Jackie Im

BIO
Jackie Im is an independent curator, writer and artist living and working in Oakland, CA. She has curated exhibitions at the Wattis Institute of Contemporary Art, San Francisco, CA; the Mills College Art Museum, Oakland, CA; Liminal Space, Oakland, CA; S.H.E.D. Projects, Oakland, CA; Pro Arts, Oakland, CA; MacArthur B Arthur, Oakland, CA; and Queens Nails, San Francisco, CA. She has assisted on exhibitions at Yerba Buena Center for the Arts, San Francisco, CA; Queens Nails Projects, San Francisco, CA; Intersection for the Arts, San Francisco, CA; and the Walter and McBean Galleries at San Francisco Art Institute. She received her BA in Art History from Mills College and her MA in Curatorial Practice from California College of the Arts. She is currently the editor of Art Cards San Francisco and co-director and curator of Et al., a gallery in San Francisco.
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EVENT

Two Point Oh


Dates:
Tue Jan 17, 2012 12:00 - Wed Feb 29, 2012

Little Paper Planes is pleased to present Two Point Oh, an online exhibition curated by Jackie Im and Aaron Harbour, featuring work by Constant Dullaart, Ian Dolton-Thornton, Ryan Trecartin, Sabrina Ratté, Pronunciation Book, Kalup Linzy, Sara Ludy, David Horvitz, Chris E. Vargas and Greg Youmans, and Jeremy Deller.

The internet has been a site for art since before the current pervasiveness of home and portable computing. In the 1990’s and early 2000’s artists produced Net Art, often by creating a web page in which a work or a group of works was sited. While these artists were indeed venturing into new territory, their works were and continue to be challenged by specific limitations: how does one present, maintain and drive traffic/viewers to a URL? Should the work become archived? Preserved on a disc or database do interactive elements become null and void? Through a combination of institutional exhibition and acquisition, as well as what could be called a short-sighted view of the ubiquity of the internet equating a universality of access, many early net art works vegetate, islands in a vast sea of websites – accessed via art world specific portals, rarely visited, stationary and un-linked to.


EVENT

Expanded Field


Dates:
Fri Dec 02, 2011 19:00 - Sun Jan 08, 2012

Location:
Oakland, California
United States of America

Expanded Field
Curated by Jackie Im and Aaron Harbour
December 2, 2011 – January 8, 2012
Reception Friday, December 2nd, 7-10 pm

MacArthur B Arthur is pleased to announce Expanded Field, a group show featuring new work by Torreya Cummings, Amy M. Ho, Sarah Hotchkiss, Christine M. Peterson, and Emma Spertus. Curated by Jackie Im and Aaron Harbour.

Expanded Field is an exhibition that takes the gallery space of MacArthur B Arthur – the physical characteristics of the space and its location – as a jumping off point but not an end. In an attempt to move away from the autonomy of the art object and in reaction to their working conditions, artists created works that were specific to a site. Making reference to Rosalind Krauss’ seminal essay, Sculpture in the Expanded Field, the artists in this exhibition have been asked to expand the field of the gallery; to produce work that bears a physical relationship to the exhibition space, yet stretches beyond it creating a hybrid of autonomy and dependence. Through use of visual illusion, architectural reference, and narrative allusion, Expanded Field hopes to explore an artwork’s potential to disorient the viewer and to radically exceed its surroundings.


