New work by J Noland
How The West Was Fun

20 September – 3 October 2014

Opening Reception: Saturday, September 20, 6 – 9 PM


The American dream is alive and well; it’s down at the county fair, in your dad’s basement tinkering away, on a tailgate sipping a cold one. “How The West Was Fun” presents new works and installations engaging our favorite pastimes in all their pleasure and perversion. The summer might be ending, but our grill is still warm.

You Are Not Alone

Jaimie Warren
Helmuth Projects is pleased to announce that artist Jaimie Warren (New York City) will undertake a month-long residency this August. Warren is known for often constructing elaborate sets to create her ironic and insightful photographs. While in San Diego, Warren will work with volunteers and participants from the public to create a brand new work that continues her foray into remaking existing art historical images. Specifically, the artist will reimagine a 15th century religious painting, replacing angels and saints with important and infamous characters from the life of pop-star Michael Jackson. Warren has drawn collaborators from an open, public call for participation and is working with them to create the costumes and sets necessary to stage the recreation, which ultimately becomes a photograph and video.

The residency will culminate in a solo exhibition of Warren’s work, curated by Alexander Jarman. After being exhibited in a group show at The San Diego Museum of Art in the summer of 2013, Warren worked closely with Jarman and Helmuth Projects’ Joshua Pavlick to conceive of a project that would allow her more time and greater exposure in southern California. The result is You Are Not Alone, which will feature a handful of works from throughout Warren’s career as well as the debut of the photograph and video that resulted from the residency. Multiple programs, as well as a new publication, will accompany the exhibition.

You Are Not Alone will open August 29th, on what would have been Michael Jackson’s 57th birthday.


July 7

The city of Temecula is located in Riverside County, California and geographically sits 60mi northeast of San Diego and 85mi southeast of Los Angeles. Mostly a leisurely tourist destination, it is home to the largest antique mall in Southern California—Granny’s Attic, among countless others in the Old Town Temecula district. With particular attention to care in display, antique stores and bazaars employ their own presentation models of precious objects that create a new set of relations—often personal and nostalgic—between objects and their newest homes.

Similarly, TEMECULA is a meeting point that brings together San Diego-based artist Joshua Jon Miller’s paintings, ceramics and works on paper with LA-based artist Kathleen Ryan’s sculptures in a dense reconfiguration of two-person exhibition conventions. Miller’s paintings and ceramic plates contain repeating object motifs, arranged in such a way that mirrors their production. Ryan’s ceramic sculptures take forms often found in domestic realms and by materially manipulating scale and function, creates a contemplative reflection of the object’s form itself. While there are strong conceptual overlapping interests in the artists’ respective practices, we have decided to forego the usual reinforcing of a distinction between them and instead—taking a cue from the intimate placement of objects in antique stores—amplify the richly shared textural, color and surface-related relationships among the works in the show.

Helmuth Projects was pleased to present TEMECULA, a two-person exhibition featuring Joshua Jon Miller and Kathleen Ryan, curated by Melinda Guillen. The exhibition is accompanied by a publication, featuring images of the works in addition to a curatorial text by Melinda Guillen and essays by art historian Norman Bryson and LA-based writer and curator Gladys-Katherina Hernando.


Saturday 4.12.14, 6-10PM
‘Valuable Content is a mixed media art exhibition juxtaposing social, political, and art historical imagery as a way to question perceived value and generate discussions of content within a visual language. Challenging dualistic representations of the savior and saved, winner and loser, victim and rescuer to query the ideas and philosophies that lead to hierarchical structures of thought. A simultaneity of perspectives occur by reading one image through the other, potentially opening a new space between what is considered to be known and unknown. Exploring found imagery as a way to revitalize, reorganize, and reveal the possibility of new relationships amidst previously defined histories. The artist inquires into the way visual and physical forms and patterns become representative of what we know of ourselves, the relationship between the self, the objectified, and nature. Looking at how objects and images suggest how we think, what we believe, and how we live. The works look at the everyday world with the idea that we are not only passively interacting with the environment; we are actually actively thinking it.’

Artist Talk Saturday 5.3.14 3-4PM


(everything you know is wrong)

“What distinguishes Matt Bradley’s investigation of conspiracy theories is the lack of cynicism with which he approaches these narratives. The mythologies he tackles are ambitious in their speculations. They beg us to abandon our certainty about the laws of physics, society, and human progress. But viewers won’t find a hint of the clichéd conspiracy theorist’s cluttered basement so often imagined in film here. Rather, the artist shows deference towards these theories by elevating their associated iconography to the status of objects and images of meditation. Bradley’s installation is the shrine that a devoted conspiracist would construct to persuade others to join his cause.

