A Spirit of Disruption
On View March 19 — July 3, 2021
Curated by Margaret Tedesco and Leila Weefur
Walter and McBean Galleries
Diego Rivera Gallery
800 Chestnut Street
SFAI 150 | A Spirit of Disruption showcases a selection of works and archival materials that celebrate the ethos and expansive ecosystem of the San Francisco Art Institute. As the title suggests, the exhibition disrupts the bias present in the history of many arts institutions across the Bay Area, and the proclivity to preserve and celebrate an art world that has been predominantly white and male. With careful examination of this history and a breadth of perspectives, the exhibition illuminates the distinct and diverse voices of SFAI which includes alumni, faculty, staff, and the community who have made an enormous contribution to its legendary history. This 150th anniversary marks a beginning for yet another era at SFAI, one that aspires to deepen and grow a more inclusive support for the kind of work that continues to disrupt.
A Spirit of Disruption embraces time; past, present, and future.
SFAI 150 | A Spirit of Disruption​ is made possible through the generous support of the National Endowment for the Arts, the Winifred Johnson Clive Foundation, Grants for the Arts, and the Koret Foundation.
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Christopher Burch
Outdoor Mural
Christopher Burch is an artist, events organizer, and educator based in San Francisco and St. Louis. He received the Painting Fellowship for his graduate studies at the San Francisco Art Institute (MFA 2008) and is a graduate of Columbia College (BFA 2002). Burch’s works report from the intersections of re-invention, mythology, folklore, and history, depicting bodies, acts, objects, and ideas within a process of co-emergence, slippage, and simultaneity. Burch’s aesthetic, fully realized as a surreal personal language, utilizes the grotesque, the abject, and the ironic as accomplices within his own form of storytelling. Burch's works find their greatest strength in his eloquent, thoughtful manner of interpreting and investigating some of humanity's most disquieting realities.

Outdoor Mural, 2021.
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Christopher Burch
Outdoor Mural
Christopher Burch received an MFA in Painting from SFAI in 2008.
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Cathy Lu
Customs Declaration
Cathy Lu received an MFA in Sculpture from SFAI in 2010.
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Pablo Guardiola
Avion
Pablo Guardiola is a visual artist who works predominantly with everyday objects, photography, and writing. His work focuses on the production of varied modes of reading and narration, as well as how they are perceived and interpreted. He completed a BA in European History at the University of Puerto Rico (Río Piedras, San Juan) and an MFA in Photography at the San Francisco Art Institute in 2005. He has exhibited his work at New Langton Arts, little tree gallery, Galería de la Raza, Romer Young Gallery, and San Francisco Arts Commission, in San Francisco; Johannes Vogt and Present Co. in New York; and Embajada and El lobi in Puerto Rico, among many others. Guardiola is the co-director of Beta-Local, a nonprofit organization, working group, and physical space dedicated to supporting and promoting contemporary art practice and aesthetic thought. Beta-Local maintains a study and production program, an experimental education project, and a platform for critical dialogue immersed in the San Juan local community. Guardiola is represented by Romer Young Gallery, in San Francisco.

Avion, 2011. From the series JET TRAVEL. Courtesy of the artist and Romer Young Gallery, San Francisco.
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Pablo Guardiola
Avion
Pablo Guardiola received a MFA in Photography from SFAI in 2005.
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Jay DeFeo
Untitled, 6 Polaroids
Mary Joan DeFeo was born in 1929 in Hanover, New Hampshire. Jay was the nickname she acquired in high school. After receiving her bachelor’s and master’s degrees in art from the University of California, Berkeley, in 1950 and 1951, she traveled on a fellowship to Europe, where she spent a year and a half steeping herself in art and architecture and making art. She returned to the United States in 1953 and settled first in Berkeley, and then in San Francisco. It was there that DeFeo became associated with a group of artists and poets and began work on The Rose, a masterpiece painting that took almost eight years to complete.
Throughout the four decades of her creative life, DeFeo worked extensively in painting, drawing, photography, and photocopy. She taught at many of the major art institutions in the San Francisco Bay Area, including the San Francisco Art Institute. In 1981 she joined the faculty at Mills College in Oakland, California. DeFeo continued to teach and work prolifically in her studio until her death from cancer at the age of 60 in 1989. Her will endowed The Jay DeFeo Foundation with her art and archive.

Untitled, c.1960s. 6 Polaroids, vitrine, 9 1/2 x 35 7/8".
© 2021 The Jay DeFeo Foundation/Artists Rights Society/ARS, New York.

Jay DeFeo
Untitled, 6 Polaroids
Jay DeFeo taught at SFAI from 1964 to 1971.
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Jenny Odell
144 Empty Parking Lots
Jenny Odell received an MFA in Design + Technology from SFAI in 2010, and taught at SFAI in 2014.
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Pablo Guardiola
A Note For The Future
Sea Is History. Giant Waves. (diptych)
Pablo Guardiola is a visual artist who works predominantly with everyday objects, photography, and writing. His work focuses on the production of varied modes of reading and narration, as well as how they are perceived and interpreted. He completed a BA in European History at the University of Puerto Rico (Río Piedras, San Juan) and an MFA in Photography at the San Francisco Art Institute in 2005. He has exhibited his work at New Langton Arts, little tree gallery, Galería de la Raza, Romer Young Gallery, and San Francisco Arts Commission, in San Francisco; Johannes Vogt and Present Co. in New York; and Embajada and El lobi in Puerto Rico, among many others. Guardiola is the co-director of Beta-Local, a nonprofit organization, working group, and physical space dedicated to supporting and promoting contemporary art practice and aesthetic thought. Beta-Local maintains a study and production program, an experimental education project, and a platform for critical dialogue immersed in the San Juan local community. Guardiola is represented by Romer Young Gallery, in San Francisco.

A Note For The Future, 2011. C-print, 30 x 22.5". Edition of 3 + 2AP.
Sea is History. Giant Waves, (diptych), 2011. C-prints, 10 x 15", each. Edition of 3 + 2AP.
From the series JET TRAVEL. Courtesy of the artist and Romer Young Gallery, San Francisco.
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Pablo Guardiola
A Note For The Future
Sea Is History. Giant Waves. (diptych)
Pablo Guardiola received a MFA in Photography from SFAI in 2005.
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Brett Reichman
Satin Cock
Brett Reichman’s approach to figuration addresses the complexities of queer identity. His images stage the body in performative situations, instigating complex narratives about sexuality, desire, and otherness. Previously, his oil paintings referenced the history of fabric and folds in painting as high artifice, while situating that rich history within a narrative discourse of camp and queer politics. Brett’s work has been the subject of numerous solo exhibitions at Gallery Paule Anglim and Rena Bransten Gallery in San Francisco; CB1 Gallery in Los Angeles; PPOW Gallery and Feature Inc. in New York; and the Orange County Museum of Art. His work was recently featured in the exhibition Art AIDS America that toured nationally. Brett’s paintings and drawings are in many public collections including SFMOMA, the Berkeley Art Museum, the Portland Art Museum, and the Orange County Museum of Art.

Satin Cock, 2006. Oil on canvas, 24 x 48". Courtesy of the artist.
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Brett Reichman
Satin Cock
Brett Reichman has taught in the Painting Department at SFAI for 25 years, from 1996 to present.
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Kezia Harrell
Finally Know How to Speak
Kezia Harrell lives and works in Fresno, California where she produces flamboyant multidisciplinary works to re-appropriate the narrative of Black American identity in history, myth, and pop culture. Harrell lovingly conjures a space that allows a formation of Black identity outside of this world’s historical burden of intergenerational trauma. By situating her surreal apparitions in this realm, Harrell effectively subverts the discourse of the white lens and its caricatured rendering of the Black subject. Harrell graduated from the San Francisco Art Institute in 2017 where she earned her BFA in Painting. Harrell’s practice engages with a diverse array of media including oil paintings, drawings, sculpture, and comic books.

