The Fellowship for Visual Artists turned
25 years old
CCF’s program to support Los Angeles artists has entered its 25th year. We have proudly supported more than 215 local artists in developing their talents and careers through financial support as well as professional development opportunities. Read what some of the fellows said about the program.
Shared Skies (13 global skies) III, 2012-13, archival digital print; Sundog Multiples at the University of North Dakota, 22 in. x 17 in.
“The 2010 Fellowship for Visual Arts helped create a career shift. The acknowledgement, mentoring, and financial support provided the opportunity to re-envision my trajectory. This year, I was also honored with a Fellowship from the John Simon Guggenheim Memorial Foundation. Swept Away: Dust, Ashes and Dirt in Contemporary Art and Design at the Museum of Arts and Design in New York; Do Not Destroy: Art, Trees, and Jewish Thought at the Contemporary Jewish Museum in San Francisco; and Pearls of Wisdom: End the Violence at the Korean Cultural Center and Skirball Cultural Center in LA were highlights of this past three years. Solo exhibitions included venues at Syo Gallery in Daegu, South Korea; National Center for Atmospheric Research and University of Colorado Museum of Natural History in Boulder, CO; and, Laband Gallery, Loyola Marymount University. I have been working on two local public art commissions. Shared Skies at the Anderson-Munger YMCA is currently in construction; and, Walk a mile in my shoes, a commission from Los Angeles Dept. of Cultural Affairs, is a project for two traffic islands.”
– Kim Abeles, 1993 and 2010 Emerging and Mid-Career Fellow
Sincerely, 2012, digital video still
“Since receiving the CCF grant my video and performance work has continued to show in Los Angeles and abroad – Manila, Paris, Berlin, London. Currently, I am a yearlong Fellow in Film/Video/New Media at the Akademie Schloss Solitude (Stuttgart, Germany). I am grateful to the CCF for its support in helping me to pursue my art practice and enabling me to be a part of its wide network of innovative Los Angeles-based artists.”
– Danielle Adair, 2010 Emerging Fellow
Threshold, 2013, installation at Suyama Space, Seattle, WA, corrugated plastic and light, 23 ft. x 70 ft. x 40 ft.
“Last spring, my friend and I bought a former post office and renovated it to create studios for ourselves and four other artists. I used the fellowship money for part of the down payment. Having a stable and permanent workspace is one of the best things to ever happen to my practice.
This year, I created a new installation, “Threshold”, a ghost city of misremembered buildings that I exhibited at Suyama Space in Seattle. I am exhibiting my project “Involuntary Memories: Marine Corps Air Station El Toro and the Nixon Years” at the Orange County Great Park in Irvine through mid July and I have a drawing project called “My life in airports” at terminal one of LAX through December. I made a five channel video and dynamic content installation for the Seattle headquarters of Amazon.com and I am currently working on a commission for the Santa Monica Esplanade. “
– Deborah Aschheim, 2011 Mid-Career Fellow
Installation view of Thinking of Pinturicchio (While Looking Out Sol LeWitt’s Windows), 2012, archival ink on vinyl, dimensions vary
“I am still in my CCF Fellowship year so the benefits to my artistic career are just beginning.
The Fellowship has allowed me to consider different solutions to artistic problems since now I am able to choose the most appropriate approach to a particular situation rather than simply the most cost effective. With the support of the Fellowship I have completed a new installation (in collaboration with artist Elizabeth Bryant) that was exhibited at the Roski School of Art at USC in January. Fellowship funds were used to produce a 6’x16’ photographic print that was the centerpiece of the installation.
The Fellowship will also help expand the audience for my work by allowing me to plan site-specific projects for not-for-profit organizations with limited resources; I am now able to make up the difference between the funding they have available and the actual cost of an installation.”
– Stephen Berens, 2012 Mid-Career Fellow
The Inquisitive Musician (performance still), Los Angeles County Museum of Art, May 7, 2011. From left: Dick Hebdige, Thomas Lawson, Gregory Lenczycki, Haruko Tanaka, Marnie Weber, Mike Watt, Dave Muller, David Watson (music director), Tom Watson (in rear), William Roper, Cindy Bernard, Eddy Vajarakitipongse (Audio-Visual Engineer, LACMA), photo credit: Don Lewis
“On June 22-23, 2013 The Inquisitive Musician will premier in Amsterdam as a joint project of the Stedelijk Museum and the Holland Festival – my first solo project in Europe in more than 10 years and my first solo museum project in Europe. The FVA funding that I received in 2011/2012 enabled me to take an extended trip to Europe in March/April 2012, including a site visit to the recently renovated but yet to open Stedelijk Museum, a step that was crucial in bringing the Inquisitive Musician to the Stedelijk.
The FVA also enabled me to start a new body of work that draws on my family history in Newfoundland to explore the economics of displacement. I’m looking forward to developing this work as the inaugural Ruffin Distinguished Artist in Residence at the University of Virginia in 2013/2014.”