At the core of this collection of sculptural objects and video works is a longing on Bradley’s part for the ideas they stand in for to be true. Though he takes on grand theories of sacred geometry and the new world order, his desire to find truth – or perhaps more accurately, validate his own doubts – is most poignantly reflected in a quiet video that juxtaposes footage of the illusive bigfoot with that of musician Nick Drake – supposedly walking through a crowd at a concert. Does Bradley believe that’s really Drake’s lanky form captured on film? He can’t prove that it’s not, just as he can’t prove that the technology used to construct the pyramids wasn’t handed down by an alien race, or that a secret elite society will one day impose an authoritarian world government.

Through his presentation of the signs and symbols that collectively represent the mythology of conspiracy, Bradley invites us to embrace skepticism and doubt. Everything you know just might be wrong.” -L Lockhart

matthew bradley


New work by San Diego/Los Angeles-based painter Julian Rogers.
Weaving a wide spectrum of colors into intricate textures, Rogers’ paintings are an attempt to distort relatable images of domestic life, taken from found Super 8 home movies from the 60’s and 70’s, to the point where they absorb the ambitions of abstract painting and speak to the fallibility of memories.

Opened December 7th, 2013
Artist Talk moderated by Alexander Jarman January 4th, 2014

Object Object!

Helmuth Projects and good good things present Object Object!: A Selection of Smaller Works

closing reception: 11.23.13 2-5 pm
panel discussion: 11.23.13 1-2 pm


Featuring works by an amazing roster of seventy-one national and international artists, Object Object!: A Selection of Smaller Works is a curated exhibition aiming to present a diverse group of excellent small works to a diverse audience. good good things believes that there is both a power and a preciousness in smaller works. We also believe in facilitating the visibility and accessibility of art we love. Because of this, all artists in the exhibition have been asked to work within specific scale and pricing constraints outside of their normal practice. All exhibited works will not exceed 10” in any direction and will be priced between 100-300 dollars. The exhibition catalogue will feature essays by Lara Bullock and Lauren Lockhart.

good good things is the curatorial project of artists John Oliver Lewis and Jessica McCambly that aims to support a thoughtful and dynamic, artist-driven community through select exhibitions and events.

Initially established as an exhibition space in Dallas, Texas in 2007,
good good things exists today as a transitory project that is based in San Diego, California.

good good things
John Oliver Lewis & Jessica McCambly

Object Object!: A Selection of Smaller Works
Featuring works by:

Anila Quayyum Agha/ Indianapolis, IN
Jennifer Anne Bennett/ San Diego, CA
Rebekah Bogard/ Reno, NV
Matthew Bourbon/ Denton, TX
Sean Brannan/ San Diego, CA
Candace Briceno/ Austin, TX
Rebecca Carter/ Dallas, TX
John Chwekun/ San Diego, CA
Beau Comeaux/ Albany, NY
C.J. Davis/ Dallas, TX
Tom Driscoll/ San Diego, CA
Kelly Eginton/ La Mesa, CA
Vincent Falsetta/ Denton, TX
Denis Farrell/ Aubepierre-Sur-Aube, Champagne-Ardenne, France
Anya Gallaccio/ La Mesa, CA
Steve Gibson/ San Diego, CA
Damien Gilley/ Portland, OR
Brian Goeltzenleuchter/ San Diego, CA
Shelley Hampe/ Dallas, TX
Joanne Hayakawa/ San Diego, CA
Matthew Hebert/ San Diego, CA
John Brinton Hogan/ San Diego, CA
Jeff Irwin/ San Diego, CA
Alexander Jarman/ San Diego, CA
Heather L. Johnson/ New York, New York
Lance Jones/ Dallas, TX
Jennifer Leigh Jones/ Denton, TX
Wendell Kling/ San Diego, CA
John Oliver Lewis/ San Diego, CA
Linda Lopez/ Fayetteville, AR
Natalie Macellaio/ Plano, TX
Kirsten Macy/ Los Angeles, CA
May-Ling Martinez/ San Diego, CA
Bob Matheny/ San Diego, CA
Jessica McCambly/ San Diego, CA
Jeff Mueller/ Chicago, IL
Nikko Mueller/ San Diego, CA
Ingram Ober/ La Mesa, CA
Titus O’Brien/ Albuquerque, NM
Keri Oldham/ Brooklyn, NY
Harmony Padgett/ Dallas, TX
Joe Page/ Walla Walla, WA
Julon Pinkston/ Houston, TX
Scott Polach/ San Diego, CA
Justin Quinn/ St. Cloud, MN
Sasha Koozel Reibstein/ La Mesa, CA
Marisol Rendon/ La Mesa, CA
Allison Renshaw/ Leucadia, CA
Leisa Rich/ Atlanta, GA
Danielle Riede/ Indianapolis, IN
Philipp Scholz Rittermann/ Escondido, CA
Lesli Robertson/ Highland Village, TX
Jason Sherry/ San Diego, CA
Rusty Scruby/ Dallas, TX
Brian Spolans/ Ysplanti, MI
Raychael Lynn Stine/ Albuquerque, NM
Eva Struble/ San Diego, CA
Shannon Sullivan/ Eureka, CA
Takako Tanabe/ Brooklyn, New York
Perry Vasquez/San Diego, CA
Jones von Jonestein/ La Mesa, CA
Stephanie Wagner/ Los Angeles, CA
David Willburn/ Fort Worth, TX
Sarah Williams/ Springfield, MO
David White/ San Diego, CA
Mike Whiting/ San Diego, CA
Allison Wiese/ San Diego, CA
Joe Yorty/ San Diego, CA
Lindsay Preston Zappas/ Los Angeles, CA
John Zane Zappas/ Los Angeles, CA
Dave Zdrazil/ Eureka, CA

