ArtSlant - Openings & events en-us 40 - Asian Art Museum - July 10th 6:00 PM - 9:00 PM <p>Obsessed with gorgeousness, experimental performance-art band Nicole Kidman Is F*cking Gorgeous (NKIFG) takes over the Asian Art Museum for one night, activating spaces with dance, performance, music and artistic happenings that play into and destroy your notions of what gorgeousness can be. Everything is Gorgeous all the time. NKIFG is joined by Phatima Rude, La Chica Boom, Fauxnique (Monique Jenkinson) and DJ Hoku Mama Swamp for site-specific and art-specific GORGEOUSNESS. At the party, <a href="" rel="nofollow">TopCoat Nail Studio</a> adorns nails with fresh designs inspired by the stunning artwork in <em>Gorgeous</em>. Visit our realm of gorgeousness and be gorgeous, no matter how pretty the rest of the world thinks you are.</p> Tue, 17 Jun 2014 20:33:48 +0000 - Asian Art Museum - July 10th 7:00 PM - 8:00 PM <p>Complicated cultural histories are inscribed in the postures and the poses that we strike, and few gestures speak as loudly about the ways gender, sexuality and power culturally intersect than the angle of the hip. This in-gallery conversation is a prelude to a night of critical strutting, an invitation to seriously contemplate the challenge that a jutted hip makes to more straight and narrow forms of embodiment. Together, we&rsquo;ll consider the kind of imperfect balance that&rsquo;s created when our weights and perspectives shift from one leg to another, when we work to sway.</p> <p><br /> Gorgeous Ideas are a series of informal conversations that explore ideas and themes in the exhibition <em>Gorgeous</em>.</p> Tue, 17 Jun 2014 20:46:42 +0000 Summer Mei Ling Lee - Chinese Culture Center of San Francisco - July 10th 5:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">July 10-December 20, 2014, Tues-Sat 10-4pm, reception: July 10 5-8pm</span></p> <p style="text-align: justify;"><span style="font-size: small;">This summer, the Chinese Culture Center (CCC) of San Francisco continues its annual Xian Rui ('fresh' and 'sharp') exhibition series with Into the Nearness of Distance, an immersive video installation by artist Summer Mei Ling Lee in collaboration with Karen Leslie Ficke and Adam Hathaway. An extension of the work by Lee will be on view concurrently at Yerba Buena Center for the Arts (YBCA) as part of its exhibition Bay Area Now 7. CCC was invited to be one of the fifteen visual arts partners curating projects for BAN7.</span><br /><br /><span style="font-size: small;">Lee, a 3.5 generation Chinese-American, often focuses thematically in her work on generational estrangement from a rooted but distancing culture. Into the Nearness of Distance takes up that theme, exploring the fragile relationship between absence and presence, capturing a sense of longing for but inevitable failure to reconnect with ancestors who once lived in Chinatown.</span><br /><br /><span style="font-size: small;">For the main installation at CCC, Lee engaged two other local video artists in a collaborative game of 'Exquisite Corpse,' building a process of generational disassociation into the creation of the work. </span><br /><br /><span style="font-size: small;">The three video pieces will run chronologically in the gallery. Visitors will be given hand held flashlights to light their way into the dimly lit gallery, but will need to choose between using the lights (which wash out the projections) or turning them off to better see the screen.</span><br /><br /><span style="font-size: small;">Into the Nearness of Distance is CCC's sixth exhibition in the Xian Rui Fresharp Artist Excellence Series that features the work of prominent artists of Chinese descent. Launched in 2008, the series is the first of its kind in the country, providing institutional support, visibility and documentation for selected artists. </span><br /><br /><span style="font-size: small;">Into the Nearness of Distance opens at Chinese Culture Center on July 10, 2014 with a free opening event from 5-8 PM. The exhibition is on view Tuesdays - Saturdays 10 a.m. - 4 p.m. from July 11 through December 20, 2014.</span></p> <p>&nbsp;</p> Sat, 05 Jul 2014 20:00:42 +0000 Terry St. John - Dolby Chadwick Gallery - July 10th 5:30 PM - 7:30 PM <p>It may be surprising to learn that, as an undergraduate at the University of California, Berkeley, Terry St. John studied sociology, not the fine arts. By the time he fell in love with painting, he was a college senior and deep into the throes of his social science degree. But that didn&rsquo;t stop him from pursuing art. He took lessons from a friend who was studying under Richard Diebenkorn at the California College of Arts and Crafts (now called the California College of the Arts) and immersed himself in an artistic social circle. St. John recalls how &ldquo;above all else, I just wanted to paint paintings. Painting somehow gave me an opening to the future and a sense of hope&hellip;&nbsp; it was salutary.&rdquo;</p> <p>Diebenkorn&rsquo;s indirect influence on his art by way of his friend is still evident in St. John&rsquo;s work today, as is the art of others involved in the Bay Area Figurative Movement, including David Park and James Weeks. Like Weeks&mdash;who St. John studied with in 1960 prior to pursuing an MFA at the California College of Arts and Crafts&mdash;St. John also focuses on strong forms, a wide spectrum of saturated colors, and the play of light. His paintings, however, are much less precise, much freer, and far looser than Weeks&rsquo;s. Though he uses color blocking to build his compositions' basic scaffolding, St. John allows his brush to generously drag numerous colors through different forms, thereby diffusing edges and enhancing movement. In&nbsp;<em>Diablo</em>&nbsp;(2010), for example, the hilltop appears to practically explode into the sky, which is itself nearly indivisible from the ocean. A brush carrying yellow, white, beige, and blue paint forges textured strokes that zip across the bottom of the painting, asking us to consider what they are and why they are there.