Agat Films) and “Cheerleaders, an american myth” (Arte-Agat Films). January 2011
-DP “T-Shirt stories” (Arte-Agat Films). 2009
Facebook – https://www.facebook.com/melanie.moore.7399
2011 Masters In Fine Arts, Claremont Graduate University, Claremont, CA
2010 Armory Fellowship and Artist Teaching Program, Armory for the Arts, Pasadena, CA
2003 BA Studio Art, Honors Program University of California, Irvine, CA
Solo & Two Person Exhibitions
2012 “The Unbearable Lightness of Form”, Autonomie, Los Angeles, CA
2011 “Selecting In – Selecting Out”, MFA Thesis Exhibition, East Gallery, Claremont
Graduate University, CA
Selected Group Exhibitions
2014 “Lime Light”, thinhstudio, Hawthorne, CA
2012 “The New Cool School”, White Box Contemporary, San Diego, CA
2012 “Medicine Chest” Lux Art Space, Sunland, CA
2011 “La Cosa Nostra”, Rheeway Gallery, Los Angeles, CA
2011 “Speculative Materialism II” Andi Compognone Projects, Pomona, CA
2011 “Habits of Mind: Armory Fellows Show” Waterworks Building at Colorado One, Pasadena, CA
2011 “Ascend” Ann 330 Gallery, Los Angeles, CA
2011 “MFA Graduating Class” Claremont Graduate Galleries, Claremont, CA
2011 “12 Emergent” Objct Gallery, Claremont, CA
2010 “Traces” Group Installation Show, Claremont Graduate Galleries, Claremont, CA
2010 “Second Year MFA Group Exhibition” Claremont Graduate Galleries, Claremont, CA
2010 “Spaces in Between” Site Specific Installation Group Show, Burkle Building, Claremont, CA
2009 “Exhibit A” Claremont Graduate University First Year Show, Claremont Graduate
Galleries, Claremont, CA
2011 “Ascend”, LACMA MUSE Gallery Tour Artist Talk, Ann 330 Gallery, Los Angeles, CA
2011 “Dressed in Manner and Sullied by Form” Panel Artist Talk, 12th Annual CGU Student
Research Conference & Art Exhibition, Claremont, CA
2010 “Spaces in Between” Claremont Graduate University, Panel Artist Talk,
Burkle Building, Claremont, CA
2011 Transdisciplinary Working Group Award “Integration of Education, Art and Science”,
Claremont Graduate University, Claremont, CA
ALAN NAKAGAWA, Sound art
1151 5th Avenue, Los Angeles, CA 90019-3439
Alan Nakagawa has worked primarily in sound and has been creating audience participatory sound experiences for the past decade. Drawing from diverse influences such as the Integratron Sound Bath in Joshua Tree, CA, the frequency cluster studies of 1930’s scientist Royal Rife, personal family immigration experiences, architectural history, earthworks or his fascination with ultra-sonic communication of bats and marine mammal, Nakagawa has created a repertoire of installations and sound works that breakdown and then expand our understanding of listening and invisible form. His primary sound sources are field recordings, analog effects boxes, oscillators, and his invention the Iso Cube, which is a mini-isolation box that houses objects and allows him to processes odd textures and pseudo- rhythms using micro percussion, which he loops and builds into what he terms as “thick chords.”
In 2013, Nakagawa was awarded a Cultural Exchange International Grant through the City of Los Angeles Cultural Affairs Department, which allowed him to participate in an Artist in Residency program at the University of Barcelona. Through the University, he was granted permission by the Sagrada Familia, which was designed by Antoni Gaudi, to be the first artist to conduct a field recording of the interior space at floor level, 15 meters and 30 meters with a three point recording design. Along with field recordings taken at Watts Towers in Los Angeles and other unique architectural works, Nakagawa is working on a vibratory sound installation that is inspired by the concept of omnipresence. Nakagawa has presented his work at such venues as the ohernhoch/Berlin Germany, NIU Space/Barcelona Spain, La Panaderia/Mexico City, Oogimachi Museum Square/Osaka Japan, and throughout Southern California; Museum of Contemporary Art/Los Angeles, Soundwalk/Long Beach, CA, Los Angeles County Museum of Art, East LA REP, the.wulf, Highways, REDCAT, Japanese American National Museum and the Getty Center. Nakagawa is a recipient of the 2012 California Community Foundation Mid-Career Fellowship. He has been featured on KCET TV’s Artbound program. He holds a Bachelors of Fine Arts from Otis Art Institute, a Masters of Fine Arts from the University of California Irvine and is a Monbusho (Ministry of Culture and Education, Japan) Scholar. He has received training through the University of California Los Angeles Oral History Program. He has lectured at various universities and non profits; curates the weekly experimental music webcast Ear Meal; co-founded and directed Collage Ensemble Inc., managed mural projects for the Social and Public Art Resource Center and is currently a Senior Public Arts Officer for the LA Metro.
