Blue/Print surveys the history of cyanotype through the lens of contemporary art. The featured artists examine the medium in a range of contexts: from its principal roots as a documenter (Hannah Perrine Mode, Rituals), to its integral role in architectural rendering (Alex Hamilton, Blueprints with the Lights On), and the populist, versatile aspects that make it ideal for experimentation and mass production (Mattson Fields, Blue State). Together, these artists create a dialogue with the history of this esoteric process that at once challenges its utilitarian past and explores the branching possibilities for its future.
During the summer of 2017, Slide Space 123 is hosting two shows focusing on cyanotype work by Studio Art MFA students. For this site-specific installation, Hannah Perrine Mode createdceramic pieces cast from objects and surfaces oustide the gallery window. The pieces were then coated with cyanotype, installed in the space as a 3D camera obscura, and left to expose to light in real time throughout the course of the show. The resulting sculptures act as a documentation of the artist's physical engagement with material and the surrounding landscape – as well as a record of time passing, the daylight in the gallery, and each viewer's presence in the space.
Hannah's practice hinges on personal and collective vulnerability inherent in physical, emotional, and social exchange. Through this lens – and often weaving together themes of map-making, geological phenomena, wayfinding, and climate change – she explores layers of memory that inform our sense of place and ways we cultivate communities.
Using site-specific, time-based, and/or transformative material, Hannah records solitary moments of meditative action in which my body physically engages with the surrounding landscape. Ongoing projects act as photographic documentation of fleeting moments of action – a record of the state of being open and present, her skin a porous surface, her body a permeable vessel. Through social practice projects, Hannah initiates moments of intimate exchange between herself and others, and creates platforms for vulnerability and communication. Whether through postcard writing, memory sharing, or interactive poetry, the work employs intentional, active listening to engage both the individual and the collective experience. Each exchange is a tender gesture emphasizing the capacity of radical generosity as a tool for social change.
Signal Flow is a four-day festival of creative music and innovative sound art in all its forms, featuring new work by graduate students of the Mills College Music Department. Centered in Littlefield Concert Hall and spreading across the Mills campus in the hills of Oakland, the festival celebrates a wide diversity of new approaches to sound through collaborative performances, improvisations, installations, and multimedia experiments.
Slide Space 123 will host an installation by Ingibjörg Friðriksdóttir, with special viewing hours as follows:
Friday, March 10: 5-8 PM, 10-11 PM
Saturday, March 11: 6-8PM, 10-11PM
Sunday, March 12: 12-2PM, 4-6PM
Festival Schedule *
Thursday, March 9th @ 8pm :
Chris Wood (Haas Gymnasium)
Kaori Suzuki (Chapel)
Bergrún Snæbjörnsdóttir (Chapel)
Isaac Otto (Chapel)
Friday, March 10th @ 8pm :
Alex Cohen (Greek Theater)
Charles A. McGraw
Saturday, March 11th @ 8pm :
Kevin Allen Schwenkler
Nayoung Judy Jung
Sunday, March 12th @ 2pm (Matinee) :
Kim Nucci (Music building veranda)
Kevin Schwenkler (Frog pond)
Ingibjörg Friðriksdóttir (Slide Space)
* All events in Littlefield Concert Hall unless otherwise specified
A last look at a resistance themed exhibition at Mills College's new Slidespace 123 gallery in the Art Department, with work by Luke Butler, Andrea Bowers, Ana Teresa Fernandez, Sarah Hotchkiss, Omar Mismar, Melissa Wyman, Rachel Weidinger, Alex Molinari, Post Fax, and 100 Days Action.
And join Rachel Weidinger for Digital Security for Protesters, a salon
Curious about whether your phone will get you into trouble at a protest? Wondering how to stay in communication with your crew on the street? Worried where your photos end up? Join Rachel Weidinger for tea and conversation about devices and surveillance at protests. Easy, simple tips will be shared, along with realistic risk assessments, and paths to learn more about being safer as a protester.
