BEST PRACTICE

2018

 

 

SARAH HOTCHKISS

CELESTIAL SODAPOP

APRIL 18 - MAY 18

 

 

 

Ingredients for Celestial Sodapop

 

– 35 paper clay shapes I’m calling “not quite letters,” formed around clear plastic push pins, covered in gouache splatter

 

– Two aluminum chains that look gold, but are definitely not, found at Fabric Outlet

 

– Two swatches of ochre and purple fabric (not cotton, not linen, and therefore 25% off at the aforementioned fabric store), to which a Warriors fan remarked, somewhat upset, “Those are Lakers colors”

 

– A gouache on paper replica of a Tarot-like card found at the Alemany flea market in San Francisco, from a deck called The Mayan Oracle, conceived by its non-Mayan maker in a prophetic dream and released just in time to capitalize off the New Age frenzy surrounding the December 2012 end of the Mayan calendar, interpreted by many as a sign of impending apocalypse

 

 

 

Sarah Hotchkiss is a San Francisco-based artist and arts writer. Most recently, her work was on view in bus stops as part of the San Francisco Arts Commission’s Art on Market Street program. She has attended residencies at Skowhegan School of Painting & Sculpture, ACRE and the Vermont Studio Center. She watches a lot of science fiction, which she reviews in the semi-regular publication Sci-Fi Sundays. She is the visual arts editor for KQED.

 

Find more on Sarah's work at http://sarahhotchkiss.com.

 

 

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CATHERINE CZACKI

SLOWING ETHEREAL DOWNING MATERIAL

MARCH 14 - APRIL 13

 

 

7 hells and 7 heavens

 

the demons keep coming out cute

 

1 spitting in the face of children

 

2 make a fig shape with the hand

 

3 drawing circles

 

4 cold showers

 

5 Eucalyptus Citriodora

 

6 what I know thou also knowest

 

7 ………………………………..

 

Moon,

 

Mercury,

 

Venus,

 

the Sun,

 

Mars,

 

Jupiter,

 

Saturn.

 

high enough to burn up

 

dying and born all the time

 

 

 

Catherine lives and works in San Diego. Find more on her work at http://www.catherineczacki.com

 

 

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ANIMAL CHARM

GOLDEN DIGEST

MARCH 10 - 23

 

 

Animal Charm makes videos from other people's videos. By compositing TV and reducing it to a kind of tic-ridden babble, they force television to not make sense. While this disruption is playful, it also reveals an overall 'essence' of mass culture that would not be apprehended otherwise. Videos such as Stuffing, Ashley, and Lightfoot Fever upset the hypnotic spectacle of TV viewing, revealing how advertising creates anxiety, how culture constructs "nature" and how conventional morality is dictated through seemingly neutral images. By forcing television to convulse like a raving lunatic, we might finally hear what it is actually saying.

 

 

Animal Charm, a collaboration between Richard Bott (b. 1972 Louisville, Kentucky) and Jim Fetterley (b.1971 Rockford, Illinois)-began using found VHS tapes to make video collages in 1995. With the advent of YouTube a decade away, the artists culled bins of dead and devalued media, including industrial and promotional videos, bargain vinyl LPs, and consumer-

grade electronics. They then combined disparate footage, using early nonlinear video-editing software, to create unsettling and humorous works. The duo compose unexpected juxtapositions in an attempt to subvert the original intentions of the found videos and to expose their absurdity while eliciting new meanings from the detritus of culture.

 

 

Link to more work by and information on Animal Charm at http://animalcharm.com.

 

To purchase your own DVD for home viewing visit http://www.othercinemadvd.com/ac.html.

 

 

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ALLISON HALTER

WHAT'S SO FUNNY

FEBRUARY 24 - MARCH 9

 

 

What's so funny? is a video loop consisting entirely of clips of women laughing ecstatically.

 

What happens when women are given the opportunity to engage with laughter in this potentially radical way, not as subject or object but rather something else entirely, something more like a connoisseur - a knower?

 

I do not yet know what will come out of this knowing, but perhaps it is the potential of finding that space between laughing with and laughing at.

 

 

digital video

5:13 min

2009

 

 

Allison Halter is a conceptual artist. Her practice exists on cusps, with repetitive actions hinting at mysterious prior events. The viewer must extrapolate the significance of these accumulating gestures, which take on a deeper emotional charge as they slowly and inexorably pile up. Halter received her Master of Fine Arts in Visual Studies from the Pacific Northwest College of Art in Portland, Oregon. Her work has been exhibited in North America, Central America, and Europe. She lives and works in Brooklyn, NY.

 

 

To see more of Allison's videos go to https://vimeo.com/user3108381.

 

 

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COREY PATRICK DUNLAP

FOLIE Á DEUX

FEBRUARY 7 - MARCH 9

 

 

Working with the strategies of sculpture and photography, Dunlap constructs images using digital modeling software. These arrangements are lit, photographed, and manipulated as if real, incorporating a lexicon of bodily and geometric forms. The resulting images depict moments of encounter between objects, often using misrecognition of form as a means of seduction. These effects are produced in an attempt to build believability in the visual universe and to further blur the distinction between object and body.

 

Corey Dunlap (b. 1990) received his BFA from the School of the Museum of Fine Arts in 2013 and is currently an MFA candidate at the University of California, San Diego. Recent solo exhibitions of his work have taken place at Helmuth Projects, San Diego (2017), How's Howard?, Boston (2016), In The Pines Gallery, Jackson, WY (2015) and Howard Art Project, Boston (2014). He has participated in shows at the San Diego Art Institute, The Chazen Museum of Art, Embassy Galley, and The New Art Center. Corey is a recipient of the 2016 SMFA Traveling Fellowship, which allowed him to travel to Reykjavik, Iceland to attend the SIM International Artist Residency.

 

More on Corey's work can be found at http://coreypatrickdunlap.com/.

 

 

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MONICA DUNCAN

legerdemain

FEBRUARY 10 - 23

 

 

In the single-channel video, legerdemain, Duncan uses the visual structure of the stripe pattern as a process to merge the physical body with the electronic image. Using strategies of dazzle camouflage, the prison stripe and the UPC code, the performer attempts to become part of the interval, neither foreground nor background like the stripe's own visual structure. The video begins with the flicker of black and white-image and sound are internally generated from the same source-a bank of analog oscillators. Video processing techniques, such as luma-keying (a technique in which you can replace the light or dark areas of an image with another video) allow the striped pattern to be both part of the performer's body and their environment at the same time.

legerdemain was produced during a residency at the Experimental Television Center (Owego, NY) and uses real-time image processing tools such as the Jones +/-5v system, Jones Keyer, Jones Sequencer and the Paik/Abe Wobulator.

 

digital video

9 min

2012

 

 

Monica Duncan received an MFA in Visual Art from UCSD in 2010 and an MA in Choreography and Performance from Justus-Liebig- Universität Gießen, Germany in 2017. She currently lives and works in New York.

 

 

More on Monica's work can be found at http://www.monicaduncan.net/.

 

 

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