Finally Know How to Speak, 2021. Marker and gouache on cotton, 30 x 22". Courtesy of the artist.
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Kezia Harrell
Finally Know How to Speak
Kezia Harrell received a BFA in Painting from SFAI in 2017.
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Juan Luis Matos
El Pintor
Juan Luis Matos Rodriguez Mestres Lopez (b. Havana, Cuba) is a multidisciplinary artist and filmmaker based in Miami, FL. He studied at the Hochschule für bildende Künste in Hamburg, Germany and received his BFA from the San Francisco Art Institute. He is a 2020 Regional Emmy Award Winner and currently an artist in residence at the Bakehouse Art Complex in Miami, FL.

El Pintor, 2020. Pigment prints, 9 x 16", each. Courtesy of the artist.
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Juan Luis Matos
El Pintor
Juan Luis Matos received a BFA in Film from SFAI in 2018.
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Lexygius Sanchez Calip
Me, Me, Me...
Lexygius Sanchez Calip received a BFA in New Genres in 2018, and is currently completing a Dual-Degree MFA in Studio Art + History & Theory of Contemporary Art, 2021.
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Lindsey White
Don't Expect Miracles
Lindsey White has been teaching at SFAI from 2010 to 2021. Lindsey is currently the Photography Department Chair at SFAI.
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Sandra Gibson + Luis Recoder
Threadbare
Luis Recoder received an MFA in Film from SFAI in 1999.
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Ileana Tejada
Freak on a Leash
Ileana Tejada is a Mexican-American artist born and raised in southern California. A former NCAA Division II Track and Field thrower, Tejada's work progressively deals with female masculinity, gender conformity, and the normative rules of power. Tejada received her BFA from California State Polytechnic University-Pomona, as well as a BS (Kinesiology, Pedagogy). In 2015 she graduated with an MFA in Painting from the San Francisco Art Institute. She lives and works in San Francisco.

Freak on a Leash, 2016. Charcoal on paper, 72 x 93". Courtesy of the artist.
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Ileana Tejada
Freak on a Leash
Ileana Tejada received an MFA in Painting from SFAI in 2015.
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Modou Dieng
Maison Close
Modou Dieng was born in Saint-Louis, Senegal. He is a multidisciplinary artist exploring the symbolic and mythological power of pop culture through mixed media and hybrid materials. His work constructs a mural of archetypal cultural imagery filtered through the perspective of a split identity between Blackness and African Philosophy. Dieng holds an MFA from the San Francisco Art Institute in Painting and New Genres (2006) and a BFA in Painting from the École Nationale des Beaux-Arts, Senegal (1995). He was Associate Professor of Painting and Drawing at the Pacific Northwest College of Art (PNCA) in Portland, Oregon, and is the co-founder of Blackpuffin, a curatorial company based in Chicago. He also founded and curated the influential Worksound Gallery in SE Portland from 2007–2012. Dieng has exhibited internationally, and is represented by Elizabeth Leach Gallery in Portland, Oregon.

Maison Close, 2018. Acrylic paint, ink on archival print mounted on dibond with back frame, 26 x 36". Courtesy of the artist.
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Modou Dieng
Maison Close
Modou Dieng received a MFA in Painting and New Genres from SFAI in 2006.
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Julio César Morales
Undocumented Intervention #21
By deploying a range of media and visual strategies, Julio César Morales investigates issues of migration, underground economies, and labor on the personal and global scales. Morales’ practice explores diverse mediums specific to each project or body of work. He has painted watercolor illustrations that diagram human trafficking methods, employed the DJ turntable, produced video and time-based pieces, reenacted a famous meal — all to elucidate social interactions and political perspectives.

Morales’ artwork has been shown at venues internationally, including San Francisco Museum of Modern Art, CA; Museo Rufino Tamayo, Mexico City; Los Angeles County Museum of Art, CA; Hammer Museum, Los Angeles; MUCA Roma, Mexico City; Prospect 3 Biennale, New Orleans, LA; Lyon Biennale, France; and Istanbul Biennale, Turkey.
His work is in private and public collections including The Museum of Modern Art, New York; Museum of Fine Arts, Houston, TX; Pérez Art Museum, Miami, FL; The Los Angeles County Museum of Art; The Kadist Foundation, San Francisco and Paris; and Deutsche Bank. In May 2018, Morales was awarded the Phoenix Art Museum’s Arlene and Morton Scult Contemporary Forum Award, which culminated in a major solo exhibition in 2019. In 2021, a solo exhibition of Morales' work will be presented at the Museum of Contemporary Art, Tucson, AZ.

Undocumented Intervention #21, 2011. Watercolor and ink on paper, 40 x 30"
Courtesy of the artist and Gallery Wendi Norris, San Francisco.
Julio César Morales
Undocumented Intervention #21
Julio César Morales was a student in the New Genres Department at SFAI from 1993 to 1996. Julio also taught at SFAI from 2000 to 2012, and is the Co-founder of SFAI’s City Studio Youth Program.
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Frederick Hayes
Grid: Family, Neighborhood, Politicians, and Leaders
Frederick Hayes received both his BFA and his MFA from the San Francisco Art Institute and has been living in New York City for 20 years. He is the recipient of two Pollock-Krasner Grants, as well as grants from the Robert Blackburn Workshop, San Francisco Arts Commission, and The Fleishhacker Foundation. He was awarded the Diebenkorn Teaching Fellowship from SFAI and a 2020 NYFA Artist Fellowship. Recent exhibitions include Cindy Rucker Gallery, New York; Gridspace, Brooklyn, New York; Felician University, Rutherford, New Jersey; Patricia Sweetow Gallery, San Francisco; and Jeff Bailey Gallery, Hudson, New Jersey. His work has been written about in the New York Times, the San Francisco Chronicle, and most recently in Umbigo Magazine, and is in the collection of the Berkeley Art Museum, the San Francisco Museum of Modern Art, Studio Museum in Harlem, New York, and the Addison Gallery of American Art in Andover, MA.

Grid: Family, Neighborhood, Politicians, and Leaders, 2021. Graphite on paper, 20 drawings 11 x 14", each. Courtesy of the artist and Patricia Sweetow Gallery.
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Frederick Hayes
Grid: Family, Neighborhood, Politicians, and Leaders
Frederick Hayes received a BFA in Painting from SFAI in 1983, and a MFA in 1985. Frederick also taught at SFAI in 2002.
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Xylor Jane
Via Crucis II Cross
Xylor Jane (b.1963, Long Beach, CA) lives and works in Greenfield, MA. She received a Bachelor of Fine Arts degree from the San Francisco Art Institute in 1993. Jane has been exhibiting with Canada since 2004 and has shown extensively in New York and elsewhere at galleries and institutions such as parrasch heijnen gallery, Los Angeles, CA; Campoli Presti, Paris; The Santa Monica Museum of Art, CA; the University Museum of Contemporary Art, Amherst, MA; Collezione Maramotti, Reggio Emilia, Italy; Almine Rech, Paris; and Anton Kern Gallery, New York. Her work has been featured in Artforum, Art in America, the Los Angeles Times, The New York Times, and the Brooklyn Rail. A monograph on the artist titled Xylor Jane: Notebooks, was published in 2019 and features drawings from the last twenty years with essays by John Yau and Em Rooney.

Via Crucis II Cross, 2010. Oil on panel, 29 x 31". Collection of Penny Cooper and Rena Rosenwasser.
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Xylor Jane
Via Crucis II Cross
Xylor Jane received a BFA in Painting from SFAI in 1992.
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Sandra Gibson + Luis Recoder
Power Cord
Luis Recoder received an MFA in Film from SFAI in 1999.
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Dewey Crumpler
Green Banana’s
Red Shoes
Dewey Crumpler (b. 1949, San Francisco) is an Associate Professor of painting at the San Francisco Art Institute. His current work examines issues of globalization/cultural co-modification through the integration of digital imagery, video, and traditional painting techniques. Dewey’s works are in the permanent collections of the California African American Museum, the Triton Museum of Art Los Angeles, and the Oakland Museum of California. Crumpler has received the Flintridge Foundation Award, a National Endowment for the Arts Fellowship, and The Fleishhacker Foundation Eureka Fellowship Award. Collapse, his most recent exhibition, was at The Hedreen Gallery at Seattle University. Recent reviews include: Possessions: Spirituality and the Art of our Time, Conversations on Culture: Dewey Crumpler on his 'Tulips' Series, Frieze London Art Fair; Justice, Marin Contemporary Museum of Art, Marin, CA; Visual Rhythm, Jenkins Johnson Gallery, San Francisco, as part of 8-bridges; The Stranger; Art Practical; Urban Culture Studies; and City Arts Magazine. Crumpler is represented by Jenkins Johnson Gallery, San Francisco.