2014 AUDIO FIELD REPORT, 2 weekend installation, ohernhoch – der Geräuschladen, Berlin, Germany
2014 ORGAN OF CORTI PART 2 (Homage to Nancy Holt), Lime Light, Cordary Arts, Hawthorne, CA
2014 CONICAL SOUND TEST #1, REVERB, Torrance Art Museum, CA
2013 SAGRADA FAMILIA Field Recording, University of Barcelona
2013 MOONDOG POLE, Soundwalk 2013, Long Beach, CA
2012 FIRST IN SPACE; THE RIDE, with Joseph Tepperman, Soundwalk 2012, Long Beach, CA
2011 SOUND FOREST, percussion installation, CicLAvia 2011, Los Angeles, CA
2011 COOL, 2 hour sound loop for the Coolhaus Ice Cream Truck, Soundwalk, Long Beach, CA
2010 SOUND BED, mobile sound sculpture, Soundwalk 2010, Long Beach, CA
2009 SOUND TAXI, Otonomiyaki, 2009 Soundwalk, Long Beach, CA
2009 POTA POTA, Otonomiyaki, sound installation, Glendale Arizona Jazz and Blues Festival
2008 OTONOMIYAKI, art installation, Eagle Rock Art Center, CA
2008 GINGER & MARYANN, Soundwalk, Long Beach, CA
2007 IN TENTS, video and sound installation, with Mona Kasra at Highways, Santa Monica, CA
2013 ALAN&EVA, w/Evitzkaya PJ, NIU Espai Artistic Contemporay, Barcelona Spain
2013 ORGAN OF CORTI (Premier), East LA REP, Los Angeles, CA
2013 ISO CUBE IMPROVISATION, Deluxe Burrito/Shangrila, Joshua Tree, CA
2013 ORGAN OF CORTI (excerpt), Studio Spring 2013, Redcat, LA, CA
2013 ORGAN OF CORTI (excerpt), Alexis Disselkoen studio class, University of Southern California
2012 EAR DIORAMA EAR, Iso Cube and electronics, Eternal Telethon, Side Street Projects, Pasadena, CA
2012 1 IMAGE 1 MINUTE, group recitation, X-TRA 15th Anniversary, ForYourArt, LA, CA
2012 ROYAL PAIN 3.0, solo electronic music and video performance, Ear Meal webcast
2012 EAR DIORAMA EAR, Iso Cube and electronics, Lost Coast Culture Machine, Fort Bragg, CA
2012 EAR DIORAMA EAR, Iso Cube and electronics, Luggage Store, San Francisco, CA
2012 RICHARD WOOD & FRIENDS, Iso Cube and electronics, 322 Club, Sierra Madre, CA
2012 SASAKI, pop corn, stove, oscillators, effects, FUKUSHIMA memorial curated by Mari, the wulf. LA, CA
2012 RICHARD WOOD & FRIENDS, Iso Cube and electronics, Muddy Waters Café, Santa Barbara, CA
2011 SOUTHERN CALIFORNIA SOUNDSCAPE ENSEMBLE, Ear Meal webcast, http://www.laartstream.com
2011 SOUTHERN CALIFORNIA SOUNDSCAPE ENSEMBLE, Fingerprints, Soundwalk, Long Beach, CA
2011 SOUTHERN CALIFORNIA SOUNDSCAPE ENSEMBLE, Open, Long Beach, CA
2011 ETERNAL TELETHON, Iso Cube solo, Belly Flop, Echo Park, CA
2011 Ear Diorama Ear, Ear Meal webcast, http://www.laartstream.com
2011 International Listening Day, Southern California Soundscape Ensemble, Open, Long Beach, CA
2011 William Leavitt Exhibition, Iso Cube solo, the wulf @ Sunday, MOCA, LA, CA
2011 BIG FAMILY DAY, What’s In The Box, William Leavitt Exhibition, the wulf @ MOCA, LA, CA
2011 NEIGHBORHOOD PUBLIC RADIO, Fuzztone Drone; 100 guitarists, MOCA, LA CA
2011 SOUTHERN CA SOUNDSCAPE ENSEMBLE, Open, Long Beach, CA
2011 SOUTHERN CA SOUNDSCAPE ENSEMBLE, Resbox, Steve Allen Theater, Hollywood, CA
2011 EAR DIORAMA EAR, Alan Nakagawa and Kaoru Monsour, and Liam Mooney, Studio 5216, LA, CA
2011 RED FLAT, Omayumi, Steven M Irvin, Alan Nakagawa, Ear Meal webcast, http://www.laartstream.com
2011 RED FLAT, Omayumi, Steven M Irvin, Alan Nakagawa, Integratron, Joshua Tree, CA
2011 RED FLAT, Omayumi, Steven M Irvin, Alan Nakagawa, Japanese American National Museum, LA, CA
2011 RED FLAT, Omayumi, Steven M Irvin, Alan Nakagawa, Mesa College, San Diego, CA
2011 RED FLAT, Omayumi, Steven M Irvin, Alan Nakagawa, the wulf, LA, CA
2010 EAR DIORAMA EAR, Alan Nakagawa and Kaoru Monsour, Ear Meal Webcast, http://www.laartstream.com
