Dean Sameshima

Digital Capture: Southern California and the Pixel-Based Image World, 2024

Digital Capture: Southern California and the Pixel-Based Image World is co-curated by Nikolay Maslov and April Baca. Exhibition concept by Douglas McCulloh.

Digital Capture: Southern California and the Pixel-Based Image World is an ambitious exhibition spanning six decades (1962–2020s) that investigates the history and creative uses of digital imaging technology, from the genesis of digital imaging in Southern California research laboratories during the Cold War and Space Race of the 1960s, to the ubiquity of digital media in our contemporary world. The exhibition and accompanying digital publication narrate the ideological shifts that occurred as digital technologies were adopted for artistic ends.

Participating artists: Rebecca Allen, Refik Anadol, Natalie Bookchin, micha cárdenas, Liliana Conlisk Gallegos, Nonny de la Peña, John Divola, Dynasty Handbag, EPOCH, Elisa Giardina Papa, Goldin+Senneby, Valerie Green, Lucia Grossberger Morales, Maggie Hazen, Lynn Hershman Leeson, Huntrezz Janos, Eugene Lally, Brandon Lattu, Ahree Lee, David Maisel, Frank Malina, Judy Malloy and Cathy Marshall, Lynne Marsh, Lauren Lee McCarthy, Mobile Image (Kit Galloway and Sherrie Rabinowitz), Lee Mullican, A. Michael Noll, Mendi + Keith Obadike, Charles O’Rear, Trevor Paglen, Nam June Paik, Sheila Pinkel, Sonya Rapoport, Marton Robinson, Dean Sameshima, Julia Scher, Ilene Segalove, Sonia Landy Sheridan, Barbara T. Smith, Christine Tamblyn, Penelope Umbrico, Stan VanDerBeek, Steina and Woody Vasulka, Gerardo Velazquez, Andrew Norman Wilson, Amir Zaki

Installation documentation by Nikolay Maslov.

figures, 2024

selection from the series figures, 2024-

Documentation courtesy of Lewis Ronald and Soft Opening, London

Anonymous Portraits, 2024

a selection from the series Anonymous Portraits

acrylic and silkscreen on canvas

30 x 40cm each

Documentation by Lewis Ronald

being alone, Soft Opening, London 2024

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60th Venice Biennale: Stranieri Ovunque - Foreigners Everywhere curated by Adriano Pedrosa

Scratching at the Moon (group show), ICA, Los Angeles - Photos: Jeff McLane / ICA LA.

Organized by ICA LA guest curator Anna Sew Hoy and Good Works Executive Director Anne Ellegood, Scratching at the Moon is the first focused survey of Asian American artists in a major Los Angeles contemporary art museum. The exhibition celebrates the work of an intergenerational group of thirteen leading artists in the Asian American community whose contributions to culture are multiple, ranging from their distinctive visual arts production to their commitment to pedagogy to their dedication to research, activism, and community engagement.

Featured artists include Patty Chang, Young Chung, Vishal Jugdeo, Simon Leung, Michelle Lopez, Yong Soon Min, Na Mira, Amanda Ross-Ho, Miljohn Ruperto, Dean Sameshima, Anna Sew Hoy, Amy Yao, and Bruce Yonemoto.

Revolt of the Body (group show), Tina Kim Gallery, NY

Revolt of the Body curated by Simon Wu at Tina Kim Gallery, New York.

‘Revolt of the Body’ explores conceptions of flesh, sexuality, and time that precede modern and contemporary ideas of identity and self, borrowing its name from the final solo performance of Japanese choreographer Tatsumi Hijikata (1926-86). Taking place at Tokyo’s Nihon Seihan hall in October 1968, “Revolt of the Body” was Hijikata’s most intense articulation of Ankoku Butoh, an avant-garde movement practice he founded nine years earlier, literally denoting ‘dance of darkness.’ Hijikata sought to re-invent the boundaries of art, life, and humanity in the shadow and devastation of World War II.

While the artists do not explicitly cite Hijikata, their works invoke alternative, rebellious bodies in line with Butoh’s historic provocations. The radically recombinant body is typefied in Dean Sameshima’s Erotic Dot Series––fields of connect-the-dot paintings that make images of gay sex when connected as prescribed, or something else alien, unrecognizable, if you choose your own paths. In Cole Lu’s sculptures, etchings and drawings, he produces mythic images of celestial and premodern lives. Flesh is reimagined as wirey, ghostly baskets in Maia Ruth Lee’s social sculptures––assembled as a singular column like an arm or a body––and as bruisable, photosensitive surfaces in Lotus L. Kang’s drawings. And as in Tosh Basco’s hand prayer drawings, each of them are a kind of flesh in themselves.

Participating artists include Cole Lu, Dean Sameshima, Lotus L. Kang, Maia Ruth Lee, and Tosh Basco.

Photo documentation by Susan Behrends Valenzuela