NATALIE AND JAMES THOMPSON ART GALLERY
The exhibition program at SJSU is one of the most extensive and diverse among art programs in California, providing an essential resource for every single class that the department offers, while also serving as a cultural and educational focal point for the entire University and the communities of Silicon Valley. The main exhibition space is the professionally-curated Natalie and James Thompson Art Gallery, in the Art Building, funded through the Natalie and James Thompson Endowment.
In addition to supporting major expenses for exhibitions, publications, and special projects, the Endowment also funds a weekly Tuesday Night Lecture Series that brings a remarkable group of artists, designers, and scholars to campus. Further, it provides funding for visiting artists and scholars for lectures, demonstrations, and critiques within individual classes. In addition to the Thompson Gallery, there are six student galleries and numerous display cases lining the hallways, which showcase the work of our undergraduate, BA, BFA, and MFA students. Student exhibitions change weekly throughout the academic year.
Reinterpretation as Resistance
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Artists Questioning Normative Iconography
Particularly in times of increasing unrest, art can be a powerful tool for advocacy. In advance of the 2018 United States mid-term elections, the Natalie and James Thompson Art Gallery presents a group exhibition of works by Libby Black, Ken Botto, Maggy Rozycki Hiltner, Alexander Kosolapov, Liliana Porter, Josh Reames, Dread Scott, John Sims, and Victor Yañez-Lazcano that question the social values, attitudes, and beliefs embedded in American society to expose deeply seated cultural myths and prejudices.
Symbols point beyond themselves to unquantifiable concepts and they open up the depth dimension of reality itself. With broadly recognizable symbols, context can be skewed by what is considered “socially acceptable” or “normative” to assert one dominant reading. We as human beings have a tendency toward absolute meanings in our perception of symbols that have come to represent complex concepts such as “success” or “democracy” or “God” because absolutism provides comfort in seeming secure, straightforward, uniform, and virtuous. This emboldens these symbols with a vast amount of power and in times of social and political turmoil, it can be important to re-evaluate these symbols.
The very symbols that many, particularly those in the power majority, believe to be universal and absolute can actually be perceived by Others as pejorative and serve as reminders of structural inequality. These symbols range from those of nationalism and militarism to capitalism and Christianity. This exhibition seeks to question the status quo and re-define possible meanings of such normative icons. Through juxtapositions and re-contextualizations, these artists create linkages between divergent concepts and lived experiences. Represented is a range of intensity of artistic statements against the prevailing status quo of intersecting institutions comprising our society. The symbolic actions embodied in their works re-frame the meaning of symbolic objects from a plurality of perspectives.
The work of Libby Black is based on objects and imagery culled from disparate sources like fashion magazines, newspapers, pop culture, historical events, and her personal life. She creates three-dimensional still lifes to chart a path through personal history and a broader cultural context to explore themes of impermanence and identity. Her piece Emotionsdramatically calls into question the implied value of luxury brands within capitalist consciousness through the use of paper, hot glue, and paint.
Ken Botto was a photographer and collector whose passion for old toys led him to begin photographing them. Rather than taking the camera into the real environment of landscapes and household interiors, he preferred to stage tableaux in his own backyard. Using toys, props, and other miniature domestic objects, he fabricated and photographed worlds that reveal much of how we view our cultural identity. Work from Botto’s projects 911, Berlin, Conversation, Model Society, Suburban Poolside, and Urban Decay are featured in this exhibition, including several photographs that have never been printed or exhibited before.
Coming from a family of makers, Maggy Rozycki Hiltner searches antique shops, thrift stores and yard sales for embroidered linens, collecting the brightly colored flowers, foliage, and animals that appear in her work. What she cannot find she hand-stitches and mixes in with the collected embroidery. She uses the familiarity of the stitch along with seemingly lighthearted and cheerful designs to convey more serious subject matter. Her textile work Shop for America questions the ever-quickening demand for and ritualization of consumption through humor and Dick and Jane-style characters.
Art questioning the boundary between what is sacred and what is profane is a hallmark of Alexander Kosolapov. He plays with powerful societal symbols precisely to confront the viewer with the reality that a rigid boundary between Christian iconography and symbols of consumption does not exist. His work in the exhibition, This is My Blood and Hero, Leader, God, are prime examples of his reflection on commodity fetish and the imaginary social separation of sanctification from secularization.
