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AGITPROPAGITPROP | AGITPROP http://agitpropspace.org Knowledge toolkits to go Sun, 14 Feb 2016 17:45:00 +0000 en-US hourly 1 http://wordpress.org/?v=3.6.1 Agitprop Reading Series: Brian Blanchfield & Mark Wallace on Saturday Dec. 7th http://agitpropspace.org/2013/11/27/agitprop-reading-series-brian-blanchfield-mark-wallace-on-saturday-dec-7th/ http://agitpropspace.org/2013/11/27/agitprop-reading-series-brian-blanchfield-mark-wallace-on-saturday-dec-7th/#comments Thu, 28 Nov 2013 06:14:14 +0000 Kylie King http://agitpropspace.org/?p=7850 Brian Blanchfield

Dear Friends,

We invite you to the fourth reading of our 6th season of the Agitprop Reading Series on Saturday, December 7th with two exciting readers: Brian Blanchfield and, our hometown hero, Mark Wallace.

Brian Blanchfield is the author of Not Even Then (University of California Press) and The History of Ideas, 1973-2012 (chapbook, Spork Press). His second full-length book of poetry, A Several World, is forthcoming from Nightboat Books, in early 2014. Essays from his current nonfiction project, Onesheets, can be found in/on Guernica and Web Conjunctions, and his recent poems have appeared in The Nation, The Brooklyn Rail, Denver Quarterly, Lana Turner, and A Public Space. He lives in Tucson.

Mark Wallace’s latest book, Notes from the Center on Public Policy, has just been published by The Altered Scale Press. He is the author and editor of more than fifteen books and chapbooks of poetry, fiction, and essays. Other recent books include a novel, The Quarry and The Lot, and a book of poems, Felonies of Illusion. His novel Crab is due out in late 2014. He lives in San Diego, California.

As always, we’re at:

Agitprop (NEW LOCATION!)
Saturday, November 2nd, 7pm
2222 Logan Ave
San Diego, CA 92113
Map: http://tinyurl.com/qx7axg5 (the building is brand new, so the map shows a vacant lot).

Contact: James Meetze: jamesmeetze(at)gmail(dot)com

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Reading Series Events: Jessica Piazza & Andrew Wessels, Sat. Nov. 2nd http://agitpropspace.org/2013/10/28/gitprop-reading-series-jessica-piazza-andrew-wessels-sat-nov-2nd/ http://agitpropspace.org/2013/10/28/gitprop-reading-series-jessica-piazza-andrew-wessels-sat-nov-2nd/#comments Mon, 28 Oct 2013 20:42:26 +0000 Kylie King http://agitpropspace.org/?p=7760 Interrobang_Cover

Dear Friends,

We invite you to the third reading of our 6th season of the Agitprop Reading Series on Saturday, November 2nd with two exciting readers: Jessica Piazza & Andrew Wessels.

Jessica Piazza has seen some things. Terrible, terrible things. Her first poetry collection “Interrobang” was recently released by Red Hen Press and her chapbook “This is not a sky” will drop next year from Black Lawrence Press. Other than that, she’s published in a bunch of places and written a bunch of things, but is more interested in telling you about her Krav Maga mixed martial art skills and her canine BFF Special the Dog. If you care about her actual writerly accomplishments, go to www.jessicapiazza.com for the info. Either way, buy her book: it’s about lusts and terrors and you know you’re kind of into that. She is a contributing editor to The Offending Adam and co-founder of Gold Line Press.

Andrew Wessels has lived in Houston, Cambridge, and Las Vegas. Currently, he splits his time between Istanbul and Los Angeles. He has held fellowships from Poets & Writers and the Black Mountain Institute. His poems, translations, and collaborations can recently be found in VOLT, Witness, Fence, and Colorado Review, among others. He is the managing editor of Les Figues Press and edits the poetry and poetics journal The Offending Adam.

As always, we’re at:

Agitprop (NEW LOCATION!)
Saturday, November 2nd, 7pm
2222 Logan Ave
San Diego, CA 92113
Map: http://tinyurl.com/qx7axg5 (the building is brand new, so the map shows a vacant lot).

Contact: James Meetze: jamesmeetze(at)gmail(dot)com

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Agitprop Reading Series: Jared Stanley & Emily Motzkus, Saturday, October 5th http://agitpropspace.org/2013/10/03/agitprop-reading-series-jared-stanley-emily-motzkus-saturday-october-5th/ http://agitpropspace.org/2013/10/03/agitprop-reading-series-jared-stanley-emily-motzkus-saturday-october-5th/#comments Thu, 03 Oct 2013 22:07:19 +0000 David White http://agitpropspace.org/?p=7574

Dear Friends,

We invite you to the second reading of our 6th season of the Agitprop Reading Series on Saturday, October 5th with two exciting readers: Jared Stanley and Emily Jayne Motzkus

Jared Stanley is the author of two books of poetry, The Weeds and Book Made of Forest, as well as four chapbooks, including How the Desert Did Me In. He is a member of the public art group Unmanned Minerals, whose latest installation, It Calls From the Creek, is a site-specific walking poem installed on the Deer CreekTribute Trail in Nevada City, California, on view through September 2014. Stanley is a 2012-2014 Research Fellow at the Center for Art + Environment at the Nevada Museum of Art, and teaches at Sierra Nevada College. He lives in Reno, Nevada. Recent poems have appeared in Manor House Quarterly, Bombsite (Bomb Magazine), textsound.org, and Peaches & Bats.

Emily Motzkus is a PhD student at The University of Denver. She holds an MFA from the School of the Art Institute of Chicago. Her work has appeared in Manor House Quarterly and in the chapbook, The Henry Miller Remix, published by The Offending Adam. She lives in Denver with her cat.

Agitprop (NEW LOCATION!)
Saturday, October 5th, 7pm
2222 Logan Ave
San Diego, CA 92113
Map: http://tinyurl.com/qx7axg5 (the building is brand new, so the map shows a vacant lot).

Contact: James Meetze: jamesmeetze(at)gmail(dot)com

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Relocating Agitprop http://agitpropspace.org/2013/10/03/relocating-agitprop/ http://agitpropspace.org/2013/10/03/relocating-agitprop/#comments Thu, 03 Oct 2013 21:51:55 +0000 David White http://agitpropspace.org/?p=7542  

Dear friends,

If you have been wondering why things have been a bit quiet over here at Agitprop, it is because we have some news. It simultaneously saddens  and excites me 100 mg viagra to let you know that Agitprop has relocated. The space that we occupied in North Park has officially closed. In June we turned in ours keys and  moved out.  We will all miss the space at the corner of University  Avenue and Utah Street in North Park – holes and all.

I would like to express my sincere gratitude for the support that has gone into Agitprop over the six-plus years that it was in operation in North Park.  When the space started Megan and I wanted it to be based on a few simple principles: a balance between programming  that was simultaneously both open and thoughtfully organized; that it functioned as a starting point to engage the neighborhood and city at large; and the radical idea that a project like this could sustain itself (however modestly) on the support and participation of a wide array of individuals from a myriad of backgrounds that the project hoped to reach.   Looking back it is clear that these goals were met (imperfections and all)!.  It is also clear that any success or longevity Agitprop was able to maintain was predicated on the support all of you gave in terms of time, money, criticism, probing, planning, cleaning, feedback and hard work .  Thank you for that!

Looking forward, this past summer we moved to architect Hector Perez’s new building in Barrio Logan as a temporary home.  In many ways this decision was predicated on conversations and the potential for future collaborations with Hector (and many others) in hopes of establishing new approaches to artistic experimentation and interdisciplinary investigations.  This will take some time to unfold and will again be dependent upon input and engagement from you .

In the meantime, you can expect reinvigorated projects as we settle into a new home- including some events this fall.  Please keep an eye out for updates and hope to see you sometime soon.

In Appreciation,

David White

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The Clean, Curious Eyeball of Bill Nericcio http://agitpropspace.org/2013/09/08/the-clean-curious-eyeball-of-bill-nericcio/ http://agitpropspace.org/2013/09/08/the-clean-curious-eyeball-of-bill-nericcio/#comments Mon, 09 Sep 2013 01:24:48 +0000 Perry Vasquez http://agitpropspace.org/?p=7457 Bill Nericcio’s work as a writer and theorist of cultural studies extends from the semiotics of Speedy Gonzalez to the film career of Rita Hayworth to the influence of the Homeric tradition on the Chicano novel. For Nericcio, the fluid barriers between high, low and Mexican and American cultures offer irresistible opportunities to thread his sharp observations through the often overlooked gaps in what we perceive to be the impermeable walls of cultural identity.

To his many students, Nericcio is best known as the director of the cultural studies graduate program known as MALAS (the Master of Arts in Liberal Arts and Sciences) at San Diego State University–the program, known as the “MA in Curiosity” is an interdisciplinary studies program open to undergraduates with degrees in all majors. Additionally, he serves as a Professor of English and Comparative Literature and a member of the faculties in the department of Chicana/o Studies (CCS) and the Center for Latin American Studies (CLAS).

Some of his works include his 1998 illustrated exposé on Speedy Gonzales, “Autopsy of a Rat: Odd, Sundry Parables of Freddy Lopez, Speedy Gonzales, and Other Chicano/Latino Marionettes Prancing about Our First World Visual Emporium.” Nericcio’s primary ongoing critical work is an illustrated history of Mexican and Latina/o stereotypes, Tex[t]-Mex: Seductive Hallucinations of the “Mexican” In America.

Nericcio is presently putting the finishing touches on EYEGIENE for UT Press.

AGITPROP: I thought I’d get your interview started off by asking you to expand on the program you teach in and your professional focus.

BILL NERICCIO: I am always out of focus, confused, on the march–that’s my obscure answer just to start things off. I teach in various guises at SDSU–I am an English professor, to begin, but I usually end up teaching lower and upper-division classes that are a mish-mash of 20th and 21st century cultural studies–novels, movies, critical theory, photography, oil painting, theatre, the web…. you name it, I teach it. The only rule of thumb for me when it comes to what is “literature” is that it somehow conveys a story. From gossip on the street, salacious hieroglyphs in the men’s room, advertising on the side of a bus, anything is fair game. My official title these days in (and it’s a mouthful) Professor of English and Comparative Literature, Chicana/o Studies, & Latin American Studies–but I also serve as Director for a Cultural Studies MA program called MALAS–The Master of Arts in Liberal Arts and Sciences; and I work as an Editor for San Diego State University Press. Too many sombreros for this profe!

AGITPROP: So let’s turn to the topic of Chicano lit since that is one of your primary topics of expertise. I’m reading Homer’s Odyssey right now and am interested in how contemporary chicano authors who address the migrant experience construct their crossing narratives. Is there any connection, conscious or otherwise, between Chicano lit and the epic tradition of the Greeks?

BILL NERICCIO: “Cuando lleguemos, cuando lleguemos / When we arrive, when we arrive”…. the words, pulled out Tomas Rivera’s y no se lo tragó la tierra might have come from the mouth of Odysseus, on his epic return journey to Ithaca, to his olive-tree bed with besieged Penelope. But the words from Rivera’s cacophonous, chaotic novel–really a treasure trove of migrant narrative shards–are a haunting elegy. He goes on, the truth of is we’re tired of arriving, that we “never arrive”.

Rivera’s words signal the ambivalence of the migrant worker’s life–like and totally unlike Kerouac’s On the Road, it is a journey fraught with danger, filled with change and alienation. Odysseus knew all about the changes that migration bring, even for the hero. While Homer’s hero is more Don Draper than suffering undocumented migrant, Odysseus does share with our sojourners of the Americas an intimate knowledge of the costs and benefits of becoming diasporic, becoming other. It’s funny, I am the end results of Mexican and Sicilian sojourns, with crossings of the Rio Grande and encounters with Ellis Island firmly tattooed on my skin and imprinted on my psyche. Perhaps that’s why I teach Ulysses by Joyce, The Pillow Book by Greenaway, Flirt by Hal Hartley, The Century of Wind by Galeano, and City of Night by John Rechy–all are tales of displacement and knowing (and self-knowing).

AGITPROP: Can you tell me a little more about Rivera’s novel? Who is the main character? WHere is she or he from and what sets him/her off on the epic journey?

BILL NERICCIO: The unnamed itinerant protagonist of Rivera’s singular project is a sojourner, a traveler, a seer, sufferer. He is an invisible boy, to riff off of Ellison’s singularly inspirational novel, and he’s a little bit crazy. Or, better said, Rivera’s child ends up mad, under a house, waving at imaginary doppelgängers hanging out in palm trees as a result of his experiences and synapse/soul scarring witnessings. It is an avant garde novel, told with multiple voices and radical POV shifts; but the anecdotes are drawn from recent history with unattended migrant children burning to death and others shot for needing water. The novel speaks to the extremes of the Mexican American/Chicano experience in the United States and, at the same time, embodies the postmodern aesthetics of late 20th century fiction.

AGITPROP: This is a fascinating and reminds me of the story of Martin Ramirez. Ramirez was a young Mexican who fought in the Mexican revolution and was traumatized by his experiences. After the conflict ended he wandered across the US/ Mexico border and wound up in an asylum where it was discovered he had artistic talent. Benefactors provided him with simple art materials and he went on to lead a creative but institutionalized life drawing and painting. Not all odysseys end well and when they don’t, at least in the cases of Rivera’s fictional protagonist and Martin Ramirez, the subject seems more suited to the role of the artist instead of the hero. Do you have any thoughts on this reflection?

BILL NERICCIO: I love that you bring up Ramirez–I have always wanted to write about his work. You can see in his illustrations this ambivalence toward odyssey, towards travel in general: with movement, consequence, change, transformation, but with the danger that this dis-placement bring danger/violence or, as in his case, “asylum” (both meanings of course: safety, for the displaced refugee, but also, incarceration within the walls of a policed asylum). You can see this tension unfold in his drawings–two here are to the point:

Untitled by Martin Ramirez

Here in the first, the train tracks between beckoning tunnels promise no exit, no egress, almost, no movement, the lines of the mountains leaving the spectator in a Escher-like stasis.

In this possible self-portrait, Ramirez, or someone like him, sits at a drawing table–is he dreaming of the train, of movement, of escape, of diaspora, or does he contain it on the page, in a drawing, in art.
You’ve got me thinking now of the cost of diasporic transmogrification–how the ‘skin’ that is left behind carries the trace of an unrecoupable soul.

Untitled by Martin Ramirez

AGITPROP: When I see the word transmogrification I always associate it with the most excruciating images. It’s a very powerful idea when placed in relation to the human body. I’m reminded of Ovid’s Metamorphoses or the photographs of Joel-Peter Witkin. It’s profoundly sad.

BILL NERICCIO: Transmogrification always raises the ante. You’ve got transformation, right. And transformation squared is metamorphosis. And metamorphosis cubed might be Transubstantiation (as a recovering Catholic, I have to go there). But all of them pale in comparision to transmogrification, a monster of a word. Joel-Peter Witkin’s uncanny tableau disturb to the point that I sometimes gasp–their marriage of photography, set-design, performance, and more are disturbingly wicked. These days, when I write or think about transmogrification, I am either teaching works like William Burroughs Junky, the Velvet Underground, Neuromancer, The Three Stigmata of Palmer Eldritch, and Lydia Yuknavich’s Chronology of Water–works where narcotics are the focus, and substance-propelled metamorphoses are the name of the game.

In contemporary art, Tara McPherson, an avatar for Pop Surrealism, comes to mind first–most obviously in works like “Trapped in the Narcissus Gaze”, but perhaps more hauntingly in pieces like “Dark Matter Witch.” I think, also, of your work, especially the Coatlique piece(s) and the work of Raul Gonzalez III. In “Benito” (produced with Elaine Bay), we experience a radical transmogrification of an iconic Mexican figure (left)–the late great Benito Juarez. A fixture in school rooms across Mexico, he is reborn and de-faced (literally) in Gonzalez and Bay’s iteration:

Double portrait of Benito Juarez by Raul Gonzalez III

The transmogrification is radical and 21st century–the face is effaced, obscured, over-written… it’s still Benito Juarez and it is not. In lieu of face, we see a tag, a street tag, graffiti. A quick study might suggest some sort of statement about Mexico, it’s history, politics, etc. But I think more is afoot here–some sort of attempt on the part of the artists to update a ubiquitous cultural commodity and radically re-imagine it displaced in various ways (and frames)….

AGITPROP: Can you tell us about what you are working on these days?

BILL NERICCIO: The biggest ongoing project is the traveling Mextasy exhibition. Mextasy is a gallery version of my book Tex[t]-Mex . The next exhibition is at Adrian College, Adrian, Michigan this August and I will be traveling out there in early September for a lecture and closing celebration/party as well. After that, the horizon is hazy, but it may be traveling to Oregon later in the year and then on to Oberlin College in 2014.

As far as publications are concerned, I am busy revising and editing (and designing to a certain extent) my follow-up book to Tex[t]-Mex entitled Eyegiene: Permutations of Subjectivity in the Televisual Age of Sex and Race (also with the University of Texas Press). Like Tex[t]-Mex, Eyegiene focuses (pardon the pun) on issues of representation, but here the gaze is not so much targeted at Mexican and Latina/o representation. You can get a taste of the book here. After that, I think I will turn to Technosexualities (a work originally developed as a graduate seminar and undergraduate class here at SDSU) before moving on to shorter critical works on Salma Hayek and Gilbert Hernandez.

