UCIrvine University Art Galleries

	Twentieth Century Sculpture 1900/1950- John Coplans- UCI University Art Gallery- 1965 Twentieth Century Sculpture explores the shift of sculpture from a durable art form of the past, which was primarily linked with architecture to a new fragile form of sculpture in the twentieth century. The exhibit highlights the new shift in twentieth century sculpture and showcases the sculptors' new use of mediums and techniques to emphasize emotion and expressiveness through sculpture. The exhibit included sculptures by Picasso, Lipchitz, Duchamp, and Matisse.
	Five Europeans-John Coplans- UCI University Art Gallery- 1966 The exhibit focuses on the art works of Europeans Francis Bacon, Balthus Klossowski de Rola, Jean Dubuffet, Alberto Giacometti, and Giorgio Morandi. Although the five Europeans share no common aesthetic, they are united by their prominence as Europeans artists, their recognition as artists after World War II, as well as, their "metaphors of human plight" and existentialism which is discretely expressed through their art.
	Abstract Expressionist Ceramics- John Coplans- UCI University Art Gallery- 1966 The Abstract Expressionist Ceramics exhibit focused on the revolutionary advancement of ceramic art in the 1950s. The advancement was due in large respect to a group of artists on the West Coast who became deeply involved in the creation of abstract ceramics in the 1950s. Ceramics is commonly viewed as a minor art and is often referred to as a craft. For this reason only little recognition is given to the advancements made by the group of West Coast artists. Among this group of artists were Billy Al Bengston, Michael Frimkess, John Mason, Malcom McClain, Manuel Neri, Kenneth Price, Henry Takemoto, Ron Nagle, James Melchart, and Peter Voulkos.
	Charles Mattox: Kinetic Sculpture- John Coplans- UCI University Art Gallery- 1967 When asked what he sculptures to express, Charles Mattox explained he desired to reflect technology that conditions our culture. Mattox was provoked to create his first kinetic sculpture after reading the analyses of Siegfried Gideon and Lewis Mumford on technology. Mattox was not interested in using manipulating technological forms, but rather in creating kinetic sculptures that were symbolical for the forces changing culture in the 60s. Further, he reflected the West coast origin of his works by incapsulating his sculptures in finished surfaces like those of popular drag automobiles. Even when his kinetic sculptures were not in motion, they stood as “strong sculptural configurations”.
	A Selection of Paintings and Scupltures from the Collection of Mr and Mrs Robert Rowan-John Coplans- UCI University Art Gallery- 1967 Various artworks selected from the collections of Mr. and Mrs. Robert Rowan including works by Roy Lichtenstein, Kenneth Noland, Morris Louis and Andy Warhol, as well as works by many other notable artists.
	A Selection of Nineteenth and Twentieth Century Works: The Hunt Foods and Industries Museum of Art Collection- Judith Winder,et al.- UCI University Art Gallery- 1967 In 1954 The Hunt Foods and Industries created a foundation to establish a Museum of Art Collection. This exhibit is comprised of European and Oriental works of all periods that have been collected by the Hunt Foods and Industries under the leadership of Mr. Norton Simon.
	Melanesian Art- William Davenport- 1967 This anthropological exhibit is composed of art work from the Lowie Museum of Anthropology. The exhibit highlights the culture and art of the Melanesians in New Guinea and its adjacent cluster of smaller islands, the Solomon Islands, the Santa Cruz Islands, the New Hebrides islands, New Caledonia, and Fiji.
	Twentieth Century Works on Paper- James Monte- UCI University Art Gallery- 1968 This 1968 joint exhibition by Universities of Irvine and Davis is a “visual anthology of intimate works on paper by artists who have contributed in a significant manner to twentieth century art”. The purpose was to allow viewers the opportunity to “study and compare” the featured works “for an insight into the process of visual thought” and to contradict the popular idea the twentieth century art moves in a linear fashion. It does this by putting the greats such as Braque, Klee, and de Kooning in context with one another, and shows how their different styles, influences and techniques make use of the same medium—paper.
	Assemblage in California- John Coplans, et al.-UCI University Art Gallery-1968 This exhibit explores assemblage art produced by an underground group of artists from California. This underground group does not seek to create art, rather they attempt to promote a lifestyle. However, what is created through the promotion of their lifestyle is undoubtedly art. Assemblage art is constructed through discarded and dilapidated objects which are compiled to form artwork full of "literary, symbolic, and visual metaphors". However, the meaning of the majority of these symbols remains confined to those on the inside of this underground group.
	Faculty '68- Fidel A. Danieli, et al.- UCI University Art Gallery- 1968 Faculty '68 exhibits the art work of the University of California, Irvine's School of Fine Arts' faculty. Included in this exhibit are works by distinguished faculty members Tony Delap, Robert Irwin, Vija Celmins, Craig Kauffman, and Richard Smith.