– Cindy Bernard, 1989 and 2011 Mid-Career Fellow
…Yesterday has already vanished among the shadows of the past; tomorrow has yet emerged from the future. (Shame), 2012, 48 in. x 32 in., archival pigment print
“Being awarded an emerging artist fellowships in 2009 was a major step in my career as a visual artist. The monetary stability that it created allowed me to takes chances in the studio and to expand my practice in newer directions. Since being awarded the fellowship, I have participated in various solo and group exhibitions nationally and internationally, including When Attitudes Became Form Become Attitudes, Wattis Institute for Contemporary Art, Dance/Draw, Institute of Contemporary Art/Boston, and Untitled (12th Istanbul Biennial) Istanbul, Turkey. I also have two solo exhibitions forthcoming, What We Want, What We Believe: Towards A Higher Fidelity, at The Arcade Gallery, University of Texas, Austin, and The Fall, at Curro y Poncho Gallery, Mexico.”
– Juan Capistran, 2009 Emerging Fellow
Uncle Lenny and the Masked Men, 2010-2011, acrylic on canvas over panel, 60 in. x 48 in.
“I received the CCF Grant in 2005 while working on my painting project “Dancing with Misfits: Eye Dazzler”. The grant was very helpful financially for studio materials and in particular for research as I bought a substantial amount of books and photos. I feel the public recognition, press and publications received from a grant like the CCF, give support to one’s career as a visible artist. “Dancing with Misfits” series of paintings and drawings was exhibited at Western Project Gallery in 2007 with a catalogue, received numerous reviews and was very successful.
In 2011, I had a solo exhibit of drawings and paintings at Western Project titled “Uncle Lenny:Right As Wrong-Wrong As Right” based on Lenny Bruce. In 2011 and 2012, I was included in 3 Pacific Standard Time Exhibitions: Under the Big Black Sun:California Art 1974-1981 at MOCA curated by Paul Schimmel, Los Angeles Goes Live: Performance Art in Southern California 1970-1983 at LACE , Pasadena Museum of California Art, L.A. Raw: Abject Expressionism in L.A.. 1945-1980, From Rico Lebrun to Paul McCarthy curated by Michael Duncan.
I am currently working on a new painting series titled “Hallucinatory Logic In the Sahara Desert.”
– Carole Caroompas, 2005 Mid-Career Fellow
Opening Night, 2012, acrylic on canvas
“In 1989, my digital animation was presented on the Spectacolor Light-board at Times Square in New York. In 1991, I received an MFA, California Institute of the Arts.
The Library of Congress acquired my original mural sketches/drawings for their permanent collection. A permanent collection of my papers has been established/archived at Stanford University. My oral history is archived at the Archives of American Art, Smithsonian Institution.
In 2012, I directed/painted Opening Night, a mural depicting America Tropical by David Alfaro Siqueiros, on permanent display, Siqueiros Interpretive Center, Los Angeles.
The CFF Fellowship for Visual Artists provided important support to further my work.”
– Barbara Carrasco, 1998 Mid-Career Fellow
Becoming An Image, 2013, performance still, performance by Heather Cassils, photo by Heather Cassils and Eric Charles, digital photograph, 20 in. x 30 in.
“The Fellowship helped my career in many ways: With the fellowship, I was able to cut down on my day job and this allowed me precious creative time I needed to advance my work. Last year I performed at the ANTI International Festival in Finland, I developed a new performance and performed it to a sold out audience at the National Theater Studio in London UK. I participated in exhibitions at Rutgers University (Trans Tech: Circuits of the Self and Belonging, an exhibition curated by Amelia Jones called Material Traces in Montreal and was included in Catherine Lord and Richard Meyers book Art and Queer Culture.) Additionally I gave artist talks in universities and intuitions such as the Whitechapel gallery in London. I am currently preparing for a performance at Stanford University ( part of Performance Studies International) and my first solo exhibition at Ronald Feldman Fine Arts. Without this grant, allocating the time and resources to have these experiences would have been difficult. The grant provided the support I needed to formally experiment with materials, as well as precious to investigate and push my practice further. Thank you CCF.”
– Heather Cassils, 2012 Emerging Fellow
Jacci Den Hartog
Coming Down, 2008-9, polymerized modeling medium, steel, paint, 79 in. x 105 in. x 61 in.
“I received the CCF Mid-Career Artist Grant in 2006. This grant was instrumental in allowing me to develop both new processes and expand the scale of my work. I was also able to expand my working space which enhanced my working conditions. This grant also allowed me to spend several months experimenting and developing new materials which expanded my working methods. I think the one of the greatest contributions of the grant was the acknowledgement from my peers and the endorsement of the organization.
During the time since I received the CCF Grant I have had many opportunities to show my work in both solo and group exhibitions. During the past year my work was included in the first exhibition at the New Sturt Haaga Gallery at Descanso Gardens, in addition to other venues. I had solo shows in both Los Angeles and Chicago and I am currently working on a large sculpture commission for San Francisco. In 2012 I was awarded a Guggenheim Foundation Grant.”
– Jacci Den Hartog, 2006 Mid-Career Fellow
Smithereens 13, fabric collage, 54 in. x 72 in.
“Since the mid-nineties, I have produced large printed fabric collages coupled with wildly varied paint applications. The paintings are a deconstruction of traditional landscape forms heavily inspired by Chinese and Japanese paintings, as well as twentieth century American and European painting. They have been referred to as “Pop Symbolist” in their essence. These embody an overt social and political content while still encompassing the references to domestic craft and contemporary ideas in painting.
These collages led to a recent four-year long involvement with mixed media collage and photo transfers on paper called “Lost Horizons”. These use application of pieces of found Chinese landscape calendars, decorative handmade papers, photo transfers and paints to depict the contrast between a classic idealized natural beauty confronted with the shattering intervention by humans beings.