When I am not writing or designing (I do most of the webmastering and cover design for SDSU Press and Hyperbole Books), I am running a Masters Program in Cultural Studies called MALAS for SDSU. We recently celebrated the program’s silver anniversary and I love the freedom I have to curate intellectual madness there–my students come from all over the planet and the country, all with different majors and backgrounds.

AGITPROP: Thank you Bill, for talking with us!

BILL NERICCIO:Thanks so much for the opportunity to chat with you and your readers!

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Agitprop Reading Series: Louise Mathias & Brett Zehner, Saturday, Sept. 7th http://agitpropspace.org/2013/09/01/agitprop-reading-series-louise-mathias-brett-zehner-sat-sept-7th/ http://agitpropspace.org/2013/09/01/agitprop-reading-series-louise-mathias-brett-zehner-sat-sept-7th/#comments Sun, 01 Sep 2013 22:57:57 +0000 David White http://agitpropspace.org/?p=7666 mathias450

Dear Friends,

Now that summer is officially over and all that white denim is being put away, we’re ready to kickstart our 6th–yes, it really has been six years–season of the Agitprop Reading Series this coming Saturday, September 7th with two exciting readers: Louise Mathias & Brett Zehner.

Louise Mathias was born in Bedford, England and grew up in England and Los Angeles. She is the author of The Traps, just released from Four Way Books, and Lark Apprentice, chosen by Brenda Hillman for the New Issues Poetry Prize and published by New Issues Press in 2004. Her poems have recently appeared
in TriQuarterly, Octopus, The Offending Adam, Massachusetts Review, and many other journals. She lives in Joshua Tree, California.

Brett Zehner studied geography at Ohio State University where he was a researcher on public housing issues. He later turned down a job at the CIA to pursue work in anarcho poetics at UCSD. Among other things, he is a percussionist who has recorded and toured with bands ranging in style from garage punk to noise and found sound. Currently, he is collaborating on an eco-documentary project concerned with abusive land use patterns in the Dakotas. His work has appeared in Dusie and Jupiter 88.

As always, there is no cover charge for reading, but libations and donations for the readers are always welcome. We hope to see you there and for festivities before and after.

Agitprop (NEW LOCATION!)
Saturday, September 7th, 7pm
2222 Logan Ave
San Diego, CA 92113
Map: http://tinyurl.com/qx7axg5 (the building is brand new, so the map shows a vacant lot).

Contact: James Meetze: jamesmeetze(at)gmail(dot)com

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Hyper Local News Network http://agitpropspace.org/2013/07/08/hyper-local-news-network/ http://agitpropspace.org/2013/07/08/hyper-local-news-network/#comments Mon, 08 Jul 2013 17:30:04 +0000 David White http://agitpropspace.org/?p=7654 As part of The New Children’s Museum’s Mass Creativity Day I conducted as series of workshops called the Hyper Local News Network.   These workshops took place at the Kroc Center in City Heights and at the Tiawanese-American Center in Kearny Mesa. Thanks to both of those organizations, the New Children’s Museum and Anna Chiaretta Lavatelli.

-David White

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Agitprop Reading Series: Joe Hall & Carrie Lorig, Sat. June 1st http://agitpropspace.org/2013/06/01/agitprop-reading-series-joe-hall-carrie-lorig-sat-june-1st/ http://agitpropspace.org/2013/06/01/agitprop-reading-series-joe-hall-carrie-lorig-sat-june-1st/#comments Sat, 01 Jun 2013 23:19:50 +0000 Kylie King http://agitpropspace.org/?p=7671 true_final_web-1

Dear Friends,

We hope you can join us for the first reading in our NEW space in Barrio Logan.

Joe Hall was born in the woods and is devoted to Cheryl. His three books are Pigafetta Is My Wife (Black Ocean 2010), The Devotional Poems (Black Ocean 2013), and, in collaboration with Chad Hardy, The Container Store Vols I & II (SpringGun 2012).
He currently resides in Buffalo, New York.

Carrie Lorig lives in the cold part of Minneapolis, MN, where she co-runs the Our Flow is Hard reading series. She is the author of the chapbook, nods. (Magic Helicopter Press), and co-author w/Nick Sturm of the chapbook, Nancy and The Dutch (NAP).

As always, there is no cover charge for reading, but libations and donations for the readers are always welcome. We hope to see you there and for festivities before and after.

Agitprop (NEW LOCATION!)
Saturday, June 1, 7pm
2222 Logan Ave
San Diego, CA 92113
Map: http://tinyurl.com/qx7axg5 (the building is brand new, so the map shows a vacant lot).

Contact: James Meetze: jamesmeetze(at)gmail(dot)com

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Reading Series: Joseph Mosconi & Ara Shirinyan, Saturday, May 4th http://agitpropspace.org/2013/05/03/reading-series-joseph-mosconi-ara-shirinyan-54-at-7pm/ http://agitpropspace.org/2013/05/03/reading-series-joseph-mosconi-ara-shirinyan-54-at-7pm/#comments Sat, 04 May 2013 02:47:40 +0000 David White http://agitpropspace.org/?p=7453 2-19-13_Mosconi-300x250

Dear Friends,

Now that national poetry month is nearly over, we’re ready to have our next event on Saturday, May 4 at 7pm featuring LA-based literary artists Joseph Mosconi and Ara Shirinyan. This reading will be bittersweet—This isn’t the last Agitprop reading, but it is the last reading we’ll have in our current space. So this is your last chance to sit in the mezzanine or gaze fondly at the KFC across the street! We do hope you’ll join us to say goodbye to the space and to celebrate the publication of Joseph Mosconi’s new book, Fright Catalog .

Joseph Mosconi co-directs the Poetic Research Bureau in Los Angeles and edits the art & lit mag Area Sneaks. His books include Fright Catalog (Insert Blanc Press, 2013), But On Geometric (Insert Blanc Press, 2010), WORD SEARCH (OMG! Press, 2010) and Galvanized Iron on the Citizens’ Band (Poetic Research Bureau, 2009). As Above So Below, a children’s book illustrated by Scoli Acosta, is forthcoming in 2013.

Ara Shirinyan is a poet and editor from Los Angeles. He edits Make Now Press. With Joseph Mosconi and Andrew Maxwell, he curates readings at the Poetic Research Bureau. He is the author of several books, including Syria Is in the World (Palm Press, 2007) and Your Country Is Great (Futurpoem, 2008) the second volume of which is forthcoming from Edge Books.

As always, there is no cover charge for reading, but libations and donations for the readers are always welcome. We hope to see you there and for festivities before and after.

Saturday, May 4, 7pm
2837 University Avenue in North Park (Entrance on Utah, across from KFC. Map)
San Diego, CA 92104

Contact: K. Lorraine Graham: klorraine(at)gmail(dot)com

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CAConrad & Lester Robles O’Connor, Sat. March 2nd http://agitpropspace.org/2013/03/02/caconrad-lester-robles-oconnor-sat-march-2nd/ http://agitpropspace.org/2013/03/02/caconrad-lester-robles-oconnor-sat-march-2nd/#comments Sat, 02 Mar 2013 19:59:53 +0000 Kylie King http://agitpropspace.org/?p=7675 ConradSepulcherflower

Dear Friends,

We are thrilled about our upcoming reading on Saturday, March 2nd at 7pm and hope you can join us for an evening of wit, insight tenderness and somatic-fabulousness with CAConrad and Lester Robles O’Connor.

Lester O’Connor writes in several genres, and also makes video work and street propaganda. He co-edited the pacific REVIEW and reviewed films for a defunct alt-weekly. He currently teaches for the Dimensions of Culture program at Marshall College, UCSD.

Of his work, poet Janice Lobo Sapigao writes, “He’s funny because he read a poem about the hipsters in the North Park region of San Diego. It’s like the Oakland Lakeshore, Los Angeles Silverlake and San Francisco Everywhere of San Diego — Hipsterlandia.”

CAConrad describes himself as “the son of white trash asphyxiation whose childhood included selling cut flowers along the highway for his mother and helping her shoplift.” He is the author of TRANSLUCENT SALAMANDER (TROLL THREAD, 2013), A BEAUTIFUL MARSUPIAL AFTERNOON: New (Soma)tics (WAVE, 2012), The Book of Frank (WAVE, 2010), Advanced Elvis Course (Soft Skull, 2009), Deviant Propulsion (Soft Skull, 2006), and a collaboration with poet Frank Sherlock titled The City Real & Imagined (Factory School, 2010). He is a 2011 PEW Fellow, a 2012 UCROSS Fellow, and a 2013 BANFF Fellow. He is a 2012 and 2013 visiting faculty member for the Summer Writing Program of the Jack Kerouac School of Disembodied Poetics at Naropa University. Read some poems at http://CAConrad.blogspot.com/

The poet Eileen Myles writes that “[Conrad] always argues (from the inside of his poems) for a poetry of radical inclusivity while keeping a very queer shoulder to the wheel. His kind of queerness strikes me as nonpolarizing, not intentionally but because of the fullness of his exposition, a kind of gigantism that seems to me to be most deeply informed by love, and a tenderness for the ravages and tumult of existence.”

As always, there is no cover charge for reading, but libations and donations to the gallery are always welcome. We hope to see you there and for festivities before and after.

Saturday, March 2, 7pm
2837 University Avenue in North Park (Entrance on Utah, across from KFC)
San Diego, CA 92104

Contact: K. Lorraine Graham: klorraine(at)gmail(dot)com

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Feb. 2, 2013 7pm: Alt Lit Cityscapes With Ana Carrete & Aurelio Meza http://agitpropspace.org/2013/01/27/feb-2-2013-7pm-alt-lit-cityscapes-with-ana-carrete-aurelio-meza/ http://agitpropspace.org/2013/01/27/feb-2-2013-7pm-alt-lit-cityscapes-with-ana-carrete-aurelio-meza/#comments Sun, 27 Jan 2013 23:24:20 +0000 David White http://agitpropspace.org/?p=7386 Agitprop Reading Series: Alt Lit Cityscapes With Ana Carrete & Aurelio Meza

February 2, 2013 at 7pm

Dear Friends,

We hope you can join us this Saturday, February 2, 7pm for the first reading in what promises to be an outstanding Spring reading series. This month, we’re hosting two writers recently featured in Jacob Steinberg’s Alt Lit Cityscapes anthology: Ana Carrete of San Diego-Tijuana and Aurelio Meza of DF-Tijuana-Mexicali.

Ana Carrete is the founder and editor of New Wave Vomit, an experimental online literary art magazine. She’s a graduate student and teaches Spanish at SDSU. Her first full-length collection of poetry, Baby Babe, came out last Thanksgiving from Civil Coping Mechanisms. She has things online.

Fiction author Janey Smith writes: “Flighty, full of speed, and fostering its own no-future, Ana Carrete’s Baby Babe is like reading Juan Rulfo, if Juan Rulfo were Barbie. At some point, you’re going to have to make a decision as to what you want: teeth-whitening toothpaste or the ends of civilization. Baby Babe marks that point.”

Aurelio Meza has participated in several literature festivals and conferences in Mexico and the US. He has translated to Spanish some of the work by American poets Ben Dollar, Mark Wallace, Jesse Ball and Tony Tost. Since 2010 he is chief editor at the independent publishing collective Kodama Cartonera in Tijuana. He recently finished a research project on art collectives in the Tijuana-San Diego border region. Poetry books: Sakura (2008), La droga (2010) and Sombra (Unpublished). Essays: Shuffle. Poesía sonora (2011).

Alt Lit personality Beach Sloth writes: “Aurelio Meza digs deep into the words…One earthquake and everything went into a deep dark place. Despite the worry and fear of the city it beat the death of the countryside. Heat eats people alive. They die dry-mouthed. Mexico City tries to bring them into her loving arms. It seems extremely bleak. Aurelio is the sun. Aurelio laughs at the ruin.”

As always, there is no cover charge for reading, but libations and donations to the gallery are always welcome. We hope to see you there and for festivities before and after.

Saturday, February 2, 7pm
2837 University Avenue in North Park (Entrance on Utah, across from KFC)
San Diego, CA 92104

Contact: K. Lorraine Graham: klorraine(at)gmail(dot)com

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Poets Sophie Sills and Frank Montesonti at Agitprop Sat. Dec. 1st 7pm http://agitpropspace.org/2012/11/27/poets-sophie-sills-and-frank-montesonti-at-agitprop-sat-dec-1st-7pm/ http://agitpropspace.org/2012/11/27/poets-sophie-sills-and-frank-montesonti-at-agitprop-sat-dec-1st-7pm/#comments Tue, 27 Nov 2012 12:06:11 +0000 David White http://agitpropspace.org/?p=7377

This month, we’re thrilled to host poet and editor Sophie Sills in her debut reading at Agitprop. We’ll also welcome back former San Diegan Frank Montesonti to celebrate the publication of his first book, Blight, Blight, Blight, Ray of Hope and his soon-to-be-released second book, Hope Tree.

Sophie Sills’ collection of poetry, Elemental Perceptions: A Panorama, was released from BlazeVOX Books in the winter of 2010. Her poems and literary criticism have appeared in Elimae, Cricket Online Review, thethe poetry, Jacket2, and other journals. She completed her MFA at Mills College, lives in Los Angeles, teaches at National University and publishes Peacock Online Review.

Frank Montesonti is the author of Blight, Blight, Blight, Ray of Hope, winner of the 2012 Barrow Street Book Contest. He has been published in literary journals such as Tin House, Black Warrior Review, AQR, Poet Lore, and Poems and Plays, among many others. His second collection, Hope Tree, is forthcoming from Black Lawrence Press in 2013. He has an MFA from the University of Arizona and teaches poetry at National University. A former resident of San Diego, he now lives in Los Angeles, California.

As always, the reading is free, but libations and donations to the gallery are welcome!

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Genevieve Kaplan and Joseph Harrington Read on 11/3, 7pm http://agitpropspace.org/2012/10/28/genevieve-kaplan-and-joseph-harrington-read-on-113-7pm/ http://agitpropspace.org/2012/10/28/genevieve-kaplan-and-joseph-harrington-read-on-113-7pm/#comments Mon, 29 Oct 2012 07:20:12 +0000 David White http://agitpropspace.org/?p=7347

Dear Friends,

We hope you can join us this Saturday, November 3 at 7pm for a reading by poets Genevieve Kaplan and Joseph Harrington at Agitprop. Before and after the reading, you can check out some of the events hosted that same day by the There Goes the Neighborhood collaborative in conjunction with the Living As Form (Nomadic Version) exhibit at the UCSD University Art Gallery. For a full list of events see the

Facebook event page:

Genevieve Kaplan received her MFA from the University of Iowa and is completing her PhD in Literature and Creative Writing at the University of Southern California. Her first book, In the ice house, won the 2009 A Room of Her Own Foundation’s To the Lighthouse poetry prize and was published by Red Hen Press in Fall 2011. With her husband, she edits the Toad Press international chapbook series, which publishes contemporary literary translations. She also co-founded Gold Line Press, which specializes in perfect-bound chapbooks of poetry and prose.

Joseph Harrington is the author of Things Come On: an amneoir (Wesleyan Univ. Press 2011), a mixed-genre work relating the twinned narratives of the Watergate scandal and his mother’s cancer; it was a Rumpus magazine Poetry Book Club selection. He is also the author of the chapbook Earth Day Suite (Beard of Bees 2010) and the critical work Poetry and the Public (Wesleyan 2002). His creative work also has appeared in Hotel Amerika, No Tell Motel, 1913, BathHouse, Otoliths, Fact-Simile, and Tarpaulin Sky, among others. He is a Professor of English at the University of Kansas in Lawrence.

There is no cover charge for reading, but libations and donations to the gallery are always welcome. We hope to see you there and for festivities before and after.
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TGTN event: “What’s the Use?” November 3rd 2012 http://agitpropspace.org/2012/10/27/7279/ http://agitpropspace.org/2012/10/27/7279/#comments Sun, 28 Oct 2012 03:50:18 +0000 David White http://agitpropspace.org/?p=7279

“What’s the Use?”
November 3rd 2012

Organized by the There Goes the Neighborhood collaborative
A day of programming in association with Living As Form (The Nomadic Version)*


You are invited join us on November 3rd for “What’s the Use?”; a day of programming organized by the There Goes the Neighborhood collaborative.


The first event of day will include a workshop called “What Goes Where and Why” from 2-5:30pm on November 3rd, 2012. This workshop is targeted at local advocacy organizations working various fields in the city of San Diego.  At this workshop all attending organizations and individuals will participate in a collaborative workshop to delineate the organization’s current initiatives and obstacles with the intention of sharing these with other attendees.  Ultimately a document will be produced that outlines your specific initiatives in relationship with the larger goals of the attendees as a whole with the intention of producing connections between each group that can help further each other’s endeavors.
This document will be blown up to a large scale (in size, not number of pages) and handed over to whatever mayoral administration takes office after the election on November 6th.  It will also become a concise record of the specific actions that are important to those organizations as well as a general outline of what needs to change at the most broad level. This workshop will take place at the Linkery.  Free snacks and drinks will be provided. Unfortunately there are only 30 spaces available for this event so please RSVP asap to info@theregoes.org with the names of the individual from your organization that will be attending and organization name (please limit this to 3 people from each organization maximum).

