Rebecca Campbell
Miss April 1971, 2015
Oil on canvas
72 x 156 inches
Courtesy of Rebecca Campbell
and LA Louver

Samantha Fields
Transplant , 2015
Acrylic on canvas over panel
63 x 106 inches
Courtesy of Traywick Contemporary

Wayne Thiebaud
Gumball Machine, 1971
Color linocut
26 x 19 ⅞ inches
Courtesy of the Collection of California State University, Sacramento
© Wayne Thiebaud
Licensed by VAGA, New York, NY

James Evans
Prada Marfa, 2005
Digital photograph
40 x 50 inches
Edition 18/25



Rebecca Campbell and Samantha Fields: Dreams of Another Time

January 30 - April 10, 2016

In the two-person exhibition, Dreams of Another Time, the UAM presents narrative paintings, drawings, collages, and sculptures by Los Angeles-based artists Rebecca Campbell and Samantha Fields.

Campbell and Fields often draw upon personal history to create familiar imagery that both comforts and unnerves. Each produces “believable” yet “not real” space in their paintings, of things viewers already “know” but are compelled to reconsider in a new fashion, as the subject of the works can seemingly be outside of the frame. Skillfully employed compositional devices—such as the lens flares and digital blurs by Fields and the superimposition by Campbell of “tape-like” palette-knife strokes upon an already meticulously painted portrait of a reclining nude−serve to alert the viewer that any act of representational composition is always already an act of artifice. And yet, through this act, other realities arising from the imagery and pigment-based technique can be released.

Also on view will be the fruits of a time-based, improvisational “call-and response” collaboration between the two in the 18-month period leading up to the exhibition. Through reciprocity and generosity, Campbell and Fields have been producing these new pieces while inspiring dialogue with one another about the nature of shared creativity.

The creative collaboration will be extended through student engagement. Between the UAM (CSU Long Beach), Fields (CSU Northridge) and Campbell (CSU Fullerton), there is access to three drawing and painting programs. In Spring 2016, there will be 15-week call-and-response coordinated between the graduate students at CSUN, CSUF, and CSULB, culminating in the exhibitions of student output on each campus.

Wayne Thiebaud: Prints in Process

January 30, 2016 – May 29, 2016

The University Art Museum collection boasts four Wayne Thiebaud prints, which include an early Artist’s Proof. These prints are the basis for the permanent collection exhibition that will feature all the UAM Thiebaud works as well as twenty-two Thiebaud prints borrowed from the University Library Gallery of Cal-State Sacramento.

Thiebaud is a quintessential California artist with roots in Long Beach who became world-renowned for his sensuous use of color to depict everyday objects and landscapes. Though most closely associated with Pop Art and California Realism, his unique style does not actively seek inclusion in the rhetoric of art history – the honesty and intimacy of his works make them immediately accessible, but they also offer up a technical rigor and talent that has seduced art critics for decades.

The Prints in Process exhibition will focus on Thiebaud’s creative process, featuring not only print progressions, but also variations on certain themes where his exploration of shape and subject are examined.

Frenemies: Art Versus Commodity

January 30 − April 10, 2016

Frenemies: Art Versus Commodity explores the distinction between art object and luxury good. As the boundaries between the two have increasingly been blurred by a commercially driven art world, the featured artists examine the influence of taste on the economic, cultural, and identity based value of art. Whether subversive or complicit, their work is a commentary on the changing systems of circulation, production, and overall role of art in contemporary society. Using the artistic precedent of Andy Warhol as a departure point, Frenemies explores how contemporary artists address the relationship between art object and commodity object

The artists of Frenemies each grapple with whether the art object can maintain its special status as an artwork under the pressures of market forces. Louise Lawler’s strategically framed photographs force the viewer to reevaluate the life and circulation of the art object within various art-world structures. Sylvie Fleury takes symbols of the gendered practice of shopping and places them within the gallery setting, pointing to the collusion of the art world, fashion industry, and consumer society. Takashi Murakami’s diverse oeuvre of prints, paintings and sculptures explores the intersection of Japanese and American popular cultures, marrying the worlds of fashion and art, ultimately questioning the breakdown of these two categories. Merlin Carpenter’s paintings aesthetically conjure the brightly colored Campbell’s soup cans and Marilyn Monroe portraits of Andy Warhol’s mis-registered silkscreens from the 1960s. The installation-based works of Michael Elmgreen and Ingar Dragset point to the idea of hyper exclusivity, and methods of representation and display in the art and fashion worlds. The sculptures of contemporary artist Andrew Lewicki combine familiar imagery derived from fashion, advertisement, and the urban landscape with unorthodox materials, challenging our traditional notions of materiality in both tangible and art-historical terms.

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