UCR | Department of Art | News
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Art Department's News and Events

Pui Tiffany Chow

Pui Tiffany Chow has a wonderful and ambitious solo exhibition up now at Parker Gallery in Los Angeles. 

Parker Gallery is proud to present Hurly-Burly, a solo exhibition by Pui Tiffany Chow, her first solo gallery exhibition. Through pointed art historical references, Chow’s paintings examine the female form and the capacity for the canvas to stage them. For her show at Parker Gallery, Chow will exhibit large-scale arched canvases depicting female figures alongside smaller-scale renderings of ribbons and blankets on linen. Chow synthesizes Eastern and Western touchstones of visual culture throughout the ages, from Renaissance frescoes to popular Disney and Japanese animation. The arched shape of her canvases recall classical religious architecture, channeling the historical power of art as propaganda. The motifs in Chow’s ribbon paintings originate in the work of Jean Honoré Fragonard, yet their style is drawn from the color and allure of Sailor Moon cartoons. Traditional Chinese artistic philosophy considers emptiness to be balancing, and Chow employs this theory by omitting dimensional space within the canvas. Beyond the figurative elements in her work, Chow allows only raw linen or black voids rendered with dramatically light absorbing Black 3.0 paint. This type of formation can also be traced back to Henri Matisse’s 1905 painting Le Bonheur de Vivre in which entirely independent motifs are arranged to form a complete composition. In Chow’s work, the figures are similarly self-contained, like captivating performers on an empty proscenium stage. In contrast to the dainty objects of desire in historic masterworks by male artists, Chow’s female figures are massively obtrusive and alien, barely contained by the confines of the canvas. The scale of the figures in relationship to the canvas is directly influenced by the anatomy of Jacopo da Pontormo’s c.1528 painting Visitation, yet Chow’s figures are unpredictable, each a stylistic departure from the last. Chow renders her subjects in wide-ranging tones, from acidic yellows to deep and lush maroons, envisioning them as discrete conduits to other paintings, explicitly borrowing gestural devices from painters such as Mary Heilmann, Charline von Heyl and Georg Baselitz. The multiplicity of references in Chow’s work coalesce classical forms into something queer and abstract, transforming the familiar into an energetic and disorienting sensation. PARKER GALLERY 2441 Glendower Ave Los Angeles, CA 90027 HURLY-BURLY PUI TIFFANY CHOW November 6–December 23, 2022


Pui Tiffany Chow (b. 1987, Hong Kong) immigrated to the US after the Handover of Hong Kong from the British government and now lives and works in Los Angeles. Pui has participated in exhibitions at Galerie Anne Barrault, Paris (2022), Phase Gallery, Los Angeles (2022), Pomona College Chan Gallery, Claremont (2022), After Hours Gallery, Los Angeles (2022), Gravy Gallery, Santa Cruz (2022), One Trick Pony, Los Angeles (2021), Kylin Gallery, Los Angeles (2021), ArtCenter DTLA, Los Angeles (2020), UCLA New Wight Gallery, Los Angeles (2019), Culver Center of the Arts, Riverside, CA (2019) and Riverside Art Museum, Riverside, CA (2018). PARKER GALLERY 2441 Glendower Ave Los Angeles, CA 90027


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David Gilbert

David Gilbert (UCR MFA 2011) has a solo show at Chris Sharp Gallery.


