APRIL— Ju L y 2 013 - Museum of Contemporary Art San Diego

EXHIBITIONS DOWNTOWN EXHIBITIONS DOWNTOWNThe Very Large Array: San Diego/TijuanaArtists in the MCA CollectionSCOLI ACOSTA:ELEMENTALISTHMUSOn view through 6/23/13 > DOWNTOWNScoli Acosta’s first solo museum exhibition on the West Coastfeatures a number of the artist’s Pentagonal Monochromes(tambourines), which are composed of canvas stretched overhandmade stretcher bars, edged by jingles made from flattenedbottle caps. Moving beyond the “specific object” of the 1960s,Acosta’s tambourines are at once paintings and functionalobjects, diverting the legacy of modernist painting to the realmof the everyday, the hand-held, and the percussive.Scoli Acosta: ELEMENTALISTHMUS is organized by the Museum of Contemporary ArtSan Diego with the support of Dar al-Ma’mûn International Residency Center for Artists.Institutional support for MCASD is provided, in part, by the City of San Diego Commissionfor Arts and Culture.PHOTOS: PABLO MASON.OnGOING > DOWNTOWNFeaturing more than 100 artists and representing five decades of collecting, this expansive exhibitionof Museum acquisitions highlights many of the region’s most beloved and accomplished artists. Withtwo-dimensional works displayed in a salon-style installation, the white cube space at the center ofthe room presents focused, thematic selections, which change seasonally.Last month, we debuted the second rotation of the cube, spotlighting artists whose work exploresthe politics and psychogeography of the U.S.-Mexico border. This presentation features significant,rarely seen works of installation art such as Victor Payan and Perry Vasquez’s Keep on Crossin’(2003–05) and the provocative and influential project Art Rebate/Arte Reembolso (1993) by DavidAvalos, Louis Hock, and Elizabeth Sisco, who famously distributed ten-dollar bills to undocumentedworkers in San Diego, illuminating the workers’ unacknowledged role as taxpayers in the localeconomy.In July, the cube will feature a two-person exhibition pairing early works by Manny Farber andFaiya Fredman. Juxtaposing Farber’s paintings on collaged paper from the late ‘60s and ‘70s andFredman’s mid-1970s works of fleece and sand on canvas, the exhibition considers questions ofprocess and materiality in the work of two distinctive San Diego artists.The Very Large Array: San Diego/Tijuana Artists in the MCA Collection is organized by the Museum of Contemporary Art San Diego.Institutional support for MCASD is provided, in part, by the City of San Diego Commission for Arts and Culture.7

EXHIBITIONS DOWNTOWNEXHIBITIONS DOWNTOWNLIZA LOU: COLOR FIELDOn view 7/12/13 through 11/3/13 > DOWNTOWNIn her mesmerizing sculptures, Liza Lou expands thepossibility of familiar objects and enlivens abstract shapesthrough the methodical application of glass beads, as shedoes in Gathered (One Million), pictured here.MCASD will debut Color Field, Lou’s newest, largescalesculpture, measuring more than 20 feet by 20feet. Composed of thirty-two shades of colored beadsmeticulously placed on small wire supports, the “field” ofabstract painting will become an unlikely garden on thegallery floor around which visitors can walk: a shimmeringmoiré of color in the light-filled space. Color Field wasbegun in Durban, South Africa and will be completed atMCASD, where teams of volunteers will aid in the work’sinstallation over a two-week period.FROM THE COLLECTION: WORK OF THE 1970SOn view through 6/23/13 > DOWNTOWNThis selection of artworks, primarily from the 1970s, highlights objects from the Museum’s collectionthat emphasize materiality, showcase process, and leave room for variability and imperfection.Materials such as clay, caulking, resin, plaster, tape, and acrylic sheeting are all used in unexpectedways. By revealing the act of making, these artists correlate studio practice with experimentation andan expression of time.These irregular objects with their abstracted references offer a counterpoint to the sharp logic ofminimalism and the familiar imagery of pop art, two impulses which dominated the previous decade’sart. In these works, the modernist grid of stability is handmade and irregular, and artists allow forallusions to the land, the cosmos, and the body.From the Collection: Work of the 1970s is organized by the Museum of Contemporary Art San Diego and is made possible by a generous giftfrom Barbara Bloom. Institutional support for MCASD is provided, in part, by the City of San Diego Commission for Arts and Culture.PHOTO: PABLO MASON.Liza Lou works on Gather (One million) in Durban, South Africa in 2010.Liza Lou: Color Field is organized by the Museum of Contemporary Art San Diego.Institutional support for MCASD is provided, in part, by the City of San DiegoCommission for Arts and Culture.8 9

