Thanks to those who joined us for the reading with Alex DeCarli and Adrienne Garbini on Saturday, November 18 at 7pm at Helmuth Projects. A correlative exhibition was on view at BEST PRACTICE.
DeCarli and Garbini are artists living in Colorado’s San Luis Valley.
More on Alex and Adrienne’s work can be found at http://www.therangeontheinternet.com/.
CHARLES G. MILLER
MASTER NARRATIVE (excerpt)
NOVEMBER 17 - DECEMBER 1, 2017
Master Narrative . . . is a video essay that comprises a reflexive, modern-art-historical deconstruction of the hermetic condition of attending an artist's residency. The video documents an ad hoc attempt to [representationally] reduce one's self and surroundings to nothing more than undifferentiated spatial and consumptive units. Completed while attending the Djerassi Resident Artists Program in the spring of 2006.
Charles G. Miller is an artist and design educator currently based in San Diego
More on Charles Miller can be found at http://www.charlesgmiller.com/.
"BODY" OF WORK
OCTOBER 11 - NOVEMBER 10, 2017
A study in the pleasure of looking and the politics of desire.
Jessica Buie is a photographer currently living and working San Diego, CA. Studying representations of gender and the body in contemporary image-culture, Buie is interested in reevaluating the genre of portraiture through a queering of the relationship between artist, subject, and viewer. Using the camera as an extension of the body, she documents acts of intimacy in search of visually defining iconographies of desire. Her images act as subversive fabrications of advertising and editorial photography, positioning the viewer in a place where the simple act of looking is inherently queer. Buie has a forthcoming solo show at Welcome to Jr. High! in Los Angeles, CA in January 2018.
More on Jessica Buie can be found at http://www.jessicabuie.com.
OCTOBER 21 - NOVEMBER 3, 2017
@ Helmuth Projects
BEST PRACTICE is proud to present Blacklist, a 2014 work by the artist Cudelice Brazelton.
Cudelice Brazelton (b. 1991) was born in Dallas, Texas and currently lives and works in Frankfurt am Main, Germany. His work revolves around black male identity and class through painting, sculpture, and video. He has been in various group exhibitions including Out/er.Space: Apprehensions of Nothingness at Chowaiki & Co. in Manhattan, Midwest Mindset at the UT Center for Visual Arts in Toledo, Ohio, VOX X: Present Tense at Vox Populi in Philadelphia, Village of/ for things at In The Pines in Jackson, Wyoming, and Impossible Geometries at Field Projects in New York City. He is currently studying with Haegue Yang at Staatliche Hochschule für Bildende Künste Städelschule in Frankfurt am Main, Germany. He has attended Skowhegan School of Painting & Sculpture, ACRE Residency, and Ox-Bow School of Art & Artists’ Residency. Brazelton is co-founder of MINT Collective based in Columbus, Ohio.
More on Cudelice Brazelton can be found at http://cudelicebrazelton.com/.
THE AMALGAMS (X, Y, Z)
OCTOBER 7 - 20, 2017
@ Helmuth Projects
The Amalgams (x, y, z) is a series of silent video loops created by using digital 3D scans of paper and foam structures. These three-dimensional models are shuffled and layered through real time video processes, using older analog technologies like colorizers and oscillators, as they shift between low and high resolution aesthetics. The representations open up a dialogue about time and the evolution of technological tools, as the ambiguity of forms become elusive, doubling back on themselves or commingling with other forms.
Darrin Martin was born in New York and is currently based in San Francisco. Through video, sculpture, and print-based installations, his works engage the synesthetic qualities of perception. Concerned with what is gained and lost in the process of translation as mediated by both old and new technologies and influenced by his own experiences with hearing loss, his current projects consider notions of accessibility through the use of tactility, sonic analogies, and audio descriptions. His videos have screened internationally at festivals and museums, including the Museum of Modern Art (NY); Pacific Film Archive (CA), Impakt Festival (Netherlands), and European Media Art Festival (Germany). His installations have exhibited at venues including The Kitchen (NY), University of Toronto (Canada), and Grand Central Art Center (CA). In 2015, he held solo exhibitions at Aggregate Space Gallery (CA), Art Space on Main (CA), and Art & Design Gallery (KS).
Martin received his art degrees with an emphasis on video and sculpture from Alfred University’s School of Art and Design (BFA) and University of California, San Diego (MFA). He has held artist residencies at Cite Internationale des Arts, Eyebeam, Experimental Television Center, and Signal Culture. Martin also occasionally curates video screenings. Most recently, an exhibition of works by 18 artists for Vanity Projects in New York City and Parsons Hall Project Space in Holyoke, MA titled “Tooth and Nail.” He is an Associate Professor in the Department of Art and Art History at University of California, Davis.