David Gilbert’s photography can be situated in the unique crossroads of sculpture, drawing, painting, assemblage, installation, and image reproduction. Using these various media, Gilbert stages and photographs mise-en-scènes in the studio which variously and indeterminately read as traces of action, aftermath, something in progress, or finally, some kind of incident, accidentally perceived. Characterized by a sense of open-ended mystery and adumbration, the work willfully embraces ambiguity as a generative, queer position. Its quasi-Victorian quality of metaphor and suggestion feels incredibly fresh and fertile in the literal and taxonomical explicitness of our moment. It’s as if Gilbert turns the least subtle of artistic media and the one most readily associated with pornography– photography– on its head and revels in its capacity for erotic evocation. Thus it is no mere coincidence that the work is distinctly, if drolly reminiscent of the work of the 17th century Dutch painter, Johannes Vermeer. Gilbert’s images gracefully teem with draped curtains, window-sourced lighting, and a soft, accidental voyeurism. Shadows function as compositional and narrative devices, which help create the contemplative and melancholic mood of the photos while also inevitably reflecting on the indexical and intrinsically haunted nature of photography. In the case of Gilbert, a photography haunted by the absence of bodies, muted longing, and loss.

David Gilbert (b.1982, New York; lives and works in Los Angeles.)

David Gilbert received his MFA from UC Riverside (2011) and his BFA from The Department of Photography and Imaging at Tisch, NYU (2004). His work has been shown nationally and internationally including solo exhibitions at Klaus von Nichtssagend Gallery, New York; Rebecca Camacho Presents, San Francisco; 12.26, Dallas; Del Vaz Projects and The Finley, Los Angeles. His work is in the permanent collection of LACMA and has been written about in The New York Times, The New Yorker, Art in America, XTRA Magazine, BOMB, and Art Review. In the February 2019 issue of Artforum, Wayne Koestenbaum wrote Gilbert is “a photographer whose beat is the afterlife as it takes place now, in this studio, this room, among these bedclothes and paint stains and wigs and strings” in a feature about his work.

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Amir Zaki

UC Riverside Art Department professor Amir Zaki has a new survey monograph spanning 23 years of work. 

Co-published by X Artists’ Books and  DoppelHouse Press, Amir Zaki’s Building + Becoming brings together 272 pages of full-color work by the California-based hyperrealist photographer, accompanied by an interview with curator and writer Corrina Peipon and an essay co-authored by critics Jennifer Ashton and Walter Benn Michaels.

Building + Becoming is a sculptural monograph, designed as a double gatefold that opens to a full width of roughly forty inches, allowing the reader to explore both sets of images and texts in different combinations. The multiple series by Zaki captured within these sets address the built and the natural, including rocks, carvings, suspended landscapes, and manipulated California beach architecture. Like his skateparks, these environments are uncannily quiet and devoid of people.

Corrina Peipon’s interview with Zaki explores the artist’s personal history and concerns about photography and technology. “I am interested in the attraction and repulsion that a photograph which depicts something familiar and unfamiliar, initially welcoming yet somewhat alienating, can elicit in a viewer and me. I am looking for a kind of strangeness within the commonplace. Ultimately, I use digital technology as a means to an end. I am trying to make photographs that manifest the world I desire.”

Jennifer Ashton and Walter Benn Michaels’ essay offers insight into Zaki’s manipulation of space through “evenness,” which is accomplished by creating a perfectly technically focused object: “The point is not that the pictures overcome physical limits, but that they violate the logic of our eyesight.” Referencing the history of landscape and modern photography in California, Michaels and Ashton show that Zaki’s insistence on marrying technology seamlessly with this tradition results in continuity, an “addition through subtraction” of the third dimension.

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John Divola

Distinguished Professor John Divola has a solo exhibition in New York at Yancey Richardson Gallery from April 16th-May 21st

Press Release:

Yancey Richardson is pleased to present Swimming Drunk, an exhibition of photographs by John Divola. The exhibition includes two photographic series that represent the breadth of the artist’s more than 40 year career: Zuma Series (1977-1978), and Daybreak (2015-2020). Both series are a result of Divola’s engagement with abandoned buildings, and his interest in transforming a situation through photography. Thus, the photographs do not serve as mere descriptions of the scenes depicted but instead are offered as artifacts from the artist’s physical and experiential interventions within these environments.