After this workshop you are invited to join us for the rest of the day’s public events taking place at Art Produce Gallery.  These events include “You Are What You Eat” a free dinner hosted by TGTN in which the contents of your meal correlates to how you view yourself as an active community participant.  After “You Are What You Eat” TGTN will hold a second iteration of “Critical Postcards”.  Critical Postcards is a series of short (20-30 minute) interviews that take place via Skype with artist and activists from around the country whose work engages public space in innovative ways.

The Schedule for the day is as follows:

“What Goes Where and Why”
2pm to 5pm
@ The Linkery 3794 30th Street, San Diego, CA 92104
RSVP required for this event only (30 spaces available)

“You Are What You Eat”
6pm to 7pm
@ Art Produce Gallery Garden 3139 University Ave, San Diego, CA 92104Free and open to all
Free and open to all

“Critical Postcards”
7pm to 9pm
@ Art Produce Gallery Garden 3139 University Ave, San Diego, CA 92104
Free and open to all

Critical postcard are live skype conversations with artists and activists from around the world working on publicly engaged projects. Postcards that night include:

Jake Levitas:
Research Director for the Gray Area Foundation For the Arts (GAFFTA).  GAFFTA is an organization that brings together the best creative coders, data artists, designers, and makers to create experiments that build social consciousness through digital culture. GAFFTA is the nation’s leading organization dedicated to furthering the use and advancement of creative technology for social good and artistic advancement. In this capacity, we maintain relationships with the world’s top academic researchers, innovative corporations, visionary artists, and civic leaders. By continually engaging and connecting this diverse community with challenges and opportunities, we extract forward-thinking technological solutions with proven capacity to create positive change. http://www.gaffta.org/

Glen Wilson:
Having included his recent film in the last iteration of There Goes the Neighborhood, Wilson will discuss the art space he operated on Ray street in North Park in the late 1990’s. The space led to a film project included as part of InSITE ‘97 called ‘You Are Here” (named for the space itself).  Wilson’s film captures a snapshot of what the neighborhood was like before current gentrification. Recently Wilson has been revisiting North Park in order to continue the work on the film started some 15 years prior by examining changes from his time in the neighborhood through the current moment.  We will discuss Wilson’s film and these changes over time.

Reception and live Music by Island Boy
@ Art Produce Gallery Garden 3139 University Ave, San Diego, CA 92104

Free and open to all


What’s The Use?* is a neighborhood colloquium organized by There Goes the Neighborhood (TGTN) collaborative. (http://theregoes.org)  TGTN is a group of artists that facilitate creative forums for activists, advocacy groups, artists and concerned citizens to discuss issues relevant to the organizational strategies of our cities; to rethink how this planning is done; and to make connections across individuals and organizations in hopes of finding solutions to some of our common problems. We do this by mixing the spontaneity and fun of community arts festivals with the probing analysis of academic conferences to produce an artful forum for discussion.

Core TGTN organizers on this project:
David White, Stephanie Lie and Jessica Sledge.

TGTN collaborative members are:
Micki Davis, Elizabeth Chaney, Stephanie Lie, Jessica Sledge, David White & Megan Willis

*What’s The Use? is programming developed by TGTN for Living As Form (The Nomadic Version) at the University Art Gallery at UC San Diego.  Living As Form is sponsored by Creative Time. Chief Curator of Living as Form is Nato Thompson. http://www.creativetime.org/programs/archive/2011/livingasform/about.htm

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Enabling Neighborhoods http://agitpropspace.org/2012/10/15/enabling-neighborhoods/ http://agitpropspace.org/2012/10/15/enabling-neighborhoods/#comments Mon, 15 Oct 2012 08:27:57 +0000 David White http://agitpropspace.org/?p=7098 From October 4th through December 14th 2012 Agitprop will be participating in Living As Form (the Nomadic Version) at the University Art Gallery at the University of California, San Diego.  This is an exciting exhibition student writing paper because we get to team up with some really great people on this project.  For this exhibition Agitprop and collaborators (Rosanne Anthony, Josh Bellfy, Joy Boe and Kirk Hinkleman) are doing as follows:

Enabling Neighborhoods

For Living as Form (The Nomadic Version) Agitprop will facilitate an incubator project called Connect San Diego (CSD).  CSD is spearheaded by Kirk Hinkleman whose aim is to design a program that assists people with developmental disabilities in establishing independent living practices through the mapping of localized “assets”.  This program typically begins with what is called a “Person Centered Plan” that diagrams the goals of an individual so as to specify relevant assets to be mapped.  “Assets” can range from technological devices, to the available knowledge of fellow community members, to the physical designs of the built environment, and so on.

In the incubator space occupying the UAG Agitprop will implement a strategy of “asset mapping” to extract knowledge resources at the UC San Diego campus as a method of assisting Hinkleman in developing CSD.  This will result in a series of meetings with researchers from UCSD in the gallery space whose work may inform Hinkleman’s development of CSD as it emerges as a practice.

In parallel, CSD will apply strategies of asset mapping typically used in assisting people with developmental disabilities to Agitprop.  This allows Agitprop to act as case study for CSD while simultaneously establishing a plan of action for Agitprop as a project to evolve over time. These meetings will take place in the incubator space at the UAG as well.  All meetings will result in a series of workshopped diagrams that record the planning process and those involved.

Visitors with relevant knowledge to share with either of these projects are also encouraged to attend these meetings.

Additional partners in this installation include Rosanne Anthony, Joshua Bellfy and Joy Boe.

Dates and times of meetings:

    • Oct 9th 10am-12pm – Agitprop – “Person Centered Plan”
    • Oct 30th 12pm -2pm –  How to begin CSD?
    • Nov. 13th 10am-12pm – Other strategies of asset mapping?  
    • Dec. 11th 10am-12pm – CSD/Agitprop combined final meeting.

Some images of the installation:

photos courtesy of Joy Boe

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Michael Maas http://agitpropspace.org/2012/10/07/michael-maas/ http://agitpropspace.org/2012/10/07/michael-maas/#comments Sun, 07 Oct 2012 17:00:24 +0000 Richard Gleaves http://agitpropspace.org/?p=7022  

Michael Maas is a Fallbrook-based painter. Over the past 15 years he’s shown extensively in Southern California, most recently at L2Kontemporary in Chinatown. He has another show this month at Bunny Gunner in Pomona.

Maas is best known for his Alhambra series, over 200 paintings which deploy a common abstract motif — a synthesis of jigsaw puzzle and Islamic art  — in sizes ranging from 12 inches to 12 feet. 

Beside its ability to scale, what’s notable about the Alhambra series is its restless visual energy, the result of a complex game of trompe l’oeil:

— In color, geometry, and repetition the motif draws deeply on Islamic art: in particular, mosaic.

— The forms are often heavily modeled, which depending on the viewing distance can yield visual readings ranging from flat (induced by the optical buzz of the repetitive patterning) to sculptural relief (reinforced by the allusion to mosaic) to alarmingly biomorphic (due to their occasional resemblance to human limbs).

— Most subtle and intriguing of all, across the entire series large to small, the depth depicted by the modeling never exceeds the actual thickness of the physical painting, which supercharges the sculptural reading by never violating the integrity of whatever the 3-D analog of the picture plane is. The result is not just paintings depicting sculpture, but paintings trying to be sculpture.


The Alhambra series has been variously described as “biomorphic abstraction” or (per the series name) “Moorish”.  Why not come right out and call it “Islamic”?

The paintings leading up to Alhambra — especially the Summer series and Winter series — had very strong biomorphic elements which carried over into Alhambra, and which are especially noticeable to people familiar with my earlier work. I do think many of the Alhambras could fit right into a show of Islamic art (any invitations?).

I like the idea of doing this, not just for being a loaded move in a post-9/11 world, but also for saluting Islam’s historic contributions to world culture: in art, in computing.

If you make a Venn diagram of the world’s religions, I like to think of my paintings at their best as falling into that one place where all the circles intersect, being just as Islamic as Buddhist as Christian as…

Did you appropriate the Alhambra motif from a historical work? Or is it your own?

It wasn’t until I had done a dozen or so of the Alhambras that I started being asked about the connection, if any, to Islamic art. At that point I didn’t know what people meant so I started getting books on Islamic art, tile work, and architecture. I immediately felt an affinity for it, and it wasn’t until that time that I came up with the idea of calling them “Alhambra”. Since then I’ve incorporated specific motifs into some of my paintings, such as the geometric background in Alhambra #96. I’ve also incorporated some of the ancient ceramic tile glaze colors used in Islamic tile work into the color combinations of my paintings.

One of the mysteries in visual art is the wide range in generativity of specific visual ideas: some yield a single work before exhaustion; others entire shows; and others still entire careers.  200 paintings in, how’s Alhambra holding up for you?

I feel like there is still a lot more to do. Some of them are composed of just a few simple shapes, maybe against a plain background. But I just completed one with over 1400 little flat shapes aligned in columns, which look like 13 stripes from a distance, but 47 stripes up close. I’m very excited about doing more of these, and couldn’t have anticipated them a couple years ago.

Another mystery: the effect of scale. Some artist’s styles seem wholly immune to it, while others suffer dire fates when pushed too large or small.  What led you to explore scale?

I don’t think it was until after I started working big that I came across an interview with Mark Rothko which put it into words for me, but I’d intuitively realized that viewing a large painting can be a more intimate experience than viewing a small one. With a small painting you’re outside looking in, but a large painting which takes up your field of vision can surround you and take you into it. While my large pieces do different things when viewed from different distances, I do mean for them to be viewed from up close too.

You’ve done work outside Alhambra — how does it relate?

Between 1979 and 1997 I did a couple hundred paintings in a tight realistic style — landscapes, seascapes, sports, portraits, botanicals — and there is certainly something that work has in common with my “mature” work. Since July 1997, when I started the Summer series, most of the 500 or so paintings I’ve done relate to each other on one level or another. Some refer back to previous ones, or incorporate earlier elements or themes. While my intention is always to make each painting able to stand on its own, I’m nevertheless conscious of how the individual pieces make up something bigger. I’ve been able to do exhibits where I presented a whole gallery of interrelated pieces as a single integrated work, and that’s really what I like best.

Any last words?

In 1996 my wife Carmen encouraged me to walk away from a six-figure income in the financial services industry and become a full-time artist, in order to “do something worthwhile” with my life (her words). Ever since then, I basically just work every day whether I know what to do or not, and somehow one thing leads to another and things get done. I don’t try too hard to understand it.

Alhambra #151, 20″x40″, acrylic on wood panel, 2011

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Poets Alli Warren & Brandon Brown Read on 10/6, 7pm http://agitpropspace.org/2012/09/27/poets-alli-warren-brandon-brown-read-on-106-7pm/ http://agitpropspace.org/2012/09/27/poets-alli-warren-brandon-brown-read-on-106-7pm/#comments Fri, 28 Sep 2012 04:11:58 +0000 Lorraine Graham http://agitpropspace.org/?p=6954 We are thrilled to be hosting Bay Area poets Alli Warren and Brandon Brown at our first Agitprop reading of the season on Saturday, October 6 at 7pm.

Alli Warren

Alli Warren is the author of Grindin (Lew Gallery), Acting Out (Editions Louis Wain), Well-Meaning White Girl (Mitzvah Chaps), and Cousins (Lame House Press). With Michael Nicoloff, she wrote Eunoia (Abraham Lincoln) and Bruised Dick. In 2013, City Lights will publish her first book. Recent writing appears in Lana Turner Journal, Where Eagles Dare, and Saginaw. From 2008 through 2010, she co-curated The (New) Reading Series at 21 Grand. She co-edits the Poetic Labor Project, and lives in Oakland.

Brandon Brown

Brandon Brown’s first two books were published in 2011, The Persians By Aeschylus (Displaced Press) and The Poems of Gaius Valerius Catullus (Krupskaya.) Poems and prose have recently appeared in Sprung Formal, Postmodern Culture, BPM, Model Homes, and Art Practical.   In 2012, his debut play Charles Baudelaire the Vampire Slayer was staged at Small Press Traffic’s Poet’s Theater. His third book, Flowering Mall, is forthcoming from Roof in the fall of 2012.

There is no cover charge for reading, but libations and donations to the gallery are always welcome. We hope to see you there and for festivities before and after.

For more information about the Agitprop Reading Series and Agitprop Art Space, visit our webpage, join our Facebook group, or sign up to receive email announcements from us.


October 6: Brandon Brown & Alli Warren
November 3: Joseph Harrington



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SDMA Summer Salon Series: Allison Cobb, Friday, August 17th http://agitpropspace.org/2012/08/17/sdma-summer-salon-series-allison-cobb-friday-august-17th/ http://agitpropspace.org/2012/08/17/sdma-summer-salon-series-allison-cobb-friday-august-17th/#comments Sat, 18 Aug 2012 04:18:10 +0000 Kylie King http://agitpropspace.org/?p=7788 allison1

Dear Friends,

We hope you can join us for a reading by Allison Cobb in the Summer Salon Series at the San Diego Museum of Art, Friday, August 17 at 7:30 pm. Museum admission is $12 for adults, $8 for students with college ID, and open to the public.

In conjunction with Agitprop, the Agitprop Reading Series is collaborating with the San Diego Museum of Art for the third year in a row to present the Summer Salon Series. Every Friday evening, from June 1 through August 31, the San Diego Museum of art will be hosting artists, lecturers, poets and performers to investigate the topics of historical fictions and the dissemination of information.

Allison Cobb is the author of Born2 (Chax Press, 2004) about her hometown of Los Alamos, New Mexico, and Green-Wood (Factory School, 2010) about a famous nineteenth-century cemetery in Brooklyn, New York. The New York Times called Green-Wood “a gorgeous, subtle, idiosyncratic gem.” Cobb’s work combines history, nonfiction narrative and poetry to address issues of landscape, politics, and ecology. She was a 2009 New York Foundation for the Arts Fellow and received a 2011 Individual Artist Fellowship award from the Oregon Arts Commission. She works for the Environmental Defense Fund. She lives in Portland, Oregon.

Cobb will read from her work in progress, The Autobiography of Plastic.  For this work, the author is tracing the journey of a single piece of plastic that probably came from the Consolidated factory in San Diego during WWII. It was stamped VP-101, the name of a WWII PBY squadron. It turned up on Midway Island in 2004, inside the belly of a dead albatross chick. As more plastic pollution enters the ocean, this is becoming a common phenomenon: One study says 40% of albatross chicks die from swallowing plastic, Cobb says.

“We can read such statistics, but we may not really feel their full meaning,” she notes, “unless we can understand about a single piece of plastic and the lives it passed through.” In this case, they include the factory workers in San Diego, the young Navy pilot who survived being shot down by the Japanese but lost his plane, and the wildlife photographer who removed every piece of plastic – more than 500 in all – from the albatross chick she had been photographing only the day before. “I hope,” says Cobb, “that by uncovering such traces I can show that the autobiography of plastic is really the autobiography of all of us.”


San Diego Museum of Art
Friday, August 17, 7:30

Facebook Event Page: https://www.facebook.com/events/130866180390290/

Directions and parking information are available on the SDMA website: http://www.sdmart.org/visit/travel-information

For more information about the Summer Salon Series, Please visit: http://www.sdmart.org/calendar/summer-salon-series-2012

For more information about the Agitprop Reading Series, you can join our Facebook group: http://www.facebook.com/groups/149903861746355/

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Summer Salon Series – “Capitalism Works For Me!” http://agitpropspace.org/2012/08/09/summer-salon-series-capitalism-works-for-me/ http://agitpropspace.org/2012/08/09/summer-salon-series-capitalism-works-for-me/#comments Fri, 10 Aug 2012 03:17:55 +0000 David White http://agitpropspace.org/?p=6878

Summer Salon Series

Friday August 10th 2012



5:00 – 9:00 p.m.  Giuseppe’s Bar Service

5:00 – 9:00 p.m.  Capitalism Works for Me by artist Steve Lambert

5:00 – 9:00 p.m.  Ad Sense, an installation by Tim Schwartz

5:30 – 6:00 p.m.  The Third Party

6:00 – 7:00 p.m.  Art-making Activity: Money Printing

7:30 p.m.             Artist Talk: Steve Lambert

8:15 p.m.             Concert by Peaking Lights


Capitalism Works for Me with Artist Steve Lambert
Artist Steve Lambert will install his interactive sculpture at the Museum for much of the month of August.  Lambert explains the work as  ”starting a conversation about Capitalism is like walking up to a stranger and asking, “Can I talk to you about Jesus?” The word “capitalism” is a red flag. And for good reason—pretty soon either some dude is talking your ear off about “The System” or aggressively confronting you about taxes. Ugh. At the same time, capitalism is discussed every day using euphemisms like “jobs,” “job creation,” “the business climate,” and discussing whatever “crisis” is deemed relevant; a housing crisis, financial crisis, social security crisis, tax crisis, or fill- in-the blank crisis. But the whole is rarely a topic of frank discussion—much less alternatives or meaningful reform.  But what to do? Start a conversation about capitalism and friends edge away slowly, and strangers even faster.  This is what art is for. This is what art does well. It creates a space where new ideas and perspectives can be explored. A space unlike any other.  Hear more about what Lambert has to say during his artist talk at 7:30.