Liliana Porter is interested in the simultaneity of humor and distress, banality and the possibility of meaning. Her photography and video works in this exhibition depict a cast of characters that are inanimate objects, toys, and figurines that she has found. The objects have a double existence. On the one hand they are mere appearance, insubstantial ornaments, but, at the same time, have a gaze that can be animated by the viewer, who, through it, can project the inclination to endow things with an interiority and identity. These “theatrical vignettes” are constructed as visual comments that speak of the human condition.
Artist Josh Reames appropriates concepts that stand-in for American identity and he hijacks sentimental metaphors and icons to destabilize the status quo. In his piece 90 Different Ways, in which he manipulates a trampoline to display a painted American flag, Josh Reames critiques the broadly-held societal values of the American dream and exposes them as elastic and emotional, their meanings easily manipulated by those in power.
Dread Scott makes revolutionary art to propel history forward. For three decades he has made work that encourages viewers to re-examine cohering norms of American society. He works in a range of media including performance, photography, screen-printing, and video. Dread Scott plays with fire—metaphorically and sometimes literally—as can be seen in his performative photographs Burning the US Constitution featured in this exhibition.
Interdisciplinary conceptual artist John Sims focuses on the politics of supposedly sacred symbols, particularly those of Confederate iconography, southern heritage, and white supremacy. This exhibition features work from his Recoloration Proclamation series, a sixteen year multimedia endeavor exploring the complexity of identity, cultural appropriation, and visual terrorism inherent in flags. A video from his Burn and Bury project, an annual burning of the Confederate flag every Memorial Day, and an installation related to his AfroDixieRemixes music compilation will also be on display. Additionally, John Sims will be creating a brand new limited edition chapbook specifically for this exhibition.
Victor Yañez-Lazcano explores the various factors associated with assimilation narratives, particularly as they pertain to language, labor, and notions of visibility. His practice seeks to synthesize personal experience along with research in raciolinguistics, Chicano history, and intersectional feminism to further contextualize formed perceptions of Mexican-immigrant and Mexican-American identities. Works such as his immigrants (a kind of blue) further gesture toward an understanding of how his own perception of identity formation has often resulted in the internalization of systems of oppression.
Uncomfortable juxtapositions, charged imagery, and partiality are employed in Reinterpretation as Resistance: Artists Questioning Normative Iconography to confront viewers with divergent perspectives on issues of social, political, and cultural urgency. What we see depends on where we stand. Given the malleability and dynamism of meaning these artists put to use, this exhibition asks viewers to see a plurality of possible meanings of symbols typically understood as ubiquitous in relevance and importance.
In conjunction with the opening of this exhibition, John Sims will present an illustrated lecture 5:00pm – 6:00pm in the Department of Art & Art History Lecture Hall (room 133) the evening of October 2, 2018, just prior to the opening reception, 6:00pm-7:30pm in the Natalie and James Thompson Art Gallery. Both events are free and open to the public.
We would like to extend our humblest appreciation to Libby Black as well as Griff Williams, Lizzie Kurita, and the staff of Gallery 16 (San Francisco, CA) for their help in facilitating the loan of Libby Black’s work; to Linda Samuels of the Kenneth J. Botto Photography Trust (Bolinas, CA) for her help in facilitating the loan of Ken Botto’s work; to Liliana Porter and Kate Menconeri of Liliana’s studio as well as Ellen Mahoney, Brooke Corley, and the staff of Hosfelt Gallery (San Francisco, CA) for their help in facilitating the loan of Liliana Porter’s work; to Luis de Jesus, Jay Wingate, and the staff of the Luis de Jesus Gallery (Los Angeles, CA) for their help in facilitating the loan of Josh Reames’ work; and to Maggy Rozycki Hiltner, Alexander Kosolapov, Dread Scott, John Sims, and Victor Yañez-Lazcano for generously loaning their own works to us directly.
Curated by Aaron Wilder
October 2, 2018, 5-6pm in Art Building Lecture Hall
October 2, 2018, 6-7:30pm, in the Natalie and James Thompson Art Gallery
Monday-Friday, 10am-4pm, and Tuesday evenings, 6-7:30pm
And by special appointment
SUITE: A Panoramic & Sound Installation by Yannick Jacquet
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The Natalie and James Thompson Art Gallery is pleased to present the work of digital media artist Yannick Jacquet in a solo exhibition that will open on November 13, continuing on display through December 14, 2018.
Born in Geneva in 1980, Swiss/French digital media artist Yannick Jacquet currently lives and works in Brussels, Belgium. He has spent ten years developing a visual art practice exploring approaches to the reversal of deterioration inherent in our exchanges with the world. From the spectacular to the intimate, his work is consistently rooted in the concept of resilience. Jacquet’s art is work haunted by a discourse on the end of time.