More on Darrin Martin can be found at https://darrinmartin.myportfolio.com.
DRIVE, SHIFT, MOVE OVER
SEPTEMBER 23 - OCTOBER 6, 2017
@ Helmuth Projects
Young woman dreams herself in a car or car dreams of her? It's really simple, we share a fetish for cars, you and I. Mine fetishizes the interior stage, vehicular and mental, where you might have more interest in the material and make of the object, vehicular and mental.
My body in your whip.
One more sentence: History proves I was falling in love.
Mariquita Micki Davis is a Chamoru artist based in Los Angeles.
She produces videos, books, performances, sculptures and installations within the gallery and beyond. Her work explores, experiments with and expands notions of artistic collaboration in the contexts of personal, family, and community memory. She has recently presented her work at the inaugural Honolulu Biennial (2017), homeLA: Rose Hill (2016), the Festival of the Pacific Arts: Guåhan (2016), and the Pacific Island Ethnic Art Museum (2015). Her work has been supported by collaborations with Dashboard in Atlanta, The Range in Saguache, Oceanside Museum of Art’s Exploring Engagement Project, The St. Claire in Philadelphia, There Goes the Neighborhood in San Diego, Gravity and Trajectory Books, as well as grants and fellowships from the Russell Foundation, Visual Communications, and Creative Time. She received a BFA from the University of Georgia (2006), and an MFA from the Visual Arts Department at the University of California, San Diego (2011).
More on Micki Davis can be found at http://www.mickidavis.com.
DRAWING UNTIL MOSQUITOES SHOW UP
SEPTEMBER 6 - OCTOBER 6, 2017
For Drawing Until Mosquitoes Show Up Brianna Rigg will display selected drawings from 1999-2017. By Xeroxing original works, cutting them up, and recomposing them into shifting clusters on Best Practice's bulletin boards, Rigg will illuminate patterns emergent from one work to the next. Rigg’s inked line traverses a space between desire, memory, and the observed. Though these drawings are spontaneous, they are driven by a deeply entrenched iconography that evolves in relation to lived experience.
"Every time I draw flowers I feel like a failure. Every time I draw eyeballs, I think that I haven't progressed past elementary school. Drawing bugs and skiers feels gritty. Boobs are still acceptable, but mountains are becoming a crutch. I love drawing waves but it feels like a bad habit. Whale's tales will always be potent. I cannot get away from eyelashes they are as easy and effective as drawing a bird with two lines. Why don't I draw more railroad tracks, tongues touching, scars, buildings? More apples, less bananas. What is it with all the golf flags??? I've never even played Golf. Why not more soccer balls?"
Brianna Rigg teaches Sculpture at the University of San Diego. She received her MFA from University of California San Diego in 2011, and her BA from the Evergreen State College in 2002. She has had solo shows at Helmuth Projects, and Space for Art in San Diego, and has shown at Highways Performance Space in Los Angels, Sediment Arts in Richmond, and Fjord Gallery in Philadelphia, in addition to other exhibitions throughout Southern California.
More on Brianna Rigg can be found at http://www.briannarigg.org.
SEPTEMBER 9 - 22, 2017
@ Helmuth Projects
Andy Puls video work centers around live, intuitive, “no source” visualizations. Using video hardware processing, camera feedback loops, and video synthesis, he uncovers the inner-world landscapes existing behind the scan-lines.
His focus on live connection to the viewers, and his direct interaction with sound — working both solo, and in collaboration with other live sound artists — makes each performance entirely unique to circumstance.
Andy Puls is a video artist, analog electronics designer, and composer/musician. He runs the experimental media production studio, “Whistlehut” in Richmond, CA, where he produces his own and others’ audio and visual recordings, and designs electronic audio and video devices.
More on Andy Puls can be found at http://www.videopaws.com.
MAY 6 - 19, 2017
@ Helmuth Projects
A Google memory map of three friendships – the places we met, built a relationship, and ultimately separated.
Integrated within is a 1982 dharma talk by Dr. Frederick Lenz, a protest to my attempt to fix experience and people into physical, possessed spaces.
Blair Bogin is an interdisciplinary artist from Chicago, IL. Her work uses systems of ancient knowledge to measure facts about human experience against its lesser quantifiable absurdities.
