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Paho Mann

table of contents

narrative summary 4

curriculum vitae 6

teaching assignments 15

professional work evaluation criteria 17

solo and two-person exhibitions 21

selected group exhibitions 39

exhibition catalogs 55

work appearing in professional journals and publications 83

public art projects 105

reviews and articles 117

curatorial 147

publicity 155

4 narrative summary

narrative summaryThank you for your time and consideration of the following document highlighting my creative and professional activities as an Assistant Professor of Art at the University of North Texas. I joined the faculty in 2007 and have established a focused and successful creative practice with an emphasis on the cultural and personal impacts of consumption and the effect of that consumption on our built and natural environments.

My artwork has been recognized nationally and internationally. I have participated in number-here competitive and number-here invitational group exhibitions in locations including Seoul, South Korea; Juarez, Mexico; New York, NY; Los Angeles, CA; and Minneapolis MN. My artwork has been exhibited in prestigious venues including the Walker Art Center, the Los Angeles Center for Digital Art, and the Jen Bekman Gallery among others. I am honored to have had prestigious jurors select my work for competitive exhibitions, the equivalent of peer-review in the visual arts, including Toby Kamp, Curator of Modern and Contemporary Art at the Menil Collection; Nancy Meyer, Assistant Curator of Contemporary Art, L.A. County Museum of Art; and Tracy Myers, Curator of Architecture Carnegie Museum of Art among others.

From 2008 through 2010 my work was included in Worlds Away: New Suburban Landscapes, a jointly organized traveling exhibition between the Walker Art Center and the Carnegie Museum of Art. This exhibition allowed me to take part in the growing conversation about the role of art in Suburban America alongside internationally renowned artists, architects and writers including Coen+Partners Architectural Firm, Robert Venturi, and Edward Ruscha. In 2010 my work was included in Locating Landscapes, a traveling exhibition between the Sam Lee Gallery, Las Angels and the Center for Creative Photography, Tucson. The exhibition included artists using contemporary technology to identify their subjects paired with some of the most important historical figures in photography including Robert Adams and Lewis Baltz.

In addition to exhibiting in galleries and museums, I have completed a two-part major public art project for the City of Phoenix. I was commissioned to create photographic works for a new recycling transfer station. For this project I took photographic samples of nearly 6,000 recycled objects from the over 100,000 tons of recyclable waste that passes through Phoenix each year. The images were entered into a database and given keywords based on visual, conceptual, and material qualities. The database functions as an image-bank from which I create large scale prints of selected image groups. The keywords used to generate these groups are chosen to create visual impact and highlight consumer choices. Based on the success of this project, the city of Phoenix commissioned me to create an interactive web-based public art project and a touch screen kiosk. Each year over 25,000 visitors see the print installation, and the web-based work in seen by thousands more. The project’s impact has been extended through educational material and billboards seen throughout Phoenix.

From 2007 – 2012 my work has been included in three two-person exhibitions and six solo exhibitions in national venues. These exhibitions allowed me to show larger amounts of creative research nationally. Venues for these exhibitions included the University of Nevada Reno, the University of Texas, San Antonio, and Bellevue College, Washington.

5narrative summary

With the increased visibility gained through exhibitions of my work, I have been invited to have images published in print and online magazines. Some of the most exciting of these are Yvi Magazine, a contemporary photography magazine published in the Netherlands, and Places, an online interdisciplinary journal of contemporary architecture, landscape, and urbanism. Additionally my work has become a part of the permanent collections of the Tucson Museum of Art, the Nerman Museum of Contemporary Art and various private collections.

Along with my colleagues in Photography, I conceived and proposed a successful $25,000 Research Infrastructure Grant for a digital imaging studio. This studio facilitates our photography program’s continued excellence in teaching and creative practice by giving access to students and faculty to current digital technologies.

Since my appointment at UNT, I have taught twenty-nine sections of nine different studio classes, all with new course preparations. I have served on six graduate committees, chairing three. During this time I have received excellent scores on my teaching evaluations.

I serve as the Photography Area coordinator and participate in College and University-wide committees. I have also served on search committees for four faculty members, chairing one.

I am honored to be a member of the faculty at UNT and proud of my many accomplishments. I am confident that the trajectory of my career will continue its upward momentum.

6 curriculum vitae

curriculum vitae

education

2007 MFA, Photography, School of Art, Arizona State University

2001 BFA, Photography, Department of Art, University of New Mexico

(Summa Cum Laude)

academic appointments

2007 – Cnt. Assistant Professor of Photography, College of Visual Art and Design, University of North Texas, Denton, TX

2007 Faculty Associate, Herberger Institute for Design and the Arts, Arizona State University, Tempe, AZ

2005 – 2007 Instructor of Record, Teaching Assistantship, Herberger Institute for Design and the Arts, Arizona State University, Tempe, AZ

2005 – 2006 Guest Instructor, Phoenix Art Center, Phoenix, AZ

solo and two-person exhibitions

2013 Upcoming, TBA (solo), Tony Hungerford Gallery, College of Southern Maryland, La Plata, MD

Upcoming, TBA, Hardee Center for the Arts, Madison, FL

2012 Upcoming, Paho Mann: New Work (solo), Studio Gallery, Brookhaven College, Dallas, TX

Consumed (solo), Bellevue College Gallery Space, Bellevue, WA

2011 Stuff (solo), East Central College Gallery, Union, MO

Paho Mann (solo), Memorial Hall Gallery, Chadron State College, Chadron, NE

2010 Scatter and Heap, Paho Mann and Lauren DiCioccio, Sheppard Fine Arts Gallery, Reno, NV

2009 Stuff (solo), Grand Rapids Community Collage, Grand Rapids, MI

7curriculum vitae

Building Vernacular Imaginations: Paho Mann and Libby Rowe, University of Texas San Antonio, Satellite Space, San Antonio, TX Curated by Scott A. Sherer, PhD Assistant Professor of Art History, UTSA

Paho Mann and Matthew Litteken, 1078 Gallery, Chico, CA

2007 Assortment (solo), Harry Wood Gallery, School of Art, Arizona State University, Tempe, AZ

2001 Same Difference (solo), John Sommers Gallery, Department of Art, University of New Mexico, Albuquerque, NM

Stored, Albuquerque Contemporary Art Center, Albuquerque, NM

public art and commissions

2012 New Freedom History Project (collaborative with Leigh Merrill), Cultural Alliance of York County and New Freedom Heritage, touch screen kiosk and rephotography project, New Freedom, PA

2010 Digital Touch Screen Kiosk Project / http://phoenixrecyclingproject.org/, commissioned by the Phoenix Office of Public Art, Phoenix, AZ

2008 North Transfer Station Public Art Project, commissioned by the Phoenix Office of Public Art, Phoenix, AZ

2006 7th Ave Streetscape Art Panel, Phoenix Office of Public Art, Phoenix, AZ

selected Group exhibitions

2012 Global Positions, Main Gallery, Visual Arts Building, the University of Texas at Dallas, Dallas, TX. Curators: Marilyn Waligore, Professor of Aesthetic Studies/Photography at UT Dallas and Danielle Avram, Independent Curator and manager of the Power Station, Dallas, TX

Petroleum Paradox, Women’s Caucus for Art, Denise Bibro Fine Art, New York, NY. Juror: Eleanor Heartney, Contributing Editor to Art in America and Artpress

Where We Are: Tectonic Shifts and the Dissolution of Boundaries, De Luce Gallery at Northwest Missouri State University, Maryville, MO

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LACDA 2012, Los Angeles Center for Digital Art, Los Angeles, CA Jurors: Nancy Meyer, Assistant Curator of Contemporary Art, L.A County Museum of Art and Rex Bruce, Director and Senior Curator, L.A. Center for Digital Art

Viewpoints, Studio Montclair at William Patterson University Galleries, Ben Shahn Center for the Visual Arts, Wayne, NJ. Juror: Alexandra Schwartz, Curator of Contemporary Art at the Montclair Art Museum

2011 Sustainability and The Built Environment, St. Louis Artists’ Guild and Galleries, St. Louis, MO. Juror: Chris Jordan, Artist

Where in the World, MPLS Photo Center, Minneapolis, MN. Juror: Toby Kamp, Curator of Modern and Contemporary Art at the Menil Collection, Houston, TX

