HISTORY OF PHOTOGRAPHY, PHOTO - 1 JOEY LEHMAN MORRIS M/W, 9:30 – 10:50 AM (Rancho Campus) CAA 211 (Rancho Campus) FALL, 2016 Chaffey College Joseph.Morris@chaffey.edu http://chaffeyphotohistory.weebly.com OFFICE HOURS, M/W, 10:50 – 11:30 AM (Rancho), by appointment COURSE DESCRIPTION History and appreciation of photography as a medium of artistic and social communication. No lab access with this course.This course will travel along a seemingly chronological path through the history of photographic arts and their accompanying processes, stressing material issues with corresponding philosophical and social movements. Initially focusing on Europe and the United States, our study will narrow the perceived separation of materiality and technology with geographic and social contexts and will also address the technology and its usage as a “breakthrough” because of a transition in human perception and consciousness. Although the role that photography has assumed in society will be a fundamental concern, the emphasis of the course will center on the medium and its users contribution to the arts and visual culture.

REQUIRED TEXTS There are no required texts for this course. All readings will be distributed in PDF form via the class website. A detailed list of recommended readings further elaborating the subject can be provided at the request of interested students.

COURSE POLICIES AND REQUIREMENTS Being an active, punctual, productive, and thoughtful participant is essential for this course to function as intended. Note the suggestions and policies listed below. Participation: Because much of the content of this course will be taught via class discussions, lectures, and activities, regular participation are crucial for a full understanding of course material. You are expected to attend all classes, arrive on time, and contribute to the class on a daily basis. If you miss three consecutive classes, I will contact you. If I do not receive a response, you will be dropped. Missing and Late Assignments: All assignments are expected on their due dates regardless of attendance. Work that is handed in late will be accepted with a penalty of reduced points. Work that is turned in within seven days of the assigned due date will forfeit 25% of the maximum credits possible. Unfortunately, I cannot accept work that is submitted later than seven days from the due date. Statement for Students With Disabilities: Reasonable accommodation will be provided to any student who is registered with the Office of Students Services and requests needed accommodation. Academic Integrity: Plagiarism can neither be justified nor condoned. Plagiarism is the use of ideas and/or quotations (from the Internet, books, films, television, newspapers, articles, the work of other students, works of art, media, etc.) without proper credit to the author/artist. While the argument in a paper can be enhanced by research, students are cautioned to delineate clearly their own original ideas from source material. Students should introduce source material (either quoted or paraphrased); note when the source material ends; and provide citations for source materials using standard documentation formats.

Controversial Materials: We will examine images and reading material that may seem violent, sexually explicit, or offensive to you. Many Modern and Contemporary artists deliberately make work to provoke or their viewers. Though the class will not shy away from the critical examination of such challenging imagery and ideas, I do welcome your feedback and any frank discussions that may result from its introduction.

STUDENT LEARNING OUTCOMES Upon the successful completion of PHOTO 1, (grade C or higher), students will professionally critique art, fashion, and advertising imagery. Upon the successful completion of PHOTO 1 (grade C or higher), students will demonstrate a critical understanding of cultural and social diversity through written and oral discussions that compare and contrast imagery from around the world. Upon the successful completion of Photo 1 (grade "C" or higher), students will engage in original thinking through oral discussion and written synopsis of their own beliefs regarding the role of photojournalistic reportage and ethical responsibilities in politically charged situations. LEARNING OUTCOMES 1. Explain ways in which history corresponds to photographic art and art to history. 2. Demonstrate a comprehension of the varying movements and their legacies in the field of art history. 3. Contextualize 19th, 20th, and 21st century photographic art in terms of historical, social, and political events and

ideas, while contextualizing the medium within the broader spectrum of art. 4. Discuss different forms of art photography in an informed, analytical, and visually critical way. 5. Evaluate works of art from different points of view, through their own analysis and the use of primary and

secondary texts. ASSESSMENT AND GRADING Work that merits an A grade must be pushed to levels of excellence in all categories. In order to receive an A grade, your work must exceed expectations and requirements for the assignments. Work that merits a B grade must be well-conceived, demonstrating consistent effort, technical proficiency, intellectual development and exchange, timeliness, and interest. Work that merits a C grade is considered average. C work may demonstrate base-level technical development, or may be intellectually underdeveloped, show inconsistent effort and/or participation. Work that merits a D grade is unable to demonstrate necessary development of ideas and skills. Work that merits an F grade is unacceptable. F work lacks effort, the development of ideas and skills, is missing/late. OVERVIEW OF ASSESSED COMPONENTS 100) credits total Class Participation, discussion, and presentation, 20% Written Project #1 (midterm), 30% Written Project #2 (final), 40% Image presentation (final week), 10%

STUDENT SUCCESS CENTERS Chaffey College has created a network of Student Success Centers – offering free tutorials, workshops, learning groups, directed learning activities, and computer/resources access – to assist students in their academic development and success. Chino Campus Success Center

Multidisciplinary Success Center (CHMB-145) 909-652-8150 Fontana Campus Success Center

Multidisciplinary Success Center (FNFC-122) 909-652-7408 Rancho Campus Success Centers Language Success Center (BEB-101) 909-652-6907/652-6820

Math Success Center (Math-121) 909-652-6452 Multidisciplinary Success Center (Library) 909-652-6932

A current Chaffey College photo ID card is required for all Success Center services. Walk-ins are welcome, and advanced appointments are available for most services. Call the centers or consult the college website at www.chaffey.edu/success/ for more information. Online appointments: https://chaffey.mywconline.com/

WIGNALL MUSEUM OF CONTEMPORARY ART The Wignall Museum of Contemporary Art serves as a learning lab featuring temporary exhibitions of innovative contemporary art throughout the year. Exhibitions and programming are organized with our students in mind in order to augment their academic experience by complementing the college’s curricula and broadening the understanding of contemporary art. Our exhibitions allow visitors to see and experience a variety of contemporary artistic practices that examine timely and relevant topics. http://www.chaffey.edu/wignall/exhibitions.shtml MISSION STATEMENT Chaffey College inspires hope and success by improving lives and our community in a dynamic, supportive, and engaging environment of educational excellent, where our diverse students learn and benefit from foundation, career, and transfer programs. VISION STATEMENT Chaffey College: Improving lives through education WHEN CONTACT ME VIA EMAIL, TYPE THE FOLLOWING THE SUBJECT HEADING, “CHAFFEY (Rancho, or Fontana, PHOTO HISTORY” I work at several other campuses and with many other students. If you do not identify yourself in the subject heading, it may get buried or sent to junk folder.