	New York: The Second Breakthrough, 1959-1964- Alan Soloman- UCI University Art Gallery- 1969 New York: The Second Breakthrough is a compilation of artwork dating form the first half of the 1960s-- a decade of extreme artistic culmination in New York. The exhibit is unique in that it brought to Irvine works that had yet to ever been displayed in Southern California. The exhibit is composed of contemporary artwork by distinguished artists such as Jasper Johns, Kenneth Noland, Jime Dine, and Robert Rauschenberg.
	Craig Kauffman- Craig Kauffman- Pasadena Art Museum- 1970
	Landscape in the Graphic Arts: 15th to 19th Centuries- Linda and George Bauer- UCI University Art Gallery- c 1970 This exhibit examines manifestations of landscape art throughout the fifteenth century Europe. Landscape art, as presented by Linda and George Bauer, is in this exhibit, the means by which the fifteenth century man was able to formulate and portray new conceptions and reasonings of the natural world around him.
	Five Sculptors: Andre, Flavin, Judd, Morris, Serra- UCI University Art Gallery- 1970
	Five Los Angeles Sculptors- UCI University Art Gallery-1970 The five Los Angeles sculptors featured in this exhibition, though without a shared group affiliation, exhibit a number of qualities in common with one another. Most importantly, perhaps, there is a purposeful suppression of autobiographic incident (the record of an artist's hand, etc.) in their work. Each sculptor relies on simple, essential forms--such as Larry Bell's cube, or John McCracken's pyramid, which at first glance may come across as unoriginal and mass-produced, but upon further examination are as characteristic as "a brushstroke of de Kooning's".
	Roy Lichtenstein: Graphics, Reliefs, & Sculpture- John Coplans- UCI University Art Galley- 1970 The purpose of this 1970 exhibition was to commemorate the opening of the permanent Art Gallery at the University of California, Irvine. Included are Lichtenstein's interpretations of Monet's serial Haystack and Cathedral images. This exhibition also included images that draw somewhat from the Thirties' style heads from artists like Alexi Jawlensky. Like many artists before him, he forms a short dialgoue with his forbearers. Using images well-known from the annals of art history, he reinterprets them, and makes them his own.
	Nine Artists- UCI University Art Gallery- c 1970
	Milton Avery: Late Paintings 1958-1963- Stephanie Gordon Noland- UCI University Art Gallery- 1971 Milton Avery is a historically important painter because he (as well as Hans Hofmann) "kept Fauvist concerns alive when Abstract Expressionism, with its adaption of Cubism, held sway in America as the dominant force in modernist painting". His work exhibits interest in the Fauvist concern with colour, rather than the more contemporary Cubist interest in line. His work is much more representational than his contemporaries like Mark Rothko, though his use of colour was indeed an influence in their work. This exhibition of his later work underlines the importance he had in the history of twentieth century art.
	John McLaughlin: Recent Paintings 1970-1971- John Coplans- UCI University Art Gallery- 1971 Painter John McLaughlin's work is similar to the work of the Russian Constructivists and De Stijl group in that it employed the same notion of pure painting. Unlike them however, he did not reference their notions of dynamic equilibrium and was not interested in what colour could be made to do as colour. He very interestingly "minimizes paint in order to avoid any impression of its physical presence". This exhibition shows his work is an attempt to "exorcise all references to the slightest trace of the everyday world", and is not, like Mondrian's somewhat superficially aesthetically similar work, a way to look at "aesthetic evolution as spiritual enlightenment."
	Throwing a Ball Once to Get Three Melodies and Fifteen Chords- John Baldessari- UCI University Art Gallery- 1973
	Maria Nordman: Saddleback Mountain- Hal Glicksman, et al.- UCI University Art Gallery- 1973 In an interview with Maria Nordman, Barbara Haskell, Curator of the Pasadena Musuem of Art and Hal Glicksman, Director of the Art Gallery, University of California, Irvine, pry for answers and share their interpretations of Nordman’s work. Barbara describes Nordman’s construction which begins with an small entrance and opens to a wider mirrored hallway and then room, confined and pacified her. While she experienced serenity in the space, Glickson was visually enamored with the space. Nordman’s construction was visually and spacially perplexing; inviting viewers to wander into and thus instantaneously experience abstract art in a new way, viewers perceived themselves as part of an entire different world where their intellectual apparatus is denied time to compute information.
	Los Four: Almaraz- UCI University Art Gallery- 1974 The four dynamic and soulful Chicanos in this show come from a range of backgrounds within LA and outside, in parts of Mexico. Their path through college and religious anecdotes can be visually interpreted from the documentary images in this catalogue. Their humble beginnings and personal responses at the end of the catalogue depict a unique period in the history of Chicano art, varying from the skilled artist to the radical artist.
