Posts Tagged ‘California College of the Arts’

The Garden as Protest Posted on June 3, 2009 by Adrienne Skye Roberts

Last month I attended a lecture sponsored by the Townsend Center for Humanities at UC Berkeley by local author, Rebecca Solnit entitled “If Gardens are the Answer, What is the Question?” Solnit, whose work ranges in topics from San Francisco geographies, to the history of walking, to landscape, gender, and art, addressed the recent popularity of gardens as educational tools and community resources in schools, rehabilitation centers, churches, and of course, the lawn of the Obama’s White House. Solnit considered the garden as an answer to the corporate farming industry, to American’s alienation from food, and to the development of safe, urban neighborhoods.

FARM

The vegetable and herb garden planted on Hooper Street by FARM

Robyn Waxman, a Graduate Design student from the Calfornia College of the Arts (CCA) confronted similar questions as she embarked on her thesis project this past fall.  Waxman questioned her role as a designer and activist in today’s socio-political climate. The answer to these questions came in the form of a 66-foot long vegetable and herb garden built on the Westside of Hooper Street—a side street in the industrial area between San Francisco’s South of Market and Potrero Hill neighborhoods. Hooper Street bisects CCA’s campus and is used primarily for parking for students and faculty.  The garden is growing strawberries, raspberries, chard, spinach, thyme, lavender, and marigolds while simultaneously using bioremediation techniques to remove toxins from the soil.  The garden was created by FARM, an organization initiated by Waxman and comprised of students from CCA and members of the local community, including several day laborers who use Hooper Street as a pick-up site. FARM stands for “The Future Action Reclamation Mob” and is organized horizontally, anyone can work on or eat from the garden.  More than a community garden, I think of FARM as a direct-action collective.  Tucked between two buildings owned by a private college, Hooper Street is unused public property and therefore belongs to the residents of San Francisco.  Rather than waiting for the city’s approval, the FARMers took it upon themselves to transform this neglected side street they pass everyday into a sustainable project site that generates produce for the local community.

robyn

Robyn Waxman, MFA Design Student and initiator of FARM

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100% Authentic: Interview with Imin Yeh Posted on May 26, 2009 by Adrienne Skye Roberts

Imin Yeh is a printmaker and recent graduate of the MFA Department at the California College of the Arts.  Her practice deflates cultural stereotypes and addresses issues of labor and consumerism through a critical and humorous lens.  Yeh’s piece “Everybody Loves a Skinny, White Boyfriend” was included in the exhibition For Lovers and Fighters that I curated at The Spare Room Project in February 2009. We sat down at a coffee-shop together last Friday and talked about her recent projects, her relationship to local art institutions, and the politics and negotiation inherent in making work that is deeply rooted in one’s own experience and identity. Yeh was a recipient of the 2009 Barclay Simpson award.  Her piece “Good Imports” is featured in the Chinese Cultural Center’s Present Tense Biennial 2009 and in a satellite installation in nearby storefront at 710 Kearny Street until August 23rd.  Her work will also be included in Intersection for the Arts Benefit Auction on June 13th.

Imin Yeh, CCA MFA show installation

Imin Yeh posing infront of her installation “The Legend of the Power Animals” at the CCA MFA exhibition

Adrienne Skye Roberts: I thought we could start by talking about your two recent projects in the MFA exhibition at the California College of the Arts (CCA) and the Present Tense Biennale at the Chinese Cultural Center.

Imin Yeh: I graduated with two succinct but related bodies of work: one is lovingly titled “Good Imports” and is a part of the Chinese Cultural Center’s Present Tense Biennale and the other project is “The Legend of the Power Animals” and was my MFA exhibition at CCA. Both projects have to do with the things we buy being the focal point of what we know about other cultures. Every object we have has a dual story of who made it and who ultimately consumes it.

ASR: Can you describe the installation “Good Imports”?

IY: There are a few pieces in the gallery at the Chinese Cultural Center and I was also given a storefront in Chinatown to do whatever I wanted—which is a perfect place for “Good Imports.” The installation consists of objects—laptops, televisions, children’s toys—that were all made in China and either found or donated to me.  They are installed in an excessive pile and each object is individually covered in hand-printed fabric. The pattern of the fabric is taken from the boxes that souvenirs from China are shipped in. I work at the museum store at the Asian Art Museum and our back storeroom is filled with these boxes. I always loved these boxes growing up and when I would go back and forth to Taiwan or China as a child I would keep these boxes much longer than whatever came inside them. At the museum gift shop, whenever someone buys a $20 tea pot or whatever and I bring out the box to put it in and they are always so excited because they feel like they are buying an authentic object.  The pattern of the boxes becomes a superficial identification of something Asian or something that is Chinese.

Imin yeh

A homemade box made by Yeh photographed in the storage room of the Asian Art Museum.

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