Green Banana’s, 2017. Charcoal, graphite, mixed media on canvas, 60 × 72".
Red Shoes, 2020. Acrylic on canvas, 60 x 72".
Courtesy of the artist and Jenkins Johnson Gallery, San Francisco.
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Dewey Crumpler
Green Banana’s
Red Shoes
Dewey Crumpler received a BFA in Painting from SFAI in 1972, and has  taught in the Painting Department at SFAI for 21 years, from 1990 to present.
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Jacqueline Kiyomi Gork
Noise Blanket No.7
Jacqueline Kiyomi Gork received a BFA in Photography from SFAI in 2004, and taught at SFAI in 2015.
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Lexygius Sanchez Calip
Black Circle
Lexygius Sanchez Calip received a BFA in New Genres in 2018, and is currently completing a Dual-Degree MFA in Studio Art + History & Theory of Contemporary Art, 2021.
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Leo Valledor
Ghost Ring
Born in San Francisco, Leo Valledor (1936–1989) was a Filipino American artist known for his shaped canvases, in which he experimented with the spatial aspects of color. Losing both of his parents by the time he was 12, Valledor grew up in the Fillmore District and saw jazz and Beat poetry as powerful influences. In 1955, when he was only 19, he held his first solo show at the legendary Six Gallery. Valledor spent the 1960s in New York, where he co-founded the Park Place Gallery Group. In geometric paintings that furthered the hard-edge movement, Valledor used the shaped canvas to manipulate what the viewer saw. Valledor returned to San Francisco in 1968, where he maintained a relatively low profile as an artist and teacher until his death in 1989. His contribution to the arts has only recently been fully appreciated; he is now recognized as a maverick of Minimalism.

Ghost Ring, 1968. Acrylic on canvas, 60" diameter. Courtesy estate of the artist and Brian Gross Fine Art, San Francisco.
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Leo Valledor
Ghost Ring
Leo Valledor attended SFAI from 1953 to 1955, and taught at SFAI in 1987.
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Nicki Green
Vivified Brick (Tin)
Nicki Green received a BFA in Sculpture from SFAI in 2009.
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Ana Teresa Fernández
Gauging Gravity
Ana Teresa Fernández’s work explores the politics of intersectionality through time-based actions and social gestures, translated into masterful oil and gouache paintings, installations and videos. Operating formally at the intersection of land art, performance and history painting, Fernández mines 21st-century feminism, post-colonial landscapes, and the psychological barriers to empathy.

Fernández has exhibited at institutions including the Arizona State University Art Museum, Phoenix; Denver Art Museum, CO; Grunwald Gallery at Indiana University, Bloomington; Nevada Museum of Art, Reno; Palm Springs Art Museum, CA; Scottsdale Museum of Contemporary Art, AZ; and Weatherspoon Art Museum, Greensboro, NC, among others. Her work has been collected by institutions including the Denver Art Museum, Kadist Foundation, San Francisco and Paris, Nevada Museum of Art, and Weatherspoon Art Museum.
Fernández's films have been screened at festivals internationally including MADRID International Film Festival, Madrid, Spain; Clermont Film Festival, Clermont-Ferrand, France; the International Frauen Film Festival, Dortmund, Germany; the Female Eye Film Festival, Toronto, Canada; the San Diego Latino Film Festival; and the Honolulu Film Festival, HI. In November 2019, Gallery Wendi Norris presented a solo exhibition of her work in Miami titled Of Bodies and Borders, which traveled to the Grunwald Gallery at Indiana University Bloomington and was accompanied by a publication.

Gauging Gravity, 2018. Graphite, gouache on paper, 22 1/4 x 30 1/8". Courtesy of the artist and Gallery Wendi Norris, San Francisco.
Ana Teresa Fernández
Gauging Gravity
Ana Teresa Fernández received a BFA in Painting from SFAI in 2004, and an MFA in 2006. Ana also taught in the Painting Department from 2010 to 2017.
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Ebitenyefa Baralaye
What Now
Ebitenyefa Baralaye is a ceramicist, sculptor, and designer. His work explores cultural, spiritual, and material translations of objects, text, and symbols interpreted through a diaspora lens and abstracted around the aesthetics of craft and design. Baralaye received a BFA in ceramics from the Rhode Island School of Design and an MFA in ceramics from the Cranbrook Academy of Art. Baralaye was an AICAD Teaching Fellow at the San Francisco Art Institute from 2016 to 2018. His work is featured in the Objects: USA 2020 exhibition and catalogue. He is currently an assistant professor and Section Head of Ceramics at the College for Creative Studies in Detroit, MI.

What Now. Stoneware, glaze, 12 x 14 x 1". Courtesy of the artist.
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Ebitenyefa Baralaye
What Now
Ebitenyefa Baralaye was the recipient of the AICAD Teaching Fellowship at SFAI from 2016 to 2018.
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Conrad Guevara
Untitled
Conrad Guevara received an MFA in Painting from SFAI in 2013.
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Haein Kang
Wind From No Where
Haein Kang received a Post-Baccalaureate Certificate in Painting from SFAI in 2001, and an MFA in New Genres in 2003.
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M Lamar
Discipline 6
(Video still from Badass Nigga)
M Lamar is a composer who works across opera, metal, performance, video, sculpture and installation to craft sprawling narratives of radical becomings. His work “plumbs the depths of all-American trauma with visionary verve,” as lauded by The New York Times. Lamar holds a BFA from the San Francisco Art Institute and attended the Yale School of Art, sculpture program, before dropping out to pursue music. His work has been presented internationally, most recently at Wellcome Collection London; The Met Cloisters at The Metropolitan Museum of Art; Funkhaus, Berlin, Germany; Kunstgebäude Stuttgart; The Meet Factory in Prague; National Sawdust, New York; The Kitchen, New York; MoMA PS1’s Greater New York; Merkin Hall, New York; Issue Project Room, New York; SFAI Walter and McBean Galleries, San Francisco; Human Resources, Los Angeles; Wesleyan University; Participant Inc., New York; New Museum, New York; Södra Teatern, Stockholm; Warehouse9, Copenhagen; WWDIS Fest, Gothenburg and Stockholm; The International Theater Festival, Donzdorf, Germany; Cathedral of Saint John the Divine, New York; Performance Space 122, New York; and African American Art & Culture Complex, San Francisco.
Lamar continues to study classical and bel canto technique with Ira Siff, and is a recipient of a Jerome Fund Grant for New Music (JFund), a NYFA Fellowship in Music and Sound, and grants from the Rema Hort Mann Foundation, Harpo Foundation, and Franklin Furnace Fund.

Discipline 6 (Video still from Badass Nigga), 2014. Archival pigment print on canvas, 40 x 72". Courtesy of the artist.
M Lamar
Discipline 6
(Video still from Badass Nigga)
M Lamar received a BFA in Painting from SFAI in 1995.
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N8 Devivo
Self
N8 DeVivo is a visual artist primarily working in photography. They graduated from the San Francisco Art Institute, where they have been a part of the Bay Area’s DIY scene. Raised on a commune in rural Nebraska to white preachers, their practice focuses on their evolving relation to Blackness, Spirituality, and Queerness, and is seen by the artist as a “means of becoming” their authentic self. N8 has participated in numerous group shows, curated exhibitions, and has worked as an assistant to established artists. They have been included in publications such as ID, Juxtapoz and Foglifter. N8 lives and works in Portland, Oregon.