2010 EAR DIORAMA EAR, Alan Nakagawa and Kaoru Monsour, Porter Gallery, Long Beach, CA
2010 EAR DIORAMA EAR, Alan Nakagawa and Kaoru Monsour, Ear Meal Webcast
2010 ANNA HOMLER with Jorge Martin and Alan Nakagawa, Ear Meal Webcast
,2010 ALAN NAKAGAWA with Steven M. Irvin and Jeffrey Mohr on Ear Meal Webcast, http://www.laartstream.com
2010 DEPARTMENT OF REAL ESTATE, Kio Griffith, Peter Watkinson, Alan Nakagawa, Ear Meal Webcast
2010 DWIGHT TRIBLE with Alan Nakagawa on Ear Meal Webcast, http://www.laartstream.com
2010 DREW LESSO with Peter Watkinson and Alan Nakagawa, Ear Meal Webcast, http://www.laartstream.com
2020 ALICIA VOGL SAENZ,Peter Watkinson and Alan Nakagawa, Ear Meal Webcast, http://www.laartstream.com
2010 DREW LESSO, JORGE MARTIN, PETER WATKINSON, ALAN NAKAGAWA, Porter Gallery, Long Beach, CA
2010 SCRATCH MUSIC, performer, SASSAS, Fiesta Hall, West Hollywood, CA
2010 EAR MEAL, director/performer, Collage Ensemble Inc., weekly webcast, http://www.laartstream.com
2010 NAKAGAWA & ORPILLA, sound performance, Automat, Chinatown, LA, CA
2010 DEPARTMENT OF REAL ESTATE, drummer, Pharoah’s Den, Riverside, CA
2009 LIVE@LUNCH, Nakagawa and Drew Lesso, Online performance, 10/09/09
2009 SOUND TAXI, Otonomiyaki, Soundwalk, Long Beach, CA
2009 DEPARTMENT OF REAL ESTATE, Various Performances, LA County
2009 POTA POTA, Otonomiyaki, sound installation, Glendale Arizona Jazz and Blues Festival
2009 Various Performances. Department of Real Estate, drums/composer, Los Angeles, CA
2008 FOUNDSOUND, Guest Composer, sound collaborations with Otonomiyaki (Kio Griffith), Steve Roden, Steven M. Irvin, Mona Kasra (Collage Ensemble Inc.), Mike the Poet & Mary Tyler Smores; solo performance by Joseph Hammer, 3-day public opening of BCAM at LACMA, LA, CA
2008 Various Performances, Department of Real Estate, drums/composer, Los Angeles, CA
2007 FINGERED SEVEN, co-produced by Collage Ensemble Inc and EZTV, video/performance
collaborations, Nakagawa and Mona Kasra installation, Highways, Santa Monica, CA
2007 Various Performances, Mary Tyler Smores, art rock band, drummer, Southern, CA
2007 Various Performances, Pink Lips 69, drummer, Japanese power rock 80’s band, Southern CA
2006 SOUNDSCAPES AND URBAN BEATS, Alan Nakagawa, AM Projects, LA, CA
2006 AMINO ACID MICRO OPEARS, Collage Ensemble Inc18th Street Arts Complex, Santa Monica, CA
2006 Interdisciplinary Workshop, CalState Northridge, Northridge, CA
2005 Interdisciplinary Workshop, CalState Northridge, Northridge, CA
2004 Soundwalk, Installation, Flood, Long Beach, CA
2004 Simply Songwriting Music Festival, Producer, St. Elmo Village, LA, CA
2004 2%, drummer, post punk music group, various venues throughout Southern California
2003 CAFFEINE TOUR, musician and songwriter, six venues in Southern California
2003 MONKEY PETE, drummer, puppet theater, various venues
2003 FURUTANI JAZZ, drummer, various evenings, Coffee Cartel, Redondo Beach, CA
2003 UTOPIA POP POP, musician, producer with puppet groups, Collage Ensemble, MOCA, LA, CA
2003 UTOPIA POP POP, musician, producer/puppet groups, Collage Ensemble, LA, CA
2003 LA URBAN FOLK, musician, OG3 Records, Highland Ground, Hollywood, CA
2002 RAICES DIGITAL MACRO OPERA, six short works composition for the Internet, Project was a collaborative between the artist, artists, Officers from the INS and immigrants to the US, Collage Ensemble Inc., http://www.pacce.com
2002 XIMOS, drummer, recording, Glenn Kaino/ Press Play, West Hollywood, CA
2002 LA URBAN FOLK, musician, CD Release, OG3 Records, Highland Ground, Hollywood, CA