Phantom Gardens Fortified Cities (monuments)

Robert Andrade and Timothy Earl Neill

fall 2013

Phantom Gardens Fortified Cities is an on-going project which questions the allure of the contemporary public space including malls, parks, squares, and museums through monumental sculpture, landscape architecture and commercial imagery.

By creating identifiable references to significant spaces throughout time and history, Andrade and Neill aim to critique these environments and explore the psychological impact these arenas have on the experience of an average human life and society as a whole.

Rob Andrade Timothy Earl Neill

Bain de Mer

Andrea Chung

Summer 2013

“My work is an exploration into materials and their relationships with post-colonial countries. I am interested in the imbued histories that materials, such as sugar, carry and how they also carry with them the stories of human transmission and the long lasting effects of colonialism on tropical ‘post-colonial’ societies such as the Caribbean and the Indian Ocean. I have experimented with the idea of ‘raw materials,’ both sugarcane and spices, to discuss how trade and globalization, both now and in its infancy, have affected these locations in terms of migrations and cultural and economical development. The colonial addiction to sugar demanded the transport of millions of people to Caribbean and islands of the Indian Ocean such as Mauritius, Madagascar, Seychelles and Reunion.

“After the abolition of slavery on the island of Mauritius, many newly freed Creole slaves became fishermen and subsequently established small fishing villages, particularly in the southern part of the island, rather than return to the cane fields to work for their former enslavers. Many of these fishing villages remain today and these fishing traditions have been passed down for generations. However, due to over fishing by illegal foreign ships, the trade is rapidly disappearing.

“This residency will result in an exhibition entitled, Bain de Mer, and will comprise of two pieces, and installation (Bato Disik) and a video projection (Bain de Mer). Bato Disik is an installation with a large water bath, filled with multiple boats, similar to the batos used by Mauritian fishermen in their villages, cast out of sugar. Over time the boats disappear, mirroring the disappearance of the fishing trade in Mauritius. Along with the sugar batos is Bain de Mer, an 8 min. video that is inspired by the tragic story of Le Morne, a coastal mountain in Mauritius where an entire village of escaped slaves leapt to their deaths to avoid recapture.” -AC

Bain de Mer is a residency project beginning in August and will be open to the public by appointment. Closing reception August 31st.

Andrea Chung is currently living and working in San Diego. Chung, a Fulbright Scholar Fellow, earned her BFA from Parsons and an MFA from Skowhegan. She has exhibited throughout the United States, the Caribbean and Africa.


Morgan Manduley

“The artist who aims for perfection in everything achieves it in nothing.”- Eugene Delacroix

“Do I have to get up and go to work? Should I crawl into my bed and stop producing things all the time? Is it still ok to fail?”
- excerpts from Gilbert & George’s To be with art is all we ask

The Futility of Trying new work by Morgan Manduley