InterMedia: 16th Thacher Art + Architecture Annual

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16th Thacher Art + Architecture Annual graphic

May 8-June 28, 2015

Featuring junior and senior majors and minors from USF’s Department of Art + Architecture and juried by Rhiannon MacFadyen, Natalie Nakai, Ron Saunders and Eileen Tumlin.


Artists Include

  • Toni Araya
  • Catherine Bagg
  • Han Bai
  • Julia Ballenger
  • Meghan Beauchamp
  • Alex Burns
  • Arden Chan
  • Aurora Charouhas
  • Xialou Chen
  • Alison Cunningham
  • Elijah D’Arcy
  • Andy Davies
  • Dorian Davies
  • Camille Esposito
  • Lyndsie Fox
  • Alizia González
  • Timothy Hart
  • Hazirah Hasnan
  • Samuel Hinckley
  • Dylan Hindenlang
  • Yujun Jiang
  • Mary Kershisnik
  • SeulJi Ki
  • Suzanne Kincaid
  • Chloe Kwiatkowski
  • Colin Lacey
  • Olivia LaFarge
  • Jialin Li
  • Dominic Lizama
  • Jessilyn Lizama
  • Monica Malekdavoud
  • Ashley Anne Mallari
  • Katerina Matheos
  • Cara Matthew
  • William Mazzei
  • Maia McCarthy
  • Reid McConnell-Johnson
  • Domino Murphy
  • Shannon Olsen
  • Linda Ousley
  • Siyu Pan
  • Sylvan Peter
  • Almundena Phillips
  • Ryan Popper
  • Dillon Rawlings
  • Zachary Rowe
  • Nico Samaras
  • Kayla Schelling
  • Sophie Schwabacher
  • Jesse Simmons
  • Taylor Smalls
  • Maria Solitaria
  • Laura Stevenson
  • Meng Su
  • Mat Thornton
  • Francesca Tobin
  • Monica Torres
  • Nicole Wianecki
  • Yifan Wu
  • Hanxi Xie
  • Kalia Muhamad Yazid

Interwoven: Indigenous Contemporary

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Lewis deSoto - Wave System

November 16, 2015 — February 14, 2016

The Thacher Gallery is proud to present this survey of Native American artists whose work challenges pre-conceived ideas about Indigenous identity in California. Fifteen artists, from three generations and representing more than 20 Native cultures, contextualize Indian culture within the framework of contemporary art.


Artists

  • Dugan Aguilar
  • Linda Aguilar
  • Erick Andino
  • Gerald Clarke, Jr.
  • Spencer Keeton Cunningham
  • Katie Dorame
  • Mercedes Dorame
  • Jaque Fragua
  • L. Frank
  • Avanna Lawson
  • James Luna
  • Geri Montano
  • Rye Purvis
  • Lewis deSoto
  • Hulleah Tsinhnahijinnie

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Interwoven: Native California Basketry Arts from the Missions Forward

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Interwoven baskets

August 24 – November 1, 2015

Drawn primarily from mission collections, Interwoven presents over 50 baskets created by Native American Californians, including the world-renowned Chumash and Pomo weavers. With a focus on baskets made during the Mission era (1769-1830s) to the early 20th century, Interwoven includes functional baskets such as parching trays and cradleboards as well as baskets made exclusively for trade with Europeans, all demonstrating exemplary basketry arts.

This remarkable collection represents numerous tribal traditions and reveals the complex artistic sensibilities, inventiveness and ingenuity of Native weavers working with natural materials. Baskets tell a remarkable story of cultural continuity and survival despite conquest, environmental interruptions, suppressive policies and huge population loss. The weavers’ knowledge of the environment and their exemplary artistry have been passed from generation to generation despite these historic and cultural intrusions.

While the original creations served a vast variety of utilitarian and religious purposes, adaptation over time has included new uses and recognition of Native American weavers as artists whose works are highly sought by collectors. After a decline in production during the 19th and 20th centuries, current basket weavers have revived the art form by pursuing both traditional and innovative basketry arts. These artworks are a testament to the weavers’ strong tie to the land and ingenious and artistic uses of the environment to build a lasting and valuable cultural legacy.

— CURATOR KRISTINA FOSS (MUSKOGEE),PROFESSOR OF NATIVE AMERICAN STUDIES,
SANTA BARBARA CITY COLLEGE

PHOTO CREDIT: RUBEN G. MENDOZA

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Interwoven basket
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Interwoven basket
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Interwoven basket
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Interwoven basket

Just Passing Through: Sculptures and Installations

February 23 – December 11, 2015

Llewelynn Fletcher, Sasha Petrenko, Austin Thomas, May Wilson

Just Passing Through: Sculptures and Installations features new and recent large-scale works by Bay Area artists Llewelynn Fletcher, Sasha Petrenko, and May Wilson and a collaboration between New York artist Austin Thomas, Sasha Petrenko, and USF art students. Each artwork is accompanied by a set of instructions provided by the artist.

The installations reveal the diverse realms the artists explore when contemplating space—nature, power, social interaction and symbolism. The artist-created instructions invite viewers to interact with and inhabit their sculptures in order to discover how we, as individuals and groups, simultaneously fill, shape, pass through, and even become a part of our environment.