	Private Spaces: An Exhibition of Small Scale Sculpture- Melinda Wortz- UCI University Art Gallery- 1975 The title of the 1975 University of California, Irvine exhibition Private Spaces "refers to the involvement of the viewer in the spaces of his or her own mind, as well as the artists’ use of personalized imagery in small enclosed spaces". Anthony Berlant, Joseph Cornell, David Furman, Robert Graham, Roland Reiss, and Horace Clifford Westermann, the six artists featured in "Private Spaces" can be seen as rejecting the "heroic tradition of Western sculpture", while simultaneously incorporating aspects of the Surrealist tradition in their pieces. For example, Anthony Berlant's work can be seen as recalling aspects of Marcel Duchamp's work in his use of readymades and found objects. The works featured are interested with poetic metaphor and mystery, rather than the abstract, intellectual dialogue present in earlier collage/readymade works such as those by artists such as Picasso, which makes them unique in this tradition. It can be said that the works in this exhibition speak to the "Jungian, collective symbologies in each of our psyches". It is also possible, given the "unorthodox uses of media and imagery [they] exemplify provocative extensions of the language and structure of art-making."
	University of California Irvine: 1965-1975- Melinda Wortz- La Jolla Museum of Contemporary Art- 1975 The primary aim of this exhibition was a general “documentation, rather than a [more specific] demonstration of purely aesthetic taste”. The artists included have either (or both in some cases) taught or attended the University of California, Irvine. In fact, “nearly every prominent Southern California artist of [this] period has taught or lectured at Irvine, as have Richard Smith, David Hockney, Robert Morris, Barbara Rose, Phil Leider, and John Coplans”. Also included in this catalogue are responses from faculty and students, which show that it is “quality of communication” that “is the most positive aspect of the student/faculty relationship at Irvine. Thus it functions as stated above, this catalogue functions both as a catalogue of the exhibition and a document of this period in the University Art Department’s history.
	Peter Lodato- Melinda Wortz- UCI University Art Gallery- 1975 This compilation of works by Peter Lodato explores the idea of illusion and space including its symbolic allusionistic powers, representations, and the parallels that exists between psychological space, physiological space, color, and light.
	Helen Pashgian- Melinda Wortz- UCI University Art Gallery-1975 After living and receiving her post-bachelorette Art History degrees on the East Coast, Pashgian moved back to Southern California. In Southern California, she was found a favorable working environment, preoccupying herself with the rendering of natural light. Noted by the curator Melinda Wortz, Pashgian used her art activity as a vehicle for the exploration of perceptual process, as opposed to conceptual theory. Later, she was compelled to work with resin that captured light within as well as on the surface. Influenced by Jack Brogan, Pashgian’s interest in resin and observations of light matured. Dissatisfied with cast resin as a sculptural medium and she transferred resin onto canvas, creating smooth surfaces not associated with resin. On these canvases, Pashgian created images that were solely defined by light, such as red and green ribbons. Wortz asserts, Pashgian’s rendered illusions of light during this artistic period in Southern California can be paralleled to mystical, even religious notions of enlightenment.
	Hap Tivey: Fourth Situation-University California, Irvine- 1976 In this solo-exhibit the use of fluorescent tubes stimulates a subjective experience with light. In other words, each visitor’s body against the light juxtaposes unique shapes with eyelashes, horizons, and edges. The artist, Hap Tivey recounts experiencing light in the world within the conventions of vision, and also inside the chamber where his consciousness freely examines the moment—light becomes mystical and omnipresent. “Light has no back”. Curator, Melinda Wortz describes Tivey’s minimalism denies physicality, engendering an ephemeral experience.
	Marc van der Marck: 48 Rugged Wheels in 7 Ways- Marc van der Marck- 1976
	Edward S. Curtis: The Kwakiutl 1910-1914- Leland Rice- UCI University Art Gallery- 1976 This exhibition of previously unpublished images of the Kwakiutl Indians by Edward S. Curtis would be better described as an anthropological endeavor than an artistic one. The Kwakiutl are a large number of blood related tribes based on the coast of British Columbia. These images document the “spiritual convictions and deep rooted mysteries” of the “elaborate festivals” of this people. The images themselves are examples of both naturalistic photography and pictorialism. They are both historical documents and artistic images. It is possible to see in this series of images how Curtis embraced the roles of artist and social historian effectively.
	Female Fantasies- Melinda Wortz- UCI University Art Gallery- 1977 The artists included in the 1977 exhibition Female Fantasies are “reflective of the…1970’s through their interest in combining personalized, fantasy content with stylistic or thematic material of other art historical periods”. The works, as many female artists’ work of the period are “engaged either directly or indirectly with some form of social comment”. Many of the pieces draw directly from art historical precedent, such as the use of Surrealist techniques in Jo Anne Bourgault’s Fish and Blimp and inspiration drawn from Ingres’ Odalisque in Jan Lester’s Odalisque #2: The Cat Girl (To Caress Me Is…). Perhaps most important is that the pieces integrate both art history and life experience in innovative ways.
