Second Annual Southern California Exhibition Long Beach Museum of Art
Current Exhibitions
Linda Besemer: StrokeRollFoldSheetSlabGlitch
February 12–June 25, 2022 | Main Gallery
StrokeRollFoldSheetSlabGlitch is the beginning survey of works by Los Angeles-based artist Linda Besemer. This exhibition emphasizes Besemer'due south ongoing commitment to exploring alterity through conscious "othering" of abstraction and reflects upon the creative person's search for new meaning in painting over the past thirty-five years. Featuring xx-three works produced between 1993–2021, the exhibition showcases key moments in Besemer's career, taking visitors on a journeying through the evolution of their exercise, starting with early traditional gestural abstraction, exploring their "detachables" works, and culminating with their most recent glitch serial. Visitors are too invited to delve into Besemer's process and explore a collection of the artist'due south maquettes, annotated drawings, and gouache color studies.
Besemer's meticulously built works defy expectations. Their vivid palette catches the heart with surprising stripes of color and vivid optical illusions. The creative person refers to works created from the tardily 1990s into the 2000s equally "detachables"—discrete from their original surfaces—these layered compositions go distinctly painterly and sculptural. First, hand painted on plate drinking glass and then peeled away, they capture the gestures themselves. Besemer also calls these works "acrylic pigment bodies," as isolated brushstrokes, layed paint sheets, and poured slabs transform into their own "bodies" and encompass of nonbinary, queer realities. This singular process responds to feminist critical theory that links abstruse painting with cis masculinity. Equally they are lifted off their footing, these brilliant stokes are liberated from gendered relationships, disengaged from underlying discourse near systemic patriarchal inequities equated with the figure/ground binary.
The glitch paintings imagine a space that is countless and moves in a one thousand thousand dissimilar directions. These paintings and their spaces are unfamiliar. They are not grounded in the gravity of a Renaissance fixed perspective, only rather open up the two-dimensional plane with a new expansive spatial sensation.
–Linda Besemer
In Besemer's recent body of piece of work—the glitch series—the artist creates a new space of meaning beyond the horizontal, vertical, diagonal movement of their earlier work using the 3D animation program Maya. Besemer collected digital images capturing errant effects generated during shape renderings as the basis for this series. From these, the artist cuts, pastes, and collages new compositions for their hand-colored paintings. The glitch works are meant, in the artist's words "to abstract the abstruse" to make painting itself new again past transforming digital modes into analog strokes. They announced to be digitally produced at offset glance, but brushwork inside the works reveal their true handmade quality. Besemer'due south pictorial infinite is rife with the tension of dissolution and re-materialization inherent in this new process. Curves, lines, blips, buzzes, and swaths of saturated color within the mind-bending glitch abstractions invite viewers to lose themselves in an electrifying visual matrix.
Linda Besemer: StrokeRollFoldSheetSlabGlitch is accompanied past a 92-page total color catalogue designed past Amy McFarland of Clean{Slate}Pattern, with essays from Manager Paul Baker Prindle, curator Kristina Newhouse, and leading LGBTQ+ scholar Lex Morgan Lancaster, author of the upcoming Duke University Press publication, Dragging Abroad: Queer Brainchild in Contemporary Fine art.
Image (banner): Linda Besemer, (detail) Tony's Painting, 2013. Acrylic paint mounted on aluminum cleat , 60 x 120 inches . ©Linda Besemer. Courtesy of Antony Unruh and Trish Boyer . Photograph past Fredrik Nilsen Studio.
Hung Viet Nguyen: Sacred Path
Feb 12–May 7, 2022 | Community Gallery
Sacred Path features paintings by Torrance-based artist Hung Viet Nguyen. The exhibition showcases Nguyen's highly textured painting technique, which imbues his landscapes and abstractions with a fantastical quality. Curated from his Aboriginal Pines series and Sacred Landscapes Five serial (2015–2021), the depictions of natural subjects and imagined scenes may seem unrelated. However, all featured paintings are united past nature and interconnected by an exploration of the universal life forces that unite spirit and matter. Using art as a "universal language," the artist expresses his inner cocky by building intricate scenes that are rich with life, personal significance, and spiritual symbolism.
