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Queen's Nails

Exhibition Detail
Hearsay of the Sun
3191 Mission Street
San Francisco, CA 94110


May 21st, 2010 - June 6th, 2010
Opening: 
May 21st, 2010 7:00 PM - 10:00 PM
 
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Hearsay of the Sun: C. Wright Daniel, David Hartwell, Josef Jaques, Noah Krell, Lauren Marsden, Maysha Mohamedi, Rebecca Najdowski, Carmen Winant, Suné Woods

Opening and Reception on Friday, May 21 2010

7:00-10:00 p.m.

Free and open to the public

Exhibition Dates: May 21, 2010 – June 6, 2010

Gallery Hours: Saturday to Tuesday from 12:00 to 6:00 p.m. or by appointment

Queen’s Nails Projects, 3191 Mission St., San Francisco CA 94110

Press Contact: Julio Cesar Morales queensnailsprojects@gmail.com

Every summer Queens Nails Projects exhibits a series of exhibitions and events that showcase the work of emerging Bay Area artists.  We are pleased to start this season by presenting Hearsay of the Sun, a multi-disciplinary group exhibition by students of artist Tammy Rae Carland’s class at the California College of the Arts (CCA).  The exhibition aims to  re-frame the 19th century legal claim of photography as hearsay of natural phenomena.

While working together at CCA,  the nine artists conceived of Hearsay of the Sun as a means to illuminate and challenge the discrepancies among their practices. Dissimilar approaches ranging from photography, video, collage, drawing, painting, found sculpture, and performance share a relationship as residual imprints. Like questioning the veracity of silver and sun, the exhibition aims to open up an inquiry onto the notion of certainty.

C. Wright Daniel works in lo-tech or camera-less techniques on black and white photo paper, focusing on photography as an entirely non-fictional medium. Historically a photograph is believed to capture a real event in real time; Daniel exploits this limitation to expand new methods in visual exploration and manipulation.

David Hartwell’s work explores the possibility of portraiture through obsessive accumulation of minor details. What can be learned through the democratizing process of examining massive quantities of seemingly inconsequential digitized information? And, how can we consider our own lives profound through our accumulate?

Josef Jaques confronts the evolution of place by technology, migration, publicity and architecture. Using large format photography, he explores the history of place, its development into its current state, and what it might hold for the future.

Noah Krell’s work is an exploration into human interaction and its physical, emotional, and behavioral legacies. Through performance, videos and staged photographs, he addresses the expectations, unstated desires, emotions, aggression, unattainable ideals, politeness and miscommunication present in each personal interaction.

Lauren Marsden appropriates tropes of public ritual as a means of transitioning threshold spaces in the built environment. She uses garments, tableau and text to narrate moments of rupture in social encounters and conflicted land use.

Maysha Mohamedi makes sculptures by gathering found materials such as domestic knickknacks, stickers, items made of plastic, and other fortuitous finds, repurposing and reintegrating them to allow unexpected interactions to occur. Following a legacy of artists, comedians and cartoonists who aim to disarm their personal and cultural tensions through humor, Maysha ’s work has a deadpan or quizzical tone tempered with charm.

Rebecca Najdowski is an internationally exhibited visual artist who uses photography, video, and land-based interventions in her practice. Her work is concerned with the thresholds between method and chance, humankind and the natural environment, and the transcendental and the vernacular. Rebecca was recently awarded a Fulbright Grant to complete a visual and social art project in Brazil in the forthcoming year.

 

Carmen Winant’s watercolors serve as a record of her extensive time in competitive distance running. Sourced from her personal archive, Carmen meticulously recreates personal ephemera to implicate traces of bodily damage, memory, and experience.

 

Suné Woods photographs, collages, and videos use the body as a site to contain and activate tales. Sculptural formations are akin to dance. Land as platform, as embedded histories. This fluidity of narrative, of relationships registers across generations.


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