John Ziqiang Wu (b. 1983, Tangshan, China) is an artist and educator who lives and works in Los Angeles. He received his BFA in Fine Art from Art Center College of Design in 2013 and his MFA in Photo/Media from the California Institute of the Arts in 2017. Wu is the co-founder of Learning Art & Art Learning Studio, an art tutoring workshop he has run with his wife, Yinan, in Chino, California since 2014. Wu’s work has been included in group exhibitions at SALT, Istanbul (2018); and Pasadena Museum of California Art (2010). He also performed alongside Asher Hartman in ANNIE OKAY at the Hammer Museum, Los Angeles (2010). Wu has published several artist books, including The Place and The People; The Lamps’ Story; and Dad’s Hands Are Smaller (all 2018); and Learning Art and Art Learning Society (2017), which was also translated into Turkish as part of the exhibition Bureau of Unspecified Services at SALT in Istanbul. Wu will use the Hammer residency to engage with the daily activities of the museum and its staff. Through an observational process that translates his experiences into numerous watercolors and drawings, Wu’s interests are in the moments of overlap between institutional and personal experience. His practice as a whole reflects on the various models of art learning and pedagogy across different contexts and cultures in order to explore what art can be and how it can function in daily life.
Carolina Caycedo (1978, lives in Los Angeles) was born in London to Colombian parents. She transcends institutional spaces to work in the social realm, where she participates in movements of territorial resistance, solidarity economies, and housing as a human right. Carolina’s artistic practice has a collective dimension to it in which performances, drawings, photographs and videos are not just an end result, but rather part of the artist’s process of research and acting. Through work that investigates relationships of movement, assimilation and resistance, representation and control, she addresses contexts, groups and communities that are affected by developmental projects, like the constructions of dams, the privatization of water, and its consequences on riverside communities.
She has developed publicly engaged projects in Bogota, Quezon City, Toronto, Madrid, Sao Paulo, Lisbon, San Juan, New York, San Francisco, Paris, Mexico DF, Tijuana, and London. Her work has been exhibited worldwide with solo shows at Vienna Secession, Intermediae-Matadero Madrid, Agnes B Gallery Paris, Alianza Francesa Bogotá, Hordaland Kunstsenter Bergen, 18th Street Arts Center in Santa Monica, and DAAD Gallery in Berlin. She has participated in international biennials including Sao Paulo (2016), Berlin (2014), Paris Triennial (2013), New Museum (2011), Havana (2009), Whitney (2006), Venice (2003) and Istanbul (2001). In 2012, Caycedo was a DAAD Artist-in-Berlin resident. She has received funding from Creative Capital, California Community Foundation, Los Angeles Department of Cultural Affairs, Harpo Foundation, Art Matters, Colombian Culture Ministry, Arts Council UK, and Prince Claus Fund.
ektor garcia (b. 1985, Red Bluff, California, USA) received his BFA from the School of the Art Institute of Chicago in 2014, and his MFA from Columbia University, New York in 2016. Solo exhibitions include Sculpture Center, Long Island City, USA; Cooper Cole, Toronto, Canada; Mary Mary, Glasgow, Scotland; Museum Folkwang, Essen, Germany; kurimanzutto, Salon ACME, Mexico City, Mexico. Group exhibitions include LAXART, Los Angeles; New Museum, Marianne Boesky Gallery, Luhring Augustine, Salon 94, Sargent’s Daughters, New York; Chicken Coop Contemporary, Portland, USA; Museo de Arte de Zapopan, Guadalajara, Mexico; ACCA, Melbourne, Australia. garcia lives and works in between Mexico City, New York, and wherever he loses himself.
Join us for a conversation with Art and Art History Department faculty Phil Chang, Joyce Kohl and Jesse Sugarmann during the opening of The Occasional, a semi-annual exhibition of teaching artists at CSUB. We will be discussing their works in the show, and answering questions from the audience about the exhibition, individual works, and the artists’ practices in general.
Visiting Artist Lecture Series
Katie Grinnan (b. 1970, Richmond, Virginia; lives and works in Los Angeles) received her MFA from University of California, Los Angeles in 1999 and her BFA from Carnegie Mellon University in 1992; she attended the Skowhegan School of Painting and Sculpture in the same year, and studied at the Studio Arts Center International in Florence, Italy in 1991. Grinnan has had solo exhibitions at LA><ART, Los Angeles (2016); Diverse Works, Houston (2015); Human Resources, Los Angeles (2014); Hammer Museum, Los Angeles (2013); MAK Center for Art and Architecture, Los Angeles (2008); Aspen Art Museum (2005); and Whitney Museum of American Art, New York (2003). She has participated in group exhibitions held at Los Angeles Municipal Gallery (2017); Hammer Museum, Los Angeles (2014, 2012); Museum of Contemporary Art, Los Angeles (2010); Honor Fraser Gallery, Los Angeles (2008); High Desert Test Sites, Joshua Tree (2008); and Whitney Museum of American Art, New York (2004). Grinnan is the recipient of a City of Los Angeles Individual Artist Fellowship (2019); the Center for Cultural Innovation Artist’s Resource Completion Grant (2012); a California Community Foundation Fellowship for Visual Artists (2010), an AXA Artist Award (2007), a John Simon Guggenheim Memorial Fellowship (2006); and a Pollock-Krasner grant (2006).
Joey Terrill is a formative figure in the Los Angeles based Chicano art movement and AIDS cultural activism and is a former board member of VIVA!, the first gay and lesbian Latino art organization in Los Angeles. Painting and making art since the 1970s, Terrill has always explored the intersection of Chicano and gay male identity (where they overlap and where they clash) as a strategy for art production.
He has contributed to exhibits ranging from Art, AIDS, America that opened in Tacoma, WA ending in Chicago, Ill. to Queerly Tehuantin at the now closed Galleria de La Raza in San Francisco with works from the pre-AIDS 1970's (like Homeboy Beautiful) as well as recent self-portrait paintings and Still-Lifes with HIV medications. He seeks to engage with and add to the fermenting investigation of Queer identity found in current artistic practice.
Currently his work is featured in Axis Mundo: Queer Networks in Chicano L.A. at the Majorie Barrick Museum of Art at the University of Nevada Las Vegas until March 16, 2019
He also works as Global Director of Advocacy and Partnerships at AIDS Healthcare Foundation.