ARTIST SPOTLIGHTARTIST SPOTLIGHT:SCOLI ACOSTAMCASD Intern Jewel Goodesat down with artist ScoliAcosta to find out what makeshim tick. Turns out it’s travel,totems, and pentagons.Scoli Acosta, Levitating the Pentagon (at the Pentagon), 2012, C-print.Courtesy the artist and Galerie Laurent Godin, Paris. Photo by Randy Peterman.Years of extensive travel and an intimaterelationship with language and literature haveenabled Los Angeles-based Scoli Acosta totranslate his personal experiences into worksof art. This is one of the many fascinatinginsights I gleaned when I sat down to speak withthe artist while he was installing his work inMCASD’s downtown galleries.Using a variety of media including painting,drawing, photography, sculpture, performance,and installations, Acosta encouragesa transformative and often metamorphicprocess involving humble materials and foundobjects from his immediate environment. The“aesthetics of resourcefulness,” a phrase heoften uses to describe his work, pays tributeto the necessary resourcefulness of materialshe employs during his travels. “There is alwaysa natural inclination to make something withnothing, bringing into focus that which previouslyexisted in the periphery,” the artistexplained.When asked about his creative process,Acosta said that nearly everything around himacts as a source of inspiration: the ocean, thesoulful music of Nina Simone, literature, theMoroccan adventures of Paul Bowles, or encouragementfrom family members and friends.For his current exhibition, Acosta presentswork made during a four-month residency inMorocco, evidencing his profound connectionto geography, landscape, and music. Many ofthe objects on display are inspired by MoroccanBendir drums, such as his (Peripheral) DotRibbon Totem. What was most memorableabout his residency? He was continually pushedout of his comfort zone. This meant battlinginsect infestations, poor sewage and sanitationconditions, as well as the sweltering 120 degreeheat. In the end, he found that “surrendering tothe natural elements, instead of fighting them,”was essential to his artistic practice.So what is the meaning of the unusual exhibitiontitle, Scoli Acosta: ELEMENTALISTHMUS?Acosta explained its etymological root: in Greek,isthmos means neck, and isthmus is a landbridge. The artist liked the whimsical soundof the made-up word, which he jokingly saidsounds like an art movement. The title alsoreferences the symbolic passage linking thephysical, psychological, and emotional statesof mind and body while celebrating the Earth’snatural elements. In Medieval alchemy andPaganism, the pentagon—a recurring motif inAcosta’s work—represents an idea or the spiritas the fifth element, a concept that is prevalentin this body of work.Acosta first took notice of the pentagonalform after viewing Chris Marker’s film, The SixthSide of the Pentagon, which documents the1967 march in protest of the war in Vietnam.There he learned about Yippee activist AbbieHoffman’s performance during this protestto try to use psychic energy to levitate thePentagon, at which point he believed the war inVietnam would end.At last month’s TNT (Thursday Night Thing),Acosta staged a performance referencingHoffman’s attempt to levitate the Pentagonin 1967, linking the past with the present. SeeAcosta’s exhibition in the downtown galleriesthrough June 23.SCOLI ACOSTA: ELEMENTALISTHMUSON View ThrOUGH 6/23/2013> DOWNTOWN, JACOBS BUILDINGSee PAGE 6 for more information.10 11

INSIDE SCOOPINSIDE SCOOP“There is history we learn about secondhand—in books, in films, and other mediaThen, there is lived history.”Robert Pincus reflects on an exhibition’s history and his own.42For me, the expansive exhibition, The Very LargeArray: San Diego/Tijuana Artists in the MCACollection, co-curated by the Museum’s DavidC. Copley Director and CEO Hugh M. Davies andAssociate Curator Jill Dawsey, embodies thissecond kind of narrative: it conveys local arthistory that parallels my own past. While a fewselections reach back to the 1950s and 1960s,most date from the 1980s, roughly the sametime period in which I served as art critic of theSan Diego Union (1985–1992) and the San DiegoUnion-Tribune (1992–2010).Seeing this exhibition, it occurred to me thatI had written reviews or stories about most ofthe artists represented in this exhibition. (By mycount, there are only five out of nearly a hundredthat I didn’t cover at one time or another, in theUnion-Tribune and on occasion in Art in Americaor Art News.)The Very Large Array seems like the perfectway to build on what MCASD accomplished withits 2010 show, Here Not There: San Diego