Archive for April, 2008

Mills MFA Mayhem mit Michael Hall (May 4)

Monday, April 28th, 2008

Good gravy, it’s already May, and another round of freshly-minted MFAs are soon to be on the loose! The terrifyingly talented Michael Hall is just about to bust outta the gates, for one: I saw some of what he’s been working on when I visited his studio last month, and I’m pretty sure that his work in this exhibition is going to be fantastic.
While I posted a photo of one of his paintings from his blog, I know that he’s been working on an extraordinary video piece as well, which I’m dying to see.

Michael’s a classic case of the best of what can happen in an MFA program: he humbled himself to the process, worked his ass off, was relentlessly inquisitive and positive, and got deeply involved with the Mills community. He made himself completely open to the experience, was generous with his time and energy, and his work has grown by leaps and bounds during his time there, because of it.


Mills College MFA Exhibition 2008
May 4 – June 1
Opening reception: Sun. May 4, 3:30 – 5:30
Mills College Art Museum
5000 MacArthur Blvd.
Oakland, CA 94613

pics from the artist talk at FNG

Wednesday, April 23rd, 2008

Christine’s and my Saturday artist talk at Frey Norris was a nice little affair: some good friends and fine new folks came out for it. We each gabbed up semi-formally for awhile that afternoon, then just got to enjoy hanging out with the crew in attendance.

So, a few fun pics from the event.
Raman introducing the Muppet Show from behind one of Christine’s presents:

Christine telling a big fish tale:
rapt whilst wong yapt:
Yo yo yo word:
Manong and Mon-mon:
Pinoyzee!! Gigi, EBX, Carlos, Mike, Woff:
Our show at Frey Norris closes this April 27, so catch it in the next few days if you can!!

I don’t know when the next time my Point of Departure series will be shown in its entirety again, so that’s one solid reason to check it out. And while you’ll certainly see Christine Wong Yap and I hanging out buddy-style in the future, who knows when the next time you’ll see us having an awesome (historic, ground-breaking, earth-shaking) two-woman show will be?

SORRY: Recent Works by Jenifer K Wofford and Christine Wong Yap
Frey Norris Gallery

April 3-27
456 Geary Street, SF 94102
415 346 7812

souvenir from last week’s UC Merced visit

Wednesday, April 23rd, 2008

…I’m trying not to let it go to my head.

Violators will be fined a $50 fee!

I have arrived.

SoEx needs you this weekend!

Sunday, April 20th, 2008

This Saturday is Optic Illusion, Southern Exposure‘s annual auction/fundraiser! Once again, the event is at SomArts Cultural Center, not at Southern Exposure, since SomArts has more space to party in.

Some of you may be attending, so I’ll see you there: link to info and tickets here. Link to the awesome art for sale here. (I donated this original ink drawing of Julio Morales and Aldo Sanchez from my 2006 “Inappropriate” project):
So for those of you who wanna support Southern Exposure by purchasing a picture of Julio touching Aldo’s face, now you know how.

Some of you may want to be part of supporting SoEx in another capacity.
I got this call for help from the good ladies of SoEx the other day:
they are in dire need of volunteers to help out

As someone who’s volunteered for gigs here and there, and who’s also been the beneficiary of the generosity of volunteers, as well, I’d really, really encourage you to give SoEx a helping hand this weekend. They are so deserving and so appreciative of any and all help that they receive. And they’re such a great organization to be involved with: if you can give ‘em a few hours of your time, please do.

Optic Illusion is their biggest fundraiser of the year and it’s the most fun time to get involved! There’s a live and silent auction, live music, DJs, food and drinks and all sorts of good times. All of the money raised at Optic Illusion goes directly to supporting Southern Exposure’s exhibition and artists in education programs.

There are a lot of different ways to help out.
Individual shifts can range from 2-6 hours.

Friday April 25:
They need volunteers anytime from 9:00 am – 10:00 pm
Saturday, April 26:
They need volunteers during the day starting at 10:00 am and the grand event on Saturday, at SOMARTS that evening
Sunday, April 27:
They need volunteers from Noon to 5:00 pm.

Tasks include installing art work, setting up for the event as well as bartending, serving food, cashiers, wrapping artwork and other general tasks during the auction. You will get a chance to meet over 165 artists who are participating in the auction as well as other collectors, educators and artists in your community.

For more information about times and tasks, email or call 415-863-2141.

Do it.
Do it!!!!!!


