Caleb Duarte: Chuchería

Art Space Gallery at Fresno City College, March 9 – April 9, 2020

Caleb Duarte works in public sculpture, performance, and painting. He uses ordinary construction materials to create temporary structures; these often become sites for performances that Duarte organizes in collaboration with communities, most recently working with unaccompanied minors seeking asylum. In Chuchería (loosely translated as a thing of little value), Duarte uses drywall, lumber, packed earth, cement, and plaster to construct a spatial intervention in the gallery. Chuchería reflects on the powerful symbolism of home, systems of value as they relate to art history and culture, and the expansiveness of decolonial art practices in Zapatista indigenous communities in Chiapas, Mexico.



Nancy Youdelman

May 18, 1972 – May 24, 1973

Limited edition zine condensing a single journal by feminist artist Nancy Youdelman. Made in collaboration with Nancy Youdelman and printed on riso by Laguna Collective in Downtown Fresno.


Squid Ink, (L-R) Janell Bowen, Amber Williams, Audrey Johnson, Vishinna Turner. Recorded at CMAC studios, Downtown Fresno, October 2019
Miriam Ouassou and Leslie Adams filming a figure drawing tutorial using the DIY green screen set up in the gallery
Installation view
Miriam Ouassou and Elianette Zepeda’s staring experiment
Fred McCarty’s monologue
Squid Ink listening station
Paint mixing tutorial by artist Kezia Harrell and her brother Chaim Harell.

Special edition poster by local risograph printer and designer (and Art Space Gallery Student Aide) Vicente Velázquez III.

Liz Roberts


Art Space Gallery at Fresno City College, October 10 – November 21, 2019

Recorded at Fresno City College and at CMAC (Community Media Access Collaborative) in downtown Fresno, GOING PUBLIC is a DIY public access TV show, directed by artist and filmmaker Liz Roberts and made with the participation of FCC students and members of the Fresno artist community. Episodic and accumulative, GOING PUBLIC builds over time as content is added, re edited, and looped. Thinking about issues of access, representation, local public conversations, and documentary, through the lens of a community college gallery.

Episode One: PILOT includes music and an interview with local punk band Squid Ink, and student generated content in the form of art tutorials and skits. Episode Two: How To includes a paint color mixing tutorial with Fresno based artist Kezia Harrell and her brother, Chaim Harrell, and more student skits and tutorials.

Episode One: PILOT screened at 6pm on October 10 at the Art Space Gallery, with simultaneous broadcast through Community Media Access Collaborative (Comcast Xfinity Channel 93 and AT&T U-Verse Channel 99 in the Fresno area). Episode Two screened on November 7th.

Human for Scale

Jibade-Khalil Huffman, Fresno City College

March 4 – April 21, 2019

An installation view of the gallery at Fresno City College illuminated by projected video and text.

Installation views, Jibade-Khalil Huffman, Human For Scale. Fresno City College, 2019.

How to Remain Human

June 12, 2015 — September 5, 2015

Museum of Contemporary Art Cleveland


Carmen Winant, A World Without Men, 2015, wall collage, dimensions variable. Courtesy of the artist and MOCA Cleveland.
Ben Hall, in process image of The Drill, courtesy of the artist and Young World, Detroit.
Jae Jarrell, Urban Wall Suit, c. 1969, sewn and painted cotton and silk two-piece suit, 37 1/2 x 27 1/2 x 10 inches. Collection of the Brooklyn Museum.
d.a. levy, Refrigerator Mantra, 1967, typewritten manuscript. Courtesy of Special Collections at Kent State University.
Mary Ann Aitken, Untitled (fish bowl), 1983, oil on newspaper, 12 x 14 inches. Collection of Susan Goethel Campbell. Image courtesy of MOCA Cleveland

Carmen Winant, 61 Minutes in Heaven, 2015, diptych, each 20 x 30 inches. Courtesy of the artist.
Kevin Jerome Everson, Vanilla Cake with Strawberry Filling, 2014, still from 16mm film, 00:01:50. Courtesy of the artist, Trilobite Arts-DAC; Picture Palace Pictures, New York. Copyright Kevin Jerome Everson.
Michaelangelo Lovelace Sr., P-funk party, 1999. Courtesy of the artist.