SCHEDULE:

William Henry Fox Talbot, photogenic drawing, c 1830’s

WEEK 1 Monday, Aug 15 Introduction Meet and greet Round table: What kind of experience do we expect from viewing a photograph? Wednesday, Aug 17 Pictorial Syntax: From printmaking to the Camera Obscura, on Into Digital Imaging. William Hyde Wollaston (1807), Mozi and Aristotle. Panoramas, Printmaking (Dürer vs. Mantegna), Magic Lantern, Camera Obscura and Camera Lucida. Vermeer et cetera. 08/17 Reading due 8/22: William Henry Fox Talbot, The Pencil of Nature.

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WEEK 2 Monday, Aug 22 Pioneers and First Attempts Science experiments, copyrights, logistics, and politics Niepce, Daguerre, Talbot, Bayard, Herschel Gothic Revival 08/22 Reading due 08/24: Naomi Rosenblum, New Technology, New Vision, New Users (1875 – 1925). Wednesday, Aug 24 A Subject Formation: The Body and the (re)Birth of Couture Carte de Visitie, Virginia Odalini, Castiglione, Lewis Caroll, Julia Margaret Cameron, Lady Haywarden, Nadar, Etienne Carjat, Adolph Disderi, Sarony, Brady, Humbert de Molard, Antoine Claudet, Richard Beard, John Mayall, Antoine Moulin, Dr. Hugh Welch Diamond (portraiture and scrutiny) 08/24 Reading due 08/29: Graham Clarke, Photography and the Nineteenth Century.

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WEEK 3 Monday, Aug 29 A Subject Formation: Portraiture, Law, and Medicine (CONTINUED) 08/29 Reading due 08/31: Mary Warner Marien, Science and Social Science, from Photography: A Cultural History Wednesday, Aug 31 A New Way of Seeing: Westward Expansion and Wanderlust The Daguerreotype, the Telegraph, Hill and Adamson, Fenton, Frith, Braun, Marville, Evrard, Le Gray, Le Secq, Negre, Edouard Baldus, \O’Sullivan, W.H. Jackson, Watkins, Gleason Civil War in America – Landscape in transition. 08/31 Reading due 09/07: Joel Snyder, Territorial Photography.

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WEEK 4 Monday, Sep 05 LABOR DAY, NO MEETING TUESDAY, SEP 06 – LAST DAY TO DROP WITHOUT A “W” Wednesday, Sep 07 A New Way of Seeing: Wanderlust (CONTINUED) Ethnography and Race in the 19th C

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WEEK 5 Monday, Sep 12 (Mise-en-scène) A Question of Art Versus Machine? Art Photography and Allegory. Delacroix, Durieu, Moulin, Reijlander, Henry Peach Robinson, Thomas Eakins, Lady of Shalott, Combine Printing techniques, Clichet Verre. Introduction to the dry plate – and then came Kodak. Changes in painting and the birth of Pictorialism. 09/12 Reading due 09/14: Christian Joschke, Amateurism and Cultural Change Wednesday, Sep 14 Looking Toward the 20th Century Pictorialism at its peak. Emerson, Demanchy, Kühn, Steiglitz, Coburn 09/14 Reading due 09/19: Phillip Prodger, A Transatlantic Art: European Pictorialism in the United States

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WEEK 6 Monday, Sep 19 Photo Secessionists to Straight Photography Abbott, Atget, Strand, Sheeler, Steichen, M. Watkins, Outerbridge, Steiglitz, Marjorie Content. New Visions and Neue Sachlichkeit: Renger-Patzch and Saunder 09/19 Reading due 09/21: Walker Evans, Brooms. 09/19 Reading due 09/21: Beaumont Newhall, Straight Photography MIDTERM PAPER ASSIGNED, Due Oct 3. Wednesday, Sep 21 Social Documentary, and then the FSA Mayhew, Annan, Brandt, Riis, Hine, Evans and Agee, Lang, Parks, Bourke-White, W. Smith, onward and et cetera 09/21 Reading due 09/26: Naomi Rosenblum, Documentation: The Social Scene

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WEEK 7 Monday, Sep 26 Experiments Lartigue, Duchamp, Dada: Schwitters, Ernst, Höch, Constructivism: Moholy-Nagy, Rodchenko, Penson, Ignatovich, Surrealism: Boiffard, Cahun, Ray, L. Miller, L.A. Bravo, Kallmus, Kertesz, Halsman, Maar, Lotar, Bayar, Deren Futurism: Bragalia, Sansoni, Gramaglia, Kesting, and Wulz. 09/26 Reading due 09/28: Graham Clarke, The Photograph Manipulated Wednesday, Sep 28 Experiments (CONTINUED) Lartigue, Duchamp, Dada: Schwitters, Ernst, Höch, Constructivism: Moholy-Nagy, Rodchenko, Penson, Ignatovich, Surrealism: Boiffard, Cahun, Ray, L. Miller, L.A. Bravo, Kallmus, Kertesz, Halsman, Maar, Lotar, Bayar, Deren Futurism: Bragalia, Sansoni, Gramaglia, Kesting, and Wulz. 09/28 Reading due 10/03: Beaumont Newhall, In Quest of Form

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WEEK 8 Monday, Oct 03 MIDTERM PAPER DUE A Battle against the tide of Oppressive Pictorialism. “Final” Images of the “West.” Noskowiak, Van Dyke, Adams, Weston, Swift, Edwards, Cunningham ||| Lavensen, Holder, Kanaga 10/03 Reading due 10/05: Graham Clarke, Landscape in Photography.

Wednesday, Oct 05 Apogee of Modernism Family of Man, Penn, White, Bravo, Porter, Siskind, Callahan, De Carava, Avedon, Frank, Metzker 10/05 Reading due 10/10: Mary Warner Marien, The West and the Cold War, from Photography: A Cultural History

____________________________ WEEK 9 Monday, Oct 10 Picturing the City Steiglitz, Hine, Frank, Friedlander, Winnogrand, Levitt, Weegee, Evans, John Thompson, Brassai, Reed, Robertson, Scales, Fennar 10/10 Reading due 10/12: Susan Sontag, America Seen through Photographs, Darkly. Wednesday, Oct 12 Picturing the Figure From Arbus to Mapplethorpe 10/12 Reading due 10/17: John Berger, The Uses of Photography.

____________________________ WEEK 10 Monday, Oct 17 Uses of Photography: Dematerialism and Ol’ School Conceptualism Kosuth, Huebler, Barry, Acconci, Long, Oppenheom, Cumming, Wegman, Josephson, Baldessari, Ruscha, Kawara, Ruppersberg, Piper, Nauman, LeWitt, Broodthaers, Feldman, Graham, Klein, Polke, Heinekin, Smithson, Van Elk. 10/17 Reading due 10/19: Douglas Fogle, The Last Picture Show: Artists Using Photography, 1960 – 1982. Wednesday, Oct 19 Uses of Photography: Dematerialism and Ol’ School Conceptualism (CONTINUED) Landscape and Color Porter, Christenberry, Eggleston 10/19 Reading due 10/24: Robin Kelsey, Playing Around Photography.