ArtNow. And a point I made in my review of thatshow applies equally well to this one: “There isno dominant San Diego School of Art.”But however eclectic this work is, you will findart that conveys a sense of this complex region.Wick Alexander’s painting La Linea (The line)(1985) 1 seemed wickedly witty and stylisticallyTHE VERY LARGE ARRAYONGOING > DOWNTOWN, JACOBS BUILDINGSee PAGE 7 for more information.distinctive when I saw it in a 1985 exhibition—andstill does. The border has changed, but not theessential insights of his image. He contrasts theurban density of Tijuana and the suburban landscapetaking shape on the American side of thefence. The entire image is presented with a greateye for color and for panoramic space.On that same wall is Robert Ginder’s House(1984) 2 , with its typical, modest early 20thcentury Spanish style home. The house itself isa kind of Southern California icon, and the artistoffers up a beautifully crafted conceit about it byemploying a gold leaf sky and arched panel thattogether strongly evoke iconic Christian painting.Putting a human face on a sense of place isa nearby picture by Alida Cervantes, from herHousekeeper Series: Adela, Vicenta, Jema, Toña,Angela (1999) 3 . She renders fairly large frontalportraits of local domestic workers—one percanvas.Facets of the region are more subtly assertedin other works, such as Manny Farber’s masterfullarge picture Batiquitos (1995) 4 . The plants,flowers, vegetables, and fruit he painted werepersonal emblems for Farber, in this and so manyof his paintings. Yet the fecundity of this imageryalso has a subtle link to the collective notion ofSouthern California as temperate “paradise.”For viewers who have followed the evolutionof any of these artists—and of San Diego art ingeneral—you will surely experience a sense ofyour own lived history in this exhibition. For thosewho have not, The Very Large Array is a richintroduction to art made in San Diego and Tijuanaduring the past half century.PHOTOS: PABLO MASON.3 1312 133

NEWSNEWSGET SEEN. MCASD’S ART CONTEST RETURNS.MCASD Goes Gangnam Style for FreedomIt’s BACK! MCASD’s 25 and Under ArtThe deadline for entries is Monday, April 22.Thought you saw MCASD staff and board members “riding the pony” on YouTube? You weren’tContest is ready for round two. Are you?Our annual contest kicked off last spring whenwe asked you (all you folks under 25, that is)to create artwork inspired by the human eye.We were blown away by your creativity.We received more than 100 entries, 200votes in person, and more than 4,000 voteson Facebook. Artwork entries ranged fromsculptures, drawings, and paintings to videoand installation works.And this year we’re expecting to see evenmore! So visit our galleries (don’t forget—admission is FREE if you’re 25 or under) andget inspired. Again, we are accepting artworksin many mediums, and only ask that youuse the Greedy Organ (a.k.a. the human eye,whose visual appetite is rarely sated) asthematic inspiration.Our esteemed panel of judges will select twentyfivefinalists. We’ll then invite you to vote foryour favorites on Facebook and in person at theshowcase event on Thursday, May 16. After theshowcase event, all twenty-five finalist entrieswill be displayed at Westfield Horton Plazathrough August. We will select four winners inthe following categories: People’s Choice (firstplace and honorable mention) and Curator’sChoice (first place and honorable mention). Thefirst place winner in the Curator’s Choice categorywill receive $500 in art suppliesand a Dual/Family Membership. Get busy.Fame awaits!Visit www.mcasd.org to submit your entry.PHOTOS: BRYAN BANGERTER.dreaming. You probably just caught the tail end of Anish Kapoor’s Gangnam Style parody videoreleased last December.Chinese artist and activist Ai Weiwei created his own parody of Korean pop music sensation Psy’sviral Gangnam Style music video as a comment on the lack of freedom in China. It was bannedshortly after its release. In response, internationally acclaimed artist Anish Kapoor organized amassive Gangnam Style video in support of the artist. “Gangnam for Freedom by Anish Kapoor andFriends” received widespread support by human rights organizations, museums, and well-knownartists such as Mark Wallinger and Bob and Roberta Smith. MCASD was invited by Kapoor to submita video, which was ultimately incorporated into the final cut and available to view on YouTube.The Museum has a long history of supporting Ai Weiwei and his work. In 2011, MCASD’sInternational Collectors group visited the artist in his studio in Shanghai just months before he wasarrested. When the authorities refused to release Ai Weiwei, MCASD staged a 24-hour silent sit-into protest his detainment. Ai Weiwei’s fight to remain an uncensored voice for the people of Chinais an effort MCASD proudly supports.VISIT our blog at mcasd.org/BLOG to SEE the video.14 15