Self. Pigment prints from Polaroids, 5 x 7". Courtesy of the artist.
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N8 DeVivo
Self
N8 DeVivo received a BFA in Photography from SFAI in 2018.
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Bill Jenkins
Conduits 1
Bill Jenkins received a BFA in Painting from SFAI in 2003.
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Miguel Calderón
Pantalla Hypnótica
Miguel Calderón received a BFA in Film from SFAI in 1994.
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Alice Shaw
Artist as Medium
San Francisco-based artist and educator Alice Shaw has practiced photography for more than twenty-five years. She was trained as a photographer, but often incorporates other media into her practice. Shaw received her BFA and MFA from the San Francisco Art Institute. She was a recipient of the Artadia Grant Award in 2002. Her book, People Who Look Like Me was published in 2006 by Gallery 16 in San Francisco, where she has been represented since 2004. Her work can be found in the collections of the San Francisco Museum of Modern Art and the di Rosa Foundation in Napa, California. Shaw has been a visiting lecturer at University of California, Davis; University of California, Santa Cruz; University of California, Berkeley; San Francisco State University; and California College of the Arts.
In 2017, a permanent large-scale mural, No Other Lands Their Glory Know, was commissioned by the San Francisco Arts Commission for SFO International Airport Terminal G95. Shaw’s work depicts a redwood forest on Mount Tamalpais in Marin County, California, and brings some of the beauty and spectacle of the local Northern California environment into the interior of the airport terminal.

Artist as Medium, 2009. Daguerreotype, 4 1/4 x 3 1/4". Courtesy of the artist; on loan from John & Jean Montgomery.
Alice Shaw
Artist as Medium
Alice Shaw received a BFA in Photography from SFAI in 1989, and an MFA in 1999. Alice taught in the Photography Department from 2004 to 2015.
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Mildred Howard
Faith, Hope, and Charity
Mildred Howard (b. 1945, San Francisco) is best known for her multimedia assemblage work and installations. Howard completed her Associates of Arts Degree & Certificate in Fashion Art at the College of Alameda, Alameda, CA in 1977 and received her MFA from Fiberworks Center for the Textile Arts at John F. Kennedy University in Berkeley, California in 1985. In 2015, she received the Lee Krasner Award in recognition of a lifetime of artistic achievement. She has also been the recipient of the Nancy Graves Grant for Visual Artists (2017), the Joan Mitchell Foundation Award (2004/5), a fellowship from the California Arts Council (2003), the Adaline Kent Award from San Francisco Art Institute (1991), and, most recently, received the Douglas G. MacAgy Distinguished Achievement Award at San Francisco Art Institute (2018).
Her large-scale installations have been mounted at Creative Time in New York; InSITE in San Diego, CA; the Museum of Glass in Tacoma, WA; the National Museum of Women in the Arts; the New Museum in New York; the City of Oakland; and the San Francisco Arts Commission and International Airport. Her works reside in the permanent collections of the Berkeley Art Museum; the de Young Museum, San Francisco; Los Angeles County Museum of Art; the Museum of Contemporary Art San Diego; the Museum of Glass and Contemporary Art, Tacoma, WA; the Oakland Museum of California; San Francisco Museum of Modern Art; and the San Jose Museum of Art, among others.

Faith, Hope, and Charity, 1997. Mixed media. Loan courtesy of Anglim/Trimble Gallery, San Francisco.
Mildred Howard
Faith, Hope, and Charity
Mildred Howard taught for 17 years at SFAI, from 1998 to 2015.
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Zulfikar Ali Bhutto
Modern Attack
Zulfikar Ali Bhutto received an MFA in Studio Art from SFAI in 2016.
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Joshua Pavlick
Practice
Joshua Pavlick received a BFA in Painting from SFAI in 2007.
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Bill Jenkins
Conduits 2
Bill Jenkins received a BFA in Painting from SFAI in 2003.
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Media in the Round
A Multimedia Installation in the McBean Gallery
Albert Reyes
Allen Willis
Anna Halprin
Anne McGuire
Alex Peterson
Barry Despenza
Bonanza
Brandon Truscott
Bull.Miletic
Caleb Duarte
Carlos Villa
Cary Cronenwett
Catherine Fairbanks
Cecilia Dougherty
Charlene Tan
Christina Corfield
Christopher Williams
Collin Pollard
Conrad Meyers
Curt McDowell
Dale Hoyt
Danette Bouzanquet
Danielle Lawrence
Debora Iyall & Romeo Void
Deepali Raiththa
Dicky Bahto
Don Hai Phu Daedalus
Doug Hall
Elisabeth Kohnke
Enar de dios Rodriguez
Father Guido Sarducci
Felipe Dulzaides
Genevieve Quick
George Kuchar
Gregorio Figueroa
Habibi Winter
Hans Winkler
Heather Jones
Howard Fried
Isabel Reichert & Kerry Laitala
Jackie Buttice
jackie sumell
Jade Mar
Jaimie Healy
James Broughton
Janis Crystal Lipzin
Jennifer Kroot
Jennifer Locke
Jenny Odell
Jerome Caja
Jesse Eric Schmidt
Jevijoe Vitug & Maureen Catbagan
Jo-ey Tang
John Davis
Jon Kuzmich
Jonh Blanco
Juan Luis Matos
Justin Charles Hoover
Karla Milosevich
Kat Trataris
Kate Laster (with Ariel Huang and Tianhu Kang)
Kate Rhoades
Kathryn Williamson
Katie Bush
Kehinde Wiley
Kent Long
Kerry Laitala
Kota Ezawa
Laura Poitras
Lauren Szabo
Leah Gonzales
Lexygius Sanchez Calip
Linda Ford
Linda Montano
Lisa K. Blatt
Liz Miller
Lourdes Portillo
Lucas Murgida
Lynn Hershman Leeson
Lynn Marie Kirby
Mads Lynnerup
Mail Order Brides
Mark Freeman
Mark Lee Morris
Marshall Elliott
Michael Arcega
Miguel Calderon
Mika Sperling
Mike Kuchar
Minoosh Zomorodinia
Murat Adash
Nao Bustamante
Nasim Moghadam
Nica Ross
Nina Hubbs Zurier
Orit Ben Shitrit
Oscar Oldershaw
Ouater Sand
Pam Martin & Linda Ford
Patricia Diart
Paul Kos
Pete Herzfeld
Rebeca Bollinger
Rodney O'Neal Austin & Jennifer Locke
Sâde Gryffin (formerly Huron)
Sara Eliassen & Luca Nino Antonucci
Scott Hewicker
Shaun Leonardo
In collaboration with, Melanie Crean & Sable Elyse Smith; Performing Statistics; the students of Haverford College
Sidney Peterson
Stephanie Syjuco
Steven Arnold
Su-Chen Hung
Summer Mei Ling Lee & Laura Boles Faw
Tim Sullivan
Tina Heringer
Tommy Becker
Tony Labat
Victor Barbieri
Whitney Lynn
Will Rogan
William Farley, Sandra Sharpe, Mal Sharpe
Ying Gu
Zimo Zhao
Shift 7: A profile of the unique (and controversial) Performance/ Video Dept. through the observations and impressions of students, faculty, and school administrators.
The works of George and Mike Kuchar, courtesy of the Kuchar Brothers Trust, in collaboration with Video Data Bank at the School of the Art Institute of Chicago
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Vitrine 1
Mildred Howard (b. 1945, San Francisco) is best known for her multimedia assemblage work and installations. Howard completed her Associates of Arts Degree & Certificate in Fashion Art at the College of Alameda, Alameda, CA in 1977 and received her MFA from Fiberworks Center for the Textile Arts at John F. Kennedy University in Berkeley, California in 1985. In 2015, she received the Lee Krasner Award in recognition of a lifetime of artistic achievement. She has also been the recipient of the Nancy Graves Grant for Visual Artists (2017), the Joan Mitchell Foundation Award (2004/5), a fellowship from the California Arts Council (2003), the Adaline Kent Award from San Francisco Art Institute (1991), and, most recently, received the Douglas G. MacAgy Distinguished Achievement Award at San Francisco Art Institute (2018).
Her large-scale installations have been mounted at Creative Time in New York; InSITE in San Diego, CA; the Museum of Glass in Tacoma, WA; the National Museum of Women in the Arts; the New Museum in New York; the City of Oakland; and the San Francisco Arts Commission and International Airport. Her works reside in the permanent collections of the Berkeley Art Museum; the de Young Museum, San Francisco; Los Angeles County Museum of Art; the Museum of Contemporary Art San Diego; the Museum of Glass and Contemporary Art, Tacoma, WA; the Oakland Museum of California; San Francisco Museum of Modern Art; and the San Jose Museum of Art, among others.