Excerpts from the Artists' Statements

Llewelynn Fletcher: My recent work addresses questions of personal empowerment and the possibilities of transformation, while employing forms familiar to our everyday lives such as clothing, costume, and furniture. Both Standing Sound Costume: Lion and Transformation Mask: Hawk include a physical invitation to the audience to come within the inhabitable space of the pieces, with the intention of offering a direct, body-based experience. What happens when we physically inhabit this form and these materials over time? Can a particular alchemy of form and material encourage listening and even transformation? These sculptures ask the audience to slow down and explore these questions for themselves.

Sasha Petrenko: What began in 2011 as a project about developing deeper interspecies relationships, The New Urban Naturalists has expanded in scope to include the whole Ecosystem, of which we are but a part. I am interested in exploring Human + Nature relationships, our connection and alienation to the thing that sustains us. I attempt to create structures, instructions and performances that explore models for deepening potential lived experience. I am making models for an audience to experience and evaluate. Inspired by the California redwood, spruce, cedar and conifers in general, Pinophyta will borrow the form and structure of a pinecone, resembling also primitive huts and shelters, calling attention to the immense ecological value of trees in our ecosystem. Pinophyta illustrates in its structure how individual cells form a larger structure and in its form is a reflection on the conifer, the tree that built the city, supports vast communities of creatures in life and in death.

Austin Thomas: I strive to make, often collaboratively, Pocket Utopias, or delicate constructions that promote or encourage community building. On a daily basis, I draw in sketchbooks while having coffee with friends and have hundreds of pages that contain the date and of topics of conversation. Immersed in conversation my hand never stops moving, I doodle incessantly. I have built funky benches and decks out of wood that have been placed in museums for visitors to hang out on. I design and then have fabricated simple steel pagodas to be placed on city sidewalks. Through the use of photography and collage, I propose other possible places that could ideally facilitate community or just a place to perch and think for a moment. I also run an art center called Pocket Utopia, where lectures are held, beer is brewed and where other artists make and hang their work. I write about art and maintain a blog titled Drawing on the Utopic. I work modestly and believe everyone is an artist.

Hiraeth: the 3.9 Collective searches for home

March 9 – April 21, 2015

The Welsh word Hiraeth roughly translates to “homesick”: a longing for a far-off home—one that may not even exist, now changed by time or idealized memory. This word resonates with 3.9 Art Collective, a group dedicated to exploring black arts in diaspora and the exodus of African Americans from San Francisco over the last couple decades. Hiraeth is found in layers for black American artists: the lack of ancestral history through slavery, the loss of cultural identity through pop-culture appropriation, the expulsion of black communities through gentrification (such as what happened in the Fillmore before and is beginning in Bayview/Hunter’s Point now), even to the loss of space to create work due to rapidly rising studio rents in the city.

For this exhibition at USF, ten artists from 3.9 Collective explore the concept of Hiraeth, the exodus of African Americans from San Francisco, and its lasting effects on art, community, and perceptions of home. Curated by 3.9 member Rhiannon Evans MacFadyen, the works presented span photography to installation to social practice and represent the wide range of artists in the collective. The variety of interpretations of home—from historic to current, from literal to metaphorical—signify the complexity of how we identify and define home.

Artists

  • Nancy Cato
  • Rodney Ewing
  • Mark Harris
  • Kevin B. Jones
  • Rhiannon MacFadyen
  • Ramekon O’Arwisters
  • William Rhodes
  • Tim Roseborough
  • Michael Ross
  • Ron Moultrie Saunders

Reformations: Dürer & the New Age of Print

January 26 – February 22, 2015

Reformations: Dürer & the New Age of Print introduces the earliest moments of print and printed book culture in Europe. Featuring over 70 woodcuts and engravings by the German-born, Renaissance printmaker, Albrecht Dürer (1472-1528), and over 40 printed books published between c. 1465-1525, Reformations highlights how the innovative uses of new print technology in and around Dürer's circle reflected creative and social change at the cusp of a transformative period of Western history.

Presenting works from the University's Donohue Rare Book Room permanent collection, the exhibition was curated by USF's MA in Museum Studies Curatorial Practicum class led by Professor Kate Lusheck.

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Dobles Vidas: Folk Art from the Mexican Museum

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Dobles Vidas banner graphic

August 18 – December 12, 2014

Dobles Vidas: Folk Art from The Mexican Museum presents over 60 works that explore the people, places and traditions of Mexico. From popular festival wear to domestic items to fantastical creatures, these colorful and compelling works provide a glimpse into the rich and diverse world of Mexican folk art and its customs.

Dobles Vidas is the second collaboration between The Mexican Museum and the University of San Francisco’s Thacher Gallery and M.A. in Museum Studies Program. Drawn from The Mexican Museum’s extensive collection of over 7,000 pieces of folk art, the exhibit highlights works from the Nelson A. Rockefeller Collection. The curatorial team includes Marlena Cannon (The Mexican Museum), Emily Breault, Merrill Amos (MA '14), Leah Belcher (MA '14) and Glori Simmons.

Programming is co-sponsored by USF’s Center for Latino Studies in the Americas (CELASA), the Department of Art + Architecture, and the Intercultural Center among others.