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Artforum: All Hands on Deck, Critics' Pick

In her 1994 book The Body in Pieces: The Fragment as a Metaphor of Modernity, the late art historian Linda Nochlin analogized representations of the disintegrated figure to tumultuous moments in the modern period’s political and metaphysical flux. While she linked some examples to the era’s chaotic break from antique notions of unification and permanence, Nochlin argued that others gestured to literal experiences of violence by communities under assault.

Palm Springs Life: Push the 
Positivity

At the busy intersection of fine art, fashion, and street art, you will find artist and designer Sofia Enriquez ('14 BFA Communications Arts), a powerhouse champion of equality, positivity, and authentic individuality in all its forms. Her line of upcycled clothing, Es Mucho, evolved from and alongside her studio and public mural painting and features exuberant hand-painted graphics.

Juxtapoz Magazine: Future Feminine

Future Feminine is a group exhibition at The Fahey/Klein Gallery focused on the evolution of the feminine perspective in an otherwise male dominated medium. The exhibition presents the visions of a group of distinctly 21st century female photographers with their eyes toward the future. Their abstractions of intimacy explore the intricacies of our relationships with the feminine lens.

V Magazine: The New Vision, Kelly Akashi

With genre-bending bodies of work that span a range of mediums and materials, these are the names to know in today’s evolving scene. First up is sculptor Kelly Akashi (BFA Fine Arts '06). 

Oakland Press: California Artist Weaves Faith Into Acclaimed Works

Lorenzo Hurtado Segovia had a full scholarship to study engineering and was more than halfway to his degree when he took an art class.

It changed his life.

Today, Hurtado Segovia, 38, is a much-admired contemporary artist who lives, works and shows in this city, which has become ground zero for much of American contemporary art. He is fresh off a critically acclaimed solo show that one reviewer called “deftly crafted, quirky, spiritual, private and timeless.”

Artillery: Ruben Ochoa's SAMPLED y SURVEYED

Ruben Ochoa’s (BFA Fine Arts '97)  “SAMPLED y SURVEYED” illustrates the artist’s penchant for transforming basic construction materials into structural installations charged with meaning.

Art in America: Learning from LA/LA: Critical Pedagogy at Pacific Standard Time

“Here, in this troubled time, what concrete action would you take to reach this utopia?” The question confronts viewers at the entrance to “Below the Underground: Renegade Art and Action in 1990s Mexico.” Posed by Pinto Mi Raya in the project Justice and Democracy (1995/2016/2017), the query hovers above a golden-hued seating area on a platform. This spatial context codes the question as an incisive provocation: what physical acts are you willing to undertake in order to access possible alternative futures?

Village Voice: Under the Spell of Sculptor Kelly Akashi’s Eerie, Tactile Elegance

There is an eerie loveliness, a troubled elegance, to the work of Los Angeles-based artist Kelly Akashi. Insides and outsides are defined, then confused; materials behave as themselves, then pose as something else; objects look familiar, but perform strangely. In other words, she’s a sculptor in the classic California tradition that celebrates eccentricity as a kind of instinctive intelligence.

Widewalls: Learning to Read with John Baldessari

For half a decade, John Baldessari ('58) combined image and language in a varied practice that included photo collages, sculptures, and videos, at the same time investigating how art itself is made and understood.

Known for his approach of good-humored irreverence, he punctuated his work with visual puns, wordplay, instructions and quotations, touching upon deeper truths regarding how we communicate through culture, and how art might reinvent itself.

Artnet: How One Artist Turned a Wrongful Conviction and a Prison Sentence Into Powerful Performance Art

The ninth of August 2012 started out unremarkable for artist Sherrill Roland, but his life would change forever with a phone call he got that day. A detective reached him as he was preparing for his first year of the MFA program at the University of North Carolina Greensboro, and told him that he faced felony charges in Washington, D.C. (The artist declines to name the charges or the identity of his accuser.) Confused and shocked, Roland maintained his innocence. The charges were later downgraded to a misdemeanor, resulting in a two-day trial before a judge, not a jury.