|
May 8, 6:00 p.m.
University of Oregon, Eugene, OR
The Center for Environmental Futures offers a prelude to the symposium on Thursday May 8th, with a talk by ocean artist Joe Riley speaking on “Ocean Art Practice and Critical Environmental History: Visualizing Marine Algae as Passengers (and Messengers) of Change” at 6 p.m. in the Knight Library Browsing Room.
| | | |
Reception: May 9, 1:00 - 4:00 p.m.
Adam D. Kamil Gallery, UC San Diego
Ombligo a la Tierra is a photographic series that explores the body as a sacred site, where the womb holds memory, spirit, and the power of creation. Rooted in the teachings of Indigenous elder women from my community of North and Central American ancestry, this work moves through lived experiences with the womb—its pain, resilience, and the site where healthcare becomes a sacred ritual.
| | | |
Reception: May 9, 6:00 - 9:00 p.m.
May 9 - May 16, 2025
UpThere, VAF 353, UC San Diego
A series of exhibitions throughout the spring presented by Lecturer Dino Dinco including UG students Youngmi Bombach, Malika Charles, Adi Venkatesh, Amanda Salatino, Holda Ashima, Jaime Leynes, Jeana Yoon, Kyra Brantley, Lauren Reed, Maximiliano Hernandez, and Noah Harvey.
| | | |
May 9 - May 10, 2025
Nam Center for Korean Studies, University of Michigan
Ph.D. Student Jae Hwan Lim presents his paper "The Temporality of Sewol Mothers" at the University of Michigan's 12th International Conference of NextGen Korean Studies Scholars (NEKST).
| | | |
May 10, 1:00 - 3:00 p.m.
Rhizome Wold, New York, NY
Media Art 21 comes to Rhizome World for a new symposium on the platform’s three key themes: The Posthuman, Ecologies, and the Commons. In Partnership with Onassis ONX and ZKM | Center for Art and Media Karlsruhe, this convening features artists and scholars who offer critical reflections on contempor-ary art practice and shifting paradigms in media art in particular.
| | | |
May 10, 3:00 - 6:30 p.m.
Suraj Israni Center for Cinematic Arts, UC San Diego
Lisa Cholodenko is a writer-director working in film and television. Her first feature, High Art, won the Waldo Salt screenwriting award at Sundance and screened in the Director’s Fortnight at Cannes. Cholodenko’s other feature films include Laurel Canyon and The Kids Are All Right, which was nominated for 4 Academy Awards and won the Golden Globe for Best Comedy or Musical.
| | | |
Reception: May 10, 5:00 - 8:00 p.m.
May 10 - July 19, 2025
Bread & Salt Gallery, San Diego, CA
The Tellings explores the body as a shifting, evolving terrain—an amalgamation of matter and consciousness. Using ceramic, steel, and copper foil, Stringer constructs abstract, theatrical vignettes that imagine bodily transformations at the fantastical intersection of science fiction and biopolitics.
| | | |
Reception: May 10, 5:00 - 8:00 p.m.
May 10 - July 19, 2025
Bread & Salt Gallery, San Diego, CA
Lyndsay Bloom is a filmmaker and artist working in experimental cinema and film installation. Bloom’s process involves putting media archeology into practice, investigating physical properties of celluloid film, and considering intersections between film processing techniques and digital technologies.
| | | |
May 15, 5:00 - 7:00 p.m.
Atkinson Hall, CALIT2 Theater, UC San Diego
Sonoluminescence is a new audiovisual work composed by Nathaniel Haering in collaboration with visual artist Mingyong Cheng and written for the instrumental trio, in^set. The piece is inspired by the concept of Sonoluminescence, the phenomenon of turning high-intensity, ultrasonic sound into light.
| | | |
Ceremony: May 16, 5:00 - 7:00 p.m.
Exhibition: May 15 - May 22, 2025
Adam D. Kamil Gallery, Mandeville Center, UC San Diego
The Kamil family, Department of Visual Arts, and School of Arts and Humanities at UC San Diego invite you to the 15th Annual Adam D. Kamil Media Awards Ceremony. Please join us for an evening of film and creativity to honor the memory of Adam Douglas Kamil and showcase the talent of undergraduate UC San Diego students.
| | | |
May 16, 7:30 - 9:00 p.m.