MEMBER PROFILEKeeping up With the HollandersMeet Viveca Bissonnette and Jeff Hollander: interior designerand architect, respectively, owners of Hollander Design Group,parents, art lovers, founding members of Avant Garde, andco-chairs of the Third Annual Summer Solstice Soiree.the fine art community and the design andarchitecture communities intersect.MCASD: What is your favorite dive bar?VB: Nunu’s! It is the perfect dive bar inHillcrest—great crowd, big red leatherbooths, and a great burger.MCASD: Where is your go-to spot for aMCASD: How did you become involved withMCASD: Do you feel it is important forcraft cocktail?the Museum?museums to have special interest groups likeJH: Here in San Diego—Noble Experiment.VB: I’ve been a Member for a long time, but theAvant Garde?first time I felt truly connected to the institutionJH: Absolutely! The population is not homog-MCASD: I hear you have a passion forwas during the first Summer Solstice event.enous—customization is key to the success ofcupcakes. Would you care to elaborate?I felt inspired to become more involved, whichan institution—as well as engaging and invest-JH: Viveca suggested that it would bespeaks to the power of the Jennifer Steinkamping in emerging communities.a great way for me to connect with myinstallation. It really spoke to who you were as adaughter, so I bought her a book aboutMuseum, and it was exciting and provided a de-MCASD: What is a favorite recent exhibition?cupcakes for her birthday and we began togree of access I had previously not experienced.VB: Tara Donovan. It was stunning, awe-in-make them together on Sundays. It becamespiring, and a true example of the power of artan opportunity for us to explore flavors andMCASD: What is your favorite part aboutand how the Museum itself can become partexperiment with innovative designs. It reallyAvant Garde?of the piece. It really spoke to who we are asunleashed her creativity—she even startedJH: Growing up, my parents were very involveddesigners—we, too, transform spaces.a blog and is now the official cupcake bakerwith museums, the opera, and the theater whichJH: MIX: Nine San Diego Architects andfor all her friends’ birthdays!engendered an appreciation for the arts at anDesigners. I was blown away by the raw socialearly age. I truly believe that art is good for thepower of the work—the people I met and con-world and good for the soul. The Avant Gardeversed with while waiting in line were peoplegroup provides a deeper connection to art andI wouldn’t have normally met. Everyone waswho we are and what we do. Viveca and I areexcited and discussing the work. I would loveboth so passionate about the arts—in fact, it isto see the Museum go beyond its walls evenwhat we share and what brought us together.more. For example, I thought the La JollaWe feel it is vital to give back to the commu-Murals walking tour, part of the Avant Gardenity by increasing exposure to the arts, and toC.A.T. series, was a great example of movingpeople who perhaps didn’t have the same arts-beyond the gallery.focused upbringing. It is important to ask thequestion, “How can we help fill the void?”MCASD: What are your hopes for AvantVB: I was raised in much the same way. With anarchitect mother and an urban planner father,I grew up surrounded by artists and designersand learned to appreciate art at a very earlyage. I love that Avant Garde provides an intimateconnection to art, to the Museum, and toother like-minded individuals.Garde moving forward?JH: I would love to see the group cometogether and form a tight-knit community—atrue network of individuals who have a loveand appreciation for the art community.VB: To continue to explore art on a viscerallevel and to facilitate a gathering place wherePHOTO: JOHN DURANT.DON’T MISS THIS POWERCOUPLE’S NEXT BIG PROJECTAS THEY CO-CHAIR MCASD’STHIRD ANNUAL SUMMERSOLSTICE SOIREE ON JUNE 21.CHECK THE CALENDAR FORMORE DETAILS.2021

