APRIL 18 - MAY 18, 2018




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.








MARCH 14 - APRIL 13, 2018




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 ………………………………..








the Sun,








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








MARCH 10 - 23, 2018




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.








FEBRUARY 24 - MARCH 9, 2018




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




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.








FEBRUARY 7 - MARCH 9, 2018




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/.








FEBRUARY 10 - 23, 2018




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




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/.










Reading @ Helmuth Projects on Sat, Nov. 18 @ 7pm




Thank you 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/.












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.



digital video

13:36 min



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/.








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.









@ Helmuth Projects




BEST PRACTICE was proud to present Blacklist, a 2014 work by the artist Cudelice Brazelton.



digital video

6:54 min



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/.








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.









@ 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.












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








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/








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








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.


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/








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,

without wolfishness.


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








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








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








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








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.


Love Buzz


More on Ash Smith can be found at http://www.asheveryday.com







Photographs Attributed to Two Anonymous Real Estate Listing Agents





The same house was photographed twice - once in July and then again in October of the same year. The images were found on the internet. They were printed and shown, two at a time, for two to three days per pair. Over the course of the 4-week exhibition 12 pairs of pictures were presented. A forthcoming catalog, including all 24 photographs and an essay by Juliana Maxim, will be published in 2017.












BEST PRACTICE is proud to present All-Nighter, an exhibition of paintings and sculptures by San Diego-based artist CHANTAL WNUK. All-Nighter is full of "leaners" - sculptures and paintings tilting in the same direction – un-sturdy, sleepy, precarious. The work, informed by life on a college campus - fatigued by lack of sleep from hard work and/or hard play - asks us to consider the formal qualities of many exhausted bodies moving, or not moving, in space.


CHANTAL WNUK is a painter and sculptor currently living and working in San Diego, CA. She was born in Houston, TX and received her BFA from the University of Texas at Austin. Using found materials and imagery, she focuses on the vulnerability of being alone versus that of being bound to another human or object. In 2012, she received the Undergraduate Professional Development Travel Grant, resulting in Girls Gone West at the Visual Arts Center in Austin, TX in 2014. More recent exhibitions include Wouldn't It Be Nice at Eastfield College in Mesquite, TX, Having a Coke with You at Helmuth Projects, and Not Quite Nothing at SDAI in San Diego.


More on Chantal Wnuk can be found at http://www.chantalwnuk.com












BEST PRACTICE is proud to present its inaugural exhibition, Flower Study: Arrangements by Los Angeles-based artist Tanner Cook. The exhibition will include a small selection of black and white photographs from a developing body of work. Flower Study: Arrangements is part of an ongoing investigation of domestic interiors and exteriors of the Southern California region - the images are exercises in photographic still life.


Cook’s work was selected for exhibition because of our interest in his methods of testing the limits of representation in relationship to a particular investigation of the landscape and built environment of Los Angeles. His understanding and manipulation of photographic traditions and techniques offer a complex conceptual analysis of often unseen fragments of the cities and neighborhoods in which we live.



TANNER COOK is the youngest born of a normal, middle-class suburban family from Garden Grove, California. He moved to Los Angeles in 2015 after studying art and local politics in San Diego. Through his analog photography practice he explores the continuous bloom and decay of the California dream through common spaces and landscapes. He holds a Bachelor of Arts degree in Visual Arts: Media from the University of California, San Diego.