"Baptize me, now that reconciliation is possible. If we're gonna heal, let it be glorious." - Beyonce
"It's in the act of having to do things that you don't want to that you learn something about moving past the self. Past the ego." - bell hooks
Moving Beyond Pain - bell hooks' response to Lemonade
If you haven't already done so, please submit your student course evaluation!!
Pipilotti Rist, Ever is Over All, 1997.











The untitled sculpture, created by the late conceptual artist in 1991, was a replica in polished granite of the type of generic office water fountains found in Camp Matthews, the military base that occupied the site of UCSD until 1964. Asher’s fountain, located near the school’s Chancellors Complex and student center, was installed alongside more conventional monuments to the site’s former military role — a stone memorial and a large US flag.
Fountain destroyed
Michael Asher, Untitled, 1991. UC San Diego.










Jessica Rath, Tree Peel, 2013.











Edith Abeyta, Pie-Raiser, ongoing.











Liza Lou, Kitchen, 1998.










Liza Lou, Kitchen, 1998.











"In 1989, while a postgraduate at Cranbrook Academy of Art, Nick Cave developed the first of his Soundsuits, for which he has become world-famous — sculptural bodysuits constructed from a range of found objects, which transform the wearer into a figure both highly visible and completely obscured. The Soundsuit was a means for Cave to process the intense vulnerability he felt as a black man during the Rodney King beating, which took place the same year he graduated with his MFA from Cranbrook, which boasts a lavish and sequestered campus in the affluent and mostly white Detroit suburb of Bloomfield Hills." - Sarah Rose Sharp
Nick Cave, Sea Sick, 2014
Installation view of Soundsuits at ‘Here Hear’











Nick Cave, Soundsuits, 2010 - present.











Nick Cave, Soundsuit #1, 2010.
Nick Cave, Soundsuits, at the Denver Art Museu, 2013.











Rafa Esparza, i have never been here before at LACE











Shizu Saldamando, Rafa El Unico, 2013.
Shizu Saldamando, Sandy and Siouxsie, 2007.











Millie Wilson, Chest Hair #9, 1994.
Millie Wilson, Daytona Death Angel, 1994.










"It can be useful to keep in mind what archive theory has been saying for some time about both the need to critique existing archives and the impossibility of creating them. Theoretical critiques put the brakes on liberal enthusiasm for the archive, as do queer approaches to identity and representation, which insist that visibility is not always possible or desirable. Derrida has been the go-to person for such critiques, particularly because, using the combined example of Freud’s house and psychoanalysis in Archive Fever, he focuses on the impossibility of archival practice — on how the desire for records escapes representation, leaving a trail of traces in place of the always-elusive real. But this same lesson is also available from the archives of colonialism, slavery, and other histories of violence in which absences are not just a theoretical conundrum but also a very practical reality." - Ann Cvetkovich
Millie Wilson, The Museum of Lesbian Dreams, Dangerous Love!, 1990.











Millie Wilson, Some People (Boys with Sticks) and (Boys Looking), 2013.











Millie Wilson, Some People (Jacuzzi) and (Water Boy), 2013.










Maxine Helfman, Historical Correction, 2015











Kehinde Wiley, Femme piquée par un serpent, 2008.





















Mikalene Thomas, A Little Taste Outside of Love, 2007.

Mikalene Thomas, A Moment's Pleasure #2, 2008.


Mikalene Thomas photographic exhibition at Pomona College Museum closes May 13











Nari Ward, We the People, 2011






















Kerry James Marshall, School of Beauty, 2012.











“There is simply too much injustice in the world. And too much remembering...embitters. To make peace is to forget. To reconcile, it is necessary that memory be faulty and limited.” — Susan Sontag, Regarding the Pain of Others
Tracey Emin, I don't believe in love but I believe in you, 2012.