Assistant Professor of Art
- CANDIDATE PROFILE
Here you will find descriptions, images and supporting materials of various creative scholarly activities organized in the table of contents below. Click the links in the table of contents to jump directly to a category or project within the page, or scroll down to read through the full collection. Because this file contains a large quantity of images, it is suggested that you allow the page to load fully before scrolling down to read or using the ‘jump’ links below.
The images selected for this file represent a small of my work. To view each full collection, you may follow the links where indicated, or visit www.liahalloran.com. contents
TABLE OF CONTENTS
I.I Solo exhibitions
I.I.I Your Body Is a Space That Sees, 2016
I.I.II Deep Sky Companion, 2016
I.I.III The Wonder Room, 2014
I.I.V Metamorphose, 2014
I.I.IV Dark Skate, 2007 – 2015
I.I.VI Sublimation | Transmutation, 2012
I.I.VII Collider, Folding/Unfolding, 2010 – 2011
I.I.VIII The Only Way Out Is Through, 2010
I.I.IX The World Is Bound In Secret Knots, 2006
I.II Group exhibitions
I.II.I Uncertainty, 2016-2016 [forthcoming]
I.II.II Sidewalk Surfing: The Art and Culture of Skateboarding, 2013
I.II.III Haunted: Contemporary Photography / Video / Performance, 2010 – 2011
I.II.IV Superficiality and Superexcrescence, 2009
I.II.V Space is the Place, 2006 – 2008
I.III Curated exhibitions
I.III.I Better Far Pursue A Frivolous Trade With Serious Means…
I.III.II Measure For Measure
Typically, a solo exhibition is the end result of one to three years works in the studio, from experimentation to creating works and then an exhibition. My work has been shown in one-person exhibitions in Los Angeles, New York, Boston, Miami, Dallas, San Francisco, Vienna, Florence, and London, and in numerous regional, national and international group exhibitions. A variety of mediums have been exhibited including painting, ink, photography, sculpture/installation, and experimental photo-painting combinations. Additionally, my work has been acquired for permanent collection in museums, corporate and other private collections including the Solomon R. Guggenheim Museum. A full list of is included in my CV.
Art Department Unit Guidelines state:
When compared to traditional modes of publishing, production, and presentation in the context of a studio art exhibition can be considered through the following analogies:
“A solo exhibition at a major museum or gallery is equivalent to the publication of a single-author book”
CAA, College of Arts Association, is the leading professional art organization defines solo exhibition in their tenure guidelines (the full document can be found here:
CAA Standards for Retention and Tenure of Art and Design Faculty).
“Exhibition and/or peer-reviewed public presentation of creative work is to be regarded as analogous to publication in other fields.” solo-exhibitions
I.I SOLO EXHIBITIONS your-body-exhibition
I.I.I YOUR BODY IS A SPACE THAT SEES
The Delaware Contemporary, March 25th – June 26th , 2017
Over the years, my studio practice has been aligned and informed by concepts in science, and for the project Your Body is a Space That Sees I have drawn directly from the history of astronomy for a series of large-scale cyanotype prints. The works employ visual and conceptual tools of science to map a visual history of the astronomical discoveries made by women with an emphasis on a group of women working at the Harvard Observatory in the late 1800’s known as the ‘Harvard Computers’, or ‘Pickering’s Harem.’ This two-year project is supported by a National Endowment for the Arts, Artworks Grant, and was recently granted a Distinguished Research, Scholarship & Creative Activity Award by the Chancellors Office and the Office of Research and Sponsored Programs Administration. This project is multifaceted and includes four phases: research at Harvard University’s astronomical glass plate archive, the creation of cyanotype artworks, exhibitions at the Delaware Contemporary and the Guggenheim Gallery at Chapman University, and the publication of a book with works and essays.
Glass plate of magellanic clouds from Harvard collection taken in the late 1800’s, 11×14 inches. This plate is the reference for the cyanotype ‘The Magellanic Cloud’ and in the process video shown below.
In spring 2016, I took my first research trip to Harvard to document and study the extensive archive materials, including the vast collection of astronomical glass plates, journals, and photographs. After identifying the specific plates that the ‘Harvard Computers’ made notations on or used to create classification methods, I then used those visuals as inspiration to create large paintings on semi-translucent paper. These are then used as negatives in a cyanotype printing process and exposed to the sun. These works are multi-layered in process and meaning, originating with a photographic plate reference used to create a painted image, then transferring back to a positive photographic image by being exposed to our star. The results of this process are large-scale works (6 x 4 feet and 6 x 6 feet) and printing is done with the assistance of Chapman University art majors involved in the BURN program through Wilkinson College. It has been exciting to involve my students in the research and creation phase of this project.
Magellanic Clouds, 2016, cyanotype print (left), ink painted (negative right), both 74 x 74 inches.
These technically experimental cyanotypes are conceptually parallel to the early methods used in astrophotography to map, record, and study the night sky and reconstruct a visual canon of astronomical discoveries for both the art and science community. The first of the exhibitions for these works will be at the Delaware Contemporary March 25th – June 26, 2017, with a symposium held on April 29th, 2017. This work will travel to a gallery exhibition in Los Angeles (dates to be determined) and then an exhibition at the Guggenheim Gallery at Chapman University. A book will accompany this exhibition with written contributions about the night sky from Dava Sobel, Dr. Lisa Randall, Dr. Janna Levin, Dr. Anna Leahy, and Jennifer Oulette with catalog design by Claudine Jaenichen.
[ View Collection ]
Cyanotype printing process and the making of ‘The Magellanic Cloud” for Your Body Is A Space That Sees.
Left: PSR 1919 (after Jocelyn Bell Burnell), Cyanotype / painted negative, 2015, 40 x 25 inches
Center: Barred Spiral, (after Henrietta Leavitt), Cyanotype / painted negative, 2015, 40 x 25 inches
Right: Spectra, 2016, Cyanotype / painted negative, 72 x 42 inches
The Astronomers [painted negative], ink on vellum, 2016, 42 x 120 inches deep-sky-exhibitioneep-sky-exhibition
I.I.II DEEP SKY COMPANION
Cahill Center for Astronomy and Astrophysics at the California Institute of Technology
June 5th – December 18th, 2016
When the French comet hunter Charles Messier came across fuzzy objects in the night sky or heard about them from others, he would take note ‘of objects to be avoided while hunting for comets’ so he could set them apart from the grand prize: a lonely, wandering comet. Messier was slow in amassing an astronomical catalog filled with galaxies, clusters, and nebulae. His catalog of objects numbered 103, posthumously reassessed to 110 based on his journals and drawings. Messier’s story is about the experience of discovery and all the things we find when we are not seeking them. Deep Sky Companion is a series of 110 pairs of paintings and cliché-verre prints of night sky objects from the Messier Catalog, highlighting Messier’s hand in discovery. Each painting was created in ink on semi-transparent paper, which was then used as a negative to create the positive photographic equivalent using standard black and white darkroom printing. This process connects to the historical drawings by Messier, here re-drawn and then turned back into positives through a photographic process mimicking early glass plates astrophotography. On view at the Cahill Center for Astronomy and Astrophysics at Caltech from June 5th- December 18th, 2016, is a site-specific edit of Deep Sky Companion comprised of 110 telescopic disks made from the positive prints that explode through four stories of Thom Mayne’s extraordinary architecture. Messier’s Catalog of original drawings and observations is reimagined and open for the experience of rediscovery. The unique catalog for the Deep Sky Companion exhibition has been designed by Claudine Jaenichen and features a glow in the dark cover and two pull out posters of Messer’s 110 objects.