April 26, 7:30-11:00 pm
SomArts Cultural Center
934 Brannan Street, SF

gotta have some of your…

Sunday, April 20th, 2008

at-ten-tion! Give it to me!

Did I mention that the title of the Make You Notice exhibition I’m in comes from the lyrics to the Pretenders’ “Brass In Pocket“?

So there’s more talking to be done: Curator Patricia Maloney invited me to be part of another discussion associated with Make You Notice: how could I turn down (probably) the only opportunity I’ll have in my life to be on a panel with roller derby women, queer burlesque artists, and hard-core knitters? (And for that matter, how could you turn down an opportunity to attend such a panel?) This Friday! SF. Be there.

Some of Your Attention
Friday, April 25, 6-8pm, Free

Panelists: Janet Covey, Hostess, Chicks with Sticks; Amelia Paradise, Founder & Director, Diamond Daggers; Taxi Scab & Kitt Turbo, Co-captains, Oakland Outlaws, and Jenifer K Wofford, Make You Notice artist

Moderator: Patricia Maloney

Location: Theatre Rhinoceros, 2926 16th Street (at Capp St)

The San Francisco Arts Commission Gallery is pleased to present an evening of inspired conversation about Make You Notice, roller derby, queer burlesque, and knitting circles, featuring the Oakland Outlaws, the Diamond Daggers, Chicks with Sticks, and more.

This special event is in association with Make You Notice, an exhibition at the SFAC Gallery curated by Patricia Maloney. Make You Notice features video, photography and ephemera by four contemporary women artists who utilize performance in diverse practices, seamlessly integrating collaboration, activism, irony, and optimism into their work.

For more information please contact the gallery at or 415.554.6080

happy talky talky

Wednesday, April 16th, 2008

(Please tell me you know the image above, or this post’s title just falls apart. )

There’s been a whole lot of tres-productive chit-chatting going on lately and soonly, ladies and germs. Friday, I caught part of last post’s panel discussion at CCA: a whole passle of smart, engaged, creative women talking about art and feminism and other sundry topics. Large panels can be challenging: so much to say, so many voices, so little time. The event really felt like it should have been the keynote conversation to a much, much larger symposium, as opposed to just a brief 2 hour conversation.

What I heard regarding feminism and the state of the arts was pretty juicy, but since I wasn’t there for the whole thing, I didn’t hear/don’t know if there was any conversation regarding a recent little peeve of mine, which is how to encourage men to be more active collaborators and participants in this work. It just seems like at present, women are kicking some major bootae, and enjoying our superwomen status to degrees, buutt…we’re going to burn out. We are burning out. And this labor needs to be shared with our man-panions, not done by us alone.

I’m more and more convinced that while yes, we’ve made great strides towards equality, we’re still nowhere near actually being there. The statistics that keep coming up in a whole host of articles I’ve been reading lately are clear indicators that women are still not on equal footing with men in a multitude of professions. In the art world in particular, I can’t really speak to the market (although I’m told that male artists’ selling prices are still consistently higher than female artists): mostly, I’m watching this play out more and more in the women I know compulsively multi-tasking and often putting their own art practices on the back-burner for the sake of some greater good, and men just… focusing on their own careers. I don’t think that most artsy men I know are interested in being oppressive or regressive vis-a-vis equality/diversity/representation: it seems like they’re unclear on what their role is supposed to be, and they’re not being actively brought into the conversation or expected to participate, so they just kind of default to just…doing their own thing. Not to make excuses for them. And I don’t think this is true of everyone, so if this doesn’t sound like you, don’t sweat it. It is a pattern that I’ve been sensitive to lately, though: I’d be curious where other people are at on this matter.

Anyway. More talky-talky. Went to a nice little brown bag lunch discussion about Make You Notice at the SFAC Gallery today: Patricia Maloney did an elegant job of describing the show, her curatorial process and the work of the artists, Meg Shiffler helped shape the conversation, and Laura Swanson and I piped in here and there to talk about our work in the first-person, as well. I really liked the format of the discussion: a meal, a conversational tone, all around a couple of tables in the front of the gallery. It felt like a nice, intimate salon-like experience.

From there, I hustled over to USF for my Fil Am Arts class. We had a special double-feature in the form of two artists, Eliza Barrios and Renetta Sitoy, speaking about their work. They were the last 2 speakers for the semester, following visits from Charles Valoroso, Carlos Villa, and Stephanie Syjuco. There’s something about having a live artist talking about their practice that just makes it so much easier to connect with art: especially in a class that’s still unfamiliar territory to most, hearing an artist share his/her experience directly makes all the difference in the world. Even though I’ve known most of these presenters’ work for years, I’m always so delighted by what they actually say about their own art practice.