8th Annual International Juried Exhibition, The Shore Institute of the Contemporary Arts, Long Branch, NJ

Southern Appalachian Artist Guild National Juried Show, Richard Low Evans Gallery at the Art Center, Blue Ridge, Georgia. Juror John Cram

2010 The Chinese Encyclopedia, Cuchifitos Gallery, New York, NY Curated by Susan Thompson

Border Art Biennial 2010, the El Paso Museum of Art and the Museo de Arte de Ciudad Juarez. Jurors: Rita Gonzalez, Assistant Curator in the Department of Contemporary Art at the Los Angeles County Museum of Art, and Itala Schmelz, Director at the Museo de Arte Carrillo Gil in Mexico City

Faraway Nearby, Nerman Museum of Contemporary Art, Overland Park, KS. Curated by Bruce Hartman, Executive Director, Nerman Museum of Contemporary Art

All or Nothing, the Denler Art Gallery, Northwestern College, St. Paul, MN

Land Use Survey, Jen Bekman Gallery, New York, NY. Curated by Jeffrey Teuton Associate Director, Jen Bekman Gallery, New York, NY

curriculum vitae

9curriculum vitae

2009 Locating Landscapes: New Strategies, New Technologies, Sam Lee Gallery, Los Angeles, CA. Curator Kate Palmer Albers, Ph.D. Assistant Professor of Art History, Arizona State University

Material Afterlife, Urban Institute for Contemporary Arts, Grand Rapids, MI

2008 Worlds Away: New Suburban Landscapes, A traveling exhibition shown at: Walker Art Center, Minneapolis, MN and Carnegie Museum of Art, Pittsburgh, PA. Curators: Andrew Blauvelt, Design Director and Curator, Walker Art Center and Tracy Myers, Curator of Architecture Carnegie Museum of Art update the dates.

The Circular Exhibition, Hun Gallery, A traveling exhibition shown at: New York, NY and Gallery Ho, Seoul, South Korea

Digital Art L.A, Los Angeles Center for Digital Art, Los Angeles, CA. Jurors: Peter Frank, Art Critic, Riverside Art Museum, and Howard N. Fox, Curator of Contemporary Art, Los Angeles County Museum of Art.

Art at The X, Xavier University Art Gallery, Cincinnati, OH

The Edge, Armory Art Center, West Palm Beach, FL

All Media Exhibition, Palos Verdes Art Center, Ranchos Palos Verdes, CA. Juror: Barry Krammes, Professor of Art, Biola University

Digital Visions, Artlink: Contemporary Art Gallery, Fort Wayne, IN

Toledo Friends of Photography, University of Toledo, Center for the Visual Arts, Toledo, OH. Juror: Todd Hido, Artist

2007 Arizona Biennial ’07, Tucson Museum of Art, Tucson, AZ. Curator: Dianne Vanderlip, Curator of Modern and Contemporary Art Denver Museum of Art

Accordion, John Sommers Gallery, University of New Mexico, Albuquerque, NM

2006 New American City: Artists Look Forward, Arizona State University Art Museum, Tempe, AZ. Curators: Heather Lineberry, Senior Curator and John Spiak, Curator ASU Art Museum

Interactive, Orange County Art Center, Orange County, CA.

Do It: participatory art, York Arts Center, York, PA

10 curriculum vitae

Air-Conditioned, Shemer Art Center and Museum, Phoenix, AZ

Antiphon, Northlight Gallery, School or Art, Arizona State University, Tempe, AZ

2005 Wake, Step Gallery, School of Art, Arizona State University, Tempe, AZ. Curator: Billy Howard, owner of Howard House Gallery, Seattle WA

I Knew I Should’ve Taken That Left Turn at Albuquerque II, Studio C, Phoenix, AZ

2004 New Graduate Group Show, Harry Wood Art Gallery, School of Art, Arizona State University, Tempe, AZ

Serial, Flatfile Photography Gallery, Chicago, IL

2003 Abstract, Flatfile Photography Gallery, Chicago, IL

2002 Politically Incorrect, Flatfile Photography Gallery, Chicago, IL

I Knew I Should’ve Taken That Left Turn at Albuquerque, Space 101, Bloomington, IN

2001 Scene Unseen, Runnels Gallery, Eastern New Mexico University, Portales, NM. Juror: Ellen J. Landis, Curator of Art Albuquerque Museum

1996 Focus, Albuquerque Museum, Albuquerque NM

curatorial

2008 Keywords, Universities Center at Dallas, Dallas, TX. Exhibited Artists: Brad Kuhl, Nora Herting, Jonathan Harris, Penelope Umbrico, Sep Kamvar, and Jim Bumgardner

Grants

2008 Research Initiation Grant, University of North Texas

Research Infrastructure Grant ($25,000), Funding for Digital Imaging and Output Studio, Co-Recipient with Dornith Doherty and Brent Phelps

awards

2012 Second Place, LACDA 2012, Juried Competition, Los Angeles, CA

11curriculum vitae

2008 First Place, Digital Visions, Artlink: Contemporary Art Gallery, Fort Wayne, IN

Second Place, LACDA Juried Competition, Los Angeles, CA

The Circle Award, 2008 Juried All-Media Show, Palos Verdes Art Center, Ranchos Palos Verdes, CA

2007 Contemporary Art Society Award of Excellence, Arizona Biennial ‘07

public lectures/ Gallery talks

2010 Artist Lecture, University of Nevada, Reno, Reno Nevada

Data as Referent: Image Mosaics, Interactivity, Geo-Tagging and Video Mash-ups in Contemporary Photographic Practice, at the 2010 SECAC/ MACAA Conference meeting in Richmond, VA

2009 Stuff, Grand Rapids Community College, Grand Rapids, MI

Exhibition Talk, 1078 Gallery, Chico, CA

2007 Assortment, South Central Society for Photographic Education, University of Texas Arlington, Arlington, TX.

Sorted, Booker T. Washington High School, Dallas Texas.

2006 Artist talk, Glendale Community Collage, Glendale, AZ.

Artist talk, Mesa Community Collage, Mesa, AZ.

Artist talk, New Mexico State University, Las Cruces, NM.

2005 Visiting Artist for Professor Muriel Magenta, Arizona State University, Tempe, AZ.

2001 Same Difference, Artist talk, John Sommers Gallery, University of New Mexico, Albuquerque, NM

collections and editions

Nerman Museum of Contemporary Art, permanent collection, Overland Park, KS

20x200.com, A Jen Bekman Project, New York, NY

Northlight Gallery, permanent collection, School of Art, Arizona State University, Tempe, AZ

Tucson Museum of Art, permanent collection, Tucson Museum of Art, Tucson, AZ

12 curriculum vitae

publications and cataloGs

2012 Consumed. Solo Exhibition Catalog. Bellevue WA, Bellevue College Gallery Space, 2012

Petroleum Paradox. Group Exhibition Catalog. Denise Bibro Fine Art, New York, NY, 2012

Abstract Expressions. Group Exhibition Catalog. PhotoPlace, Gallery, Middlebury, VT, 2012

2011 Where in the World. Group Exhibition Catalog. MPLS Photo Center, Minneapolis, MN, 2011

2010 Border Art Biennial 2010. Group Exhibition Catalog. The El Paso Museum of Art, El Paso, TX, 2010

2009 North Transfer Station Public Art Project. Post Card Book. Phoenix Office of Arts and Culture, Phoenix, AZ, 2009

“Re-inhabited Circle Ks” Places, October 2009: http://places. designobserver.com/

“Paho Mann” Black Warrior Review, October 2009

“Junk Drawers”, Yvi Magazine: Modern Explorers, Spring 2009

2008 “Locate/Navigate: exercises in mapping” Review, March 2008

2007 Worlds Away: New Suburban Landscapes. Group Exhibition Catalog. Walker Art Center, Minneapolis, MN, 2007

2006 New American City: Artists Look Forward. Group Exhibition Catalog. Arizona State University Art Museum, Tempe, AZ, 2006