Lia Halloran and David Ross during installation planning at Cahill Center for Astronomy and Astrophysics, Pasadena, CA, 2016.
Installing the series of 110 works into the especially dynamic architecture of Thom Mayne was an incredible opportunity that was also quite intimidating. For this undertaking David Ross, partner of Frederick Fisher & Partners Architects came on as the exhibition designer and worked on the planning and layout of the works within the space over a six month period. The building itself conceptually mimics telescope viewing with portals through the building spanning through 4 stories. David’s plan to install the works used this a the conceptual framework to trim the works into telescopic disks and install the works in varying vantage points that would mimic this longing for seeing through a telescope, some accessible and some completely out of reach. [ View collection ]
Installation at Cahill Center for Astronomy and Astrophysics, Pasadena, CA, 2016
Left to right, top to bottom:
M8, 2013, Ink on drafting film, 17 x 14 inches, M8, 2013, cliché-verre, 17 x 14 inches
M20, 2013, Ink on drafting film, 17 x 14 inches, M20, 2013, cliché-verre, 17 x 14 inches
M42, 2013, Ink on drafting film, 17 x 14 inches, M42, 2013, cliché-verre, 17 x 14 inches
M3, 2013, Ink on drafting film, 17 x 14 inches, M3, 2013, cliché-verre, 17 x 14 inches
DEEP SKY COMPANION
Published by CalTech, Pasadena, CA, 2016.
Designed by Claudine Jaenichen. [View PDF] wonder-room
I.I.III THE WONDER ROOM
Palazzo dei Cartelloni Gallery, Florence, Italy, January 14 – February 28, 2014
Trochillidae 9, 2013 Cliché-verre print, 14 x 11 inches
Wunderkammer, or Wonder Rooms were early private cabinets of curiosities, which contained collections of objects, minerals, and taxidermy animals of the natural world which science had yet to categorize. For the exhibition ‘The Wonder Room’ I created over 30 new works for the SACI gallery based on specimens in the oldest science museum in Europe, La Specola. Still located in its original location next to the Pitti Palace, it contains a famous collection of anatomical waxes from the 18th century. Several years ago I spent a week in La Specola documenting various parts of the museum and was especially fascinated by the Monkeys and Hummingbirds because of their macabre and delicate nature. Documentation (notes, drawings, photographs) of these species was used as a reference to paint a negative in reverse, which was then used in a darkroom to create a positive image of the creatures. The result is an image strange in nature because it is not entirely drawing, or entirely a photograph either. Many of the creatures on display were collected on hunting expeditions by members of the Medici family. They represent an early fascination with the natural world and attempt to preserve, categorize and classify. In tandem with the exhibition, I was invited to give a public artist lecture at SACI on January 23rd in the Clayton Hubbs Lecture Hall.
[ View collection ]
Left: Simian 4, 2013 Cliché-verre print, 14 x 11 inches, Right: Simian 5, 2013 Cliché-verre print, 14 x 11 inches
Left: Trochilidae 3, 2013 Cliché-verre print, 14 x 11 inches, Right: Trochilidae 10, 2013 Cliché-verre print, 14 x 11 inches
Installation views, SACI Gallery, Florence, Italy, 2014 metamorphose
DCKT Contemporary, New York, NY, Nov. 17th, 2013 – Jan. 6th 2014
Celestite, 2012 Ink on drafting film, 84 x 60 inches
This exhibition was my fourth solo show in New York with DCKT Contemporary and an extension of my previous exhibitionSublimation | Transmutation at Martha Otero Gallery in Los Angeles. Large-scale works feature an unusual technique of laying ink on drafting film; the human form and the passage of time is simultaneously considered, where the organic body experiences a sublimation into the realm of the inanimate. Referencing rocks and crystals collected in my studio, I coerce the controlled movement of the ink from solution into solid. This process begins less at the moment the ink is applied to the drafting film, but more at the point where the deep blue pigment undergoes a ‘self-reanimation’ and unpredictably migrates over the surface.
[ View collection ]
Left: Erythrite, 2012 Ink on drafting film, 60 x 84 inches, Right: Wulfenite, 2012 Ink on drafting film, 60 x 84 inches
Installation at DCKT Contemporary, New York, NY, November 17th 2013 – January 6th 2014
I.I.V DARK SKATE SERIES
Dark Skate Vienna, 2013 c-print, 32 x 84 inches
Dark Skate: Vienna
Hilger NEXT, Vienna, Austria
October 4th – December 7th, 2013
Dark Skate: Miami
Fredric Snitzer Gallery, Miami, FL
October 11 – November 20th, 2008
DCKT Contemporary, New York, NY
July 23 – September 13, 2008
The origins of this series were early attempts at long exposure astrophotography at the telescope in the Atacama Desert in Chile. Recording the movement of the earth in space to create lines of trajectory of star trails were later merged with the challenge of how I could represent the motion of my body through urban architecture. In these photographic works, I am the performer skateboarding in the dark. This series has been exhibited in solo exhibitions in Vienna, London, New York, Miami, Boston, and numerous national and international museums and galleries. A review in The New Yorker describes the series in this way:
“Setting her camera up for an extended exposure, Halloran photographs herself skateboarding at night in Los Angeles, but she records only the trajectory of a light strapped to her wrist. Her body disappears, its movement registering as a tangle of bold white lines that swoop and skitter across the landscapes of skate parks, underpasses, pedestrian bridges, and alleyways. The results resemble the painter Elliott Puckette’s incised calligraphic abstractions superimposed on the vaguely ominous setting of a noir film. Streaming across these burnished, day-for-night images, Halloran’s fugitive signs of life are as exhilarating as a skater’s streak off a railing.“
Dark Skate Los Angeles, LA River Wash, 2015 c-print, 32 x 84 inches
The current body of these works is titled Passage based on the history of the Los Angeles River and construction of waterways around the history of urban planning for the city of Los Angeles. In many ways, each of the locations I have photographs represents a double portrait: capturing the urban landscape of the individual city, and then overlapped with a self-portrait of my interaction within the space. In 2013 my work from the series Dark Skate Miami was included in an extensive summer exhibition over four months with over fifty artists in a city wide exhibition titled Cash, Cans and Candy, curated by Katrina Dworczak. In connection with the exhibition, I was invited to a week-long residency with Hilger NEXT to make site-specific Dark Skate photographic work in the city of Vienna in which I asked Chapman BFA graduate Adam Ottke to Vienna as with me where we created a series of works titled Dark Skate Vienna. This work was then exhibited in a solo exhibition in October 4th- December 7th, 2013. Hilger NEXT has a substantial International reputation with three separate gallery locations in Vienna, a roster of established and emerging artists that publishes several hardcover exhibition catalogs per year. The catalog for the exhibition can be found here. Another site-specific body of Dark Skate photographs were created over a period of eight days in the city of Miami, that were on view in a solo exhibition at Fredric Snitzer Gallery in Miami, FL. Notable solo exhibitions this work was solo exhibitions at DCKT Contemporary in New York, at Pulse in London, and at LaMontagne Gallery in Boston, MA.