The receipt of the grant gave me a huge boost in confidence. It was invaluable on a personal level.”
– Merion Estes, 1996 Mid-Career Fellow
Box (a proposition for ten years), 2012-22 (detail); mixed media, dimensions variable. Courtesy of the Artist and Commonwealth & Council, Los Angeles.
“Since being awarded the Fellowship I have participated in several group and solo exhibition in Los Angeles and internationally. I was selected to present an installation titled A Record of Succession at the first Los Angeles Biennial: Made in LA, at the Hammer Museum. I presented a solo exhibition of my work at ltd los angeles gallery and most recently exhibited an artist book, Rue de Latran, with selections from an ongoing project at Commonwealth & Council. I am currently continuing research into a project that I began last year in France and Spain, retracing the footsteps of Spanish Republicans that crossed the Pyrenees in exile at the end of the Spanish Civil War and the beginning of WW2. This project began upon the receipt of a grant from the City of Los Angeles. At this time, I was participating in the FLARE (France Los Angeles Residency Exchange) and exhibited selections of my work in Fabrique POLA, in Bordeaux. I look forward to presenting completed paintings, sculptures and an archive from this project in 2014, in Los Angeles.”
– Patricia Fernandez, 2011 Emerging Fellow
Katabachi (Cat-hamachi-hibachi), 2013, 48 in. x 69 in. x 6 in., neon, MDF, transformers and controllers - animated
“I’ve worked with neon as an expressive art material since 1985. I received a Fellowship in 1999 and took that award as an affirmation of the direction I embarked on in the art world.
I’ve continued to create and exhibit original art and have also fabricated neon components for artists who utilize neon in their work. Those artists include Stephen Antonakos, Frank Romero, Betye Saar, Dan Attoe, Alexandra Grant and Doug Aitken.
In 2010 I signed a contract with the United States Postal Service to come up with designs for a postage stamp. That process resulted in the Neon Celebrate! Forever Stamp that was first released in 2011.
I’m presently preparing for a solo exhibit this fall at Tiffin University in Tiffin, Ohio…my hometown. I’ll go from there to Wakefield, England where I’ve been invited to do a week long workshop on neon animation. I’m also working on a neon sculpture commissioned by Scaled Composite for their offices in Mojave, California.”
– Michael Flechtner, 1999 Mid-Career Fellow
Half of Dust and Half of Day, 2013, wood, tinned fabric and found objects over stainless steel animation armature
“For the last seven years I have been working on a single large work entitled, “The Tale of the Crippled Boy.” It is essentially a complex film project involving stop-motion animation. What makes it different from most similar films is that I work primarily alone to create all of the characters, sets, props, animation, photographs, and eventually the score and soundscape. Phase one of the project, “Three Fragments of a Lost Tale,” became the first major solo exhibition by a living artist at the Huntington Library in 2011. It traveled to the Portland Art Museum in 2012.
Part Two is currently underway and we are just beginning to think about a venue for the exhibition. There has never been any question in my mind that the FVA Grant has been helpful to me. It provided some needed funds at the time, but perhaps more importantly, has continued to add credibility to my career over time.”
– John Frame, 1995 Mid-Career Fellow
Harry Jr. Gamboa
Nancy, 2011, gelatin silver print, 14 in. x 11 in.
“The CCF Fellowship for Visual Artists provided me with support in developing several projects including the ongoing silver-based photography Chicano Male Unbonded series and also allowed me to become fully invested in the digital realm.
Recent museum exhibition venues of my photography include Le Musée d’Art Contemporain, Marseille (2013); Museo Universitario Arte Contemporáneo (UNAM), Mexico City (2013); Tate Liverpool, UK (2013); Museo del Palacio de Bellas Artes, Mexico City (2011); Los Angeles County Museum of Art (2011), and Centre Pompidou, Paris (2006).
In 2005, I founded Virtual Vérité, an ensemble performance troupe that I direct to produce fotonovela, audio drama, video, Internet, and live performance projects.
In 2013, Smithsonian American Art Museum, Washington, D.C., acquired several of my photographs for their permanent collection.
I am a member of the faculty at California Institute of the Arts, School of Art, Program in Photography and Media.”
– Harry Gamboa Jr., 1990 Mid-Career Fellow
Woman In String
“Last fall, I completed a short experimental film titled, Arbor, that I created during my CCF Fellowship year. Arbor has been presented at numerous festivals, including the 2012 New York International Film Festival’s Views from the Avant-Garde, the London International Film Festival’s Experimenta series, The Ann Arbor Film Festival, the S8 Festival (Spain) and the Oberhausen Short Film Festival. In February, I premiered a new multidisciplinary performance work Clouded Sulphur (death is a knot undone) to sold-out audiences at Automata in LA’s Chinatown Arts District. The film sections were developed as part of my Fellowship year. The CCF Fellowship allowed me time and space to focus intensely on these projects, and also widened my network of fellow artists and audiences. I’m currently preparing to tour my diorama-performance The Reptile Under the Flowers to New York, and finishing a new film.”
– Janie Geiser, 2011 Mid-Career Fellow
“The fellowship came at a very important time in my career and positively impacted my artistic career by providing resources to produce a major exhibition and upgrade my computer, digital storage, and photographic equipment. Thank you CCF.”