	Richard Jackson- Melinda Wortz- UCI University Art Gallery- 1977 Richard Jackson’s early interaction with artwork was behind the scenes. Preparing work for installation at the Pasadena Museum made him aware many works lost their visual power if a viewer stood at a far distance. That evaluation, combined with his appreciation for site-specific works developed while packing and moving an art collection throughout the world, created a certain philosophy for his site-specific installations. Influenced by Jackson Polluck, he proposed art work was a particular space with it’s own inherent characteristics. He had an “aptitude and inclination” for building based on his academic training in engineering. With his philosophy and hands, he amassed an amalgam of painting, sculpture, process and environment. Most of his works in Irvine gallery are three-dimensional utilizing the space. Literally and figuratively Jackson work deliberately challenges the viewer to engage with art. Constructing his grand colorful art works with meticulous detail, Jackson’s work stimulates a unique visual and spacial relationship with viewers.
	Fetish to Physics- Ilene Segalove and John Arvanites- A Left Handed Production- California State University, Los Angeles- University of California, Irvine- 1978 This show is composed of images that depict people engaging with items and instruments that evoke the laws of physics. In many cases, two images are displayed next to each other effectively composing a sequence of two events: An image of a girl staring at a lighted lamp intensely is displayed alongside an image of the same girl, minutes later, who is delighted in the dazzling colors she sees. The laws of physics and its visual affects on the people involved in the photographs, illuminates an ambiguous relationship between the processes of science and artistic practices.
	Dewain Valentine- Melinda Wortz- UCI University Art Gallery- 1979 The sculptures of Dewain Valentine play with the transparency and reflection of light. His art works to create "illusions of colored light floating in space". To achieve these illusions Dewain Valentine's primarily worked with cast resin, however in his exhibit at UAG, Valentine chose a new medium--glass. Dewain created two works formed by small, narrow strips of glass that could be placed together to easily construct and deconstruct the work of art. His first piece was a wall relief that consisted of both two and three dimensions of form. The first work took the shape of an equilateral triangle with its apex to the floor and was constructed of twenty-eight modular tetrahedrons. Valentine's second piece was a free-standing floor piece of eight sections converging in the middle to form a hexagon. It too consisted of small modular pieces to form rectangular. Valentine's new glass medium allowed for easier transport and construction while still maintaining an illusion of color, light, and space.
	Architectural Sculpture Projects- Bridget Johnson- Los Angeles Institute of Contemporary Art- 1980 ISBN: 0-938132-01-6 This catalogue is the second of a two volume series. The catalogue is composed of works from eight different institutions including the Los Angeles Institute of Contemporary Art, University of California, Irvine, Mount St. Mary's College, California State University, Dominguez Hills, California State University, Los Angeles, Chapman University, and California State University, Northridge. The exhibit included three dimensional small scale models, sculptures, and wall works which explored architectural and artistic styles of Southern California.
	Abstraction in Los Angeles 1950-1980: Selections from the Murray and Ruth Gribin Collection- Melinda Wortz, et al.- Los Angeles Institute of Contemporary Art- 1981 Abstraction in Los Angeles consists of seventy abstract works from the Los Angeles area. The exhibit brings to attention the prominence of abstract art and highlights the diversity within abstraction as well as its ability to evoke a multiplicity of experiences. The works have been taken and organized from the collection of Murray and Ruth Gribin. Artwork displayed in this exhibit include the works of John Baldessari. John Miller, Helen Pashgian, and Ed Ruscha. Curated by Jean-Luc Bordeaux.
	Israel Revisited- Nancy Berman, et al.- Beth Ames Swartz- 1982 Beth Ames Swartz’s Israel Revisited is both an “elaborate conceptual project” and “an apotheosis of art as a product of the process of life”. The pieces in this series are spawned out of the opposition of destruction and creation, and use hue as the principle mode of expression. Her work draws from a number of movements, including the Late Cubists, and to some extent, the Surrealists. Most importantly, like other female Jewish artists such as Bruria and Gilah Yelin Hirsch, one of her central influences is the Kabbalah and the Shekhinah (feminine aspect of deity).