Nature has long been a source of inspiration for Nguyen. Reverence for the environment has even been a lifeline. While attempting to escape Vietnam in the 1970s, the creative person landed in a labor camp; his ability to capeesh the scenery—such as the red sunday setting beyond a verdant mount—helped him contend with physical exhaustion at the end of each solar day. Now settled in the S Bay, the self-taught artist continues to pay homage to nature through his painting practice. Nguyen's Ancient Pines serial depicts the coastal rock formations and aboriginal bristlecone pine forests in California's eastern Sierras, a specific landscape that he interfaces with regularly.
Nguyen'due south work was featured on the cover of Artillery magazine's January 2022 event. In "The Spiritualized Landscapes of Hung Viet Nguyen: Devoted to Nature," Genie Davis praised the Sacred Landscapes V serial as a whole and specifically the work titledSacred Landscapes V #32, which is featured in Sacred Path and pictured to a higher place.
Anabel Juárez : Recordar Es Vivir
Apr v–June 25, 2022 | Mini Gallery
Carolyn Campagna Kleefeld Gimmicky Fine art Museum (the Museum) presents Recordar Es Vivir (Remembering is Living), a new solo exhibition by Los Angeles-based artist Anabel Juárez which integrates ceramic objects, sculptural media, and drawings to commemorate a sense of home that is both felt and created. Adult during her 2021 tenure as Artist in Residence for the CSULB Center for Contemporary Ceramics, this new project brings memories of her formative years living in Michoacán, México to life. In the central sculptural installation entitledRecuerdos (Memories), Juárez pays homage to sentimental objects as she constructs a repository for her recontextualized childhood recollections. Through this multimedia installation and a pair of works on newspaper, the artist builds a bridge between the by and the present and proposes questions effectually concepts of home following emigration. The exhibition runs from April five to June 25 in the Museum'due south Mini Gallery.
Inspired by the pushcarts of street vendors who labor on both sides of the The states/Mexico edge, dual multi-tiered carts serve as the framework for Recuerdos. These custom-built metal carts are reminders of the experiences of migrant communities. In creating this work, Juárez considers the act of migration itself, imagining what migrants carry with them, physically and emotionally, to remind themselves of what they left behind. The artist'southward conglomerations intuitively interpret personal experiences and use artistic means to embody memories of people or places.
When the artist immigrated to the Us in 2003 at the historic period of 15, she could just pack a backpack full of possessions to take on her journeying beyond the border. Co-ordinate to Juárez, the chosen items then became catalysts for accessing "memories of the experiences, the people I left backside, and the place that I called home." The creative person'due south object selection process in developing Recuerdos parallels her experience of packing to leave habitation as a young teenager. Some sculptures—the backpack, stuffed animals, and Purepécha doll—represent real objects which have emotional or symbolic value. Their iridescent and luster glazes imbue them with a precious quality. All the hand-congenital ceramic objects, from small furniture, household tools, and spiritual icons similar the Sacred Heart, tree of life, and Virgin Mary are mementos that act as mediators between a tangible place and the intangible experience.
Additional objects in Recordar Es Vivir alloy dreamed imagery, existent images of migration, and literal traces or indices of Juárez's babyhood habitation. Resting atop the carts, glass roof structures make the carts themselves house shaped and symbolize a retentivity of home close to the artist's heart. She recalls serene moments in the house where she grew upwardly, proverb she was "mesmerized by the sun rays shining through the ceramic roof tiles in my room," and used the translucency of glass to convey this. A pair of pastel drawings entitledPortal and Window are rubbings fabricated during a past visit to the same childhood home. In combination with ceramic sculptures on and around the metal cart, these works on paper introduce a sense of a identify into the exhibition and emphasize how a home's structural remnants tin exist cherished.
Moving between abstraction and representation, Juárez's works directly relate to objects that she surrounds herself with to experience "at home." The artist shared, "I was drawn to the notion of a mobile home full of souvenirs as a way of talking about mobility and the objects and imagery that assist me feel continued to my culture and my home, no matter where I am geographically." In making works to exist equally metaphorical keepsakes, the artist's objects themselves become portals to home, symbols of cultural celebration, and tributes to cornball memories that live on through time and space.
