MFA 2010

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Conelrad Device , 2010 Aluminum, Mdf, Recycled Military Containers, 400 W Metal Hallide Bulbs, Diopter Lens, Rosco Rear Projection Screen 3 X 5 X 8 Ft © image courtesy of the artist
Taco Bell tonight STOP Red 1988 Pontiac STOP , 2010 Vintage Telegram 8 X 10 Inches © image courtesy of the artist
Mechanical Witness #7, 2011 Photography (Archival Silver Gelatin Print) © Crystal Z Campbell 2011
Ocean Boat Sky – Nocturne Étude, 2010 Super 8mm Transfer To Video, Mdf 7 Mins © courtesy of the artist
Untitled, 2010 Cardboard, Steel, Paper © image courtesy of the artist
Peep David, 2010 Marshmallow, Mdf, Electroluminescent Panel, Gels 12” X 12” X 56 “ © courtesy of the artist
Towards Readiness, 2010 Video 11 Mins © image courtesy of the artist
Bu Sahilde (On the Coast), 2010 Film 21:50 Mins
Crossing Sides, 2010 Photography 30” X 45” © courtesy of the artist
The Moon Song of Assassination, 2010 Video 6:30 Mins © image courtesy of the artist
Hidden in Plain Sight: La Jolla/UTC Annex, 2010 © image courtesy of the artist
Move Along People Nothing to Feel Here, 2010 Acrylic On Wall © image courtesy of the artist
Year Without Summer, 2010 Film © image courtesy of the artist
Station Fire, 2010 Duratrans Print 5" X 7" © image courtesy of the artist
MFA 2010
Curated by: Isabelle Lutterodt

9500 Gilman Drive, 0327
Mandeville Center
La Jolla, CA 92093
June 4th, 2010 - July 2nd, 2010
Opening: May 5th, 2010 6:00 PM - 8:00 PM

san diego
(858) 534 - 0419
Tue,Thu 11-5; Wed,Fri 11-7:30
San Diego, University of California
photography, installation, video-art, performance, sculpture


The Department of Visual Arts at the University of California, San Diego announces its 2010 graduate MFA exhibition featuring work by nineteen graduating artists. The work on display is a culmination of a rigorous three-year studio practice and ranges from performance art and installation to painting, photography and sculpture.

Interested in how land is viewed and utilized, Shane Anderson allows the viewer to shape the landscape with his portable one-person camera obscura. Rich Bott combines personal messages typed on vintage telegrams with large prints of generic scenes of suburban life – on which he draws with charcoal – that are humorous critiques of middle class consumerism. Crystal Z. Campbell’s installation is part of a series of works that investigate the ambiguity of ritual and uses fantasy to rupture the space between a celebration and an act of violence. Working with a professional dancer, Lili Chin’s video piece explores the framed psychological space of the subject through movement, lights and music. Ted Chung’s site-specific cardboard tables respond to the work of his fellow graduates and play with notions of portraiture, color, time and space. Wanting to create work conceptualized entirely in fantasy, Leigh Cole reproduces a Michelangelo’s David using marshmallows and plays on our sense of reverence and commerce. Monica Duncan’s video is derived from her experiences in Community Emergency Response Team training where she became interested in the parallels between training and rehearsal, improvisation within a limited duration, maneuvering through complexities of scale and makeshift rescue objects. Chris Head’s work, heavily involved in established and emerging technology, focuses on the intersection of software design, games, and art practice. Glenna Jennings' work relates directly and tangentially to cheerleaders, guns, bearded men, working class spas, the subtle intricacies of identity and the shifting definitions of Space and Place. Filmed in a small Turkish coastal town on the Aegean Sea, Merve Kayan’s film aims to document the season in which life takes a break from the rest of the year and transforms itself into something different, in some other place, yet remaining intact with its own set of rituals. Vincent Manganello’s colorful large format paintings pull from sources such as fashion, decorative arts and design to create seductive images that are both unstable and overwhelming. Dolissa Medina combines found footage to create a film/“docu-legend” about the life and death of the Tejano music singer Selena Quintanilla and her impact on the music industry for future Latino singers. Charles Miller operates as an artist/researcher leveraging aesthetic practice as a means for evaluating, measuring, and critiquing the illogical operations within our lived urban historiography. Jesse Mockrin paints portraits of young successful corporate workers from New York City. Vulnerable and disheveled, these subjects find no authentic postures, as they appear to have lost command of their bodies within the space. Combining crocheted masks and hands with drawings of royal subjects, Zac Monday’s installation builds on his interest in exploring rituals and the forced interactions that challenge our comfort level and expose our emotional sensibilities. Louis Schmidt’s drawings are part of an ongoing critique of personal and societal unhappiness. Pulling from the New York Times archives, Tim Schwartz’s sculpture uses analog gauges to illustrate America’s preoccupation with specific terms over the last 158 years. Rachel Thompson’s feature-length film essay follows a quixotic search for the material traces of Java's colonial, mystical, and paleontological past; A journey that shuttles between Amsterdam, London, Jakarta, and the District of Columbia. Based on the 2009 Angeles National Forest fire, Claire Zitzow combines backlight photos of the burned mountainside with a 16mm film documenting the burning of paper she made from charged yucca fiber and ash to the nature of irreparable changes in our environment and our perceptions of those changes.


The University Art Gallery is open Tuesday - Friday, 11am - 5pm.

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