Dark Skate has been included in various group exhibitions nationally and internationally and has been reviewed in several respected publications including; The New York Times, The New Yorker, The Los Angeles Times, LA Weekly, ART News, The Village Voice, Time Out New York, New York Magazine, The Boston Globe, The Boston Phoenix, LA Weekly, Foam Magazine and many more, and a interview where I discuss the process of making the Dark Skate series was aired on the FOX network’s Fuel TV for the program The Daily Habit. Photographs from this series have been acquired by several permanent collections including the-the Solomon R. Guggenheim in New York, and the piece “Dark Skate / Griffith Park” was on view in the exhibition Haunted: Contemporary Photography/ Video/ Performance at the Guggenheim Museum in Bilbao, Spain.
DARK SKATE | Passage – (LA River), 2015 [ View collection ]
Sepulveda Dam, 2015 c-print, 32 x 84 inches
LA River, 4th Street Bridge, 2015 c-print, 32 x 84 inches
DARK SKATE | Vienna, 2013 [ View collection ]
Rembrandtstrasse Footing, 2013 c-print, 32 x 84 inches
Stephansdom (Empire of Light), 2013 c-print, 32 x 84 inches
DARK SKATE | Detroit, 2010 [ View collection ]
Left: Michigan Theater, 2010 c-print, 48 x 48 inches, Right: Train Station, 2010 c-print, 48 x 56 inches
DARK SKATE | Miami, 2008 [ View collection ]
Left: Turnaround, 2008 c-print, 48 x 56 inches, Right: Marine Stadium Corridor, 2008 c-print, 48 x 56 inches
DARK SKATE | Los Angeles, 2007 [ View collection ]
Left: Griffith Park, 2007 c-print, 48 x 48 inches, Right: LA River Bridge, 2007 c-print, 48 x 48 inches
Published by DCKT Contemporary, New York, NY, 2010. [View PDF]
CASH, CANS & CANDY – DARK SKATE Vienna
Published by Verlag for Modern Kunst, Galerie Hilger NEXT, Hilger BROT Kunsthalle with essay by Katrin-Sophie Dworczak, Vienna, Austria, 2013. [View PDF]
Below is a working draft of a documentary film by Sandie Louit about the making of the photographic series Dark Skate / Passage. It is currently undergoing final edits and music composition and will be completed in September 2016.
Lia Halloran on Fuel TV, October 2008, Fox Network.
“Art in Review”, New York Times, August 8, 2008
“Art Candy”, New York Magazine, August 22, 2008
“Best in Show”, The Village Voice, August 27, 2008
“Goings on About Town”, The New Yorker, September 1, 2008
“Lia Halloran”, LA Weekly, May 14, 2008
“Lia Halloran: Dark Skate”, The Boston Globe, June 12, 2008
“Lia Halloran: Dark Skate”, Time Out: New York, September 4, 2008
“Lia Halloran’s Photographic Line Drawings Created by Skateboarding With Light.” BeautifulDecay.com, June 26, 2008
“Skater Artist Lia Halloran”, Velvet Park, January 11, 2008
“Skater in the Dark”, Style File, July 24, 2008
“Summer Art Shopping in New York”, Art Info, July 28, 2006
“Sweet Shot”, The Village Voice, July 16, 2008 sublimation
I.I.VI SUBLIMATION | TRANSMUTATION
Martha Otero Gallery, Los Angeles, CA, May 5 – June 16, 2012
Sublimation | Transmutation in Los Angeles at Martha Otero Gallery and explore investigations into the human form, the passage of time, and the behavior of natural elements in the guise of contemporary art practices where flesh undergoes a metamorphosis into crystallized forms. Close friends, used as live models, visually metamorphose into crystallized forms. The dual depiction becomes a performance; the unpredictable nature of the heavy blue ink acts upon and within the smooth, oily paper. These works area negotiation, engaging in a game of action and reaction via ink pen, creating an image fluctuating between strict representation, the intangible object, and the inherent fluidity of the medium. This exhibition featured an incarnation of the Periodic Table of Elements, re-interpreting and combining figures into various chemical states of the 118 elements. 118 individual drawings, presented in the same layout as the classic Table, serve as capsules of potential energy. This exhibition was reviewed in Art Voices Magazine and In the Make.
[ View collection ]
Left: Anthodite, 2011 Ink on drafting film, 84 x 60 inches. Center: Cynite, 2012 Ink on drafting film, 84 x 60 inches. Right: Apophyllite, 2012 Ink on drafting film, 84 x 60 inches.
Installation at Martha Otero Gallery, Los Angeles, CA, May 5th – June 16th 2012 collider-exhibition
I.I.VII COLLIDER: FOLDING | UNFOLDING
Artsphere, Arlington, VA, November 13 – January 15, 2011
COLLIDER is the collaborative team of LA-based artist, Lia Halloran and Sarah Strauss of BigProtype Architecture in Brooklyn. Both artists use this opportunity to push beyond the normal parameters of their practices and challenge each other to play and experiment. Introduced in graduate school at Yale University in 1999, (Folding Unfolding) is the result of their conversations exploring energy and gravity, form and order, lesbians and skateboarding and, most recently, the Cave of the Crystal Giants in Mexico and the molecular organization of crystals.
