January 3-March 2012
Michiko Yao, ‘Vase of Tulips, Rose, and Other Flowers with Worms (#1)’ (detail). 2012, from her solo exhibition ‘Samsara Pleasure Principle’, April 14 – May 31, 2012
Born in Osaka, Japan, Michiko Yao is an interdisciplinary artist, whose work explores the psychology behind the unique social behaviors and fantasies of Japanese women, and the relationship of two imperialisms, Western and Japanese. Her work has been exhibited in many venues including Los Angeles County Museum of Art, REDCAT, Museum of Jurassic Technology, Japanese American National Museum, Orange County Museum of Art, Laguna Art Museum, Museu Brasilelro da Escultura, and Kidang Museum. She is a recipient of James Irvine Foundation’s Visions from the New California 2012 Award. She received her MFA (2009) and BFA (2006) from California Institute of the Arts. Michiko Yao’s residency is supported by the Alliance of Artists Communities. She lives and works in Los Angeles. For more information on Michiko Yao visit www.michikoyao.com
December 1, 2011-February 28, 2012
Matana (m(a)-ta-na\) Roberts; internationally recognized, chicago born saxophonist/multidisciplinary sound conceptualist; working in various mediums of performance inquiry; has created alongside visionary experimentalists of this time period in various areas of improvisation, dance, poetry, visual art, theater; as a saxophonist, documented on various sound recordings as collaborator, side woman and leader. some recent work focused on the place/problem of memory/tradition as recognized, deciphered, deconstructed, interrogated through radical modes of sound communication, alternative styles of musical notation, and multi genres of improvisation; based in new york city.
August 1-30, 2011
- PACIFICUS, 2010. 10′ X 10′
For Paul Harryn’s 2010 residency at 18th Street, his objective was to begin a series of paintings that re-defined the notion of landscape in contemporary painting. For his August residency, Paul has a three phase objective:
1) Produce a series of small paintings (4) and composite photographs (5) that articulate the regions flora.
2) Produce one large scale painting (10 x 10′) entitled “Selective Memory” that encapsulates the experience.
3) Collaborate with artist-in-residence Michael Barnard to produce a music and media event at Continuum
Paul describes his paintings as: improvisational-
a Collage of visual phrases…
Informed by nature and responding to the ever-changing conditions of its life force-that are symphonies of compressed time
Desert Light: http://www.youtube.com/watch?v=XUdeJ92atAE
Zuma Light: http://www.youtube.com/watch?v=UXKD6yvbFvc
July 1-July 30, 2011
As a research-based artist, Crystal Nelson traces history’s trajectory and locates its impact on contemporary society. While she investigates race, sexuality and class as individual consequences of unresolved history-cum-trauma, Nelson is specifically interested in the cross-sections of these categories. Through confrontational and sometimes absurd photographs, videos, actions and performances she uncovers the often-ignored nuances and complexities of history and identity. Taboo imagery, language and iconography take center stage in her practice, with materials ranging from found objects to appropriated text, images and video, among other materials. Nelson use these materials and processes to explore methods people use to navigate these politicized spaces as the old sociocultural narratives either shift into obsolescence or reveal themselves to always have been unreliable. Nelson also use these elements to create a level of tension that she can further mine across bodies of work and across forms as she tries to conflate both the relationship between objectification and subjectivity and between myth and truth.
April 1-May 30, 2011
“Drawing was my first love. I was three when I decided that I would be an artist someday. From kindergarten to college, I was always involved with art in some format. As a college student I received a B.F.A. in sculpture from Ithaca College. I worked mainly with found object. Technically my degree was in ” found object and sculptural installation”. My interests in that medium were economically based due to my position as a student who only worked part time. My interest in the public installation part was largely due to a need to be acknowledged but I also found the medium to be very transcendental for me. I would work with things I found or that were donated and they would grow into something else. Through the installation process I was able to see others interact and react. An idea was born. Not one that came purely from my mind and desires but one that was put forth by the object itself. I enjoyed the communion and the growth we all shared, the object, the viewer and myself. The animation of the object and its transcendence into art was and still is my favorite part of working with found objects. I have been a professional tattoo artist for the last eleven years. It has taught me so much abut myself as an artist and the art process itself. Tattooing has been my main medium since I started. When one is working on skin there is no room to walk away if things aren’t going how you projected they would. In addition; the canvas wants to know how it’s going.Tattooing is an art form that requires one to be organized and have a very efficient plan of execution. Until I started tattooing I hadn’t made the connection with the art process in quite the same way. My sculpture was always very process oriented. I’ve always liked knowing how things were put together: the places where different things come together to create a whole. These are the things that excite me about art. The process in tattooing is one not easily seen in the final product. This is different from the medium of found object sculpture. I am looking forward to taking what I’ve learned through tattooing and applying it to the sculptural medium. I’m certain that my experience within the tattoo field will aid my joints and junctures in the studio to be.”
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