Art-Making Activity
Join Daniela Kelly, Museum Educator for a workshop on making fake money that is sure to be fun and engaging for all ages and skill levels.  This workshop takes place in The Studio.

Peaking Lights
Rising stars Indra Dunis and Aaron Coyes will bring their lo-fi, high-energy, indie psych rock music to the Museum for an intimate concert.  Fresh off their brand new release Lucifer, this married couple has received increasing attention for their home-made synthesizers and diverse sounds.

Support for Summer Salon Series 2012: Beyond the Banner, provided by Wells Fargo, Mr. Brent V. Woods and Dr. Laurie C. Mitchell, the Museum’s Contemporary Arts Committee, the Members of The San Diego Museum of Art, and the County of San Diego Community Enhancement Program. Institutional support for the Museum is provided by the City of San Diego Commission for Arts and Culture. Curated by The San Diego Museum of Art and agitprop.
Free after Museum admission.
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Summer Salon Series: Swaggart Night!!! http://agitpropspace.org/2012/08/02/summer-salon-series-swaggart-night/ http://agitpropspace.org/2012/08/02/summer-salon-series-swaggart-night/#comments Thu, 02 Aug 2012 23:38:06 +0000 David White http://agitpropspace.org/?p=6863

Summer Salon Series 2012: Beyond the Banner

Andrew Dinwiddie, Joe Yorty and Kelly Eginton

5:00 -9:00 p.m.  Giuseppe’s Bar Service

5:00 -9:00 p.m.  It’s getting darker…and darker and darker, a sound installation by Joe Yorty and Kelly Eginton

5:00-9:00 p.m.   Ad sense, an installation by Tim Schwartz

6:00-8:00 p.m.   The Quilt Conversation, with Ann Olsen and Andrew Printer

6:00-7:00 p.m.   Art-Making Activity: Record Art

7:00-8:15 p.m.   Get Mad at Sin! A Message to the Young People of Today By Evangelist Jimmy Swaggart, As Preached at the First Assembly of God in Van Buren, Arkansas, a performance by Andrew Dinwiddie

Art-Making Activity
Join Daniela Kelly, Museum Educator, for an art-making workshop that is sure to be fun and engaging for all ages and skill levels.

Get Mad at Sin!
Nationally recognized performer Andrew Dinwiddie will re-enact a sermon from Preacher Jimmy Swaggart.  The performance, based on a now out-of-print-vinyl recording of Swaggart’s 1971 speech in Arkansas, ironically attacks popular culture, especially show business, even though Swaggart is an iconic performer himself and is the cousin of rocker Jerry Lee Lewis.  While Dinwiddie breathes new life into Swaggart’s words, they inevitably mean something different to us then they would have originally 40 years ago.

It’s getting darker…
Artists Kelly Eginton and Joe Yorty will present a sound installation in which several Jimmy Swaggart records will play throughout the museum for the duration of the evening. The artists will also engage in impromptu sound mixing by playing several records simultaneously in proximity to one another.


The Quilt Conversation
The Quilt Conversation
will take place over ten weeks this summer.  Artist Andrew Printer, with Ann Olsen, have organized two groups of quilters who will work at the Museum on Friday evenings to construct two quilts that recall the 1980’s. Inspired by major artworks that emerged during the AIDS crisis one group of quilters will consist of those who contributed to the original NAMES Project AIDS Memorial Quilt in Washington, D.C. The second group will recall and historicize other themes of that decade, ranging from Paul Simon’s Graceland to the fall of the Berlin wall.  Each group’s quilt making conversations will be recorded and that text will form the basis of a performance to be presented on the last evening of the Summer Salon Series 2012.  In addition, the completed quilts will be formally presented and hung in the rotunda of the Museum on Fridays upon their completion until the final evening. The Quilt Conversation project will take place every Friday evening for two hours in the Upper Rotunda beginning June 15th.
Support for Summer Salon Series 2012: Beyond the Banner, provided by Wells Fargo, Mr. Brent V. Woods and Dr. Laurie C. Mitchell, the Museum’s Contemporary Arts Committee, the Members of The San Diego Museum of Art, and the County of San Diego Community Enhancement Program. Institutional support for the Museum is provided by the City of San Diego Commission for Arts and Culture. Curated by The San Diego Museum of Art and Agitprop.
Free after Museum admission.
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Hard Shoulder – Closing Reception Exhibition by Shane Anderson 7/28 7pm http://agitpropspace.org/2012/07/25/hard-shoulder-closing-reception-exhibition-by-shane-anderson-728-7pm/ http://agitpropspace.org/2012/07/25/hard-shoulder-closing-reception-exhibition-by-shane-anderson-728-7pm/#comments Thu, 26 Jul 2012 06:23:21 +0000 David White http://agitpropspace.org/?p=6857

Hard Shoulder – Closing Reception
Exhibition by Shane Anderson

Saturday July 28th 2012
7pm to 10pm

2837 University Ave.  (entrance on Utah St.)

Hard Shoulder is a series of photographic images that depict now obsolete objects disregarded on the freeways throughout Southern California after they blustered out of the owners vehicle. Each image from the ongoing series isolates one found item, photographed at the high speed of freeway traffic. Hard Shoulder captures neglected detritus that has lost its original function or use. The debris, fragmented, smashed, and splintered as it makes it way to the concrete parapet, has washed up on the shore of the freeway.

Shane Anderson is an artist and educator based in San Diego, California. His work explores issues related to landscape use and how it is viewed and utilized. Shane’s work investigates our relationship to our environment, and ways in which we occupy, build and shape the contemporary landscape. Shane was raised in Montana. He currently lives and works in San Diego, CA.


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SDMA Summer Salon Series: Omar Pimienta & John Pluecker, Friday, July, 20th http://agitpropspace.org/2012/07/20/sdma-summer-salon-series-omar-pimienta-john-pluecker-friday-july-20th/ http://agitpropspace.org/2012/07/20/sdma-summer-salon-series-omar-pimienta-john-pluecker-friday-july-20th/#comments Sat, 21 Jul 2012 04:13:50 +0000 Kylie King http://agitpropspace.org/?p=7785 Omar-Pimienta-artist-photo

Dear Friends,

We hope you can join us for a reading by Omar Pimienta and John Pluecker  in the Summer Salon Series at the San Diego Museum of Art, Friday, July 20 at 8pm. Museum admission is $12 for adults, $8 for students with college ID, and open to the public.

In conjunction with Agitprop, the Agitprop Reading Series is collaborating with the San Diego Museum of Art for the third year in a row to present the Summer Salon Series. Every Friday evening, from June 1 through August 31, the San Diego Museum of art will be hosting artists, lecturers, poets and performers to investigate the topics of historical fictions and the dissemination of information.

Omar Pimienta is an interdisciplinary artist and writer who lives and works in the San Diego / Tijuana border region. He received his MFA in Visual Arts from the University of California, San Diego in 2010 and his B.A in Latin American Studies from San Diego State University in 2006. He has published three books of poetry, including:Primera Persona Ella (Ediciones de La Esquina, 2004 and Littera Libros, 2009) and La Libertad: Ciudad de Paso (CECUT, 2006 and Aullido Libros, 2008). His most recent book, Escribo desde Aquí, won the Emilio Prado 10th International Publication prize from the Centro Cultural Generación del 27 Malaga Spain, 2009. His work as a visual artist has been shown at the J. Paul Getty Museum in Los Angeles; the San Diego Museum of Contemporary Art; Oceanside Museum of art; Centro Cultural Tijuana; Centro Cultural de España in Buenos Aires, Argentina; the Cineteca UNAM, Mexico City, among other venues.

John Pluecker is  is a writer, interpreter, educator and translator. His work is informed by experimental poetics, radical aesthetics and cross-border cultural production and has appeared in journals and magazines in the U.S. and Mexico, including the Rio Grande ReviewPicnicThird TextAnimal Shelter, HTMLGiant and Literal. He has published more than five books in translation from the Spanish, including essays by a leading Mexican feminist, short stories from Ciudad Juárez and a police detective novel. There are two chapbooks of his work, Routes into Texas (DIY, 2010) and Undone (Dusie Kollektiv, 2011).  A third chapbook, Killing Current, will be published by Mouthfeel Press in 2012.


San Diego Museum of Art
Friday, July 20, 8pm

Facebook Event Page:


Directions and parking information are available on the SDMA website:


For more information about the Summer Salon Series, Please visit:


For more information about the Agitprop Reading Series, you can join our Facebook group:


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San Diego Public Art http://agitpropspace.org/2012/07/19/san-diego-public-art/ http://agitpropspace.org/2012/07/19/san-diego-public-art/#comments Fri, 20 Jul 2012 07:29:32 +0000 Richard Gleaves http://agitpropspace.org/?p=6797 sun god
A standard lament in the visual arts community is that San Diego is fated to be a perpetual Jersey-on-the-Pacific, with art remaining the odd duck out in a region known for its theatre and physical culture.

The artists tend to blame this on the weather, without considering that the problem may be their art. San Diego has beautiful light, and people are outdoors enjoying it. For art to be an integral part of the regional culture, it needs to follow the people outdoors.

To a remarkable extent this has already occurred: art’s outside in San Diego, thanks to community action, private foundations, and city art programs.

But the region also has a history of civic controversies over public art: several high-profile proposals have crashed and burned, and in a few cases installed work was removed. Sometimes the fault seemed to lie as much with the artist as the unhappy public. Artists and audience alike need to learn: good art is hard, good public art harder.

And even the controversy itself needs to be put into perspective: about the proposed Statue of Liberty, the New York Times opined that “no true patriot can countenance any such expenditures for bronze females in the present state of our finances.” Parisians hated the Eiffel Tower. Veterans hated the Vietnam Wall.

To date most media coverage of San Diego public art has been event-driven, focused on proposals, installations, and any ensuing controversies. What’s been missing is a directory of public art: something that not only helps interested viewers find the community gems and learn more about them, but also shows just how much good public art there already is. This book reviews selected works from around the region, with the criterion for inclusion being that the work be worth the trip.

— From San Diego Public Art, a free ebook on www.sandiegopublicart.net

Sun God, Niki de Saint Phalle

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Prole Drift: Jean Lowe and the Great Recession http://agitpropspace.org/2012/07/07/prole-drift-jean-lowe-and-the-great-recession/ http://agitpropspace.org/2012/07/07/prole-drift-jean-lowe-and-the-great-recession/#comments Sat, 07 Jul 2012 21:02:17 +0000 Richard Gleaves http://agitpropspace.org/?p=6560


In 1983 the historian Paul Fussell penned a minor classic of social satire titled Class: A Guide Through the American Status System. In it he dissects a myriad of class signifiers – housing, decor, transportation, diet, dress, posture, physiognomy, demeanor, vocabulary, religion, career, education, recreation – and from this deduces the following:

– Nine distinct classes (top out-of-sight, upper, upper-middle, middle, high proletarian, mid proletarian, low proletarian, destitute, bottom out-of-sight)

– Gross disparities in how each class defines luxury (extensively mined for humor by the author)

– The relation between class and income (itself a function of class)

– Class anxiety (a middle affliction)

– The phenomenon of prole drift (the societal tendency for all things to undergo proletarianization)

Three decades later many of the cultural specifics have changed, yet the underlying principles remain firmly in effect. (In a 2009 , Sandra Tsing Loh beautifully channels Fussell in her analysis of the subsequent rise of hip and fall of the economy.)

Beside the principles, what else remains unchanged is the predominant role of the visual in class signifiers. The reasons for this are evident, especially in American society, where a putative democracy combines with a historically wide distribution of economic wealth to result in rich interactions between agents of differing class. To preserve one’s social capital in such an ecosystem, it’s obligatory for said agents to quickly and efficiently categorize any others they choose to interact with (or not). And vision as a perceptual domain offers both the richness of stimuli and the all-important operation at a distance that are prerequisite for efficient class sorting.


In the same year Class was published, Jean Lowe received her B.A. from Berkeley. She went on to receive an M.F.A. from UCSD, and her subsequent career as a visual artist is based on a body of work which works notions of class as they manifest in the visual deployment of class signifiers. Interestingly, Lowe’s signature humor perfectly echoes Fussell’s dry satirical style in Class.

This begs the question of whether class is ever explicitly invoked in the critical/curatorial description of Lowe’s work. The answer – perhaps anticipated by Fussell in his noting of class as the great unmentionable in polite discourse – appears to be “no”. Lowe is represented in Los Angeles by Rosamund Felsen Gallery. The gallery website helpfully includes a collection of twenty-two reviews and press releases covering Lowe’s work in the period spanning 2003 to 2011. A search for the term “class” in these texts yields precisely one reference: “the grandeur of French high class society”, which misses the point since the body of work in question is unspeakably clear in its ultimate referentiality to class-dependent notions of American luxury.

The rule-proving exception appears in a separate text, not on the gallery website, by former SDMA director (and fellow Berkeley alumnus) Derrick Cartwright. His brief on Lowe – ironically for the San Diego Art Prize – invokes “conspicuous display”, a core term in the work of Thorstein Veblen, whose Theory of the Leisure Class was a model for Fussell’s book (not to mention a must-read for any ambitious artist).


Lowe’s work through the 90′s and 00′s – which referenced McMansions, SUVs, and an endless stream of self-help books – focused on the middle classes, which (per Fussell) offer the best material both in their active striving for the next rung up, and simultaneous anxiety over slipping in the opposite direction.

Then the great recession hit, peaking in 2008 with the collapse of the housing market and failure of several major financial institutions. Among the collateral damage: the visual arts, and the American middle class.

Faced with this double blow to her practice, Lowe responded by going down-market. The first evidence emerged in 2010 at the Lux Art Institute, which launched a pop-up art store co-founded by Lowe and Kim MacConnel. The store, titled J & K Souvenir Inc., offered selected work by Lowe in the low-to-mid two figures. And the content referenced was now distinctly prole: decorative mugs, cups, plates, in sum the typical inventory of a 99-cent store.

Similar work has since appeared in shows at Rosamund Felsen and at Quint Contemporary Art in San Diego. At a recent Quint show the low-end work had edged up to a still-affordable low three figures, even while the large paintings remained firmly parked at a solid five digits.

Seeing such work in a high-end space like Quint can be dizzying. Is the aggressive insertion of prole esthetic into a rarefied upper venue a trenchant commentary on American caste? Certainly. Is it offensive to some viewers? Apparently. Or is it merely an opportunity for the 1% to amuse themselves over the bad taste of their inferiors? Apparently.

(Perhaps the only decidability proof for the latter is to wait patiently and see if Lowe ever offers a future show of, say, Lowe-fied Roman de Salvo‘s.)


Lowe’s pièce de résistance of class gymnastics: Discount Barn, a 99-cent store simulacrum presented by the upper-class Quint Gallery as part of the relentlessly middle-class San Diego Art Fair.

Photo credits:   © Jean Lowe,   photo courtesy Quint Contemporary Art

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SDMA Summer Salon Series: Sesshu Foster, Friday, June 29th http://agitpropspace.org/2012/06/29/sdma-summer-salon-series-sesshu-foster-friday-june-29th/ http://agitpropspace.org/2012/06/29/sdma-summer-salon-series-sesshu-foster-friday-june-29th/#comments Sat, 30 Jun 2012 03:58:09 +0000 Kylie King http://agitpropspace.org/?p=7782 foster-sesshu

Dear Friends,

We hope you can join us for a reading by Sesshu Foster in the Summer Salon Series at the San Diego Museum of Art, Friday, June 29 at 7pm in Gallery 18. Museum admission is $12 for adults, $8 for students with college ID, and open to the public.

In conjunction with Agitprop, the Agitprop Reading Series is collaborating with the San Diego Museum of Art for the third year in a row to present the Summer Salon Series. Every Friday evening, from June 1 through August 31, the San Diego Museum of art will be hosting artists, lecturers, poets and performers to investigate the topics of historical fictions and the dissemination of information.

Sesshu Foster will read from his award-winning text Atomik Aztex.  In the alternate universe of Atomik Aztex, the Aztecs rule, having conquered the European invaders long ago. Aztek warriors with totemic powers are busy colonizing Europe, and human sacrifice is basic to economic growth. Zenzontli, Keeper of the House of Darkness, is plagued by nightmares of a parallel reality where American consumerism reigns supreme. Ghosts of banished Aztek warriors emerge to haunt contemporary Los Angeles, and Zenzontli’s visions of Hell become real as he’s trapped in a job in an East L.A. meatpacking plant.

Sesshu Foster has taught composition and literature in East L.A. for 20 years. He’s also taught writing at the University of Iowa, the California Institute for the Arts and the University of California, Santa Cruz. His work has been published in The Oxford Anthology of Modern American Poetry, Language for a New Century: Poetry from the Middle East, Asia and Beyond, and State of the Union: 50 Political Poems. One of his last readings at St. Mark’s Poetry Project NYC is Mp3 archived at www.salon.com and local readings are archived at www.sicklyseason.com. He is currently collaborating with artist Arturo Romo and other writers on the website, www.ELAguide.org. His most recent books are the novel Atomik Aztex and World Ball Notebook. He blogs at East Los Angeles Dirigible Air Transport Lines.