Mary Ann AitkenDerf BackderfCara BenedettoChristi BirchfielddadpranksKevin Jerome EversonBen HallJae Jarrell Harris JohnsonJimmy Kuehnled.a. levyMichelangelo Lovelace Sr.Dylan Spaysky, and Carmen Winant.

How to Remain Human continues MOCA Cleveland’s focused engagement with artists connected to Cleveland and the surrounding region, including neighboring cities in Pennsylvania and Michigan. It features emerging, mid-career, and established artists, working across a wide variety of media, who question and affirm humanness.

The exhibition’s title is a line from the late Ohio writer d.a. levy’s “Suburban Monastery Death Poem” (1968). Ardent, aching, and raw, levy’s poetry captured the struggle for freedom and expression during a tumultuous time in Cleveland’s history. Among the artists in How to Remain Human, there is a shared sense of the need to make, in order to interrogate life and claim space. They explore various ways of acting in and experiencing the world, questioning how we can go on, relate, and be.

Language and narratives are found in many of the works, presenting chronicles of the everyday and the urgent need to communicate. Thick paint, familiar objects, and engagements with the body give the exhibition a heightened sense of touch and physicality. Humor and nonsense become tools to playfully puncture life’s routines, habits, and trials. Together, the works tackle the complexity and intensity of being human: conflict, power, pleasure, folly, doubt, loss, skin, sex, home, money, hair, rage, romance, confusion, darkness, lightness, reaching, pushing, here, now, never, again, more, always.

with Rose Bouthillier, Associate Curator, and Megan Lykins Reich, Deputy Director 

Sylvia Savala

Cakes and Daggers: Heartbreak and Emancipation

October 23 — November 15, 2018

Fresno City College

Let them Eat Cake, 2001, oil on canvas, 60 x 48 inches. Courtesy of the artist.
Fast Car, 2015, acrylic on canvas, 30 1/2 x 48 inches. Courtesy of the artist.
Installation view, Fresno City College

Sylvia Savala’s paintings are fluid and gestural with a strong, Chicanx feminist perspective. Figures and objects sit in swirling, fields of color, symbols, and form. Her works often chronicle dreams, personal narratives, and the ebb and flow of relationships. They express the power of female desire and sensuality, often placing her body, and by extension, her identity as a Mexican-American woman, unapologetically front and center.

A sense of emancipation, fun, and self-love characterize Sylvia Savala’s paintings, with the artist’s irrepressible sense of humor evident in works such as Let them Eat Cake (2001)—a lewd play on the mythical words of Marie Antoinette at the time of the French Revolution—and Fast Car (2015) in which furious but measured brushstrokes capture a car as it speeds away from the frame. Lately, Savala’s paintings have become increasingly abstract, with towering, geometric, compositions  of cakes and other objects filling the frame. 

Savala has spent most of her life in the Fresno area. Her home, like the homes of many artists, is an important part of her creative life and practice: it is filled with furniture, art, and color collected over time. Acknowledging this, we recreate a small part of her home studio within the Art Space Gallery.

Ricardo Rivera: Clase abstracta de brujería

January 18—February 15, 2018

Art Space Gallery, Fresno City College 

Clase abstracta de brujería is a multi channel installation by Fresno based-artist and City College instructor Ricardo Rivera. Rivera’s expansive practice includes performance, drawing, and immersive installations that blend projections, video, sound, and sculpture. 

Rivera’s practice involves digitally mapping the gallery to create a three dimensional model of the interior. Small idiosyncrasies of the space, such as an oddly placed clock or alcove, are incorporated into the work. The title of the show could be translated as abstract sort of witchcraft. It refers to multiple alchemical processes: that of transforming the gallery; of labor into art; of extracting images from computer languages; making the invisible visible. A more literal translation might be abstract witchcraft class, suggesting a kinship between teaching and witchcraft.