More on Blair Bogin can be found at http://www.talentswimsuitgown.com
INSTRUCTIONS FOR A SCULPTURE
APRIL 19 - MAY 19, 2017
BEST PRACTICE is excited to present a body of works on paper by San Diego-based artist J Noland. This new series of concrete poems cum instructions for speculative sculptures is presented one at a time over the course of the exhibition. The works will be compiled and presented as a book later in 2017.
From J’s online bio: “I'm an interdisciplinary artist with an interest in the American experience. My work engages questions of leisure, laziness, masculinity, nature, and class. My gestures reflect a sense of fear and wonder at the ingenuity and stupidity of the human condition.” J received his MFA in Visual Arts from the University of California, San Diego in 2014. He currently lives and works in San Diego.
More on J Noland can be found at http://www.jnoland.org/
I HOPE THERE WON’T BE A FENCE TOO LONG HERE
APRIL 22 - MAY 5, 2017
@ Helmuth Projects
August 18, 1971 First Lady Pat Nixon in her dedication speech for the bi-national Friendship Park that straddles the San Diego/Tijuana border. Bootleg video recording of 16mm film found in the AV archives of the Richard Nixon Presidential Library and Museum in Yorba Linda, California.
digital video with sound
17 seconds, looped
Nathaniel Klein lives and works in San Diego, CA. He received his MFA from UC Irvine in 2016 and his BA from UC Berkeley in 2012. Nathaniel is a lecturer of film and video art at the University of San Diego.
More on Nathaniel Klein can be found at http://www.nathanielklein.com
EKTACHROME / HAND DANCE / STARFISH
APRIL 8 - 21, 2017
@ Helmuth Projects
BEST PRACTICE is very pleased to present three works by San Diego-based artist and filmmaker, Lyndsay Bloom. Each film was shot during a residency at The Handmade Film Institute on Orcas Island in Washington State.
Super 8, color, silent
16mm, b/w, silent
16mm, b/w, silent
Lyndsay Bloom (b. Florida, USA) is a filmmaker and artist working in experimental cinema and film installation, who received her BFA from The Cooper Union for the Advancement of Science and Art in 2006, and her MFA from The University of California, San Diego in 2016. Bloom's films have screened in venues as diverse as The 9th Berlin International Directors Lounge, Peras De Olmo-Ars Continua in Buenos Aires, Pleasure Dome in Toronto, Fylkingen in Stockholm, SOMA in Mexico City, Brooklyn's Microscope Gallery, Birch Aquarium and The Martin Johnson House at Scripps Institution of Oceanography in La Jolla, The San Diego Art Institute and The Museum of Contemporary Art, San Diego, A Ship in the Woods in Escondido, Artists’ Television Access in San Francisco, Commonwealth & Council in Los Angeles, CineMarfa and The Austin Film Society. Her eclectic experiences include assisting filmmakers Babette Mangolte and Jennifer Reeves, building dioramas for the Climate Change exhibit at the American Museum of Natural History in New York, and working on the R/V Roger Revelle as an oceanographic researcher for Scripps on a 25-day expedition from Taiwan to Palau. Bloom lives and works in San Diego.
More on Lyndsay Bloom can be found at http://www.lyndsaybloom.com/
MARCH 8 - APRIL 7, 2017
BEST PRACTICE is very pleased to present two new works on paper by Los Angeles-based artist
Matt Rich lives and works in Los Angeles, CA. He received an MFA from the School of the Art Institute of Chicago, a BA from Brown University and attended the Skowhegan School of Painting and Sculpture. Rich’s work has been exhibited in venues such as the Institute of Contemporary Art Boston; BravinLee Programs in New York City; VOLTA NYC and VOLTA Basel; DODGEGallery in New York City; Kemper Museum of Contemporary Art in Kansas City; Columbus College of Art + Design; among others. His solo exhibitions include Project Row Houses in Houston, devening projects in Chicago, Samsøn in Boston, and The Suburban in Oak Park, IL. Rich's work has been reviewed by Modern Painters, Artforum and Art Papers. He has contributed text to The Benefits of Friends v.2 published by Project X Foundation for Art & Criticism, and curated Action Kits, a community-based exhibition of interactive art at Mills Gallery at the Boston Center for the Arts in 2015.
More on Matt Rich can be found at http://www.mattrich.com/
LIFE UNDER GLASS (EXCERPT)
MARCH 25 - APRIL 7, 2017
@ Helmuth Projects
This picture must be our body because we cannot feel my edges
Skin’s asleep and no sense of where she begins or we end
A heart is reborn from meager gasses rising from dry acids and glue,
collecting on the underside of UV treated glass.