 In the late seventies, Divola came across an abandoned property on Zuma Beach in Southern California. The building was repeatedly burned and damaged in various ways by the fire department who used it for training exercises and practice drills. Over the course of a year, Divola returned on numerous occasions to photograph the site, making additions to the interior with paint and graffiti, augmented by others’ vandalism, decay from natural elements, and the passage of time.

Divola describes Zuma Series (1977-1978),  as “a product of [his] involvement with an evolving situation…my acts, my painting, my photographing, my considering, are part of, not separate from, this process of evolution and change.” His willingness to physically intervene with his surroundings, combined with his bold use of color, marked Divola’s departure from the status quo in an era that prized the neutrality of predominantly black and white documentary photography.  

Daybreak (2015-2020) is a result of Divola’s long term engagement with the abandoned housing complex at the decommissioned George Air Force Base in Victorville, California. In this series, Divola explores the way in which light illuminated the space, photographing primarily at dawn. By adopting the analog format of 8×10 silver gelatin contact prints for the series, Divola calls attention to the photographs as physical manifestations of his engagement in the site. Indeed, as the artist has said, “each photograph represents an index of multiple gestures. The design of the architect, the labor of the builders, the traces of past occupants… [Divola’s] own painting and installations, and ultimately [his] gestures of selection.” And it is from this multiplicity of meaning that the photographs derive their power, resisting easy categorization or interpretation as Divola embraces “the messy complexity” of photography.

Born in Los Angeles in 1949, Divola earned a BA from California State University, Northridge in 1971 and an MA from University of California, Los Angeles, where he studied under photographer Robert Heinecken. Since 1975 he has taught photography and art at numerous institutions including California Institute of the Arts (1978-1988), and since 1988 he has been a Professor of Art at the University of California, Riverside.

Since 1975, Divola’s work has been featured in numerous solo exhibitions throughout the world. In 2013, a three-venue retrospective of Divola’s work titled As Far As I Could Get took place at the Los Angeles County Museum of Art, the Pomona College Museum of Art, and the Santa Barbara Museum of Art. Further solo museum exhibitions include the Joslyn Art Museum, Omaha, Nebraska, 2019, and the Palm Springs Art Museum, Palm Springs, California, 2019. His work can be found in major public collections worldwide, including Centre Pompidou, Paris; Getty Museum, Los Angeles, CA; Metropolitan Museum of Art, New York, NY; The Museum of Modern Art, New York, NY; Victoria and Albert Museum, London, England; and The Whitney Museum of American Art, New York, NY. Among Divola’s Awards are Individual Artist Fellowships from the National Endowment for the Arts (1973, 1976, 1979, 1990), a John Simon Guggenheim Memorial Fellowship (1986), a Fintridge Foundation Fellowship (1998), a City of Los Angeles Artist Grant (1999) and a California Arts Council Individual Artist Fellowship (1998).

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Pui Tiffany Chow and Julie Sadowski

UC Riverside MFA Alumni Pui Tiffany Chow and Julie Sadowski are participating in a group show at Phase Gallery in Los Angeles from April 9th-May 7th. 

Pui Tiffany Chow And Julie Sadowski In Collaboration With Paweł Żukowski


Julie Sadowski is a Polish-American artist living between Los Angeles and Warsaw. At Phase Gallery she presents photographs alongside works in collaboration with Paweł Żukowski, Polish artist and activist. Together they have translated, then stenciled excerpts of several feminist Polish songs onto fabric swatches. Julie will also present a series of collages and photographs of women’s shoes previously used by her mother for the ladies apparel business.

Pui Tiffany Chow presents a series of recent paintings that teeter between figuration and abstraction, referencing art historical representations of the female form in various erotic poses of shame. Pui stages these classical forms, like the Venus, as narrative vehicles to house discrete moments of abstraction in a plural array of stroke, color and style. Pui lives and works in Los Angeles.

Paweł Żukowski is an artist and activist, born and raised in Warsaw, Poland. Graduate of Abakanowicz Art University in Poznań. He works with text, recycled materials and found objects, mixing them together in collage-objects. He is a current artist in residence at the Tom of Finland Foundation.