Expanding upon Halloran’s The Only Way Out is Through, a series of crystal landscape paintings based on the Naica Mine in Chihuahua, COLLIDER researched the molecular structures and physical formations of different crystals. Developing 3D digital models to understand the complex geometries at work, they discovered crystals are highly ordered and repetitive; yet the formations themselves are largely influenced by their environment yielding organic, non-repetitive clusters. Utilizing cutting-edge 3D modeling technologies and advanced laser cutters, COLLIDER has replicated the forms of crystals (borax, gypsum, neptunite and quartz). Fabricated from Ultralight®, crystals stand 4 to 6 feet tall; yet weigh only 40 to 70 pounds. The pristine surface, rock-solid form and ambiguity of material creates tension between experience and analysis and provides a meditation on the forces of weight, mass, gravity and space. This work was also shown at the art fair Pulse, in Miami, FL and was reviewed in Sculpture Magazine.
Sarah Strauss spent spend three weeks in Spring of 2012 with my class ‘The Intersection of Art and Science’, to co-teach the 3D Modeling programs Collider utilizes and remake some of the crystal structures in our installation. Finally, Sarah Strauss joined me as my co-instructor in Florence, Italy in Interterm January 2014 for the course ‘The Origins of Art and Science’ and contributed lectures on the way astronomy played a role in architectural decisions in the Renaissance including the first planetarium and hidden sundials among the facades of the churches in Florence.
[ View collection ]
Install of Folding/Unfolding at Artisphere WIP Gallery, Arlington, VI, 2010 – 2011
I.I.VIII THE ONLY WAY OUT IS THROUGH
DCKT Contemporary, New York, NY, March 26 – May 2, 2010
No One Has to Know, 2009 Oil on panel, 72 x 60 inches
The exhibition includes new paintings of crystal caves and personified icebergs, along with ink on vellum works using science and the natural world to map out physical and psychological spaces and addresses time in ways that stretch our notions of perception. The paintings of crystal caves explore a submerged space that is finite and bounded. The paintings accentuate the unreal quality of crystal formations and the claustrophobic environments of caves. A sense of disorientation merges with the inanimate and the imagery examines discernible entropy and decay. The environments are impossible and chaotic; the spaces are both beautiful and terrifying. The works are based on last decade’s discovery of the Cueva de los Cristales in Naica, Mexico where monumental selenite crystals reaching over thirty-five feet long look more like architectural beams than mineral growth.
[ View Collection ]
Left: Best Thing that Ever Happened to Me, 2009 Oil on panel, 60 x 47 inches,
Right: Worst Thing That Ever Happened to Me, 2009 Oil on panel, 48 x 60 inches
Left: Everything That’s Made is Made to Decay, 2009, oil on canvas wrapped panel, 48 x 60 inches
Right: All Truths Are Private Truths, 2010, oil on canvas wrapped panel, 48 x 60 inches
Installation at DCKT Contemporary, NEW YORK, NY, March 26 – May 2, 2010
THE ONLY WAY OUT IS THROUGH – Exhibition Catalog
Published by DCKT Contemporary, New York, NY, 2010 [View PDF] secret-knots
I.I.IX – THE WORLD IS BOUND IN SECRET KNOTS
DCKT Contemporary, New York, NY, October 13th- November 11th, 2006
The Magnetism, Push, 2006 Oil and acrylic on canvas wrapped panel, 72 x 120 inches
This was the first New York solo exhibition of my work. The six figure paintings in the show explore physical forces of nature and the possibilities of how these forces interact with, intersect and fragment the body. Physics and unseen natural forces around us such as light, motion, dissipation, centrifugal forces, gravity, and magnetism inspire the paintings. Laws of physics that are familiar and observable become just as important as the figures they interact with. The figures lie in an unresolved point between giving in and becoming overtaken, experiential in their environments. The title of the show, taken from an exhibit at The Museum of Jurassic Technology in Los Angeles, is a reference to magnetism and connectivity. Magnetic attractions and repulsions are attributed to governing everything from particles, planetary action, tides, wind, love, sympathy and hatred; all are ruled by this force of nature. These works explore the idea that familiar forces around us play more intimate roles than simply providing us with glue to the earth.
[ View collection ]
Left: Floating in Illumination, 2006 Oil and acrylic on canvas wrapped panel, 72 x 60 inches
Center: Centripetal/Centrifugal, 2006 Oil and acrylic on canvas wrapped panel, 72 x 60 inches
Right: Momentum with Purple Boundary, 2006 Oil and acrylic on canvas wrapped panel, 72 x 60 inches
Installation at DCKT Contemporary, New York, NY, 2006
I.II GROUP EXHIBITIONS
My works have regularly been included in gallery, museum, and art fair group exhibitions, which are all listed on my CV. Below is a brief highlight of five shows.
Art Department Unit Guidelines describes as:
“A group exhibition at a major museum or gallery is equivalent to the publication of an essay or chapter in a multi-author book” uncertainty
Alyce de Roulet Williamson Gallery Art Center, Pasadena, CA
October 2016 – January 2017
The exhibit Uncertainty will puzzle over the meaning of uncertainty as understood in science and common usage. Edward Tufte will be included with sculptural Feynman diagrams; Jonathan Corum (NY Times graphic designer, science visualization) will have a projected wall-sized graphic on exoplanets; Tom McCauley at CERN has produced a wall-sized video of 3-D particle collisions, and the exhibition will be accompanied by an exhibition catalog with an essay by Stephen Nowlin. (Forthcoming, October 2016 – January 2017) sidewalk-surfing
I.II.II SIDEWALK SURFING: The Art and Culture of Skateboarding
Everhart Museum, Scranton, PA, August 2nd- December 30th, 2013
Exclusive to the Everhart Museum, Sidewalk Surfing showcased the creativity and community of skateboarders both in the United States and globally. The exhibit examined the historical roots of skateboarding, as well as the popular culture of the sport today. Sidewalk Surfing presented artifacts & artwork reflecting the cultural importance of skateboarding, as well as design, technology, demographics, contemporary art, and impact of the sport on society. haunted
I.II.III HAUNTED: Contemporary Photography / Video / Performance
Guggenheim Museum Bilbao, Bilbao, Spain
November 6, 2010 – March 13, 2011
Much of contemporary photography and video seems haunted by the past, by the history of art, by apparitions that are reanimated in reproductive media, live performance, and the virtual world. By using dated, passé, or quasi-extinct stylistic devices, subject matter, and technologies, such art embodies a melancholic longing for an otherwise unrecuperable past.Haunted: Contemporary Photography/Video/Performance documents this obsession, examining myriad ways photographic imagery is incorporated into recent practice and in the process underscores the unique power of reproductive mediums.