Ricardo Rivera (1970, Sacramento, CA) earned an MFA from the San Francisco Art Institute in 2001, and his BFA also from SFAI in 1997. Selected solo exhibitions include Oscillations, Maxxx Project Space, Valais, Switzerland (2016) and Fantasy is A Place Where it Rains: Part II, Mission Cultural Center for Latino Arts, San Francisco, CA (2011). He has participated in numerous group exhibitions both nationally and internationally, including Words Imagined: Co-relations Between Art and Poetry, Sacred Heart University Art and Design Gallery, Fairfield, Connecticut (2017); Paix, Amitié, Limites et Réglements – Tout Ceci Se Trouvait, D’Habitude Á L’Extérieur, Installations in situ, Creative Villages, Leytron, VS, Switzerland (2016); and DRAWINGS | FRIDGES, Greene Exhibitions, Los Angeles, CA (2015). In 2014, he was awarded a research fellowship as a part of Ars Contemporaneous Alpinus, a theoretical and applied research project about the issue of site- specific practices taking the natural environment as a context in Sierre, Switzerland.Before his role at Fresno City College, Rivera taught at several Bay Area institutions, including the University of California, Berkeley, City College of San Francisco, Stanford University, and the California College of the Arts.


Bending Towards the Light of the Sun

Screenprinted flyer distributed by National Land for People. Courtesy of Special Collections Research Center, Henry Madden Library, California State University, Fresno.
Nancy Youdelman, Bound feet, 1973, plaster, fabric, late Photograph, 10 x 8 inches. Courtesy of the artist.
Installation view, Bending towards the Light of the Sun, 2019
Maia Ballis, NO!, 1974. Courtesy of the artist.
Installation view, Bending Towards the Light of the Sun.
Carissa Garcia, still from In the Valleys: Las Mujeres Muralistas del Valle, 2018. Color video with sound. Courtesy of the artist.
R.L. Muas, Untitled, 2018, Hmong motifs, acrylic on plywood.
food by Adrianna Alejo Sorondo
Screening of “California Trilogy,” James Benning.
Performance by Xolito Sound System

August 21 – October 11, 2018

Bending towards the Light of the Sun begins in two local archives – the National Land for People archive at California State University, Fresno, home to an extensive collection of the group’s land activist printed matter and ephemera, and artist Nancy Youdelman’s personal archive, consisting of early performance documentation, collaborations with other artists in Judy Chicago’s Feminist Art Program at Fresno State, and Youdelman’s cathartic experiments with casting and using her body as material in her work.

From there, it expands. Like the city itself, it sprawls outward, with installations by an intergenerational group of artists  connected to the history of land, activism, and art in the region; film screenings, artist publications, public workshops and talks.


Maia Ballis, Caleb Duarte, Carissa Garcia, Laguna CollectiveR.L. Muas, Sylvia Savala, Christian VargasNancy Youdelman.

Bending towards the Light of the Sun is anchored by archival materials relating to Fresno’s history of activism and art making, in the form of  printed matter by Fresno-based radical land activist group National Land for People (NLP).


  • Claiming Open Spaces (1995) / Austin Allen’s critical documentary about African American communities and public spaces.
  • California Trilogy (1998) / Experimental filmmaker James Benning’s long slow look at the landscapes of California
  • In the Valleys: Las Mujeres Muralistas del Valle (2018) / Carissa Garcia’s film about a group of Chicana muralists working in Fresno in the 1970’s.


  • Lecture: “American Indian Women: Revolutionary Art as an Act of Love,” Dr. Leece Lee-Oliver (Blackfeet/Wyandot/Cherokee/Choctaw), Assistant Professor and Director of American Indian Studies, California State University, Fresno.
  • Performance: Xolito Sound System
  • Artist talks: Caleb Duarte, Nancy Youdelman, Christian Vargas.
  • Offsite Riso printing Zine and Poster workshop, Laguna Collective x Beginning Printmaking




Teresa Flores, We Can Make our Own, installation view, 2018. Courtesy of the artist.
Adrianna Alejo Sorondo, Thickets, 2018, installation view. Courtesy of the artist.
Judy Chicago, Dome Drawing, 1968. Installation view, Thickets. Courtesy of Jessica Silverman gallery, San Francisco.
Installation view, Thickets, 2019.
Tina Williams Brewer, Cosmic Endeavours, 2011. Courtesy of the artist.
Installation view, Thickets
Installation view, Thickets
Carmen Winant, Anita was Right, 2017. Courtesy of the artist.
Adrianna Alejo Sorondo, Fast rural internet (detail), 2018. Courtesy of the artist.

Tina Williams Brewer

Judy Chicago

Teresa Flores

Ronda Kelley 

Adrianna Alejo Sorondo

Carmen Winant 

Gallery guide pdf

Deeper Structures

Video still, Hearts are Trump Again, 2010, Dani (Leventhal) ReStack.
Video still, Audisne, 2014, Earcatcher.

