The core team conducting planning and research consisted of a project leader, an art historian, and a project curator. They were assisted by an archivist consultant, a graduate student research assistant, a web site technician and a small group of advisors who have specialized knowledge related to the case studies in the project and to alternative/artist spaces.
Alex Donis is a Los Angeles-based interdisciplinary artist and curator whose work examines and redefines the boundaries set within religion, politics, race, and sexuality. He has worked extensively in a variety of media including performance, installation, video, and works on paper. He received his undergraduate degree in Graphic Design at California State University, Long Beach and his graduate degree in New Media from Otis College of Art & Design in Los Angeles.
His curatorial practice includes developing the interactive and video component for the seminal exhibition at the Getty Villa “Carrie Mae Weems Reacts to Hidden Witness” on African Americans in early photography. He was also the art director and exhibition curator for “Chicano Expressions” the first exhibition of prints from Self Help Graphics in East L.A. to tour nine countries in Africa. Donis also co-curated “Modarte” a series of exhibitions on wearable art, which were exhibited at Otis College of Art & Design, the Foundation for Art Resources and F.I.D.M. He was also the curator for “The Leopard Spots: Between Art, Performance & Club Culture”, which included a film series and the recreation of past site-specific performances at the 18th Street Arts Center.
Donis has worked in the Education Departments at both the Getty Museum and MOCA and currently teaches photography at the Brentwood School. As a practicing artist, he has an extensive exhibition history, as both a visual and performance artist. He has been a guest lecturer at numerous universities & institutions and is currently represented by Sherry Frumkin Gallery in Santa Monica.
Project Art Historian/ Julia Bryan-Wilson
Julia Bryan-Wilson joined the UC Irvine faculty in fall 2007 after teaching for three years at the Rhode Island School of Design. Her research focuses on the intersection of art and politics since the 1960s; she has published on topics such as the visual culture of the nuclear age, the impact of AIDS on contemporary art, and the professionalization of institutional critique. In her forthcoming book Art Workers: Radical Practice in the Vietnam War Era, she explores the politicization of artistic labor in the U.S. in the late 1960s and early 1970s. Through case studies of Carl Andre, Lucy Lippard, Robert Morris, and Hans Haacke, this book investigates how artists and writers embraced a polemical identification of themselves as workers in relation to the social movements of the New Left.
As a frequent contributor to Artforum, she is especially committed to feminist, queer, and collaborative art, and has written on Sadie Benning, Carrie Moyer, and Sharon Hayes, among others. Her writing has also appeared in Art Bulletin, Art Journal, ArtUS, Bookforum, Cabinet, Camera Obscura, Frieze, Modern Painters, Oxford Art Journal, and Technology & Culture. Her current project examines queer craft and debates about the gendering of handmade art since 1970.
Bryan-Wilson is affiliated with women’s studies and queer studies at UCI. She has taught classes on methodology, historiography, authenticity and fraudulence in the digital era, and public art since 1965.
Project Leader/ Clayton Campbell, 18th Street Artistic Director
Clayton Campbell has worked as an artist, curator and arts administrator in the not profit arts field for 35 years, and since 1995 has been the Co-Executive Director and now Artistic Director of 18th Street Arts Center. In 1976 he co-founded ‘The Performing Space’, the first not for profit performance art space in the Southwestern United States in Santa Fe, New Mexico. In 1985 he designed the programs and building of New York based Kampo Cultural Center, a 50,000 square foot facility specializing in new media production and cultural exchange projects between New York and Japan. At 18th Street he has curated and organized over 30 exhibitions and 250 international artist residencies from 26 countries. A widely published arts writer, Mr. Campbell articles, essays, reviews and features have appeared in Flash Art Magazine, Contemporary Magazine Afterimage Magazine and ArtPresse. In 2002 Mr. Campbell was awarded the distinction of Chevalier, in the Order of Arts and Letters by the French Government for his work in the field of arts and culture.