As part of Resistance Training currently on view at Slide Space 123, the Collaborative Combative Drawing Workshop expands on Melissa Wyman's piece "Negotiation Table."
One large piece of paper, one central goal, two artists, power ideas at the ready, drawing tools cocked and loaded, and the understanding that collaboration is messy… Whether negotiating personal or professional relationships or simply coexisting, everyone comes to the table with their own ideas. Sometimes those ideas fuse, sometimes they clash; often they do both. The harmonious side of human nature seeks a common ground, knowing there will disputed objectives before a new perspective can be adopted. Collaborative Combative Drawing utilizes the energy created by the inherent pushing and pulling in human relationships as a method of (art) production.
Artist and Self-Defense instructor Melissa Wyman invites participants to explore both the cooperative and combative sides of their fields by going head to head in the creation of large-scale works on paper. Participants must push, pull, escape or outwit each other in order to complete a single drawing or representation of their personal power statement, symbol or design. Melissa will coach participants in effective and relevant martial art/self-defense techniques for outmaneuvering the other participants and getting their drawing down on paper. The process will be frustrating yet exhilarating, and result in surprisingly dynamic, collaborative works.
For more information, visit www.collaborativecombativedrawing.com
Aron Art Center Room 114B
5000 MacArthur Blvd
Free and open to the public
In 2016, Trump campaigners asserted that the mass internment of Japanese Americans during World War II was a precedent for the proposed ban and registry for immigrants from Muslim countries. Not My Precedent is a reading and conversation about the acute realities, complexities, and ramifications of Japanese Internment Camps. Featuring National Book Award finalist Karen Tei Yamashita, Guggenheim fellow and playwright Philip Kan Gotanda, and AAWAA co-founder and artist Betty Kano. Moderated by Vivian Fumiko Chin, Chair, Ethnic Studies Dept at Mills College.
This panel is presented by 100 Days Action, an artistic counternarrative to President Trump's first one hundred days in office, and in conjunction with the Mills exhibit Resistance Training at Slide Space 123.
FEATURING READINGS AND TALKS BY:
KAREN TEI YAMASHITA is the author of seven books, including I Hotel, finalist for the National Book Award, and forthcoming, Scintillations: Letters to Memory, all published by Coffee House Press. She received a US Artists Ford Foundation Fellowship and is Professor of Literature and Creative Writing at the University of California, Santa Cruz.
The creator of one of the largest canon of Asian American-themed works, PHILIP KAN GOTANDA has been instrumental in bringing stories of Asians in the United States to national and international audiences. Mr. Gotanda is a respected independent filmmaker. His 3 films: Life Tastes Good, Drinking Tea, The Kiss, all have presented at the Sundance Film Festival. A recipient of a Guggenheim, Mr. Gotanda is a Professor with the Department of Theater Dance Performance Studies at UC Berkeley.
BETTY NOBUE KANO has exhibited her paintings in over 200 galleries and museums, nationally and internationally. She was Director of Pro Arts Gallery in Oakland and is retired from San Francisco State University. She has curated over 30 exhibits, including “Generation Nexus: Peace in the Post-war Era,” that launched the opening of National Japanese American Historical Society’s Museum in the Presidio, San Francisco. She co-founded Art Against Apartheid, Asian American Women Artists Association, and Women of Color Camp. She currently serves on the Board of Japanese American Women Alumnae of UC Berkeley, volunteers at Sakura Kai senior center, organizes with Berkeley 4 Bernie and Asian Americans for Peace and Justice.
AND MODERATED BY:
VIVIAN FUMIKO CHIN is the granddaughter of a woman who came to the US as a picture bride from Japan. She is also is the granddaughter of a woman who had bound feet, who was married at 16, and lived in China all her life. Her mother and other relatives were interned during WWII in Heart Mountain, Wyoming.
Danforth Lecture Hall
5000 MacArthur Blvd
Oakland, Ca 94613
Free and open to the pubic.
Exhibition and events offer a bolstering sense of community in the midst of a tumultuous political era.