San Diego Museum of Art
Gallery 18
Friday, June 29, 7pm
Facebook Event Page:


Directions and parking information are available on the SDMA website:


For more information about the Summer Salon Series, Please visit:


For more information about the Agitprop Reading Series, you can join our Facebook group:


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Making WET: The Magazine of Gourmet Bathing http://agitpropspace.org/2012/06/13/making-wet-a-history-of-gourmet-bathing/ http://agitpropspace.org/2012/06/13/making-wet-a-history-of-gourmet-bathing/#comments Wed, 13 Jun 2012 19:14:22 +0000 Perry Vasquez http://agitpropspace.org/?p=6404 Leonard Koren is the author of Making WET: The Magazine of Gourmet Bathing , the definitive history of WET Magazine, the iconic and innovative magazine he published from 1976 – 1981 out of Venice Beach, California. Polymorphously perverse, cheeky, flirtatiously Hollywood and beautifully designed, WET Magazine was an extension of Koren’s own quirky and enigmamtic personality.

Koren has been a publisher of interesting books about design and aesthetics since the 1980s but what makes this book compelling is the insight with which he looks back on his singular experiences withWET. There is much to learn here for creative minds beginning on their path of growth and development. As honestly as possible, he has tried to evaluate the decisions he made along the way in an ethical light, whether they be aesthetic decisions, business decisions, or decisions made in relations with staff, friends and partners. The result is a book that is as critical of its author as it is beautiful to hold–filled with thoughts, ideas and images that will stay with the reader long after the book has been laid down.

Making WET Cover
Illustration: Back and front cover design by Emilia Burchiellaro and Leonard Koren.

As a young UCLA architecture student, Leonard Koren became obsessed with the physically built environment of the bath, including the rituals that support it and the truths that give bathing its metaphysical reality. “Every bathroom,” writes Koren, “no matter how crude or sophisticated, comes equipped with all elements of a primal poetry. Water and/or steam, hot, cold and in between. Nakedness. Quietude. Illumination.”

Le Bathing Cap Spread
Illustration: Bathing cap people photographs by Guy Webster. Design and Art Direction by Elizabeth Freeman. From WET July/August 1978.

A fluid publication of creative visual production, critical thinking and intersecting obsessions, WET developed organically from Koren’s individual efforts into an experimental collaboration among his ephemeral community of friends and artists living in Venice Beach, California. Before starting WET Koren had no prior publishing experience, but was blessed with a daring approach, a strong sense of aesthetics influenced by Japanese culture, his architectural studies and his love of photography. Under his guidance, WET the Magazine of Gourmet Bathing became a legitimate expression of hip beach culture. It gave voice to a kind of bohemianized water-course way that had taken hold among Venice Beach’s most creative minds. At its best, WET offered its readers a self-aware and watery hedonism (and some cases skepticism) based on the myriad possibilities of bathing as a metaphor.

Illustration: Contents pages designed by Leonard Koren.

Marshall McLuhan famously noted the similarities between taking a bath and reading a newspaper – both being relaxing interludes given to randomness and reflection. Browsing through the pages of Making WET invokes the essence of WET Magazine’s original appeal through playful design characterized by the non-linear approach implied in McLuhan’s observation. It is a story told predominantly through a stream of images: photos, drawings and illustrations of all kinds, while the element of language floats through the book like bubbles clustered on the surface of a visual bath.

Koren has described himself as someone who makes books “not intended for electronic devices,” and Making WET has a distinct hand-made quality. As e-books have have become more popular, the physical characteristics of paper and the tangible experience of holding a book have gained traction among a discerning community of artists, writers and designers dedicated to preserving the bookmaking tradition.

Concerning the Metaphysical Nature of Cigarettes by Sharon Hennessey. Photo by Larry Williams. Design by Roy Gyongy.
Illustration: “Concerning the Metaphysical Nature of Cigarettes” by Sharon Hennessey. Photo by Larry Williams. Design by Roy Gyongy. From WET November/December 1979.

WET’s editorial slant was always an exercise in the balance of many cultural influences and contradictions. Koren defines his vision with succinct clarity in a chapter titled “Gourmet Bathing: A Long Overdue Introduction.” He writes, “In a state that is the capital of the monetary, the capital of the self–the inventoried and reconceived self, the disguised and decorated self, the conceptual fun self–the only season is Open Season. On Columbus or Sunset or the Venice boardwalk, the shifting cast of vacancy–faced rock punks, S&M tragedian, cowboys, lumberjacks, vestigial hippies, and attentive trend collectors, there is an unsortable repetoire of styles and counter-styles. There is such camp drollery here, such androgyny, such runaway eclecticism, that there emerges a ruling aesthetic of Whatever Works–whatever evokes the almost terminal dislocation of this long intermission in history; the feeling of having no particular place, time or person to be.”

WET covers
Illustration: Covers. November/December 1979 with Sissy Spacek. Photography and illustration by Lisa Powers and Taki Ono. Typography, design and art direction by Roy Gyongy. Cover and back cover, March/April 1981. Collage and design by Bob Zoell. Art Direction by Leonard Koren.

WET covers consistently presented strong and unforgettable statements. Koren did not shy away from intellectually challenging or controversial material. The image of the copulating pigs that appeared on the March/April 1981 issue is visually unforgettable but caused great anxiety among the ad sales team who feared it would make their job more difficult. By this time, WET was beginning to penetrate the mainstream so it was sold inside a brown paper wrapper to avoid giving offense at the supermarket checkout line.

Much of the WET’s iconic identity stemmed from its remarkable logo which passed through several iterations before settling on the final version shown above. Using sheets of Letraset rub-on type, Koren mocked up multiple versions. “I liked the rendition in the all-uppercase Kabel font best,” Koren writes. “Then I tweaked it a little. The W, fashioned out of two Vs, had a defiant energy similar to a swastika–but without the horrible associations. The E was frisky. The middle tine was cut off at a 45 degree angle; it felt sexy in a reductive sort of way. (I thought it was the typographical equivalent of a sly erection.) The T possessed a magnificent solidity. Together, all three characters conveyed a distinctive Teutonic strength, toughness, and linearity–the exact opposite of the soft, fluid suggestions of ‘wet.’ ”

Leonard and Max
Illustration: Max Palevsky and Leonard underwater in Malibu “sealing the deal” to secure capital investment for the magazine. Photograph by Guy Webster.

Making WET sometimes reads as a morality play on the limits of sustaining a community based on common creative goals. Koren traces the changes in his personality and his relationships with his friends and collaborators as WET became more successful. The pressure to generate advertising dollars gradually forced him out of his role as creative director and into the role of business manager. The creative side of the magazine was being left more and more often to others. The final chapters describe how WET’s essence inevitably began to dry up. By the end of its run there was “…a profound existential crisis looming. WET had evolved out of an art-making impulse: a spontaneous response to a need for a particular kind of artistic expression. For the first four and a half years, making the magazine was intensely engaging, both creatively and intellectually. But now the learning curve had flattened out. The once vibrant WET project had metamorphosed into a marketing exercise.” Koren decided to fold the magazine soon after, choosing to go out while the magazine was still on top and to prevent a painfully drawn out decline. Six months after closing the magazine Koren packed all his belongings into his VW Rabbit and moved to San Francisco to begin a new life.

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6/2/12 Literary Art: Presenting Zyzzyva Magazine & Daniel Alarcón’s Radio Ambulante, with John Gibler, Daniel Alarcón & Cristina Rivera Garza http://agitpropspace.org/2012/05/28/6212-literary-art-john-gibler-daniel-alarcon-cristina-rivera-garza/ http://agitpropspace.org/2012/05/28/6212-literary-art-john-gibler-daniel-alarcon-cristina-rivera-garza/#comments Mon, 28 May 2012 21:35:52 +0000 Lorraine Graham http://agitpropspace.org/?p=6389 We hope you can join us this Saturday, June 2 at 8pm (an hour later than our usual time) to celebrate the new issue of Zyzzyva Magazine and Daniel Alarcón’s Radio Ambulante with presentations and readings by John Gibler, Daniel Alarcón and Cristina Rivera Garza.

This reading takes place in conjunction with There Goes the Neighborhood, an annual, four day event that positions “the neighborhood” as a fluid institution of creative production, critical thinking and intersecting interests. Collaborations among artists, residents, small businesses, universities and local activists will culminate in a series of workshops, talks, installations, performances and tours that center around the North Park neighborhood of San Diego, with satellite events at the UCSD campus and the San Diego Museum of Art (in conjunction with the opening night of the Summer Salon Series). You can see a schedule of other events in There Goes the Neighborhood on the Agitprop website.

John Gibler

John Gibler is a writer based in Mexico and California, the author of Mexico Unconquered: Chronicles of Power and Revolt (City Lights Books, 2009), and a contributor to País de muertos: Crónicas contra la impunidad (Random House Mondadori, 2011). He is a correspondent for KPFA in San Francisco and has published in magazines in the United States and Mexico, including Left Turn, Z Magazine, Earth Island Journal, ColorLines, Race, Poverty, and the Environment, Fifth Estate, New Politics, In These Times, Yes! Magazine, Contralínea, and Milenio Semanal.

Daniel Alarcón

Daniel Alarcón was born in Lima, Peru in 1977 and raised in the southern United States. He is the creator of Radio Ambulante, an online radio project that enables thousands of stories from every corner of the Western Hemisphere where Spanish is spoken to be told and listened to.He is associate editor of Etiqueta Negra, a monthly magazine based in Lima. His short-story collection, War by Candlelight, was a finalist for the 2006 Hemingway Foundation/PEN Award. His first novel, Lost City Radio, is published by HarperCollins in the US and Fourth Estate in the UK. He currently lives in Oakland, California, where he is the Distinguished Visiting Writer at Mills College.


Cristina Rivera Garza

Cristina Rivera Garza is a native of the border, and has lived and taught both in Mexico and the United States. Author of transdisciplinary works, written both in English and Spanish, she has received numerous awards, including the 2001 Iberoamerican Sor Juana Inés de la Cruz-FIL and the 2005 Anna Seghers in Berlin. Some of her works have been translated into English, Italian, Portuguese, German and Korean. Professor Rivera-Garza writes La mano oblicua/The Oblique Hand, a weekly column for the cultural section of the Mexican newspaper Milenio. She also maintains No Hay Tal Lugar, her blog: www.cristinariveragarza.blogspot.com. Professor Rivera-Garza is Professor of Writing at UC San Diego and MFA Writing Program Director.

There is no cover charge for reading, but libations and donations to the gallery are always welcome. We hope to see you there and for festivities before and after.

Agitprop (Map)
Saturday, June 2, 8 pm

2837 University Avenue in North Park (Entrance on Utah, behind where Glenn’s Market used to be)
San Diego, CA 92104

For more information about the Agitprop Reading Series and Agitprop Art Space, visit our webpage, join our Facebook group, or sign up to receive email announcements from us.


October 6: Brandon Brown, Alli Warren & Company
November 3: Joseph Harrington

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There Goes the Neighborhood! 2012 Updated Schedule http://agitpropspace.org/2012/05/27/there-goes-the-neighborhood-updated-schedule/ http://agitpropspace.org/2012/05/27/there-goes-the-neighborhood-updated-schedule/#comments Mon, 28 May 2012 03:49:16 +0000 David White http://agitpropspace.org/?p=6382 4x6-front-sl

There Goes the Neighborhood! is a four day event that positions “the neighborhood” as a fluid institution of creative production, critical thinking and intersecting interests. Collaborations among artists, residents, small businesses, universities and local activists will culminate in a series of workshops, talks, installations, performances and tours that center around the North Park neighborhood of San Diego, with satellite events at the UCSD campus and the San Diego Museum of Art (in conjunction with the opening night of the Summer Salon Series).

This year the focus of the There Goes the Neighborhood is “the neighborhood” as a nexus of global conditions which manifest themselves in local, everyday, situations. These issues range from transportation networks to means of food production to how information (and knowledge) is disseminated publicly. The first iteration of There Goes the Neighborhood! took place in June of 2010 and focused on issues relating to gentrification and how art can play a role in neighborhood revitalization and can also be complicit in the displacement of existing groups by those moving in. There Goes the Neighborhood takes as its “fundamental organizing assumption the notion that individuals are inherently active, thoughtful, innovative and engaged citizens.” So please join us in examining these issues. The project is not complete without your participation!

There Goes the Neighborhood! May 31st – June 3rd 2012

Schedule of Events


Thursday May 31st

3pm – 5:30pm In and With – Part I a conversational forum moderated by David White

Friday June 1st

5pm – 6:30pm Wayfinding Seminar with Mario Borja and Micki Davis
6:30pm – 7pm Re-locating a University presentation and sculpture by David White
7:30pm – 9pm In and With – Part II: How do knowledge and information flow?
a panel discussion with Todd Gloria, Anchi Mei, Brian Goldfarb, and Xavier Leonard;
moderated by David White

Saturday June 2nd

10am – noon Brunch with Strangers
noon – 2pm Photography workshop with Shane Anderson and Zach Parks at Agitprop
1pm – 3pm Un-Photography workshop with Andrew Printer at Art Produce
2pm – 4pm Bicycle tour of thrift stores with Joy Boe and Josh Bellfy
2pm – 4pm Silkscreening workshop with Eddie Miramontes
2pm – 4pm Music at Whistlestop
2pm – 6pm Streetcar tours with Beryl Forman, Xavier Leonard, Leslie Ryan, and Randolph Van Vleck
6pm – 10pm Hard Shoulder opening reception of new work by Shane Anderson at Agitprop
8pm – 10pm Poetry reading at Agitprop
8pm – 9pm You Are Here projected films by Glen Wilson
8:30pm – 9:30pm Critical postcards at Art Produce garden
9:30pm – 11:00pm Music by starvelab (Michael Trigilio) and Chris Warren at Art Produce garden

Sunday June 3rd

10am – 1pm Brunch and intercambio at Santos Market
2pm – 4pm Daily Unusual zine workshop at Art Produce
3pm – 7pm Alt. Town Square workshops at the North Park Theatre parking lot
2pm – 4pm Yard by Yard II garden tour with Lesley Stern
6pm – 8pm Hay conexiones entre de los tres: a dinner atop the Landis Street overpass
with Elizabeth Chaney RSVP required, subject heading: DINNER
8pm – 10pm Block party on Landis near I-805 overpass
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Summer Salon Series 2012 http://agitpropspace.org/2012/05/15/summer-salon-series-2012/ http://agitpropspace.org/2012/05/15/summer-salon-series-2012/#comments Tue, 15 May 2012 18:47:12 +0000 David White http://agitpropspace.org/?p=7119

For the past two years Agitprop has had the great pleasure of working with the San Diego Museum of Art to establish and co-curate the Summer Salon Series.  Entering its third year, this summer looks to be the best one yet.

Here is a complete schedule of the line up for this year and information about this year’s theme:

Summer Salon Series 2012

 Beyond the Banner

Fridays, June 1 through August 31, 5:00-9:00 p.m.

 June 1 | There Goes the Neighborhood, Micki Davis, Agitprop, Councilman Todd Gloria, Anchi Mei,       Brian Goldfarb, Xavier Leonard

June 8 | Mark Tribe, The Donkeys

 June 15 | Cognate Collective, Andrew Printer,  James Ruelas and Lou Damian

 June 22 | Pierre Bismuth, Tim Schwartz, Black Power Mixtape 1967-1975

June 29 | Yinka Shonibare MBE, Sesshu Foster, The Battle of Algiers

July 6 | Border Corps, The Night James Brown Saved Boston, Mattson 2

July 13 | Ash Smith, The Periscope Project, Ryanna Projects (Anna Gray and Ryan Wilson Paulsen)

July 20 | Omar Pimienta with John Pluecker, The Third Party

July 27 | The Yes Men, Katherine Brook, Jacob Turnbloom, Stephanie Lie, The Third Party,               Century of the Self, The Nervous Wreckords, and much more

August 3 | Andrew Dinwiddie, Joe Yorty and Kelly Eginton

August 10 | Steve Lambert, Peaking Lights, The Third Party

August 17 | Allison Cobb,  Zac Montanaro, Jamilah Abdul-Sabur

August 24 | Rina Banerjee, Gary Garay

 August 31 | Mark Dzula, Joshua Tonies, Andrew Printer, The Border Corps and The Third Party

Programs and events change weekly and range from a few hours to several days. Please check theMuseum Calendar for specific details on each night’s presentations and schedule.

Summer Salon Series 2012 is curated by the Museum and Agitprop. Special thanks to Agitprop, Lorraine Graham and Rick Tyner & M-Theory Records.

What is the Summer Salon Series?