Exhibition Designer/Sebastian Clough
Exhibition designer Sebastian Clough is currently the Director of Exhibitions at the UCLA fowler museum. Between 2003-2009 he was Exhibition Designer at the Museum of Contemporary Art, Los Angeles, and between 1995-2003 a principal partner in Metric Design and Fabrication. He was a member of a movement called “Funk o’ Metric”, also known as FOM or FOAM, including Jason Rhoades Peter Warren, Bill Becchio, Laurie Steelink, and Marshall Weber, among others.
Catalog Designer/Jessica Fleischmann
Prior to establishing her design firm “still room”, principal and designer Jessica Fleischmann was Art Director of Western Interiors and Design magazine and design associate at Lorraine Wild Design (now Green Dragon Office). She received an MFA in Graphic Design from CalArts in 2001, after obtaining 2 liberal arts degrees and working in non-profit arts management as well as a chef and an art instructor. She teaches graphic design and typography at Otis College of Art and Design.
Her work has been recognized by the American Institute of Graphic Arts (AIGA), Communication Arts, Graphis, the Maggie Awards, Mohawk, Print Magazine, Rockport Press, and the UCDA; and exhibited by the AIGA, CalArts, the Smithsonian/Cooper Hewitt Design Museum, Everyday Design, and the A+D Museum.
Videographer/Michael W. Barnard
Michael W. Barnard has produced, directed and/or photographed many film projects, including the features “Nights In White Satin”, “Cries of Silence”, “The Invisible Kid”, and “Chasing Robert”. He also has made numerous commercials, music videos, TV shows, documentaries and various promotional films for a wide range of clients and on a wide range of subjects. Recent examples include Garden State Life Insurance, Trilogy Capital Partners, 2nd Unit for the Disney Channel film “Tiger Cruise”, and 2nd Unit for the Jackie Chan film”The Medallion”. His award-winning feature-length documentary “Chihuly River of Glass” has been broadcast most recently on the Sundance Channel. He recently completed “90404 Vanishing”, a documentary about the changing demographics of Santa Monica.
Advisors and Essayists
Linda Frye Burnham is a writer who is co-director of Art in the Public Interest and the Community Arts Network. She is the editor of APInews and edited “Performing Communities” for the Web. She founded High Performance magazine and, with Steven Durland, was its editor (1978-1998). She co-founded the 18th Street Arts Complex and Highways Performance Space in California. She is the editor, with Steven Durland, of “The Citizen Artist: 20 Years of Art in the Public Arena,” an anthology from High Performance (1998). She has served as contributing editor to the Drama Review and staff writer for Artforum. Her writing has appeared in numerous art magazines in the U.S. and U.K.
Dorit Cypis is an artist, MFA, California Institute for the Arts and a mediator, Masters of Dispute Resolution, Pepperdine University. Since the 1980’s Dorit Cypis has employed strategies of photography, performance, installation, social sculpture to explore relationships between personal and social identity, questioning subjectivity in relation to corporeal, social, political and psychological spaces. Cypis has generated extensive cultural programming including FAR (Foundation for Art Resources), 1979-1982, Los Angeles, questioning the production of art, the role of artists and the ability of art and artists to penetrate cultural domains. FAR developed partnerships between artists and public, private and educational organizations throughout Los Angeles. She was an early member in the 1970’s of the National Association of Artists Organizations.
Cole Akers is currently enrolled in the PH.D. Program in Visual Studies at University of CA, Irvine. He was recently accepted into an emerging curators project as part of the Gwangju Bienniale, and has worked as program Assistant at the UCLA Hammer Museum and as Volunteer manager for American Film Institute and Outfest.
Pacific Standard Time was an unprecedented collaboration of more than sixty cultural institutions across Southern California, coming together to tell the story of the birth of the L.A. art scene. Initiated through grants from the Getty Foundation, Pacific Standard Time took place for six months beginning October 2011. Pacific Standard Time was an initiative of the Getty. The presenting sponsor was Bank of America.
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