2005 Wake. Group Exhibition Catalog with introduction by William Jenkins. Step Gallery, Tempe, AZ, 2005

2001 Scene Unseen. Group Exhibition Catalog. Eastern New Mexico University, Portales, NM, 2001

1999 Scribendi: University of New Mexico arts and literature magazine, 1999

selected reviews

2009 LaPado, Christine G.K. “Saying it with pictures.” Chico News & Review, March 26, 2009: p. 26

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2008 Blauvelt, Andrew, and Tracy Myers. “Suburban Subversion.” Dwell Magazine Dec-Jan. 2008: p. 173-80

2007 Margaret Regan. “Reflection and Glimpses”. Tucson Weekly, May 31, 2007, Review of work in the Arizona Biennial ‘07’

2006 Lenngel, Kerry. “Who is Phoenix? Exhibit Weighs City’s Character”. Arizona Republic, September 10, 2006, p. E1

2002 Adrienne Ball, “Space 101 Features New Mexico Artists”, Indiana Daily Student July 1, 2002, p.11

professional service

2012 Peer reviewer for Presentation Selection Committee, Society for Photographic Education, National Conference

Portfolio reviewer, Society for Photographic Education, National Conference

2010 Portfolio reviewer, Society for Photographic Education, National Conference


2007 Workshop Leader, Introduction to Website Construction, Society for Photographic Education, South-Central Conference, 2007


service to the colleGe and university

2011 Chair, Photography Faculty search committee, College of Visual Art and Design, University of North Texas.

Committee member, Academic Committee, College of Visual Art and Design, University of North Texas.

2010 Committee member, Academic Committee, College of Visual Art and Design, University of North Texas.

2009 Committee member, Executive Committee, College of Visual Art and Design, University of North Texas.

Chair, Federation Committee, University of North Texas.

2008 Committee member, Gallery/Visiting Artists Committee, College of Visual Art and Design, University of North Texas.

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Chair, Federation Committee, University of North Texas.

Committee member, New Media search committee, College of Visual Art and Design, University of North Texas.

2007 Committee member, Communication Design search committee, College of Visual Art and Design, University of North Texas.

15teaching assignments

teachinG assiGnments

Fall 2012 ASTU 2255, Photography II (20 students)

ASTU 2255, Photography II (20 students)

Spring 2012 ASTU 5250, Photography Studio (7 students)

ASTU 4250, Photography Studio (19 students)

Fall 2011 ASTU 4260, Photography and the Web (20 students)

ASTU 4290, Topics in Photography (18 students)

ART 4900, Special Problems (2 students)

ASTU 5015, Creative Project (2 students)

Spring 2011 ASTU 3250, Photography III (15 students)


ASTU 4260, Photography and the Web (20 students)

ART 4450, Professional Internship (2 students)

ASTU 5900, Special Problems (2 students)

Fall 2010 ASTU 4260, Photography and the Web (20 students)


ART 4450, Professional Internship (2 student)

Summer 2010 ASTU 4280 Advanced Lighting (17 Students)

Spring 2010 ASTU 4260, Photography and the Web (15 students)


ASTU 3250, Photography III (18 students)




Fall 2009 ASTU 4260.501, Photography and the Web (14 students)

ASTU 4260.502, Photography and the Web (16 students)

ART 4900 & 5900, Special Problems (2 students)

Spring 2009 ASTU 4260, Advanced Digital Imaging (17 students)

16 teaching assignments


ASTU 3260, Digital Photographic Imaging (15 students)



Fall 2008 ASTU 3250, Color Photography (22 students)

ASTU 4270, Alternative Photographic Process (17 students)

Spring 2008 ART 4172, Photographic Digital Imaging (17 students)

ART 4806, Photography Studio (15 students)

ART 4824, Introduction to Digital Imaging (22 students)

Fall 2007 ART 4825/5815, Photography and the Web (16 students)

ART 4600, Alternative Photographic Process (18 students)

ART 4650, Advanced Lighting (19 students)

17professional work evaluation criteria

professional work evaluation criteria

department of studio artThe academic disciplines of the Department of Studio Art assert the importance of professional development as a vital element for effective teaching. The Department enthusiastically supports the university guidelines for promotion and tenure as stated in the policy manual, article 15.0.04. Artistic/Scholarly achievements must be rated excellent and must demonstrate a trend toward continual growth toward a national reputation. The granting of tenure requires

excellence in the functions of teaching, scholarly/creative activities, and professional service.

most valued

Level I

Solo Exhibitions in major museums and galleries.

Single authored books.

Level II

Major commissions.

Inclusion of work in exhibitions of a national/international nature.

Workshops, presentations at major universities, museums, conferences.

Co-authored books.

Authored articles, reviews, critical writings in publications of national/international exposure.

Critical reviews, photographs of work in publications with national/international exposure.

Serving as elected officer, board member, panelist in national/international organizations, events.

Curatorial responsibilities of national/international exhibitions, panels, symposiums.

Purchase of work by public collections.

External federal or foundation funding received.

Other professional activities bringing national,international exposure.

valued

Level I

Solo Exhibitions in regionally recognized museums and galleries.

Inclusion of work in exhibitions of a regional or statewide nature.

18 professional work evaluation criteria

Workshops,presentations at small junior colleges, public schools, local events.

Serving as elected officer, board member, panelist in state, regional organizations, events.

Minor commissions.

Curatorial responsibilities for statewide, regional exhibitions, panels, symposiums.

Serving as juror, panelist, for national/international exhibitions, events.

National/ International honors and awards.

Purchase of work by corporate or private collections.

Level II

Critical reviews, photographs of work in local, regional publications.

Authored articles, critical writings in local, regional publications.

Reviewing, editing material for publication.

Honors and awards received at the state level.

Other professional activities of a statewide or regional nature.

somewhat valued

Local Denton and campus wide exhibitions.

Jurying local art exhibitions, presentations for local schools, organizations.

Internal funding received.

Local honors and awards received.

Consulting work.

Work done in studio not resulting in sales or exhibitions.

Other professional activities of a local nature

19professional work evaluation criteria

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exhibition announcement (front), solo exhibition at Bellevue College, 2012

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exhibition announcement (back), solo exhibition at Bellevue College, 2012

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exhibition announcement (front and back), solo exhibition at Chadron State College, 2011

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exhibition announcement (front and back), solo exhibition at East Central College, 2011

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gallery publication (cover), two-person exhibition, University of Nevada Reno, 2010

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gallery publication (inside), two-person exhibition, University of Nevada Reno, 2010

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gallery publication (back), two-person exhibition, University of Nevada Reno, 2010

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gallery publication (cover), solo exhibition at Collins Art Gallery, Grand Rapids, MI, 2010

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gallery publication (inside), solo exhibition at Collins Art Gallery, Grand Rapids, MI, 2010

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exhibition announcement (front and back), solo exhibition at Collins Art Gallery, Grand Rapids, MI, 2010

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gallery publication, two-person exhibition, University of Texas San Antonio Satellite gallery, 2009

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exhibition announcement (front), two-person exhibition at the University of Texas San Antonio Satellite gallery, 2009

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exhibition announcement (back), two-person exhibition at the University of Texas San Antonio Satellite gallery, 2009

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exhibition announcement (front and back), two-person exhibition at the 1078 gallery, Chico, CA, 2009

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exhibition announcement (front and back), solo exhibition at Harry Wood Gallery, 2007

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selected Group exhibitions

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selected group exhibitions

exhibition publication, (cover), “Global Positions” at the University of Texas Dallas, 2012

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exhibition publication, (inside), “Global Positions” at the University of Texas Dallas, 2012

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exhibition publication, (inside), “Global Positions” at the University of Texas Dallas, 2012

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exhibition publication, (back), “Global Positions” at the University of Texas Dallas, 2012

44


exhibition announcement, “Border Art Biennial - Bienal Fronteriza de Arte 2010”, El Paso, TX, 2010

The El Paso Museum of Art Announces Border Art Biennial - Bienal Fronteriza de Arte 2010

Please join us at the El Paso Museum of Art on Friday, November 19, 2010

6:30 p.m. for a Members' and Artists' private preview of Border Art Biennial/Bienal Fronteriza de Arte 2010

Cocktail reception with hors d'oeuvres and live entertainment

An RSVP is requested by November 15, 2010 by calling Barbara Read, Development Marketing Assistant at (915) 532-1707

or by e-mailing [email protected]

