#weston teruya

[visualandpublicart]

JOIN US ON THURS., April 27, 2023 FOR VPA’s VISITING ARTIST SERIES | FEATURING Related Tactics!

Lecture date: April 27, 2023

Time: 6-8pm

Location: VPA Complex, Build. 70

Free & Open to the Public!

Register for Event: Advance Registration/Self-Attestation*

For ADA Accommodations: Carol Silveira at casilveira@csumb.edu

Lecture Title: Collectivity as Practice

Lecture Description: Related Tactics (Michele Carlson, Weston Teruya, and Nate Watson) will discuss our work together as a collaborative unit, a platform that allows us to disrupt the idea of a singular artist voice wherever possible—challenging the radical individualism embedded in the art world and our lives—particularly as we engage with issues requiring a multiplicity of perspectives to build collective analysis and power. While the core of our work is a creative collaboration between the three leads, we often utilize curatorial approaches as artistic gestures to construct space for collective voice, address the impacts of systemic white supremacy, and foster mutual support and transformation.

About Collective: Related Tactics is an artistic collaboration between artists and cultural workers Michele Carlson, Weston Teruya, and Nathan Watson. Formed in 2015, our projects are made at the intersection of race and culture. We explore the connections between art, movements for social justice, and the public through trans-disciplinary exchanges, collective making, and dialog. Related Tactics has exhibited at Wexner Center for the Arts, University of San Francisco Thacher Gallery, Southern Exposure, The Luminary, and Center for Craft; and supported through Kala Art Institute’s Print Public, Montalvo Arts Center, Craft Research Fund, San Francisco Arts Commission, and Ruth Foundation for the Arts.

Artist’s Website: https://relatedtactics.com/

[catsynth-express]

KSW Presents Means of Exchange: Program Launch

We at CatSynth have a special place in our hearts for art about our home neighborhood in San Francisco, South of Market (SOMA). Means of Exchange is a new project presented by Kearny Street Workshop that teams up artists Weston Teruya and Kimberley Arteche with local businesses in the neighborhood to create storefront artworks that highlight the history and culture of the neighborhood.

SOMA has a rich and diverse history. Long a sprawling district of warehouses and working-class houses with large streets and small alleys, it became a mecca for artists, bars, and clubs. It was a thriving center of gay culture in the city and still includes the “Leather District.” It is a center for the Filipino diaspora in San Francisco, and includes the SoMa Pilipinas historic district. In the 1980s and 1990s some of its most run-down areas were turned into the Moscone Convention Center and a hub for several museums and cultural centers. And more recently, the neighborhood has become home to many large technology companies, as well as a proliferation of luxury high-rises and not-so-luxury-but-still-expensive apartment complexes. With so many different forces at work, the neighborhood means different things to different people, and tensions and conflicts inevitably have arisen between many of the longtime residents and institutions and newcomers.

The publicly viewable artworks will celebrate many of these aspects of the neighborhood. But the history, contradictions, and conflict were also highlighted by the readers and performances and the launch event this past Friday. The evening opened with a reading by Mary Claire Amable, a Filipino-American writer who was raised in SOMA and the adjacent Tenderloin neighborhood.

Amable reflected on her upbringing, including the struggles and challenges faced by her immigrant parents, the small apartments where she lived that are now threatened by redevelopment, and the increasing unaffordability of the neighborhood for many longtime residences, particularly immigrants and people of color. Her story provides a different perspective on places and streets I have come to know well.

Next was a reading by Tony Robles, a longtime poet and activist in San Francisco who was a short-list nominee for poet laureate of SF 2017.

Like Amable, Robles was born and raised in San Francisco, and his writing reflects on the changes in his hometown and the effect it has on his communities, on artists, and on those facing displacement. He spoke both nostalgically and somewhat cynically of San Francisco’s mythic past and of the struggles of people to survive here in the present; but he also shared writings from his visits to the Philippines, including a humorous piece about “The Province.” You can get a feel for his writing Maryam Farnaz Rostami, a San Francisco-based performance artist who has staged several solo and ensemble shows, including her latest Late Stage San Francisco.