These mediums, like performance, are defined structurally by the layered temporality they present: they viscerally refer to past and prior acts that are perceived in the present in such a way as to bring the past into the present ,to metaphorically bring the dead back to life, and thus to suspend the viewer or audience between history and the immediate. Often the images captured by these technologies are literal documents of the past that bear witness and thereby substantiate the very existence of experiences otherwise only fleetingly and troublingly maintained as elusive memories. It is because of this quality that photography, like performance, has been seen from its inception to have a kind of magical power, if not to transcend death then to constantly remind us, as a memento mori, of the inexorable passage of time. Pictured above left: Dark Skate Los Angeles, Griffith Park, 2007, c-print, 48 x 48 inches. Acquired for Guggenheim Museum’s permanent collection in 2010.
Drawn largely from the Guggenheim’s permanent collection, the artworks in Haunted range from individual photographs and photographic series to sculptures and paintings that incorporate photographic elements, videos, film, site-specific installations, and sound recordings. While much of the work was created since 2001, the show traces the extensive incorporation of photography into contemporary art since the 1960s, always with an eye toward the distinctive relationship between passing time and the various modes of image and sound reproduction. superficiality
I.II.IV SUPERFICIALITY and SUPEREXCRESCENCE
Ben Maltz Gallery at Otis College of Art and Design, June 27 – September 12, 2009
Superficiality and Superexcrescence features work by Amy Adler, Rebecca Campbell, Marcelino Gonçalves, Lia Halloran, Salomón Huerta, Elliott Hundley, Kurt Kauper, Elad Lassry, Blue McRight, Joel Morrison, Kori Newkirk, Tia Pulitzer, and Catherine Sullivan. Conceived in opposition to the hard and fast interior/exterior dialectic that cultural theorists like Fredric Jameson have used to contrast the modern and postmodern eras, this exhibition offers a close examination of the work of thirteen LA-based artists who are variously committed to the notion that deep cultural meaning inhabits–as code, nuance, and implication–the outer husk of the people and objects that populate our day-to-day lives, remaking superficiality not as a condition to be resisted, but rather one to be analyzed and manipulated. For these artists, surface and substance are not opposed properties, but equally present. Accordingly, each of these artists focuses on what is latent over what is manifest, on implication over demonstration, and on faint whispers over loud, declarative statements, not with the aim of privileging appearance over essence, but rather to suggest that appearance and essence co-mingle in the surfaces that surround us to generate cultural meaning.
This exhibition is initiated and sponsored by FOCA, organized by OTIS Ben Maltz Gallery, and curated by Christopher Bedford, Curator of Exhibitions at the Wexner Center for the Arts, The Ohio State University; Kristina Newhouse, Deputy Director of the MAK Center for Art and Architecture at the Schindler House in West Hollywood; and Jennifer Wulffson, an independent art historian and former senior editor of the Bibliography of the History of Art at the Getty Research Institute. The three curators are recipients of the Fellows of Contemporary Art’s Curators Exhibition Award.
Left: Dark Skate Miami, M.I.A., c-print, 2010, 120 x 96 inches, Right: LA River Bridge, 2007 c-print, 48 x 48 inches
SUPERFICIALITY and SUPEREXCRESCENCE
Published by The Fellows of Contemporary Art, 2009[ View PDF ] space-is-the-place
I.II.VSPACE IS THE PLACE
Traveling Exhibition | 2006 – 2008
Space is the Place, curated by Alex Baker and Toby Kamps for Independent Curators International was a traveling exhibition that included three major paintings and five smaller drawings. This exhibition traveled to five museums in the United States from 2006-2008 and was accompanied by an exhibition catalog that can be found here. The New York Times reviewed my paintings at the Hudson River Museum Location. The full list of venues were; Cranbrook Art Museum, Bloomfield, MI; Bedford Gallery, Walnut Creek, CA; Scottsdale Intersection of Art Museum of Contemporary Art, Scottsdale, AZ; Contemporary Arts Center, Cincinnati, OH; The Hudson River Museum, Yonkers, NY. Pictured above: Installation at Hudson River Museum, Yonkers, NY, 2008.
Left: The Irreversible Downfall of Intercoastal Six, 2005 oil and flashe on canvas wrapped panel, 72 x 96 inches
Center: And The Darkness Implies The Vastness, 2005, oil and flashe on canvas wrapped panel, 84 x 60 inches
Right: Untitled (Gravity Part 7), ink on vellum, 24 x 35 inches
SPACE IS THE PLACE – Exhibition Catalog
Published by Independent Curators International, New York,
and Contemporary Arts Center, Cincinnati, 2006 [View PDF]
“Space Adventures, Real and Imagined” New York Times – August 9, 2008
“View of Space From One Who Was There”, New York Times – August 9, 2008
“Lia Halloran,” ARTNews – December, 2005
I.III CURATED EXHIBITIONS
Art Department Unit Guidelines State:
“The curation of an exhibition at a major museum or a gallery is equivalent to the editing of a publication, or the organization of a conference.” sublime
I.III.I BETTER FAR PURSUE A FRIVOLOUS TRADE BY SERIOUS MEAN, THAN A SUBLIME ART FRIVOLOUSLY
Curated by Lia Halloran and Rebecca Campbell | October 5th – October 29th, 2015
From left to right: Alma Allen, Rebecca Campbell, Heather Brown.
Alma Allen, Hernan Bas, Heather Brown, Rebecca Campbell, Ain Cocke, Zackary Drucker, Carlee Fernandez, Patricia Fernandez, Ben Jackel, Tim Hawkinson, Lia Halloran, Laura Krifka, Monica Majoli, Catherine Opie, Jen Stark, Allison Schulnik.
Artist Rebecca Campbell and I applied to Calstate LA University Gallery to curate an exhibition titled Better Far Pursue a Frivolous Trade by Serious Means, than a Sublime Art Frivolously which evolved from our mutual interest in artworks that represent a simultaneous experience of beauty and horror and how romantic where representation of the Sublime exist in contemporary art. This theme has trailed through both of our art practices and through various ongoing dialogs we have discussed the artists and influencer that visual engage in this subject and inspire our work and were thrilled to be able to include our dream list of artists.
Transcendence manifests in various ways yet in every culture, age, and gender, it is recognized as an essential force.
Photography by Catherine Opie
This exhibition explores artworks that engage a metaphysical site where filters of language, history, and pretense are abandoned, and one is invited to consider transcendence, an experience that happens with or without theoretical permission. Roland Barthes in his classic work ‘Camera Lucida’ refers to this direct, immersive and perhaps experience as the “punctum” denoting the wounding, moment of puncture, and personally touching detail, which establishes an exceptional relationship between a viewer and an object or image within it. A key component of this experience, although temporary, is its transformational quality, releasing one from the quotidian demands of pragmatism into a new paradigm of pure perception. It is our intention to explore specifically the idea that the sublime element in a work of art often eludes our own conscious ideas about what we are making as artists and experiencing as viewers. It may even exist in contrast to the stated intentions of a maker or the articulated experiences of a viewer. There are many different routes to the sublime. Some art makers attempt access through the physical act of creation, viewers through looking, magicians, shamans, naturalists, and countless others through alternative means but all with a drive to experience transformation.