– Ken Gonzales-Day, 2007 Mid-Career Fellow
Lovers, 2012, mixed media on hand-cut paper, diptych, 39 in. x 26 in. each panel
“Over the past year the Fellowship has made a significant impact on my artistic career. As opposed to putting the funds towards one large-scale project, I elected to use it to help propel several projects throughout the year. I purchased several pieces of equipment, including a computerized paper cutter that I now use to create accurate scale models of proposed sculpture. This has increased my ability to create new works that were otherwise not possible and to resolve these works more quickly and accurately. I was also able to secure a large studio that I had initially rented on a temporary basis. Today, I am still in that studio where I am working on my first international solo exhibition, which opens in October in Dubai. Lastly and most importantly, these funds allowed me to have childcare throughout the year. Although this may not be the most glamorous use of the grant, it was essential in order for me to accomplish most of the work in the past year. The CCF Visual Artist Fellowship and Grant has made a significant impact on my artistic career and I believe it has propelled it forward into the next stage.”
– Sherin Guirguis, 2012 Mid-Career Fellow
Text Messaging: 1,000 Points of Might, 2008, installation, 3 ft. x 1000 ft. x 25 ft.
“This program has been a great opportunity to connect with old creative friends and meet dynamic new colleagues. The Fellowship was very helpful in leveraging local exhibition opportunities in Los Angeles, Long Beach and Claremont. It also supported me to develop projects with the Hammer Museum, LACMA, AIDS Project Los Angeles and a photo initiative with Native American teens. The Fellowship helped open up exhibition opportunities in Copenhagen, Greece, New York, Ohio, North Carolina, Minnesota and Michigan. I was also able to secure creative residencies in Philadelphia, Austin and San Francisco, and teaching opportunities in New York and Portland. Finally, support from CCF also allowed me to build a small financial cushion that has been very helpful in weathering the economic crisis.”
– Patrick Hebert, 2010 Mid-Career Fellow
F. Scott Hess
All the Goods of the World, (after Rubens' Drunken Silenus, Alte Pinakotek, Munich), 2013, oil and egg tempera on canvas, 6 ft. x 6 ft.
“In 1991 the Fellowship for Visual Artists allowed me to build a body of work around a year-long residency in the Islamic Republic of Iran. Some of those paintings will be on display again in a two-venue retrospective in the first month of 2014, one at the Begovich Gallery of the California State University-Fullerton the other at the Los Angeles Municipal Art Gallery. A 300-page book spanning my entire career will accompany the exhibitions. January 2014 will also see a solo exhibition of new work based on iPhone panorama shots, at Koplin Del Rio Gallery in Culver City. To round out the year, The Paternal Suit: Heirlooms from the F Scott Hess Family Foundation, a six-year family history project currently on a tour of Southern states, comes to the Long Beach Museum of Art in the Fall of 2014.”
– F. Scott Hess, 1991 Mid-Career Fellow
Petit Five, 2012, 40 roto-molded polyethylene modules, 24 in. x 58 in. x 53 in. each module. Installed in the courtyard of Hagerty Hall, The Ohio State University, Columbus, Ohio.
“My artistic output has chronicled the conflation of post-war industrial design and fine art through popular culture. From functional installations to discrete objects I have maintained an unflagging belief in the beauty of utilitarian design. I have explored traditional handicraft techniques and their polar relationships to fine art and craftsmanship to produce work that is unashamedly beautiful, a beauty integral to the limitations and specific characteristics of fabrication.
Receiving a CCF Fellowship in 1999 allowed me to begin utilizing digital technology to design elements for commercial fabrication. I divide my practice between labor-intensive studio work for exhibitions, and the digital design of commissioned projects that utilize industrial manufacturing processes. I persevere in my thirty-year endeavor to conflate camp strategies and the tenets of modernism by reinvesting in exhausted modes of expression. My work is in formal discourse with its site-specific architectural setting addressing pragmatic issues of function and materials.”
– Jim Isermann, 1999 Mid-Career Fellow
Tran T. Kim-Trang
Landless in Second Life, 2010, 3-channel video installation
“The FVA enabled me to complete my Blindness Series of eight experimental video shorts exploring blindness and its metaphors. This achievement was a highlight in my career. Since then, I have exhibited a three-channel video installation titled Landless in Second Life, where I created an Afterlife for my mother in the virtual world of Second Life. I am currently working on a series of casual games titled Arizona 9 about how a girl’s murder led to the demise of the border-watch movement.”
– Tran T. Kim-Trang, 2003 Mid-Career Fellow
A Notorious Possession-Extra Gold House, digital media, squatted house, gold paint
“I cannot thank you enough for the most generous and timely infusion of support that the CCF grant provided. Your grant gave me a clear turning point in my practice that remains generative to this day.
After using initial funds to help stabilize pressing finances in my household, I then put the balance towards an unwieldy and ambitious project titled “A Notorious Possession”. This personal and topical socio-economic project about the convolutions of home ownership involved taking possession of an abandoned house in the midst of the foreclosure process for approximately six months. After doing a few art installations and performances on site, I then painted the entire exterior of the house from roof to foundation gold. This work led to numerous tangents and additional opportunities that have permitted me to explore my subjective voice conjoined within socially engaged work and embrace all the messiness such fusion of art and and life provides. “
– Olga Koumoundouros, 2012 Mid-Career Fellow
It's Not a Butter, 2013, hand-colored aluminum, 15 1/2 in. x 12 3/4 in. x 1 3/4 in.
