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Catherine Lord

Catherine Lord, Professor of Studio Art and affiliated faculty, Department of Women’s Studies and Department of Visual Culture, is a writer, artist, and curator whose work addresses issues of feminism, cultural politics, and colonialism.  She is the author of the text/image experimental narrative,  The Summer of Her Baldness:  A Cancer Improvisation (University of Texas Press), the conceptual translation Sa Calvitie, Son Colibri:  Miss Translation (L’une Bevue) and (in collaboration with Richard Meyer), Art and Queer Culture, 1885-2005 (Phaidon Press, 2011). She is at work on a text/image project titled, The Effect of Tropical Light on White Men. Her critical essays and her fiction have been published in Afterimage, Art & Text, Artcoast, New Art Examiner, Whitewalls, Framework, Documents, Art Journal, GLQ, X-tra and Art Paper,

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Simon Leung

Simon Leung’s foremost concern as an artist is how “the ethical,” broadly defined, can be thought and traced. His projects, in various media, include a rethinking of AIDS and otherness using the figures of the pinprick and the glory hole; meditations on “the residual space of the American/Vietnam War” (comprising works on the squatting body as counter-architecture, military desertion as askesis, and surfing); a video essay on the site/non-site dialectic instigated by Robert Smithson’s reception of Edgar Allan Poe (with a little help from Yvonne Rainer); a reconsideration of Marcel Duchamp’s oeuvre as an discourse in ethics (as seen through Étant donnés); and “squatting projects” in various cities (Berlin, New York, Chicago, Vienna, Guangzhou, Hong Kong), where the squatting body, as a heuristic

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Antoinette LaFarge

Antoinette LaFarge makes work that engages with the politics of virtuality, ephemerality, and role play through performance and installation, participatory media, net culture, and fictive art.<--break->She works and teaches using both analog and digital media, and she believes that computational literacy is a necessary part of the contemporary artist's skill set. Recent new media performance and installation projects include Far-Flung follows function (2013) Galileo in America (2012), Hangmen Also Die (2010), WISP (World-Integrated Social Proxy) (2009-10), World of World (2009), Chronovacuum

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Monica Majoli

Majoli’s practice examines the relationship between physicality and consciousness, as expressed through the documentary sexual image. Themes of intersubjectivity and temporality have informed numerous bodies of her work, together with decisive shifts in materiality. She has had solo exhibitions in New York at Gagosian Gallery (2006) and Feature, Inc. (1998), and at Air de Paris, France (1995, 2007 and 2010). Highlights from her exhibition record include Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawing Collection, the Museum of Modern Art, New York (2009); Everywhere: Sexual Diversity Policies in Art, Centro Galego de Arte Contemporanea; Spain (2009); Eden's Edge: 15 L.A. Artists, the Hammer Museum, Los Angeles (2007); Into Me/Out of Me, P.S. 1 Contemporary Art

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Martha Gever

Martha Gever’s most recent public project was an exhibition of on-line video, entitled Video Dada, at UCI’s University Art Gallery (2010). Although the show dealt with the tremendous expansion of video and the place of art within this relatively new cultural arena, it also continued Gever’s longstanding involvement with independent and experimental video, dating back to the Portapak and reel-to-reel tape. She has also maintained an interest in video’s industrial counterpart, television. Her most recent critical writings deal with relationships between art and popular culture — “Like TV: On Barbara Kruger’s Twelve” (2007) — as well as cultural and political implications of various televisual phenomena — “The Spectacle of Crime, Digitized: C.S.I.

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Beatriz da Costa


Da Costa is an interdisciplinary artist and researcher who works at the intersection of contemporary art, science, engineering and politics. Her work takes the form of public participatory interventions, locative media, conceptual tool building, and critical writing. Da Costa has also made frequent use of wetware in her projects and has recently become interested in the potential of interspecies co-production in promoting the responsible use of natural resources and environmental sustainability. Other issues addressed in her work include the use of emergent technologies to investigate context specific configurations of social injustice, the politics of transgenic organisms, and the social repercussions of ubiquitous surveillance

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Miles Coolidge

Upon completing his Master of Fine Arts degree at the California institute of the Arts, Coolidge received a postgraduate DAAD fellowship for one year of study with Bernd Becher at the Kunstakademie Düsseldorf. His work has since been involved with reconciling a concern with the formal properties of photographs (scale, materiality, presentation) with the character of subjects that comprise the physical and conceptual armature that make such pictorial representations meaningful. He has taught photography and studio art at Otis College of Art, UCLA, USC, and the California Institute of the Arts. Coolidge's artwork includes the six  photographic series Garage Pictures, Safetyville, Central Valley, Mattawa, Drawbridges and Street Furniture, and the photographic installations Observatory Circle, Accident Investigation Site, and Wall of Death.

His most recent solo exhibition, at ACME, Los

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Kevin Appel

Appel's artwork occupies spaces within and between the practices of painting and architecture, following a trajectory describing the slow and messy dissolution of the integrity of the house, home, and pictorial space. 

His solo exhibitions include Ameringer McEnery Yohe, New York (2104), Christopher Grimes Gallery, Santa Monica (2013), Susanne Vielmetter Los Angeles Projects (2012), ACME. Gallery, Los Angeles (2009), Two Rooms Gallery, Auckland (2008), Wilkinson Gallery, London (2006); Angles Gallery, Santa Monica (2006, 2002, 1999, 1998); Museo Rufino Tamayo, Mexico City (2003); Marianne Boesky Gallery, New York (2001); and the Museum of Contemporary Art

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