The Suraj Israni Center for Cinematic Arts, UC San Diego
Daniel Scheinert is one-half of the filmmaking duo Daniels. He’s the kind of director who asks, "What if a corpse farted?"—and then goes on to make Swiss Army Man (2016). He followed that up with The Death of Dick Long (2019), a darkly hilarious film set in his hometown. Then came Everything Everywhere All At Once (2022), an award-winning, mind-bending journey through the multiverse that cemented Daniels’ commitment for blending the surreal with the profound.
| | | |
May 16 - October 5, 2025
Leeds Art Gallery, Leeds UK
The exhibition's curatorial spirit stems from a fragment of poetry within Miles Davis’s ‘Inamorata’ (1971), which asks: ‘Who is this music that which description may never justify? / Can the ocean be described?’. For Yiadom-Boakye, poetry’s ability to translate the intangible into images the mind can hold, and to think through rhythm and feeling, is similar to the act of painting.
| | | | | |
Kamil Gallery Online
In this exhibition, I explore the profound intersection of nostalgia, childhood, mourning, and loss. Through this journey, I invite viewers to reflect on their own lived experiences in escaping consuming nostalgia in order to newly contextualize their relationships with themselves and loved ones.
| | | | | |
Canadian Film Institute
Mike Hoolboom: Work (2025) is the first monograph on the expansive practice of the Canadian filmmaker which brings together a vast array of essays and texts from academics, artists, and friends. Christine Negus’ contribution considers the use of the cross fade and the glitch in Hoolboom’s 2019 video (S)he Said That as filmic techniques employed to reveal the instability of the binary’s ordering system, within both the digital context and the greater social realm.
| | | | | |
Duke University Press
Informatics of Domination is an experimental collection addressing formations of power that manifest through technical systems and white capitalist patriarchy in the twenty-first century. Informatics of Domination builds on Donna J. Haraway’s chart as an open structure for thought, inviting fifty scholars, artists, and creative writers to unfold new perspectives.
| | | | | |
The American Museum of Ceramic Art (AMOCA) announced five artists in residence for 2025–2026. The Artist in Residence program at the AMOCA Ceramics Studio supports emerging, mid-career, and established artists, allowing them time, space, and resources to develop their creative work. The program is one of the few long-term fellowship opportunities for ceramic artists on the West Coast.
| | | |
May 5 - May 10, 2025 by Appointment
Main Gallery, Visual Arts Facility, UC San Diego
Set You Free explores the embodiment of Anarkata, a spiritual and political force rooted in Black anarchist traditions, as a catalyst for liberation. Channeling ancestral rage, resistance, and love, the work combines video, sculpture, and photographic works to dismantle oppressive structures, advocating for violence as a transformative act of futurity.
| | | |
May 3 - May 17, 2025
SME Gallery, Structural & Materials Engineering, UCSD
Search Term shines light on the interface. Through installation, sculpture, video and collage, Maddie Butler brings attention to the technologies of mediation that govern daily life. The exhibition tests the porosity of barriers like the screen and the window, interfering with their structure in order to clarify their function.
| | | |
March 1 - June 15, 2025
Mandeville Art Gallery, UC San Diego
Border Craft is a group exhibition featuring contemporary artists employing craft practices to address the geopolitical realities of borderland regions. The works on view serve as a feminist and critical counterpoint to dehumanizing systems designed to divide people and cultures. The exhibition includes MFA alum Isidro Pérez García and Longenecker-Roth Artist in Residence, Tanya Aguiñiga.
| | | |
October 4, 2024 - Ongoing
Birch Aquarium at Scripps Institution of Oceanography
Embodied Pacific: Ocean Unseen invites you to explore Scripps Institution of Oceanography and Indigenous science through the eyes of contemporary artists. Collectively, the exhibition asks us to consider how ocean science technology is not just about “high-tech” but also very much about the tools we use to shape our understanding of the ocean’s unseen mysteries.
| | | |
April 28 - May 10, 2025
SDSU University Art Gallery, San Diego, CA
Join the artist at the opening reception of her MFA thesis exhibition, showing new works until 5/10.
| | | |
February 8 - May 11, 2025
Spike Island, Bristol, United Kingdom
Danielle Dean’s work spans video, painting, installation, social practice and performance. Drawing on archival records, film and advertising, Dean’s practice interrogates how individuals are shaped by commercial narratives and explores historical and contemporary representations of labour, racialised identity and popular culture.
| | | |
March 15 - May 15, 2025
Louis / Buhl & Co, Detroit, MI
Through painting and sculpture, the artists examine the intricate connections between nature, identity, and transformation, exploring cycles of growth and decay, the interplay between the natural and constructed worlds, and the ways personal and cultural histories are embedded in the landscapes we inhabit.
| | | |
December 14, 2024 - May 15, 2025
Hill Street Country Club, Oceanside, CA
In collaboration with artist Marisa DeLuca, Hill Street Country Club invites the public to honor and mourn the Oceanside we once knew. Our exhibition and community gathering, What Goes Up, Must Come Down, reflects on the loss of affordable housing, familial spaces, and cultural authenticity in the face of aggressive gentrification.
| | | To submit an item for future newsletters, please read the guidelines and complete THIS FORM. | | | | |