2002 MONKEY PETE, drummer, puppet theater, various venues
2002 FURUTANI JAZZ, drummer, various evenings, Coffee Cartel, Redondo Beach, CA
2001 SUITE SIXTEEN, multi-media performance works, Collage Ensemble, Santa Fe Arts Colony, LA, CA
2000 THE HILO SUITES, concert of sound works about Hilo Hawaii, Takoyaki Gen LA, CA
2000 LA URBAN FOLK, concert of original folk songs about LA, Takoyaki Gen, LA, CA
1999 RED WOMAN, with Mayumi Hamada Open Air Play Festival, Kobe, Japan
1999 TRAVEL, Oogimachi Museum Square, Osaka, Japan
1999 SPRING, with Maymui Hamada, Oogimachi Museum Square, Osaka, Japan
1998 UN(TITLED), Collage Ensemble Inc., Friday Night at the Getty, Getty Center, Los Angeles
1998 HARVEST BUNNY, Collage Ensemble, All You Can Eat Exhibition, Upstairs at the Market Gallery, LA, CA
1998 POETRY AND SOUND Nakagawa, Vogl-Saenz and Archila, CM Bookshop, Silverlake, CA
1996 MOTHER’S DAY, Collage Ensemble Inc., Light Bringer’s Project, W Hollywood Homeless Organization at the House of Blues, Hollywood
1996 MICROWAVEABLE SOUL MICRO OPERA, Collage Ensemble Inc., La Panaderia, two performances, Mexico City, Mexico
1995 EARTHQUAKE WITHIN, with Mayumi Hamada and Collage Ensemble Inc., Japanese American National Museum, Los Angeles, CA
1995 AMERICAN AUDIO POSTCARD, Collage Ensemble Inc., L.A. Artcore, L.A. CA
1995 ELECTRONIC SEANCE, Collage Ensemble Inc., Highways, Santa Monica, CA
1995 ELECTRONIC SEANCE PART TWO, Collage Ensemble Inc., Minoya Hall, Osaka, Japan
1995 ELECTRONIC SEANCE PART ONE, Collage Ensemble Inc., Ishinji Theatre, Osaka, Japan
1994 ELECTRONIC SEANCE, Collage Ensemble Inc., Arroyo Bookstore, LA, CA
1994 ELECTRONIC SEANCE, Collage Ensemble Inc., LA Arts Festival, Leimert Park, LA, CA
1993 ELECTRONIC SEANCE, Collage Ensemble Inc., EZTV, West Hollywood, CA
1993 ELECTRONIC SEANCE, Collage Ensemble Inc., Galaxy Theater, Hollywood, CA
1992 CAFE COLLAGE, Collage Ensemble Inc., System M, Long Beach, CA
1991 CAFE COLLAGE, Collage Ensemble Inc., System M, Long Beach, CA
1990 CAFE COLLAGE, Collage Ensemble Inc., SPARC, Venice CA
1988 KODOMO MICRO OPERA, Collage Ensemble Inc., Japan America Theater, LA, CA
1988 KODOMO MICRO OPERA, Collage Ensemble Inc., University of California, Irvine
1987 KODOMO MICRO OPERA, Collage Ensemble Inc., Fringe Festival, Japanese American Cultural and Community Center, LA, CA
1986 RIME Dance Theater, Guest Composer, Occidental College, LA, CA
1986 EXERCISES IN BREATHING, Collage Ensemble Inc., Galleria Ocasco, Silver Lake, CA
1985 ACT OF RESPONDING, Collage Ensemble Inc., Park Plaza Hotel, LA, CA
2014 TENNIS, video documentary, Joan Ruiz, Barcelona, Spain
2011 Ear Diorama Ear, EDE, First CD
2011 CLOSURE, solo, CD
2010 Department of Real Estate, drummer, Second CD
2008 Department of Real Estate, drummer, First CD
2008 FURBOWL, Otonomiyaki with Kio Griffith
2004 2% Demo, post punk band, recording producer, drummer
2004 MEAT COLLECTIVE, sound for website, http://www.meatcollective.com
2003 SNOW, Joji Okazaki, Smoggy Mountain, animation short, http://www.loungego.com
2003 2%, Drummer, original Indies/ Punk band, various shows throughout Southern California
2003 INSTALLATIONS, Yong Soon Min and Allan de Souza, various national and international venues
2003 MONKEY PETE, theme music for video and various live shows in Los Angeles, http://www.monkeypete.com
2002 LA URBAN FOLK, eighteen original songs and instrumentals written and performed by Nakagawa. Guest musicians include Michael Whitmore, Debbie Sato, and Brandy Maya Healy. Audio compact disc, distributed by OG3 Records.