Rostami also works as a designer in the architectural world, and her performance cleverly weaves that experience into laments about gentrification and displacement in the city. She decries the traditional “enforced cuteness” of San Francisco architecture, but also questions contemporary minimalism, as it applies both to design and life. She took us on a tour of The Battery, an exclusive club that popped up a few years ago and most of us loved to hate from the moment we heard about it. The descriptions of glass and metal contrast with the ugliness of the institution’s sensibilities and target clientele. But Rostami also offered notes of optimism and hope, such as ways we could organize the city more equitably and sustainability (e.g., more high-rises, but also a lot more natural space). And she did this with a heightened exaggerated style from her drag performances.

We had a large and appreciative audience for the event, full of familiar faces from the KSW community as well as newcomers. I look forward to seeing the full art project as it unfolds on the streets of my neighborhood.

KSW Presents Means of Exchange: Program Launch was originally published on CatSynth

[yanezlazcano]

I am excited about this fundraiser put together by the Bay Area’s  MUZ Collective. They solicited 29 artists to create individual artworks for a postcard set to support the postal service and raise money for two Bay Area organizations — People’s Breakfast Oakland (@peoplesbreakfastoakland) and Hotels Not Graves - while also celebrating a group of amazing local artists. S/O to @colpapress for printing.⠀⠀⠀⠀⠀⠀⠀⠀

29 artists / 29 postcards / $30.  All proceeds will go to the two orgs.⠀⠀⠀

DM @muzcollective if you’re interested in purchasing. The first twenty copies sold will include a unique cyanotype postcard made by Keisha Mrotek.⠀⠀⠀⠀⠀⠀⠀

Contributing Artists:⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

Libby Black⠀ Zulfikar Ali Bhutto⠀ Kevin Chen⠀ Joe Ferriso⠀ Claudia Huenchuleo Paquien⠀ Nathan Kosta⠀ Heesoo Kwon⠀ Kija Lucas ⠀ Alicia McCarthy⠀ Jenna Meacham⠀ Gabby Miller⠀ Keisha Mrotek⠀ Natani Notah⠀ Brion Nuda Rosch⠀ Leonard Reidelbach⠀ Kate Rhoades⠀ Sherwin Rio⠀ Leslie Samson-Tabakin ⠀ Nicole Shaffer⠀ Owen Takabayashi⠀ Weston Teruya⠀ Hannah Tuck⠀ The Bureau of Linguistal Reality⠀ Raphael Villet⠀ Hannah Waiters⠀ Kristen Wong⠀ Victor Yañez-Lazcano⠀ Livien Yin⠀ Minoosh Zomorodinia⠀

[streetartsf]

San Francisco Bay Area Art Events Click for details https://www.streetartsf.com/events/

7/5 SF - De Young Museum - Weston Teruya artist in residence for July with reception July 28 7/6 SF - The Loin - The Dead Pigeon Society Art Gang 7/7 SF - Modern Eden - Emilio Villalba solo show 7/7 SF - 111 Minna Gallery- Noah Ptolemy & Emily Fromm 7/8 SF - Luna Rienne Gallery - Anthony Holdsworth & Nathan Tan 7/8 SF - Wonderland SF - Simply Frida Group Show 7/8 SF - Back to the Picture - 4th St location - Back to the Bay Group Show 7/8 SF - Spoke Art SF - Moleskine Project VI - Group Show 7/8 SF - Hashimoto Contempory - Alex Ziv

[adezer]

Weston Teruya

http://westonteruya.com/gallery/sculpture/newtalismans.html#learningtospeak

[riting]

Ben Levinson on Edgar Arceneaux: UNTIL, UNTIL, UNTIL

In advance of the LAX Festival we asked twelve artists to profile the twelve pieces in the festival. Ben’s piece, UNTIL, UNTIL, UNTIL, opens on October 17th, 2018, at the Bootleg Theater in the Los Angeles Exchange [LAX] Festival and runs again on October 19th and 20th.. Details can be found here.