Faith, Hope, and Charity, 1997, Mixed media
On loan from Anglim/Trimble Gallery. Photo credit: Wyatt M. Hall, Impart Photography

Vitrine 1
Objects and Ephemera
Aids, Gay Sunshine, Etc
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Vitrine 2
Mildred Howard (b. 1945, San Francisco) is best known for her multimedia assemblage work and installations. Howard completed her Associates of Arts Degree & Certificate in Fashion Art at the College of Alameda, Alameda, CA in 1977 and received her MFA from Fiberworks Center for the Textile Arts at John F. Kennedy University in Berkeley, California in 1985. In 2015, she received the Lee Krasner Award in recognition of a lifetime of artistic achievement. She has also been the recipient of the Nancy Graves Grant for Visual Artists (2017), the Joan Mitchell Foundation Award (2004/5), a fellowship from the California Arts Council (2003), the Adaline Kent Award from San Francisco Art Institute (1991), and, most recently, received the Douglas G. MacAgy Distinguished Achievement Award at San Francisco Art Institute (2018).
Her large-scale installations have been mounted at Creative Time in New York; InSITE in San Diego, CA; the Museum of Glass in Tacoma, WA; the National Museum of Women in the Arts; the New Museum in New York; the City of Oakland; and the San Francisco Arts Commission and International Airport. Her works reside in the permanent collections of the Berkeley Art Museum; the de Young Museum, San Francisco; Los Angeles County Museum of Art; the Museum of Contemporary Art San Diego; the Museum of Glass and Contemporary Art, Tacoma, WA; the Oakland Museum of California; San Francisco Museum of Modern Art; and the San Jose Museum of Art, among others.

Faith, Hope, and Charity, 1997, Mixed media
On loan from Anglim/Trimble Gallery. Photo credit: Wyatt M. Hall, Impart Photography

Vitrine 2
Objects and Ephemera
Flow Allen, letters, photos
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Henry Yoshitaka Kiyama
A Japanese Experience in San Francisco 1904–1924
Henry Yoshitaka Kiyama was born in Neu, Tottori Prefecture, Japan on September 1, 1885. He immigrated to the United States in 1904, and attended the Mark Hopkins Institute of Art (now San Francisco Art Institute) in 1910-11. Artist, art teacher, cartoonist, and painter, he worked in oil painting scenes of the city and portraits until 1937. From 1937 til his death in 1951, Kiyama lived in Japan where he devoted himself to teaching, painting, and created this comic strip based upon his experiences as an American immigrant. His exhibitions include the Palace of Fine Arts in 1920, and a permanent exhibition at Yonago City Art Museum, in Tottori Prefecture, Japan.

The manga was created around 1924–1927 as 52 "episodes", each a two-page spread intended for serialization in a Japanese-language newspaper.
In 1927, the originals were exhibited at San Francisco's Golden Gate Institute. In 1931, it was self published in San Francisco as a one-shot manga.[2] It was republished in Japan by Shimpu in 2012. It was translated into English by Frederik L. Schodt and published by Stone Bridge Press as The Four Immigrants Manga: A Japanese Experience in San Francisco 1904–1924 in 1998. In 2017, it was adapted into The Four Immigrants: An American Musical Manga, at TheatreWorks.

The panels are excerpted from The Four Immigrants Manga: A Japanese Experience in San Francisco, 1904–1924.
Henry Yoshitaka Kiyama
A Japanese Experience in San Francisco 1904–1924
Henry Kiyama attended the Mark Hopkins Institute of Art (now San Francisco Art Institute) from 1910 to 1911.
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Cliff Hengst
It’s Not the Position But the Disposition
Cliff Hengst is an artist and performer, with a BFA in Painting from SFAI in 1992, and also was faculty in the MFA program. Hengst’s one-man play, "Mr. Akita" was performed at the Berkeley Art Museum as part of their MATRIX program. He has exhibited his work at SFMOMA, Berkeley Art Museum, Southern Exposure, The LAB, The San Francisco Arts Commission, Minnesota Street Projects, 2nd floor projects, and Gallery 16, in San Francisco; Hauser & Wirth and Machine Project, in Los Angeles; The Tang Museum at Skidmore College in New York; and in “Tag: Proposals on Queer Play and the Ways Forward”, curated by Nayland Blake at the Institute of Contemporary Art, Philadelphia. Hengst lives and works in San Francisco.

It’s Not the Position But the Disposition, 2012. Cotton thread on linen, 14 x 14". Courtesy of the artist, and 2nd floor projects, San Francisco.
Cliff Hengst
It’s Not the Position But the Disposition
Cliff Hengst received a BFA in Painting from SFAI in 1992, and also taught in the MFA Program.
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Curt McDowell
Untitled (Angel)
The breadth and volume of director, writer, actor, artist Curt McDowell began in Lafayette, Indiana in high school. In the mid-60s he moved to San Francisco to study painting at the San Francisco Art Institute, but soon decided to transfer to the film department to mentor with the recently-relocated George Kuchar, who became lover, friend, and collaborator. McDowell became a cinematic staple on the scene from the early 1970s until his death due to AIDS complications in 1987. In 1976, The Roxie Theater in San Francisco was established becoming an art and independent film house. One of its four owners at the time, Robert Evans later became Curt’s friend and partner.

Curt was constantly drawing, always had a notebook on hand, says the late George Kuchar & his brother Mike; in between his cinematic making (over 35 films), McDowell produced a staggering number of drawings, photo collages, watercolors, posters for films, diorama style film sets, and elaborate Zip-A-Tone comics—all storyboards of sorts—the byproduct of regularly held Tuesday night art parties with The Roxie Theater family of friends.
Reflecting the candor of McDowell’s sexual films, this graphic output captures the intimacy of his ever evolving and deeply rooted social circle in what would be a secondary and yet immediate practice.

Curt also left us 40 bound impeccable diaries—detailed accounts describing his works, conversations, moods, lovers, and friends—a kind of extended self-portrait, along with numerous scrapbooks documenting his times. These materials provide a telling glimpse into the lives of artists lost to us at a point of tumult or liberation during key points of queer history. The timespan witnessed queer people mobilizing from the Gay Liberation Movement to HIV/AIDS activist communities reflecting regional subsects of queer life linked to their period of artistic production. And from this private, radical urgency, an aesthetic emerged that can be located in contemporary practitioners today.
Curt McDowell
Untitled (Angel), 1969. Oil on canvas, 45 x 36".

In vitrine:
George, 1974. Graphite on paper, 4 x 4".
Untitled (Mike Kuchar with horse), date unknown. Graphite on paper, 10 x 7.5".
Buzzy (California or Bust), Comic panel detail,  Zip-A-Tone, 15 x 10".

Courtesy of the Estate of Curt McDowell and 2nd floor projects, San Francisco.

Curt McDowell
Untitled (Angel)
Curt McDowell received a BFA in Painting and Film from SFAI in 1972.
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David Johnson
A Day Like No Other
David Johnson was a student in Ansel Adams’s first photography class at SFAI in 1946, along with Ruth-Marion Baruch, Pirkle Jones, Oliver Gagliani, Ira Latour, Rose Mandel, Minor White, and others. He had read about the new photography department, and sent him a letter. “I said, ‘Dear Mr. Adams: I’m interested in studying photography. . . . By the way, I’m a Negro,’” Johnson recalled. Most schools in the U.S. at that time were segregated. Adams responded that the class was full but he would put him on the waitlist; Adams later sent a telegram offering Johnson a place in the program. On his arrival in San Francisco, Johnson was also offered lodging at Adams’s house. Johnson, like other students, was advised to “photograph what you know.” This led him to explore San Francisco’s Fillmore District. The Fillmore had been a Japanese community, but following the attack on Pearl Harbor and the subsequent internment in concentration camps of all west coast Japanese Americans, the neighborhood was repopulated by Black people coming from the South to work in the naval shipyards. (Johnson’s instructor Dorothea Lange was hired to document the internment camps.) Many of Johnson’s photographs document the new neighborhood, including the Primalon Ballroom, where jazz and blues greats came to play.
After graduating, Johnson went on to establish his own studio on Fillmore Street, where he continued to photograph the development of the neighborhood. In the late 1950s the Fillmore attracted other SFAI artists including Wally Hedrick, Jay DeFeo, and Joan Brown, and was the site of The Six Gallery. In the early 1970s Hilton Braithwaite, another SFAI photography student, would document the so-called redevelopment of the neighborhood—which forced out most of the Black families and businesses.

