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‘Short Order’ features ‘Year-Long Loop’

15 students investigate ‘archive as a point of departure’

View of mountain range and cloudy skies. Foggy view of mountain range and cloudy skies. View of Mountain range and smog.

Stills from "Year-Long Loop" catch the San Gabriel Valley, from Mount Washington looking northeast.

How does organic residue reshape a landscape? Are processed foods analogous to the names of bombing missions decades ago? And what happens when a grandfather’s tools end up in a spaghetti western?

Artistic responses to these questions come in “Short Order: Accretions, Arrays, Anomalies,” an exhibition at the University’s Luckman Fine Arts Gallery June 6 through 27. The show features works by 15 Cal State L.A. students who participated in a spring-quarter seminar that featured visiting artist Cindy Bernard. (See list of students below.)

The artists’ opening reception will be Saturday, June 6, from 6-9 p.m.

Bernard – who creates photographs and projections that explore the relationship between cinema, memory and landscape – has been featured in galleries on three continents. To “Short Order,” she contributes “Year-Long Loop (2-hour version),” an ambient video of a slice of the San Gabriel Valley recorded between October 2004 and September 2005.

To push the project’s creation process, Professor Richard Wearn assigned graduate students to mentor undergraduates. “The experience helped build an artistic community,” he said. “It gave the graduate students teaching experience.”

The Luckman Fine Arts Gallery is open Monday through Thursday and Saturdays from noon to 5 p.m. Admission is free.

Students create in ‘Short Order’

Patrick Quan, a graduating senior in art, prepares for 'Short Order' exhibit.

The “Short Order” exhibition features works of the following Cal State L.A. students (listed with brief statements):

Fiona Cochran works with photographic imagery to lend order and shape to irresolvable, intangible concerns. She attempts to disentangle truth from reality which results in a moral, emotional, and intellectual schematic.

Kat Cutright is interested in how an understanding of nature is socially and intellectually constructed. She draws on collections of organic residue to create sculptures that reframe the concept of landscape.

Lorri Deyer brings ephemeral objects to the attention of the viewer in order to call attention to the elusive nature of the Everyday. Her sculptures foster an awakening and reexamination of our experiences in the world.

Matt Dressler’s work investigates the dynamic between physical and psychological experience. Using constructed environments and situations, he manipulates social interaction with the intent of provoking an emotional response and reevaluating the self.

Bill Faecke uses video to portray his grandfather’s tools, carvings, drawings, watercolors, and other related objects. He translates this footage into an absurdist evocation of the spaghetti western.

Oralia Gomez’s work is inspired by the mystic and spiritual teacher G.L. Gurdjieff, who stated, “We consist of a multiplicity of separate small i’s, not the conscious I, that we all assume we are.”

Charles Hachadourian photographs knocked down light poles as a part of his daily Los Angeles commute. He sees these seemingly insignificant traffic casualties as poetic signs of random yet conspicuously familiar urban landscape.

Karlin Hovasapian explores the visual perception of color and the physiological and emotional reactions it evokes. Her installation expresses notions of nostalgia, curiosity and childhood through the use of color symbolism.

Brittney Lane works with stoneware and mixed media to explore the significance of the archive to modern culture. Currently, she is contemplating the effects of an overload of information on society.

Dalia Monserrat explores the idea of her body as subject and creating an indicative residue of her presence, leaving behind a woman’s mark. Working with her body allows for a more intimate exploration of the self and her femininity.

Poorang Nori draws upon ethno-regional specific reference points from the Mid-East and current cultural cues as a point of departure for his sculptures. He aims to prompt discourse on the dynamics of displaced/placed people’s experience.

Chandra Pok’s work opens a dialogue between history and the present, making explicit the corpulent nature of American imperialism. Her recent work uses apathy toward processed food products as an analogy for the frivolous names given bombing missions in Cambodia during the Vietnam War.

Patrick Quan uses objects extracted from everyday life as material. His work explores the relationship between these objects and contemporary culture.

Greg Schenk appropriates commercial/industrial products and materials, re-organizing them into interactive devices that excite the senses. His work seeks to question the evolution of technology and its role in our lives.

Michael Shields is interested in Los Angeles’ unique infrastructure, the diversity of its synthetic terrain, and the relationship people have with its landscape. He sees Los Angeles as a place that allows for customized experiences, has a very high level of chance, and is as efficient as it is inefficient.

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Last Update: 06/3/2009