His work has been exhibited globally at museums and galleries including Atsuko Barouh Gallery in Japan, Gallery Bunkier Sztuki in Poland, MACRO Museum of Contemporary Art in Italy, LKFF Gallery in Belgium, Medrar Gallery in Egypt, and Nardone Gallery in Belgium. Additionally, Yannick Jacquet has created permanent installations in public space such as on Flow, a floating building near the Alexander III Bridge in Paris and in cultural institutions such as PASS Museum in Belgium. His work has also been celebrated more ephemerally at events such as Cervantino International Festival in Mexico, the International Festival of Ancient Greek Drama in Cyprus, Jerusalem Design Week, Mapping Festival in Geneva, Némo Biennale Internationale Des Arts Numériques in Paris, Nuit Blanche Bruxelles in Belgium, and the 2013 Sundance Film Festival in Park City, Utah.
Mécaniques Discursives, Yannick Jacquet’s collaboration with printmaker Fred Penelle received the Milan Design Week Tech Award as part of the Timescapes exhibition in 2014 as well as the Collector’s Prize at the Slick Art Fair in Brussels in 2013. When describing Mécaniques Discursives, he has said “Images can be interpreted in even more ways than words can. Each image can contain within itself many different meanings that can change depending on who looks at it, their age, their background, their culture. The meaning of a word is defined by its own history and the language in which it is written. When you build up images, as we do in Mécaniques Discursives, the possibilities of interpretation are multiplied, opening multiple doors to imagination.”
Yannick Jacquet’s process of visual creation draws on structural elements as disparate as the architecture of the Centre PompidouMetz and a Ravel string quartet. His influences include the Belgian artist Berlinde de Bruyckere’s work on mutations in living matter, the Japanese Ryoichi Kurokawa’s stellar visions, and his fellow Swiss artist Jean Tinguely’s sardonic laugh and his 1960s machines designed to self-destruct.
Collaboration is a central element of Jacquet’s practice as he combines his own three-dimensional projection mapping and audio-visual art with unique contributions from practitioners in fields ranging from architecture to illustration to music to technology. Bridging both public and private realms, his sleek and mesmerizing light projections transform surfaces of intimate interior settings and large architectural structures alike.
About his artistic role in mediating and manipulating data, Yannick Jacquet has said “In the twenty-first century, data is the new keystone of our digital society, it underlies all modern economies. Yet unlike machines, data is invisible, even though the infrastructure necessary to run the networks is huge. There are no gears, no pistons, no factories, everything happens inside computers, in anonymous data centers, connected by underground or submarine cables that tend to make us mistakenly believe that digital is free of all physical constraints (cloud computing). While the presence of machines was pervasive, data is invisible and only the work of the (data)designer can reveal its presence.”
Suite is an immersive audio and video installation with music by Thomas Vaquié. Yannick Jacquet developed the first iteration of Suite in 2017 at Constellations in Metz, France. The work has been significantly enhanced and adapted specifically for this exhibition in the Natalie and James Thompson Art Gallery. Suite is a large and contemplative panoramic video and sound canvas inspired by the principles of repetition often used in minimalist and serial musical constructions. Employing constantly shifting simple graphic elements, his project Suite unfolds through slow evolutions. Fluid mechanics and geometry synthesize to create rich visual complexity bridging a viewer’s contemporary sense of reality to a rhythmic abstract deconstruction of social elements before returning to a holistic sense of presentness and agency. His two-fold research into color and the notions of time and natural cycles has led him to champion a new paradigm of slowness as one possible path to the urgently needed restoration of sensibility.
In conjunction with the opening of this exhibition, Yannick Jacquet will present an illustrated lecture 5:00pm – 6:00pm in the Department of Art & Art History Lecture Hall (room 133) the evening of November 13, 2018, just prior to the opening reception, 6:00pm-7:30pm in the Natalie and James Thompson Art Gallery. Both events are free and open to the public.
We would like to extend our humblest appreciation to Yannick Jacquet and his studio manager Nicolas Bortich for all their efforts to make this exhibition a success. We would also like to thank San José State University (SJSU) Digital Media Art faculty G. Craig Hobbs, Andrew Blanton, and Rhonda Holberton for their suggestions, support, expertise, and guidance from the earliest stages of this exhibition’s conceptualization to the sourcing and installation of equipment and the integration of Jacquet’s displayed work with multiple learning opportunities for SJSU students.
