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14/9/2005

General Ideas

CCA Wattis Institute for Contemporary Arts, San Francisco

Rethinking Conceptual Art 1987–2005

San Francisco, Calif., August 24, 2005—The CCA Wattis Institute for Contemporary Arts presents "General Ideas: Rethinking Conceptual Art 1987–2005," an exhibition that considers the legacy of conceptual art in works produced by a generation of artists born during or close to the first phase of conceptual art production (1965–1975). Organized by Matthew Higgs, adjunct curator for the Wattis Institute and Director of White Columns in New York, "General Ideas" is on view September 15–November 13 in the CCA Wattis Institute's Logan Galleries on the San Francisco campus of California College of the Arts. An opening reception will take place on Thursday, September 15, from 7 to 8:30 p.m. The exhibition and reception are both free and open to the public.

"General Ideas" seeks to explore works in the wake of conceptual art and how the ideas and approaches of this movement have influenced subsequent generations of artists. "Like their conceptualist precursors, the works in "General Ideas" employ the 'language, actions, processes, and existing cultural forms' of quotidian life to, in LeWitt's words, 'leap to conclusions that logic cannot reach,'" writes Higgs in an essay about the exhibition.

Featured artists include Francis Alys, Jennifer Bornstein, Adam Chodzko, Martin Creed, Andrea Fraser, Liam Gillick, Felix Gonzalez-Torres, Jamie Isenstein, Emily Jacir, Emma Kay, Adam McEwen, Jonathan Monk, Gabriel Orozco, Rob Pruitt, Kay Rosen, Josh Shaddock, Santiago Sierra, Ron Terada and Rirkrit Tiravanija.

Works in the show range from photographs and lithographs, to mixed media installations, video and new media works. Examples include Adam Chodzko's "The God Look-Alike Contest" (1992–93), a series of images born out of a classified advertisement he placed in a London newspaper long before the ubiquity of the internet and reality television; Andrea Fraser's video work "Little Frank and His Carp" (2001), depicting an unauthorized intervention in the newly opened Guggenheim Bilbao (designed by Frank Gehry) that followes the sexually suggestive subtext of the museum's audio-tour guide to its logical denouement; and "Five Coloured Words in Neon" (2003), in which through the cool glamour of neon, Ron Terada restages post 9/11 hysteria while making a sly historical nod to the artist Joseph Kosuth.

Established in 1998, the CCA Wattis Institute serves as a forum for the presentation and discussion of leading-edge local, national and international contemporary culture. Through exhibitions, the Capp Street Project residency program, lectures, symposia, performances and publications in the fields of art, architecture and design, the Wattis Institute fosters interaction among the students and faculty of California College of the Arts; art, architecture and design professionals; and the general public.

Generous lead support for CCA Wattis Institute for Contemporary Arts programs has been provided by Phyllis C. Wattis and by Judy and Bill Timken. Support has also been provided by the Phyllis C. Wattis Foundation, Grants for the Arts/San Francisco Hotel Tax Fund, Ann Hatch and Paul Discoe, and Tim Mott and Ann Jones. Additional support provided by the CCA Curator's Forum.

Press Contacts

Kim Lessard
415.703.9547 klessard@cca.edu

Chris Bliss
415.703.9545 cbliss@cca.edu

Image: Ron Terada, Five Coloured Words in Neon, 2003

Opening reception: September 15, 7–8:30 p.m., Logan Galleries

CCA Wattis
Kent and Vicki Logan Galleries
College of the Arts, 1111 Eighth Street (at 16th and Wisconsin), San Francisco, CA 94107

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