Every Friday evening, from June 1 through August 31, 2012, The San Diego Museum of Art will be hosting artists, lecturers, poets and performers to investigate the topics of historical fictions and the dissemination of information. Where do we get our news from? Who and what controls our access to information? What are the historical images and myths that affect our current social, cultural and political discourse? How is fiction used by artists to tell stories and create awareness of particular issues? Is there such a thing as the ethical use of propaganda? With such a glut of information at our fingertips, how do we assemble this information into practical knowledge? What are the personal fictions we tell ourselves as individuals? When does “the document” become the event itself in terms of shaping public discourse? These are the types of questions that have been raised since the popularization of postmodernist inquiry in the 20th century, which raise relevant questions for the information age, and serve as an appropriate link between contemporary art and the 15th century art that will be on view at the Museum over the summer.

This program provides the Museum an opportunity to present its version of the “salon,” a place for all those interested in art and culture to meet, discuss ideas, and engage with artistic performances. The Series presents projects, performances, talks, demonstrations, and workshops, most for one night only.

How was the theme of the 2012 Summer Salon Series decided upon?

In 1471, the Portuguese king Afonso V carried out a military campaign in Northern Africa that ended in the capture of the important cities Asilah and Tangier near the Straits of Gibraltar. To commemorate his victory, Afonso V commissioned a set of four tapestries that were originally hung in his royal palace. The first three tapestries illustrate the long siege and battle for Asilah, but the conquest of Tangier is depicted in a single panel: receiving no reinforcements, the town’s citizens chose exile over massacre and abandoned the city to the Portuguese army. Woven soon after the 1471 battles, these monumental tapestries, each measuring 12 by 36 feet, are considered among the finest Gothic tapestries in the world. Long held at the Collegiate Church of Our Lady of the Assumption in Pastrana, Spain, they are commonly identified as the “Pastrana Tapestries.”

For three months, from June 9 until September 9, 2012, The San Diego Museum of Art will host The Invention of Glory: Afonso V and the Pastrana Tapestries, an exhibition that marks the first time that these recently restored tapestries have been shown in the United States.  Exquisitely rendered in wool and silk threads by Flemish weavers in Tournai, Belgium, the tapestries teem with vivid and colorful images of knights, ships, and military paraphernalia set against a backdrop of maritime and urban landscapes. They are also among the rarest and earliest examples of tapestries created to illustrate what were then contemporary events, instead of allegorical or religious subjects. The designer minimized the misery of warfare, reinventing the event with the heroic image of Afonso and the ideals of chivalry in mind. Along with the glorification of the battles, the tapestries act as document of the earliest stages of European colonialism. Yet, at the time of their creation, these works would have been considered a primary document of the battles; now, 500 years removed, we can understand how these tapestries were utilized as a tool to mold opinion. The problematic nature of these otherwise incredible works raises several issues, the focus of which will comprise the 2012 Summer Salon Series.

Where did the 2012 Series’ title come from?

The Series title, “Beyond the Banner,” is actually an advertising term, which refers to a type of web page advertising that uses strategies other than an embedded image at the top of the page, such as sponsoring, contest promotion and blending with the content of the page itself.  In other words, this type of advertising is a bit harder to separate from actual content.   In the Medieval and Renaissance periods of course, banners were the flags that armies carried bearing the symbols and crest of their sovereign state or lord, and they are quite prominent throughout the Pastrana Tapestries.  The 2012 Series has taken as its starting point the historical re-examination of the 15th century Pastrana Tapestries, in order to investigate the fictions of our own information age.

Who does the Museum partner with on the Summer Salon Series?

The San Diego Museum of Art is proud to work with important community partners in curating the Summer Salon Series.

Agitprop is the Series Co-Curator.  Agitprop is an alternative, community-oriented art space in the North Park neighborhood of San Diego.

Rick Tyner is the Project Curator for Musical Arts and manages M-Theory Records, located in the Mission Hills neighborhood of San Diego.  The shop is a favorite of vinyl junkies, DJs and music enthusiasts alike.  They frequently hold in-store performances and are passionate about turning people on to music they may not know about.

Lorraine Graham is the Project Curator for Literary Arts.  She also curates the Agitprop Literary Arts Series.

How do I apply to have my work included in the 2012 Summer Salon Series?
Please note that the application process is closed, but the RFP illustrates how artists submitted their ideas to the Museum.

Request for Proposals


Support for Summer Salon Series 2012: Beyond the Banner, provided by Wells Fargo, Mr. Brent V. Woods and Dr. Laurie C. Mitchell, the Museum’s Contemporary Arts Committee, the Members of The San Diego Museum of Art, and the County of San Diego Community Enhancement Program. Institutional support for the Museum is provided by the City of San Diego Commission for Arts and Culture. Curated by The San Diego Museum of Art and agitprop.
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THERE GOES THE NEIGHBORHOOD! IS BACK!! http://agitpropspace.org/2012/05/07/there-goes-the-neighborhood-is-back/ http://agitpropspace.org/2012/05/07/there-goes-the-neighborhood-is-back/#comments Tue, 08 May 2012 04:02:12 +0000 David White http://agitpropspace.org/?p=6233 4x6-front-sl

There Goes the Neighborhood! is a four day event that positions “the neighborhood” as a fluid institution of creative production, critical thinking and intersecting interests. Collaborations between artists, residents, small businesses, universities and local activists will culminate in a series of workshops, talks, installations, performances and tours that center around the North Park neighborhood of San Diego, with satellite events at the UCSD campus and the San Diego Museum of art (in conjunction with the opening night of the Summer Salon Series).

The first iteration of There Goes the Neighborhood! took place in June of 2010 and focused on issues relating to gentrification.  It examined how art can play a role in both neighborhood revitalization as well as also be complicit in the displacement of existing groups by those moving in. This year the focus of the There Goes the Neighborhood is “the neighborhood” as a nexus of global conditions that manifest themselves in local, everyday, situations. These issues range from transportation networks to means of food production to how information (and knowledge) is disseminated publicly.

A rough schedule of the event:

Thursday May 31st

Location: UCSD campus

Event: “Relocating the University” installation and panel discussion


Friday June 1st

Location: The San Diego Museum of Art

Event: “Relocating the University: part II”  performance, workshop and panel discussion

*note: this event is in conjunction with the opening night of the Summer Salon Series:



Saturday June 2nd

Location: North Park (with excursions to South Park and City Heights)

Events: “Breakfast with Strangers” a meal with someone you don’t know; Photography workshop; Thrift Store bike tour; Street-Car Reenactment – talks addressing issues of urbanism accompanied by music on a hired trolley tour car that runs an old street-car line from 1918; Photography exhibition at Agitprop featuring work by artist Shane Anderson; Post Office conversations; Literary Arts and more.


Sunday June 3rd

Location: North Park

Events: Brunch from Santos Market; Multiple workshops examining the proposed park for the lot behind North Park Theater as a potential green space; DIY publication workshop; a procession through the neighborhood; weekend finale reception and more…

All There Goes the Neighborhood events are FREE.  Donations gladly accepted.

For more information check back for schedule updates at http://theregoes.org

Also, Check out our collaboration with the journal PROS*- a publication documenting the last There Goes the Neighborhood in 2010.

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5/3/12 Not Free, Not Dead: The Psychedelic End @ Space4Art http://agitpropspace.org/2012/05/02/5312-not-free-not-dead-the-psychedelic-end-space4art/ http://agitpropspace.org/2012/05/02/5312-not-free-not-dead-the-psychedelic-end-space4art/#comments Wed, 02 May 2012 16:25:14 +0000 David White http://agitpropspace.org/?p=6320

Thursday 7:30 pm at Space4Art

A touring program of recent San Francisco Bay Area Shorts, featuring work by Caitlin Denny, Gregory Kaplowitz, Jen Kirsten, Alex S. Lukas, Jessica Miller, Dan Olsen, Skye Thorstenson, Virtual Pubes, and Nightmare City.

Space 4 Art

325 15th St, San Diego, CA 92101


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5/11-12/12 DRONES AT HOME PHASE 2 SYMPOSIUM @ UCSD http://agitpropspace.org/2012/04/30/511-1212-drones-at-home-phase-2-symposium-ucsd/ http://agitpropspace.org/2012/04/30/511-1212-drones-at-home-phase-2-symposium-ucsd/#comments Tue, 01 May 2012 05:16:14 +0000 David White http://agitpropspace.org/?p=6315 Press Release from gallery@calit2


May 11 & 12, 2012

Calit2 Auditorium, Atkinson Hall
Friday 8:30am-8:00pm
Saturday 8:30am-7:30pm

Phase 2 of the DRONES AT HOME project takes the form of a two-day conference organized by the gallery@calit2. The conference consists of a series of panels, screenings, and open sessions that explore issues related to the “domestication” of drones — whether in the context of warfare, science fiction, design, cultural studies, regulatory policy, or distributed and embedded intelligence. These various events, mobilizing conversations among artists, engineers, and other scientific and creative researchers, are geared toward the development of new research initiatives, analytical concepts, and experimental forms.

For the complete event agenda and speaker bios, please see this link: http://www.calit2.net/events/popup.php?id=2003

All gallery events are FREE and open to the public.

Please RSVP to Trish Stone, tstone@ucsd.edu
Media Contact Doug Ramsey, dramsey@ucsd.edu


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Reading Series Events: Charles Alexander & Aaron Kunin, Sat. May 5th http://agitpropspace.org/2012/04/29/5512-literary-art-charles-alexander-aaron-kunin/ http://agitpropspace.org/2012/04/29/5512-literary-art-charles-alexander-aaron-kunin/#comments Sun, 29 Apr 2012 20:51:00 +0000 Lorraine Graham http://agitpropspace.org/?p=6310 We hope you can join us for a reading by Charles Alexander and Aaron Kunin at Agitprop this Saturday, May 5 at 7pm. For a full list of upcoming literary arts events, have a look at our online schedule.

Charles Alexander

Charles Alexander is the founder/director of Chax Press, author of five books of poetry, most recently Pushing Water, from Cuneiform Press in 2011; and 9 chapbooks. He is the editor of Talking the Boundless Book (Minnesota Center for Book Arts), and former director of Minnesota Center for Book Arts. Alexander also is Senior Lecturer at University of Arizona South (where he co-directs the program for English majors), and he teaches at the Naropa University Summer Writing Program. In Tucson, he is a co-founder and one of the several directors of the organization POG, which has presented poetry and prose readings, visual art presentations and lectures, musical performances, and more. He is married to the visual artist Cynthia Miller, and has two daughters, Kate and Nora.

Aaron Kunin

Aaron Kunin is recently the author of The Sore Throat and Other Poems. His other books include a poetry collection, Folding Ruler Star, and a novel, The Mandarin. Grace Period, a collection of aphorisms, sketches, and fragments, is forthcoming. He lives in Los Angeles. You can hear several recent recordings on .

There is no cover charge for reading, but libations and donations to the gallery are always welcome. We hope to see you there and for festivities before and after.

Agitprop (Map)
Saturday, May 5, 7pm
2837 University Avenue in North Park (Entrance on Utah, behind where Glenn’s Market used to be)
San Diego, CA 92104

For more information about the Agitprop Reading Series and Agitprop Art Space, visit our webpage,  join our Facebook group, or sign up to receive email announcements from us.


May 5: Charles Alexander & Aaron Kunin
June 2: Zyzzyva Magazine celebration with John Gibler & Oscar Villalon
October 6: Brandon Brown, Alli Warren & Company
November 3: Joseph Harrington

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4/28/12 Cognate Collective collaboration with Mujeres Mixtecas http://agitpropspace.org/2012/04/24/42812-cognate-collective-collaboration-with-mujeres-mixtecas/ http://agitpropspace.org/2012/04/24/42812-cognate-collective-collaboration-with-mujeres-mixtecas/#comments Wed, 25 Apr 2012 06:47:20 +0000 David White http://agitpropspace.org/?p=6302  

Mujeres Mixtecas, CAFE and Cog•nate collective invite you to share in a night of exchange! Mujeres Mixtecas, a female Mixtec sewing co-op will share their language and culture as they will unveil a sewn mural created in collaboration with cog•nate collective, and give a short talk on their history and culture. The event is a way of inciting dialogue between the various  ethnic and economic groups at the border.


There will be music and the co-op will prepare a Mixtec meal for everyone. $7 donation suggested for lunch. Our hope is that each of us will teach a bit of our own language(s) as we learn a bit more Mixtec, Spanish, or English through conversation and social exchange.


Located between the northbound lanes of traffic at the Mercado de Artesanias, Linea in the San Ysidro Port of Entry, Cog•nate Space/Espacio Cognado has hosted various arts and cultural events since its inception last year.

Directions to Cog•nate Space:

The space is located at the foot of the pedestrian bridge on the Mexican side of the border on the median between border car lanes.


From the US:

Cross the border, continue straight through the turnstiles. There will be a set of turnstiles to your right, DO NOT GO RIGHT. Instead, continue straight ahead until you cross a set of turnstiles that will lead you to “La Concha,” a silvery shell-like building that will be on your left. Walk past the building toward the taxis, which should be in front of you. Before reaching the taxis make a left onto a footbridge that will take you to the port of entry. Cross the bridge and walk down at the first exit point as you walk east on the bridge. The market is the set of red stalls on your right.


From Mexico:

Go to the San Ysidro port of Entry and take the pedestrian bridge that goes over the cars west. Exit the bridge before you get to “La Concha”. The market is the set of red stalls on your left.


For more information about cog•nate collective’s collaboration with Mujeres Mixtecas visit:


Tu’un davi / Español / English : Language Exchange at Cognate Space

Saturday April 28

11am – 4pm


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5/9/12 The Double @ LAXART http://agitpropspace.org/2012/04/22/5912-the-double-laxart/ http://agitpropspace.org/2012/04/22/5912-the-double-laxart/#comments Mon, 23 Apr 2012 05:09:03 +0000 David White http://agitpropspace.org/?p=6300 Wednesday, May 9, 2012  8:00pm

LAXART: 2640 S. La Cienega Los Angeles, CA 90034 and CABINET: 300 Nevins Street Brooklyn, NY 11217

A one-night, bicoastal screening of video works by Skowhegan alumni spanning nearly 15 years of Skowhegan alumni.

The Double is primarily a visual phenomenon making video a natural medium for its exploration. The earliest silent films recognized the inherent doubling that occurs through picture, investigating notions of an uncanny second self in films such as the The Golem and The Cabinet of Dr. Caligari. Through doubling or mirroring, one is confronted with the illusion of wholeness, a dispersion of the self, and perhaps revelations or repressions of fears and desires kept hidden within the body. The Double can also represent an alter ego, a copy or forgery, or a false twin or Doppelganger. However, doubles are not exclusively physical in a bodily sense. Doubling may also be traced to the mode of production of the work, reminding us that the replication and dissemination of image is physical in its duplication as well. This lack of the original and multiplication of the double across the screen is exemplified in the bicoastal screening of The Double at LAXART in Los Angeles and Cabinet in New York.

Featuring works by:

Mike Calway-Fagen ’11
Jonathan Ehrenberg ’11
Amy Finkbeiner ’01
Victoria Fu ’06
Meredith James ’11
Andrew Ellis Johnson ’99
Siobhan Landry ’11
Sarah Lasley ’04
Dan Levenson ’09
Ann Oren ’09
Chris Sollars ’98
Cheryl Yun ’03
Bryan Zanisnik ’08

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Space4Art Gallery Fundraiser Kickstarter Deadline May 21, 2012 http://agitpropspace.org/2012/04/22/space4art-gallery-fundraiser-kickstarter-deadline-may-21-2012/ http://agitpropspace.org/2012/04/22/space4art-gallery-fundraiser-kickstarter-deadline-may-21-2012/#comments Mon, 23 Apr 2012 02:59:34 +0000 David White http://agitpropspace.org/?p=6295
Kickstarter Campaign: http://www.kickstarter.com/projects/410838583/space-4-art-gallery-fundraiser

Space 4 Art is a thriving community-designed, volunteer-built art space that provides 37 affordable studios for San viagra canadian pharmacy Diego’s finest artists, designers, and craftspeople. The facility has an abundance of natural light, spacious galleries, multiple community spaces, a multi-level stage, and performance areas.

In our ongoing effort to present innovative and varied exhibitions, the all volunteer curatorial committee has decided that it is imperative to generate funding for these exhibitions and gallery improvements. All the work thus far has been accomplished on a absolute shoestring budget.

Kickstarter is a relatively new online fundraising platform that provides an accessible and engaging interface for would-be donors. Our proposed campaign highlights the merits of Space 4 Art, our past programming, community outreach, and future projects.

The 2012 exhibition season will consist of six shows spanning varied media, geographic locations, styles, and conceptual interests. The current exhibition, Immaterial Ergonomics, brings together four artists from both coasts who share an affinity for material transcendence. Their innovative, contemporary work represents a range of hybrid practices: sculpted canvases, painted videos, printed sculptures and digital processes, which turn traditional mediums on their head. The artists, Maria Walker, Ryan Perez, Brice Bischoff, and Matt Sheridan, head toward representational objects, only to sidestep the familiar at the last moment. And drift past.

Future shows in 2012 will include a survey of Southern California MFA candidates, an exhibition that coincides with Comic-Con, a major two-person exhibition, and many other exciting projects still in development. It is our desire to offer artists a nominal honorarium to offset their costs and recognize their efforts. This is a sizable gesture in our continued upward trajectory as a leading non-profit art entity in Southern California.