Johnson also photographed many of the demonstrations and protests of the 1960s, including the historic March on Washington where Dr. Martin Luther King Jr. delivered his “I Have a Dream” speech. The Bancroft Library at UC Berkeley holds the archive of Johnson’s photographs.

A Day Like No Other. We Demand. They Are Pouring in From All Over. We March/HRAA. Family at March and Woman with Flag Reflected in Glasses, 1963. Courtesy of the artist.
David Johnson
A Day Like No Other
David Johnson received a Certificate of Completion from SFAI in 1949.
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Hayward Ellis King
Untitled, (Reference Calendar)
Post-war California artist Hayward Ellis King (b. Little Rock, Arkansas) studied at the California School of Fine Arts (now the San Francisco Art Institute) from 1949 to 1959, receiving his BFA in 1955. There he studied under artists such as Jean Varda, David Park, Richard Diebenkorn, and Elmer Bischoff. He was one of the founding members,  alsong with Wally Hedrick, Deborah Remington, John Ryan, Jack Spicer, and David Simpson, of the avant-garde Six Gallery in San Francisco’s Fillmore District in 1954. (The space was previously known as the King Ubu Gallery, and founded by Jess Collins, Robert Duncan, and Harry Jacobus in 1952.) King studied printmaking in Paris on a Fulbright scholarship from 1955 to 1956, and attended the Sorbonne from 1955 to 1957. He was Edward Weston's personal assistant in 1957. King was a curator at many galleries, including the John Bolles Gallery established in 1958 (whose original mission was to provide an outlet for students and alumni of the San Francisco Art Institute).
From 1958 to 1962, he was the registrar at the San Francisco Art Institute and the first African-American museum administrator as the registrar of the San Francisco Museum of Art (now the Museum of Modern Art), from 1962 to 1966. King was the first black artist to serve as both director and curator of a major Bay Area art gallery. From 1966 to 1970 he worked at Richmond Art Center and was second vice president of the Western Association of Art Museums from 1968 to 1970. He was also a respected art professor, juror, and consultant in the Bay Area. His own work, primarily pieces of idiosyncratic black-and-white collage, was well-received. He died in 1990, at the age of 62.

Untitled (Reference Calendar), c.1961. Ink, felt tip marker, graphite, collage, on found paper, 26 x 21". Loan courtesy of Greg Flood.
Hayward Ellis King
Untitled, (Reference Calendar)
Hayward Ellis King received a BFA in Painting from SFAI in 1955.
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Florence “Flo”
Wysinger Allen
Florence Wysinger Allen was born and raised in Oakland, California in 1913. Allen was an esteemed artist's model in the Bay Area from 1933 until her death in 1997. Allen modeled for painters such as Joan Brown, Elmer Bischoff, Ralph DuCasse, Mark Rothko, Diego Rivera, Gertrude Murphy and Wayne Thiebaud. Though she’s most famously known for her extensive residence at San Francisco Art Institute, she also modeled for art school classes at the University of California, Berkeley, Stanford University, the California College of Arts and Crafts, and Mills College. When she began modeling, the going rate for nude models was 75 cents an hour, but in 1945 she founded the Model's Guild to improve pay for artists’ models. As an educator, Allen taught a course at CCA for prospective models, passing on her knowledge of “newd” modeling to generations of emerging artists’ models. Included in her long list of accomplishments, Allen was a singer, an actress, a union supporter, and a civil rights activist.
Philip P. Weisman
Untitled, 1955. Oil on canvas, 24 x 20". Loan courtesy of Pam Martin.

Arlene Risi Streich
Untitled, watercolor. Loan courtesy of the family of Martin & Arlene Streich.

Jerry Opper
Black, c.1950s. Gouache on paper, 18 x 15".
Hip, c.1950s. Gouache on paper, 18 x 15".
Standing, c.1950s. Gouache on paper, 21.5 x 13.75".
Stool, c.1950s. Gouache on paper, 18 x 15".
Lamp, Shoe, c.1950s. Gouache on paper, 15 x 18".
Muggin', c.1950s. Gouache on paper, 18 x 15".
Stairs, c.1950s. Gouache on paper, 18 x 15".
Green Suit, c.1950s. Gouache on paper,15 x 18".
Looking Up, c.1950s. Gouache on paper, 18 x 15".

John Bowers
Hands on Knee, c.1940s. Charcoal and India ink on paper, 25 x 19".

Loan courtesy Michele Hembree, MGH Discovered Art, New York.

Florence "Flo" Wysinger Allen
“Honey, I AM the Art Institute”
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A Spirit of Disruption
On View March 19 — July 3, 2021
SFAI 150 | A Spirit of Disruption was organized by the San Francisco Art Institute and curated by Margaret Tedesco & Leila Weefur.

Special thanks to Project Managers, Kat Trataris & Alex Peterson; Vice President of Operations & Facilities, Heather Hickman Holland; Chief Preparator, Robin Beard; Director of Operations & Facilities, John Seden; Operations & Facilities Manager, Rene Lopez; Technical Director, Christopher Paddock; Institutional Giving Manager, Elisa Isaacson; Librarian and Archivist, Jeff Gunderson; Library Access Services and Visual Resources Manager, Becky Alexander; Public Relations, Nina Sazevich; Director of Arts Programming & Partnerships at the Fort Mason Center for Arts & Culture, Frank Smigiel; Nina Hubbs Zurier BFA’74; and the Bay Area Models’ Guild.

SFAI is grateful for the many generous supporters who make our programs possible. Our Exhibitions and Public Programs are sponsored in part by grants from the National Endowment for the Arts, the Winifred Johnson Clive Foundation, Grants for the Arts, the Koret Foundation, Video Data Bank at the School of the Art Institute of Chicago and SF Artists Alumni Inc.
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Cathy Lu
Customs Declaration
Cathy Lu (b. Miami, FL) is a ceramics-based artist who manipulates traditional Chinese art imagery and presentation as a way to deconstruct the assumptions we have about Chinese identity and cultural authenticity. Through sculptures and installations, she explores what it means to be both Asian and American, while not being entirely accepted as either. Unpacking how experiences of immigration, cultural hybridity, and cultural assimilation become part of American identity is central to her work. She received her MFA from the San Francisco Art Institute, and her BA & BFA from Tufts University. She has participated in artist in residence programs at Root Division, Vermont Studio Center, Anderson Ranch Arts Center, and Recology SF. Her work has been exhibited at Johansson Projects, SOMArts, Aggregate Space, and Chinese Culture Center. She was a 2019 Asian Cultural Council/Beijing Contemporary Art Foundation Fellow. She currently teaches at California College of the Arts and Mills College.

Customs Declaration, 2019. Ceramic and steel cable, 11 x 9'. Courtesy of the artist.
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Jenny Odell
144 Empty Parking Lots
Jenny Odell is an artist and writer based in Oakland. Her work involves frameworks of close attention to the quotidian, often resulting in collections and personal archives. Odell has been an artist in residence at Recology SF, the Internet Archive, the New York Public Library, and the San Francisco Planning Department. Her work has been exhibited at Ever Gold Projects, San Francisco; Google Headquarters; apexart, New York; the Marjorie Barrick Museum, Las Vegas; and Fotomuseum, Antwerpen. Odell has taught digital and internet art at Stanford University since 2014, and is also the author of How to Do Nothing: Resisting the Attention Economy (2019).

144 Empty Parking Lots (From the Satellite Collections), 2021. Digital print on vinyl, 48 x 48". Courtesy of the artist.
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Lexygius Sanchez Calip
Me, Me, Me...
Lexygius Sanchez Calip (b. Manila, Philippines) is an art practitioner and scholar. He is a recipient of the Anne Bremer Memorial Award for Outstanding Achievement in the Arts from the San Francisco Art Institute, an awardee for the Murphy Cadogan Art Awards in San Francisco, and a Freeman Fellowship Foundation grant recipient and fellow. His work has been exhibited nationally and internationally, such as the de Young Museum, the Schafer Gallery at the Fort Mason Cultural Center, and the Diego Rivera Gallery in San Francisco; The Brickton Art Center and The Hairpin Art Center in Chicago; the Bliss on Bliss Art Projects in New York and Bogota Colombia; and The Metropolitan Museum, the Jorge B. Vargas Museum, the Ateneo Museum of Modern Art, the GSIS Museum of Art, and the Cultural Center of the Philippines in Manila. He received his Bachelor of Fine Arts degree in New Genres under the Presidential Merit Scholarship, his Master of Fine Arts degree in Studio Arts under the Trustee Scholarship, and is a current candidate for the Master of Arts in History and Theory of Contemporary Art under the Graduate MA Full Fellowship at the San Francisco Art Institute. He currently lives in San Francisco.

