Featuring works by Shary Boyle, Christine Sun Kim, Darrin Martin and Alison O'Daniel.

Curated by

Amanda Cachia

At first glance, the title of the Winter 2015 exhibition in the gallery@calit2, LOUD silence, appears to be a contradiction in terms. But for the curator and four artists represented in the exhibition, who are each at a different point on the hearing spectrum, it's clear that the Deaf have a strong understanding and connection to sound and voice, and that those who have full hearing can appreciate the value and meaning of silence versus the absence of sound.

"It's nice to see the irony of silence," says deaf artist Christine Sun Kim, "especially that 'loud' is placed before that term."

"The artists consider questions such as, how is silence interpreted from both a deaf and non-deaf perspective and manifested in a contemporary work of art?" notes LOUD silence curator Amanda Cachia, a Ph.D. student in Art History, Theory & Criticism at UC San Diego. "How is sound made accessible or inaccessible through vibrations, personalized musical scores, American Sign Language, gestures, or ambient noise in our urban or rural environment? How does an artist who is hearing and one who is deaf make loud silence or silence loud?"

LOUD silence opens at 4PM on Thursday, January 22 and runs through March 13, 2015 in the gallery on the first floor of Atkinson Hall, home to the Qualcomm Institute on the UC San Diego campus. Curator Cachia will moderate an opening-day panel discussion with distinguished experts in Deaf studies and visual arts, following a performance by the artist Christine Sun Kim. The panel discussion will be accompanied by American Sign Language interpreters and CART services, and a reception will follow. All of the events are free and open to the public.

For her performance, Sun Kim will play Fingertip Quartet, a work which consists of four sound files she personally created using audio recorder, a laptop, and transducers. The artist will use a new set of voice samples by Jamie Stewart of the experimental, post-punk group Xiu Xiu - a conceptual way to play up the social value of Sun Kim's "voice" by borrowing the voice of a musician. During the UC San Diego performance, Sun Kim will also communicate the concept of each sound by typing in large text projected on the wall behind her for the audience to read and experience. As part of her practice, Sun Kim is persistently questioning what she calls "the ownership of sound" and re-orienting the parameters, social values and sets of rules based around that which is omnipresent and yet invisible to all.

Following the performance, LOUD silence curator Amanda Cachia will convene the panel, including artist Christine Sun Kim; UC San Diego visual arts, communication and science studies professor Lisa Cartwright; and Brenda Brueggemann, distinguished scholar in the fields of Rhetoric and Composition (English), Deaf Studies, and Disability Studies, and Director of Composition at the University of Louisville.

LOUD silence offers viewers the opportunity to consider definitions of sound, voice, and notions of silence at the intersection of both deaf and hearing cultures. The four artists have different relationships to deafness and hearing. The artists - Shary Boyle, Christine Sun Kim, Darrin Martin and Alison O'Daniel - explore how the binary of loudness and silence might be transformed in politicized ways through their own specificities, similarities and differences in relationship to communication and language. The stereotypical view of the deaf experience is that they live a life of total silence, where they retain little to no concept of sound. On the contrary, as spelled out in The Meaning of Sound by UC San Diego social sciences dean Carol Padden and professor of communication Tom Humphries (in the 1988 book Deaf in America: Voices from a Culture), deaf people actually know a lot about sound, and sound informs and inhabits their world just as much as the next person.

The exhibition displays prints, drawings, sculptures, videos, and a film installation. Through these works, the artists aim to explode loudly the myth of a silent deaf world, and they seek to discern just how "inaudible" sound really is through their own visceral experiences of it. The distinction between the deaf person and the hearing person in their relationship to sound is the extent to which deaf people use senses other than the auditory to understand what they are hearing. Sound is felt and sound is seen. Indeed, some of the artists' "deaf hearing" in this exhibition often involves sensory input from a variety of sources, and is not simply confined to the ears. Ultimately, the work in LOUD silence offers an avenue for eradicating deaf oppression, where new ways of listening and thinking about sound and silence might be developed.

"The work in this exhibition is necessarily political," says curator Cachia, "because it challenges the conceptual, physical, linguistic associations of music, sound and silence, and because it offers how aural experiences or ostensibly quiet experiences might complicate one-sided perceptions."

A full-color catalog will accompany the exhibition, produced in partnership with the Grand Central Art Center at California State University Fullerton, with essays written by the exhibition curator as well as Dr. Zeynep Bulut, Lecturer in Music, King's College, London, and Dr. Michael Davidson, Professor of American Literature in the Literature Department at UC San Diego.

The gallery@calit2 gratefully acknowledges additional support from the Vice Chancellor's Office of Equity, Diversity and Inclusion, the Linguistics Department, the Communication Department, the Literature Department, and the Visual Arts Department.