We see into the family room without them knowing.
Our eyes are wired to sockets belonging to performers
seated on the mouth’s edge of a large proscenium
phantoms peering through paintings of their ancestors
mannish, apple-nosed hags
We are copies, and plant-like
senses allow us to act out a kind of irregular theatre in repose,
Matt Savitsky, 2014
Matt Savitsky aka Minty (b. 1982) is a multidisciplinary performance artist who lives and works in Los Angeles. He received his MFA from UC San Diego in 2015 and his BFA from The Cooper Union in 2005. Recent exhibitions include: Torrance Art Museum and Klaus Von Nichtssagend Gallery, New York (2016); Highways, Los Angeles; Fest Zoco, Tijuana; American University Museum, Washington DC (2015); Commonwealth & Council, Los Angeles (2014); Foxy Production; ATM Gallery, and John Connelly Presents in New York (2013); Vox Populi and Little Berlin(2013) in Philadelphia, and The San Diego Museum of Art. His video works have been included in various screening programs, including Migrating Forms Film Festival (NY) and have been shown internationally in the Galeria Alternativa Once in Monterrey, Mexico and the Universidad del Pais Vasco Bilbao, Spain (2014). Recently he was a selected participant in performance workshops hosted by Kembra Pfahler (Performance Art 101 and Incarnata Social Club) and La Pocha Nostra (Highways, LA and UABC, Tijuana, MX). Savitsky currently is a lecturer of film and video art at the University of San Diego, CA.
More on Matt Savitsky can be found at http://www.mattsavitsky.com
MARCH 11 - 24, 2017
@ Helmuth Projects
In Boxed, a conversation with Joe Mariglio, reference is made to the monitor itself as a device of containment as the actors imagine themselves literally inside this virtual space.
Frankie Martin is an artist living in Philadelphia, and working in video and watercolor. Frankie received an MFA from University of California, San Diego in 2013, and a BFA from Tyler School of Art. In addition to her Fine Arts practice, Frankie does freelance Arts documentation, makes music videos, and occasionally curates exhibitions.
More on Frankie Martin can be found at http://www.frankiemartin.org
THE RHINESTONE COWBOY SINGS IN THE WOODS
FEBRUARY 25 - MARCH 10, 2017
@ Helmuth Projects
Late at night, deep in the woods, the rhinestone cowboy sings 'Never Tear Us Apart' by INXS.
"I grew up in southern Arizona, surrounded by cliché representations of my own experiences. There were cowboys riding bulls, coyotes howling on moonlit nights, beautiful sunsets, and vicious brawls. I’ve translated those experiences into epic photographs and playfully antagonistic videos. The artistic projects I pursue are a reflection of my complex relationship with the American West and explore what it means to be an American in a time of diminished expectations. I perform for the camera, enacting gestures that reflect a sense of quixotic hopefulness as well as a desire for control over subjects as ungovernable as nature. My performances take a variety of forms and allow me to engage with others or insert myself into the landscape. It is though these projects that I attempt to develop authentic ties to my own experiences, to give the cliché new and personal meaning.
"The gestures that I enact for the camera are simultaneously loving and cruel; they are an attempt to discuss the frustration inherent in contemporary experience. Initially, these gestures may seem juvenile as they use the language of physical comedy, but they owe as much to Caspar David Freidrich and the Kantian Sublime as they do to Buster Keaton. I make photographs in which I confront the American landscape and foolhardily demand that it become aware of my presence. I make videos in which I mark my territory and attempt to defend it. The photographs and videos I produce acknowledge the possibility of failure, that I will go unnoticed, and that I won’t affect any change. However, it is this possibility that keeps things interesting. In these projects, I become a sympathetic hero and a stand-in for the viewer. I face the sublime and call its power into question."
More on Lilly McElroy can be found at http://www.lillymcelroy.com
CALIFORNIA DREAMER #254 / CLASSIC BEIGE #3
FEBRUARY 7 - MARCH 7, 2017
California Dreamer #254 / Classic Beige #3
A carpet sample with two names and numbers belies its own mythology. #254 can extend outward (underfoot) from somewhere in the state's imaginary to carpet the world. #3 stops at the threshold.