Parking is available at the Abraham Chavez Parking Garage or at the Camino Real Hotel for a small fee Free parking is available at the City Hall Parking lot on Santa Fe Street

The exhibition opens to the public on Saturday, November 20, 2010

Featured Artist: Itzel Aguilera, Ciudad Juarez, Chihuahua, Mexico Julie Anand and Damon Sauer, Phoenix, Arizona Tania Anchondo, Chihuahua, Chihuahua, Mexico Jesus Barraza, San Leandro, California Camp Bosworth, Marfa, Texas Maureen Burdock, Santa Fe, New Mexico Camilo Cruz, Los Angeles, California Alejandro Cartagena, Monterrey, Nuevo Leon, Mexico Vic De La Rosa, San Francisco, California Sergio De La Torre, San Francisco, California Leticia Diaz Moreno, Ciudad Juarez, Chihuahua, Mexico Justin Gainan, Oakland, California Matt Gainer, Toluca Lake, California Joseph Gerges, La Mirada, California Ed Gomez, Long Beach, California Erendira Gonzalez, Tijuana, Baja California Norte, Mexico Alexandra Grant, Los Angeles, California Luis Hernandez, Los Angeles, California Yvianna Hernandez, El Paso, Texas Farah Karapetian, Los Angeles, California Julia Landois, San Antonio, Texas Anthony Lazorko, Mesilla, New Mexico Nery Gabriel Lemus, Pasadena, California Paho Mann, Dallas, Texas Mayra Martell, Chihuahua, Chihuahua, Mexico Shane Mecklenburger, Dallas, Texas Hector Mendoza, Oakland, California Dominic Miller, Phoenix, Arizona Jeffrey Miranda, Allen, Texas Noe Montes, Los Angeles, California Oscar Moya, El Paso, Texas Michelle Murillo, Dallas, Texas Brenda Perry, El Paso, Texas Gregory Phillipy, Las Cruces, New Mexico Kerianne Quick, Pasadena, California Tim Roberts, Fort Davis, Texas Humberto Saenz, Spring, Texas Rocio Saenz, Chihuahua, Chihuahua, Mexico Marian Salinas, McAllen, Texas Shawn Skabelund, Flagstaff, Arizona David Taylor, Las Cruces, New Mexico Rogelio Valenzuela Colomo, Ciudad Juarez, Chihuahua, Mexico Cathy Wysocki, Corrales, New Mexico

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exhibition announcement, “The Chinese Encyclopedia” at the Cuchifritos Gallery, New York, NY, 2010

CUCHIFRITOSart gallery/project space

PAST EXHIBIT:

The Chinese Encyclopedia

Jennifer Dalton, Mike Estabrook, Chad Hagen and Paho MannCurated by Susan Thompson

Exhibition Dates: November 6 – December 4, 2010Opening Reception: Saturday, November 6th, 4 – 6.30pm

For more information and visuals, please contact the curator: Susan [email protected]

A character in a Borges story finds an old Chinese encyclopedia that presents a strange taxonomy ofanimals, dividing them into the following categories:

(a) belonging to the Emperor(b) embalmed(c) tame(d) suckling pigs

past exhibits http://www.aai-nyc.org/cuchifritos/Exhibits/The Chinese Encyc...

1 of 3 1/6/11 10:35 AM

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exhibition announcement, “The Chinese Encyclopedia” at the Cuchifritos Gallery, New York, NY, 2010

(e) sirens(f) fabulous(g) stray dogs(h) included in the present classification(i) frenzied(j) innumerable(k) drawn with a very fine camelhair brush(l) et cetera(m) having just broken the water pitcher(n) that from a long way off look like flies

This bizarre classification system, or rather the amusement evoked when reading it, was theinspiration for Michel Foucault’s The Order of Things, a work that indicts accepted systems oforganizing, classifying, and arranging, ultimately concluding that all organizational systems are justas ridiculous as the list given above. Such arbitrary criteria and absurdly limited categories highlightthe ways in which meaning is constructed within traditional categorical systems and ask us toquestion the meanings that inhere to these accepted systems of thought.This show calls attention to the various ways in which objects and information are given meaningthrough association and representation. The artists are interested in how information is filtered andpresented. They formulate new structural systems, undermine pre-existing structures, or simplyreveal the absurdity of the very concept of structure. They allow for the possibility of new categoriesto rise amongst the old and fill in the gaps of the excluded by forging new associational axes.

Mike Estabrook illustrates words as they are defined by their Google Images results. “What does“disaster” look like?” he asks, though the answer he presents has been processed through algorithms.Paho Mann allows the viewer to sift through his belongings electronically by making selectionswithin a database. A possible grouping produced by this system might include all items that are thesize of a toaster oven and located in the linen closet. The slickly-designed infographics of ChadHagen seem to make easy sense out of what must be complex data. Only after a few moments doesthe viewer realize that the colorful shapes don’t actually refer to anything outside themselves. Thereis order without content. In a game of “would you rather,” Jennifer Dalton makes the viewerself-define by selecting from severely limited (and less-than-ideal) options. Elsewhere, she illustratesthe disparity of success between men and women in the art world, giving form to discouraging data.

Susan Thompson lives in New York and works as a Curatorial Research Assistant at the Solomon R.Guggenheim Museum in addition to developing her own independent curatorial projects. Shereceived her Masters degree in Modern Art, Curatorial and Critical Studies from ColumbiaUniversity and was the recipient of the 2009-2010 Hilla Rebay Fellowship from the Solomon R.Guggenheim Foundation.

Image: Chad HagenNonsensical Infographic #12009Courtesy of the artist and Cuchifritos gallery and project space

past exhibits http://www.aai-nyc.org/cuchifritos/Exhibits/The Chinese Encyc...

2 of 3 1/6/11 10:35 AM

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exhibition announcement, “Faraway Nearby” at the Nerman Museum of Contemporary Art, 2010

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exhibition announcement, “Faraway Nearby” at the Nerman Museum of Contemporary Art, 2010

said Bruce Hartman, executive director of the Nerman Museum.

More Americans now live in suburban areas than in central cities and rural areas

combined. However, despite its scale and influence (physically, economically and socially),

suburbia is a relatively under-examined power in shaping America’s cultural life.

The suburbs have served as an arena for conjuring images of both the best and the

worst of contemporary social life. Alternately stereotyped as either a domestic utopia

or a haven of conformity, these stereotypes disguise a more realistic interpretation

of contemporary suburbia. Many of the artists in Faraway Nearby address popular,

preconceived notions (real or otherwise) to challenge, emphasize or re-invent them.

“The exhibition features artists who have turned their imaginations to suburbia

– for inspiration, to provoke discussion, and to acknowledge (both appreciatively and

critically) an environment which makes up an ever-increasing portion of our world,” said

Hartman.

Artists included in the exhibition:

Chris Ballantyne, b. 1972, Mobile, Ala.; lives and works in New York

Sheila Pree Bright, b. 1967, Waycross, GA; lives and works in Atlanta

Don Lambert, b. 1972, Cincinnati; lives and works in Miami

Paho Mann, b. 1978 in Snowflake, Ariz.; lives and works in Denton, Texas

Matthew Moore, b. 1976, in San Jose, Calif.; lives and works in Goodyear, Ariz.

Amy Stein, b. 1970, raised in Washington D.C. and Karachi, Pakistan; lives and works in

New York

Greg Stimac, b. 1976 in Euclid, Ohio; lives and works in Chicago

Brian Tolle, b. 1964 in Queens; lives and works in New York

Michael Vahrenwald, b. 1977 in Davenport, Iowa; lives and works in New York

The Nerman Museum is open 10 a.m. to 5 p.m. Tuesday, Wednesday, Thursday

and Saturday; 10 a.m. to 9 p.m. Friday; and noon to 5 p.m. Sunday. The museum is closed

Monday and all JCCC holidays.

For more information, call 913-469-3000 or visit www.nermanmuseum.org.

Admission and parking are free.

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49


gallery website announcement, “Land Use Survey” at the Jen Bekman Gallery, New York, NY, 2010

4/23/12 Land Use Survey @ jen bekman

1/1www.jenbekman.com/shows/land-use-survey/press-release/

Jen Bekman Gallery 20×200 Hey, Hot Shot!