The gallery@calit2 and campus partners will stage a variety of public programs during the course of the exhibition, including a film screening and a curator's tour accompanied by an ASL interpreter, etc. These additional events will be announced at a later date.


Dr. Brenda Brueggemann is a distinguished scholar in the fields of Rhetoric and Composition (English), Deaf Studies, and Disability Studies. During her 22-year academic career she has been awarded over $280,000 in research and program development grants and she has received three major teaching awards. She is the single author of two books, Deaf Subjects: Between Identities and Places (New York UP, 2009) and Lend Me Your Ear: Rhetorical Constructions of Deafness (Gallaudet UP, 1999), and the co-author of two books, Arts and Humanities (vol 8) in The SAGE Reference Series on Disability Key Issues and Future Directions (Sage, 2012) and Rhetorical Visions: Reading and Writing in a Visual Culture (Prentice-Hall, 2007). She has also collaborated on five other books, serving as Editor or Co-Editor. She has published over 60 journal articles and book chapters. She served as Editor of Disability Studies Quarterly from 2006-2012 and is the incoming 2015 President of the Society for Disability Studies. She is currently the Director of Composition at the University of Louisville (Kentucky).

Known for her writing about visual culture and the body in feminist science and technology studies and working at the intersections of art and medical history and critical theory, Dr. Lisa Cartwright is the author of books including Screening the Body: Tracing Medicine's Visual Culture and Practices of Looking: An Introduction to Visual Culture (co-author Marita Sturken). Recent essays consider the landscape photography of photographers including Catherine Opie, the history of film technology, and the visual cultures of viruses. A native New Yorker, Cartwright was trained in film and critical theory at the Whitney Program and at NYU Tisch School of the Arts before receiving her PhD in American Studies from Yale and joining the faculty at the University of Rochester, where she helped to launch the Ph.D. Program in Visual and Cultural Studies. Cartwright is currently Professor of Visual Arts with additional appointments in the Department of Communication and the graduate Science Studies Program and an affiliation with the program in Critical Gender Studies. She directs the Catalyst Lab, an initiative that supports collaborations across art, science and technology with emphases in feminist and critical theory and in experimental documentary practice. The lab is home to the online journal Catalyst: Feminism, Theory and Technoscience and supports collaboration with the FemTechNet, an international network of feminist scholars, artists, and teachers of technology, science, feminism, and digital media.

Christine Sun Kim, a New York-based artist, uses the medium of sound through technology, performance, and drawing to investigate and rationalize her relationship with sound and spoken languages. Selected group exhibitions and performances include: Subjective Loudness, Sound Live Tokyo (2013); Rehabilitating Silence, in collaboration with nyMusikk and Dans for Voksne, Ultima Festival, Oslo (2013); "a real line ran near an ear," in collaboration with Shira Grabelsky and Stijn Schiffeleers, Southern Exposure Artists Residency, San Francisco (2014); Feedback: Seeing Voice, Recess Activities and Center for Experimental Lectures, New York (2013); Face Opera II, Calder Foundation, New York (2013); and Soundings: a Contemporary Score, Museum of Modern Art, New York (2013). With collaborator Wolfgang Müller, she released a set of seven-inch vinyl records Panning Fanning (2012-13), and was a recipient of Youth Insights Artist Residency at the Whitney Museum, Mellon Tri-College Creative Residency at Haverford College, and a Fellowship at TED.


Amanda Cachia is an independent curator from Sydney, Australia and is currently completing her Ph.D. in Art History, Theory & Criticism at the University of California, San Diego. Her dissertation will focus on the intersection of disability and contemporary art. She is the 2014 recipient of the Irving K. Zola Award for Emerging Scholars in Disability Studies, issued by the Society for Disability Studies (SDS). Cachia completed her second Masters degree in Visual & Critical Studies at the California College of the Arts (CCA) in San Francisco in 2012, and received her first Masters in Creative Curating from Goldsmiths College, University of London in 2001. She held the position Director/Curator of the Dunlop Art Gallery in Regina, Saskatchewan, Canada from 2007-2010, and has curated approximately 30 exhibitions over the last ten years in various cities across the USA, England, Australia and Canada. Her critical writing has been published in numerous exhibition catalogues and online art journals including Canadian Art and Art Monthly Australia, and peer-reviewed academic journals such as Canadian Journal of Disability Studies, Disability Studies Quarterly, Journal of Visual Art Practice, Museums and Social Issues: A Journal of Reflective Discourse and forthcoming issues of The Review of Disability Studies: An International Journal and The Journal of Literary and Cultural Disability Studies. She has lectured and participated in numerous international and national conferences and related events within the USA, Canada, Australia and Europe, and has served as a panelist for the National Endowment for the Arts (NEA) Art Works grant and Canada Council for the Arts. Cachia is a dwarf activist and has been the Chair of the Dwarf Artists Coalition for the Little People of America (LPA) since 2007. She also serves on the College Art Association's (CAA) Committee on Diversity Practices (2014-2017). For more information, visit http://www.amandacachia.com.