Until, Until, Until… is a sort of trans-dimensional replay of Reagan’s 1981 Inaugural Gala. A non-chronological relapse that collapses the tragedy of an individual (Ben Vereen) into the social trauma of a collective (black Americans past, present, and future), finding their collision in a peak moment of societal descent. Frank Lawson plays Ben Vereen, a performer who met public shame after his tribute to vaudeville performer Bert Williams was cut short by ABC. The edit that the network made omitted the critical second half of Vereen’s performance in which he wiped his face of the blackface makeup that he had donned for his portrayal. This gesture was intended as a critique of the storied violence that blackface represents. Without it, the already precarious use of blackface by Vereen (at a celebration of Reagan nonetheless) had even less to hold it up. In Until, Until, Until… we see Arceneaux’s and Lawson’s Vereen not only prepare for this fateful performance, but relive it through hazy repetitions in a nightmarish recursion.

Arceneaux’s documentation of this 2015 performance begins with a shot of lead-performer Frank Lawson tending the venue’s bar before the piece begins. There’s a casual pan across the mostly white audience. When the play begins we, the audience, are not let in on the nature of our involvement, the character we are playing. Nor do we know who we are watching, even as the premise is clear to us. Lawson/Vereen/Williams (all three folded into one) is rehearsing his choreography. We are eventually addressed and given a clue when his director (Edgar Arceneaux, from the back of the room) suggests he try the verbal introduction so he can get into character and loosen himself up. He does so. A slapstick shrug follows. This shrug is a totem for us to latch onto, a wink, some relief, or at least a sympathetic representation of our own unknowing.

Throughout the performance, timelines elide, characters morph, and epic tensions meet improper resolutions. In a transitional sequence, three presences combine: upon a white canvas: red, blue, and green light producing bright white light as they overlap. According to Arceneaux in an interview with Weston Teruya for Art Practical, these colors represent three distinct traumas attempting resolution but never arriving. The RGB analogy arrives in a previous iteration of Until, Until, Until… in which Arceneaux chose to represent this concept with three busts titled Blue Bert, Green Ben, and Red Ronnie (2017), each faceless but donning the headwear of their respective subject. There’s a certain imbalance to this triad which inevitably crumbles under its own awkward pressure points. Those two whose names are drawn together by alliteration (Blue Bert and Red Ronnie) are drawn together as if cooperative to one another or at least antithetical to Green Ben. Of the busts, Ben and Bert (who are nominally resonant) share a hat style while Ronnie does not. This imbalanced triad exemplifies the way in which Arceneaux’s work disallows conclusion. It opens up more than it gives answer to, particularly effecting when the topic of conversation is as pertinent as his are.

As much as his work is historical and referential, it resonates in its moment. While it was left to Johnny Carson to joke, following the gala, that the Reagan administration was "the first to have a premiere," the theater of presidential politics is at such a high now that the New York Times cheekily joined in last week presenting a three-act script of a typical Trump rally 

Beyond that, Arceneaux is particularly conscious of the space he is working in. In the midst of the show is a potent critique of whiteness in the institutional art world that takes little more than the lifting of a veil and the tilt of a mirror. Guilt is brought from the narrative guilt that a viewer can place upon gala attendees to a tangible discomfort in the room. Just as we saw Reagan’s audience swoon and chuckle behind Vereen, a camera is turned to us so we must see ourselves projected as a backdrop, holding our gaze. Again, Arceneaux will not hand you the answers. He gives us an image, a context, and space, and lets us, the readers, draw from it what we will.

In a way, it is my sense that the trust he bestows us with as viewers is what truly allows his work to resonate.

Back in the world, I had a flight delay. I sent an email to Edgar about changing our call time. It might have been for the best, I was still unpacking for myself the questions his work had already asked. Eventually he didn’t respond to that email, and eventually I did not pry. I found that what he had given me had been enough. What could I seek to clarify if the work had described what it needed to describe in the way it needed to do so? Any question I might have asked would ultimately be its own answer. Arceneaux demonstrated something for me, perhaps unwittingly or perhaps fully aware: that the reading process is much like the writing process, that showing is much like speaking, that the response is never the same.

Ben Levinson is a writer and musician living in LA. He writes album reviews for Tiny Mix Tapes, co-edits Soap Ear (an online journal about experimental music in LA), performs as Cali Bellow, and organizes shows with friends. He tries to keep in touch at benlevinson@me.com

Edgar Arceneaux (b. 1972, Los Angeles) is an artist working in the media of drawing, sculpture, and performance, whose works often explore connections between historical events and present-day truths. He played a seminal role in the creation of the Watts House Project, a redevelopment initiative to remodel a series of houses around the Watts Towers, serving as director from 1999 to 2012. 