6 spring street

new york city 10012tel: 212.219.0166

[email protected]

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images | bios | press release | press mentions

press release :: Land Use Survey

NEW YORK – Jen Bekman Gallery is pleased to present Land Use Survey, a groupexhibition featuring photographs, paintings and works on paper by twenty-seven artists.

An opening reception will be held on Wednesday, June 30, 2010, from 6:00 to 8:00 p.m.Land Use Survey will be on view Thursday, July 1 through Sunday, August 14, 2010 atJen Bekman Gallery, located at 6 Spring Street, New York, New York.

Land Use Survey functions as a critical appraisal of land use across the country, as adocument of the changing landscape vernacular, and as a celebration of the artists who takediverse approaches to capturing this genre. The show opens with a series of landscapesthat remain untouched by man. Slowly, signs of human intrusion begin to appear: car tracks,empty bottles, a retaining wall and piles of dirt. As one progresses through the exhibition,both in the gallery space and within the areas described by the works, increasingly moreland turns over to commercial and residential development, before finally giving way to thedizzying geometries of the modern metropolis.

The exhibition features work by Ian Baguskas, Chris Ballantyne, Beth Dow, ChristophGielen, Todd Hido, Liz Kuball, Nick Lamia, Scott Lawrence, Michael Lundgren, AlexMacLean, David Maisel, Paho Mann, Louisa McElwain, Sarah McKenzie, Joel Meyerowitz,Dana Miller, Brad Moore, Matthew Moore, Michelle Muldrow, Justin Newhall, Ross Racine,Tyson Anthony Roberts, Andrew Scott Ross / Scott Lawrence, Aili Schmeltz, BryanSchutmaat, Alec Soth and William Wegman.

Jen Bekman Projects

Jen Bekman Projects comprises three businesses: 20x200 offers curated, limited-editionprints at ridiculously affordable prices. Hey, Hot Shot! is a critically-acclaimed internationalphotography competition which discovers, recognizes and promotes photographers at allstages of their careers. Jen Bekman Gallery, the flagship of JBP, exhibits photography,works on paper, paintings, and mixed media.

Land Use Survey is at:Jen Bekman Gallery, 6 Spring Street, New York, New York.Hours: Wednesday–Saturday, noon – 6 p.m. or by private appointment

For additional information and images, email [email protected] or phone 212.219.0166.

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gallery website announcement, “Locating Landscapes” at the Sam Lee Gallery, Los Angeles, CA, 2010

4/23/12 Sam Lee | Gallery : Locating Landscape

1/1samleegallery.com/htmls/LocatingLandscape.htm

Paho Mann

Carniceria Cuerrero, Phoenix, Arizona, 2006

From the series, Reinhabited Circle K

Image Size: 16 x 20 inches

Paper Size: 20 x 24 inches

Edition of 20

LEWIS

BALTZ

CHRISTIANA

CARO

ANDREW

FREEMAN

FRANK

GOHLKE

MARGOT

ANNE

KELLEYMARK

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gallery website announcement, “Locating Landscapes” at the Center for Creative Photography, Tucson, AZ, 2010

The Center for Creative Photography 2010 [back]

Locating Landscape: New Strategies, New Technologies

The Center for Creative Photography

Tucson, Arizona

June 5 to August 1, 2010

The Center for Creative Photography is pleased to announce the exhibition, Locating Landscape: New Strategies, New

Technologies, highlighting some of the most interesting young artists at work in Los Angeles and the Southwest today.

Guest-curated by University of Arizona photography historian Kate Palmer Albers, this exhibition includes work by

Christiana Caro, Andrew Freeman, Frank Gohlke, Margot Anne Kelley, Mark Klett, Paho Mann, Adam Thorman, and

Byron Wolfe.

Inspired by the recent revival of the influential and critically acclaimed New Topographics exhibition from 1975,

shown at the Center and continuing its national and international tour, Locating Landscape links a new generation of

photographers with the New Topographics movement that so greatly influenced them. Margot Anne Kelley and

Christiana Caro studied with Frank Gohlke; Andrew Freeman studied with Lewis Baltz; and Paho Mann and Adam

Thorman studied with Mark Klett as well as Bill Jenkins, the original curator of New Topographics at George Eastman

House in Rochester, New York.

“New Topographics was a watershed moment in the history of landscape photography,” says Albers, “It‘s been a major

undercurrent in photographic practice for more than forty years, and now—especially with the rapid growth and ready

availability of networked mapping and locational technologies—we‘re seeing an explosion of new work that‘s taking

landscape in a new direction.”

These new landscapes incorporate novel methods to connect with the world they represent while drawing on the visual

vocabulary developed by earlier generations of landscape photographers. Where the New Topographics photographers

worked in black and white and made relatively small prints, Locating Landscape reflects the contemporary engagement

with large scale and lush color. Likewise, if both beauty and politics were slightly submerged in the landscapes of the

1970s, today, the lyric and poetic comfortably coexist with cultural and political concern.

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exhibition announcement, “The Circular Exhibition” at the Hun Gallery, New York, NY and the Gallery Ho, Seoul, South Korea, 2008

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exhibition cataloGs

56 exhibition catalog (cover), solo exhibition at Bellevue College, 54 pages including interview, forward, and X color plates, 2012

catalogs

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catalogs

exhibition catalog (interview), solo exhibition at Bellevue College, 54 pages including interview, forward, and color plates, 2012

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catalogs


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catalogs


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catalogs


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catalogs


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catalogs

exhibition catalog (cover), Where in the World Exhibition at Minneapolis Photo Center, 2011

catalogs

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catalogs

exhibition catalog (inside), Where in the World Exhibition at Minneapolis Photo Center, 2011

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catalogs

exhibition catalog (cover), Border Art Biennial / Bienal Fronteriza de Arte at the El Paso Museum of Art and the Museo de Art de Ciudad Juarez,

2010

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catalogs

exhibition catalog (inside), Border Art Biennial / Bienal Fronteriza de Arte at the El Paso Museum of Art and the Museo de Art de Ciudad Juarez,

2010

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catalogs

exhibition catalog (inside), Border Art Biennial / Bienal Fronteriza de Arte at the El Paso Museum of Art and the Museo de Art de Ciudad Juarez,

2010

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catalogs

postcard book (front and back of same page), North Transfer Station Public Art Project, 2009

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catalogs


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catalogs


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catalogs


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catalogs


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catalogs


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catalogs


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catalogs

exhibition catalog (cover), The Circular Exhibition at Hun Gallery, New York, NY and Gallery Ho, Seoul, South Korea, 2008

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catalogs

exhibition catalog (cover), The Circular Exhibition at Hun Gallery, New York, NY and Gallery Ho, Seoul, South Korea, 2008

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catalogs

exhibition catalog (cover), Worlds Away: New Suburban Landscapes Exhibition at the Walker Art Center, 2008

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catalogs

exhibition catalog (inside), Worlds Away: New Suburban Landscapes Exhibition at the Walker Art Center, 2008

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catalogs


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catalogs


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catalogs

exhibition catalog (cover), New American City Exhibition at Arizona State University Art Museum, 2007

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catalogs

exhibition catalog (inside pages), New American City Exhibition at Arizona State University Art Museum, 2007

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work appearinG in professional journals and publications

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work appearing in professional journals and publications

literary magazine (cover), Black Warrior Review, University of Alabama, October 2009

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literary magazine (inside), Black Warrior Review, University of Alabama, October 2009

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catalogswork appearing in professional journals and publications


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catalogswork appearing in professional journals and publications


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visual art journal (cover), “Locate/Navigate: exercises in mapping“ in Review, 2008

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art magazine (cover), Yvi Magazine: Modern Explores 2009

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art magazine (inside), Yvi Magazine: Modern Explores 2009

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public art projects

106 screen shot, Interactive Website (http://phoenixrecyclingproject.org/)commissioned by the Phoenix Office of Arts and Culture’s Public Art

Program, 2011

public art projects

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public art projects

screen shot, Interactive Website (http://phoenixrecyclingproject.org/)commissioned by the Phoenix Office of Arts and Culture’s Public Art

Program, 2011

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public art projects


Program, 2011

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public art projects


Program, 2011

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public art projects

refrigerator magnets, educational material, Phoenix Recycling Project, magnets created by the Phoenix Office of Arts and Culture’s Public Art