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WEEK 11 Monday, Oct 24 SCREENING: Eggleston

Wednesday, Oct 26 New Topographics: Contemporary Landscape in America Adams, Baltz, Bechers, Deal, Gohlke, Nixon, Schott, Shore, Wessel 10/26 Reading due 10/31: Frank Gohlke, Photography and Place: The Concord Photographs of H. W. Gleason. FRIDAY, OCT 28 – LAST DAY TO DROP WITH A “W”

____________________________ WEEK 12 Monday, Oct 31 The Pictures Generation: Crimp and the Next Generation Conceptualists Brauntuch, Goldstein, Levine, Longo, Smith, Ader, Boltanski, Fischli and Weiss, Kruger, Prince, Ray, Welling, Snow. Wednesday, Nov 02 Materials Kasten, Pinkel, Welling, et cetera

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WEEK 13 Monday, Nov 07 Again, to Examine The Figure Mann, Sherman, Goldin, Clark, Witkin, Antin, Conner, Export, Piper, Rosler, Warhol, Penone, Wilke, Callis, Woodman 11/07 Reading due 11/09: Mary Warner Marien, The Postmodern Era, from Photography: A Cultural History Wednesday, Nov 09 ACT UP, Culture Wars and Identity Politics Wojnarowicz, Bordowitz, Gran Fury, Silence=Death Asco and Gamboa, et cetera 11/09 Reading due 11/16: Lucy Lippard, Too Political? Forget It. FINAL PAPER ASSIGNED AND DISCUSSED, Due Monday, December 12 (No late papers will be accepted) Friday, Nov 11

FRIDAY || 11/11 || FIELD TRIP || SAVE THE DATE ____________________________

WEEK 14 Monday, Nov 14 NO MEETING - FINAL PAPER RESEARCH DAY (No late papers will be accepted) (Please try to come to the field trip on Friday 11/11 instead) Wednesday, Nov 16 Neo-Conceptualism: The 90’s - Another Surge in Constructed Imagery. (a revisitation of painting in the Neo-Neo-Baroque). Demand, Wall, Lockhart, Sherman, Douglas, Graham, Struth, Ruff, Dijkstra, Wearing, Sugimoto, Burchfield, Flick, Moulin, Baumgarten, Hido, Morell, and more. 11/16 Reading due 11/21: Jeff Wall, Frames of Reference.

____________________________ WEEK 15 Monday, Nov 21 Neo-Conceptualism (continued): The 90’s - Another Surge in Constructed Imagery (Continued). (a revisitation of painting in the Neo-Neo-Baroque). Demand, Wall, Lockhart, Sherman, Douglas, Graham, Struth, Ruff, Dijkstra, Wearing, Sugimoto, Burchfield, Flick, Moulin, Baumgarten, Hido, Morell, and more. Wednesday, Nov 23 NO MEETING - THANKSGIVING HOLIDAY, NOV 24 WEEK 16 Monday, Nov 28 Landscape and Street Parr, Russell, Stuart, Coolidge, Fiskin, Savelev, Agou, Asci, Dakowitz, Einzig, Gibson, Wentworth, Glickman, Hansen, Hara, Jorgensen, Kalvar, Kanemura, Kollar, Lezmi, Marlo, Mermelsten, The Legacy Project Wednesday, Nov 30 Other Trends Interdisciplinary Politics and Studio Practices. Quaytman, Guyton, Beshty, Marclay, Soo Kim, Quinlan, Charland, Lazarus, 11/30 Reading due 12/05: Charlotte Cotton, Nine Years, A Million Conceptual Miles. Slide Presentation Discussions SLO (Student Learning Outcomes) test WEEK 17 Monday, Dec 05

Student Slide Presentations (Group A) Wednesday, Dec 07 Student Slide Presentations (Group B) FINALS WEEK Monday, Dec 12 FINAL PAPER DUE Wednesday, Dec 14 NO MEETING ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

Joseph Nicéphore Niépce, View from the Window at Le Gras, 1826, Heliograph

FYI: SOME NOTEWORTHY HISTORICAL PROCESSES AND CORRESPONDING VOCABULARY FOLLOWS…

POSITIVE PROCESSES

Daguerreotype (1839 – 1860; peak 1852 -1854)

Early exposures 5 – 70 minutes; later 3- 40 seconds.

Silver-plated copper that is sensitized with iodine vapors in a fuming box. The plate was then “developed” in a second box containing mercury vapors, then often toned with gold chloride, producing a “one-of-a-kind” image.

Internationally standardized sizes for Daguerreotypes: Whole plate 6.5 x 8.5 inches, Half plate 4.5 x 5.5 inches, Quarter plate 3.25 x 4.25 inches, Sixth plate 2.75 x 3.25 inches, Ninth plate 2 x 2.5 inches.

PAPER NEGATIVE PROCESSES

Salted Paper (1839 – 1855; then again 1890’s – 1900’s) Based on the work of William Henry Fox Talbot in 1839, this printing process worked with paper negatives made using the same chemistry. Negatives with an unusually long tonal scale were required for this process.

Calotype (aka Talbotype) (1841 – 1862; peak 1852 – 1857) A refinement of the Salted Paper process, William Henry Fox Talbot, England.

Cyanotype (1842 – 1950s; peak 1880 – 1910) Also known as the blue print process, the Cyanotype was developed in the 1840s by Sir John Herschel of England, as a means to copy his scientific notes. The Cyanotype is noted for its Prussian blue color and was used by turn-of-the-century photographers as a proofing material, due to the ease and speed of the process.

Waxed Paper (1851 - ) Paper waxed before sensitizing to reduce the appearance of paper fibers in the image. Gustav LeGray

COLLODION PROCESSES

Collodion: This material was used in three early processes: ambrotypes, tintypes, and wet plates. The wet plate process was developed by Fred Archer in 1851. The glass plate negative was used for a large variety of printing processes developed during this period.

NEGATIVE

Wet Plate (1851 – 1885; peak 1855 – 1880’s); Uses collodion as a support for the photosensitive silver nitrate; guncotton (cellulose nitrate) dissolved in alcohol and ether; exposure and processing had to be done before the plate dried, hence “wet plate”; development in pyrogallic acid; fix in sodium thiosulfate; first effective process developed by Fredrick Scott Archer, England.

POSITIVE

Ambrotype, aka Collodion “Positive” (1854 – 1865; peak 1857 – 1859); Plain glass (early); Ruby glass (1858 – 1865); A “negative” image backed with black paper/varnish “converts” the negative image into a “positive”; a fragile image that was stored in cases. Frederick Scott Archer, England.

Carbon Printing (1855 – 1930’s)Originally patented by Alphonse Louis Poitevin in 1855, the Carbon process became more practical in 1864 when Joseph Swan developed the transfer process. The Carbon process is considered one of the more permanent photographic processes due to the stability of carbon pigment.