	Tradition in Transition- Melinda Wortz- UCI University Art Gallery The common thread that ties together Bruria, Gilah Yelin Hirsch, Beth Ames Swartz, and Michele Zackheim, the four female artists in this shown in this catalogue, is their rediscovery of the “ancient, esoteric symbolism” in their shared religion—Judaism and their individual inspiration drawn from the Kabbalah. . Each artist’s work includes an “image or a reference to Shekhinah, [or] the female presence of God in the Kabbalah’s cosmology”. Other than this, there is “no [apparent] stylistic affinity in their work”. The work spans a variety of mediums, from glazed porcelain to oil paint. Despite this theme, the work can still be understood by those who known nothing about the Kabbalah, as the works featured are rich with layers of meaning applicable to nearly any viewer.
	Cork Marcheschi: Experience at Council Grove- Melinda Wortz- The Minneapolis Institute of Arts- 1982 Cork Marcheschi’s exhibition Experience at Council Grove shows the artist as both a literalist and a Modernist in that “his works are complete without reference to anything outside the materials which are presented in a straightforward manner”. His materials are found—florescent tubing, Christmas lights, transformers, electric sockets—which, given that his medium is electricity and light, allows his works to transcend both painting and sculpture.
	James Ford: A Survey 1980-1983- Melinda Wortz- UCI University Art Gallery- 1983 In this survey of his work between 1980 and 1983, James Ford uses architectural vocabulary in order to ask “how or if we can verify our human existence without markers of place and space”. This work also addresses creation and destruction and the “confluence of past, present and future in the current moment” through a juxtaposition of textures—“rough, raw plaster against smooth tile, torn layers against smoothly painted surfaces [and] luscious drools of paint”. Ford’s Constructivist sculptures are an interesting and innovative study in the fusion of the three dimensional and two dimensional in their use of painting, sculpture, and architecture.
	John Paul Jones: Dreams and Lies in the Gatekeeper's House- Melinda Wortz- UCI University Art Gallery- 1984 Jones’ devotion to creativity and rigorous experimentation encouraged him to work with many mediums. The empty space between the ghostly figures in his prints, such as Girl for Goya, Garden of Eden, Leda and the Swan, resonate art-historical, philosophical, and religious themes. The show at Irvine showcased his recent venture into woodworking, like Cockscomb Crossing and Highgate. These works encourage the viewer to conceive of Jones’ skeletal wooden sculptures as visual portals to Jones’ “archetypically existentialist vision”. Viewers who engaged with the pieces would find Jones’ work refined and somehow beautifully archaic. Entering wooden gates that revealed the past as dreamlike and false, viewers entered the sculpted space of Jones mind.
	Selections from the Merry and Bill Norris Collection- Melinda Wortz- UCI University Art Gallery- 1984 As this 1984 exhibition of selections from their personal collection shows, Bill and Merry Norris’s collection of primarily Californian artists is an eclectic and pluralistic example of contemporary art. Their focus on California is significant in a time when the art world was moving away from New York, and was discovering new international centers in places as diverse as Dusseldorf, Milan, and Los Angeles. The Norris’s are integral to the Southern California art scene. In fact Bill Norris was instrumental in the conception of the Los Angeles Museum of Modern Art. This exhibition therefore includes artists as diverse as Ed Moses and Alexis Smith, among others. Perhaps the one theme that could be said to tie this collection together is the innovation and creativity present.
	Faiya Fredman: Akroteri Series- Melinda Wortz, et al.- Mandeville Art Gallery, University of California, San Diego- 1984 A major theme in artist Faiya Fredman’s work is elucidated in her Akroteri Series. This is the idea of concealment and disclosure, “the timelessness created when the overlay of time preserves what it covers”. The mixed media images imitate the layers of time unearthed in the excavation at Thera (Santorini) which sparked this project in the first place. Her images are multi-layered, like the earth at the excavation site: “photographic image[s] overlaid with pigment, earth, and sculptural elements”. Curated by Gerry McAllister.
	John Coplans: Photographs 1989-1985- Melinda Wortz- UCI University Art Gallery- 1985 This exhibition of John Coplans work from 1980-1985 was part of a series of exhibitions commemorating the University of California, Irvine’s twentieth anniversary. Coplans was the first director of the Fine Arts Gallery from 1965-7, which makes his work appropriate in a commemoration of the University. His work is interesting work for a photographer, distinguished by his “painter’s sensibility…rather than [his] subjects or techniques”. His work is a best described as a series of “witty, provocative, occasionally elegant and always disquieting images of various stages of the human journey” that makes use of references to art historical precedent, such as his use of a Pieta in the image Susie and Jamie.
	Robyn Denny: California Paintings- Melinda Wortz- UCI University Art Gallery- 1985 Robyn Denny’s show at the University Gallery displayed works that were a departure from his previous geometrically precise imagery. Denny’s dark and luminous paintings executed in Southern California are, upon first approach, simple abstractions. The majority of the surfaces in these paintings are dark, almost black. Bringing the paintings under natural and superficial light, the layered surfaces exude colorful energy. Back in the light of the gallery, the dark surface contrasts with the prevailing clean horizontal line in the center. The rubbed and blurred glowing hues that mingle with the horizontal lines add mysteriousness to Denny’s work. Small random lyrical drops of paint further abstract the space. Viewers who attempt to narrate a composition of the lines and colors reveals their nervousness to perceive a landscape and tendency to believe images were orchestrated on a canvas. Today, Denny is an internationally celebrated artist, considered one of the founding “Brit” artists.