EVENT

Run Off


Dates:
Fri Oct 07, 2011 07:00 - Sun Oct 30, 2011

Location:
Oakland, California
United States of America

MacArthur B Arthur is pleased to announce Run Off, a group show featuring new work Marcella Faustini, David Kasprzak, Jon Kuzmich, Hunter Longe, Reuben Lorch-Miller, and Cybele Lyle. Curated by Aaron Harbour, Brandon Drew Holmes and Jackie Im.
The take-away, created by the artist’s own accord or at the behest of a curator as a physical object for the viewer to take and own, carries with it some unquantifiable value and residual aura of the exhibition, artist or space from which it was derived. Yet the validity of the take-away as a piece of art is far from a given. Alluding to and eluding the original/unique/unobtainable works, the take-aways’ tenuous value status is often exemplified by their tendency towards being simply produced copies as a means of cutting cost, versus dealing with the take-aways’ specific concerns (i.e. media and multiplicity).
The artists in Run Off were invited to create and present a work that is in the form of a take-away, produced primarily via a photocopy machine. Each work takes into account the situation of the give-away and the media of reproduction (whether mechanical or phenomenological in nature). The exhibition will explore the hidden potentials within these well-worn processes re-administered as integral mediums. Each work will be produced in an edition of the artists’ choosing, perhaps presented in a form that recalls the stacks of Felix Gonzalez-Torres, and the pieces will be free for viewers to take, questioning the notion of monetary value in artwork and by extension, intellectual capital. Run Off intends to explore alternative notions of reproduction and distribution – here, is the reproduced individual object ever the “original”? Does such work, indeed such an exhibition, find a new mode of existence via its diffusion?


EVENT

First-Person Plural


Dates:
Fri Aug 05, 2011 19:00 - Sun Aug 28, 2011

Location:
Oakland, California
United States of America

First-Person Plural
 Curated by Jackie Im and Aaron Harbour
August 5th – 298h, 2011
Reception Friday, August 5th, 7-10 pm
 
MacArthur B Arthur is pleased to announce First-Person Plural, a group show featuring work by Joel Dean, Dana Hemenway and Sasha Krieger. Curated by Jackie Im and Aaron Harbour.

First-Person Plural features new work by Joel Dean, Dana Hemenway, and Sasha Krieger, three artists with widely varying practices. Each artist was invited to produce and show new solo work and subsequently asked to create additional works that will operate as reactions or responses to the other artists. What they have chosen to produce in regards to each other’s work will have come about as a result of communication between the three, coupled with efforts to become familiar with one another’s practices, and to respond with a piece that will avoid overt framing or interpretation. These responsory works will provide or point to some method for navigating conceptually between discrete methodologies and concepts, re-framing the gallery as a site for critically aware dialogue, versus its usual mode as a venue for the presentation of disconnected individual vision.
Though externally disparate, the three artists in First-Person Plural share a depth of inquiry into the act of producing and exhibition work. Joel Dean’s paintings, plainly produced with a minimum of handcraft are a resultant of explorations of the structure of painting - the various decisions such as what and how to paint - providing an impossible but intriguing subject for signification in his simple canvases. Dana Hemenway’s sculptural constructions examine the matter of sculpture and exhibition spaces via subtle co-option of materials such as gallery walls, nails, and paper into surprising juxtapositions and role-reversals. Sasha Krieger’s interdisciplinary work highlights her own artistic doubts and the seemingly impossible task of “originality” via an examination of reference and response.


EVENT

Procedural


Dates:
Fri May 06, 2011 07:00 - Sun May 29, 2011

Location:
Oakland, California
United States of America

Procedural
 Curated by Jackie Im and Aaron Harbour
May 6th – 29th, 2011
Reception Friday, May 6th, 7-10 pm
MacArthur B Arthur is pleased to announce Procedural, a group show featuring work by Miguel Calderón, Chris Cobb, Anthony Discenza, Maggie Haas, Kelly Lynn Jones, Mads Lynnerup, Julio César Morales, Marco Rios, Trevor Shimzu, Chris Sollars, Charlene Tan, Kara Tanaka, and Christine Wong Yap.
Procedural is an exhibition of instruction-based works. Thirteen artists were invited to create new pieces in the form of instructions to be performed and fabricated by the curators, Jackie Im and Aaron Harbour. The resulting works are both products of the artists’ hand and their conceptualizing process, as well as representing the series of decisions made during production, in this case by Im and Harbour. The visible hand of the curators in each work directly implicates the curator as not just a supervisor but also as a collaborator. Procedural reflects on and questions the importance of the individual artists’ hand versus concept and explores artwork as a collaboration between artists, curators, fabricators, and audience.