A lesser portion of the funding will go toward ongoing gallery maintenance and improvements. Planned improvements include a floor to ceiling wall that will give the gallery a complete and less transitory feel. It will also afford the inclusion of further works in each show. We will outfit the gallery with additional lighting that will significantly improve work’s presentation. A “video box” that consists of a large flatscreen tv housed in a movable wooden kiosk will expand our ability to show mulit-media works.

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4/19/12: Mark Dery at Southwestern College http://agitpropspace.org/2012/04/16/41912-mark-dery-at-southwestern-college/ http://agitpropspace.org/2012/04/16/41912-mark-dery-at-southwestern-college/#comments Mon, 16 Apr 2012 18:31:10 +0000 Perry Vasquez http://agitpropspace.org/?p=6278 Mark Dery

Mark Dery

Author Mark Dery will discuss and sign copies of his new book, I Must Not Think Bad Thoughts: Drive-by Essays on American Dread, American Dreams, at Southwestern College in Chula Vista, CA on Thursday, April 19th at 11:00 AM in Rm L238.

From the cultural critic Wired called “provocative and cuttingly humorous” comes a viciously funny, joltingly insightful collection of drive-by critiques of contemporary America where chaos is the new normal. Exploring the darkest corners of the national psyche and the nethermost regions of the self, Dery makes sense of the cultural dynamics of the American madhouse early in the twenty-first century.

“Always provocative, often humorous, Dery has a keen eye for absurdity, tragedy, and everything in between. ” —Publishers Weekly

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Mark Dery Interview http://agitpropspace.org/2012/04/16/mark-dery-interview/ http://agitpropspace.org/2012/04/16/mark-dery-interview/#comments Mon, 16 Apr 2012 17:32:25 +0000 Perry Vasquez http://agitpropspace.org/?p=6143 Mark Dery: I Must Not Think Bad Thoughts: Drive-by Essays on American Dread, American Dreams

I Must Not Think Bad Thoughts by Mark Dery

Mark Dery has been exploring the shifting sands of American sub-cultural trends for almost twenty years. He has built a reputation as an engaged and voluble critic hailed for his urbane, funny observations delivered with clear-eyed reason.

His new book, I Must Not Think Bad Thoughts: Drive-by Essays on American Dread, American Dreams features thirty-two pungent essays covering a range of topics such as Madonna’s big toe, the link between zombies and white supremacists, the selling of Nazism and the cultural appropriations of Lady Gaga and Jack Chick.

In the introduction to his book Dery invokes as his talisman André Breton’s epitaph, “I seek the gold of time” . Dery explains that Breton refers to “the ineffable mysteries of lost time, of time passing, of things to come” which recalls Dogen Zenji’s description of time as lending a “resplendent brightness” to all phenomena. Dery would reject any comparison to religious thought (Dogen was a thirteenth century Zen Buddhist monk), but because Dery himself searches for gold in the most unlikely of temporal and spatial places the intersection of these two ideas makes an intriguing entry point into the complex matrix of his thought and writing.

I walk out onto the desert floor in the middle of a bright April afternoon. I stand still in the sun, fully exposed, surrounded on all sides by cactus, sand and rocks. I feel the heat all around. I close my eyes long enough for my thoughts to stop their tossing and turning. Gradually, new sensations begin to impress themselves on my senses. I hear the wind. I hear the buzzing of flies and the drone of faraway traffic.

Time passes. After ten minutes in a state of suspension I open my eyes. I am confronted with a stark wavering prickly electric green thing shooting up out of the desert floor. Ten minutes ago it was an ocotillo tree but now all I see is its indescribably glittering essence. In an instant I am vomited beyond the boundaries of language. Beyond the “flaming wind-hairs of thought” where time turns to gold and everything becomes rich and strange. This other shore is where Mark Dery’s writing will take you. Where no thoughts are too alien, to bizarre or too bad to be turned to gold.


Mark Dery

Mark Dery

AGITPROP: In the introduction to your new book, I Must Not Think Bad Thoughts, Bruce Sterling calls you a “botanist of the counter-culture” who samples the Kool-Aid carefully but never fails to spit at the end. What are the origins of your thirst for sipping the dregs of human thought-juice?

MARK DERY: I’m not sure the subcultural margins are synonymous with society’s dregs, but that may be my punctilious Inner Felix Unger talking. As a cultural critic, I’m drawn to subcultural ethnography in the Dick Hebdige mode, or what David Brooks called “comic sociology,” although my variation on that theme is more of a black-comedic sociology. (And when I say Brooks, I mean the David Brooks of Bobos in Paradise, not the Neo-Tory Neuroscientist who offers moral homilies from inside the Beltway, via the New York Times [ Dery is referring to different aspects of a single author, David brooks] . I liked Brooks better when he was a conservative comedian, taking the piss out of lactose-intolerant, cruelty-free yuppies, as opposed to Brooks the self-appointed morality wonk.) I’m drawn to cultural extremes—fringe thought, perverse practices, Manson-approved sociopathologies, consumer culture at its most bodaciously depraved, Bizarro-World Web memes—partly because they’re the strange attractors in our chaos culture, so to speak. In the sciences of chaos and complexity, it’s when systems are far from equilibrium that things get interesting. Not necessarily good, mind you, but inarguably fascinating. They mark the gnarly edge, as the chaos theorist (and Phil Dickian SF novelist) Rudy Rucker would say, where one state transitions suddenly into another.

My fascination with edgy phenomena also has a lot to do, I suspect, with having grown up hard by the U.S.-Mexican border, in 1970s Chula Vista—on the edge of America, in two senses: California is “where we run out of continent” in the Westward-migration sense, as Joan Didion famously observed, and San Diego—one of the most hysterically Anglo, impregnably Republican border cities in our fair Republic—is where white America draws a line in the sand between Nixon Country and that Disneyland of donkey-show depravity, Tijuana. (At least, that’s how it loomed in the gabacho unconscious of my day.) Border consciousness is edge consciousness, and even in the circle-the-wagons all-white Chula Vista suburbs of my ’70s youth, there was a percolating fear that America’s Finest City would be sucked into the libidinal attractor of Tijuana or, inversely, be overrun by the brown hordes presumably massing on the other side of the border (for which the much-feared killer bees were a tabloid metaphor), switchblades and shopping bags at the ready.

But my interest in extreme cultural phenomena has equally to do with the fact that they hyperbolize America—caricature it, melodramatize it, push the envelope of the depravity, the sociopathy, the sheer weirdness hiding in plain sight until there’s no way to avoid it. Through exaggeration, they make the subliminal liminal and, ultimately, push it into mainstream consciousness. As I say in the book’s introduction, I believe in the theory of American exceptionalism, just not as my dear friends in the Tea Party and neo-con thinktanks understand it. America is exceptional, which is to say profoundly weird: it reeks to heaven of flat-earth fundamentalism (which makes us the laughingstock of Europe, where most well-educated urbanites view religion with embarrassment); it seethes with glittery-eyed Neighborhood Watch paranoia; it incarcerates and executes more of its own citizens than any other supposedly civilized nation; it elevates radically deregulated capitalism to a state religion; it criminalizes a ridiculous drug like cannabis yet allows the whackjob survivalist fringe to conceal and carry guns in bars; I could go on. It’s gothic, it’s grotesque, it’s over the top, it’s got TruckNutz dangling from its undercarriage, it thinks Obama is a Muslim and the moon landing was faked and 9/11 was an inside job and Darwin is a rotting heap of secular-humanist hooey and anthropogenic warming is a conspiracy theory foisted on us by the Sierra Club. How can you not love this place?

My cultural criticism patrols the borders of the American unconscious because America is extreme, and the only way to understand it is to venture as far as you can, out onto its wild edge, because that’s where the purest expressions of American dread and dreams live.

AGITPROP: Arguably the most hyberbolic legacy of the twentieth century belongs to Adolf Hitler. Your book has two essays dedicated to the appropriation of his image and the impact American advertising had on Nazi propaganda. Can you delve into your findings?

MARK DERY: The essays in question, “The Triumph of the Shill: Fascist Branding” and “Endtime for Hitler: On the Downfall Parodies and the Inglourious Return of Der Fuhrer,” look at the Nazis—specifically, Hitler and Goebbels—as pioneers of branding and marketing, fiendishly artful in their use of design and the media to manufacture mass consent through misinformation, disinformation, and potent myths conjured up out of the fog of fear and hatred hanging over the German unconscious. I was struck by the Nazis’ appropriation of market-tested tricks of the P.R. trade, employed by early public-relations Svengalis such as Ivy Lee and Edward Bernays. Goebbels, especially, was a careful student of American advertising and public relations, which had taken the lessons of Freudian—and Pavlovian—psychology to heart. With a little help from Albert Speer and Leni Riefenstahl, he stage-managed the dream life of the Third Reich, dramatizing the virulent prejudices and half-baked theories that resulted, ultimately, in a Germany-shaped smoking hole in the map of Europe, not to mention the incineration of at least six million people.

Hitler, a failed painter and architect, emerges from the horrors of the 20th century as an Architect of Doom who dreamed the nightmare of Germany’s Gotterdammerung into awful reality and a Murder Artist on a genocidal scale. In using the term “artist,” I’m not mythologizing Hitler, and certainly am not applauding him. I mean, simply, that fascism (as Walter Benjamin argued) represented the aestheticization of politics—with unspeakably horrific results. Hitler’s dream was the dream of an antiseptic, genocidal utopia, a Wagnerian Germania populated by the kitschy Aryans in Nazi propaganda and purged of all ugliness, which is to say the troglodytic “subhumans” who teemed in Hitler’s anxious unconscious. It’s the Bayreuth-opera fantasy of a daydreaming sociopath who failed as an artist but managed to turn all of Europe into the stage for his dreams…and nightmares. And he did so through an unprecedented and, it must be admitted, virtuosic use of propaganda, stagecraft, and a bizarre theatrical talent that to the 21st-century eye looks laughable in newsreels but in its day whipped crowds into a mass orgy of adulation (for the Fuhrer) and ecstatic loathing (for the Other).

Not for nothing did David Bowie call Hitler the first rock star, a penetrating observation that earned him a fusillade of flak but was nonetheless dead-on. Hitler lavished endless thought on the insignias, banners, uniforms, movies, and above all architecture of the Third Reich, and branders and marketers and advertisers ever since have nursed a secret awe, even envy, for the Nazi branding machine. I mean, are Disney’s mouse ears, the McDonald’s golden arches, or the Apple logo as universally recognized as the swastika? Do any of them carry its third-rail jolt of fascinated horror (or is it horrified fascination)? The techniques perfected by Hitler and his henchmen are still used, albeit more subtly, by branders and marketers and advertisers. Long after the “thousand-year Reich” was reduced to rubble, the original mustachioed “Mad Man” continues to cast a swastika-shaped shadow over Madison Avenue, not to mention our political campaigns, reality TV, right-wing radio, and of course the attacking heads on Fox News.

AGITPROP: Two things…First, Hitler’s early life as a failed artist certainly adds a sickening twist to the origins of his need for control. How much should we rely on it as an explanation for his animosity toward the so-called degenerate artists of the Weimar period and marginal members of society in general?

Second, You seem to have a fascination with the intersection of conservative, even reactionary thought, and art. Your essay “The Prophet Margin: Jack Chick’s Comic-Book Apocalypse” is about the evangelical comic book artist Jack Chick. His “tracts” (pocket-sized comic books for the non-believers) were a staple in the Bible Belt churches of North Carolina where I grew up. Can we draw a direct line between him and the likes of Cotton Mather, or is Chick sui generis?

MARK DERY: I wouldn’t want to reduce Hitler’s moral depravity and psychopathology to an operatic tantrum over the fact that his hand-painted postcards didn’t go viral. I’m more inclined to the argument that sees him as an ectoplasmic manifestation of the uglier aspects of the German cultural psyche, at that historical moment. This isn’t to absolve him of personal responsibility, or to deny his unique evil. But Hitler gave shape to a toxic cloud of economic anxiety, bred-in-the-bone bigotry, right-wing fears of the Red Menace, and pervasive resentment over the punitive reparations demanded of Germany, after WWI, by the Treaty of Versailles. But this is the stuff of another argument. Interested readers will want to dig deep into Ron Rosenbaum’s masterful Explaining Hitler, which looks at the contesting theories about who Hitler was, and why he was.

As for my interest in conservative, even right-wing strains in American society, especially when they bubble up in the form of cultural expression, well, I believe in sleeping with the enemy. Meaning: I like to know what dark dreams trouble the sleep of the Michael Savage-Tea Party-survivalist-Alex Jones fusion-paranoia fringe, the better to understand our national id.

As well, I’m interested in art that’s marginalized by the transnational art economy and the curatorial and critical apparatuses that legitimate that economy. No less than the “lowbrow surrealism” showcased in magazines like Juxtapoz and Hi-Fructose or the fan-culture illustrations featured on DeviantArt.com or the sorts of “happy mutant” neo-retro art spotlighted on Boing Boing, the evangelical tracts of Jack Chick can be seen as a form of pop art produced and distributed outside conventional channels of art production, consumption, and critique. I should italicize the point that I’m not necessarily interested in the aesthetic merits of any of the stuff I’ve mentioned, but rather its implicit (and largely unintended) critique of the highbrow artworld and the conspiracy of curatorial and critical opinion that underwrites the market value of certain forms of commodified expression, and not others. Why Damien Hirst’s pickled sharks, and not vernacular taxidermy? Why Christian Marclay’s “The Clock” (which I happen to think is brilliant, by the way), and not some of the fan-culture mash-ups on YouTube? But this isn’t just some Duchampian dialectical move on my part. I’m equally interested in Chick as a mutant cartoonist, appropriating the commercial mass-culture form of the comic book and turning it into a vector of transmission for his virulently hateful strain of evangelical Christianity. At the same time, as you point out, Chick sits not only within the historical continuum of popular media but specifically within the tradition of Christian media, whose earliest forms include the evangelical tract, and which has now appropriated the look and feel of godless consumer culture to produce its own looking-glass world of Christian pop culture, including a defanged, evangelical-friendly take on teen culture replete with heavy metal bands, Lollapalooza-style rock festivals, movies, YA fiction, and the like. What fascinates me about Chick, and about evangelical America’s canny use of the media tropes of consumer culture, is the weird spin they put on this notion of semiotic guerrilla warfare. Critical theorists are enamored of the cultural dynamic exemplified by Situationist and punk detournement, anti-consumerist collage music by bands like Negativland, and politicized appropriation artists like Banksy, all of whom rip off and repurpose, to politically subversive or social-satirical ends, the signs, symbols, and narratives of official power or consumer culture. But by hijacking mass-media forms like the comic book or pop-culture genres like heavy metal and the YA novel, Chick and the rest of the religious right remind us that two can play this game. The irony is delicious.

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4/22/12 Film Series @ Angels Gate Cultural Center http://agitpropspace.org/2012/04/14/42212-film-series-angels-gate-cultural-center/ http://agitpropspace.org/2012/04/14/42212-film-series-angels-gate-cultural-center/#comments Sat, 14 Apr 2012 19:20:55 +0000 David White http://agitpropspace.org/?p=6217


image courtesy of trevor park 
Angels Gate Cultural Center presents four dynamic, new exhibits inspired by the unique geography, vibrant people, and rich cultural history of the South Bay communities.  Showcasing the work of  regional artists, this provocative grouping of four exhibits in three galleries explores both  sweeping and deeply personal issues of contemporary life.  Themes include the powerful influences of commerce and resource use, the geography of memories, and the boundaries of exclusion, belonging, and artistic legacy.  Angels Gate Cultural Center galleries are open to the public Monday through Friday from 11 a.m. to 5 p.m., and admission is always free.


The final screening is April 22 and start at 1pm. 


The film series is part of the Reflections on the Harbor: Our Stories and Memories exhibition year. Over the year the galleries explored the South Bay / Harbor region from multiple perspectives through the work of local and regional artists. The screenings will take place over three Sundays; March 25th, April 1st, and April 22nd and will all start at 1pm. The film titles will be revealed on March 25th.
The series, curated by noted photographer and theorist, Allan Sekula will focus on films whose protagonists interact with the harbors or waterfronts within their communities.

Following each film there will be a lively discussion regarding issues pertaining to San Pedro and the Harbor. For this screening, John Schafer and Gary Younge will lead a conversation relating specific issues raised in the film to issues currently faced by San Pedro and surrounding harbor communities. Professionals who work directly with the harbor to locals who commute past it on a daily basis, all guests are welcome and encouraged to join.


Refreshments and snacks will be served!






Allan Sekula (b. 1951, Erie, PA) is a photographer, filmmaker and writer, based in Los Angeles. He grew up in San Pedro, graduating from San Pedro High School in 1968.


His recent films include The Lottery of the Sea (2006) and Short Film for Laos (2006). The Forgotten Space (co-directed with Noël Burch) won the Orizzonte Special Jury Prize at the 2010 Venice Film Festival.