Carolyn Campagna Kleefeld: In-Between the Silence
February 12–June 25, 2022 | Carolyn Campagna Kleefeld Gallery
In-Between the Silence is the countdown exhibition of Carolyn Campagna Kleefeld. The space in-betwixt the silence tin best be described every bit a place that is not knowable by the heed, but its power and strength tin can be straight experienced by basking there. It is where the artist allows her mind to go, which is breathed back into her fine art and poetry. In giving new life and a deeper truth to how she sees the globe effectually her, her artistic practise is heightened and always evolving . In the mystery of this unknown she gains focus and clarity.
In-between the silence is the space where the Tao, the Mystery resides, where Carolyn is renewed, and her realm of creativity is enhanced. From that infinite and in those moments, she explains :
I bathe in this unconditioned realm of sheer possibility. I cast off the extraneous, gear up for liberation, for fresh landscapes. As the numinous silently beams from the darkness, I humbly begin over again .
– Carolyn Campagna Kleefeld, prose from A Realm Birthed in Silence , 2007
Carolyn is a poet, visual artist and author who resides in Big Sur, California. Existence on a never-catastrophe quest to aggrandize her spiritual and creative achieve in her art and life is what guides her. To achieve greater understanding, Carolyn reads a wide range of philosophical idea and teachings. Influenced by luminar y colleagues and friends Timothy Leary, Laura Huxley, Anais Nin, and Alan Ginsburg, she strives to comprehend the universe more fully through her artwork and writings . She fuels her art and poetry by challenging herself in new, unfamiliar realms. Her work goes through an organic evolution as each artwork is transformed, it emerges into existence. S he is moved to resolve life's contradictions and paradoxes to find inner balance and harmony through painting, drawing, and writing poetry.
Ongoing Project
sm[Fine art]box
Project by TBM Designs (Doris Sung, Scott Horwitz, Karen Sabath)
Installed on Cal State Long Beach campus from December 2020–2022
Curated by Kristina Newhouse
View Curatorial Essay and other additional resources in the sm[Fine art]box Linktree
![sm[ART]box by TBM Designs, 2020–2022. Photo by TBM Designs. Courtesy Doris Sung, Karen Sabath and Scott Horwitz.](https://www.csulb.edu/sites/default/files/u43861/smartbox_img_4400.jpeg)
Carolyn Campagna Kleefeld Gimmicky Art Museum presents the newest sustainable design to exist installed on Cal State Long Beach campus: sm[Art]box. The structure, which repurposes a 20-foot steel aircraft container, sparks imagination with cocky-cooling engineering. Inventor Doris Sung designed the kinetic Capsize™ Cocky-Shading Window Organisation (InVert) to index fourth dimension and temperature; the museum embraces its multidisciplinarity and ingenuity to prompt discussion of an integrated and sustainable future. Standing apart from other smart technology—sm[Fine art]box tracks the sunday and responds to the changing temperature of the air—all without computers or human being intervention. Besides its impressive passive technology, the structure expands thinking about the office of materials, our ecology experience and even our sense of fourth dimension and infinite.
sm[Art]box will presently be installed within the built environment on campus. Although temporary, its stay on a grassy quad next to a busy pedestrian thoroughfare volition final for two years. Its inventions, instruments and design innovations will activate communal space. Equally an fine art object and an architectural construction, sm[ART]box will exist perceived as a "place" over fourth dimension. The unique edifice element of thermostatic bimetal (tbm) in the Capsize shade organization will attune observers to the visible presence of time; indeed, the structure'south function brings to mind philosopher Mikhail Bakhtin'southward concept of a chronotope, the sensation of time as information technology "thickens, takes on flesh, becomes artistically visible." With the movement of the sun overhead, individual tbm pieces curve or flatten, alerting visitors to perceptions of time: personal or commonage, biological, seasonal and geographic, among others. Through awareness of time, Bakhtin believed "space becomes charged and responsive to the movements of time, plot and history." His concept of the chronotope aligns with Sung's description of sm[ART]box equally a sundial of sorts.
Sung'due south self-cooling technology is inspired by organic forms. The gentle nevertheless marvelous diurnal move of its tbm components calls to mind the heliotropic activity of plants, like flowers that open and close or leaves that rotate in relation to the passage of the sun through the sky. This activity is a subtle alphabetize of ambient changes in atmospheric conditions.