“For me, the California Community Foundation grant has been holistically beneficial. I was able to move next-door into a larger studio (so much better!) and have been engaged in an experimental process of production with a local foundry through which I am producing an exciting and important body of work. I curated a successful group show and expect to continue this type of collaboration as a sort of nomadic venue.
The grant has also provided me with financial stability. Although I love my current studio, unexpectedly the arrangement became tenuous. Knowing that if it becomes necessary I have the funds to relocate with minimum impact on my production has been a great relief.
I’m amazed at my luck looking back on being a CCF fellow and looking forward into the coming months as I continue to bring projects to fruition thanks to the support of the California Community Foundation.”
– Nick Kramer, 2012 Emerging Fellow
The Absent Stone, 2013, 35 mm film, 82 minutes
“Since receiving the CCF Fellowship for Visual Artists in 2002, I have completed two short experimental films, two feature-length documentaries, three books, and numerous curatorial projects. The most recent film, The Absent Stone, focuses on the removal and subsequent replications of a colossal pre-Hispanic rain deity taken from a small Mexican town to the National Museum of Anthropology in Mexico City. The documentary uses this story as a way to explore struggles over heritage and artifacts, contrasting diverse perspectives within the contemporary debate about cultural property and the stewardship of the past. My previous film, Atomic Sublime, is a feature-length found footage collage essay that engages the history and politics of modern art in the United States. The CCF Fellowship helped me both with the expenses associated with completing the costly post-production of two earlier short films and by providing the kind of recognition that helps bring to fruition ambitious projects.”
– Jesse Lerner, 2002 Mid-Career Fellow
Won Ju Lim
24 Seconds of Silence, 2008, mixed media sculptures and 5 video projections, dimensions variable. Ullens Center for Contemporary Art, Beijing. Photo: Sun Jianwei. Courtesy of Guy & Myriam Ullens Foundation, Geneva
“I received a grant from California Community Foundation back in 2004 as an emerging artist. The grant was not just a great financial support; I felt recognized by the community that I am part of. Since then, I have had an active international career exhibiting in galleries and public institutions including Museum of Contemporary Art, Los Angeles; Jaffe-Fried Gallery, Hanover; Vancouver Art Gallery, Vancouver; Hammer Museum, Los Angeles; Museum of Art, Seoul; Ullens Center for Contemporary Art, Beijing; Schirn Kunsthalle, Frankfurt; International Incheon Women Artists’ Biennale, Incheon; DA2 Domus Artium, Center of Contemporary Art, Salamanca; Art and Landscape Biennial of the Canaries, Fuerteventura; ZKM Museum fur Neue Kunst, Karlsruhe; Wexner Center for the Arts, Columbus; Museum der Moderne, Salzburg; Museum Haus Esters, Krefeld; Patrick Painter Inc., Santa Monica; Galerie Max Hetzler, Berlin; Haunch of Venison, New York; Parra & Romero Galería de Arte, Madrid; and Emily Tsingou Gallery, London. In addition, CCF grant has opened the door for more grants such as Korea Arts Foundation of America for Visual Arts and Rockefeller Foundation Media Arts Fellowship. More recently, I was granted Henry L. and Natalie E. Freund Teaching Fellowship from Washington University in St Louis.”
– Won Ju Lim, 2004 Emerging Fellow
“My career has kept going strong. The Fellowship has helped immensely to make this happen. I’ve curated three shows in the past two years, including Open your Eyes/A survey of L.A Chicano Art at the Muckenthaler Cultural Art Center in Fullerton and Seven Beauties at Avenue 50 Studio, which were well received and generated good media attention. In 2012 a Metro Expo station featuring my artwork opened on La Brea and Exposition. I’ve self published two illustrated novellas, A Wedding Tale and The Amazons from El Paso, the latter turned into an exhibit of art from the book. Cinco Puntos Press based in El Paso published my bilingual children’s book Once Around The Block in 2010 and read at the Texas Book Festival, the same year. Currently Iam working on other book projects and a play. My painting is of course top priority. I’m currently working on a series inspired by Watteau’s opulent yet very humanistic imagery. Thank you California Community Foundation.”
– Jose Lozano, 2006 Mid-Career Fellow
Shitpipe Explosion @ The China Outpost 10feb12, 2013, video, 23 min. 31 sec.
“Through the generous fellowship, I built a self-imposed sweatshop entitled The China Outpost at the basement of a defunct art gallery on Chung King Road. There, I repurpose discarded materials and stored them away for their eventual use as the core building material to reconstruct my ancestral house. I occupied the space from October 2011 to December of 2012 and have since relocated the sweatshop project to the back of a shop-front gallery within a derelict shopping plaza also in Chinatown. I’m in the process of pollinating mobiles of The China Outpost within parking lots of big-box stores throughout Los Angeles. The use of my pick-up truck creates a socio-cultural intervention that exposes the parking space to conversations about labor and the absurd spectacle of our consuming world. Without a doubt, CCF has not only provide monetary support but more important, CCF foster a sense of community amongst my mentors and peers.”