Co-curators Lia Halloran and Rebecca Campbell
Rebecca Campbell, Ben Jackel
Ain Cocke, Tim Hawkinson, Carlee Fernandez
Allison Schulnik (both)
Zackary Drucker, Patty Wickman
Carlee Fernandez, Laura Krifka
Heather Brown, Carlee Fernandez, Laura Krifka
Rebecca Campbell, Monica Majoli
Jen Stark measure-exhibition
I.III.II MEASURE FOR MEASURE
Curated by Dr. Lisa Randall and Lia Halloran
Traveling Exhibition, 2010 – 2012
Elizabeth Tobias, Susan Sironi, Katrina McElroy, Meeson Pae Yang, Felicity Nove, Barbara Parmet, Zig Gron
“The notion of scale is critical in all human perception, and also in understanding science. The idea that we can organize and understand objects by incorporating a sense of their size—both in relation to ourselves and into relation to other physical quantities is a critical component of our understanding. Using the notion of scale, we can index physical quantities in relation to one another. This exhibit explores through current work how scale has always been integral to both art and science.”
Harvard University Carpenter Center for the Visual Arts, Fall 2012
Chapman University’s Guggenheim Gallery, Spring 2011
Los Angeles Art Association, 825 Gallery, in Los Angeles, in Fall of 2010
Barbara Parmet, Katrina McElroy, Susan Sironi
Zig Gron, Susan Sironi
Felicity Nove, Elizabeth Tobias
MEASURE FOR MEASURE – Exhibition Catalog
,Curated by Lia Halloran and Lisa Randall, Published by Chapman University, 2011.
[ View Catalog – PDF ]
II. PUBLICATIONS books
II.I BOOKS warped-side
THE WARPED SIDE OF THE UNIVERSE
Prose by Dr. Kip Thorne, Paintings by Lia Halloran
While I work primarily on solo studio projects some of the most exciting and stimulating undertakings have been working with other artists and thinkers, which has created an opportunities to challenge myself in ways I would most likely never arrived at alone. These collaborations have lead to publications, exhibitions, coursework and general engagement that has fueled my curiosity and illuminated new paths.
Dr. Kip Thorne, Theoretical Physicist, Feynman Professor of Theoretical Physics at the California Institute of Technology
Before meeting Dr. Kip Thorne in person almost a decade ago, my artwork was informed by his research and books on black holes, worm holes, and gravitational waves which were the fodder for most of my paintings graduate school. I began collaborating with Dr. Kip Thorne in 2008 when we first spoke about visualizing some of his science for a film that he and Steven Spielberg were developing. Kip and I would meet every other week, and I would make drawings of our discussion on how one might visualize the experience of warped space. These interactions were a challenging and exciting exchange that I feel fortunate to be involved in. The film Interstellar was released in 2014 and landed the Oscar for Best Achievement in Visual Effects. Kip states in his letter of support for my NEA proposal:
“As a simple example: a few years ago, when we were discussing the difference between black holes (objects in space, down which things can fall and from which nothing can emerge) and wormholes (hypothetical objects that can link one region of our universe to another), Lia made for me a fanciful pencil drawing that captured their difference compellingly. I used that drawing to get across my ideas to Steven Spielberg and then Jonathan and Christopher Nolan, in the early phases of my work with them on the forthcoming science fiction film Interstellar, I am using it in a book about the science in that movie, and I used it at the unveiling of the collection of Carl Sagan’s papers at the Library of Congress.”
The drawings Kip refers to are included in the book The Science of Interstellar, published November 2014 by WW Norton and Company. On May 12, 2016, Kip was our distinguished speaker for the Bensussen Lecture Series at Chapman University and spoke at the Musco Center to over 900 guests about his collaborations with Christopher Nolan on Interstellar, a sound performance with Hans Zimmer, the upcoming book he and I have authored, and a movie in development with Stephen Hawking. An article about this lecture can be found here: “The Warped Side of the Universe – Astrophysicist Kip Thorne collaborates with Chapman artist Lia Halloran and others to explain the beauty of science.”
The latest project I am working on with Dr. Kip Thorne is a book titled The Warped Side of the Universe, with Kip’s poetry and prose and my paintings about black holes, wormholes, and bizarre physics which we would expect to publish in the upcoming year. For this project, I have created over fifty paintings of black holes, wormholes, LIGO and warped space. This project is currently in the design phase in collaboration with Jen Agosta. You can see samples below andview a draft here. (forthcoming)
YOUR BODY IS A SPACE THAT SEES [book]
Images from this series will be featured in a book containing written contributions on the night sky from women in literature, poetry, and physics. The project thus utilizes an old art process to recontextualize female figures with contemporary meaning and relevance. The catalog will include written contributions from Dava Sobel, Pulitzer-nominated Novelist and author of Galileo’s Daughter, Dr. Lisa Randall, Professor of Physics, Harvard University; Dr. Janna Levin, Professor of Astrophysics, Columbia/Barnard University, Jennifer Oulette, lead science writer at Gizmodo, Dr. Anna Leahy, poet, Chapman University, with catalog design by Professor Claudine Jaenichen, Chapman University. (forthcoming)
Pictured right: Horsehead Nebula (after Williamina Fleming), 2015, Cyanotype print with painted negative, 40 x 25 inches
OTHER BOOK CONTRIBUTIONS
THE SCIENCE OF INTERSTELLAR
Print edition, by Kip Thorne PhD, Published by WW Norton and Company, November 2014, 320 pages, 1st edition 99,999 copies.
Illustrations on pages 40, 41, 151, 230, 299.