What else? Jeez, I should have known a post about talking would ramble on a bit. Ah. Yes: this Friday, I’m talking about my work at UC Merced (the newest UC school!), as part of a temporary position that I’m applying for there. And this Saturday, Christine Wong Yap and I are talking about our work in the Sorry! exhibition at Frey Norris Gallery. Since I wasn’t able to be at the actual opening reception a couple of weeks ago, we all conspired and devised a way to have a second social event there, to continue engaging with gallery-goers on a more personal level.

So. Wish me luck on the Merced presentation, and here are the deets on Saturday’s talk:

Artist Talk: Wofford and Wong Yap Yapping
Saturday, April 19
1 to 3 pm (I highly doubt we’ll be monologuing for 2 hours, though!)
Frey Norris Gallery
456 Geary St, SF 94102

And if the film-stills book-ending this post are still a sad mystery to you, click here to read the best synopsis EVER of this melodious/odious extravaganza. (Talk about men and women working out their issues. In song. For real.)

Feminist Friday Fun!

Thursday, April 10th, 2008

Hell to the yeah! Between the subject matter and the participating speakers, this is going to be good. Geez Louise, what a line-up! My only beef with this is that it already looks more like it should be a 2-day conference than a 2-hour roundtable…

Feminism and Art Today
A Roundtable Discussion
Friday, April 11th 4-6
Reception to follow

Timken Lecture Hall
California College of the Arts
1111 8th St.
San Francisco

Since the opening of Wack! Art and the Feminist Revolution at LA MoCA last year, scores, if not hundreds, of interventions into the high-cultural arena have enriched an on-going interrogation of contemporary feminisms in relation to the production of culture around the globe. An array of publications, exhibitions, demonstrations, colloquia, artist talks, roundtables, performances, interviews, seminars, fundraisers, retreats, workshops, conferences, broadcasts, and screenings have served as platforms for feminist historical revision and cultural exchange. Cornelia Butler, curator of Wack!, argues that “feminism’s impact on the art of the 1970s constitutes the most influential international ”˜movement’ of any during the postwar period” and the New York Times critic Holland Cotter makes the similar claim that, without feminism, “identity-based art, crafts-derived art, performance art and much political art would not exist in the form it does, if it existed at all. Much of what we call postmodern art,” he concludes, “has feminist art at its source.”

Feminism and Art Today: A Roundtable, hosted by the Visual and Critical Studies program at California College of the Arts, lends impetus to contemporary feminist initiatives in the arts while contributing to the analysis of both the rhetoric and the art circulating currently within art-world and academic contexts. We have invited art historians, artists, curators, critics, and art administrators who actively participate in the expansion of feminist cultural arenas to engage in conversation with CCA students and faculty members, as well as members of the wider community, about the influx of institutional interest in feminism. We ask, “Why now? What are the political stakes? Where are the silences and blind spots? What comes next?” We aim to create a space for public dialog and intergenerational exchange about contemporary visual culture that engages with feminist issues, provokes feminist analysis, and raises social consciousness.

Kim Anno is a painter, bookmaker, and public artist. Recently she has been included in exhibitions at the Varnosi Museum in Hungary, the Berkeley Art Museum, the Art Gallery at the University of Minnesota in Minneapolis, and Patricia Sweetow Gallery in San Francisco. She has received a Wallace Alexander Gerbode Foundation Purchase Award through the San Francisco Museum of Modern Art and the Honolulu Academy of Arts, and also a Eureka Fellowship through the Fleishhacker Foundation. She is Assistant Chair of Painting/Drawing and Professor in Community Arts and Graduate Program in Fine Arts.

Tammy Rae Carland is a photographer and video artist. She is co-chair of Photography at CCA and Associate Professor in the Graduate Program in Fine Arts and Interdisciplinary Studies. She is also the co-owner of Mr. Lady Records and Videos. She has shown her work in New York, Los Angeles, North Carolina, and San Francisco and has screened her video work internationally. Her work is featured in The Way That We Rhyme: Women, Art & Politics at Yerba Beuna Center for the Arts, SF.

Jill Dawsey is Curator of Contemporary Art at the Utah Museum of Fine Arts in Salt Lake City. She has taught at San Francisco Art Institute, California College of the Arts, and the University of California, Irvine, in addition to serving as Curatorial Associate in painting and sculpture at SFMOMA. With Maria del Carmen Carrión, she is co-curator of the show Small Things End, Great Things Endure at the New Langton Gallery, SF.