On the eve of the inauguration, and into the first days of a new regime, Resistance Training, a presentation of recent a new artwork and activism, provides a needed opportunity to gather aesthetic and artist community forces and brace for what comes next. Organized by curator Glen Helfand, the exhibition focuses on aesthetic gestures that offer models of resistance to negative shifts and ideas for action, be they poetic, ideological, or forceful protest. The location on the Mills College campus offers the opportunity to create a space for gathering that draws upon intellectual resources and dialogs.
In the realm of fitness, the term resistance training refers to exercising muscles using an opposing force. The official transition of power to a game changing new U.S. president, which occurs on January 20, is a large, heavyweight force to oppose with the purpose of becoming stronger. Various communities, artists and activists, are banding together in dialogue and creative action to engage strategies for survival in what promises to be a challenging period.
The exhibition will include artworks, actions, and demos of strategies for survival. Artists include Luke Butler, Ana Teresa Fernandez, Sarah Hotchkiss, Omar Mismar, Melissa Wyman, Rachel Weidinger, Andrea Bowers, Alex Molinari, and others. Resistance Training also will include Post Fax, a faxing campaign targeting office workers, interns, and others with pertinent messages sent through a form more tactile, and perhaps urgent, than social media; and be an affiliated venue for 100 Days, an artist-organized calendar featuring one daily artistic response to Trump’s first 100 days in office.
January 18 - February 10, 2017
Opening Reception: Wednesday, January 18, 6-8 pm
Free and open to the public. Refreshments will be served.
Later that year, [Charlotte] Dujardin devised a new freestyle for Valegro. She made the floor plan as difficult as she could imagine, opening with a half-pass in trot that moved into a half-pass in passage, followed by a combined piaffe and pirouette and straight into another phase of passage. She rode an extended canter into a double pirouette, and set the test to music from “How to Train Your Dragon.” Dujardin and Valegro performed the routine for the first time at the Olympia horse show, in London, that December. Together, they broke the last of Totilas’s world records. “I literally did the final bit with tears rolling down my face, because he is the sort of horse that gives you everything,” Dujardin said. “He gives you everything, and I can fee the partnership and the connection. He is, like, with me.”
- Sam Knight, “The Duo That Dominates Dressage”
What are the bonds that exist between man and animal; the closeness and kinship that exist across species – between a human and a pet, animals worked with in labor and sport? In The Companion Species Manifesto, Donna Haraway speaks of the relationships between man and animal as a relationship of significant otherness: “They are here to live with. Partners in the crime of human evolution.” Valegro explores these kinships and how humans and animals live with and use each other, how we cope with the world together at the intersection of empathy and projection.
Featuring works by Benjamin Ashlock, Beatriz Balanta & Mary Walling Blackburn, John Hiltunen, Sarah McMenimen, John Russell and Jess Smith.
Curated by Jackie Im, Co-founder and Director of Et al. and Et al. etc., San Francisco.
Root Connection: 20 Years of The Patti Smith Collection, now on view at Mills College Art Museum (MCAM), demonstrates Patti Smith’s experimentation across expressive modes including music, poetry, drawing, and photography. According to a 2015 Vanity Fair interview, the title of Smith’s most recent book, M Train, refers to a “mind train” that gets off at any station it wants. Inspired by Smith’s fluid artistry and informed by the creative osmosis that defined her experience at the Chelsea Hotel in the 1970s, Mills Train celebrates the diverse artistic activity here at Mills.
In collaboration with MCAM, Mills College’s Book Art, English, Music, and Dance departments, Slide Space 123 Gallery, and the F. W. Olin Library, Mills Train features musical printing presses, a Walking Magazine, intimate sound installation among rare books, experimental performance, and avant-garde poetry reading.
*Refreshments will be provided.
RITUAL/CONNECTION | Book Art Studio, CPM 118
Twelve years after the historic concert by then resident artist Helen Mirra, together with Fred Frith on the old Book Art printing press (Kwangsi-Quail is available on LP), Frith returns to the Book Art building presses with one of a series of time scores in which all actions and sounds of the performers are open except when to start and when to stop.