Photos by Edgar Arceneaux

[michelekcarlson-blog]

ART IN AMERICA: Q+A Weston Teruya.

In the Downey suburb of Los Angeles, the Los Padrinos Juvenile Hall is surrounded on three sides by a public golf course. It is these kinds of unlikely juxtapositions-and the ways in which communities and individuals navigate them-that motivated artist, writer and curator Weston Teruya in creating the work for his current solo show, part of the "2x2 solos" series at Pro Arts in Oakland, Calif.

The artist re-cast the above situation for The Gracious City at Its Neighbor's Edge (2010), a delicate work in paper that resembles both an architectural model and a collage hanging precariously from a yellow sawhorse. From the entropic suspension, we make out familiar iconography of construction and circulation-a yellow parking bumper, barrier gates-here transformed into artifacts. In Teruya's world, cement cinder blocks, a golf scorecard, sawhorses, and metal folding chairs are rearranged and rescaled, and alternate between design and support. Art in America sat down with the 33-year-old Teruya in his Berkeley studio. The following is a condensed version of a longer dialogue about art, power, politics and space.

MICHELE CARLSON: The Gracious City at Its Neighbor's Edge,from your current show, is the culmination of a long-term investigation of the Los Padrinos Juvenile Hall. What is your relationship to the spatial and social dynamics of this site? WESTON TERUYA: For the past several years I have been interested in the space because it is engulfed by the Los Amigos public golf course and the bordering neighborhood of South Gate. This situation so illogical, yet it has existed for so long. My interest . . . began as a series of drawings, where I appropriated and reconstructed visual markers from the site, attempting to investigate its power dynamics. I began with such specific markers as an orange construction cone, a chain-link fence, a railing, signage. These are ordinary objects, yet they distinctly define and dictate how an individual negotiates the world around them. CARLSON: The Gracious City (2011), a large installation constructed entirely of paper,is a marked shift from those elaborate collaged drawings. TERUYA: The nature of sculpture is spatial investigation. I can enact a sort of world-building without being fantastical. There is something about the actual materials, their physicality, that conveys weight and reference—which an image does not quite do. So this is my version of an architectural model, built from elements that reference space and convey construction and the act of building, but at the same time have the fragility of paper. There is a threat that the entire thing will fall apart. And if you really look closely, some of the parts warp and bend; they could collapse if you brushed against them. Formal construction with paper mimics larger, tenuous systems of history and power that carry so much weight. CARLSON: The formal and conceptual themes in your work could be read as a world that has just fallen apart or that is teetering on the brink of collapse. Is this notion of collapse postapocalyptic? TERUYA: I admire and am very influenced by postapocalyptic and dystopian stories but my intention involves the process of building. But in terms of that genre of fiction, my work is more interested in what it takes to reconstruct a world when that world has completely broken down, or what continues to be useful in objects that are no longer put to their original purposes. This speculation affords possibilities for new histories, or community-building, but in a nonnarrative way. CARLSON: Do you consider the installation to be nonnarrative, or is it contrary to the prevailing narrative? TERUYA: It is a counter-narrative in the sense that what initially interested me was the integration of very complex spatial and historical narratives. So many social, political and personal histories are implicated in both a juvenile hall and a golf course-which literally collide in Downey County. The Gracious City plays with the interdependence of these disparate institutions and histories. CARLSON: Where are the figures in your work? How is human presence accounted for? TERUYA: The work I make is completely about people, but I am more curious about looking at the spaces people build for themselves and navigate-how these shape broader social and political dynamics, over any specific people who might or might not circulate within. Of course, that is completely intertwined, but my work occupies the circumstances that structure relationships. I build a new one, through my own lens and using my own hand.

READ it on Art In America here.

PHOTO Courtesy of the artist.