– Nuttaphol Ma, 2011 Emerging Fellow
Fumarolas, 2011, 29 in. x 20 in., oil on panel
“With the help of the CCF Fellowship, I found enough time to develop a body of work which culminated in my first solo show in 2006. It was a carving out and refining of ideas that I had been working with for several years. Since then, I have embarked on the much trickier task of embracing alternate modes of art-making in order to develop a more flexible and generative approach to painting. Still deeply invested in the possibilities and curiosities of abstraction, perception, and the experience of looking, I enjoy the struggle of making surprising and strange objects with paint.”
– Susanna Maing, 2005 Emerging Fellow
Listening as (a) movement (detail), 2013, public art installation at Side Street Projects, Pasadena, CA, horns, satellite dishes, metal, wood, hoses, ear cups
“The Fellowship helped my art practice become more visible to a broader audience of arts professionals and arts appreciators. My 2009 award came at a formative stage of my career, as I had recently graduated from graduate school in 2007 and was struggling to create large-scale works with little financial or institutional support. The monetary support allowed me to finish a major artwork I had been working on for three years, entitled “Can’t Afford the Freeway” (2010) which I exhibited at one of the most prestigious venues in Los Angeles, the REDCAT gallery in the group exhibition “Never very far apart” (2010) curated by Ryan Inouye (assistant curator at the New Museum, New York). The connections I made with the community of CCF fellows during my fellowship have only grown through the years and I continue to meet new people through CCF functions.”
– Elana Mann, 2009 Emerging Fellow
How I Learned to Draw, 2012
“These past 17 years my work has been featured in exhibitions at the Getty Museum, the Whitney Museum, the Regional Museum of Guadalajara, the Southwest Museum, three shows for Los Angeles Cultural Affairs at LAX and the Pacific Standard Time exhibitions at LACE. Most recently I’ve been painting on paper-backed velvet with enamels, inks and markers with the content inspired by observations of homeless people’s bedding; specifically their sleeping bags and assorted rags. My performance work is autobiographical. I integrate film, music, and use other artists as performers. When I received my fellowship I was broke and had lost my studio. The grant and fellowship helped me find another studio, complete the work I needed for an upcoming show, and continue on my path.
I have enjoyed being part of the FVA community.”
– Barry Markowitz, 1996 Mid-Career Fellow
John David O'Brien
Meander, 2013, drawing, digital and film photography, steel, paper. Photo credit Robert Wedemeyer. Courtesy of the artist and Causey Contemporary, NY
“The CCF grant came at a particularly important time for me in that I was preparing for an exhibition of new hybrid 2D and low relief media in Rome and a large scale project room installation at the PMCA. Both in terms of the time and financial support the grant provided, along with the honor of being a fellow, greatly facilitated this intense period of art making. It was thanks to the grant that I was also able to travel to Rome where I could, in the course of the exhibition at the Temple University Gallery, visit and update friendships and professional contacts dating back to the years I lived there. The CCF grant was essential to my work as an artist and art world contributor this year. With its support I was able to more fully realize plans that had been in the making for some time but that needed the extra resources and, for that, I will always be grateful.”
– John David O’Brien, 2012 Mid-Career Fellow
The Plants Are Protected, 2012, wood, necklace chain, paint
“I am currently working on a feature length film and series of objects called The Tuba Thieves. A poetic portrait told equally through sound and image, The Tuba Thieves is my second feature. Over the past several years, a string of tuba thefts in Los Angeles area middle and high schools has been attributed to the high price Tubas bring on the black market. The Tuba Thieves began as collaborations between myself and three composers and draws attention to communication and interaction – between people, and also between species and worlds, and sound and silence. Receiving the FVA in 2011 engendered a huge shift in my work at the time. I was incredibly close to the finish line on my first film, but the project was stalled due to a lack of funding. At the time, I was worried that I had created a very expensive hard drive and unfinished film. The fellowship allowed me to acquire the equipment I needed to finish the project, as well as the time and independence, and led to many other opportunities.”
– Alison O’Daniel, 2011 Emerging Fellow
Nocturne, 2012, charcoal, ink, xerox transfer, collage and hand-drawn animation on wall,
installation view, “Drawing Surrealism,” October 21, 2012–January 6, 2013
Los Angeles County Museum of Art, photo © 2012 Museum Associates/LACMA.
“Since being awarded a California Community Foundation Visual Art Fellowship in 2005, I have expanded my studio practice to include hand-drawn animation. In 2012, my first animated project entitled “”Nocturne”” was installed at LACMA as part of the “”Drawing Surrealism”” exhibition. In “”Nocturne”” I combined drawing, collage and animation to layer images of broken sculptures, disembodied eyes, botanicals, birds, night skies, and rainstorms that evoke a series of shifting narratives. Nocturne was recently presented at VOLTA NY and will travel to the Boulder Museum of Contemporary Art in June 2013 as part of “”Cut and Paste”” an exhibition examining contemporary collage. Upcoming solo exhibitions include Traywick Contemporary in Berkeley (September 2013), Mixed Greens in NYC (September 2014) and the Pasadena Museum of California Art (September 2014). The CCF Visual Art Fellowship provided validation/recognition and financial support at a critical juncture in my career. “
– Stas Orlovski, 2005 Mid-Career Fellow
Bottleneck, 2011, video
“The CCF Fellowship for Visual Artists had a big impact on my work, not only from the resources the fellowship provided, but also the recognition and encouragement that I needed at that moment in my career. My work has shown in several exhibitions and screenings since I received the fellowship in 2010 including the MoMA Documentary Fortnight 2012: MoMA’s International Festival of Nonfiction Film and Media (New York), Christopher Grimes Gallery (Santa Monica), UMOCA Utah Museum of Contemporary Art (Salt Lake City), Künstlerhaus Bethanien (Berlin), Shoshana Wayne Gallery (Santa Monica), Museum of Modern Art Rio de Janeiro (Brazil), Souvenirs From Earth (Cable TV in France), and a solo exhibition at Steve Turner Contemporary (Los Angeles). This fellowship was invaluable to my development as an artist at a critical moment in my career.”