Directed by Fred Frith. Featuring Camille Emaille (percussion), Honor Lacin (violin), Joel Nelson (guitar), Bergrún Snaebjörnsdóttir (horn), Nate Wheeler (electronics),
Printing Presses Operated by Sofia Bell, Sarah Denis, Manar Harb, Brooke Hardy, Heather Peters, Jacklyn Snodgrass, Emma Studebaker
BABEL: A WALKING MAGAZINE | Book Art Studio » F. W. Olin Library »Art Museum
Poetry students and faculty perform original and treasured texts in a procession from the Book Art studios to the Mills College Art Museum. Organized by avant-garde artists Carles Hac Mor and Ester Xargay, the Revista Caminada or Walking Magazine became a favorite in the streets of Barcelona in the nineties.
WATER ON THE SUN | Art Museum
A handful of the creative talents behind the creation of 95 Rituals come together to continue experimentation in new constellations.
Programmed by Shinichi Iova-Koga. Featuring Chris Brown (musician), Mari Osanai (dancer and Noguchi Taiso teacher), Dana Iova-Koga (dancer), Suki O'Kane (musician), Steve Adams (musician), Tim Kim (musician) and Dan Gottwald and the Analogous Ensemble.
Book Release Party for 95 Rituals, Shinichi Iova-Koga and Dancers' Group (ed.)
95 Rituals documents the eponymous performance directed by Shinichi Iova-Koga in 2015 honoring dance pioneer Anna Halprin, performed by physical theater company inkBoat and invited guests, and presented by Dancers’ Group.
POETRY READING | Slide Space 123 Gallery
Curated by Carlota Caulfield. Featuring Claudia Gallo, Hugo Garcia Manriquez, Stephen Ratcliff, Juliana Spahr, Stephanie Young,
ALVIN LUCIER: CHAMBERS | Heller Rare Book Room, F. W. Olin Library
In this installation version of Chambers, recordings capturing the acoustic qualities of different environments are played back inside objects, where the natural resonance of one space shapes the other.
Directed by James Fei. Featuring embers of Sound Art Dylan Burchett, Alex Cohen, Nathan Corder, Laura Elizarraras, Isaac Hayes, Greg Kappes, Macie Lopez, Dani Luck, Sophia Shen, Jasmine Stallworth, Lucca Troutman
Josie Weight, Chamberlain Zhang
FLEXAGON-MAKING | Book Art Club, CPM 106
Mills College Department of Art and Art History is pleased to announce the opening of a new exhibition space, Slide Space 123: A Space for Art and Ideas. The gallery aims to provide a space to pose new problems, working with and against the grain of the exhibition format. Slide Space 123 is a site to exchange ideas, a venue to connect the Mills community (students, faculty, and alumnae) with currents across multiple disciplines.
Opening Slide Space 123 is Intro (The Writing’s on the Wall), curated by Jackie Im, Co-founder and Director of Et al. and Et al.etc., San Francisco. The exhibition will feature artists who grapple with how they are defined, whether by religion, race, gender, or sexual orientation. Beginning with the understanding that one is not simply one demographic or another, Intro (The Writing’s on the Wall) uses as its starting point, Adrian Piper’s letter to the editor asking, “Please don’t call me a black artist. Please don’t call me a woman artist.” This is not to deny either her blackness or her authorship as an artist, rather Piper bridles against a conflation of the two terms at the expense of her being included in either. The different descriptors framing us may in part describe us, but the pictures they draw are incomplete. For some they become qualifiers making one a subset of the whole, addendums that keeps one from being referred to as what we desire to be.
The artists in the exhibition address who they are, within and against the narrow confines of identity; how intersectionality can open new paths of thinking of the self, complicating and contradicting identity as something fixable into language.
The exhibition features work by Laylah Ali, Sofía Córdova, Nicki Green, Lauren Halsey, Masami Kubo, and Zanele Muholi.
Intro (The Writing’s on the Wall)
September 14 – October 21, 2016