[visualandpublicart]

25 at 25: A Community of Artists

Due to the Covid-19 shelter-in-place order, our campus and VPA Gallery were closed during the original exhibition timeline of 25 at 25: A Community of Artists.  In addition, our campus remained closed through the fall and spring semesters of the 20/21 Academic Year.  Although these circumstances prevented us from sharing this exhibition in person with the public, we remain thankful to the participating artists for their generous support and participation in our jubilee exhibition.  We are so proud of the 25 at 25 exhibition and what it represents to the Visual and Public Art Department -- 25 years of dynamic VPA Visiting Artist Series Programming that continues to feature emerging and established figures in contemporary art and community engaged practices.  Our Visiting Artist Program actively seeks out prominent artist scholars to give public, on-campus presentations that are free and open to our entire campus and local communities.  Our series creates a forum for engagement and dialogue with our students through artist mentorship and provides insight into the creative process and artistic practices that convey analytical thinking, social responsibility, and skills of communication and community building in relation to both VPA and CSUMB’s missions.  This type of face-to-face engagement is invaluable to our students, and we are so thankful for this milestone and first-time exhibition of works by members of VPA’s Visiting Artist Series.  

See exhibition documentation here: 

25 at 25 Exhibiting Artists: 

Pilar Aguero Esparza, Jesus Aguilar, Judy Baca, Dawoud Bey, Sean Boyles, Binh Danh, Sofia Cordova, Mike Arcega, Ester Hernandez, Mildred Howard, Carmen Lomas Garza, Hung Liu, Mail Order Brides, Amalia Mesa-Bains, Julio Cesar Morales, Pepon Osorio, Marcela Pardo Ariza, Lordy Rodriguez, Jaune Quick To See Smith, Weston Teruya, Roan Victor, Lew Watts, Leila Weefur, Carrie Mae Weems, and Victor Yañez-Lazcano.

[catsynth-express]

Kearny Street Workshop #APAture2017 Opening Night

Kearny Street Workshop’s APAture 2017 Festivalkicked off with a bang this past weekend. A large crowd packed into ARC Studios and Gallery in San Francisco to see the Visual Arts Showcase and KSW’s first ever APAture Focus Awards. You can get a little taste of the event in our latest CatSynth TV Episode.

The awards made this opening night a little different from the past, with the awardees sharing the spotlight with the artworks. But it was a great addition, especially as KSW celebrates its 45th Anniversary. Comedian and performance artist Kristina Wong and visual artist Michael Arcega were on hand for their awards, while comedians Ali Wong (you may have seen her show Baby Cobra on Netflix) and Hasan Minaj (Daily Show) accepted in absentia. There was also a very touching presentation to the late poet Justin Chin, which included an introductory statement written by our friend Maw Shein Win. As a former APAture artist myself, it’s always amazing to see how many people have come through the festival over the years and gone on to do great things in their fields.

[Kristina Wong (right) receiving her APAture Focus Award from Weston Teruya]

This year’s featured visual artist was Rea Lynn de Guzman, a works in a variety of media including painting, printing, and sculpture. For APAture, she created a textile sculpture representing a traditional Filipiniana “Maria Clara” dress that floated in the middle space. It was very much in keeping with this year’s theme of “Unravel”, as de Guzman states in her own words:

Among the other pieces that particularly spoke to me was Jerome Pansa’s Stands (Body of Six), with its six polls topped with triangles painted in solid geometric patterns. It would work at CatSynth HQ!

[Jerome Pansa. Stands (Body of Six)]

Webster Quoc Nguyen packs many symbols into his triptych Double Consciousness. The figures use a bold, illustration style that is both fun and a bit dark at the same time as he juxtaposes symbols of Western influence, Asian stereotypes, and Catholic iconography and practice. [Webster Quoc Nguyen. Double Consciousness.]

As it was crowded that night, I will need to go back and see these and the many other pieces in more detail on a quieter day. We at CatSynth are also looking forward to the upcoming APAture events featuring other artistic disciplines:

Music Showcase: Saturday, 10/7, 6PM. f8 Nightclub & Bar | 1192 Folsom St Film Showcase: Thursday 10/12. 7PM. Z Space (Z Below) | 470 Florida St. Book Arts Showcase: Sunday 10/15 1PM. Arc Gallery & Studios | 1246 Folsom St. Performing Arts Showcase: Saturday 10/21 2PM. Asian Art Museum | 200 Larkin St.

All locations are in San Francisco, California.