Tintype (later Ferrotype or Melainotype) (1856 – 1867; peak 1860 – 1863); a collodion process on iron (not tin), often placed in “Potter’s Patent” paper sleeves. Hamilton Smith, 1856

GLASS PLATE NEGATIVE PROCESSES

Albumen (1850 - 1910; peak 1860 – 90); A colloid made from egg white and was first used with minimal success as a coating agent for glass plate negatives. The process eventually became very successful as an emulsion for paper used in contact printing glass plate negatives. Invented by Louis-Desire Blanquart-Evrard, France; often faded or yellowish images due to incorrect fixing and washing; prints with purple tone indicate gold toning; generall mounted onto cardboard supports.

Cartes-de-Visite (aka CDV’s) (1854 – 1905; peak 1859 – 66); popularized by Disderi, France; CDV Albums (1860 – 1900); generally a 2.5” x 3.5” albumen image on a 2.5” x 4” card.

Stereocards (aka Stereographs) (1851 – 1925; peak 1858 -1905); early images were generally albumen prints; silver-gelatin in later years; early cards on lightweight paper with square corners; from the 1860s on heavier paper with rounded corners

Kallitype (1889 - ) The family of brown print processes which includes Kallitype and Van Dyke (aptly named after the tonal use in Van Dyke paintings). All are similar in tonality but more economical than the Platinum/Palladium processes. The Kalitype was developed by the English chemist W.W.J. Nichol in 1889.

Platinotypes (aka Platinum/Palladium 1873 - 1920) First patented by William Willis in 1873, the process was used by such notable photographers as Steichen, Strand, Weston, and Evans. The Platinum process is only slightly different from Palladium in its chemical components, contrast range, and physical color.

Photogravure (1880 - ) A photo-mechanical process used for fine art prints and in commercial applications. The photographic image is transferred to a copper plate, etched in acid, inked, and printed on paper.

Gum Bichromate (1894 – 1920’s) Gum Arabic, one of the colloids, is a water-soluble sap found in several varieties of the acacia tree. The finalized Gum process is generally credited to the experiments of John Pouncy in 1858. The process did not come into wide use until the Pictorialist movement in the 1890s – early 20th Century. Some writers credit the Gum Printing process for the resurgence of interest in Historical Processes in the 1960s.

OTHER MARKERS TO NOTE

1870s instantaneous photography at approximately 1/10 second 1880s introduction of half-tone printing 1880s – 1890s introduction of hand cameras and street level photography. 1880s – present; silver-gelatin papers 1881 – 1951; negatives on cellulose nitrate base (flammable) 1923 – 1960s; negatives on cellulose acetate (aka Safety Film) 1940s – present; negatives on cellulose triacetate film 1960s – present; negatives on polyester base (Estar) 1935- present Transparencies SOME CORRESPONDING TECHNICAL VOCABULARY

Colloids: A water-soluble, glue-like, non-crystalline material frequently used in 19th century processes or in the manufacture of certain photographic papers; colloids act as the suspension medium for the light sensitive chemicals; generally gum Arabic, gelatin, and albumen.

Dichromates: Potassium, ammonium, or sodium dichromate; these chemicals change the physical characteristics of colloids after exposure to an ultra-violet light source; the terms dichromate and bichromate are interchangeable.

Emulsion: Light sensitive salts or halides suspended in a colloid material and coated onto paper, plates, acetate, or other substrates.

Fixer: Generally considered the chemical or process which stabilizes a photo-sensitive image and prevents any further change in that image with additional exposure to light. It removes any unexposed photo-sensitive compounds or converts the compounds to a soluble material which is removed in a later procedure.

Historical Process: All too often called “Alternative Processes,” Historical Processes are any of the photographic print making processed used primarily from 1850 -1910. This represents the era between the daguerreotype and collodion processes and the silver-gelatin processes predominant since the late 19th century. Many of these processes were used during the Pictorial Period but their commercial use declined after the Photo-Secession of 1902. Generally, these processes use a UV light source, are printed by contacting the matrix directly to sensitized substrate, and require the printer to hand-coat the substrate with photo-sensitive emulsion or sensitizer.

Matrix: In graphic arts, the material which acts as an image carrier for transferring the original photographic image to the photo-sensitive substrate; may be either a negative or positive, depending on the process and artistic determination of the printer.

Negative: Generally a photo-sensitive material in which the tonal relationships are reversed from the original subject, i.e., light areas are dark and dark areas are light. Could be color or black and white material.

Palladium: Chemical element symbol Pd; one of the Noble metals and used in the form of palladium chloride for palladium printing.

Platinum: Chemical element symbol Pt; chemically similar to palladium but more costly and used in the form of potassium chloroplatinite for platinum printing.

Positive: Generally a photo-sensitive material in which the tonal relationships are similar to the original subject, i.e., light areas are light and dark areas are dark. Could be color or black and white material.

Sensitizer: The light-sensitive liquid chemical compound applied to a substrate and usually dried before exposing to a light source. Differs from the emulsion as sensitizers do not use colloids to suspend the light-sensitive materials.

Silver gelatin: A high-quality, black-and-white photographic printing technique in which a natural protein (gelatin) is used as a transparent medium to hold light-sensitive silver halide (silver) crystals in suspension, binding them to the printing paper or film, yet allowing for penetration of processing solutions.

Substrate: Graphic arts term referring to a material, usually paper, glass, or acetate for photographic purposes, which acts as a support for various printing processes or materials.

UV light: A light source used to expose the light sensitive sensitizer or emulsion in many historical photography processes; High in the light spectrum wavelength of 300 – 380 nanometers; many types are available, each with varying effects on exposure times and contrast. Sources include the sun, sunlamps, blacklights, carbon arc plateburners, mercury vapor lamps, fluorescent tubes, high intensity incandescent bulbs.