Reading to Strangers: Salvador
Reading to Strangers: Salvador is one in a series of site-specific performative readings in public spaces throughout San Diego, in which I read to small and incidental audiences in taco shops, parks, trolleys and bars. Constructed through the renegotiation of shared social spaces, these public interventions bear a closer resemblance to the intimate tradition of reading to one’s child before bedtime than to formally staged author’s readings held in lecture halls or bookstores.
The texts I read (all existing works) are chosen specifically for their sites, though not always for topical precision. Through an intentional injection of the private and intimate into public space, Reading to Strangers tries to unexpectedly clear space for ideas, open portals through time, and create shared experience (sometimes comfortable, sometimes uncomfortable) among San Diegans in places and moments that we share on an impromptu basis. Places that have been shared before.
An audience invites an audience. Salvador, Joan Didion's 1983 evocation of El Salvador in the throes of civil conflict against the backdrop of the U.S. Reagan-era policy toward Central America will be read aloud in the back booth of the stubbornly unredecorated Nunu's Cocktail Lounge during a weeknight happy hour.
(A reading of Salvador in its entirety took place on the afternoon/evening of March 7 in a booth at Nunu’s Cocktail Lounge in San Diego).
More on Allison Wiese can be found at http://www.allisonwiese.com
ALLURE OF THE SEAS
FEBRUARY 11 - 24, 2017
@ Helmuth Projects
Nature is a temple where living pillars
Let sometimes emerge confused words;
Man crosses it through forests of symbols
Which watch him with intimate eyes.
Like those deep echoes that meet from afar
In a dark and profound harmony,
As vast as night and clarity…
[trans. G. Wagner, Selected Poems of Charles Baudelaire 1974]
The Allure of the Seas is a looping animation where the graphic montage anticipates yet denies the subsequent abstraction or narrative engagement. Diagonal lines force a destabilization of the image in a fragmentation of space. The synthetic nature of the re-assemblage where the image fragments are canceled yet legibly preserved in a re-articulation in a continuous loop of negation and affirmation as the conscious act of the artist’s composition and the free-play in the viewer’s experience of the artwork creates an interval between the representation and creative metamorphosis. The viewer is able to recognize the elements of luxury ships as well as the illogical placement of items in an impossible kaleidoscope of a reassembled images of continuous passage. Luxury ships are the excess of a post-capitalist society and the self contained utopias. The reanimation of images evokes an aesthetic and epistemic experience between paradigms of sublimity and contractility which brings about a new conception of aggravated deterritorialization through pulsations and spasms both visual, auditory, and conceptual. Sound art with multiple layers of continuous notes creating a sonic mirror of the visual form of a ship that is emerging and sinking onto itself. Like the news media images of tsunami disasters in recent history where impossible images of objects (cars, trucks, houses, etc.) are smashed together through the natural disaster, The Allure of the Seas, in its siren song presents a memorialization of unassimilable stimuli that produce both memory and amnesia exposing the failure to translate sense-impressions. His work attempts to articulate such moments of mute encounter that evoke sublimity that eludes the rational and evoke imagination. The ambiguous relationship with the material world as presented here creates a dynamic, contextually contingent, and intextually serial structuring of visual information that is implicit within it that emphasize the open form and potentiality of radical reconstitution of historical time.
Eun Jung Park
More on Joshua Tonies can be found at http://www.joshtonies.com
ASH ELIZA SMITH
JANUARY 21 - FEBRUARY 10, 2017
@ Helmuth Projects
Drugs, Medicine, Trust and Borders (both the geographic and the intimate ones)
Chuck Berry “Come On" cover recorded by Ash Eliza Smith and Jeremy Rojas
16mm Film, Black & White, 7:21 min. 2011
Agnes and Jem attempt to drive across the border to Mexico for what one of them thought was a holiday, but when their car breaks down on the side of the road, Agnes goes for the phone and Jem heads to the beach to wait and stew. Jem drinks a bottled water from the cooler and the beach stew quickly turns into meth freakout, er I mean, medicinal awakening.
Jem begins to suspect Agnes is involved in some kind of smuggling ring south of the border, but is she Martyr or Misfit? So binary, maybe it’s nothing...maybe it’s him, totally Jem, of course, all along. Such a projector. Paranoia mixes with major trust issues - water is not, just, water - drug is poison is medicine is technology and Agnes appears as a hallucination on a rock singing a Chuck Berry song. Cover whore. Perhaps they finally leave the other one for good this time, such a romantic exit, yes, but which one?
Or, you could just calm down, enjoy your buzz by the beach…it may all be over soon…if it isn't already.
More on Ash Smith can be found at http://www.asheveryday.com