即将举行的展览
2024年毕业论文展览: 还
2024年4月26日- 5月11日
@Nichols Gallery, Broad Center and Hinshaw Gallery, The Grove House
约拿Ifcher
约拿Ifcher, 阳光房 (细节), 2024, 煤渣块, 混凝土模板管, 输出c, 喷墨打印, 还有玩具车, 维变量.
约拿Ifcher 我的童年早期构建一个幻想的世界. 这个安装, 包括他身体的图像, 玩具汽车, 建筑材料, 和视频, 是乌托邦和反乌托邦的有趣万花筒吗, 成年和青年, 安全与危险.
视频由麦琪·奥康纳提供.
莉莉·Minkskoff
莉莉·Minskoff, Potery(细节), 2024, 粘土, 釉, 指甲油, 闪光胶, 玻璃, 狡猾的人, 贴纸, 维变量.
Potery is a collection of various functional 陶瓷 pieces for use with cannabis, 由水管/水管组成, 管道, 烟灰缸, 滚动托盘, 存储容器, Dab RIGS和碳水化合物帽. 多媒体艺术家 莉莉·Minkskoff hand crafted and painted each highly personalized piece for 15 people of great significance from her time at Pitzer学院 and the 5Cs. 该系列以社区为主题, 安慰, 快乐, 简单, 反复无常, 个人联系, 和爱. Lillie also emphasizes sentiments of great gratitude and honor for the magical plant that is marijuana. It is key to the collection that viewers and users of 碎片 recognize our privilege with the chronic in society today, 尤其是在加州, U.S.A.更具体地说，是在匹泽. 莉莉强调的中心元素 Potery 社会权力是“药草”吗,” referring to the plant’s magical ability to bring people together and forge community with like-minded individuals by creating a 安慰ing, relaxing space to simply exist aside one another amidst the chaos of this world. The power of pot helped Lillie make social connections at college, 让她从壳里走出来, 在陌生的环境中变得脆弱, 去寻找她的第二个家庭, whom she loves and cherishes so much and were crucial to her time at Pitzer.
在展览中 Potery, 莉莉策划了一个欢迎仪式, 和平, relaxing environment reflecting the various spaces across the 5Cs in which she has spent much of her time to escape daily challenges and academia, 在朋友的陪伴中寻找安慰. The gallery space resembles a living room, with couches, comfy chairs, tables, and lamps. 墙上到处都是图画, 八个小架子散布其间, 显示从集合中选择的部分, 而其他人则坐在家具上. 这里的环境应该是寒冷而诱人的, 鼓励和欢迎观众与家具互动, 碎片, 还有房间里的所有东西.
A QR code in the gallery connects to a compilation of information about the long, 神奇的玛丽简的历史. 从好奇, 升值, and great religious and cultural significance to prominent “anti-reefer” propaganda throughout history and the journey from criminalization to the legalization within the United States, Lillie unpacks ganja throughout human history in easily digestible, colorful infographics that encapsulate the 反复无常 of the 陶瓷 collection. Lillie presents viewers with the opportunity to engage 安慰ably and casually with the realities of all that the plant and its proponents have endured throughout history to fully appreciate and en快乐 our privileged contemporary coexistence with cannabis.
Potery is the culmination of all the love and gratitude Lillie has for these people and pot and all the good they’ve brought into her life.
Ryann Liljenstolpe
Ryann Liljenstolpe, Furta骶骨 (细节), 2024, 陶瓷, 木, 混合介质组合，包括织物, 蜡烛, 金属, 水, 玻璃, 维变量.
受到圣礼和圣物的启发， Furta骶骨 emulates a personal altar of the type found in homes across the world. The installation incorporates references to Christian theology and aesthetics in a nod to Liljenstolpe’s sense-memories of religious worship, while also calling attention to social norms of reverence and restraint which are reproduced in museums and galleries. 封闭空间, 摇曳的烛光, and padded kneeler reflect the setting of an intimate personal sacrament in Liljenstolpe’s imagination, but the installation invites the visitor to concoct a sacrament of their own.
Ryann Liljenstolpe‘s work engages with multisensory immersion through ritual and performance. 在实践中, Liljenstolpe使用粘土, 纤维, and mixed media sculptures to explore meaning-making through tactile perception. They employ the less conventional senses in art-viewing—such as touch, 气味, and taste—to engage their audience in intimate encounters beyond passive observation. Having spent their formative years in Catholic and Evangelical Christian schools, their current work reflects on a journey of personal liberation and delights in unconstrained expression, 发明, 好奇心, 以及制度批判.
莫莉奥哈拉
莫莉奥哈拉‘s paintings delve into the act of self-protection, using the dream catcher as a central motif. 这些捕梦网, 传统上编织是为了防止噩梦, become metaphors for the strategies we employ to navigate life’s challenges.
奥哈拉的捕梦网既有字面意义，也有象征意义. They evoke the childhood 安慰 of believing in something magical that safeguards against unseen dangers. 然而, 她的画超越了这一点, acknowledging the very real “nightmares” we face – the loss of a loved one, 背叛的刺痛, 对未来的焦虑.
这些挑战构成了奥哈拉探索的核心. 通过童年的绘画, 以及薄如薄纸的记忆, she depicts the emotions associated with these hardships – grief, 恐惧, 和脆弱性. Yet, interwoven within each canvas are elements that represent her methods of protection. These might be protective talismans, the 安慰 of nature, or the safety of documented memories.
最终，奥哈拉的画作证明了她的韧性. They acknowledge the darkness but celebrate the human capacity to build defenses, 寻找安慰, 然后重建.
天空公园
天空公园，陶西， 羽毛笔，墨水，刺， 2024年，印刷图书，5.5 x 8英寸. each; concrete powder; cast aluminum; 玻璃; sound.
羽毛笔，墨水，刺 includes an installation and curatorial book exhibition centered around the layered histories of the Southern California desert. 探讨乌托邦主义的主题, 沙漠现代主义的幽灵, 以及对沙漠作为开放空间的各种开发, this two-part exhibition implicates the complex network of actors and agents that function within the endless psychic construction of “the desert.“这是一次讲故事、存档、策展和艺术的努力， 羽毛笔，墨水，刺 is a conversation about and between those engaged in the construction, 转换, 谈判, 以及对沙漠空间的感知.
天空公园’s work braids together creative and critical practices with the synergetic aim of making philosophy tactile. Her exhibition work reflects attempts to further her research processes through an exploration of sculptural elements and material contexts. 她着迷于身体和心灵内在的共存, 意识形态产生客体，客体又包含意识形态. Tausig认为这是物理上的, sensory forms of knowing are critical for a deeper understanding of intellectual subjects, and that an art object or piece of design might be understood more thoroughly by the philosophies that it embodies rather than by its form alone.
接待
星期五，2024年4月26日
6:00 – 9:00 p.m.
展览
2024年4月26日- 5月11日
访问
工作时间:周二至周六，下午12点至5点.
全世界都在看——宣言