	Suzanne Hellmuth and Jock Reynolds: Photographs and Documents 1975-1985- Philip Brookman- Mary Potter Sesnon Art Gallery, University of California, Santa Cruz- 1986 ISBN: 093982-06-4 This catalogue details the 1985 exhibition of collaborative photographers Suzanne Hellmuth and Jock Reynolds. Their “photographic works attempt to examine the details of meaning w/in a broad area of visual material”. They use an interesting combination of “archival, documentary, and created photos in various forms of juxtaposition and manipulation” which are used to better understand the “methods of understanding the relationship and historical continuity in visual documentation”. Perhaps the most important thing about their work is its ability to raise “questions about the nature of visual information and how its manipulation and contextualization use can alter the viewer’s perception”.
	The University of California, Irvine Fine Arts Gallery: 1985-1986 20th Anniversary- Melinda Wortz- UCI University Art Gallery- 1986 Catalogue of exhibition commemorating the University of California, Irvine's twentieth anniversary. Exhibition featured works by Kim Abeles, Mark Lere, Marc Pally, Judy Baca, Tony DeLap, John Paul Jones, Art Nomura, and Sobn Sorenson, among others.
	Nick Vaughn- Phyllis J. Lutjeans- UCI University Art Gallery- 1987 This 1987 exhibition of iconoclastic artist Nick Vaughn's work is "the artist's personal inquiry into the possible and impossible behaviour patterns of human beings". His use of fabric, a material familiar to the viewer, he "creates works of art that reflect the social and physical restrictions of society". Curated by Phyllis J. Lutjeans.
	Consumer Products- UCI University Art Gallery- 1987 A collection of Graduate Student work from 1986 to 1987. The artists in this exihibit include Lee Abrahmov, Duane Baker C.P.I., Judith C. Chappus, Karin Feuerabendt-Steinberg, Martha Jackson, Alan Nakagawa, Drew Tracy Noll, John Rand, and Madison Webb.
	Symphony 8- Uta Brandes, et al.- UCI University Art Gallery- 1988 Exhibition of paintings and drawings by Jack Ox in which the elements of music become visualized in art. Tone, duration, and pitch of the beginning of a Bruckner symphony are represented through the use of small colored strips. The musical elements are combined with paintings of architecture which can vaguely be made out under the colored strips. This combination"infuses architecture with a sense of time, and music with space" ultimately appealing to all senses.
	Diversity and Presence- Sue Henger- University of California, Riverside- 1988 ISBN: 0-932173-03-9 Diversity and Presence is a compilation of artwork by female faculty members within the University of California system. The exhibit strives to unite and present the works of female artists, which until the 1980s were outnumbered by the vast number of male faculty artists. This is the first exhibit to compile the works of female faculty artists within the UC system. Kathryn Metz, Helen Harrison, and Patricia Patterson are only a few of the many female artists whose works make up this empowering exhibit.
	More Music People: Photographs by Betty Freeman- Melinda Wortz- UCI University Art Gallery- 1989 Betty Freeman’s More Music People, a series of portratis of composers was conceived following the success of Freeman’s 1972 documentary on Harry Partch. These images are “remarkable for their candid and unposed qualities, which allows us as viewers unusually intimate views of the sitters caught unaware in moments of relaxation or intense concentration”. She humanizes her subjects by showing the viewer her patrons in their own working and living environments as opposed to formally posed in her studio. The purpose of this exhibition was to “demonstrate the value of interdisciplinary projects within a School of Fine Arts”, especially in relation to the University of California, Irvine. This project has appeal for both artists and musicians—something perhaps a bit unusual for a photography series.
	Visual Poetry: A Retrospective Exhibition of the Visual Art of Jean Cocteau- Melinda Wortz- UCI University Art Gallery- 1989
	Sheila Lichacz: Selected Works 1981-1989- Melinda Wortz- UCI Universty Art Gallery- 1989 Sheila Lichacz finds inspiration in her memories as a child finding jumbling vessel and shell shards left my Indians on the beach. Like a savoir, she reconstructs the vessels and shells in her paintings in their entirety, using them as historical icons. Her iconography pays homage to ancient cultures and symbolizes the body of women who play a role in the replenishment of humanity. She varies the size, color, and composition of the vessels and shells within each painting to contrast and excentuate the historical icons she presents. She manipulates perspective, pushing vessels further into the monumental shells they nestle in and bringing vessels to the foreground removed from security of the monumental shell they resided in. A few of her paintings are diptychs attesting to a fundamental connection to religious tradition in the production of her work. Curated by Melinda Wortz.