Learn more about the sm[Fine art]box project through Doris Sung's Fabric Concerns lecture linked below.
In its outset phase, express faculty, students and campus customs will be able to view sm[Fine art]box. Once campus re-opens, the art installation and architectural example study unit will become an observation site and educational hub for students, researchers, designers and scholars. The structure's uncomplicated response to the warmth of sunrays proposes a novel way to view, sense and feel air, lite, and space in the congenital surroundings. In this, perhaps it helps us to imagine a futurity less dependent upon energy consuming creature comforts like ac. Sensing and absorbing the projection's potential impact may seed new insights about sustainable collective responses to climate modify. Nosotros all must commit to significantly alter the trajectory of the Anthropocene. We cannot exist outside the environs, and it is our charge to think meaningfully and inventiveness about our position on the planet.
The exterior walls of sm[ART]box will comprise middle-communicable visual pattern past Yaloo Ji Yeon Lim, a Due south Korean contemporary digital creative person who relishes the opportunity to collaborate on site-based installations. Yaloo, the mononym she goes by, recently inaugurated the first e'er Korean Media Fine art Serial in September at the Korean Cultural Center in Washington, D.C.
Pattern History
As an architect in the early 2000s, Sung idea of exterior walls every bit "peel." Walls are an essential attribute of the human environment, which architectural critic Sibyl Moholy-Nagy once described equally a "shield between withinness and withoutness." Investigating the boundary between interior and outside, Sung securely examined how permeable and responsive materials could transform the future of free energy efficiency and sustainable edifice methods. She was especially drawn to "smart materials" that react "flexibly to external conditions physically or chemically in response to changes in the temperature, light, electric field or movement." Computational advances followed cloth innovations and soon digital modeling accelerated to such a degree that the structure-based "low-tech" side of architecture yielded new capacity for innovation. The technology used in sm[Fine art]box epitomizes Sung's conventionalities that cost-effective, responsive architectural systems will help us go on up with changing ecological dynamics in an ever-changing and always-warming world.
Well-nigh the Invert™ Self-Shading Window Organization
Doris Sung and Karen Sabath named their firm, TBM designs, after the fabric used in their InVert™ Self-Shading Window System—environmentally responsive thermostatic bimetal (tbm). The innovative technology has the potential to ameliorate window blueprint and brand high ascension buildings less dependent upon air conditioning. These design and applied science feats are i step in the road to a greener and more than arts-integrated future.
Activated past solar estrus, the tbm pieces inside the sm[ART]box insulated glass unit of measurement flip and reflect heat away from buildings. Assembled in interlocking shutter systems, tbm pieces bend and bend as temperatures alter throughout the day. Their movement lowers sunlight exposure, shades interior spaces and cools structures passively—without any transmission intervention, mechanical support, or added energy use. This dramatically reduces solar oestrus gain, lowers need for artificial cooling and cuts greenhouse gas emissions.
Cal Country Long Embankment research opportunities
This projection offers distinctive interdisciplinary learning opportunities for Cal State Long Beach. The TBM Designs squad aims to collect quantitative information to mensurate the efficacy of the InVert organisation and survey-based qualitative data to appraise visitors' attitudes about the engineering science, including its entreatment and thoughts on potential future applications. Faculty and students from a variety of disciplines volition be encouraged to feel sm[ART]box to spark soapbox and hash out creative solutions to bring about societal and environmental modify.
Sustainability and community touch on
sm[Art]box calls attention to Cal State Long Embankment'south environmental goals named in the President's Commission on Sustainability (PCS). These goals were established in 2018 with the mission of integrating sustainability, defined every bit the intentional and simultaneous focus on environmental, social and economic health—into all aspects of university life. sm[Art]box too offers opportunities to engage Cal State Long Beach students, Long Beach residents and Southern California communities in dialogue about sustainability and urban planning.
banner paradigm: sm[Fine art]box rendering by TBM Designs, exterior past Yaloo (Mike and Arline Walter Pyramid by Donald Gibbs in background), 2020. Courtesy of TBM Designs (Doris Sung, Karen Sabath and Scott Horwitz).
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Source: https://www.csulb.edu/carolyn-campagna-kleefeld-contemporary-art-museum/look
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