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MFA Thesis 2022

MFA Thesis Exhibition 2022

Culver Center of the Arts

April 16, 2022 to May 8, 2022

Opening Reception: Saturday April 16, 2–5 PM

Out from the Dark presents the work of three students graduating from UCR’s Master of Fine Arts program this year: Daniel Arthur Mendoza, Mickey Mackenna, and Alex Delapena. These students join the ranks of MFA graduates from art departments and art schools across Southern California, a region that has become known for transforming its art students into major players on the international art scene. UCR’s distinctive thesis exhibition offers our highly motivated students an off campus, public gallery setting to present an ambitious body of work, cumulating advanced art research and practice into a thesis project. The distinguished full-time faculty in UCR’s Art Department includes Anna Betbeze, John Divola, Jim Isermann, Brandon Lattu, Charles Long, Lynne Marsh, Yunhee Min, and Amir Zaki.

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Yunhee Min

The UC Riverside Art Department would like to recognize and congratulate our faculty member Yunhee Min who has been awarded the distinguished Guggenheim Fellowship in Fine Art for 2022! This is a huge honor. She joins our department’s stellar record of past Guggenheim fellows including Joe Deal (Emeritus), John Divola, James Strombotne (Emeritus), Uta Barth (Emeritus), Melissa Thorne (University of Albany), Jim Isermann, Charles Long, and Jill Giegerich (Emeritus). The Guggenheim Fellowship is highly competitive and one of the most prestigious awards one in our field can achieve. Congratulations, Yunhee! 

Yunhee Min’s work, both paintings, and site projects explore visual abstraction as an open proposition for aesthetic relationality and perception expressed with color, surface, gesture, as well as material and form. Min is interested in engendering space of individuation and experience with abstraction, resistant to fixed or dominant meaning. In this respect, color plays a large role in its delicate contingency inherent in our perception and sensation. Her work has been featured in gallery and museum exhibitions including Los Angeles County Museum of Art, UCLA Hammer Museum, Los Angeles, Yerba Buena Center for the Arts, San Francisco, Art Sonje Center, Seoul, Korea, Artist Space, New York, Museum of Contemporary Art San Diego, Susanne Vielmetter Los Angeles, Miles McEnery Gallery in NY among others. Min is a recipient of the Korea Arts Foundation of America Artist Grant, the City of Los Angeles Cultural Affairs Individual Artist Grant, and the University of California Institute for Research in the Arts Grant.

Min’s work has been featured in numerous solo and group exhibitions in galleries and museums including Vielmetter Los Angeles and Miles McEnery Gallery in NYC.  

For more information:


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Anna Betbeze

UC Riverside Faculty Member Anna Betbeze has a two-person show with Corazón del Sol now open at The Box Gallery.

Anna Betbeze & Corazón del Sol 

Sarcophagus Telephone

The Box

February 5 – March 26, 2022

All Day Opening February 5, 12-6pm

Artist Walk Through February 19, 11am

Sarcophagus Telephone is a collection of works by Anna Betbeze and Corazón del Sol. Coming from its Greek roots Sarcophagus means flesh-eating and Telephone means sound from afar. This title gives navigational reference to the viewer on how these artists prioritize the importance of losing control, their devotion to questions of material transformation, formlessness, and diffraction, centering all that is sensory. This project is about speaking in and outside of time, dreams made corporeal, and the breadth of friendship. Betbeze and Del Sol pursue pre-linguistic forms of expression, embodied practices, and ritual in their respective practices; engaging the polychromatic, crystallized nature of color, color as light and sensation. 

When Betbeze and del Sol met a few years ago, they discovered uncanny parallels in their formal languages. They share lodestones such as Catherine Malabou’s formulations of plasticity and Audre Lorde’s conception of The Erotic. Del Sol uses caustic synthetic materials such as Dragon Skin silicone, resins and enamels, much of which is used in the film industry for artifice and illusion. With Veils, large silicone skins rubbed with vibrant color overlap and filter light creating an enveloping space for the viewer to enter. Her work, Instrument for Becoming, is a experiential sound object that places the body in vulnerable relation to sonic vibration. 