OUTSIDE THE LINES: Outside The Lines:
An Artists’ Coloring Book for Giant Imaginations
By Souris Hong-Porretta, 256 pages, paperback, ISBN 9780399162084, Penguin Publishing, 2013. [View PDF coloring page]
“GENERATING THE ARCHIVE: taxonomy, epistemology, and history in the work of Lia Halloran”
Special Issue: NO STRINGS ATTACHED – Exploring the relationship between anthropology andcontemporary arts. Guest Editor: Kris Rutten. (accepted, forthcoming)
Dr. Stephanie Takaragawa and are simultaneously interested in the relationship between taxonomies and systems of classification in contemporary art and anthropology for which we will collaborate on an upcoming article that has been accepted for publication: “Generating the archive: taxonomy, epistemology, history in the work of Lia Halloran.” Critical Arts: South-North Cultural and Media Studies. Special Issue: NO STRINGS ATTACHED – Exploring the relationship between anthropology and contemporary arts. Guest Editor: Kris Rutten. (Forthcoming)
The ethnographic turn and sensory ethnography have become the impetus to reexamine anthropology as a discipline, its boundaries, and its own epistemologies. Recent work has drawn attention to similarities between ethnographic practice and contemporary art, and generative work towards explicative ethnography, through new communicative visual, sensorial, and aural forms. This paper draws from the contemporary artist Lia Halloran’s exploration of generative notions of “scientistic” knowledge, leveraging her work to clarify trajectories of anthropological histories (and futures) and the ethnographic process. This paper analyzes four of her exhibitions to illuminate how her use of anthropological taxonomies, histories of science driven by personal narratives have served to reinforce categorizations of people in the Western world, and continue to do so through historic classifications that are anchored in anachronistic ideologies, but have yet to be discarded. texture
“TEXT(URE), MODELING, COLLAGE: Creative Writing and the Visual Arts”
New Writing: The International Journal for the Practice and Theory of Creative Writing
In January of 2014 Dr. Leahey, Claudine Jaenichen and myself published a co-authored article that explores balances of ritual and experimentation, intellect and empathy, and self- expression and audience in creative writing, studio art and graphic design. Examples of teaching practices and other pedagogical commonalities in the three areas are also main focal points. You can find the full article here, and this piece is included in the upcoming book What We Talk about When we Talk about Creative Writing, edited by Dr. Anna Leahy, Publisher: Multilingual Matters.
While there exists some inquiry into the relationship between creative writing and composition, very little investigation has been done into the relationship between creative writing – its pedagogy and practice – and the visual arts. That lack of scholarship is likely due to the difficulties we have conversing in meaningful ways across academic units. This conversation essay is an exchange across disciplines and a blending of theoretical approaches and practical experiences that asserts, ‘creative writing and visual arts – both studio art and graphic design – share underpinnings as academic disciplines of practice, have overlapping goals for students, and address common areas of artistic exploration such as the roles of ritual and experimentation, of self-expression and audience, and of intellect and empathy’.
TEXT(URE), MODELING, COLLAGE:
Creative Writing and the Visual Arts.
By Anna Leahy, Lia Halloran & Claudine Jaenichen, New Writing: The International Journal for the Practice and Theory of Creative Writing, Volume 11, Issue 1, 2014, pages 117-133. [View PDF]
II.III EXHIBITION CATALOGS
DEEP SKY COMPANION
Published by CalTech, Pasadena, CA, 2016. [View PDF]
Your Shell Is Made Of Air
Published by Chapman University, 2014 [View PDF]
CASH, CANS & CANDY – Dark Skate Vienna
Published by Verlag for Modern Kunst, Galerie Hilger NEXT, Hilger BROT Kunsthalle with essay by Katrin-Sophie Dworczak, Vienna, Austria, 2013 [View PDF]
Published by DCKT Contemporary, New York, NY, 2010 [View PDF]
THE ONLY WAY OUT IS THROUGH
Published by DCKT Contemporary, New York, NY, 2010 [View PDF]
SUPERFICIALLY AND SUPEREXCRESCENCE
Published by Ben Maltz Gallery at Otis College of Art and Design, 2009 [View PDF]
New American Paintings: Volume #79
Published December 2008 / January 2009 [View PDF]
SPACE IS THE PLACE
Published by Independent Curators International, New York,
and Contemporary Arts Center, Cincinnati, 2006 [View PDF]
II.IV SELECTED PRESS
“Carving The Cosmos: Artist Lia Halloran on Astrophysics, the LA River, and Hanging Ten,” LA Canvas – September / October, 2014
“Lia Halloran”, Art Voices – August, 2012
“Lia Halloran,” In The_Make – April 2012
“To Do List,” Boston Globe – November 7th, 2011
“Lia Halloran, ‘Dark Skate,'” Time Out New York – September 4, 2008
“Lia Halloran,” The New Yorker – September 1, 2008
“Best In Show,” The Village Voice – August 27, 2008
“Sweet Shot: Lia Halloran shreds the streets of L.A. for her art,” Village Voice – July 16 – 22, 2008
“Art Candy,” New York Magazine – August 22, 2008
“Art in Review: Lia Halloran,” New York Times – August 8, 2008
“Lia Halloran: ‘Dark Skate,'” Boston Globe, June 12, 2008
“Lia Halloran: Sk8ter grrl,” LA Weekly – May 14, 2008
III. GRANTS, RESIDENCIES, WORKSHOPS, LECTURES
III.I GRANTS & AWARDS
YOUR BODY IS A SPACE THAT SEES: National Endowment for the Arts
I am committed to expanding my studio practice in various modes of research and development and in January of 2016 have been awarded a National Endowment for the Arts Artworks grant for the two-year project, Your Body is a Space That Sees. The projectYour Body is a Space That Sees is a series of large-scale cyanotypes based on the discoveries and contributions of women in astronomy as a historically reinterpreted visual catalog. The process of creating these works using a painted negative (cliché verre method) to create large and cyanotypes works mimic early astronomical glass plates moving between transparent surfaces to a photograph without the use of a camera. The of series of approximately 40 large scale works will interpret a fragmented history and represent a female-centric astronomical catalog of galaxies, nebula, spectra drawing from narrative, imagery and historical accounts of a group of women known as ‘Pickering’s Harem’ or the ‘Harvard Computers’ from the late 1800’s who worked under the directorship of William Pickering and made major contributions in classifying and identifying the heats of stars, stellar composition and even Cepheid variables which gave astronomers like Edwin Hubble the tools to measure the distance of the Universe.
The Harvard Computers
Research of source imagery has been done at the Harvard College Observatory and their extensive glass plate collection of over 500,000 stellar plates. Not only does the HCO house the largest astronomical glass plate collection in the world their unique lineage of having women on staff starting in 1892 lead to a rich and unique history of astronomy. This series of works will cumulate with exhibitions in both science and art institutions to offer an interdisciplinary re-visualization of the sky to the art and science community. The series of cyanotype pieces will be accompanied by an exhibition catalog with written contributions about the night sky from Dava, Sobel, Dr. Lisa Randall, Dr. Janna Levin, Dr. Anna Leahy, and Jennifer Oulette with catalog design by Claudine Jaenichen.
DEEP SKY COMPANION: California Institute of Technology
The California Institute of Technology has received external funding to produce the exhibition and catalog for Deep Sky Companion at Cahill Center for Astronomy and Astrophysics running June 5th- December 18th, 2016.
Deep Sky Companion installation at Cahill Center for Astronomy and Astrophysics, Pasadena, CA, 2016.