Berin Golonu, a graduate of the Visual Criticism program at CCA, joined the curatorial department at Yerba Buena Center for the Arts in 2003. There, she holds the post of Associate Visual Arts Curator. She has organized numerous exhibitions, most recently The Way That We Rhyme: Women, Art & Politics, and has published critical writings in Afterimage, Aperture, Art Nexus, Art Papers, Contemporary, Flash Art, frieze, and Sculpture. Before coming to San Francisco she served as editor-in-chief of Artweek magazine

Jessica Hough is director of the Mills College Art Museum. She was formerly Curatorial Director at The Aldrich Contemporary Art Museum where she worked for over nine years and organized more than forty exhibitions. Her groundbreaking show at Mills College, Don’t Let the Boys Win, featured work by Kinke Kooi, Carrie Moyer, and Lara Schnitger. Recent publications include Catherine Opie: 1999 & In and Around Home and Karkhana: A Contemporary Collaboration.

Patricia Maloney is the Associate Curator at Ampersand International Arts, San Francisco. Formerly Curatorial Assistant for the Matrix Program at the UC Berkeley Art Museum, she has coordinated one-person exhibitions for Cerith Wyn Evans, Catherine Sullivan, Jun Nguyen-Hatsushiba, Chiho Aoshima, Angela Bulloch, Cai Guo-Qiang, Anna Von Mertens, Jim Campbell, Helen Mirra, Simryn Gill, Julie Mehretu, and Eija-Liisa Ahtila. Her show Make You Notice recently opened at the San Francisco Arts Commission Gallery.

Pamela Peniston is a founder and Executive Director of Qcc – The Center for Lesbian Gay Bisexual Transgender Art & Culture and Artistic Director of the National Queer Arts Festival. She designed sets for theatre, television and computer graphics, receiving 7 gold medals for graphics and Art Direction from the Broadcast Design Association. Her photos will be part of an exhibition of Women’s Travel Photography at Femina Potens later this year. She has served on committees developing guidelines for the San Francisco Arts Commission’s Cultural Equity Endowment as well as Innovative Partnership and Cultural Equity Grant programs. She has worked as a writer, workshop/trainer and designer for Cultural Odyssey, particularly The Medea Project, Theater for Incarcerated Women.

Moira Roth is Trefethen Professor of Art History at Mills College. She has edited four books, and in 1998, published her first volume of collected essays Difference/Indifference: Musings on Postmodernism, Marcel Duchamp and John Cage (with a commentary by Jonathan D. Katz). Since then, the poetic texts comprising her “Library of Maps” have appeared in various journals and provided the narrative basis for an opera with composer Pauline Oliveros. Other recent collaborations include the performance pieces “Dancing/Dreaming Izanami and Amaterasu” and “Once-upon-a-time: Amaterasu, the Blind Woman and Hiroshima,” with the dancer Mary Sano, and, with the artist Dinh Q. Lê, “From Vietnam to Hollywood: ‘A Play of Ebb and Flow.’” Her awards and honors include the Women’s Caucus for Art’s Mid-career Art History Award (1989) and the Lifetime Achievement Award (1997); an Honorary Ph.D., San Francisco Art Institute, 1994; and the Frank Jewett Mather Critic’s Award for lifetime achievement, College Art Association 2000.

Stephanie Syjuco is a visual artist whose recent projects use the tactics of counterfeiting, bootlegging, and reappropriation to deal with issues of cultural biography and explore economic power structures on a broader scale. She has shown work at PS1, the Whitney Museum of American Art, The New Museum, SFMOMA, The Contemporary Museum Honolulu, The San Diego Museum of Contemporary Art, and the California Biennial at the Orange County Museum of Art. In 2007 she exhibited a collaborative project at artspaces in Istanbul, Beijing, and Manila, and this year is participating in both The Way That We Rhyme at Yerba Buena Center for the Arts, San Francisco, and We Interrupt Your Program (curated by Marcia Tanner) at Mills College. She has held visiting faculty positions at the California College of the Arts, Stanford University, and UC Berkeley.

