Art and Art History
Documentary Video at Machine Project
Ian Byers-Gamber (2014); Mentor(s): Mark Allen
Abstract: I am working with Professor Mark Allen and his gallery Machine Project, a non-profit educational artspace in Echo Park, to create documentation of events curated by Machine, both on and off-site. This summer I completed editing six videos documenting events curated by Machine Project and that took place in Los Angeles and San Francisco. I helped shoot video at eight events in San Francisco as part of Southern Machine Exposure Project, a collaboration between Machine and Southern Exposure, a gallery in SF. The aim of my project this summer is to create video documentation that goes beyond a simple recording and instead creates a piece that captures both the spirit of the event and Machine Project's direction for web viewing. My research is attempting to develop a method and approach to creating work that successfully documents an event or happening, while still holding the interest of an internet based audience. I work to edit raw footage from one or more cameras into a final piece that is the right length to be happily consumed by a general internet audience and present the subject accurately and compellingly. I have also worked to develop effective shooting practices to better capture events that happen only one time and cannot be reshot.
Funding Provided by: Pomona College SURP
Making an Exhibition – Marking/Remarking: Aerial Photographs by Marilyn Bridges
Zoë Jameson (2015); Additional Collaborator(s): Steve Comba; Gary Murphy; Mentor(s): Kathleen Howe
Abstract: This SURP was an eight-week internship, culminating in the mounting of an exhibition,"Marking/Remarking: Aerial Photographs by Marilyn Bridges," at the Pomona College Museum of Art. The exhibition complements the Mellon Elemental Arts Initiative: this year's theme is Earth. The photographs included examine marks left on the earth by ancient and modern civilizations as well as geologic processes, while giving each mark equal weight through an impartial aerial view. Offering an alternative to the ancient-natural/modern-intrusive dichotomy, "Marking/Remarking" investigates the necessary cooperation between land and civilization as marks on the earth are made, erased and altered. From ancient geoglyphs to industrial farmland and impressive volcanoes, the photographs of Marilyn Bridges provide a different view of the earth, its history and our marks upon it. During my eight weeks, I learned about Marilyn Bridges and her photographs and about museum processes. I was given a lot of freedom with the project, in both analysis and action. I was primarily responsible for research and the selection and sequencing of images for the exhibition. I wrote the wall texts, press information and a short essay that details my analysis of Bridges's photographs, which we published in an exhibition brochure. My work with the exhibition acquainted me with each step of the curatorial process as well as various other museum tasks and functions, such as installation and collections management.
Funding Provided by: Janet Inskeep Benton
Adam Overton, The Bureau of Experimental Speech and Holy Theses, and Social Practice
Hannah Pivo (2014); Mentor(s): Rebecca McGrew
Abstract: The essay “Adam Overton, The Bureau of Experimental Speech and Holy Theses, and Social Practice,” represents the culmination of my research project. As the Pomona College Museum of Art’s curatorial assistant, I contributed to the conception and planning of the upcoming exhibition with Los Angeles artist Adam Overton, entitled Project Series 44: The Bureau of Experimental Speech and Holy Theses. This project explores issues of speech, power, and performance through weekly participatory events for museum visitors led by Overton and his collaborators. Overton engages in “social practice,” a term describing the recent emergence of trans-disciplinary art practices that focus on social interaction as a means of community involvement and public engagement. Social practice is currently thriving in the Southern California art scene,and in the past ten years many Los Angeles area art museums have begun to collaborate with artists and organizations engaging in social practice. Through research, personal interviews, and by working with Overton during the planning of his project at Pomona, it became clear that this type of collaboration poses many challenges to the artists and the institutions involved, yet it also represents some of the most experimental and innovative activity in the art world today. The essay will be published in the Museum of Art’s forthcoming exhibition catalogue in November 2012.
Funding Provided by: Graham “Bud” ’55 and MaryEllen ’56 Kilsby Endowment Fund for Student Interns at the Pomona College Museum of Art
Creating Space: An exploration of process and material transformation in contemporary painting
Jenny He (2014); Mentor(s): Sandeep Mukherjee
Abstract: Working in the studio alongside contemporary artist Sandeep Mukherjee has given me more insight on the process of art making than any class could teach me. We started by experimenting with small works, using a myriad of nontraditional techniques, brushes, and paints to different effects. We used Windex and alcohol as paint/medium and pieces of styrofoam and concrete brooms as brushes on duralene – a film substrate. The process was to add, move, and remove paint to create a dynamic and complex space, rich with colors, texture and light. The techniques that were successful were later implemented in the creation of larger pieces for his upcoming shows. We started the pieces with a simple gesture, repeated them and the work quickly began a dialog that led to the corporeal, the haptic and the experimental. The movement in the space, the index of the body in the gestures, the relationship of colors and textures, and the paintings’ relation to the viewer also informed the process. The final pieces are a cerebral and corporeal experience, demonstrating the endless possibilities of the poetic in contemporary painting.
Funding Provided by: Pomona College SURP