In the early 1970s a young Los Angeles-based artist named William Wegman brought home the first of what would be many Weimaraners and named him Man Ray, after the Surrealist artist and filmmaker who was one of his formative influences. Wegman considered his dog a companion, but Man Ray aspired to be more. Wegman, an accomplished photographer, soon discovered that Man Ray loved to work in front of the camera, donning outfits and striking poses like he was to the manor born. The photos that resulted could be viewed as charming and eccentric curios built around Man Ray’s straight-faced presence, or as sardonic commentary on the art world and its preoccupations, fashion, fame, etc. Man Ray was soon joined by the near-legendary Fay Ray and later by assorted puppies. His work with Weimaraner supermodels changed his life: it made him famous, it remains his most popular artworks, and following relocation to New York that work continues with his current canine muses Topper and Flo.
Though inarguably best known to the general public for his dogs’ portraits, Wegman is also an established and widely-exhibited painter, filmmaker, and creator of art installations. The installations began with La Jolla Vista View, commissioned by the Stuart Collection at UC San Diego. The piece is set at the edge of the campus overlooking the bustling I-5 freeway and “greater La Jolla,” and consists of a large etched brass plaque atop a stone base with a telescope close at hand. The etching depicts the scene as it looked in 1984, very different than today’s view, and the telescope is the type often found at scenic overlooks (but free to use). Though not originally intended as a parody of said overlooks, Wegman notes that “it more or less evolved – or de-evolved – into that.” The title La Jolla Vista View is itself a gentle send-up since “vista” and view” mean precisely the same thing. Whatever the satirical intent (or lack thereof) informing the project, it has become a popular meeting spot for students and staff working in the campus Theatre District; Wegman says he’s happy to “settle for that” as a response to the installation. The salient point is that, like most of Wegman’s work, the piece offers layers of meaning if the visitor is open to them.
On a personal note, I had the great pleasure of interviewing Bill Wegman in his Chelsea (NYC) studio in 2015 and meeting his family and Weimaraner brood. I’d been a fan of his work for many years and naturally had some trepidation about meeting him, since in my line of work meeting someone you admire can and often does end awkwardly if not badly. Thankfully, not the case in this instance; the Wegman family were warm and gracious, and as expected Bill has a wonderful sense of humor. I mention this because I believe these qualities and his successful integration of family and work infuse his art. Believe it or not, this is not true of every artist.
Watch William Wegman: La Jolla Vista View – A Conversation with Stuart Collection at UC San Diego.
As a Jewish child during the Holocaust in Europe, Gabriella Karin escaped capture and death many times before the Nazis were overthrown in 1945. She survived by living in a convent for three years and then hiding with her family for nine months in an abandoned apartment building. Although physically safe, she did not emerge unscathed. Suppressed memories of her past came flooding back once she began to fashion sculptures related to the Holocaust later in life.
In this presentation, she recounts her journey and presents examples of her art. Her experiences and her creations offer an important insight into trauma and how creativity can be used as a tool to process memories of oppression, persecution, and loss.
Karin is a docent at the Los Angeles Museum of the Holocaust and participates in the Righteous Conversations Project, which unites survivors and students through art.
Watch Trauma, Memory, and the Art of Survival with Gabriella Karin.
People with allergies know that daily weather determines symptoms and that symptoms vary by season. Dr. Katherine Gundling, an allergy and immunology specialist at UCSF, looks at how the warming of our planet might affect allergic respiratory disease. What is emerging from data collected at pollen counting stations around the world is that the length of pollen season is increasing, starting earlier and ending later, especially in higher latitude and higher elevations. As temperatures increase pollen concentrations rise. And increasing temperature may also cause pollen to be more potent.
There are similar indicators that climate change is increasing mold growth. Of particular concern are indoor molds that propagate in wet environments. As sea levels rise and flooding and humidity increase, so too does mold exposure which can cause severe asthma reactions, especially in children who are more vulnerable.
The good news is that we know what to do. Climate change solutions are also solutions to improving health disparities and allergic respiratory disease.
Watch Impacts of Our Changing Climate on Allergic Respiratory Disease.