Curated by Aaron Wilder
MFA+BFA Student Art Galleries
The Department of Art & Art History presents a weekly rotation of student exhibitions in our six student art galleries and ten display cabinets located in the Art Building and Industrial Studies Building. Artist receptions held every Tuesday evening, 6 – 8pm, and are open to the public free of charge. Support emerging artists and participate in this exciting art community!
Cameron Curry: The Sound of Thunder
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This work seeks to encapsulate the enormity and awesome character of Storms through large scale oil paintings. The gallery consists of 5 canvases of varying size, and the individuality of each correlates to different emotional impacts that the storms may have. I grew up in an area with amazing storms and I hope to convey my personal connection with these natural wonders and the feelings they convey. The work is presented through the medium of oil paint in an effort to build the layered color and texture that large cumulonimbus cloud formations possess. These are not thin wispy lighter than air creations, but some of the most massive and ominous objects in our atmosphere. I am seeking to present them in stark contrast to the dark gallery they will inhabit to influence their unique character and hopefully inspire a sense of respect reminiscent of the storms themselves.
Cameron Curry, BFA Pictorial Arts
Anthony Astorri: Spellforce
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The goal of “Spellforce” is to produce an interactive VR environment for 2 separate players within the same play space. It is meant to challenge the notion of “online friends are not real friends” by forcing real life individuals to interact in a strictly online manner, in which they cannot see or hear each other locally. I wanted to make the experience fun and decided to create a VR arena game within Unreal Engine 4. The first player takes control of the Warrior, while the second player is in control of various vantage points across the map, and can relay instructions to the first player. They are tasked with defeating 4 waves of enemies or lasting until the VR player falls in battle.
Anthony Astorri–BFA Digital Media Art
CHRISTIANNE GUMABO LAROYA: ANAMORPHOSIS
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The featured pieces are inspired by an illustration by Aaron Johnson featured in the book Direction of the Road by Ursula K. Le Guin. Five distorted images are brought back to normal when a cylindrical, reflective object is placed in the center. The distorted images represent my former perspective of higher education: stressful, expensive, and discouraging. The cyclindrical-reflective object reflects the knowledge and skill I gained from the BFA program. The image brought back to normal in the reflection represents improved outlook on the advantages of a higher education."
Christianne Laroya–BFA Photography
Shadow of the White Ninja: It Is Who You Know
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“My experience of riding with the bicycle community over the last few years has been life altering. With child-like excitement, I have enjoyed every single mile on this wonderful journey. Along the way, I discovered the beauty of the culture within the heart of the people riding next to me. It Is Who You Know highlights these people and celebrates the depth of the bicycle community. Because sometimes it is not what you know, but who you know.”
Shadow of the White Ninja–BFA Photography
Tom Lin: Links
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Link depicts what it’s like to go on the current internet through abstract artwork. The installation is composed of of 10 framed pieces and a projection work. The 10 framed pieces narrate a sequence of growing interest while browsing through the web. The projected piece depicts an abstracted brain showing sections of underlying interests.
Tom Lin–BFA Digital Media Art
Ying Tong Chen, Mel Tow, Annie Lewis & Andrew Lucido
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Studio GAAM is a virtual design studio created by two SJSU alumni and two students to
showcase our talent in design by completing passion projects within 6 weeks. We believe that
we have the ability to create, manage, and build different brands from scratch from what we
learned in school and expand our ideas in real life situation. Our clients are ourselves because
we love design and we want to create projects that we are strongly passionate about.
We believe the power of design is through effective visual communication and we are not afraid
to make dreams come true by hosting an exhibition to showcase our work in different media,
ranging from packaging design to UI/UX design.
JAY CAVLCIYP QUINTOS
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Jay Cavlciyp Quintos–BFA Digital Media Art
Kevin Liu: Terra, Luna, Mars
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When humankind sets foot on Mars, what art will we make? Based on rock and soil samples collected by the Apollo Moon missions and analyzed in situ by NASA Mars rovers and landers, this exhibition is an exploration into the materials present on worlds beyond our own. Presented is a unique collection of extraterrestrial fragments; showcasing the beauty underlying the building blocks of the physical world. The result is an otherworldly aesthetic experience which blurs the line between the physical sciences and art.
Kevin Liu–BFA Spatial Art
KONG VUE: BETWEEN TRANSITIONS
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This work is an augmented reality experience showcasing five bridges constructed out of three-dimensional models that symbolically reference life experiences. Audiences will use a tablet, or their phone in which they will have to download my app from the app store, to scan a image-marker that will project a unique bridge onto their screen. Bridges have broad meanings and interpretations: progress, connections, stability, hope, life and death, etc. I am going to present some of these ideas through opening a discussion on the relationship between my image-markers and 3D models.