	David Ireland: A Decade Documented-University California, Santa Cruz - 1978- 1988 ISBN: 0-939982-08-0 David Ireland’s approach beckons inquisitively: how does one make art if not by making art? Inquiring into the creativity behind artists work, Ireland provokes questions that are not necessarily answered in his work. His work, such as the glass filled jar with dust from cleaning his home, does not represent something it rather questions representation. Fundamentally, his work finds purpose in simply existing, as evidence of life, reuniting life and art. His work finds power in the philosophies of Marcel Duchamp, and related artists such as Tom Marioni that suggests through art is only art, “if so experienced”.
	The Pleasure and the Terror: An Exhibition of Landscape- Melinda Wortz- UCI University Art Gallery- 1990 The context of this show reveals there was a movement away from abstraction and a return to more figurative forms of representation. Attempting to define society beyond functional survival, Aldrich collaborated different media to communicate our relationship with nature. Aldrich’s “Sculpture found while seeking landscape” presents a resin-coated salt lick confined in plexiglass and on a pedestal. This piece explores the historical function of salt as a food preservative and therefore a life sustaining treasure to humanity, that has been reduced to a substance for humanity’s abuse. Landscape is the background settings in Richard Sedviy’s paintings symbolically functioning as the space forgotten by the society. The house-like structures he inserts into the scenery are rigid, isolated, and seemingly floating. Strong, yet uninviting, these constructions allude to Sedivy’s interest in the memory and serve as a symbol for living experiences. Reconstructing elements of reality and society in contrast and relation to nature, these two artists attempted to resurrect landscape.
	Ken Hurbert Paintings- Melinda Wortz- UCI University Art Gallery- 1990 In this catalogue Melinda Wortz, the curator for this show, describes a lecture by Henry Gledzahler at Yale University where it was stated, “There are two prerequisites for having any sense of what is of value and quality in your own time . The first is a grasp of the history of art—The other prerequisite you must have in order to come to terms with contemporary art is a thorough sense of who you are in your own time.” Using many different themes and motifs from early 20th century in his work, it would seem Hurbert is grappling with these issues.
	Carole Caroompas: Fairy Tales- Melinda Wortz- UCI University Art Gallery- 1990 Carole Caroompas's works are inspired by the scary and fascinating childhood fairy tales. Following the recent research and interpretation of fairy tales in the 1990's , Caroompas plays with the tie between fairy tales and the human psyche. Carole Caroompas studied and researched myths and legends of the past as well as contemporary myths that exist today. Carole Caroompas's exhibit represents the fairy tales of Cinderella, Snow White, Briar Rose, and many others.
	The Sigmund Freud Antiquities : Fragments from a Buried Past- Lynn Gamwell- University of New York at Binghamton- 1990 This exhibition, after premiering in 1989 at the University of Pennsylvania, came to the University California, Irvine campus with much sponsorship and support. Expanding on this exhibit, UCI organizers put together an all-day symposium to review Freud’s contribution and affects to subjects such as art, literature, religion, and group behavior. Surrounding himself with works of art that tell history, Freud reflected on the connections between the past and the present state of humanity. Freud related himself to an archeologist peeling the layers of human psyche, said the Wolf Man, one of Freud’s infamous patients. Curated by Lynn Gamwell and co-curated by Richard Wells.
	Ansel Adams: Fait Lux- Melinda Wortz, et al.- National Gallery of Art- 1991 Commissioned by the University of California's President Clark Kerr in 1960, Ansel Adams' Fait Lux is a series of photographs depicting the nine University of California campuses. The University's motto and biblical reference, Fait Lux or, rather, let there be light serves as the title to Ansel Adam's series of photographs. Each photograph artistically employs the University's motto, Fait Lux, and highlights the distinct knowledge and prestige associated with each campus.
	Pervert- UCI University Art Gallery-1995 ISBN: 1-884355-01-3 Curator Catherine Lord, describes the word pervert as inspiration for this exhibit in a range of contexts to make a point about the word: it’s ability to be reversed and define a variety of audiences. Blatantly, she embraces “pervert” as a derogatory word that was once applied to heterosexuals, appropriating it to simultaneously connect with the “standard” form of companionship and contrast with the application of it to homosexuals. Contemplatively, Lord approaches this exhibit with much forethought, wanting to organize something that would, “reflect the explosion of gay and lesbian cultural production in the ‘80s”.