Betbeze has continually worked with the haptic sense through densely layered and textured materials, insisting on finding the limits of her materials through fire, acids, and saturation. Large paintings on wool flokati evoke carcasses, animated by color, texture, and emotional projection. In a new work Studies for Death Puppet, a collection of video vignettes feature motorized puppets made of tin foil and duct tape. A larger projection and sculpture, Endings, Beginnings, made in collaboration with artist and musician, Caye Castagnetto, expands on these ideas; tracking consciousness in materiality, human loss in the face of AI, and the perception of liveness in kinetic movement.

The Trojan Horses (Medusa and Cave) are a pair of collaborative sculptures that were conceived as  two sided stages, a rotating platform where material fragments combine in non-fixed, improvised, and alchemical compositions. Each work reveals the dominant aesthetic of each artist, exploring the margins of collaborative art making and exploratory sense making of how two beings come together to make collaborative works. 

Existing within a world that is increasingly circumscribed by the optics of digital technology, and its concomitant limitations and expansions of the perceivable world, Betbeze and Del Sol make work for the sensing body, with a belief that only through erotic thought and attention to feeling, can we truly address the urgencies of this particular moment. 

Anna Betbeze’s work involves exploration of the touch sense and proprioceptive sensation, arriving at new forms that combine elements of painting, sculpture, puppetry, performance, and pedagogy. Her work has been shown at institutions such as MOMA PS1, Musee d’Art Moderne de la Ville de Paris, The Hessel Museum at Bard College, MassMOCA and The Power Station, Shanghai. Her recent and ongoing project Touch Workshop is oriented around questions: How can the tactile imagination respond in the absence of tactile freedom? How do we transfer feeling, touching those outside of our time-space? This project was presented at Human Resources LA in 2020 and featured in TDR Journal in 2021.

Corazon del Sol is a third generation Los Angeles-based artist. Informally taught by her early access to the arts and subsequent questioning of the arts’ organizing systems, she has a practice rooted in collective sense making through conversation, movement, video, sculpture, and other experimental modes. Her work has been shown at international institutions such as Salon Nacional 44 Colombia (Colombian National Salon of Artists) and International Centre for Contemporary Culture, San Sebastian. Del Sol has curated shows including Dysfuctional Formulas of Love with co-curator Víctor Albarracín Llanos and Let Power Take a Female Form. Through her community activism and formation of the low-cost housing prototype, Jardin de Estrellas, she brings form to her belief that beautiful housing is a fundamental human right. The prototype of the Jardin de Estrella is installed in The Box parking lot for viewers to see. Lately she is most interested in connectivity’s ability to dislodge addiction to power that traumas engender.


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Brandon Lattu


UC Riverside Faculty Member Brandon Lattu has a large survey exhibition on view until February 6th, 2022 at the California Museum of Photography.

Brandon Lattu

Empirical, Textual, Contextual

California Museum of Photography

October 2, 2021 – February 6, 2022

Set within the broad, mercurial image environment in which we create and consume, this timely and first survey exhibition of Brandon Lattu’s 25-year practice is a sensory and cerebral journey. Lattu re-versions and re-animates early work through contingency with recent and new projects, manifesting the through-lines of Lattu’s creative life.  The exhibition positions a variety of works, ranging from small, singular photographic prints, interactive light installations, animated slideshows, through to computer-carved sculptures. The exhibition, curated by Charlotte Cotton, highlights the restlessly experimental photographic approach in Lattu’s practice by constellating works into thematic clusters and flows through the California Museum of Photography’s galleries – amplifying conceptual freedom to push ideas of photography and animate the indexicality of the medium, regardless of its material form.  


Curator: Charlotte Cotton.

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