Me, Me, Me..., 2021. Unpolished portion of concrete floor, size variable. Courtesy of the artist.
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Jacqueline Kiyomi Gork
Noise Blanket No.7
Jacqueline Kiyomi Gork (b. 1982, Long Beach) lives and works in Los Angeles. She received her BFA from the San Francisco Art Institute and her MFA from Stanford University. Recent shows include Hammer Museum's Made In L.A.: a version (Los Angeles), Sculpture Center's Searching the Sky for Rain (New York), SFMoMA’s Soundtracks (San Francisco), VAC's Geometry of Now Festival (Moscow); and solo shows at Human Resources and 356 Mission Rd. (Los Angeles); and Empty Gallery (Hong Kong). Her works are in the collections of SFMOMA, K11 Foundation, Berkeley Art Museum, VAC Foundation.

Noise Blanket No.7, 2017. Poured silicone, artificial fur, nylon and steel, 87 x 32". Courtesy of the artist and Empty Gallery, Hong Kong.
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Lexygius Sanchez Calip
Intervention 2
Lexygius Sanchez Calip (b. Manila, Philippines) is an art practitioner and scholar. He is a recipient of the Anne Bremer Memorial Award for Outstanding Achievement in the Arts from the San Francisco Art Institute, an awardee for the Murphy Cadogan Art Awards in San Francisco, and a Freeman Fellowship Foundation grant recipient and fellow. His work has been exhibited nationally and internationally, such as the de Young Museum, the Schafer Gallery at the Fort Mason Cultural Center, and the Diego Rivera Gallery in San Francisco; The Brickton Art Center and The Hairpin Art Center in Chicago; the Bliss on Bliss Art Projects in New York and Bogota Colombia; and The Metropolitan Museum, the Jorge B. Vargas Museum, the Ateneo Museum of Modern Art, the GSIS Museum of Art, and the Cultural Center of the Philippines in Manila. He received his Bachelor of Fine Arts degree in New Genres under the Presidential Merit Scholarship, his Master of Fine Arts degree in Studio Arts under the Trustee Scholarship, and is a current candidate for the Master of Arts in History and Theory of Contemporary Art under the Graduate MA Full Fellowship at the San Francisco Art Institute. He currently lives in San Francisco.

Intervention 2, 2021, Courtesy of the artist.
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Lindsey White
Don't Expect Miracles
Lindsey White is an artist and educator in San Francisco. White has realized projects with institutions such as San Francisco Museum of Modern Art; U.C. Berkeley Art Museum and Pacific Film Archive; CCA Wattis Institute for Contemporary Arts, San Francisco; White Columns, New York; ACME., Los Angeles; Locust Projects, Miami; Sydhavn Station, Copenhagen; Museum Bärengasse, Zurich; di Rosa, Napa; Ulrich Museum of Art at Wichita State University; and KADIST, San Francisco. White was awarded SFMOMA's 2017 SECA Award and residencies at Headlands Center for the Arts, Sausalito, California, and Kala Art Institute, Berkeley. White is also a co-founder of the para-curatorial experiment Will Brown. Will Brown is Lindsey White, Jordan Stein, and David Kasprzak. She is an Assistant Professor and Photography Chair at the San Francisco Art Institute.

Don't Expect Miracles, 2018. Silkscreen, ink on cotton with foam, 6.5 x 8'. Courtesy of the artist.
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Sandra Gibson + Luis Recoder
Threadbare
Collaborating artists Sandra Gibson (b. 1968, Portland, OR) and Luis Recoder (b. 1971, San Francisco) have exhibited their celebrated expanded cinema installations and projection performances since 2000. Their works are in the permanent collections of the Whitney Museum of American Art, Memorial Art Gallery, Academy Museum of Motion Pictures, Exploratorium, and Museum Kunstpalast Düsseldorf. Artist residencies include the Rockefeller Foundation Bellagio Center Residency, U.S. / Japan Creative Artists Fellowship, Ucross Foundation, Djerassi Resident Artists Program, and Headlands Center for the Arts. From 2016–2019 they were featured artists and research associates of RESET THE APPARATUS! A Survey of the Photographic and the Filmic in Contemporary Art, hosted by the Department of Media Theory at the University of Applied Arts Vienna, Austria. Lecturing appointments include a visiting faculty position in the Department of Cinema Studies & Moving Image Arts at the University of Colorado Boulder. Gibson + Recoder live and work in New York.

Threadbare, 2013. Film, projector, 27 x 35 x 12" Courtesy of the artists.
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Sandra Gibson + Luis Recoder
Power Cord
Collaborating artists Sandra Gibson (b. 1968, Portland, OR) and Luis Recoder (b. 1971, San Francisco) have exhibited their celebrated expanded cinema installations and projection performances since 2000. Their works are in the permanent collections of the Whitney Museum of American Art, Memorial Art Gallery, Academy Museum of Motion Pictures, Exploratorium, and Museum Kunstpalast Düsseldorf. Artist residencies include the Rockefeller Foundation Bellagio Center Residency, U.S. / Japan Creative Artists Fellowship, Ucross Foundation, Djerassi Resident Artists Program, and Headlands Center for the Arts. From 2016–2019 they were featured artists and research associates of RESET THE APPARATUS! A Survey of the Photographic and the Filmic in Contemporary Art, hosted by the Department of Media Theory at the University of Applied Arts Vienna, Austria. Lecturing appointments include a visiting faculty position in the Department of Cinema Studies & Moving Image Arts at the University of Colorado Boulder. Gibson + Recoder live and work in New York.

Power Cord, 2017. Vinyl tubing, galvanized steel wire, hardware, 32 x 18 x 3". Courtesy of the artists.
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Nicki Green
Vivified Brick (Tin)
Nicki Green is a transdisciplinary artist working primarily in clay. Originally from New England, she completed her BFA in sculpture from the San Francisco Art Institute in 2009 and her MFA in Art Practice from the University of California, Berkeley in 2018. Her sculptures, ritual objects and various flat works explore topics of history preservation, conceptual ornamentation and aesthetics of otherness. Green has exhibited her work internationally, notably at the New Museum, New York; The Contemporary Jewish Museum, San Francisco; and Rockelmann & Partner Gallery, Berlin, Germany. She has contributed texts to numerous publications including a recent piece in Duke University Press’ Transgender Studies Quarterly and a piece in Fermenting Feminism, Copenhagen. In 2019, Green was a finalist for the San Francisco Museum of Modern Art’s SECA Award and a recipient of an Arts/Industry Residency from the John Michael Kohler Art Center, among other awards. Green lives and works in the San Francisco Bay Area.

Vivified Brick (Tin), 2020. Glazed earthenware, 11 x 7 x 8". Courtesy of the artist.
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Conrad Guevara
Untitled
Conrad Guevara works in so-called Oakland, California. Conrad makes abstract paintings, sculptures, assemblages, and hosts a weekly Instagram Live talk show. He uses everyday objects, cheap import goods, cast-off construction detritus, and corner store staples to create subtle, casual, and intimate works that speak to ideas of repurposing, resistance, ingenuity, tensile strength, balance, and most importantly improvisation. Conrad is also one-third of Bonanza, a collaborative practice with L. Williams and L. Tully. Guevara was born in Tacoma, WA. He completed a BA in Printmaking from the College of Charleston in 2008 and completed an MFA in Painting from the San Francisco Art Institute in 2013. He has a forthcoming show at Right Window Gallery in San Francisco opening spring 2021.