Kearny Street Workshop #APAture2017 Opening Night was originally published on CatSynth

[visualandpublicart]

Visual & Public Art Gallery | CAHSS

25 @ 25: A Community of Artists, a virtual program of Arts & Community , featuring work by Pilar Aguero Esparza, Jesus Aguilar, Judy Baca, Dawoud Bey, Sean Boyles, Binh Danh, Sofia Cordova, Mike Arcega, Ester Hernandez, Mildred Howard, Carmen Lomas Garza, Hung Liu, Mail Order Brides, Amalia Mesa-Bains, Julio Cesar Morales, Pepon Osorio, Marcela Pardo Ariza, Lordy Rodriguez, Juane Quick To See Smith, Weston Teruya, Roan Victor, Lew Watts, Leila Weefur, Carrie Mae Weems, and Victor Yañez-Lazcano.

During  the Spring 2021 semester, we will bring you 25@25: A Community of Artists through virtual programming that will showcase art and community/ engagement and dialogue through  featured artists and community events. These conversations will provide insight into creative processes and artistic practices anchored in analytical thinking, social responsibility,  and community building in relation to both VPA and CSUMB’s mission.

25 @ 25: A Community of Artists co-curated by Amalia Mesa-Bains, Juan Luna-Avin, and Angelica Muro. Gallery website:  https://www.visualandpublicart.com/vpa-gallery

[visualandpublicart]

25@25: A Community of Artists

Exhibition Dates: March 13 – May 13, 2020 Opening Reception: March 13, 2020, 6-8pm (Free & Open to the Public) Gallery Hours: Monday – Friday, 11am-4pm

Exhibiting Artists: Pilar Aguero Esparza, Jesus Aguilar, Judy Baca, Dawoud Bey, Sean Boyles, Binh Danh, Sofia Cordova, Mike Arcega, Ester Hernandez, Mildred Howard, Carmen Lomas Garza, Hung Liu, Mail Order Brides, Amalia Mesa-Bains, Julio Cesar Morales, Pepon Osorio, Marcela Pardo Ariza, Lordy Rodriguez, Juane Quick To See Smith, Weston Teruya, Roan Victor, Lew Watts, Leila Weefur, Carrie Mae Weems, and Victor Yañez-Lazcano

[visualandpublicart]

The VISUAL & PUBLIC ART GALLERY @ California State University, Monterey Bay, is pleased to present

25@25: A Community of Artists

Exhibition Dates: March 13 – May 13, 2020

Opening Reception : March 13, 2020, 6-8pm (Free & Open to the Public)

Gallery Hours: Monday – Friday, 11am-4pm

This academic year is a special one here at Cal State Monterey Bay and the Visual and Public Art Department as we celebrate our 25th anniversary! As we continue a number of celebrations and programs to commemorate this milestone, we are pleased to announce our jubilee exhibition, 25@25: A Community of Artists, which will feature 25 years of VPA visiting artists.  

25@25: A Community of Artists will showcase dynamic programming from our Visiting Artist Series.  Each semester, this series features emerging and established figures in contemporary art and community engaged practice by actively seeking out prominent artist scholars to give free, public, on-campus presentations.  Our series creates a forum for engagement and dialogue with our students through artist mentorship, which provides insight into the creative process and artistic practices while also conveying analytical thinking, social responsibility, and skills of communication and community building in relation to both VPA and CSUMB’s mission.  This type of face-to-face engagement is invaluable to our students, and we are excited to organize a first-time exhibition of works by members of VPA’s Visiting Artist Series. 

Please join us for the opening reception on Friday, March 13, 2020, 6-8pm!  please visit our website. 