Sekula’s books include Photography against the Grain (1984), Fish Story  (1995) Geography Lesson: Canadian Notes (1996), Dismal Science (1999),  Performance under Working Conditions (2003) , TITANIC’s wake (2003) and Polonia and Other Fables (2010). These works range from the theory and history of photography to family life in the grip of military industrial complex to explorations of the world maritime economy. His work was included inDocumenta 11 (2002) and Documenta 12 (2007) in Kassel, Germany.


Recent one person shows have taken place at the Renaissance Society, Chicago, the Zacheta National Gallery of Art in Warsaw, and the Ludwig Museum, Budapest.


He exhibits regularly with Galerie Michel Rein, Paris and Christopher Grimes Gallery, Santa Monica and teaches at the California Institute of the Arts.



Programs are made possible by the generous support from the National Endowment for the Arts through the American Reinvestment and Recovery Act, Sony Entertainment, ConocoPhilips, California Community Foundation, Boeing, Coastal San Pedro Neighborhood Council, Central San Pedro Neighborhood Council, California Arts Council, the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission and City of Los Angeles Department of Cultural Affairs.


For more information, please visit www.angelsgateart.org.



Open Studios 2011

OPEN STUDIOS DAY  - MAY 20                       Click on image for more info. 
earth day at PVPLC
Click on image for more information. 
About Angels Gate Cultural Center 

Angels Gate Cultural Center unites art, community and culture:

We bring art and culture to the community through interactive classes, gallery exhibitions, professional artists’ studios, art education programs and cultural events.
Programs are made possible by the generous support from the National Endowment for the Arts through the American Reinvestment and Recovery Act, Sony Pictures Entertainment, California Community Foundation, ECF Boeing, ConocoPhilips, Coastal San Pedro Neighborhood Council, Central San Pedro Neighborhood Council,California Arts Council, the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission and City of Los Angeles Department of Cultural Affairs.



 Angels Gate Supporter Logos

Angels Gate Cultural Center is an independent 501c3 nonprofit operating in partnership with the City of Los Angeles Department of Recreation and Parks.

For further information please visit our website www.angelsgateart.org or email us at info@angelsgateart.org.
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4/14/12 eat.here.now @Art Produce Gallery http://agitpropspace.org/2012/04/13/41412-eat-here-now-art-produce-gallery/ http://agitpropspace.org/2012/04/13/41412-eat-here-now-art-produce-gallery/#comments Sat, 14 Apr 2012 00:17:02 +0000 David White http://agitpropspace.org/?p=6181
April 14 – May 13, 2012
Opens Saturday April 14, 6-9pm

eat.here.now  is an investigation into how we can re-imagine our cities to be near food. Built-out communities like North Park have few open spaces waiting to become urban farms. What if the capacity to grow our own food is hiding in plain sight?  What if the public reclaimed public space?

What if streets + roofs + yards = food?

And local food = fuel savings + water savings + healthier communities + social justice?  We can start right here, right now.


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4/14/12 COLLIDE in east village sponsored by Sezio http://agitpropspace.org/2012/04/12/41412-collide-in-east-village-sponsored-by-sezio/ http://agitpropspace.org/2012/04/12/41412-collide-in-east-village-sponsored-by-sezio/#comments Thu, 12 Apr 2012 19:15:02 +0000 David White http://agitpropspace.org/?p=6213  


Sezio & LWP Group are teaming up to present COLLIDE, a one-night take over of a newly-renovated
1912 apartment building on 9th & Broadway in San Diego’s East Village. Art, music, craft beer & cocktails
will fill the hallways and rooms of the five-story Community @ Carnegie building on Saturday, April 14th.


Vintage apartments will be transformed into art installations, pop-up shops, and mini bars.

There will be
beer bars from Karl Strauss & Stone Brewing, cocktails from El Dorado, and street-side grub from MIHO.

Here’s the complete artist roster: Exist 1981, Spenser Little (pictured below), Charles Bergquist,
Michael Delaney, Neko, Walker McCullough, DieKuts, James Noland, Angella d’Avignon, Matthew
Bradley, DOUBLE BREAK, Wes Bruce, Morgan Manduley, YELLER, Louis Schmidt, Christina Tsui,
Mike Maxwell, Abel Guzman, Katherine Powers, & FEELIT.


The event will last from 6-10pm and will be open to all ages. There will be a $5 cover charge that will go
directly to Sezio, helping us continue to feature San Diego art & music on our website and at our events.
We hope to see you there!


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4/14/12 IMMATERIAL ERGONOMICS @ Space4Art http://agitpropspace.org/2012/04/12/41412-immaterial-ergonomics-space4art/ http://agitpropspace.org/2012/04/12/41412-immaterial-ergonomics-space4art/#comments Thu, 12 Apr 2012 19:11:29 +0000 David White http://agitpropspace.org/?p=6206 IMMATERIAL ERGONOMICS

Brice Bischoff
Matt Sheridan
Maria Walker
Ryan Perez

Opening Reception

April 14, 2012   
6-10 pm
325 15th Street, San Diego
35 Open Artist Studios
Music by Michael Trigilio(starvelab)
Outdoor Installation by Anna Chiaretta Lavatelli
Local Libations and MIHO Gastrotruck
Immaterial Ergonomics brings together four artists from both coasts who share an affinity for material transcendence. Their innovative, contemporary work represents a range of hybrid practices: sculpted canvases, painted videos, printed sculptures and digital processes, which turn traditional mediums on their head. The four artists share a goal: to head toward representational objects, only to sidestep the familiar at the last moment. And drift past.
The work will be celebrated with an incredible reception that includes high-caliber music performance art by UC San Diego art teacher Michael Trigilio, and a one-night-only installation by San Diego artist Anna Chiaretta Lavatelli.AND ON THE SAME NIGHT…
Collision Course: Mapped Exploration of Art in the East Village

By sheer coincidence, but with much excitement, for one night only the East Village will come alive with art. San Diego’s leading and most innovative non-profit art organizations will all be exploring their divergent visions for contemporary art in San Diego. All this will happen within walking distance, something rare in San Diego. From 9th Avenue to 15th Street there will be over 30 artists work on view that night. Use the map below to find your way.
Facebook Event Page
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4/13/12 Everything, All the Time, Always -New work by Sadie Barnette @ Double Break http://agitpropspace.org/2012/04/11/41312-everything-all-the-time-always-new-work-by-sadie-barnette-double-break/ http://agitpropspace.org/2012/04/11/41312-everything-all-the-time-always-new-work-by-sadie-barnette-double-break/#comments Thu, 12 Apr 2012 00:10:54 +0000 David White http://agitpropspace.org/?p=6170 *FOR IMMEDIATE RELEASE*




Everything, All the Time, Always

New work by Sadie Barnette

Opening Reception: Friday, April 13, 2012 (6-10PM)


Double Break is thrilled to announce Everything, All the Time, Always, a solo exhibition of new work by Sadie Barnette. Using drawing, photography, and objects, Barnette constructs “a visual language system out of sub-culture codes and West Coast vernacular, economic formalism, text, and abstractions.” Her work stems from an investment in place and location, though it is the notion of specificity itself, rather than any specific locale that she is most compelled by. Projecting outwards from a place, say Oakland, California, she is invested in the study of location, the “weight and content of the specificity of the local.” This study begins in one place, but it can go anywhere. Specificity is universal; Barnette’s findings are urgent. The poetics of her gesture and the fineness of her line illuminate this urgency, these fragile yet tenacious binaries. It is within the sumptuousness of brilliant, saturated color in a lush tumble of sneaker-laces; the allure and impossibility of a sky made of glitter; the harsh perfection of the grid, flexible but absolute; and the velvet, tactile softness of graphite that an uncompromising yet generous commitment to the real and the specific lie. In Barnette’s work, what is at stake is “the gravity of the urban as fantasy; extra-legal economies; luxury as drug; counterfeit capitalism; glitter as hypnotic; outer space as head space; the everyday as gold, family, and lived identity experience; and the party.”


For Everything, All the Time, Always, Barnette will take over the entirety of Double Break–from front window to back wall–filling the space with a combination of large-scale graphite drawings, color photographs, site-specific wall-works, editioned multiples, and discreetly altered found objects. Furthering her explorations of place and location through the specificity of the gallery/shop context,Double Break–gallery and shop, local arts venue and regional/national cultural space, microcosm and macrocosm–will serve as an “inset” of focused investigation within the territory of Barnette’s broader personal and cultural purview. In taking over the space entirely, she will highlight and attend to the symbiotic nature of the gallery/shop relationship, creating a unique viewing experience unlike anything yet seen at Double Break.


Sadie Barnette is from Oakland, CA. She received her BFA from the California Institute of the Arts in 2006, and is currently an MFA candidate in Visual Arts at the University of California, San Diego. Her work has been featured in numerous solo and group exhibitions in San Francisco, Los Angeles, and San Diego. Recent shows include More Real Than Life at Southwestern College (San Diego), Last Time It Was Gray at Park Life (San Francisco), and Light/Weight at Zughaus Gallery (Berkeley, CA). She was a 2011 artist-in-residence at UCSD’s Thurgood Marshall College, and her book Plus Onewas released in 2010 by San Diego-based publisher Gravity and Trajectory.


Opening Reception: Friday, April 13, 2012 (6-10PM)

Exhibition runs through Saturday, May 12, 2012

Free and open to the public!



Drawing Jam #2: Monday, April 30, 2012 (8PM-Midnight)

Ten local artists, including Sadie Barnette, will be at the Tin Can Alehouse all night drawing, listening to music, chatting with the crowd, and selling their creative labors for affordable prices!


Special Closing Party with Broken Heart Tattoo: Saturday, May 12, 2012


Double Break

1821 5th Ave

San Diego, CA 92101






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4/12/12 THURSDAY Matthew Coolidge of Center for Land Use Interpretation 5:30 PM @ USD http://agitpropspace.org/2012/04/11/41212-thursday-matthew-coolidge-of-center-for-land-use-interpretation-530-pm-usd/ http://agitpropspace.org/2012/04/11/41212-thursday-matthew-coolidge-of-center-for-land-use-interpretation-530-pm-usd/#comments Wed, 11 Apr 2012 21:04:16 +0000 David White http://agitpropspace.org/?p=6135 Spring 2012 Lecture Series APRIL 12 @ 5:30 PM THURSDAY Matthew Coolidge: Artist Talk Warren Auditorium

(Map: http://g.co/maps/ge5x9)

If you teach, please bring, or send, your class.

For more information about Matthew Coolidge and the Center for Land Use Interpretation (CLUI): www.clui.org

Matthew Coolidge is the founder and director of the Center for Land Use Interpretation, an education and research organization based in Los Angeles, established in 1994. The CLUI takes a broadly interdisciplinary approach to the investigation of land use, drawing on the natural sciences, sociology, art, architecture, and history in order to increase and diffuse knowledge about how land in the United States is apportioned, utilized, and perceived. The Center produces public programs such as tours, lectures, and events, publishes books, and web resources, including a web site with a searchable database of “unusual and exemplary” land use in the United States. The work of the Center has been presented in museums, universities, and noncommercial exhibit spaces across the United States, and Europe. Coolidge teaches in the curatorial practice program at the California College of the Arts in San Francisco. He is the author and editor of several books, including Overlook: Exploring the Internal Fringes of America with the Center for Land Use Interpretation, and The Nevada Test Site: A Guide to the Nation’s Nuclear Proving Ground.


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4/11/12 Musical Concert: Sitar Master Kartik Seshadri http://agitpropspace.org/2012/04/09/sitar-master-kartik-seshadri/ http://agitpropspace.org/2012/04/09/sitar-master-kartik-seshadri/#comments Tue, 10 Apr 2012 03:36:59 +0000 Perry Vasquez http://agitpropspace.org/?p=6119
Kartik Seshadri

Kartik Seshadri

World-renowned sitar master and music faculty member KARTIK SESHADRI performs April 11 at 7 pm at UCSD’s Conrad Prebys Concert Hall.

Kartik’s CD “Sublime Ragas” was named one of the Top of the World Top 10 CDs by Songlines magazine. The Washington Post has praised his music for its “expressive beauty, rich tonal sensibility, and rhythmic intricacy.”

Kartik collaborates with world-renowned artists including Philip Glass, and he is dedicated to authentic Indian classical music as introduced to America in the sixties by his mentor Ravi Shankar.
Kartik is a prolific composer whose Concerto #1 for Sitar and Chamber Orchestra received its world premiere in San Diego last October. He heads the Indian Classical Music program in the Department of Music at UCSD.

For tickets to the April 11 concert, call the Department of Music Box Office: (858) 534-3448.

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4/7/12 Literary Art: Kelli Anne Noftle & Julia Bloch http://agitpropspace.org/2012/03/19/kelli-anne-noftle-julia-bloch-agitprop-on-april-7/ http://agitpropspace.org/2012/03/19/kelli-anne-noftle-julia-bloch-agitprop-on-april-7/#comments Mon, 19 Mar 2012 20:10:16 +0000 Lorraine Graham http://agitpropspace.org/?p=6082 After a brief hiatus in March, we invite you to join us for a reading by Kelli Anne Noftle and Julia Bloch at Agitprop on Saturday, April 7 at 7pm.

Kelli Anne Noftle

Kelli Anne Noftle grew up in Lynchburg, Virginia. She has a B.A. in Visual Art and is a graduate of the Master of Professional Writing Program at the University of Southern California. Her first collection of poems, I Was There For Your Somniloquy, was selected by Pulitzer Prize winner Rae Armantrout for the Omnidawn Book Prize. Her work has appeared in several literary journals including Colorado Review, The Journal, VERSE, Blackbird, Cream City Review, Conduit, and Harvard Summer Review among others.

Both musically and lyrically, Kelli has collaborated and performed with several bands in Southern California. Her singer/songwriter project is Miniature Soap and her debut solo album, I Don’t Like You, is a collection of songs sonically divided into sets of three.

Julia Bloch

Julia Bloch grew up in Northern California and Sydney, Australia,  earned an MFA at Mills College and a PhD at Penn, and is the author most recently of Letters to Kelly Clarkson (Sidebrow Books). She is an editor of  Jacket2 and lives in Los Angeles, where she teaches literature at the  Bard College MAT program.

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3/22/12 Woodbury University San Diego Lecture: Luis Aldrete 6:30pm http://agitpropspace.org/2012/03/18/32212-woodbury-university-san-diego-lecture-luis-aldrete-630pm/ http://agitpropspace.org/2012/03/18/32212-woodbury-university-san-diego-lecture-luis-aldrete-630pm/#comments Mon, 19 Mar 2012 06:51:52 +0000 David White http://agitpropspace.org/?p=6052 3/22/12 Woodbury University San Diego Lecture: Luis Aldrete 6:30pm

Architect Luis Aldrete is from Guadalajara, Mexico. He established Luis Aldrete Arquitectos in 2007. His practice comprises of a body of work related to public and residential comissions and international competitions. Particular projects include a public shelter building along the traditional La Ruta del Peregrino pilgrimage in Mexico. The work is series of contemporary concepts taking advantage of traditional materials and methods of construction.


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3/24/12 SUSPICIOUS HACKAGE ~ FMATH LORENZ ~ OPENING RECEPTION -disclosed UnLocation http://agitpropspace.org/2012/03/17/32412-suspicious-hackage-fmath-lorenz-opening-reception-disclosed-unlocation/ http://agitpropspace.org/2012/03/17/32412-suspicious-hackage-fmath-lorenz-opening-reception-disclosed-unlocation/#comments Sat, 17 Mar 2012 22:52:00 +0000 David White http://agitpropspace.org/?p=6035 SUSPICIOUS HACKAGE ~ FMATH LORENZ ~ OPENING RECEPTION

Saturday, March 24, 2012

6:00pm until 10:00pm

As an artist working in the field of repurposed electronic devices, I usually work with second-hand or found objects. An old suitcase gets filled with the chopped innards of a boom box and becomes a cold war karaoke machine. A World Atlas with a walkie talkie hidden in it’s hollowed out pages becomes an oversized talking text. While transporting these hand-held devices from place to place, I am often asked to explain my creations to concerned authorities or curious passersby.

As one might imagine, reactions range from amusement to alarm. This installation features an array of custom-made gadgets (known as “snuitcases”) and the stories of how they have traveled far and wide to get to where they are now.

fmath lorenz is an educator, veteran, and technologist.

Wines, Snacks. The usge.. ;p

1925 30th st SD CA 92012 ~ unLocation.com

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3/20/12 Artist Micheal Rea at SDSU http://agitpropspace.org/2012/03/14/32012-artist-micheal-rea-at-sdsu/ http://agitpropspace.org/2012/03/14/32012-artist-micheal-rea-at-sdsu/#comments Wed, 14 Mar 2012 12:03:12 +0000 David White http://agitpropspace.org/?p=6029 Chicago Based Artist Mike Rea Lectures at SDSU

Tuesday March 20, 2012 at 7pm

Art North Room 412, SDSU



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3/14/12 Steve Shoffner Boehm Gallery at Palomar College http://agitpropspace.org/2012/03/14/31412-steve-shoffner-boehm-gallery-at-palomar-college/ http://agitpropspace.org/2012/03/14/31412-steve-shoffner-boehm-gallery-at-palomar-college/#comments Wed, 14 Mar 2012 11:43:25 +0000 David White http://agitpropspace.org/?p=6025

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