– Julie Orser, 2010 Emerging Fellow
Untitled (Street Performances), Broad Museum Concept Sketch, 2012, 11 in. x 16 in., ink jet print, mason line. Courtesy of Ed Gomez
“Since receiving the CFF Fellowship for the Visual Arts Grant in 2011, I’ve embarked on a new iteration of the Untitled (Street Performances) series investigating architectural construction sites as social manifestations of power and capital. I intervene within selected sites by climbing them and tracing the movement of my body with Mason Line, an architectural material used to site level and plumb, creating a three-dimensional drawing that challenges the grid on which the building is based. By re-inserting my body back into the building under construction, I upend the structure’s relationship to the individual in political, conceptual and formal levels.
The CCF grant was, primarily, an assertion that my practice was valued and supported by my peers. It provided much needed financial support while I was transitioning between teaching positions. It also provided funds for performances in Istanbul (2011) and Buenos Aires (2012), allowing me to expand the scope of my work to a wider political context.”
– Nancy Popp, 2011 Mid-Career Fellow
“As an Emerging Artist recipient in 2001, the fellowship opened my work to a larger audience in Los Angeles. It validated and reaffirmed that what I was doing was important and relevant. The recognition gave me more opportunities to work with organizations in Los Angeles and encouraged me to look into other awards/commissions/grants from foundations and organizations in and outside of Los Angeles. The grant funds allowed me to upgrade my studio infrastructure.”
– Jose Ramirez, 2001 Emerging Fellow
Here the Poets Chop Their Fingers Served Under Glass, 2012, mixed media installation (detail), dimensions variable
“I was fortunate to receive the CCF Fellowship for Visual Artist grant in 2010. I had been out of graduate school for three years and was struggling like many young artists during that period. As politically and socially, it felt like we were (as a country) collectively going down the tubes. It was a difficult time and I was months into being a first time father as well. The grant was crucial. It kept me afloat. It kept us afloat. It gave me security at that moment and validated my practice. I planted seeds with it. Stretched it as far as I could. Feed my child. Did a lot of research. I even rented a church for a night and put on a show of my colleagues work within it. I experimented on all fronts. Since then, I’ve showed pretty consistently. I have done residencies at both 18th Street Art Center and the Hammer Museum. I was in the first “Made in L.A.” biennial last year and as a result, the Hammer acquired some of my work for their permanent collection. I still struggle. But the work that I do as an artist is being accounted for, too late to stop now.”
– Vincent Ramos, 2010 Emerging Fellow
Tijuana Interactive workshop, 2011, mixed media/performance, 32 in. x 30 in. x 18 ft.
“The Fellowship has allowed be to travel around the country and engage youth, women, the disabled, and Latino immigrants in the planning process. I use my art practice to create an inclusive, safe zone for people to share ideas on how to improve their community.
Around the United States the Latino population is growing rapidly and there is a need to create a civic discourse on how to improve the health and well-beings for these communities. I have been working in urban, suburban and rural communities all over the US.
My art is a strategic too to build better cities because it helps communities create collective values that inform the planning and zoning process.”
– James Rojas, 2012 Emerging Fellow
LA. Tales, 1993, 8 ft. x 5 ft. x 1 ft., fired ceramic, wood, acrylic paint
“The FVA grant enabled me to pursue my work. The pieces created sold and that gave me the finances to go on a long cross country trip, photographing images of the various towns and landscapes as references for future art projects. I am presently in talks with KCET TV on an art show I created, “”Artist on Art- LA””. The show will be hosted only by artists and college art teachers thru out the Los Angeles area.”
– Mel Rubin, 1991 Mid-Career Fellow
A Brief History of Slavery: Jim Crow Brand, 2008, acrylic on canvas
“The Fellowship for Visual Artists came just as I was moving from teaching, into making art full time. It provided support for a large multi-painting work “”Postcards from Camp,”” that was shown in the 46th Biennial (2000-01) at the Corcoran Gallery of Art. Since then, my efforts have been directed toward several series of small canvases with social/political themes, including “”The Unauthorized History of Baseball,”” and “”A Brief History of Slavery.”” I think the FVA, and especially its fortunate timing, played a significant part in determining my current career path. This year, I’ve been working on some smaller multi-painting pieces, trying out a slightly different format than I’ve used before.”
– Ben Sakoguchi, 1997 Mid-Career Fellow
Overland 14, 2011, cyanotype, ink, pencil, pigment on cut paper 96 in. x 138 in.