SOUTHERN CALIFORNIA EXHIBITIONS: FALL - 2016 Also  look  at  Curate  LA,  curate.la  and  What’s  on  Los  Angeles  whatsonlosangeles.com    NORTH MIKE  CURB,  CSUN  GALLERIES  18111  Nordhoff  Street,  Northridge,  CA  91330  (818)  677-­‐2226  Karla Klarin: Subdividing the LAndscape, Aug  29  –  Oct  8,  2016   UCSB,  ART,  DESIGN  &  ARCHITECTURE  MUSEUM  Art,  Design,  &  Architecture  Museum,  UC  Santa  Barbara,  Santa  Barbara,  CA  93106  Irving J. Gill: Simplicity and Reform, Sep  10  –  Dec  4,  2016 Lifeforms: The Makeup Art of Michael Westmore, Sep  10  –  Dec  4,  2016 Done. Undone. Redone: The Chair, Sep  10  –  Dec  4,  2016 WEST  BEN  MALTZ  GALLERY  (Otis  College  of  Art  and  Design)  9045  Lincoln  Blvd,  Los  Angeles,  CA  90045  Polly Apfelbaum: Face (Geometry) (naked) Eyes,  Sep  24  –  Dec  4,  2016  Anna Craycroft,  Jan,  2017    THE  GETTY  CENTER  1200  Getty  Center  Drive,  Los  Angeles,  CA  90049,  (310)  440-­‐7300  London Calling: Bacon, Freud, Kossoff, Andrews, Auerbach, and Kitaj, Jul  26,  2015  –  Nov  13,  2016  

Unruly Nature: The Landscapes of Theodore Rousseau, Jun  21  –  Sep  11,  2016  The Promise of Youth: Rembrandts “Senses” Rediscovered, May  11,  2016  –  Aug  28,  2016  Degas: “Russian Dancers” and the Art of Pastel, May  3,  2016  –  Oct  23,  2016  In Focus: Electric!, Apr  05  –  Aug  28,  2016  Real/Ideal: Photography in France, 1847-1860, Aug  30  –  Nov  27,  2016  Drawing: The Art of Change, Oct  04  –  Jan  1,  2016  The Art of Alchemy, Oct  11,  2016  –  Feb  12,  2017  Breaking News, Dec  20,  2016  –  Apr  30,  2017  The Sculptural Line, Jan  17  –  Apr  16,  2017    HAMMER  MUSEUM  10899  Wilshire  Blvd,  Los  Angeles,  CA  90024,  (310)  443-­‐7000  Made in L.A. 2016,  through  Aug  28,  2016  Marwa Arsanios: Hammer Projects, Sep  17,  2016  Nicolas Party: Hammer Projects, Sep  30,  2016  Simone Leigh: Hammer Projects, Sep  17,  2016  Jimmie Durham: At the Center of the World, Jan  29,  2017  MOCA  (P.D.C)  8687  Melrose  Ave,  West  Hollywood,  CA  90069,  (310)  289-­‐5223  Barbara Kasten: Stages, May  28,  2016  –  Aug  14,  2016  Gaetano Pesce: Molds (Gelati Misti), Sep  3  –  Nov  27,  2016  ANNENBERG  SPACE  FOR  PHOTOGRAPHY    2000  Avenue  of  the  Stars,  Los  Angeles,  CA  90067,  (213)  403-­‐3000  New Americans, Apr  23,  2016  –  Aug  21,  2016  Refugee, Apr  23,  2016  –  Aug  21,  2016   CHERI  PANN  &  GONZALO  DURAN  s  MOSAIC  TILE  HOUSE  1116  Palms  Blvd,  Venice,  CA  90291,  by  appointment  (310)  399  1469  Tile House, Clay Studio, Painting Studio MELIKSETIAN  BRIGGS  313  N.  Fairfax  Ave.  Los  Angeles,  CA  90036  Tim Berresheim, Aug  26  –  Oct  15,  2016 L.A.  LOUVER  45  North  Vanice  Blvd,  Venice,  CA  90291  David Hockney: The Yosemite Suite, Jul  13  –  Sep  2,  2016 Heather Gwen Martin, Jul  13  –  Sep  2,  2016 Matt Wedel, Jul  13  –  Sep  2,  2016 SANTA  MONICA  MUSEUM  OF  ART  10250  Constellation  Blvd,  Suite  220,  Los  Angeles,  CA  90067  (310)  284-­‐8100  TBD THE  CENTER  FOR  LAND  USE  INTERPRETATION  9331  Venice  Blvd.  Culver  City,  CA  90232  (310)  839  5722  

Middles of Nowheres: Dry Lakes of the Mojave, Spring  and  Summer,  2016 THE  MUSEUM  OF  JURASSIC  TECHNOLOGY  9341  Venice  Blvd.  Culver  City,  CA  90232   GALLERY  LUISOTTI  Bergamot  Station,  A2,  2525  Michigan  Ave,  Santa  Monica,  CA  90404  In the Cut: Jul  30  –  Sep  24,,  2016      SHOSHANA  WAYNE  Bergamot  Station,  B1,  2525  Michigan  Ave,  Santa  Monica,  CA  90404  Shirley Tse: Lift Me Up So I Can See Better: Jul  9  –  Sep  3,  2016  James Richards: Hack the Analog: Sep  10  –  Oct  22,  2016  PATRIC  PAINTER  Bergamot  Station,  B2,  2525  Michigan  Ave,  Santa  Monica,  CA  90404  John Newsom: Rinus Van de Velde, Jul  2  –  Aug  15, 2016    CRAIG  KRULL  Bergamot  Station,  B1,  2525  Michigan  Ave,  Santa  Monica,  CA  90404  Paint is a Thing, Jul  9  –  Aug  20,  2016 Don Bachardy, Sep  10  –  Oct  15,  2016  Firoz Zahedi, Sep  10  –  Oct  15,  2016  Alan Shaffer in Collaboration with Ed Moses, Sep  10  –  Oct  15,  2016 Mark Posey, Oct  22  –  Nov  26,  2016 Mark Swope, Oct  22  –  Nov  26,  2016    GAGOSIAN  GALLERY  456  N  Camden  Dr,  Beverly  Hills,  CA  90210  Ed Ruscha, Jul  28  –  Sep  9,  2016    CHRISTOPHER  GRIMES  916  Colorado  Ave,  Santa  Monica,  CA  90401  Veronica Kellndorfer: Tropical Modernism: Lina Bo Bardi, Jul  8  –  Sep  2,  2016 Antonio Ballester Moreno: One Day After Another, Sep  9  –  Nov  5,  2016  Sharon Ellis,  Nov  12,  2016  –  Jan  7,  2017  Allan Sekula,  Jan  14  –  Mar  11,  2017 Kevin Appel,  Mar  18  –  Apr  29,  2017 MATTHEW  MARKS  1062  North  Orange  Grove,  Los  Angeles,  CA,  90046  Ken Price: Drawings, Jul  9  –  Sep  10,  2016  Paul Sietsema, Sep  24  –  Dec  23,  2016,  2016    MARC  SELWIN  9953  S.  Santa  Monica  Blvd,  Beverly  Hills,  CA  90212  Bob Law, Jul  16  –  Sep  10,  2016  