Program, 2011

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public art projects

billboard, Phoenix Recycling Project commissioned by the Phoenix Office of Arts and Culture’s Public Art Program, Phoenix, AZ 2011

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public art projects

billboard, Phoenix Recycling Project commissioned by the Phoenix Office of Arts and Culture’s Public Art Program, Phoenix, AZ 2011

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public art projects

Image List

1. Pa

per by C

olor, 24 x 24

inch

es

2. Wa

ter Bottles, 30

x 24 in

ches

3. Action

Fig

ures, 10

x30 in

ches

4. G

ifting

, 19 x 24

inch

es

5. Meta

l by Color, 16

x 24 in

ches

6. R

ed P

lastic, 16

x 35 inch

es

7. Ora

ng

e Pla

stic, 16 x 26

inch

es

8. Y

ellow P

lastic, 16

x 23.5 inch

es

9. G

reen P

lastic, 16

x 28.5 in

ches

10. B

lue P

lastic, 16

x 51.5 inch

es

11. Pu

rple P

lastic, 16

x 19 in

ches

12. Pin

k Pla

stic, 16 x 19

inch

es

13. Bla

ck Pla

stic, 16 x 19

inch

es

14. B

rown

Pla

stic, 16 x 18

inch

es

15. White P

lastic, 16

x 26 in

ches

16. Stra

ws, 16

x 16 in

ches

17. New

spa

per, 24

x 27 inch

es

18. C

hildren

’s Dra

win

gs a

nd

Hom

ework, 16

x 16 in

ches

19. M

ailers a

nd

New

spa

per In

serts, 24 x 30

inch

es

20. H

earts, 16

x 16 in

ches

Phoenix North Transfer Station

RecyclingPublic A

rt Project

Paho Mann

1.

2.

3.

4.

5.

6-15.

16.

17.

18.

19.

20.

About

Th

e images in

the N

orth G

ateway T

ransfer Station

Project are m

ade from

nearly

60

00

ph

otograph

s of ind

ividu

al recyclables mad

e at a sold w

aste transfer an

d m

a-terial recovery station

in P

hoen

ix, Arizon

a. Incom

ing recyclables are sorted

and

bailed

by workers u

sing h

eavy equip

men

t before being sh

ipp

ed to offsite location

s for reu

se. Th

e objects were selected

at rand

om from

the con

tents of arrivin

g recy-clin

g trucks an

d p

hotograp

hed

isolated again

st a black backgroun

d in

an on

-site ligh

ting stu

dio. C

entral to m

y un

derstan

din

g of this p

roject is that lookin

g at wh

at w

e own

and

consu

me reveals som

ethin

g about ou

r iden

tity, and

that th

is examin

a-tion

un

derlin

es the im

portan

ce of makin

g thou

ghtfu

l choices in

wh

at we d

o with

th

ese objects.

Th

e images from

the N

orth G

ateway T

ransfer Station

were en

tered in

to a data-

base and

given keyw

ords from

categories inclu

din

g material, color, an

d u

se. Th

e d

atabase fun

ctions as an

image-ban

k from w

hich

I create prin

ts of selected im

age grou

ps. T

he keyw

ords u

sed to gen

erate these grou

ps are ch

osen to create visu

al im

pact an

d h

ighligh

t consu

mer ch

oices. By sam

plin

g a relatively small am

oun

t of w

aste (5824

objects from th

e over 100

,00

0 ton

s of recycling p

rocessed in

Ph

oenix

each year) an

d fu

rther n

arrowin

g the selection

with

keyword

s, consu

mer ch

oices becom

e more sp

ecific. T

he resu

lting im

ages attemp

t to show

particu

lar water bot-

tles, not th

e abstract un

derstan

din

g of the 6

0 m

illion w

ater bottles a day are u

sed

in th

e Un

ited States.

Th

e ph

otograph

s are disp

layed as grid

s with

accomp

anyin

g image overlays. T

he

overlays are created by stackin

g and

averaging th

e color and

tone of all th

e ind

ivid-

ual p

hotograp

hs from

each grou

p. T

he resu

lting p

rints offer tw

o alternative visu

al en

tries into th

e objects disp

layed.

Th

e images w

ill be prin

ted as arch

ival inkjet p

rints on

Colorad

o Fiber G

loss Pap

er, an

acid an

d lign

in free fi

ber based p

aper, by th

e Moab P

aper C

omp

any. T

he fram

es w

ill be custom

mad

e by Green

Hou

se Fram

ing, an

ecologically sustain

able com-

pan

y in P

ortland

Organ

. All of th

e lum

ber used

for the fram

es has been

reclaimed

from

a prior u

se. Th

e stains u

se are mad

e from easily ren

ewable resou

rces, and

obtain

ed by fair trad

e practices.

design diagram, North Transfer Station Project commissioned by the Phoenix Office of Arts and Culture’s Public Art Program, 2009

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public art projects

installation views, 7th Avenue Art Panel commissioned by the Phoenix Office of Arts and Culture’s Public Art Program, Phoenix, AZ, 2007

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reviews and articles

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article, Arizona Republic, “Old-style Circle K stores get new life” December 4, 2009

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article, Arizona Republic, “Old-style Circle K stores get new life” December 4, 2009

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review, Los Angeles Times, “Locating Landscape at Sam Lee Gallery.” November 6, 2009 (Web)

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review, Los Angeles Times, “Locating Landscape at Sam Lee Gallery.” November 6, 2009 (Web)

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review, Los Angeles Times, “Locating Landscape at Sam Lee Gallery.” November 6, 2009 (Print)

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article, Places, “Re-inhabited Circle Ks“ (Editor’s Text), September 27, 2009

Re‐InhabitedCircle‐Ks

It’swhatyoumightcallaclassiclow‐commitmentlandscape—thewidearterialsofPhoenix,Arizona,

engineeredtomovecarsquickly,manywithsix,seven,sometimeseveneightlanesoftraffic,including

whattransportationplannerscall“two‐wayleftturnlanes”andwhattherestofuscallthesuicide

lanes.Therights‐of‐waycanstretchoutonehundredfeetormore,andthey’rewiderstillwhenyou

addintheparkinglotsforthestripmallsthatlinethem(thesix‐footsidewalkshardlycount).The

roadsaretreeless,too,becausetreeswouldblockthebigsigns—forthefast‐fooddrive‐ins,bigbox

discounters,paydayloans,etc.—whicharecriticalwhenyourcustomersareclippingpastat40mph.

PhotographerPahoMannbegantolearnfromthislandscapeadecadeago,whenhewasastudentat

theUniversityofNewMexico,commutingacrossAlbuquerquefromhometocampus.Mann—who

wasn’tyetbornwhenRobertVenturiandDeniseScottBrowntooktheirYalestudiowestanddidthe

researchdistilledintoLearningfromLasVegas—paidspecialattentiontotheCircleKs,anational

chainofconveniencestoresfoundedin1951inElPaso.Butwhatactuallyattractedhimwere

“reinhabited”CircleKs—thediversesmallbusinessesthathadsetupshopinlocationsthatthe

corporationhadabandonedinthepasttwodecades,largelyduetochangesinbusinessstrategyand

identity(includingabankruptcyrestructuringandseriesofacquisitions)thatemphasizedfewerbut

moreprofitablelocations.

Manncontinuedhisdrive‐byresearchwhenhemovedtoPhoenixtogotograduateschoolatArizona

StateUniversity.“Theshellsleftbythismigrationwerefilledbydozensofsmallbusinesses,each

inhabitingapracticallyidenticalstructure,”hewrites.“Thenewoccupantswouldpaint,putupanew

signsandmodifywindowsanddoors.”Tomakehisstudymoresystematic,Mannusedold

phonebooks(fromthe‘70sand‘80s)andGoogleEarthtocreateadatabaseofexistingandformer

CircleKsandmaptheirlocations(YoucanseethemaponMann’swebsite).Hediscoveredthatnew

ownershadfounddiverseusesforoldCircleKfranchises,includingadrycleaners,acoupleofflorist

shops,atattooparlor,atuxedorental,severalmini‐martsanddollarstores,andBridgett’sLastLaugh

KaraokeandFishFry.Intheprocesstheyinjectedintothestripawelcomedoseoflocalcommitment.