Tina Takemoto is a writer, performance artist, and associate professor of visual studies at the California College of the Arts. Under the name Her/She Senses, she has collaborated with Angela Ellsworth since 1992. They have presented their installation-based performances internationally. They have been awarded numerous grants, including a New Forms Regional Initiative Grant from Diverse Works and Mexi-Arte, an Art Matters, Inc. fellowship, and a New Forms Regional Grant from the Painted Bride Art Center. She also performs with Annie Sprinkle and Elizabeth Stephens. Her articles have appeared in Art Journal, Performance Research, College Literature, and the anthology Thinking Through the Skin. She is currently working on a book manuscript tentatively titled Love/Sick: Illness, Collaboration, and Grief in Performance.

Reproduce and Revolt!

Wednesday, April 9th, 2008

This just in from my girl Favianna Rodriguez: the release of her and Josh MacPhee’s book of political graphics.
Get it.
Use it.
Raise a ruckus.

From Favi:
I am very proud to announce the release of Reproduce & Revolt, a book project I have been working on for over 3 years.

Reproduce & Revolt contains an extensive collection of contemporary political graphics collected from around the world, including art from many of today’s most exciting street artists, poster makers and graphic designers. All of these images are granted to the public domain, to be freely used for political purposes, serving as tools to inspire, mobilize, and transform communities.

Activism depends on design to capture imaginations and spread a message. Reproduce and Revolt not only documents some of the best activist design work of the past few years, it shows you how to do it yourself.

Order your copy today by visiting, an independently owned book store.

I will be selling the book during some presentations in April and May. Visit my website for a full listing of upcoming events. Stay tuned for book release parties and live art jams in June 2008!
Reproduce & Revolt
By Josh MacPhee and Favianna Rodriguez
Bilingual Edition (English / Spanish)
224 pages; $19.95
ISBN 978-0-9796636-1-1
Soft Skull Press / Counterpoint

one down one to go

Wednesday, April 9th, 2008

Update on the whereabouts of one adopted metal detector:



“Bob” is alive, well, and living happily in David Buuck’s Oakland backyard.

“Tatiana”, the other one, still awaits adoption: for just pennies a day, you too could have a faux walk-thru metal detector of your very own to love and care for! Please consider bringing her into your home, and giving her the love and attention she needs. Better than a Pound Puppy, and infinitely more charming than a Cabbage Patch Kid!

Refresher details from that earlier post are here.

Seawall Lot 337

Monday, April 7th, 2008

Not much time until this event on Tuesday, but here’s the deal: Seawall Lot 337 is the 16-acre stretch of land immediately south of the San Francisco Giants’ ballpark, soon to be developed into a destination with shops, parks, entertainment, arts, housing and office building . The Chronicle just published this article about it.

Four teams have submitted plans to the Port of San Francisco in February to develop it: only 1 (Kenwood Investments) is authentically looking out for the sustainability of arts and culture, and as of last week, is just barely in the lead with its proposal. The Giants and their partners aren’t far behind, though: if you’re able to turn out this Tuesday to support ArtFirst SF (aka the Kenwood proposal), please do so!
While I don’t know all the details yet, I’m planning on showing up to learn more, and to support ArtFirstSF. Hello. The Giants don’t need more money, or more control of the city. And the Kenwood proposal actually provides for artists. And I’m tired of being a San Francisco-born artist who can’t afford to live in her own city of birth: the Kenwood proposal, as I understand it presently, might allow folks like me the opportunity to do so, among many other things. We’ll see what happens…

Location: San Francisco Ferry Building, 2nd Floor
Port of San Francisco (Embarcadero), San Francisco, CA 94111 US

Who: San Francisco Artists & Art Professionals who are interested in creating affordable art studio space in San Francisco and reinvigorating the culture of art that defines our great city.

What: The Port of San Francisco is evaluating four different proposals to develop a sixteen acre waterfront area next to AT&T park, the last major chunk of San Francisco’s waterfront on the Bay. The Port of San Francisco Commission now wants hear your opinion about the ArtFirstSF proposal, which has been chosen as the best development proposal by Port staff.

When: Tuesday, April 8th, 3:15 pm

Why: We support the creation of 170,000 square feet of studio space envisioned by the ArtFirstSF/Kenwood Development team!

Please come support the ArtFirstSF development proposal by attending the hearing this Tuesday and speaking your mind. We need to spark a public debate about the importance of nurturing and supporting artists in San Francisco.

Send a letter of support from you or your organization to the San Francisco Port Commission (ATTN: Commission President Kim Brandon, Pier 1, San Francisco, CA 94111, RE: Seawall Lot 337).

Please send to:
Bethany Fischer (BFischer at kenwoodinvestments dot com)