2002 MONKEY PETE, theme music for video and various live shows in Los Angeles, http://www.monkeypete.com
2001 SUITE SIXTEEN, 16 composition CD with various artists including Nakagawa, artists, community members and elementary school students, produced by Alan Nakagawa via Collage Ensemble Inc.
2001 MONKEY PETE, theme music for video and various live shows in Los Angeles, http://www.monkeypete.com
2001 SUN, Joji Okazaki, Smoggy Mountain, animation short, http://www.loungego.com
1999 RASTA RAMEN, (one song) Collage Ensemble Inc, guest artists on Other Vision’s Compilation, audio compact disc
1998 STATIC, Steven Irvin, performance at various venues in LA and Mexico City
1998 PRODUCE: A TWO FLAVOR PORTRAIT, composer of video score, Collage Ensemble Inc.
1994 DIE VERSE (a portrait of our town), Collage Ensemble Inc,. a collection of sound works from former installations, video projects and performances as well as new spoken word materials, collaboration with various artists, compact disc
1991 ONCE UPON A TIME, Cheri Gaulke, Video and installation, Pasadena Armory for the Arts
2012 LINE TO LIGHTENING FIELD, group show, Lost Coast Culture machine, Fort Bragg, CA
2011 ISO CUBE, Iso Cube solo, on Vimeo.com
2011 RED FLAT, Alan Nakagawa for collaborative performances with Omayumi and Steve Irvin, various locations including the wulf, Japanese American Museum, Integratron and Mesa College
2010 PAPER FOOTBALL, Alan Nakagawa, Ear Meal Wencast
2008 FURBOWL, Otonomiyaki with Kio Griffith
2008 70 20 40 20, Otonomiyaki with Kio Griffith
2008 FOUND DISCO, Otonomiyaki with Kio Griffith
2008 LA IN PERPETUAM, Collage Ensemble Inc. with Mona Kasra, premiered at LACMA, LA, CA
2007 IN TENTS, video projection, with Mona Kasra
2006 LA Menu Munchies, DVD, Premiered September 7 @ the Japanese American National Museum, LA
2006 Amino Acids Micro Opera, Collage Ensemble Inc., Mona Kasra
2003 UTOPIA POP POP DOC VIDEO, half hour MiniDV documentary on Utopia Pop Pop, Collage Ensemble
2001 CAVE, video installation, collaboration with students from Covenant House, Collage Ensemble, Hollywood Branch Library, Hollywood
1998 UN(TITLED) the video, EZTV, 45 minutes, Beta SP, Collage Ensemble, Los Angeles, CA
1998 AS ABOVE SO BELOW, Collage Ensemble, LBMA, Video Annex, Long Beach, CA
1997 L.A. Hip Hop Video, Nakagawa, Gajin Fujita, Skept, Kris Kuramitsu, D-2, Collage Ensemble
1997 PRODUCE: A TWO FLAVOR PORTRAIT, Collage Ensemble Inc.
GROUP EXHIBITIONS/ PROJECTS
2014 REFLECTIONS IN REAL TIME, Camilo Cruz, Stanley Mosk Superior Courthouse, LA CA
2014 MONSTER RALLY, Pasadena Armory for the Arts, Pasadena CA
2014 PUT A RING ON IT, Yarn Bombers LA, photo contribution, Manhattan Beach Art Center, CA
2014 BLUES PROJECT by Kio Griffith, sound contribution, Tokyo Japan
2012 FINALE, group exhibit, Collage Ensemble Inc.’s last project, collaboration with the wulf. Inglewood Public Library
2010 EAR DIORAMA EAR, collaborative diorama and collages, Porter Gallery Long Beach, CA
2009 OMOCHA NO CHACHACHA, group exhibit, Café Bolivar
2008 EBBS AND FLOW, group exhibit, with Otonomiyaki, Eagle Rock Art Center, CA