Untitled, 2014/2021. Poplar, acrylic, ink, leather, chain, variable. Courtesy of the artist.
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Haein Kang
Wind From No Where
Haein Kang (b. in Korea, living in Seattle) is an artist working at the intersection of science, technology, and art. Kang began her career as an artist in 2002 by winning Construct 2, an annual installation art competition hosted by San Francisco Arts Commission. She held a solo exhibition at the Seoul Olympic Museum of Art in 2009 and received Honorary Mention at Prix Art Electronica in 2019. Kang's doctoral research has developed artistic systems to explore obscurity of the mind using brain-computer interfaces based on neuroscience inquiry. Illusion, a performance-based sound installation using the system, was created with a 4Culture Arts Projects grant and was widely presented in international venues, such as ICMC-NYCEMF, IEEE Games, Entertainment and Media, SIGGRAPH-ASIA, and CODAME ART+TECH festival.

Wind From No Where, 2019, Data-driven sound installation. Mechanically reproduces the moment when leaves gently rustle along with the wind blowing through the trees. The title derives from Samuel Butler's novel, Erewhon, (8) 53" x 30" x 18" each
Courtesy of artist. Supported by DXARTS, special thanks to Richard Karpen.
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Bill Jenkins
Conduits 1
Bill Jenkins is an artist who grew up and was educated in northern California and is presently based in New York City. Jenkins produces installation, sculpture, drawing and video works using commonly available materials and basic methods. Through his work, Jenkins explores contrasting relationships of physical and durational scale between individuals and large institutions, often taking infrastructure projects as formal and conceptual inspiration. Recent projects have focused on redistributing light in exhibition spaces, mock-ups of pipeline infrastructure, paper maché as a means of reformatting content, and video surveys of local sidewalk and grassland surfaces. Jenkins received a BFA from the San Francisco Art Institute (2003) and a MFA from the University of California at Berkeley (2007). In Fall 2017, Jenkins was in residence at the Atelier Calder in Saché, France. Recent solo exhibitions of Jenkins’ work have been at Freshkills Park Gallery, Staten Island, New York; CAPITAL, San Francisco; Todd Madigan Gallery, California State University Bakersfield, CA; and Galeria Stereo, Warsaw, Poland. Other solo projects have been held at Laurel Gitlen, New York, and The Portland Institute for Contemporary Art, Portland, OR. Jenkins’ work has been included in group shows at Tanya Bonakdar, James Cohan, Feature Inc., Sikkema Jenkins & Co., Simone Subal, and White Columns, New York; Regards, Chicago, IL; Ratio 3, San Francisco; and Yvon Lambert, Paris, France. An interview with Jenkins about his installation projects is featured in the Spring 2019 issue of BOMB. Reviews of Jenkins’ work have been published in Artforum, Art in America, Contemporary Art Review Los Angeles, The New Yorker and the San Francisco Bay Guardian, among other publications.

Conduits, 2016/2021. Cardboard, glue, paint (set of 3), 24 x 16 x 8". Courtesy of the artist.
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Bill Jenkins
Conduits 2
Bill Jenkins is an artist who grew up and was educated in northern California and is presently based in New York City. Jenkins produces installation, sculpture, drawing and video works using commonly available materials and basic methods. Through his work, Jenkins explores contrasting relationships of physical and durational scale between individuals and large institutions, often taking infrastructure projects as formal and conceptual inspiration. Recent projects have focused on redistributing light in exhibition spaces, mock-ups of pipeline infrastructure, paper maché as a means of reformatting content, and video surveys of local sidewalk and grassland surfaces. Jenkins received a BFA from the San Francisco Art Institute (2003) and a MFA from the University of California at Berkeley (2007). In Fall 2017, Jenkins was in residence at the Atelier Calder in Saché, France. Recent solo exhibitions of Jenkins’ work have been at Freshkills Park Gallery, Staten Island, New York; CAPITAL, San Francisco; Todd Madigan Gallery, California State University Bakersfield, CA; and Galeria Stereo, Warsaw, Poland. Other solo projects have been held at Laurel Gitlen, New York, and The Portland Institute for Contemporary Art, Portland, OR. Jenkins’ work has been included in group shows at Tanya Bonakdar, James Cohan, Feature Inc., Sikkema Jenkins & Co., Simone Subal, and White Columns, New York; Regards, Chicago, IL; Ratio 3, San Francisco; and Yvon Lambert, Paris, France. An interview with Jenkins about his installation projects is featured in the Spring 2019 issue of BOMB. Reviews of Jenkins’ work have been published in Artforum, Art in America, Contemporary Art Review Los Angeles, The New Yorker and the San Francisco Bay Guardian, among other publications.

Conduits, 2016/2021. Cardboard, glue, paint (set of 3), 24 x 16 x 8". Courtesy of the artist.
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Miguel Calderón
Pantalla Hypnótica
Miguel Calderón (b. 1971, Mexico City) explores a broad range of themes, from violence and corruption in Mexico, to youth and family dynamics, to the supernatural. However, his work is unified by an ever-present sense of theatricality, questioning the fine line between reality and fiction. Frequently cast from the perspective of an outsider, he highlights the macabre complexity of man’s position in the universe deftly weaving together mockery, foolishness, social critique and sincerity of emotion. He creates works from a mashup of vernacular references, employing a variety of media, including video, photography, sculpture and painting. For Calderón, it is important that art be accessible; he came of age as an artist in Mexico during the 1990s, when he was a key figure in the development of a young alternative art scene, associated with the non-commercial art space he co-founded called La Panadería.

Calderón received his BFA from the San Francisco Art Institute in 1994. He has been the recipient of the Cisneros Fontanals Art Foundation Grant & Commissions program (2013), The MacArthur Fellowship for Film and New Media (2000), and the Bancomer/Rockefeller Fellowship (1995).

Calderón has participated in various biennials, including: 7th Internationale Photo-Triennial, Esslingen, Germany (2007); Busan Biennale, Korea (2006); Sharjah Biennial 7, Sharjah, United Arab Emirates (2005); Yokohama Triennale of Contemporary Art, Japan (2005); ARCO, Madrid, Spain (1998). Calderón currently lives and works in Mexico City.

Pantalla Hypnótica, 2018. Four projector screens, variable. Courtesy of the artist and Kurimanzutto, Mexico City.
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Zulfikar Ali Bhutto
Modern Attack
Zulfikar Ali Bhutto is Pakistani Lebanese visual artist, performer and curator. Bhutto’s work explores complex histories of colonialism that are exacerbated by contemporary international politics and in the process unpacks the intersections of queerness and Islam through a multi-media practice. Bhutto was curatorial resident at SOMArts Cultural Center where he co-curated The Third Muslim: Queer and Trans Muslim Narratives of Resistance and Resilience, and has shown in galleries, museums and theaters globally. He has spoken extensively on the intersections of faith, radical thought, and futurity at Columbia University, UC Berkeley, California College of the Arts, NYU, and Stanford. Bhutto is currently based in San Francisco where he received an MFA at the San Francisco Art Institute in 2016.

Modern Attack, 2020. Screen print on muslin, velvet, various trimmings and tassels, 10 x 5'. Courtesy of the artist.
DONE
Joshua Pavlick
Practice
Since graduating from SFAI with a painting degree (BFA’07), Pavlick’s life has been more about producing events than producing objects. He sees his studio practice as a catalyst for the installation work, art handling, set production, and construction projects that keep his engagement with the world. In 2011, he founded Helmuth Projects in San Diego, California, within his place of residence and hosted hundreds of artists and musicians until 2018. Helmuth’s mission was about working with makers to support them to produce their best work and maintain a safe space where people could gather. In 2015, he joined Whoop Dee Doo, an artist-led project that creates installations and live performances internationally at universities, festivals, arts organizations, and museums. Each project engages the immediate communities of the organization with which Whoop Dee Doo partners, and they work closely with youth and nonprofits to research, conceive, and create programming across the country from SFMOMA to The High Line. The year before the pandemic, Pavlick was working as construction manager on a haunted forest and oversized exorcist bedroom set for Jaimie Warren’s solo exhibition, The Miracle at Pioneer Works. These days he considers both San Diego and Brooklyn home bases, and looks forward to traveling with Whoop Dee Doo as the world opens up again.

Practice, 2007. Porcelain basketball with China paint decal, 8" diameter. (SFAI’s newly designed brand, typeface appropriation), Edition 1/100. Courtesy of the artist, on loan from Margaret Tedesco.