Newly-eligible young voters are in the news and on the minds of politicos this year. States of Change, a nonpartisan project studying shifts in the electorate, estimates that Millennials presently constitute 34.2 percent of eligible voters while Post-Millennials make up another 3.4 percent. These two groups combined will virtually equal the share of eligible voters composed of Baby Boomers and the Silent and Greatest Generations; by dint of sheer numbers they could easily determine the election’s outcome – should they register and vote, which is not a given based on historical data. Eligibility and participation are very different questions.
UC San Diego Alumni brings together two commentators to provide context and insight into what is shaping up to be one of the most contentious elections in American history. Moderator Jerri Malana ’86 welcomes political expert and author Thad Kousser, Chair of the Department of Political Science at UC San Diego. They are joined by José Luz González ’20, a Chancellor’s Associates Scholar and UC-DC alumnus who graduated with a degree in Public Health. In a lively conversation the two men offer varied but complementary perspectives on the upcoming election.
Kousser, a seasoned political researcher and pundit, outlines the demographic, economic, and ideological shifts that have occurred since Barack Obama’s election in 2008, and discusses how politicians and various components of the electorate have responded to those changes. González offers observations about one increasingly important component in particular, the under-25 voter. He notes that young people coming of voting age this year have recently exhibited a greater interest in politics than the previous generation or two, but stresses that it’s impossible to predict by fata alone whether that interest will translate into an increased presence at the polls in November.
Both Kousser and González also stress the outsized influence of social media on the body politic, and the difficulty in identifying reliable news sources. Other topics discussed include the influence of numerous special interest groups and the voting process itself, including the Electoral College’s role. Throw in such wild cards as deliberate misinformation, extreme partisanship, gerrymandering, voter suppression, and possible foreign meddling, and it’s easy to feel overwhelmed when contemplating the 2020 Presidential Election. Fortunately, experts like Kousser and González help to guide us through the thicket.
Watch Tritons Tackling the 2020 Presidential Election.
When Terry Allen left Lubbock, Texas to pursue his youthful ambitions it’s doubtful he could have foreseen his status nearly six decades later as a legendary painter, conceptual artist, composer, and musician. Terry’s work is unusually diverse but certain themes are common: the mysteries of love, surviving loss, and the consequences of violence are just a few, often expressed with sardonic humor and a heightened sense of irony.
Terry is particularly celebrated as a chronicler of the off-beat, the surreal, and the just plain weird in American life. In his interview with the Stuart Collection’s Mary Beebe and Mathieu Gregoire, Terry notes that his appreciation for the off-kilter arose in part from his childhood in Lubbock, a highly conservative place with its share of colorful and disreputable characters. A burgeoning iconoclast, he fled Lubbock for Los Angeles in the mid-1960s seeking to establish himself as an artist. It was only after disavowing Lubbock and West Texas for many years that Terry came to appreciate the influence of his upbringing on his worldview and his art. This understanding was beautifully expressed in his groundbreaking 1979 release “Lubbock (On Everything)” which contains two of Your Humble Correspondent’s favorites, “Truckload of Art” and “The Collector (and the Art Mob).” “Lubbock…” along with his earlier conceptual album “Juarez” cemented Terry Allen’s reputation as an “outlaw country” artist, a designation he’s not comfortable with as he finds it limiting, if not meaningless.
Terry also discusses his fascination with trees, understandable in someone growing up in a place “so flat that if you stare at the horizon hard enough you can see the back of your head.” This attraction inspired his creation of a commission for Stuart Collection entitled “Trees,” a collection of three metal-clad trees: a singing tree that plays an eclectic mixture of music; a talking (or poetry) tree that plays various spoken word pieces; and a silent tree placed in front of UC San Diego’s Geisel Library. The singing and talking trees are blended into a eucalyptus grove, lending an air of both mystery and discovery to the passersby. As with many of the Stuart Collection pieces, the objective is to “bring the inexplicable” to campus, and Terry Allen is well-versed in the enigmatic.
Watch Terry Allen: Trees – A Conversation with Stuart Collection.