PlaySlideshow>>>

NancyLevinson

Director,PhoenixUrbanResearchLaboratory

ProfessorofPractice,SchoolofArchitecture+LandscapeArchitecture

Editor,PlacesJournal

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article, Places, “Re-inhabited Circle Ks“, September 27, 2009

125


review, Chico News and Review, “Saying it with pictures”, March 26, 2009

126


article, Places, “The Art of Solid Waste” , April 22, 2010

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129


review, Dwell, “Suburban Subversion“ (Cover), Dec-Jan 2008

130


review, Dwell, “Suburban Subversion“, Dec-Jan 2008

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review, Arizona Republic, “Who is Phoenix? Exhibit Weighs City’s Character”, September 10, 2006

136


review, Tucson Weekly, “Reflection and Glimpses”, May 31, 2007

137


review, San Antonio Current, September 23, 2009

138


review, Pittsburgh Tribune, “Carnegie Exhibit Examines why Suburbia Exists”, October 5, 2009

139



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review, Pittsburgh Post-Gazette, “The Suburbs as a Museum Piece.”, October 5, 2009

142


review, Pittsburgh Post-Gazette, “The Suburbs as a Museum Piece.”, October 5, 2009

143


review, The American Studies Association, “‘New Topographics’: Locating Epistemological Concerns in the American Landscape”, 2011

| 151New Topographics

©2011 The American Studies Association

“New Topographics”: Locating Epistemological Concerns in the American Landscape

Wendy Cheng

New Topographics: Photographs of a Man-Altered Landscape. Organized by the Center for Creative Photography, University of Arizona, and the George Eastman House International Museum of Photography and Film. George Eastman House, Rochester, New York, June 13–September 27, 2009; Los Angeles County Museum of Art (LACMA), October 25, 2009–January 3, 2010; Center for Creative Photography, University of Arizona, February 19–May 16, 2010; San Francisco Museum of Modern Art, July 17–October 3, 2010; Landesgalerie Linz, Austria, November 10, 2010–January 8, 2011; Die Photographische Sammlung/SK, Stiftung Kultur, Cologne, January 27–April 3, 2011; Netherlands Fotomuseum, Rotterdam, June 25–September 11, 2011; Bilbao Fine Arts Museum, Spain, October 17, 2011–January 8, 2012. Exhibition at LACMA curated by Edward Robinson. Also curated by Alison Nordstrom and Britt Salvesen.

Locating Landscape: New Strategies, New Technologies. Sam Lee Gallery, Los Angeles. October 30–December 5, 2009.

In 1975, a show opened at the George Eastman House in Rochester, New York, that would cause a significant stir in the established art world. The ten young photographers whose work was featured described themselves as land-scape photographers, but they rejected the picturesque, romanticizing, and purportedly human-free landscapes of their immediate forebears, epitomized by the work of Ansel Adams. Instead they photographed everything that had previously been cropped out of American landscape photographs: the “spaces in between,” such as parking lots, industrial buildings, grain elevators, tract developments, shopping malls, freeway underpasses, and the like. Curator William Jenkins named the show “New Topographics: Photographs of a Man-Altered Landscape,” and the group of photographers became known, too, as the New Topographics.

144


review, The American Studies Association, “‘New Topographics’: Locating Epistemological Concerns in the American Landscape”, 2011

| 160 American Quarterly

Christiana Caro, in 10 Miles North, South, East, West and Points in Between (2001–2002), used a GPS to locate and photograph, in 360-degree panoramas, these points extending from her apartment in Boston. The only piece on view depicts a series of square color images of spindly, wintertime New England woods photographed with large aperture settings and focused close in, as if to emphasize the limitations of the imposed arbitrariness of her exercise. Paho Mann’s nine color photographs from his Reinhabited Circle Ks project de-pict—in uniform composition—vacated Circle K stores in Phoenix, Arizona, that have been repurposed for new commercial uses, from a Mexican market to a tuxedo shop to a check-cashing business. Similarly, Andrew Freeman’s [Manzanar] Architectural Double tracks and photographs repurposed archi-tectural structures, in this case barracks from the former “internment” camp at Manzanar, California, one of ten camps in which Japanese Americans were incarcerated during World War II, which were sold after the war and scattered throughout the state.

Mann and especially Freeman’s works are exciting in their direct engagement with social and political content, Mann in showing the creative reappropriation of corporate homogeneity by locally based entrepreneurship, and Freeman by making visible the material history of racist state practices in the most mundane of landscapes (fig. 4). These works lift the veil of opacity—the self-professed claim of neutrality or objectivity—which characterized the earlier generation’s work, and perhaps ultimately limited their reach to more muted strands of cultural and intellectual discourse.

The images from the original show itself remain valuable, however, not in spite of, but because of that very opacity (not to say “neutrality” or “objectiv-ity”): a good number of them still resist easy categorization, and in so doing denaturalize still prevalent notions of which landscapes constitute proper objects of study and analysis, and which do not. They still push their viewers to reinvent their own notions of landscape and, if one looks closely, to accept the implicit challenge to engage the visual as a tool for critical inquiry. The curators’ framing of their own restaging misses to a large degree this key epis-temological impetus, adhering too closely to the letter of the original catalog, which many of the photographers themselves disavowed from the beginning.

Work like Andrew Freeman’s and that of the burgeoning number of artists and thinkers working at the intersections of art and critical geography, however, find intellectual and political passion and purpose in the desentimentalization of the American landscape. In doing so they participate in the New Topographics photographers’ desire to affirm the importance of everyday landscapes as not merely sentiment or fetish, but as significant sites of intellectual and philo-

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curatorial

148

curatorial

curatorial statement and artist bios, “Keywords” published on KERA Public Radio “Art & Seek”, June, 2008

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curatorial


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curatorial


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curatorial


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curatorial


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publicity

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publicity

blog, Tectonica, January 8, 2011blog, core77, January 4, 2011

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publicity

blog, Spacelnvading, January 4, 2011blog, Art and Seek, June 3, 2010

158

publicity

full page image advertising the Phoenix Office of Arts and Culture, in Public Art Review, Issue 41, Fall/Winter, 2009

159

publicity

blog, Mammoth, November 2, 2009blog, Foto Septiembre USA, SAFOTO Blog, September 8, 2009

160

publicity

blog, Apartment Therapy, March 19, 2009blog, Tiny Windows, November 7, 2008

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publicity

blog, I heart Photograph, November 6, 2008

162

publicity

blog, I D commune, October 10, 2008blog, DesignWorks, October 1, 2008

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publicity

blog, Muse-Ings, February 20, 2008blog, MinnPost, February 15, 2008

166


letter of acceptance, “Where We Are” at DeLuce Gallery, 2012

4/23/12 Gmail - deluce gallery

1/1https://mail.google.com/mail/u/0/?ui=2&ik=cf7387bb38&view=pt&q=Northwest Missouri State University…

Paho Mann <[email protected]>

deluce [email protected] <[email protected]> Thu, Dec 15, 2011 at 9:41 PMTo: [email protected]

Hey Paho! Congratulations!

Your work has been accepted into Where We Are: Tectonic Shifts and the Dissolution of Boundaries, the nationaljuried exhibition at the DeLuce Gallery of Northwest Missouri State University.

Your piece(s)that were accepted into the exhibition are:Phoenixrecyclingproject.org

Out of 181 pieces submitted to the competition, 27 pieces were selected. OurJuror, Dr. Elaine A. King, art critic, curator and professor of art history at Carnegie Mellon University, carefullyselected 27 works to be included in the exhibition. The competition was strong, the work was rigorous, and weare happy to invite you to participate in the exhibition!

Exhibitions dates are: January 17th to February 18th. Please beprepared to ship or Deliver your work to the DeLuce Gallery at NorthwestMissouri State University during the week of January 26th. Shippingdetails, and more information will be coming soon. Please keep an eyeout for it! Please note that the cost of shipping and return shipping are the responsibility of the artist.Again, congratulations, the work looks wonderful, and we look forward to working with you!

Laura KukkeeAssociate Professor of Art CeramicsGallery Director, DeLuce GalleryNorthwest Missouri State University800 University DriveMaryville, MO 64468

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letter of acceptance, “LACDA Juried Competition” at the Las Angeles Center for Digital Art, 2012

4/23/12 Gmail - LACDA 2012 Juried Competition Winners!