COLLIDER: Durfee Foundation
The California Institute of Technology has received external funding to produce the exhibition and catalog for Deep Sky Companion at Cahill Center for Astronomy and Astrophysics running June 5th – December 18th.
I am especially grateful for the internal support I have received while here at Chapman, which has given me the opportunity for travel, equipment, supplies and research that would have been otherwise impossible. I have received the following three Creative Scholarly Grants: Framing support for ‘Deep Sky Companion’ (2015), Darkroom materials for ‘Your Body is a Space That Sees’ (2014), and Digitizing Dark (2012). I have received three Personalized Education Grants, Mt. Wilson Observatory and a Time Travelling Sound Bath Sound Bath, Course Additions to ‘The Intersection of Art and Science’ (2013), and ‘The History of Art and Science’ (2012). I was honored to receive the Junior Wang-Fradkin Professorship in Spring of 2014, which is a two-year monetary award to further teaching and scholarship. The award was founded in memory of Hua-Cheng Wang, professor of political science, diplomat, and expert on international law; and Cheng-Mei Fradkin, a distinguished teacher, scholar, and administrator. The announcement can be found here. Additionally, Dr. Anna Leahy and Claudine Jaenichen and I were awarded a co-teaching award for the course UP that was team-taught in Spring of 2016 and most recently I received the Distinguished Research, Scholarship & Creative Activity Award this May 2016 by the Chancellor’s Office and the Office of Research and Sponsored Programs Administration.
Chapman’s Intersection Of Art And Science students at the Integratron, Joshua Tree, CA, Spring, 2015.
Pioneer Works, Brooklyn, NY
In July of 2016, I will participate in the artist residency at Pioneer Works in Brooklyn, NY. This interdisciplinary studio space has been growing over the past few years and earning international recognition as an innovative collective of art-making, public lectures, and educational summits. Pioneer Works’ Studio Residency Program launched in the Fall of 2012 and supports practitioners of all kinds in the arts and sciences. Past residents have hailed from near and far, including Germany, France, Israel, Ukraine, Costa Rica, Korea, and other countries of origin. Situated within a spectacular former iron works facility, studios are arranged over two floors overlooking exhibition and performance spaces. This unique, shared environment affords opportunities for cross-disciplinary dialogue and collaboration with other exhibiting artists, staff, and the local Red Hook community to which Pioneer Works is deeply connected. In addition to studio space, Pioneer Works also facilitates wide engagement with the greater New York art world, including ample open studio opportunities through our public Second Sundays events, which attract a diverse constituency of viewers; monthly resident salons during which work is presented for feedback; and bi-monthly studio visits with critics, curators, and other arts professionals. Past visitors have included Flash Art editor and Artforum contributor Laura McLean-Ferris, BOMB editor Orit Gat, and Art in America editor Wendy Vogel, among others, artists David Brooks, Michael Joo.
Hilger NEXT, Vienna, Austria
In July of 2013, I was invited by Hilger NEXT for aN artists residency in Vienna to create site-specific Dark Skate piece as described above. The gallery regularly hosts a variety of artists, curators, and collaborators in a resident apartment they have created in one of their three exhibition spaces.
The Delaware Contemporary: Cyanotype printing
In association with the exhibition Your Body is a Space That Sees and the spring symposium on April 18th, 2017 public outreach is planned to collaborate with the project JUMP!STAR, organized by the artists George Ferrandi for a public workshop on cyanotype printing. (http://www.jumpstar.love/) This project is named after Annie Jump Cannon, the deaf scientist and amazing human credited with developing our star classification system.
Artisphere/ Collider 3D Modeling workshop
In association with our on-site weeklong residency Sarah Strauss and I conducted two educational workshops to demonstrate the technology of laser cutting and 3D modeling where participants could build mini gypsum crystals out of laser cut paper.
Screenshots of work-in-progress files. Left: Sarah Strauss, Lia Halloran and collaborators.
III.IV INVITED LECTURES
2017 Your Body is a Space the Sees, Symposium and lecture in tandem with exhibition, The Delaware Contemporary, Wilmington, DE (forthcoming April 2017)
2016 Deep Sky Companion, Gallery walk through with Dr. Kip Thorne and Lia Halloran, Cahill Center for Astronomy and Astrophysics, Caltech, Pasadena, CA
2015 Science on Tap, Lia Halloran in conversation with Dean Andrew Lyon about Art and Science, Provisions, Orange, CA
2015 Better Far Pursue a Frivolous Trade by Serious Mean Than A Sublime Art Frivolously, Gallery walk through with Rebecca Campbell at Calstate LA University Gallery and Lia Halloran, Los Angeles, CA
2014 Artist Lecture, UCLA Summer Program, Los Angeles, CA
2014 Art and Science in coursework and Creative Scholarly, Presentation to the Board of Trustees, Chapman University
2014 Conducting Undergraduate Research/Creative Activity in the Arts, Humanities, and Social Sciences, Chapman University, Orange, CA
2014 Artist Lecture, Royal Art Academy, Stockholm, Sweden
2014 Artist Lecture, Studio Art Center International, Florence, Italy
2013 Gallery lecture, Dark Skate Vienna, Hilger NEXT, Vienna, Austria
2012 Artist Lecture, USC Roski School of Fine Art, Undergraduate Art Department, Los Angeles, CA
2011 Panel Discussion with Dr. Lisa Randall, and Peter Mays of Los Angeles Art Association, Harvard’s Carpenter Center for the Arts, Cambridge, MA
2010 Artist Lecture, Washington DC, Photo Week, Arlington, VI
2010 Panel Discussion with Dr. Lisa Randall and Sarah Strauss on creativity in interdisciplinary collaboration, Artisphere Theater, Arlington, VI -collections
IV. PERMANENT COLLECTIONS
Art Department Unit Guidelines State:
“Acquisition of an artist’s work by a public or privately held collection indicates that a museum director, competition juror, or collection curator has seen an artist’s career and work as significant and worthy of this important recognition.”
My work is in the following collections:
Solomon R. Guggenheim Museum, New York, NY
Bingham McCutchen, Boston, MA
Art Museum of South Texas, Corpus Christi, TX
Blue Shield of California, San Francisco, CA
Davis Polk & Wardwell, New York, NY
Dechert, Philadelphia, PA
Heller Ehrman, San Francisco, CA
McKenna Long & Aldridge, Washington, DC
The Progressive Art Collection, Cleveland, OH
Ritz-Carlton Hong Kong, Kowloon, Hong Kong
The Speyer Family Collection, New York, NY
2677 W. Avenue 32
Los Angeles, CA 90065
For technical help with the ePortfolio, contact Academic Technology: firstname.lastname@example.org
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