INSIDE SCOOPHow was the transition from the ICE Galleryreally connected, and now Joey’s actually histo Bread & Salt? Does it feel like a momentpersonal assistant.for re-invention/re-interpretation of yourLee: MCASD has taught me so much aboutartistic goals?contemporary art. They’ve helped me expo-Thomas: This is an exciting time for us. We werenentially in talking about it, understanding it,at ICE in North Park for a little over two years,and handling it. The environment is perfect forand now it feels like the right moment to beme because I live and breathe art twenty-fourdoing something like this. When you’re creatinghours a day: I read art books, draw, and trysomething, no matter what it is or where youto visit other museums. If I’m not involved inHANGING WITH THE ICE GALLERY GUYSSometimes the most interesting thing in a Museum isn’t the arton the walls—it’s who’s hanging it.are, it feels like re-invention every time.Lee: It’s important to keep working and expandingyour vocabulary because the process ofcreating is extremely important. You have tocontinually challenge yourself. It’ll be similar toworking in ICE, but the location is different. Thisart, I feel really guilty. It’s like an itch I have toscratch.MCASD: Do you intend to collaborate withother artists who will eventually inhabitthe space?Four young artists, formerly of the ICE Galleryin North Park, opened an exhibition in Februaryat Bread & Salt, an abandoned yet serviceable40,000 square foot warehouse built in 1891.The Logan Heights building, which housed theformer Weber bakery, is being transformed intoa multi-purpose environment for communitygalleries, event spaces, and live-work artistunits by James Brown of Public Architecture.Thomas DeMello, Lee Lavy, Joseph Huppert,and Michael James Armstrong were offeredthe opportunity to use the space however theywished. All four artists have been preparators(a.k.a. art handlers) at MCASD. The group’sLee Lavy: The running thread between us is thatwe continually move from one project to thenext. We all have different relationships to art.I’ve been drawing since I was 4 or 5 years old -just sketching and making stuff. I figured no onecared. I’d actually never shown any of my workuntil I started working at Blick Art Supplies.Thomas DeMello: I’ve been an artist my wholelife. I used to turn in blank exams at school andcall it art. This is really personal to me. I dreamabout art, I love to talk about it, and I feel enlivevedby the conversations we have at CaféBassam on Sundays. Everyone we meet there isso creative.LEE LAVY (LEFT), AND THOMAS DEMELLO (RIGHT). PHOTOS: JEWEL GOODE.will be like our continuation in a new space.MCASD: Two members of the group, Thomasand Lee, are currently preparators for MCASD.How have the things you’ve learned therechanged your perspective about and relationshipto art?Thomas: Getting this job was like a dream, andI’d probably do it for free just because I love itso much. We’re always trying to find a way tocome together and connect with people aboutart on any level; people who are passionateand creative. We’re always learning somethingnew there, and we’re fortunate to meetamazing people like Bob Irwin. He and JoeyLee: We’re not really collaborators, but sometimeswe do fight like brothers. It all comesdown to a shared work ethic and respect forone another.Michael: We’re supportive in aspects like labor,but it’s probably better to say that we helpeach other with execution and not aesthetics.We’re all friends, and we try to help each otherachieve our goals.Thomas: The goal is always to help someonemake it happen. If an opportunity to collaboratecomes along, we’ll really think about it. Mostly,we all want to be on a course to see that workgets finished.unique approach to art has allowed them to fullyexploit the potential of such a raw environment.MCASD: What factors have influenced yourWe sat down with the group to learn more aboutwork for the current exhibition at Bread & Salt?their practice and their new digs.Thomas: I’m drawn to this idea of inhabiting anuninhabitable space and producing work that isMCASD: How would you describe your work,site-specific. In that way, Bread & Salt has theas a group or individually?same kind of origins as the ICE Gallery. We don’tMichael Armstrong: As a group, we’re allhave an artist manifesto, we never put wall labelscompletely different. I don’t think we shareon the art, and we never serve food or drinks atanything as far as aesthetics. At the moment,opening receptions. We just want people to gothe focus is on site-conditioning/site-specificlook at art for as long as they can stand it.installations where the site informs the work.Lee: That’s a quality not many places have. Wealso don’t want to be known as a gallery becausethere aren’t any objects or art to sell.22 23