Tom Knechtel, Sep  17  –  Oct  29,  2016 Jay Defeo,  Nov  5,  2016  –  Jan  7,  2017    CHINA  ART  OBJECTS  6086  Comey  Avenue,  Los  Angeles,  CA  90034  Me, Myself, I, Jul  16  –  Aug  20,  2016    SUSANNE  VIELMETTER  6006  Washington  Blvd,  Culver  City,  CA  90232  Angel Otero, Jul  16  –  Aug  27,  2016  Raffi Kalenderian, Jul  16  –  Aug  27,  2016  Rodney McMillian, Sep  3  –  Oct  15,  2016 Charles Gaines, Oct  22  12  –  Dec  3,  2016  ROBERTS  AND  TILTON  5801  Washington  Blvd,  Culver  City,  CA  90232  Perfect Day, Jul  16  –  Aug  20,  2016  Evan Nesbit, Sep  10  –  Oct  8,  2016  Beyte Saar: Black and White, Sep  10  –  Dec  17,  2016  Betye Saar: Blend, Oct  15  –  Dec  17,  2016  Egan Frantz, Nov  19  –  Dec  17,  2016    BLUM  AND  POE  2727  S  La  Cienega  Blvd,  Los  Angeles,  CA  90034  Mark Grotjahn, Sep  10  –  Nov  5,  2016  Henry Taylor, Sep  10  –  Nov  5,  2016   ANGLES  2754  S.  La  Cienega  Blvd,  Los  Angeles,  CA  90034    CHERRY  AND  MARTIN  2712  S.  La  Cienega  Blvd.  Los  Angeles,  CA  90034  Photography and Language: Lew Thomas, Donna-Lee Phillips, Peter D’Agostino, Aug  6  –  Oct  29,  2016 FIAC: Ericka Beckman, Oct  20  -­‐  23,  2016    M+B  612  N.  Almont  Dr.  Los  Angeles,  CA  90069  Please Have Enough Acid in the Dish!, Jul  7  –  Sep  2,  2016  Jessica Eaton, Sep  17  –  Oct  29,  2016  Josh Mannis, Nov  4  –  Dec  6,  2016   BEACON  ARTS  BUILDING  808  N  La  Brea  Ave,  Los  Angeles,  CA  90302    SAMUEL  FREEMAN  2639  S.  La  Cienega  Blvd,  Los  Angeles,  CA  90034  How to Build a Foghorn, Jul  16  –  Aug  27,  2016    HONOR  FRASER  

2622  S.  La  Cienega  Blvd,  Los  Angeles,  CA  90034  Ry Rocklin,  Sep  10  –  Oct  22,  2016  Annie Lapin,  Nov  5  –  Dec  17,  2016  Guthrie Lonergan,  Nov  5  –  Dec  17,  2016  Kaz Oshiro,  Jan  14  –  Feb  25,  2017    NYE  +  BROWN  2685  S.  La  Cienega  Blvd,  Los  Angeles,  CA  90034    REGAN  PROJECTS  (West  Hollywood)  633  N.  Almont  Drive,  Los  Angeles,  CA  90069   LTD  LOS  ANGELES    7561  W.  Sunset  Blvd.  #103,  Los  Angeles,  CA  90046  TBA MIDDLE    LACMA  5905  Wilshire  Blvd,  Los  Angeles,  CA  90036,  (323)  857-­‐6000  Catherine Opie: O, Feb  13,  2016  –  Sep  5,  2016  Guillermo del Toro: At Home With Monsters, Aug  1  –  Nov  27,  2016  Picasso and his Printers, Jul  23  –  Nov  27,  2016  James Turrell: Light Reignfall, May  29,  2016  –  May  29,  2017  Agnes Martin, Apr  24,  2015  –  Sep  11,  2016  Islamic Art Now, Part 2: Contemporary Art in the Middle East, Jan  24,  2016  –  Oct  23,  2016  Loris Greaud: Sculpt, Aug  16,  2016  –  TBA  The Serial Impulse at Gemeni G.E.L., Sep  11,  2016  –  Jan  2,  2017  Toba Khedoori, Sep  25,  2016  –  Jan  2,  2017  John McLaughlin Paintings: Total Abstraction, Nov  13,  2016  –  Apr  16,  2017  Renaissance and Reformation: German Art in the Age of Durer and Cranach, Nov  20,  2015  –  Mar  26,  2017  Moholy-Nagy: Future Present, Feb  12,  2015  –  Jun  18,  2016    THE  UNDERGROUND  MUSEUM  3508  Washington  Blvd.  Los  Angeles,  CA  90018  Non-Fiction,  Mar  20,  2016  –  Mar  1,  2017    CRAFT  &  FOLK  ART  MUSEUM  5814  Wilshire  Blvd.  Los  Angeles,  CA  90036  Gronk’s Theater of Paint,  May  29  –  Sep  4,  2016  Windfall by Box Collective, May  29  –  Sep  4,  2016    FOR  YOUR  ART  6020  Wilshire  Blvd,  Los  Angeles,  CA  90036    EDWARD  CELLA  ART  +  ARCHITECTURE  6018  Wilshire  Blvd,  Los  Angeles,  CA  90036  Jun Kaneko: Mirage,  Sep  10  –  Oct  29,  2016  

Jeffrey Vallance: Now more than ever,  Nov  5  –  Dec  31,  2016    ACME  6150  Wilshire  Blvd  Los  Angeles,  CA  90048  Passage, Aug  6  –  Sep  17,  2016    LA><ART  7000  Santa  Monica  Blvd,  Los  Angeles,  CA  90038  Antonio Adriano Puleo: Massimo Minimalismo,  Jul  14  –  Aug  20,  2016  Landon Ross,  Jul  14  –  Aug  20,  2016    LAM  913  N.  Highland  Ave.  Los  Angeles,  CA  90038  Jay Lizo: Me, Myself, and I,  Jul  9  –  Jul  30,  2016    VARIOUS  SMALL  FIRES  812  N  Highland  Ave,  Los  Angeles,  CA  90038  Grind, Jul  23  –  Aug  27,  2016    GAVLAK    1034  N.  Highland  Ave.  Los  Angeles,  CA  90038  Betty Tompkins: “Sex Works / WOMEN Words, Phrases, and Stories”  Jul  16  –  Sep  3,  2016  Marnie Weber, Sep  17  –  Nov  5,  2016    KOHN  GALLERY  1227  North  Highland  Ave.  Los  Angeles,  CA  90038  Ori Gersht: Floating World, Jul  9  –  Sep  9,  2016  DAVID  KORDANSKY  5130  W.  Edgewood  Pl.  Los  Angeles,  CA  90019  Harold Ancart: Grand Flaneur,  Sep  9  –  Oct  22,  2016  Andrea Buttner,  Sep  9  –  Oct  22,  2016    ACE  MUSEUM  400  South  La  Brea  Avenue,  Los  Angeles,  CA  90036  Andrew Holmes: The Golden Hour,  Fall  2016    MARC  FOXX  6150  Wilshire  Blvd  Los  Angeles,  CA  90048    STEVE  TURNER  6026  Wilshire  Blvd,  Los  Angeles,  CA  90036  Jonas Lund: Your Logo Here, Sep  10  –  Oct  8,  2016  Greg Ito: Soothsayer, Sep  10  –  Oct  8,  2016    REGAN  PROJECTS  6750  Santa  Monica  Blvd,  Los  Angeles,  CA  90038  Abraham Cruzvillegas, Sep  17  –  Oct  22,  2016  

