Venturing far beyond mere observation or criticism of the works presented in the exhibition, they will discuss the nature of their artist-historian collaboration and deliver a fresh look at their shared world of art. Using as a point of departure a small but charged set of historical and popular archival images, film clips, writings, and music, they will share their insights on the ideas and themes embedded in these objects and ephemera.
Regular Admission: $10
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FREE for same-day film or performance ticket holders, children 5 and under, and military service members with ID.
First Tuesdays of the month: Free admission.
FREE for YBCA Members at all levels*.
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*Number of tickets per visit based on membership level.
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. His work has been featured at the Hammer Museum, Los Angeles; the Whitney Biennial, Whitney Museum of American Art, New York; the Studio Museum in Harlem, New York; Performa 15, New York; and the MIT List Visual Arts Center, Cambridge, Massachusetts, among other venues. Arceneaux lives and works in Pasadena, California.
Julian Myers-Szupinska is an art historian and critic whose writings have appeared in Documents, October, Afterall, Frieze, Fillip, Art Journal, Artforum, Tate Papers, and elsewhere. His interests are focused on sculpture and spatial politics of the twentieth century, the social and political dynamics of consumer society, and the sociohistorical frameworks for contemporary art and exhibitions. Recent publications include Hopelessness Freezes Time (Kunstmuseum Basel, 2012), a study of earthworks, drawing, Detroit, urban warfare, and guerrilla historiography, coauthored with artist Edgar Arceneaux; “Earth beneath Detroit,” an essay for the catalogue Ends of the Earth: Land Art to 1974 (Museum of Contemporary Art, Los Angeles, 2012); “Attitudes and Affects,” on the 1969 exhibition When Attitudes Become Form (CCA Wattis Institute for Contemporary Arts, San Francisco, 2013); “Urban Fragments,” in Keith Haring: The Political Line (2014, Prestel); and “After the Production of Space,” in Critical Landscapes: Art, Space, Politics (UC Press, 2015). Alongside teaching in the Graduate Program in Curatorial Practice at California College of the Arts since the program’s inception in 2003, he is a member (with Joanna Szupinska-Myers) of the curatorial collaboration grupa o.k., and senior editor of The Exhibitionist, a journal on exhibition making. He holds a doctorate in the history of art from the University of California, Berkeley (2007). In 2009 he received an Arts Writers Grant from Creative Capital/Warhol Foundation.
Yerba Buena Center for the Arts is grateful to the City of San Francisco for its ongoing support.
YBCA Exhibitions 2017–2018 are made possible in part by: The Andy Warhol Foundation for the Visual Arts, Panta Rhea Foundation, Meridee Moore and Kevin King, and United Airlines.
YBCA Programs 2017–2018 are made possible, in part, by: The James Irvine Foundation.
Additional Funding for YBCA Programs 2017–2018: National Endowment for the Arts, Abundance Foundation, Grosvenor, and members of Yerba Buena Center for the Arts. Yerba Buena Center for the Arts is grateful to the City of San Francisco for its ongoing support.
Lead Image: Edgar Arceneaux, Until, Until, Until…, 2016. Courtesy the artist and Susanne Vielmetter Los Angeles Projects. Photograph by Robert Wedemeyer.