2007 CIRCUMNAVIGATING THE SOUL, group exhibit, Pounder-Kone Art Space, Atwater, CA
2007 COLLECTIVE BARGAIN, group exhibit, curated by AM Project, Tree House Gallery, LA, CA
2007 Walk, walk, walk, artist book, group exhibit, Treehouse, LA, CA
2006 LA Menu Munchies, DVD, Premiered September 7 @ the Japanese American National Museum, LA
2004 MARKETS AS METAPHOR, Collage Ensemble Inc., North Spring Street Gallery, Chinatown, LA CA
2004 FINAL SHOW, group exhibit, London Street projects, Los Angeles, CA
2002 THAT PLACE, multi-media installation about survey, Collage Ensemble, Hollywood Branch Library
2001 CAVE, video with students from Covenant House, Collage Ensemble, Hollywood Branch Library, CA
1999 PACKAGE FROM L.A., Collage Ensemble Inc, distributed in Osaka, Japan
1998 LO CAL FROZEN BLUES, Collaboration, L.A. Stories: Engaging the City, Collage Ensemble, Pomona College, Claremont, CA
1998 ALL YOU CAN EAT, curator, group exhibition, Produced by Collage Ensemble, City Market of Los Angeles, Los Angeles, CA
1997 FACADES, Collage Ensemble, group exhibition, Long Beach Museum of Art, CA
1993 SEED GAMES, Collage Ensemble Inc., group collaborative installation, Cerritos College, Norwalk
AWARDS AND GRANTS
2014 COLA, City Of Los Angeles Artist Fellowship, Department of Cultural Affairs, LA, CA
2013 Cultural Exchange International, University of Barcelona Artist in Residence, LA Department of Cultural Affairs
2013 USA Arts, crowd sourcing fundraiser for Sound Bed fabrication
2012 Mid-career Artist Fellowship, California Community Foundation
2011 Arts Grant, Los Angeles Department of Cultural Affairs
2011 Subido Grant, American Composers Forum
2011 DEW Foundation, Arts Grant
2010 Organizational Grant, DEW Foundation
2009 Glendale AZ Art Commission, temporary public art project, Otonimiyaki, Jazz and Blues Festival
2006 Los Angeles County Arts Commission, Collage Ensemble Inc
2005 Los Angeles County Arts Commission, Collage Ensemble Inc
2005 Cultural Affairs Department, Festival and Events Grant, OG3 Records/ St. Elmo Village
2004 Los Angeles County Arts Commission, Collage Ensemble Inc.
2004 Cultural Affairs Department, Festival and Events Grant, OG3 Records/ St. Elmo Village
2004 Cultural Affairs Department, Project Grant
2003 California Arts Council, Organizational Support, Collage Ensemble Inc.
2003 Cultural Affairs Project Grant, Collage Ensemble Inc.
2002 California Arts Council, Organizational Support, Collage Ensemble Inc.
2001 Cultural Affairs Project Grant, Collage Ensemble Inc.
2001 California Arts Council, Organizational Support, Collage Ensemble Inc.
2000 Cultural Affairs Project Grant, Collage Ensemble Inc.
1999 Anne and Kirk Douglas Playground Grant, (PACCE), Esperanza Elementary, L.A, CA
1998 Regional Arts Grant, (PACCE) Cultural Affairs Grant, Los Angeles, CA
1998 Youth Arts Services Grant, (PACCE) Cultural Affairs Grant, Los Angeles, CA
1996 Cultural Affairs Grant, Collage Ensemble Inc., Los Angeles CA
1995 LA PRODUCE DISTRICT Artist Residency, Collage Ensemble, Community Redevelopment Agency: Downtown Revitalization Project, Collage Ensemble Inc., LA, CA