Wolfgang Tillmans, Nov  5  –  Dec  23,  2016  Theaster Gates, Jan  14  –  Feb  18,  2017    COMMONWEALTH  AND  COUNCIL  3006  W.  7th  St  #220,  Los  Angeles,  CA  90005,  (213)  703-­‐9077  Olga Koumoundourous, Kenneth Tam, Jul  30  –  Sep  10,  2016  Jen Smith, Elana Mann, Sep  24  –  Oct  29,  2016  Yong Soon Min, Candice Lin, Nov  19  –  Dec  30,  2016    JOSE  DRUDIS-­‐BIADA  ART  GALLERY  (Mount  Saint  Mary’s  College)  12001  Chalon  Rd,  Los  Angeles,  CA  90049,  (310)  954-­‐4000  TBA EAST  MOCA  (Grand)  250  S.  Grand  Ave,  Los  Angeles,  CA  90012,  (213)  626-­‐6222  Hito Steyerl: Factory of the Sun, Feb  21  –  Sep  12,  2016  Mickalene Thomas: Do I Look Like a Lady?, Oct  16,  2016  –  Feb  6,  2017    MOCA  (Geffen  Contemporary)  152  N.  Central  Ave,  Los  Angeles,  CA  90012  (213)  626-­‐6222  Doug Aitken: Electric Earth,  Sep  10,  2016  –  Jan  15,  2017    MIHAI  NICODIM  GALLERY  571  South  Anderson  Street,  Los  Angeles,  CA  90033  Omul Negru,  Aug  6  –  20,  2016    THE  MISTAKE  ROOM  1811  East  20th  Street  Los  Angeles,  CA  90058  TMR A|S HUB: Paramo,  Jul  16  –  Sep  3,  2016    PARK  VIEW  836  S.  Park  View  Street  Unit  8,  Los  Angeles,  CA  90057  Mark A. Rodriguez: Earth Day af, Jul  23  –  Sep  10,  2016  FLAME, Sep  Luchita Hurtado Mullican, Nov    NIGHT  GALLERY  2276  East  16th  St.  Los  Angeles,  CA  90021  Augustus Thompson, Sep  16,  2016    Sojourner Truth Parsons,  Sep  16,  2016    FRANÇOIS  GHEBALY  GALLERY  2245  E.  Washington  Blvd,  Los  Angeles,  CA  90021  Davide Balula and Willa Nasatir, September,  2016    Kelly Akashi and Zoe Barcza,  November,  2016  

 THE  BOX  805  Traction  Ave,  Los  Angeles,  CA  90013  Barbara T. Smith, Sep,  2016  Naotaka Hiro, Nov,  2016    356  S.  MISSION  ROAD  356.  South  Mission  Rd.  Los  Angeles,  CA  90033  Wu Tsang: The Luscious Land of God is Sinking, Sep  11  –  Nov  6,  2016    THANK  YOU  FOR  COMING  3416  Glendale  Blvd.  Los  Angeles,  CA  90039  www.thankyouforcoming.la/upcoming/    TIF  SIGFRIDS  1507  Wilcox  Ave.  Los  Angeles,  CA  90028  Mertzbau, Jul  16  –  Aug  20,  2016  MONTE  VISTA  PROJECTS  5442  Monte  Vista  St.  Los  Angeles,  CA  90042  Rochele Gomez, Sep  24  –  Oct  16,  2016  Steven Putz, Sep  29  –  Nov  20,  2016    WEIGNART  GALLERY  AT  OCCIDENTAL  COLLEGE  1600  Campus  Road.,  Los  Angeles,  CA  90041    LA  LUZ  DE  JESUS  GALLERY  4633  Hollywood  Blvd.  Los  Angeles,  CA  90027  Juan Muniz and Jasmine Worth,  Aug,  2016    THE  FINLEY  GALLERY  4627  Finley  Ave,  Los  Angeles,  CA  90027  Justin Hansch,  May  26  –  Aug  8,  2016    C4  CONTEMPORARY  ART  5647  Hollywood  Blvd.  Los  Angeles,  CA  90028  Jo Spence and Terry Dennett: Remodeling Photo History,  TBA  Robert Smithson: Photographics,  TBA    POST  1904  E.  Seventh  Place,  Los  Angeles,  CA.90021    YOUNG  ART  GALLERY  5658  Hollywood  Blvd,  Los  Angeles,  CA  90028    USC  FISHER  MUSEUM  OF  ART  823  Exposition  Blvd,  Los  Angeles,  CA  90089  A Generosity of Spirit    

CALIFORNIA  SCIENCE  CENTER  700  Exposition  Park  Drive,  Los  Angeles,  CA  90037  (323)  SCIENCE  Super Cells: The Power of Stem Cells, Jun  11  –  Sep  5,  2016  Space Shuttle Endeavour  NATURAL  HISTORY  MUSEUM  900  Exposition  Blvd.,  Los  Angeles,  CA  90007  Butterfly Pavillion,  Fall,  2016  Edible Garden Dino Lab  METRO  PCS  422  Ord  St.  Los  Angeles,  CA  90012  Mushrooms and Honey    PUBLIC  FICTION  749  N.  Avenue  50  Los  Angeles,  CA  90042    LATNED  ATSÄR  3222  W.  Jefferson  Blvd,  Los  Angeles,  CA  90018    ADJUNCT  POSITIONS  5041  Coringa  Drive,  Los  Angeles,  CA  90042    MACHINE  PROJECT  1200  D  N.  Alvarado  Street,  Los  Angeles,  CA  90026    JANCAR  JONES  961  Chung  King  Road,  Los  Angeles,  CA  90012      PASADENA  MUSEUM  OF  CALIFORNIA  ART  490  E.  Union  St.  Pasadena,  CA  91101    (626)  568-­‐3665  Claire Falkenstein: Beyond Sculpture, Apr  17  –  Sep  11,  2016  Brett Weston: Significant Details, Apr  17  –  Sep  11,  2016  Kat Hutter and Roger Lee: Another California Day, Apr  17  –  Sep  11,  2016    NORTON  SIMON  MUSEUM  411  Colorado  Blvd.  Pasadena,  CA  91105    (626)  449-­‐6840  Duchamp to Pop, Mar  4  –  Aug  29,  2016  States of Mind: Picasso Lithographs, 1945 - 1960, Oct  14,  2016  –  Feb  13,  2017    ARMORY  CENTER  FOR  THE  ARTS  145  N.  Raymond  Ave,  Pasadena,  CA  91103  (626)  792-­‐5101  Martin Kersels: Tossing a Friend (Melinda), (733  N.  Fair  Oaks  Ave)  through  Sep  30,  2016  Ellen Lesperance, Hellen Mirra,  through  Sep  11,  2016  

