In celebration of the 70th anniversary of Los Angeles Valley College, the works in MMXX highlight the range of curricular perspectives and approaches to making within the Art
Department. This exhibition offers students the opportunity to see the research and work of their instructors, presented in a context that allows for dialogue and critique. Through sculptures, drawings, public art, paintings and ceramics, the works address issues around the body and architecture, process and materiality, and social justice.
Artists included in the exhibition: Professors Carol Bishop, Jamison Carter, Phung Huynh, Jenene Nagy, and Katie Queen.
Carol Bishop’s visual work focuses on agendas of architecture and
place, and the ideas of designers, the clients and cultures that make
structures, and the socio-economic environments that are the themes
and layers of buildings and place. Her work has been widely exhibited in
America and Europe. Frank Lloyd Wright: The Roman=c Spirit was
exhibited at Taliesin East and West, the HunKngton Galleries in San
Marino and at the Bismarck FoundaKon, Paris. Fantome: Memory and
Dream of I.M. Pei marks the first living American woman to have a solo
show in the Carousel du Louvre in Paris. She’s received the Sony
CorporaKon Per Cent for Art commission and was a recipient of the
Pomona “Envisioning the Future” photography arKst. Her work was
included in Turning Silver; the Most Important Women Photographers of
the Past Twenty Five Years (Kodak).
Jamison Carter (b. 1973, Winston-Salem, North Carolina) received his MFA from Cranbrook Academy of Art in 2001, and currently lives and works in Los Angeles. Carter’s primary focus in his work is sculptural, but bodies of work often function across two and three dimensions. Conversations begin in drawing, resolve in sculpture, and vice versa. Taking root at the meeting points of sight, science and space and the body, he often uses universal archetypes and grounds them in material form. The sun, coffins, nebula, fragmented forms of light, are all made from rough hand cut wood, plaster, marker and resin in a way that allows beauty to share space with that which repels us, and humor to sit in the same room as awe.
Carter’s work has been exhibited in solo exhibitions in Los Angeles including Klowden Mann, California State University Northridge, Specific Merchandise and MorYork Gallery, as well as a 2018 solo exhibition at Brandstater Gallery in Riverside, CA. He has exhibited in group exhibitions at galleries and public institutions throughout California, at SLAG Gallery in New York, Helzer Gallery in Portland, and in Italy at the Museo Archeologico in Amelia. His work was featured in the exhibition We Must Risk Delight: Twenty Artists from Los Angeles with Bardo LA as a collateral exhibition of the 56th Venice Biennale in Venice, Italy. He has exhibited at art fairs in Brussels, Chicago, San Francisco, Houston, and Miami. His 2018 exhibition at Klowden Mann was reviewed in the Los Angeles Times, and his recent 2020 exhibition has a review forthcoming in Artforum. Past exhibitions have also been featured in ArtNowLA, New American Paintings, LA Weekly, Artsy, KCET’s Artbound and elsewhere. Along with private collections internationally, his work is held in the permanent collection of Weatherspoon Gallery, The University of North Carolina at Greensboro. He currently teaches Sculpture and 3D Design at Los Angeles Valley College.
Phung Huynh is a Los Angeles-based artist and educator whose practice is
primarily in drawing, painting, and public art. Her work explores cultural
perception and representation. Huynh challenges beauty standards by
constructing images of the Asian female body vis-à-vis plastic surgery to
unpack how contemporary cosmetic surgery can create obscurity in
cultural and racial identity. Her current work of drawings on pink donut
boxes explores the complexities of the refugee experience in Southeast
Asian communities. Phung Huynh has had solo exhibitions at Gagosian
Gallery in Beverly Hills and the Sweeney Art Gallery at the University of
California, Riverside. Her paintings and drawings have been exhibited
nationally and internationally in countries such as Germany and
Cambodia. She has also completed public art commissions for the Metro
Orange Line, Metro Silver Line, and the Los Angeles Zoo. Phung Huynh is
Professor of Art at Los Angeles Valley College and served as Chair of the
Community-Based Art/ Prison Arts Collective Advisory Council, which
advises a vital program of California State University San Bernardino that
provides art courses and workshops to underserved communities and
prisons. She completed undergraduate coursework at the University of
Southern California, received her Bachelor of Fine Arts degree with
distinction from the Art Center College of Design in Pasadena, and
received her Master of Fine Arts degree from New York University.
Jenene Nagy is a visual artist living and working in the Inland Empire. Recent solo venues include PDX CONTEMPORARY ART (Portland), Iris Project (Los Angeles), Art on Paper (NY), Minneapolis College of Art and Design (MCAD), and the University of Wisconsin-Stout. Her work has been recognized with grants and awards from the Foundation of Contemporary Art, the Oregon Arts Commission, Colorado Creative Industries, the Ford Family Foundation and in 2016 a nomination for the United States Artist Fellowship. Her work is held in several permanent collections including the Portland Art Museum and Crow’s Shadow Institute of the Arts. Reviews and features of Nagy’s work have appeared in Monopol, New American Paintings, Boston Globe, The Oregonian, and Artscape Magazine.
Prior to joining the faculty at LAVC, Nagy was the Artistic Director of Painting and Printmaking and Chair of the Artist-in-Residence Program at Anderson Ranch Art Center. From 2011-12 she was the first Curator-in-Residence for Disjecta Contemporary Art Center in Portland, Oregon.
Katie Queen was born and spent her early years in Northern Colorado in the foothills of the Rocky Mountains and later years on the plains of northeastern Boulder County. Queen has lived and worked in urban Los Angeles since 2003.
Katie Queen is a mix media artist, preferring to work in clay, wood, fiber and painting. Classically trained as a ceramic artist, Queen praises traditional techniques and methods but is innovative in her alternative approaches to predominant material clay. Her work is process orientated through repetition and remarks on the indicative ties of the natural and forced man-made world. The biomorphic/geometric objects she creates reflect her ideas of what is tangible, what is imaginary, and what is imposed upon us from forces beyond our control. Her work presents formal concerns in composition and structure combined with loose, palpable explorations. Queen explores the symbolism of such edifices as the square, grid, and arch in a tactile fashion. Even though we perceive these elements as strong and solid, they are foreshadowed by the cumbersome and chaotic methods Queen employs.
Queen is one-half of the curatorial team Q&L Projects, an unassociated art cooperative working with a multitude of exhibition spaces and institutions including the Bauhaus 100 lecture series in Weimer, Germany and the Craft in American Center Los Angeles, CA., as well as other institutions.
Queen earned her undergraduate degree in 2000 at the Kansas City Art Institute in Kansas City, Missouri and received her MFA in 2003 from the University of Colorado at Boulder. Queen was an artist-in-residence at the Worcester Center for Crafts in Worcester, Massachusetts 2000 and Art Farm in Marquette, Nebraska in 2017. She is an Assistant Professor at Los Angeles Valley College and an Adjunct Professor at Mount San Antonio College.
In support of this exhibition we will also be producing a catalogue designed by Professor Tom Mossman, featuring interviews with each of the artists by Rita Gonzalez, the Terri and Michael Smooke Curator and Department Head of Contemporary Art, LACMA.
This exhibition and catalogue is funded in part through the generosity of the
June Harwood Grant.