1995 Brody Arts Fund, Organization Grant, Collage Ensemble Inc., LA, CA
1995 Project Grant, Collage Ensemble Inc., Osaka Cultural Affairs Department, Osaka, Japan
1994 CAC, Organizational Support Grant, Collage Ensemble Inc., California
1994 Fideicomiso Para LaCultura Mexico/USA, Rockefeller Foundation, Collage Ensemble Inc., Mexico City
PUBLICATIONS & MEDIA
2014 SOUNDSCAPE, Journal of Acoustic Ecology Vol. 12 Number 1
2014 Lime Light Exhibition, Forth Magazine2014 LIME LIGHT EXHIBITION, Bondo Wyszpolski, Easy Reader News
2014 ARTBOUND, KCET TV (in progress), directed by Tom Clancey and Produced by Juan Devis
2013 ALAN&EVA, CCCB Online Website, Barcelona, Spain
2013 ARTBOUND, KCET Internet
2012 Otis School of Art and design, OMAG, Alan Nakagawa
2012 Long Beach Gazzette, Soundwalk, Long Beach, CA
2012 ATLAS SETS, Glenn Bach
2011 WATT RADIO, Ear Diorama Ear
2011 GYST Radio, Interview
2010 Sushi and Sake, Alan Nakagawa Artist
2009 DEPARTMENT OF REAL ESTATE, one hour interview, KXLU FM, Los Angeles, CA
2009 SOUNDWALK, Ginger and Maryann, Otonomiyaki, Huell Howzer, KCET
2008 FOUND SOUND, LA Weekly, LA, CA
2007 FINGERED SEVEN, Pick of the week, performance at Highways, LA Weekly
2007 Collective Bargain, artist catalog, AM Projects, LA CA
2006 Amino Acids Micro Opera, Collage Ensemble Inc., 18th St. Arts Complex, LA Weekly Pick of the Week
2005 Soundwalk catalog, introduction essay zine, Flood, Long Beach, CA
2003 Utopia Pop Pop, article, Downtown News, LA CA LA Urban Folk, review, Tokion Magazine
2002 That Place, article, Hollywood Independent
2001 Tokion Tree Fund, review, Tokion Magazine
2000 FOURXFOUR, article, Tokion Magazine
1999 VIDEOS, L.A. Hip Hop Volume One, Rap Pages, U.S.A.
1998 Room with Views of L.A., William Wilson, L.A. Times, Los Angeles, CA
1998 LACE, XRAY L.A., KPFK FM, Los Angeles, CA
1997 COLLAGE ENSEMBLE INC., KXLU FM, Los Angeles, CA
1997 L.A. HIP HOP VIDEO VOLUME ONE, Art Crimes, web page
1997 L.A. HIP HOP VIDEO VOLUME ONE, Daily News, LA, CA
1997 Produce: a Two Flavor Portrait, Downtown news, LA, CA
1996 Art Cries, Full Moon Gallery, Los Angeles Times
1996 Microwaveable Soul Micro Opera, La Universal, Mexico City, Mexico
LECTURES & PANELS
2014 GRANTS PROGRAM, Panelist, City of Pasadena Cultural Affairs Department
2014 ART OPPORTUNTIES, Panelist, Metro Art, City of Santa Clarita, Santa Clarita, CA
2014 ISAMU NOGUCHI MUSEUM, BFA project critique, CAL Poly Pomona, CA
2013 ALAN NAKAGAWA, Sound Art and Experimental Music, Artist Residency, University of Barcelona
2013 ALAN NAKAGAWA, Oral History Techniques, University of Barcelona
2013 ALAN NAKAGAWA, Art Institute, San Bernardino CA
2013 ORGAN OF CORTI (excerpt), Alexis Disselkoen studio class, University of Southern California
2013 ISAMU NOGUCHI MUSEUM, BFA project critique, CAL Poly Pomona, CA
2013 ALAN NAKAGAWA, LA & Culture Class, University of Southern California
2012 ISAMU NOGUCHI MUSEUM, BFA project critique, CalPoly Pomona, CA
2011 METRO ART, Cultural Affairs Department, Denver CO.
2011 METRO ART, CalPoly Pomona, CA
2007 Get Your %#* Together, Side Street Projects, Pasadena, CA
2007 Public Art, National Association of Arts Organizations, LA, CA
2006 ALAN NAKAGAWA, Fine Arts department Lecturer Series, California State University Northridge
2005 PUBLIC ART, Chicago Transit Authority/ Cultural Affairs Department, Chicago, Ill
2004 PUBLIC ART, New Genre Class, California Institute of the Arts, Valencia, CA
2004 ALAN NAKAGAWA, New Genre Class, Claremont Graduate Program
2003 ALAN NAKAGAWA, Fine Arts department Lecturer Series, California State University Northridge
2003 ALAN NAKAGAWA, Fine Arts department Lecturer Series, University of California Irvine
2003 ALAN NAKAGAWA, Fine Arts Lecturer Class, University of California Los Angeles
2003 ROLE OF UTOPIA IN LA, Panel Mod., Japanese American Cultural and Community Center, LA, CA
2001 ALAN NAKAGAWA, Public Art Studies, University of Southern California
2000 NON-SANCTIONED PUBLIC ART, Americans for the Arts, Santa Monica, CA
2000 ALAN NAKAGAWA, USC, LA CA
1999 ALAN NAKAGAWA, CalArts, Valencia, CA
1999 PUBLIC ART, Calstate Northridge, CA
1999 PUBLIC ART, Nankai Railway, Osaka, Japan
1999 COMMUNITY ARTS, Association of Architects, Craftsman, and Artists, Tokyo, Japan
2011 SOUND FOREST, CicLAvia
2008 PERCUSSION FOREST, BCAM opening, LACMA, LA, CA
2001 TILE PYRAMID, PACCE, Collage Ensemble, Esperanza Elementary School, LA CA
2001 PLAYGROUND STENCILS, a stencil project by students and artist Paul Botello, PACCE, Produced by Collage Ensemble, Esperanza Elementary School, LA, CA
2000 FOURXFOUR, billboard art project, collaboration with four graphic designers, Tokion Magazine and Collage Ensemble, four locations in Los Angeles
1997 PRODUCE: A TWO FLAVOR PORTRAIT, collaboration, Collage Ensemble, Community
Redevelopment Agency: Downtown Revitalization Project, LA, CA
1996 ANT HYMN, Collage Ensemble Inc., public installation collaboration, Anthem, Full Moon Gallery, curated by Monica Chau, FAR, Downtown Los Angeles
2010 Oral History Program Workshops, University of California Los Angeles
1990 Theater Design, Japan University, Monbusho Scholarship, Tokyo, Japan
1988 Japanese Language, Osaka School of Foreign Studies, Monbusho Scholarship, Osaka, Japan
1988 MFA, Studio Arts, University of California Irvine
1986 BFA, Studio Arts, Otis Art Institute, Los Angeles, CA
13703 Cordary Avenue
Hawthorne, CA, 90250
+ 1 310 644 3709
LA based artist Paulin Paris is creating art projects in the US and abroad. Paris was born and raised in Paris, France, where he studied Philosophy and Art. His artistic and philosophical approach sees art as a spiritual path of symbolic dimension. Paris’ work transitions from painting, to mural, sculpture, photography, and print.
