April 15, 6-7:30pm, Zoom
Pulled Apart: Re-engineering and Re-purposing Human Civilization, L.A.S.E.R., artists Adam Chin, Cynthia Hooper, Terry Berlier, Glori Simmons (Director, USF Thacher Gallery), John Campbell (UC Berkeley/ Philosophy), and Piero Scaruffi (cultural historian).
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Throughout the Spring 2021 semester, visiting artists Andy Meyerson and Travis Andrews of The Living Earth Show, composer Sarah Hennies and sculptor Terry Berlier will work with University of Maryland students to create sound and sculptural elements, Memory Box, to be integrated into The Clarice’s commission for 2021-22 A Kind of Ache. Preview this open-source art making collaboration and learn more about their special creative process that weaves music, sculpture and LGBTQ+ issues into one artistic experience.
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Thacher Gallery
March 1 to April 25, 2021
Opening Reception March 1, 5-6:30pm
University of San Francisco
Artist + Engineer Talks, March 1, March 22, April 5
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In Pulled Apart, we experience works by artists examining the mechanisms of gadgets, scientific instruments, and computer technologies to reveal the internal and external systems that help shape society. Group exhibition with Terry Berlier, Adam Chin, Cynthia Hooper, Carrie Hott, + Gail Wight. I was paired with Gennifer Smith, Ph.D, Professor from Department of Engineering at USF. Exhibition catalogue published in conjunction with the online show.
Solo exhibition
Stanford Art Gallery
January 21 to March 15, 2020
Opening Reception January 23, 5-7pm
Stanford, California
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Artist and Professor Terry Berlier brings together her interest in queerness and ecologies in I am what I am not yet, a solo exhibition at the Stanford Art Gallery. Using abstract labored forms, kinetic and sound sculpture, her work suggests a path of reorienting to the world, turning things around so they can be understood differently.
Verge Center for the Arts
September 12 to October 27, 2019
Opening Reception
625 S Street, Sacramento, California 95811
For nearly five decades a peculiar wooden object called the “Slant Step” was exchanged between artists from coast to coast, developing a cultlike following and inspiring poetry, art and unlikely collaborations. Artist William T. Wiley first came upon the original object at a salvage store in Northern California in 1965. Covered in worn green linoleum, it looked like a footstool; however, its sharp slanted riser mystified Wiley and Bruce Nauman, his student at the University of California, Davis. Wiley purchased the found object and gifted it to Nauman, who maintained possession over it until Richard Serra absconded with it from San Francisco to New York. In 1969, Sacramento artist Phil Weidman surveyed the first years of the “Slant Step” in an artist’s book that featured contributions by Nauman, Wiley, William Allan, Richard C., Jack Edwards, Jack Fulton, Ray Johnson, Steve Jongeward, Stephen Kaltenbach, Robert Leach, Jack Ogden, Frank Owen, Ron Peetz, Lawrence Dean Phillips, Peter Saul, Dorothy Wiley and William Witherup.
On the occasion of its 50th anniversary, Weidman’s influential Slant Step Book is again available in a two-volume set. This long-overdue republication features a facsimile of the 1969 artist’s book and a companion catalog with new essays and visual responses by contemporary writers and artists such as Sarah Lehrer-Graiwer, Dan Nadel, Jacob Stewart-Halevy, Terry Berlier, Gordon Hall, Corin Hewitt, Aay Preston-Myint, Jessi Reaves, Mungo Thomson and Angela Willetts.
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Pence Gallery
June 8 to July 2, 2019
Opening Reception June 14, 6-9pm
Davis, California 95616
Seeing Sound 2 is a group exhibit of work by artists and composers that uses sound as an art medium and a subject. Sound can evoke memories or strong emotional responses; it can also be used to introduce an aural presence, subtly defining reality and our shared human experience. The exhibit encompasses sound-based installations, video, and sculpture by artists Boris Allenou, Terry Berlier, Stephen Blumberg & Rachel Clarke, Belinda Hanson, Robin Hill & Sam Nichols, Kadet Kuhne, Terry Peterson, and Shih-Wen Young.
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Root Division
June 8 to June 29, 2019
Opening Reception June 8, 7-10pm
1131 Mission Street, San Francisco, California 95103
What is your mother’s maiden name?
Who was your first kiss?
Banks, credit card companies, and social media sites utilize password security questions when users sign up for an account online. If the user forgets their login information in the future, they can retrieve access to their account by answering these security questions correctly. In most cases, the questions ask users to recall specific memories of their life and reinvent them as an extra form of protection. If one cannot remember their password, surely they can be asked to remember their first kiss in order to regain access to their account. But what are the implications of this protocol? What if a user must recall an invasive or predatory experience as their first kiss? The security questions utilized by corporations realize a subtle system that hinges on potentially harmful emotional triggers and notions of inadequacy. Within this system, corporations attempt to standardize beliefs, knowledge, and values that dictate when and where personal history is trusted to formulate identity and security.
My Mother’s Maiden Name analyzes this governance of individual history seen in security questions and implements this question and answer protocol as a precedent to discuss online authorship, culture-construction, and systems of knowledge. The selected artists take a considered approach to the fragility of memory and identity amongst digital data noise to account for information that cannot be quantified through such constructs like security systems.
The artists evaluate elements that are not concrete in text, visible data, or public, and instead entrench themselves in the emotions and values that come with answering a security question or using an Apple-patented gesture, for example. Albeit a coping mechanism or performance to satisfy interfaces with limited language and context, these actions tell important histories and beliefs that go beyond what is typed, selected in a drop down menu, or tracked via wifi. My Mother’s Maiden Name confronts this regulation of bodies to reveal requisite activism, awareness, and dialog to make changes to systems that shape identity and culture in facilities that are otherwise untraceable.
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San Jose State University Art Gallery
January 29 to February 22, 2019
SJSU Art Galleries
One Washington Square, San Jose, California 95192
A little newer, a little better, a little faster. Like the eager anticipation of the newest smartphone, compulsive human motion and consumption ultimately lead to the hastening of our physical, cultural, and social deterioration. Planned Obsolescence is a group exhibition at the Natalie and James Thompson Art Gallery displaying works by artists of the greater Bay Area: Sebastian Alvarez, Ebitenyefa Baralaye, Terry Berlier, Ilana Crispi, Woody De Othello, Hope Kroll, Izidora Leber LETHE, Diana Li, Darrin Martin, Daniel McClain, Lucy Puls, and Lauren Jade Szabo.
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Solo Exhibition
Contemporary Art and Spirits (CAS)
November 3 – 23, 2018
Reception November 3, 6-8pm
Artist Talk (with Japanese Translator) November 23, 4pm
This exhibition by American artist Terry Berlier continues her ongoing threads in kinetic and sound sculpture with humor and political critique. Berlier’s installation uses a common American saying “waiting for the other shoe to drop” (referring to a sense of impending doom) as her departure point. Gestures between silence, waiting, and collapse suggest the tension between stasis and engagement. The illusion of progress which lulls us to complacency is interrupted by dissonance and clearer call to action.
3rd floor A.I.R.1963 Bdg., 1-2-25 Motomachi, Naniwa-ku,
556-0016 Osaka, JAPAN
Phone/Fax +81.6.6647.5088
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