MEMBER-EXCLUSIVEEXPLOREUSE YOUR BENEFITSMembership bennies are so numerous it’s hardLooking for a different point of view?to keep track of them all. Here are a few high-Perspectives offers a new way to look at theA Curator’s Perspectivelights designed to help you get the most fromworld. Using current exhibitions as a startingLed by an MCASD curator, this tour and conver-your MCASD membership.point, this recently reformulated series ofsation invites visitors to ask questions and learnprograms offers visitors direct access to artists,about exhibitions, artists’ processes, or partic-ALL MEMBERS RECEIVE a 10% discount atcurators, and specialists in various fields ofular works of art. This program takes place soonthe Museum Cafe and the X Store in La Jolla.knowledge. These participatory talks and toursafter an exhibition opens and offers first-handUse these to treat mom to a special Mother’swill inspire, engage, and challenge your way ofknowledge about the installation and curatorialDay brunch or shopping trip next month.thinking. Don’t forget—Perspectives is always freeprocess directly from the curator.for MCASD Members.Members at the Contributor levelAn Outside Perspective($150) and above enjoy guest privileges,An Artist’s PerspectiveThere are multiple entry points into the worldallowing each Member to bring a guest everyMeet the star of the show. Gain a deeper under-of contemporary art. The Outside Perspectivetime they visit. Members at this level alsostanding of works on view by hearing directlyseries invites visitors to explore issues emergingenjoy reciprocal admission to more than 450from the artists themselves. Using a featuredfrom exhibitions by hearing from a specialist inmuseums nationwide, including MOCA and theartist’s work as a launch pad to explore broadanother field of knowledge: music, film, archi-Skirball Cultural Center in Los Angeles, thetopics in contemporary art, this conversationtecture, and even science.de Young Museum in San Francisco, the Frickinvites participants to be challenged and inspired.see calendar for a full list of programs.Members Get ModIn an effort to provide our Members with theCollection and Museum of Arts and Design inNew York, and many more.best in service and benefits, we’re thrilled toMembers at the Supporter levelannounce MCASD’s new partnership with Dwell($600) and above enjoy a special receptionmagazine. As a benefit of your membership,with hosted cocktails and hors d’oeuvres beforeyou will receive a complimentary one-yeareach exhibition opening celebration.subscription (ten issues, a $19.95 value) to themodern architecture and design magazine. Dwellpromotes idea-driven aesthetics in home designwith a focus on identity, creativity, and therealization of a well-balanced life within a largercommunity.Dwell is a natural fit for MCASD’s thrivingcontemporary art community, and we arepleased to offer this to Members at the Dual/Family level and above. Your first issue will arrivewithin the next few months, and you’ll have theopportunity to choose the digital edition if youprefer. Already a subscriber? No worries, yoursubscription will be automatically extended.Donor Circle Members ($1,500) andabove receive an invitation to the annualDirector’s Champagne Brunch with HughDavies. This year’s brunch will celebrate one ofour fall/winter exhibitions.For a list of benefits at all levels, pleasevisit the Join/Give section of www.mcasd.org.If you are interested in upgrading yourmembership to take advantage of any of thesebenefits, please contact Membership AssociateAnna-Leigh Zinza at azinza@mcasd.org or858 454 3541 x172.VICTORIA FU, PORTMANTEAU (STILL), 2009. 16mm color film transferredto digital projection plus stereo sound5: 15 loop.AN ARTIST’S PERSPECTIVE WITHvictoria fu, CHITRA GANESH, ANDSAYA WOOLFALK, featured inappRoximately INFINITE UNIVERSESATURDAY, JUNE 8, 2013 > 1–3 PM > LA JOLLA24 25

ART ON THE ROADVIJA CELMINSTHE X STOREJENNIFER STEINKAMP> MATCHSTICK NECKLACEBY KIEL MEADRegular $85 / Members $76.50KEITH HARING> YELLOW BANANA BOWLBY HARRY ALLENRegular $140 / Members $126JOHN MCCRACKENDANIEL RUANOVA (MeXICO)LLYN FOULKESMCASD’s COLLECTION GETS AROUNDBetween The Very Large Array and Behold, America!, we have recently had hundreds of worksof art from our permanent collection displayed in San Diego. But did you know that objects fromour collection are also on view across the country?Last fall our Keith Haring portrait of Elvis Presley was on display at the Metropolitan Museumof Art. That show, Regarding Warhol, has closed in New York but is on view in Pittsburgh atThe Warhol Museum until April 28. If you find yourself in Omaha, you’ll recognize JenniferSteinkamp’s Madame Curie at the Joslyn Art Museum through May 12.On your next visit to L.A., you may see some familiar sights: four of our works by funk artistLlyn Foulkes will be on view at the Hammer Museum through May 19, and John McCracken’sblack plank is on loan to LACMA through June 30 for their Stanley Kubrick exhibition.Works have even ventured south of the border: Daniel Ruanova’s NOW PL@YIN is currentlyat MACRO in Monterrey, Mexico through April 12.And, finally, Eggs by Vija Celmins recently traveled to Minneapolis and New Orleans, andreturned to us last month for the opening of Lifelike, the highly acclaimed exhibition organizedby the Walker Art Center.Keith Haring, Elvis Presley n.d., sumi ink and gold paint on Elvis poster, 38 x 26 1 /2 inches.Collection Museum of Contemporary Art San Diego, Gift of Lannan Foundation. Keith Haringartwork © Keith Haring Foundation. Photo: Pablo Mason.