Themodelingagency Tektite - reflux,  through  Sep  11,  2016    NAN  RAE  GALLERY  (Woodbury  University)  7500  Glen  Oaks  Blvd,  Burbank,  CA  91510  In Direct Light,  Sep  28  –  Nov  2,  2016    VINCENT  PRICE  ART  MUSEUM  1301  Avenida  Cesar  Chavez,  Monterey  Park,  CA  91754  Pacific Standard Time,  Sep  16,  2017  –  Feb  10,  2018    PASADENA  CITY  COLLEGE  ART  GALLERY  1570  E.  Colorado  Blvd,  Pasadena,  CA  91106    LUCKMAN  GALLERY  5151  State  University  Dr,  Los  Angeles,  CA  90032  (323)  343-­‐6600    LUCKMAN  THEATER   SOUTH BAY    TORRANCE  ART  MUSEUM  3320  Civic  Center  Drive,  Torrance,  CA.  90503,  (310)  618-­‐6388  The Gildless Age, Sep  3  –  Oct  29,  2016   SOUTH ART  +  PRACTICE  4339  Leimert  Blvd.  Los  Angeles,  CA  90008  Alex Da Corte: A Season in He’ll, Jul  9  –  Sep  17,  2016 ANGELS  GATE  CULTURAL  CENTER  3601  S.  Gaffey  Street,  San  Pedro,  CA  90731    UAM  CSULB  CSULB  College  of  the  Arts  1250  Bellflower  Blvd,  Long  Beach,  CA  90840  Jud Fine and Barbara McCarren: AND/OR,  Sep  10  –  Dec  11,  2016  Frank Brothers: The Store that Modernized Modern,  Jan  28  –  Apr  16,  2017  Robert Irwin: Site Determined,  Jan  27  –  Apr  15,  2018    SAC  ARTS  at  the  SANTORA  BUILDING  207  N.  Broadway,  Suite  Q,  Santa  Ana,  CA  92701      FURTHER SOUTH  GRAND  CENTRAL  ART  CENTER  (CSUF)  125  N.  Broadway,  Santa  Ana,  CA  92701  

Kenyatta A. C. Hinkle and Tyler Matthew Oyer,  Aug  –  Oct  16,  2016 Jesse Kees: Days, Aug  –  Oct  16,  2016 Danielle Abrams: Quadroon,  Jul  2  –  Sep  11,  2016  GUGGENHEIM  GALLERY  (Chapman  University)  1  University  Dr,  Orange,  CA  92886,  (714)  997-­‐6815    OCMA  850  San  Clamente  Dr.  Newport  Beach,  CA  92660  ,  (949)  759-­‐1122    American Mosaic,  through  Dec  4,  2016  Brian Bress: Make your Own Friends,  through  Dec  4,  2016  Lih Hui: V through  Dec  4,  2016  Zheng Chongbin: The Pacific Project, through  Dec  4,  2016    UC  IRVINE,  University  Art  Gallery  712  Arts  Plaza,  Irvine,  CA  92697    (949)  824-­‐9854  Sharon Hayes,  Oct  1  –  Dec  10,  2016    Critical Aesthetics: The First 10 Years Film Series, Oct  1  –  Dec  10,  2016  Rosalind Nashashibi: On This Island, Oct  1  –  Dec  10,  2016  Jessica Chastain by Maura Brewer, Oct  1  –  Dec  10,  2016    LAGUNA  BEACH  ART  MUSEUM  307  Cliff  Dr.,  Laguna  Beach,  CA  92651  ,  (949)  494-­‐8971  Peter Krasnow,  Jun  26  –  Sep  25,  2016  Anthony Friedkin: The Wave Portfolio,  Jun  26  –  Sep  25,  2016  Miss Hills of Laguna Beach,  Oct  16,  2016  –  Jan  15,  2017  Phillip K. Smith: Bent Parallel,  Oct  16,  2016  –  Jan  15,  2017  Kristin Leachman: Xylem Rays,  Oct  16,  2016  –  Jan  15,  2017    OCC  FRANK  M.  DOYLE  ARTS  PAVILION  2701  Fairview  Rd,  Costa  Mesa,  CA  92626    CYPRESS  COLLEGE  ART  GALLERY  9200  Valley  View  Street,  Cypress  CA  90630,  (714)  484-­‐7133    FAR EAST (I.E.)   PITZER  ART  GALLERIES  1050  N.  Mills  Ave.  Claremont,  CA  91711,  (909)  607-­‐3143  Cannon Bernaldez,  Sep  10  –  Dec  9,  2016  Far From Indochine,  Sep  10  –  Dec  9,  2016  Juan Downey: Radiant Nature,  Sep  –  Dec,  2017    UCR|ARTSblock  3824  Main  St,  Riverside,  CA  92501,  (951)  827-­‐4787  Rotation 2015: Recent Acquisitions  (CMP),  Mar  12,  2016  –  Jun  24,  2017  The Chicago Gift Revisited  (CMP),  Mar  19,  2015  –  Oct  1,  2016  

Unruly Bodies: Dismantling Larry Clark’s Tulsa  (CMP),  Jun  10,  2016  –  Jan  28,  2017  Instilled Life: The Art of the Domestic Object  (Sweeney Gallery),  Jul  2,  2016  –  Mar  25,  2017  Flash: Jennah Ward Bentley  (CMP),  Jul  9  –  Sep  24,  2016  For the Record  (Sweeney Gallery),  Jul  23  –  Dec  24,  2016  Flash: Steve Rowell (CMP),  Oct  1,  2016  –  Mar  18,  2017  Flash: Archana Vikram: The Unwelcome  (CMP),  Oct  1,  2016  –  Mar  18,  2017  Mundos Alternos  (ARTSblock),  Sep  16,  2017  -­‐  Feb  3,  2018    POMONA  COLLEGE  MUSEUM  OF  ART  330  N.  College  Ave,  Claremont,  CA,  91711,  (909)  621-­‐8283  Rose B. Simpson: Ground, Aug  30  –  Dec  17,  2016 Goya’s War, Jan  17  –  May  14,  2017 Project Series 51: Incendiary Traces, Jan  17  –  May  14,  2017 Prometheus 2017: Four Artists From Mexico, Sep  5  –  Dec  17,  2017 WIGNAL  MUSEUM  OF  CONTEMPORARY  ART  (Chaffey  College)  5885  Haven  Ave,  Rancho  Cucamonga,  CA  91737  No Human Being is Illegal, Sep  6  –  Nov  19,  2016  Man Up! Curated  by  Roman  Stollenwerk, Jan  9  –  Mar  11,  2017