Shary Boyle (pictured above) is well-known for her bold and fantastical explorations of the figure. Fuelled by concerns about class and gender injustice, Boyle approaches her work with an expressive candor and compassion; exploring a range of psychological and emotional states through sculpture, drawing, painting, installation and performance. Boyle has exhibited and performed internationally since 2000. Her work has been presented at Galerie de l'UQAM, Montreal (2010); Art Gallery of Ontario, Toronto (2010); Contemporary Art Gallery, Vancouver (2011); the BMO Project Room, Toronto (2012); Louis Vuitton Maison, Toronto (2012), The Institute of Contemporary Art, Philadelphia (2011), Fumetto Festival, Lucerne, Switzerland (2009); the Southern Alberta Art Gallery, Lethbridge (2008), Space Gallery, London UK (2007) and The Power Plant, Toronto (2006). She has performed at the Olympia Theatre, Paris (2005), Sonar Festival, Barcelona (2005), Hammer Museum, Los Angeles (2006, 2008), Brooklyn Academy of Music, New York (2008), and La Maison Rouge, Paris (2011). She was a finalist for the Sobey Art Award (2007, 2009) and was the recipient of the Gershon Iskowitz Prize (2009) and Hnatyshyn Foundation Award (2010). Shary Boyle represented Canada with her project Music for Silence at the 55th Venice Biennale in 2013.

Darrin Martin studied video with Peer Bode at Alfred University receiving his BFA in 1992 and digital media with Lev Manovich at UC San Diego, MFA 2000. He has exhibited videos and performances internationally at festivals and museums including The Museum of Modern Art, DIA Center for the Arts, Los Angeles Museum of Contemporary Arts, Pacific Film Archives and The European Media Art Festival in Germany. His installations have exhibited at venues such as The Kitchen in New York, WRO Media Arts Biennale in Poland and Pacific Switchboard in Portland. Martin also collaborates with Torsten Zenas Burns building diverse speculative fictions around reimagined educational practices. Their works have screened and exhibited at venues including The Oberhausen Short Film Festival, The New York Video Festival, Cinematexas in Austin, The Madrid Museum of Contemporary Art, The Paris/Berlin International, Champ Libre in Montreal, and Eyebeam in New York. Martin's work is distributed by The Kitchen, Video Data Bank in Chicago, and Vtape in Canada. He occasionally curates video screenings at a variety of venues and is currently an Assistant Professor teaching video and media arts at UC Davis.

Alison O'Daniel lives and works in Los Angeles, CA (b. 1979, Miami). Her works weave narrative between films, object-making and performance. Utilizing sound and its synesthetic displacement onto materials, O'Daniel builds a visual, aural and haptic vocabulary through varying levels of access to sound, color and material. O'Daniel's previous feature-length film Night Sky premiered at the Anthology Film Archive in conjunction with Performa 11 and the exhibition Walking Forward-Running Past at Art In General, New York. Night Sky has been presented with live musical accompaniment by various musicians or with live Sign Language accompaniment at The Nightingale (Chicago), MOCAD (Detroit), NYU, the Aspen Museum of Art, the Cleveland Museum of Art, the Museum of Jurassic Technology, High Desert Test Sites and other venues. She is the recipient of grants from the Rema Hort Mann Foundation, Art Matters, the Franklin Furnace Fund and the California Community Foundation and recently completed the Film/Video studio residency at The Wexner Center. Recent solo exhibitions include Samuel Freeman Gallery in Los Angeles. Recent group exhibitions include Untitled Art Fair, L.A. Louver Gallery in Venice, CA, and Zic Zerp Gallery in Rotterdam. Writing about O'Daniel's work has appeared in ArtForum, the L.A. Times, L.A. Weekly, and ArtReview. She is currently working on her second feature length film, The Tuba Thieves.

New York-based artist Christine Sun Kim (see speaker bio above)

Opening Event:
Thursday, January 22, 2015
4:00 Calit2 gallery opens
4:30 Calit2 Theater/VROOM Performance w/ Christine Sum Kim
5:00 Round Table Panelists with:
Amanda Cachia, Lisa Cartwright, Christine Sun Kim, Brenda Brueggemann, Brian Goldfarb
5:30 Reception, PFA and gallery
Wednesday, 5 November 2014 // 5-6PM

UC San Diego, Atkinson Hall,
9500 Gilman Dr, La Jolla, California 92093

galleryinfo [at] calit2 [dot] net

Please RSVP to galleryinfo@calit2.net.

Curator/Gallery Contact: Trish Stone, 858-822-5307, tstone@eng.ucsd.edu
Media Contact: Doug Ramsey, 858-822-5825, dramsey@ucsd.edu

For more information, visit the gallery@calit2 website: