Jeremiah Jenkins offers MFAs through the Tenderloin Institute of Art

Students getting their MFA at the Tenderloin Institute of Art

Artist Jeremiah Jenkins offered a Master of Fine Arts (MFA) to his audience aka students, for free, at Evergold Gallery in San Francisco, April 17th and 18th. In a promotional video one of the benefits of the degree was that students will be able to save about $120,000 in tuition.

This was a rad show which invited audience participation where students could create their very own art. Students of the program were provided the course material and objectives which included a history test and an artist’s statement which was submitted when the student finished.

Jenkins created several art stations where students could draw, do sculpture, record performance art via a selfie-stick, and for the history test Jenkins provided a small television set in which he narrated and looped the entire history of art in about six minutes. The art history video was comedic with plenty of cussing and redundancy to the point of satire. Since the history of art had to be compacted inside of six minutes it was incredibly reductionist when dealing with the inspiration of art over the centuries which added to the overall amusement of the video.

One of the final tasks to earning the MFA was the artist’s statement. The artist’s statement was in the style of a Mad Libs word game. Jenkins mounted three dart boards which were divided into nouns, adjectives, and verbs. Throw a dart hit a word and write it down on your artist’s statement. This was a far more philosophical attitude towards art and art institutions and also the most entertaining activity. The narrow lexicon used within the art discipline, randomness of word selection and scripted artist’s statement appeared to render word usage in the art field banal and hackneyed. The artist’s statement was as broad as a horoscope, it can apply to anyone. But this is the fun of this kind of conceptual art is that it forces the mind to pursue paths that will offer and explanation.

The following weekend was the TIA Commencement Speech which I wasn’t able to attend, but from the video it looks like one person was there.


Dart boards with art specific lexicon to fill out artist’s statement.


This area was for students to record their performance using a selfie stick.

A collaborative master’s project.

Archiving his MFA project

My artist’s statement

My MFA, it was all worth it.

Tenderloin Institute of Art promotional video

The Vernissage is a video collection of video performances and art created by MFA students

Refusalon Gallery Panel Discussion at CSUS

Time & Place: Panel discussion with visual artists Amy Berk, Paul Bridenbaugh and Cheryl Meeker.

The artists on the panel were invited to speak about their involvement with the San Francisco art gallery Refusalon. The panel was organized by Robert Ortbal, Associate Professor at California State University of Sacramento, one of the artists also involved with Refusalon during the 1990′s. Refusalon was a subterranean art gallery that doubled as a home for founder, curator and artist Charles Linder. Ortbal’s objective for hosting the panel was to show his students that if they can’t find an art scene that they can connect with, they can always create one. Just as the artists on the panel did with Refusalon.

Ortbal noted that Sacramento is in a unique position right now to incubate artists because rent is still cheap. Artists and the middle class are being unapologetically gentrified by the adolescent Nouveau Riche of the Silicon confession from the Bay Area (My words not Ortbal’s). The titanic rent prices in the Bay Area are also forcing galleries to shut down. So more people are being forced to move out of the bay. And some are even moving to Sacramento. Another objective of Ortbal’s panel was to ease anxieties students might hav about getting into a commercial gallery. The artists on the panel suggested finding an art gallery that most likely won’t sell anything at all. Because removing money from  the art propitiates a more untainted artistic paradigm.

The artists seemed to agree that Refusalon was simply a place to show art and see art. Amy Berk, professor at San Francisco Art Institute, noted that galleries are essentially store fronts but no one seems to want to recognize that or admit it. Lacking first hand experience I still hear dreadful stories about the nefarious underbelly that haunts galleries artists, curators and buyers creating provincialism and tension. These stories seem to remain in oral tradition only.

Refusalon was less of a store front and more of a place artists could gather and hangout. The artists correlated Refusalon’s reputation to conceptual artist Tom Marioni and his  philosophy, drinking beer with friends as the highest form of art. This elucidates the jovial nature of Refusalon. This is very much what the artists on the panel encouraged students to do.

Another thing the panel of artists touched on was, what the heck do you do after grad school? The artists on the panel essentially told the students not worry about selling anything and think about why we make art at all. Paul Bridenbaugh an art professor at Skyline College simply noted that he was doing things he wanted to see and painted things that he liked. In other words Bridenbaugh suggested that if you create art do it for you. Bridenbaugh also noted that if students can’t get into a gallery to remember there are places like Refusalon to show and mingle at. Don’t worry about selling anything just find a scene or create the scene yourself. Bridenbaugh empathized with everyone in the room and asked, “How do you find your own voice? It’s a frustrating experience.”

As part of the College of Arts and Letters 2015 Festival of the Arts, the Art Department sponsored this panel.



Paul Bridenbaugh


As part of the College of Arts and Letters 2015 Festival of the Arts, the Art Department sponsored this panel.

Location: California State University of Sacramento

University Library Gallery Annex


Doug Hall: The Terrible Uncertainty of the Thing Described

Dough Hall’s exhibit, The Terrible Uncertainty of the Thing Described is showing at the San Francisco Art Institute from March 28 – June 6 2015.

Doug Hall’s installation is ominous. It’s ominous when you walk in and stays that way when you leave. The gallery is dark, and there are several television sets mounted about six feet high that are showing natural disasters and the awesome power of nature. The audio that accompanies the natural disasters is aggressive and ever present. Past the television sets is a cyclone barricade that encompasses two metal chairs and a Tesla coil.

The ominous setting inveigled the audience to speak in hushed voices. The imposing barricades, natural disaster feed and the uneasy anticipation of witnessing a Tesla coil zap metal chairs invites a bit of intimidation. Then there was the question, what if something goes wrong? How will it effect me? Everyone that walked in waited, toying with a bit of unpredictable danger.

One of the most striking thing about the exhibit is the separation of personal experience from the dangers of natural disasters. Another way of saying this is that if someone was able to witness a disaster as large as the ones shown on the television sets, they probably wouldn’t make it. It seems that Hall was trying to get us as close to the action as possible without destroying the lives of the audience, “Hall’s installation sets idealized notions of nature against the often terrifying reality.”

Television, arguably, is where we all learn to fear. This seemed to be an important element in this exhibit, by introducing fear through the television sets then making fear real and personal. One can’t help but daydream about the tangibility of danger and injury when waiting for the Tesla coil to fire off.

Hall’s exhibit was an interesting and a bit jarring experience. Tesla coils are far louder than one would expect. The exhibit makes you wait. There is an uneasy feeling about what’s really going to happen.

Tesla Coil zapping chairs

Big screen showing nature’s doom



Timothy Cummings at Catherine Clark

This is Timothy Cummings first show at the newly renovated Catherine Clark Gallery. The description for the show talks about the artists relocation back to the southwest and the moves influence on the work. This is very apparent in the colors of the floral work featured in many of the paintings.


There is a lot of iconography in the work interacting with portraits of adolescent boys and girls(possible a young drag). There are several paintings where this subject matter is surrounded by a garden of eden like scene. The blues in the sky scream of a southwestern sunset – deep blue. The blues and greens are amazing.

The work is beautifully rendered and it is hard to believe that they are done with acrylics. There are plenty of people that can make acrylics look great, but I am always impressed when someone can make them look as good as oils. Cummings has an amazing palette coupled with a refined brushwork that makes these pieces a joy to look at.

The show is up until September 6th, go check it out before it goes down.