Exhibiting Artists: Pilar Aguero Esparza, Jesus Aguilar, Judy Baca, Dawoud Bey, Sean Boyles, Binh Danh, Sofia Cordova, Mike Arcega, Ester Hernandez, Mildred Howard, Carmen Lomas Garza, Hung Liu, Mail Order Brides, Amalia Mesa-Bains, Julio Cesar Morales, Pepon Osorio, Marcela Pardo Ariza, Lordy Rodriguez, Juane Quick To See Smith, Weston Teruya, Roan Victor, Lew Watts, Leila Weefur, Carrie Mae Weems, and Victor Yañez-Lazcano

Visual & Public Art Dept. Gallery California State University, Monterey Bay College of Arts, Humanities, and Social Sciences Building 504, (Art Gallery @ ground floor at Main Entrance) 3050 Divarty Street Seaside, CA 93955

Gallery Hours: Monday through Friday 11am – 5pm and by appointment (closed on holidays) free & open to the public www.visualandpublicart.com/vpa-gallery

Directions to Campus

Campus Map, build 504

Parking, Lot 508

[visualandpublicart]

SPRING 2019 VISITING ARTIST SERIES

Victor Yañez-Lazcano,  02/21/2019, 6-8pm, build. VPA 72

Weston Teruya, 03/28/2019, 6-8pm, build. VPA 72

Sahar Khoury, 04/18/2019, 6-8pm, build. VPA 72

Reception: 5:30-6pm, This event is in conjunction with the 23rd Annual Social JusticE Colloquium: Iran and Iranian Women

​All Events are Free and Open to the Public!

https://www.visualandpublicart.com/spring-2018-visiting-artist-series

[visualandpublicart]

VPA's  Visiting Artist Series: Weston Teruya             DATE: Thursday, March 28, 2019 TIME: 6-8pm LOCATION:  VPA COMPLEX, build 72 California State University, Monterey Bay 100 Campus Center Seaside, CA 93955 FREE & OPEN TO THE PUBLIC! Map to VPA Parking Map we recommend lot 71 ABOUT: Weston Teruyawas born and raised in Honolulu, Hawai‘i and currently resides in Oakland, California. As an artist, he has exhibited at the Mills College Art Museum (Oakland), Yerba Buena Center for the Arts, Southern Exposure, Chinese Culture Center, and Kearny Street Workshop (San Francisco), Longhouse Projects & the NYC Fire Museum (New York), Hiromi Yoshii Gallery (Tokyo), the Atlanta Contemporary Art Center (Atlanta), and the Palo Alto Art Center (Palo Alto). Weston has received grants and fellowships from Artadia, Asian Cultural Council, Center for Cultural Innovation’s Investing in Artists program, and the Creative Work Fund. He has been an artist-in-residence with Ox-bow, the Lucas Artist Residency of the Montalvo Arts Center, Art+Practice+Ideas at Mills College, the de Young Museum, Recology San Francisco, and Kala Art Institute. In 2019 he will have a solo exhibition at the University of Hawai‘i, Mānoa and be part of an exhibition at the Mills College Art Museum. Weston received an MFA in Painting and Drawing and MA in Visual & Critical Studies from California College of the Arts. He has a BA in Studio art and minor in Asian American Studies from Pomona College. Artist website: http://westonteruya.com

[visualandpublicart]

S/2019 Visiting Artist Series: Weston Teruya

Date: March 28, 2019 Time: 6-8pm Location: VPA 71, VPA Complex

Free & Open to the Public

Weston Teruya was born and raised in Honolulu, Hawai‘i and currently resides in Oakland, California. As an artist, he has exhibited at the Mills College Art Museum (Oakland), Yerba Buena Center for the Arts, Southern Exposure, Chinese Culture Center, and Kearny Street Workshop (San Francisco), Longhouse Projects & the NYC Fire Museum (New York), Hiromi Yoshii Gallery (Tokyo), the Atlanta Contemporary Art Center (Atlanta), and the Palo Alto Art Center (Palo Alto). Weston has received grants and fellowships from Artadia, Asian Cultural Council, Center for Cultural Innovation’s Investing in Artists program, and the Creative Work Fund. He has been an artist-in-residence with Ox-bow, the Lucas Artist Residency of the Montalvo Arts Center, Art+Practice+Ideas at Mills College, the de Young Museum, Recology San Francisco, and Kala Art Institute. In 2019 he will have a solo exhibition at the University of Hawai‘i, Mānoa and be part of an exhibition at the Mills College Art Museum. Weston received an MFA in Painting and Drawing and MA in Visual & Critical Studies from California College of the Arts. He has a BA in Studio art and minor in Asian American Studies from Pomona College.

http://westonteruya.com

[adezer]

Weston Teruya

http://westonteruya.com/gallery/sculpture/spaceleftbehind.html#homeagain