	Memories of Overdevelopment: Philippine Diaspora in Contemporary Art- Wayne Baewaldt- Plug In Gallery-UCI University Art Gallery- 1996 ISBN: 0-921381-16-6 1996 marked an important year for the Philippines and Filipino diaspora as it signified the hundredth anniversary of the Philippine revolution against Spain and the fiftieth anniversary of independence from the United States. This exhibit addresses the experiences of the Filipino diaspora the through the artwork of Filipino artists centered in the United States, Canada, and Indonesia. Curated by Pamela Bailey, Cirilo Domine, Vicente Golveo, Catherine Lord, and Yong Soon Min.
	A Hotbed of Advanced Art: Four Decades of Visual Arts at UCI- Dickran Tashjian, et al.- UCI University Art Gallery- 1997 This 1997 catalogue is a compilation of four decades of visual art at the University of California, Irvine. A Hotbed of Advanced Art celebrates the array of artist who have contributed and helped to enrich UC Irvine's artist culture. The catalogue features works by Tony DeLap, Chris Burden, Robert Irwin, John Paul Jones, as well as many other recognized artists.
	Playmode- Ann Walsh- UCI University Art Gallery- 1998 ISBN: 1-884355-05-6 This 1998 exhibition was curated by Anne Walsh. It includes artists Francis Alys, Lutzx Bacher, Stan Douglas, Bia Gayatto, Joseph Grigely, Evan Holloway, and Anna Mendieta.
	Bas Jan Ader- Brad Spence, et al.- UCI University Art Gallery- 1999 ISBN: 1-884355-04-8 Bas Jan Ader is an exhibition catalogue commemorating the loss of Bas Jan Ader in 1957 curated by Brad Spence. The artist taught, created, and exhibited work at the University of California, Irvine. The exhibition catalogue recognizes and honors the diverse works of Bas Jan Ader. Having been born in the Netherlands and living in California the artist's works became uniquely defined by both his Los Angeles and Dutch identity creating a unique hybrid of American and European art.
	Fallayavada: Bahc Yiso Project and Tribute- Yong Soon Min- UCI Unversity Art Gallery- 2005 ISBN: 1-884355-06-6 Fallayavada was a multi-media work that never reached its full completion due to Bahc's untimely death. Curated by Lee Young Chul, Jung Hunyee, and Yong Soon Min, the incomplete plans of Bahc Yiso's work are brought into realization by closely following the artist's drafts to create a falling device with a video camera as well as a viewing arena in which to view the contents of the camera. Fallayavada holds closely to Yiso's other works with its use of inexpensive, everyday materials, which the artist used to critique Korea's anxious desire for modernization, as well as, the nature of human communication and the frustration produced in the process of translating. The exhibit presents the endless repetition of birth, maturity, pain, and death through a vertical journey.
	Paradox and Practice- Juli Carson, et al.- UCI University Art Gallery- 2007 ISBN:978-1-884355-07-3 "Paradox and Practice: Architeture in the Wake of Conceptualism presents seven projects that re-imagine key strategies of historical Conceptualism through the operation of paradox. Specifically, the classical Aristotelian notion of 'site'-conceived as a distinct physical space-is rejected. These artists instead play with a paradoxical notion of site, one existing between art and architecture, and by extension, memory and presence. From this unique position, recent cultural debates concerning public space, nationalism and identity are reconsidered." This exhibition included artists Molly Corey, Fallen Fruit, Gaylen Gerber, An Te Liu, Dorit Margreiter, Florian Pumhosl, and Katya Sander.
	MFA Thesis Exhibitions 2007- UCI University Art Gallery- 2007 A two part exhibition of the UCI Studio Art Department's second full class to complete the three-year graduate program.
	transPOP: Korea Vietnam Remix- Viet Le & Yong Soon Min- Arko Art Center, Arts Council Korea- 2008 TransPOP is a compilation of sixteen contemporary Vietnamese, Korean, and United States artists whose art focuses on the shared history, turmoil, and pop culture of the three countries. The exhibit strives to highlight the shared history of "a highly accelerated modernization process with militarized roots and the Cold War" within Korea and Vietnam. Min Hwa CHOI Chul-Hwan, Sowon Kwon, and Bae Young Whan are only a few of these sixteen artists who, through their art, emphasize the historic link between Vietnam and Korea and the countries' present links to one another, as well as its link to the Korean and Vietnamese diaspora in the United States.
	Steven Criqui: A Retrospective/ Memorial- Kevin Appel, et al.- UCI University Art Gallery- 2008 ISBN: 978-1-884355-09-7 Steven Criqui (1964-2007), lecturer in the Studio Arts department from 1995-2006, was remembered in a survey exhibition at the University Art Gallery January 10th thru February 9th, 2008. The exhibition spanned over 20 years of Criqui's practice from early whimsical biomorphic abstractions through his innovative fusion of digital media and painting. His final body of work, which realizes his vision in its most seamless form, was exhibited here for the first time.