“My recent monumental constructions and drawn collages are informed by patterns of urban organization. The fragility of geology, ecology, culture, and history in a contemporary city such as Los Angeles provides a complex subject. I see drawing’s potential as an open-ended medium; flexible enough to undertake a range of images. Multiple points of view are seamed together using an accumulative and subtractive process of layering and collage. While locations generate information to draw from, actual viewing sites establish a spatial context. In my work I seek to employ architectural thresholds to frame shifts in light, perception, and movement.
Following my grant in 2010, the recognition and opportunities for my work have expanded tremendously. In 2011 the Los Angeles Times published a feature article about my work by Holly Myers. Monumental drawings were acquired by Yale Art Gallery and Los Angeles MOCA. I received a grant from The OC Contemporary Collectors Foundation and three international residency fellowships: in Italy at The Bogliasco Foundation and The Siena Art Institute, and in Spain at The Center for Contemporary Art. I have recently been commissioned by US Art and Embassies to create an installation for the Ecuadorian consulate. In October 2013 a solo drawing project for the UC Santa Barbara Museum of Art, Architecture, and Design opens concurrently with a one-person exhibition at Lesley Heller Workspace in NYC. “
– Fran Siegel, 2010 Mid-Career Fellow
Softwear, 2013, nylon, metal, purpleheart, paduak wood
“My most recent sculpture is on view currently in the “”Freeway Studies #1: This Side of the 405″” exhibition at the Ben Maltz Gallery, Otis College of Art and Design. I have been invited to participate in “”The Armory Show and Tell”” at the Armory Center for the Arts in Pasadena, where I will make a public presentation of my recent series “”Quantum Shirley”” in August. In October, Claremont Graduate University will host the second round of ReMODEL: Sculpture Education Now, a research project on contemporary sculpture pedagogy designed by me and Terri Friedman. There will be a symposium and an exhibition for ReMODEL 2.
The FVA fund has been pivotal in supporting all aspects of my studio practice in the past year, including studio rental, investment in new machine tools in my studio, material supplies and studio assistance. It relieves me of the need to look for extra work aside from my teaching job and affords me more focused time in the studio.”
– Shirley Tse, 2012 Mid-Career Fellow
Effulgence of the North
“Awarded during a critical time of transition in 2006, the Fellowship allowed me to deepen my commitment to the creation of immersive artworks and environments through a nonprofit institution I founded in the year 2000. Dedicated to pre-cinematic phenomena and other art forms which have fallen to the fringe of the public’s embrace, The Velaslavasay Panorama has recently presented Appalachian folk music, a graphic novel-inspired puppet show, illustrated lectures from international media scholars and excerpts from traditional Chinese opera. I am currently investigating other panoramas from recent times, specifically those created in China and the DPRK. I am also developing a new 360-degree work which will be unveiled in coming years and placing emphasis on smaller works which exist outside of the realm of my efforts with The Velaslavasay Panorama.”
– Sara Velas, 2006 Emerging Fellow
Mary K. Weatherford
Ruby 1 (Thrifty Mart), 2012 and Ruby 2 (Thrifty Mart), 2012, flashe, neon on linen, 93 in. x 79 in.
“For the past few years my work has encompassed Cave Paintings of Pismo Beach to Neon Paintings based on impressions of the New York cityscape. The new work expands my ongoing exploration of specific sites as source material. Light and color translate the vibrancy of experience to a concrete present.
The CCF FVA award provided me with an immeasurable ability to operate creatively, visiting sites to develop my series of cave paintings that led to a solo show in 2008 at Brennan & Griffin. Through the support of the grant, I had unrestricted access to time and space that could not be afforded otherwise. The grant sustained me to engage freely in both my studio and site-specific locales, leading to some of my most accomplished work to date. “
– Mary K. Weatherford, 2008 Mid-Career Fellow
Still Life Installation
“I received the Fellowship for Visual Art in 1993…..it hardly seems like 20 years has passed. I have exhibited in New York City and Stockholm, at Dirt Gallery in Los Angeles and in a steel scrap yard in Linz, Austria. I have been honored to present my work at the Los Angeles County Museum of Art and the Kappa Museum in Prague.
Some of the same issues occur in my work; the body and the human condition but has evolved to include issues of artifice and the natural world, reflections of a more mature artist.
I have been able to experiment with materials and practices. I learned the art of taxidermy and continued to pursue my love of handicrafts.
The Fellowship for Visual Art came at a time in my career that propelled me forward both personally and professionally. It provided the necessary funds to make art and the confidence that my dedication to my work was supported.”
– Liz Young, 1994 Mid-Career Fellow
Episodic, 2013, iPad and iPhone app
“I released my latest iPhone/iPad app “Episodic” in May 2013. “Episodic” continues my exploration of this platform as a viable medium for art. In “Episodic” short video animations can be resized and repositioned on the screen allowing users to create their own narratives. In January 2013 put together an exhibition entitled Poetic Codings for the Fellows of Contemporary Art where I presented the work of eight artists who are making apps as artworks. This exhibition traveled to Boston where it was on display at the Boston Cyber Arts Gallery. My app 4 Square (released in May 2012) has been downloaded over 20,000 times. Interested in how apps relate to books and to flat artworks, I created an artist’s book entitled “if” that features 40 of the images in the 4 Square app. These images have been transformed into gouache on paper paintings as well as into small digital photographs which I exhibited in an exhibition entitled Transitions at dnj Gallery from April 20 – June 1, 2013.”
– Jody Zellen, 2012 Mid-Career Fellow
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