1/2https://mail.google.com/mail/u/0/?ui=2&ik=cf7387bb38&view=pt&q=LACDA&qs=true&search=query&m…


LACDA 2012 Juried Competition Winners!Rex Bruce <[email protected]> Mon, Apr 2, 2012 at 2:14 PMTo: [email protected]

Hi,

Congratulations to all of our entrants to the LACDA Juried Competition! You have allmade excellent contributions to the pioneering field of digital art and have made arthistory by participating in a new area of creativity and a new kind of exhibition.There were so many outstanding artists of all kinds from around the globe that itwas very difficult to choose our winners. We endeavored to select winners that eachrepresented the best of a variety of disciplines, cultures and geographical locations.We will continue to maintain a schedule of calls for artists in the future, so weencourage artists to enter again as many are sure to be selected. Images andinformation on selected artists will be posted to our website soon.

Our first place winner is:

Mei Xian Qiu

Our second place winners are:

Steven PorterRobert TrempePaho MannKristin SkeesMark G. WilliamsKate MacDonaldStephan LarsonWanda BoudreauxChang Kyun KimJerzy Pietruczuk

All winners should contact LACDA to discuss arrangements for sending files andexhibiting their work.

Our most sincere thanks to all for contributing to the success of digital art!

Yours,

Rex Bruce

DirectorLos Angeles Center for Digital Art102 West Fifth StreetLos Angeles, CA 90013

http://www.lacda.com

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letter of acceptance, “Viewpoints” at William Paterson University Galleries, 2012

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letter of acceptance, “Sustainability and the Built Environment at the St. Louis Artists Guild, 2012


Sustainability and the Built Environment

Gina Alvarez <[email protected]> Wed, Sep 28, 2011 at 2:29 PM To: [email protected]

Dear Phao , Congratulations! Our juror Chris Jordan has selected the following to be included in our upcoming exhibition Sustainability and The Built Environment of St. Louis:

Childrenʼs Drawings and Homework Archival Inkjet Print 16” x 16” 2009 $1000 Please double check that the title information is accurate and let me know if anything needs to be changed.

I will need you to drop off your work ready to hang/install by October 24th, 2011. We are open Monday - Friday 9:30-4:30. Please contact me if you are not able to bring your work in during these hours. The exhibition opens November 11th with a reception from 6-9pm. The show runs through January 7, 2012. You are responsible for the shipping of your work to and from the Guild. Please include return shipping in your box. Thank you and I can't wait to see your work. Gina Alvarez St. Louis Artists' Guild and Galleries Gallery and Education Director Two Oak Knoll Park St. Louis, MO 63105 314-727-6266 [email protected] www.stlouisartistsguild.org

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letter of acceptance, “Material Afterlife” at the Urban Institute for Contemporary Arts, 2009

4/23/12 Gmail - Material Afterlife Finalist

1/1https://mail.google.com/mail/u/0/?ui=2&ik=cf7387bb38&view=pt&q=Material Afterlife&qs=true&search=q…


Material Afterlife FinalistVisual Art Preparator <[email protected]> Mon, Feb 2, 2009 at 3:43 PMTo: [email protected]

Dear Paho,

Congratulations! You have been chosen by UICA's Visual Arts Committee to bein the Material Afterlife Exhibition from April 10 August 9, 2009.

This was a very competitive call for proposals since only 30 artists wereselected out of over 160 proposals that came in from all over the world.

The title of your selected artwork is: "Plastic by Color.²

Material Afterlife opens on April 10th with a reception from 6 9 PM. Wehope that you can join us at this time.

Accepted work must be received no later than April 2, 2009.

You will be receiving by mail a contract to sign as well as a Loaned ItemAddendum Form that will need to be filled out and returned to us with thework.

Congratulations again! We look forward to having your artwork in thisexhibition.

Sincerely,

Visual Arts CommitteeUICAEmail: [email protected]: (616) 4547000 Ext. 29

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public art projects

announcement, 7th Avenue Art Panel commissioned by the Phoenix Office of Arts and Culture’s Public Art Program, Phoenix, AZ, 2007

172


review, The Journal Gazette, “Art Enters the Digital Age.” May 30, 2008

Hide photos

By Steve Penhollow The Journal Gazette

Zelda Zinn’s “Bird house” is among the creations on

display at the Digital Visions Computer Art Show.

If you go

What: Digital Visions Computer Art Show

Where: Artlink, 437 E. Berry St.

When: Today through July 9

Admission and gallery hours: Free for members, $2

for non-members; noon to 5 p.m. Tuesday through

Thursday, noon to 9 p.m. Friday and Saturday, 1 to 5

p.m. Sunday

Special event: There will be an opening reception at

5:30 p.m. today.

Published: May 30, 2008 3:00 a.m.

Art enters the digital age

Digital art used to mean anything made with a

computer.

Now that almost everything is made with a computer,

it’s harder to define what makes digital art art (and

sometimes what makes digital art digital ).

Well, Artlink director Deb Washler has defined it,

and if you want to see her conclusions, you’ve got to

come to Artlink tonight (or before July 9).

Digital Visions Computer Art Show opens with a

reception at 5:30 p.m. today.

It features 51 pieces by 18 artists from nine states,

and if you don’t know what digital art is by the time

you leave Artlink, well … you can’t really be blamed.

Because digital art is a wide-open field and it’s

getting even wider, more open and more fieldy.

Maybe not that last one.

There’s a hearing-impaired video installation artist in

this show named Dan Dienelt whose short films

about his gradual hearing loss as an adult are a riot

of image and sound; a Texan named Paho Mann

whose artful Web site is an exhaustive catalog of

every item he owns; a videographer named

Elizabeth Sher whose screen captures are

illuminated by light boxes and augmented with

recorded interviews; a Floridian named Christopher

Weeks whose giant comic book covers express his

political anger; and Maryland resident Julie Simon,

who paints with light in ways Thomas Kinkade never

dreamed possible.

Some artists, like Russ Revock, mix traditional and digital techniques.

Revock is a printmaker who sometimes applies classic printmaking techniques to things he created digitally and

sometimes takes a classic print and digitizes it.

Unlike most Artlink exhibits, the Digital Visions Computer Art Show delves into a question many art supporters

and onlookers probably ask themselves (often futilely), “How’d they do that?”

“A lot of this show is about how they arrived at the final pieces,” Washler says. “We wanted all the work to go a

little further than the usual 2-D piece.

“We asked for proposals, so we have a lot of background information,” Washler says. “So most of the pieces will

have information about the process.”

[email protected]

Copyright © 2009 The Journal Gazette. All rights reserved. News service copy

is used with permission. The information contained in the report may not be

published, broadcast, rewritten or redistributed without the prior written authority

of The Journal Gazette or granting news service.

173


review, Arizona Republic, “Who is Phoenix? Exhibit Weighs City’s Character”, September 10, 2006

174


review, Azure: Design Architecture, Art, “Rethinking the ‘Burbs’.”, February 12, 2008

175


press, UNT Research, New Faculty Bio, 2008

176

publicity

blog, ArtCat, November, 2010

177

publicity

exhibition listing, Grand Rapids Gallery Guide, 2009

14

143 Bostwick NEGrand Rapids, MI 49503616.234.3544

Monday-Thursday10am-2pm & 4pm-8pmFriday 12pm-3pm

www.grcc.edu

Top: Paho Mann, “Everything in our apartment”

Right: Bill Hosterman, “Ladder” (detail)

Grand Rapids Community College/Collins Art Gallery

Exhibition Schedule 2009-2010

Faculty Exhibition August 31-September 25, 2009 Reception: September 9, 6-8pm

Paho Mann Photo Exhibition

October 5-October 30, 2009 Reception: October 5, 6-8pm

Ron Pederson Sculpture Exhibition

November 9-December 11, 2009 Reception: November 18, 6-8pm

GRCC Photo Exhibition January 4-January 29, 2010 Reception: January 13, 6–8pm

Bill Hosterman Exhibition, GVSU Print Maker

February 8-March 12, 2010 Reception: February 17, 6–8pm

Student Exhibition

March 29-April 23, 2010 Reception: March 31 6-8pm

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