Exhibitions 2010 to present
2010 Cache Santa Monica
– Paulin Paris Ed Moses New Paintings
2010 Frank Pictures Bergamot Station, Santa Monica, CA
– Paulin Paris: Artwareness: Marquetry Paintings
2010 LA Contemporary, Los Angeles, CA
– Rogue Design 5 from CA
2012 Jack Rutberg, Los Angeles, CA
– Letters from Los Angeles, Part I & II
The artist studio is also a gallery space: The Artlook, presenting artists from the
US and Europe during special arts events.
Exhibitions 2011 to present
2011 – “Warp & Weft,” Paintings by Debrah Constance
2012 – “God Speed Rider,” Melissa Washington
2013 – “Mourners,” V. Morien; and “Recent Works,” Paulin Paris
2013 – “Blots: Paintings and Collages,” Robert Wilhite
2014 – Gouaches,” Martin Lacroix: and Portraits & Artscape,” Paulin Paris
2014 – “Supervision LA,” Olivier Mirguet; “Spice Girls,” Philippe Carpentier;
and “Symbolic Symbols,” Paulin Paris
JANE GILLESPIE PRYOR
Jane Gillespie is a Los Angles based artist. She received her MFA from Claremont Graduate university and her undergraduate degree from the University of Southern California. Jane’s work has been exhibited throughout Southern California and is part of the Los Angeles Metro’s public art collection. She was a Maguire Fellow and a recipient of the Joe Sonneman Photography Award. Currently, she is adjunct faculty at Biola University and Azusa Pacific University.
Gillespie’s work draws from both the domestic and nomadic, exploring the existence of a walled and wall-less life. The sculptural forms stand as boundary markers, similar to fences, property lines, or signposts. The all-white forms reference hunting traps, animal hides, and shelters. She uses geometric patterning to point to both interior dwellings and designs found within the natural world.
MFA, 2011 Claremont Graduate University, Claremont, CA
BA, 2003 University of Southern California, Los Angles, CA
Territory, 2014 (solo)
Greenleaf Gallery, Whittier College, Whittier, CA
Potential Bodies, 2014
Otis College of Art and Design, Culver City, CA
Lime Light, 2014
ThinhStudio, Cordary Art Event, Hawthorne, CA
Here For Now, 2012 (solo)
Nixon Gallery, Whittier Public Library, Whittier, CA
MFA Faculty, 2011
L Gallery, Azusa Pacific University, Azusa, CA
Boom. Southern California MFA Exhibition, 2011
LA Mart, Los Angles, CA
Housewarming, Curated by Allison Alford, 2011
Eagle Rock, CA
Jane Gillespie Pryor, 2011 (solo)
East Gallery, Claremont Graduate University, Claremont, CA
Video Work by Claremont Graduate University Artists, 2010
Projections on Lake, Pasadena, CA
Second Year MFA Exhibition, 2010
Peggy Phelps Gallery, Claremont Graduate University
In the House of Make-Believe, 2010
Division 9 Gallery, Riverside, CA
Exhibit A, 2009
East Gallery, Claremont Graduate University, Claremont CA
Set Free, 2009
Bluebird Art House, Whittier, CA
Under the Cover of Trees, 2008
L’KEG Gallery, Echo Park, CA
Adjunct Professor of Art, 2011-Current
Azusa Pacific University, Azusa, CA
Adjunct Professor of Art, 2011-Current
Biola University, La Mirada, CA
Panels and Discussions
Visiting Lecturer, 2014
Whittier College, Whittier, CA
Juror, Through the Eyes of the Artist, 2014
Los Angeles County Metropolitan Transportation Authority (Metro), Los Angeles, CA
Visiting Artist, 2011
Chaffey College, Rancho Cucamonga, CA
Joe Sonneman Photography Prize, 2011
Maguire Teaching Fellowship, 2010-2011
Claremont Graduate University Fellowship, 2010
Claremont Graduate University Fellowship, 2009
Los Angeles County Metropolitan Transportation Authority (Metro), Los Angeles, CA