> FLAT LIFE LIGHTBY Finn MageeRegular $150 / Members $135That’s soLifelike(able)!The artists of Lifelike aren’tthe only ones inspired bycommonplace objects. Thesedesigners have a knack formaking functional objects inunusual forms or materialsthat have an uncanny likenessto something familiar, butare used in unexpected ways.They’re a little surreal andwhole a lot of fun.PURCHASE THESE PRODUCTS IN THE X STORE INLA JOLLA OR ONLINE AT MCASD.ORG/STORE.2829

THANK YOU TO OUR DONORSVIEWAPRIL—JULY 201321ST CENTURYCAMPAIGN DONORSFOUNDERS$3,000,000 AND ABOVEJOAN AND IRWIN JACOBSDAVID C. COPLEYCAROLYN P. FARRISCATELLUS, A PROLOGISCOMPANYDISTINGUISHED BENEFACTORS$1,000,000–$2,999,999THE ANNENBERG FOUNDATIONSUE K. AND DR. CHARLES C.EDWARDSDR. PETER C. FARRELLTHE ALBATROSS FOUNDATIONMARY AND JAMES BERGLUNDJAKE AND J. TODD FIGIPAULINE AND STANLEY FOSTERRUTH AND MURRAY A. GRIBINSTEPHEN WARREN MILESAND MARILYN ROSS MILESFOUNDATIONKATHERINE AND MANSFIELD MILLSMARYANNE AND IRWIN PFISTERDR. AND MRS. KURT E. SHULERIRIS AND MATTHEW STRAUSSPATRONS$500,000–$999,999COLETTE CARSON ROYSTON ANDDR. IVOR ROYSTONDRS. STACY AND PAUL JACOBSTHE KRESGE FOUNDATIONHELEN K. COPLEYJAMES S. COPLEY FOUNDATIONROBERT AND LOUISE HARPERNATIONAL ENDOWMENTFOR THE HUMANITIESELIZABETH AND MASON PHELPSBENEFACTORS$250,000–$499,999BETLACH FAMILY FOUNDATIONNATIONAL ENDOWMENT FORTHE ARTSROBIN AND GERALD PARSKYQUALCOMMSHERYL AND HARVEY WHITECONTRIBUTORS$100,000–$249,999BARBARA AND CHARLESARLEDGELINNEA AND FRANK ARRINGTONBARBARA BLOOM FUNDNANCY AND MATT BROWARDIANE AND CHRISTOPHERCALKINSDR. CHARLES G. ANDMONICA H. COCHRANECOUNTY OF SAN DIEGO,3RD DISTRICT SUPERVISORPAM SLATER-PRICECOUNTY OF SAN DIEGO,4TH DISTRICT SUPERVISORRON ROBERTSDANAH H. FAYMANDAVID GUSS FAMILYJUDITH C. HARRIS ANDROBERT SINGER, M.D.THE JAMES IRVINE FOUNDATIONIN MEMORY OF IRENE R.JELLINEKARTHUR AND SANDRA LEVINSONMARY KEOUGH LYMANJOSEPHINE R. MACCONNELLPATSY AND DAVID MARINOAMELIA AND KENNETH MORRISTHE PARKER FOUNDATIONFRITZ AND NORA SARGENTSELTZER CAPLAN MCMAHONVITEKIN MEMORY OF DOROTHYMITCHELL SHAPIROJOYCE AND TED STRAUSSJOHN M. AND SALLY B.THORNTON FOUNDATIONUBSGILDA AND VICTOR VILAPLANAJO AND HOWARD WEINERMCASD ANNUAL FUND DONORSINDIVIDUAL DONORS$100,000 and aboveAnonymousCarolyn P. FarrisPauline FosterFaye HunterJoan and Irwin JacobsDrs. Stacy and Paul JacobsThe Mark & Hilarie MooreFamily TrustMaryanne and Irwin Pfister$50,000–$99,999Karen FoxIris and Matthew StraussThe Sheryl and Harvey WhiteFoundation$25,000–$49,999Barbara and Charles ArledgeMary and James BerglundBarbara Bloom FundMatt and Nancy BrowarHolly McGrath Bruce andDavid BruceDonald and Karen CohnJeanne Jones andDon BreitenbergElizabeth and Mason PhelpsSuzan and Gad ShaananJoyce and Ted Strauss$10,000–$24,999Lisa and Steve AltmanFrank and Linnea ArringtonMelissa Garfield Bartelland Michael BartellBarbara Bloom FundWendy and Bill BrodyCathy and Ron BusickColette Carson andDr. Ivor RoystonRobert Caplan andDr. Carol RandolphLinda Chester andDr. Kenneth RindDr. Charles G. Cochrane andMonica H. CochraneAnonymous Fund at the San DiegoFoundationJudge Jonathan T. ColbyRenée Comeau and Terry GuldenValerie and Harry CooperCourtney Ann Coyle, Esq. andSteven P. McDonald, Esq.Mrs. Sue K. EdwardsOlivia and Peter FarrellHelene and George GouldAnonymousMargaret Jackson andNeil HadfieldDebby and Hal JacobsSheri and Dr. Stuart JamiesonSharon and Sami LadekiGarna G. MullerCatherine and Bob PalmerRobin and Gerald ParskyJames K. RobbinsNora and Fritz SargentDr. Marie Tartar and Dr. SteveEilenbergErika and Dr. Fred Torri$5,000–$9,999AnonymousRusti BartellShannon BartlettViveca Bissonnette andJeff HollanderCarolin BotzenhardtRalph and Gail BryanMrs. Lee Clark andJerry Pikolysky D.D.S.Trulette Clayes and Jeff PartrickDr. and Mrs. William T. ComerDan and Phyllis EpsteinLisette and Michael FarrellSusanna and Michael FlasterPauline FosterEric S. FullerAudrey S. Geisel/Dr. Seuss FundLeon and Sofia KasselVekeno KennedyLynda and Richard KerrDr. Warren and Karen KesslerGail and George KnoxFraeda and Bill KopmanTami and Michael LangLeanne Hull MacDougallPatsy and David MarinoRon and Lucille NeeleyScott H. Peters andLynn E. GorguzeCele and Justin RenaudinSteven M. Strauss andLise N. WilsonDonald and Linda SwortwoodElizabeth and Joseph TaftThe John M. and Sally B. ThorntonFoundationNancy B. TiekenJen Tuomi and