Deeper Structures

SPACES Gallery, Cleveland, Ohio, 2015

Earcatcher (collective), Yvonne Carmichael, Dani Leventhal, Jibade-Khalil Huffman

Exhibition text: He’s Coming to Bring me the Sperm

I’m watching Jibade-Khalil Huffman’s film trailer The Pterodactyls (2015), and trying to figure out the connection between the diver striding confidently towards the end of the diving board, and Tatum O’Neal, proto child star, in a scene from 1978 coming-of-age sequel (already a copy), International Velvet, as one scene dissolves into another. O’Neal is immaculate and smiling, the diver is diving. Is this the connection? A smile on the point of breaking, at the moment when it goes from a reaching smile to a grimace, when the expectation of success suddenly falters (at its apex, the dive is going suddenly, splashily wrong). Losing it. This being now, we watch endless replays of the pain of defeat at 400 fps.

Tatum O’Neal dissolves into an extended montage of film trailer clips — Forrest Gump, Ghostbusters, Beetlejuice, Con Air, The Pelican Brief, and many others. The characters seem to nod knowingly to each other, across genre, and across story. These films form the invisible pop-culture scaffold of a reality we have all agreed upon; they represent a language, a currency, share a pre 9/11 sense of nostalgia. In this film trailer, the narrative (like the smile) breaks down, degrades, becoming illegible, hysterical. These fragments alternate with basic screen saver style graphics (tumbling stars a la 1999), and then there is a clip from an ABC special program in which Patti Labelle is acknowledged but invisible. In which her image is not visible, not represented; erased. The Pterodactyls is a trailer for a film that doesn’t exist.

There is another kind of nostalgia at play in Yvonne Carmichael’s The Ballad of the Rawson Sisters in which performers silently re enact the repeated gestures of shop workers in Bradford, in the North of England, where many shops at the center of town stand empty. Carmichael imagines the ghosts of spanx-clad, manicured female shop workers, abstracting the gestures and repetitive acts of folding, restocking, hanging, in a choreographed folk tale that memorializes the once busy past of these spaces. We never see a face – just feet, legs, hands. Feet which stand all day in heels; hands that elegantly perform; mild fetishization.

Artist collective Earcatcher work within strict narrative parameters, using sound as a generative seed around which mysterious, playful, and disjointed stories are developed; all restricted to a One is made each month; as they accumulate, narrative threads appear. The camera takes us on a trip to the mall, watches a game of rounders, the spinning of a penny; a woman waits outside a convenience store. They are often acted, but sometimes, as with Out (2015), document everyday events. They are infused with place – all are filmed in around Columbus, Ohio, but despite their brevity and simplicity, their framing, composition and coloring in post production results in a filmic treatment of the everyday, with a Midwestern-gothic sensibility. They have the high soft sheen of “the movies”; tiny films in which the everyday is elevated to hollywood status.

Dani Leventhal’s Hearts are Trumps Again (2012) begins with a montage of scenes. Hair, (shining, black) tumbles over shoulders; pigeons (scruffy, scrappy), pile into a hole in a roof, a scuffle breaks out, the pecking order is challenged/asserted; the camera cuts to a bedroom crowded with two twin beds. Gas station coffee in a styrofoam cup upon a red carpet; basic comforts. A halfway house; last port of call in a storm. Then we are outside and Leventhal is interviewing a young woman, “Nina”, wearing yellow plastic earrings. It looks to be about 45 degrees Fahrenheit in a Northern European city; this shot has the feel of a BBC2 documentary or exposé. She says: “I’m just sitting here waiting for my donor. He’s coming to bring me the sperm”. Nina breaks character and makes eye contact, cracking up at one of Leventhal’s questions – what looks like documentary is staged, our narrator unreliable.

In Leventhal’s work, what appears at first to be a formal exercise in free-­‐association gradually reveals itself as something else-­‐not playing straight, less story, and more discourse. Less film, and more sculpture, made up of narrative fragments. Cut to a brief excerpt of Ana Mendieta’s 1972 performance Untitled (Chicken Piece Shot #2), in which the artist stands naked, holding a decapitated chicken as it bleeds all over her. Ana Mendieta, most definitely not faking it.