Mark MacEwenKim and Erik Tyrell-KnottDr. Emad and Mrs. May ZawaidehHelene and Allan ZimanEmma & Leo Zuckerman$1,500–$4,999Joan and Jeremy BergMr. and Mrs. Aldis J. BrowneMary E. CollinsOvie Cowling and Danny KellyLuis De JesusRachel and Spencer DouglassRocio and Michael FlynnInge Johansen and Robert GagnonJennifer and Richard GreenfieldMichael KrichmanDennis KernLewis and Marnie KleinGary Koerper and Tiffany ArcherDr. and Mrs. James E. LasryJames LevineKen LittleJennifer LuceCatherina and Michael MadaniLiz and Chris McCullahElspeth and Jim MyerMr. and Mrs. Phil NapierskieRosalie and William O’BrienViviana and Charles PolinskyRandy S. RobbinsDr. and Mrs. Thomas J. SergottElene and Herbert SolomonThe Dillon FundScott WhiteLisa and Corey Wilson-WirthLorna York$600–$1,499Michael AlboFay P. BullittMalgorzata and Ray FreiwirthRobin J. LipmanDavid and Katherine Overskei$300–$599Betty AmberMr. and Mrs. John E. Barbey, Jr.Chris S. Bertics andLynda Kay ChandlerLacey and Blayney ColmoreAnne C. and Robert W. ConnPatti and Coop CoopriderMargaret McKeown andPeter CowheyCourtney Ann Coyle, Esq. andSteven P. McDonald, Esq.Sarah and Earl FeldmanBeverly and Richard FinkKathryn GoetzIgor and JoAnn GrantKaran Greenwald andBennett GreenwaldJohn HammerChris and Eloisa HaudenschildBetty R. HillerMr. and Mrs. Robert HoehnMonique KonovalorKelly LarrabeeMargery MicoSusan and Charles MuhaBrian and Paula PowersDr. and Mrs. Robert PreismanPaul and Barbara QuinnMarilyn L. and James A. ReiterG & J ReynoldsMark Robillard and Diana NeffUrsula SassoJordan D. SchnitzerJacquelyn and Robert SlotkinRonald StevensonDaniel W. VecchittoRon WakefieldCaitlin WegeRolfe Wyer and Doris SosinMr. and Mrs. Howard ZatkinCorporate, Foundation, andGovernment Donors$100,000 and AboveQualcomm Foundation$50,000–$99,999The Andy Warhol Foundation forthe Visual ArtsChristie’sCity of San Diego Commission forArts and CultureCounty of San Diego$25,000–$49,999National Endowment for the ArtsNorthern Trust$10,000–$24,999Cooley LLPLLWW FoundationMandell Weiss Charitable TrustNordstromThe ResMed FoundationThe San Diego FoundationErmenegildo Zegna Corporation$5,000–$9,999KPMG LLPSeltzer Caplan McMahon Vitek$1,000–$4,999GUCCIThe Arts FederationThe Cynthia and George MitchellFoundationThe La Jolla CommunityFoundationTarget Corporation$300–$599JPMorgan ChaseIn-Kind Support$25,000–$49,999KSONThe San Diego Union-Tribune$10,000–$24,999Campine CateringRoppongi Catering91XRanch and Coast MagazineRiviera Magazine$5,000–$9,999Authentic FlavorsCrown Point CateringElegant Events Catering Co.The French GourmetGiuseppe Fine CateringHyatt Regency La Jolla atAventineLawrance FurniturePeartrees Catering, Inc.Stone Brewing CompanyTapenadeWaters Fine CateringAt the $1,500 level and above, current donors are listedquarterly for the period of one year. At the $300–$1,499 level,current donors are listed once, in the quarter following thedate of the gift to MCASD.We’ve made every effort to be accurate. This list is current as of3/12/13. Please call 858 454 3541 x172 if you should find an error,or if you have other inquiries about Membership.MCASD Board of Trustees2012–2013Colette Carson Royston, PresidentBarbara ArledgeLinnea ArringtonMelissa Garfield BartellDr. Mary F. BerglundBarbara BloomWendy H. BrodyNancy BrowarRonald L. BusickDr. Charles G. CochraneValerie CooperIsabel CoppelDr. Peter C. FarrellCarolyn P. FarrisPauline FosterJohn IppolitoMargaret A. JacksonDr. Paul JacobsVekeno KennedySami LadekiSonia MandelbaumHolly McGrathMason PhelpsDr. Carol RandolphNora D. SargentGad ShaananJoyce StraussMatthew C. StraussSheryl WhiteBrent V. WoodsSue K. Edwards, Honorary TrusteeDanah Fayman, Honorary TrusteeDavid C. Copley, In MemoriamDr. Hugh M. Davies, The David C.Copley Director and CEOEditor-in-Chief: Rebecca HandelsmanManaging Editor: Leah MastersonDesign Director: Ursula RothfussDesigner: Kasey ReisContributors: Heather Cook,Jill Dawsey, Kate Deuparo,April Farrell, Jewel Goode,Elizabeth Harker, Kathryn Kanjo,Anne Kindseth, Edie Nehls, RobertPincus, Cris Scorza, Jenna Siman,Shannel Smith, Anna-Leigh ZinzaThe Museum of Contemporary ArtSan Diego, founded in 1941, isa Member-supported, private,nonprofit organization dedicatedto the collection, exhibition, andinterpretation of contemporaryart. MCASD, accredited by theAssociation of Museums, is onemuseum with two locations:La Jolla and downtown San Diego.All programs and activities aremade possible by generouscontributions from MCASDMembers and many individuals,foundations, corporations, andgovernment agencies.Institutional support for MCASD isprovided by the City of San DiegoCommission for Arts and Culture.30 31

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