&nbsp;</p> <p>In the last two years, St. John&rsquo;s paintings have become increasingly abstract. They are still figurative in that the curve of a model&rsquo;s torso, the mass of a hillside, or the expanse of a field remain recognizable. But these newer works introduce an extra dimension that has, paradoxically, served to simplify them. Given St. John&rsquo;s attention to light, this push toward abstraction is in many ways part of a natural evolution. &ldquo;Light is transformative,&rdquo; the artist explains, &ldquo;it impacts everything I do. As a landscape painter, the time of day you paint makes a big difference.&rdquo; St. John&mdash;who always paints directly from his subject matter&mdash;notes how the high-noon sun bleaches out all shadow and that it&rsquo;s not until later, when the sun is setting, that more pronounced shadows start to create interesting patterns and dramatic tension. But rather than picking one &ldquo;moment&rdquo; to paint, St. John harnesses the movement of the sun and welcomes the fresh forms it offers as he collapses its arc into a single painting.</p> <p>Though he relies on fluorescent and incandescent lights when painting models in his studio, St. John foregrounds light indoors just as much as he does when painting outside. In fact, he creates what he refers to &ldquo;living room-landscapes&rdquo; for his models, which he fills with exotic plants and a healthy dose of ersatz decor. Verdant and unfolding, with highly tactile surfaces akin to topographic maps, these rooms figure as extensions of his landscapes. And while the model is always important in that she&rsquo;s a human being whose unique personality influences the artist and thus the painting, her weight is nevertheless equal to that of every other element in the composition. The model&rsquo;s features in&nbsp;<em>Woman Landscape</em>&nbsp;(2013), for example, are not treated with a sense of preciousness you might expect from a figure-painter; even her face is rendered using the same striated smudges and strokes used to articulate her surroundings. She is one part of a gestalt that could not exist without her, without the anchoring wedge of green to her right, the vertical partitioning of sea and sky across the upper register, or any other element in the painting.</p> <p>It is through his masterful use of light that St. John is able to fold his model into the overall composition, deftly weaving her body into the surrounding environment. To ensure his paintings cohere as successful abstractions, St. John flips them upside down. Doing so enables him to divorce himself from the subject and arrange forms, lines, and colors so that they agree and flow as a whole. Recent extended working trips to Thailand have continued to sharpen his ability to see such patterns and relationships. After having lived and practiced in the Bay Area almost exclusively, Thailand offers him the peace, quiet, and freedom necessary to rethink the fundamentals of painting: &ldquo;I have no responsibilities in Thailand. In Thailand, I am free to absorb all that&rsquo;s around me, to think deeply about light and form, to focus on my painting and what&rsquo;s before me.&rdquo;</p> <p>Born in Sacramento, CA, in 1934, Terry St. John earned his BA in sociology from the University of California, Berkeley in 1958 followed by an MFA from the California College of Arts and Crafts in 1966. From 1970 until 1990, St. John was curator of modern painting at the Oakland Museum of California, after which he served for six years as the chairperson of the art department at the Notre Dame de Namur University in Belmont, CA. His art can be found in the permanent collections of the de Young, Fine Arts Museums of San Francisco; the Oakland Museum of California; the San Jose Museum of Art; and the Crocker Art Museum, Sacramento, CA.</p> Wed, 21 May 2014 18:07:49 +0000 Jason Fulford, Michael Lundgren, Viviane Sassen, Ruth van Beek - Fraenkel Gallery - July 10th 5:30 PM - 7:30 PM <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <div class="ap-whitebox-body description"> <p style="text-align: justify;">Fraenkel Gallery is pleased to announce two exhibitions, curated by Darius Himes (Director).&nbsp;<em>Where There&rsquo;s Smoke,</em>&nbsp;a group exhibition that gathers together four contemporary photographers:&nbsp;<a href="" rel="nofollow" target="_blank">Ruth van Beek</a>,&nbsp;<a href="" rel="nofollow" target="_blank">Jason Fulford</a>,&nbsp;<a href="" rel="nofollow" target="_blank">Michael Lundgren</a>, and&nbsp;<a href="" rel="nofollow" target="_blank">Viviane Sassen</a>, is presented concurrently with&nbsp;<a href="" rel="nofollow" target="_blank"><em>Who Do You Love</em></a>, a solo exhibition of twelve unique pieces by John Gossage.</p> <p style="text-align: justify;"><em>Where There&rsquo;s Smoke&nbsp;</em>gathers together four artists who subvert the viewer&rsquo;s sense of how a photograph can and should operate, both conceptually and perceptually. This is no mere photographic deconstruction, however; a metaphorical intent ricochets through the works. By turns subtle and overt, the imagery both guides and confronts the viewer. The tools employed run the gamut of photographic expression&mdash;from hand-collage to the art of sequencing, from the use of reflection and shadow, to chance, suggestion, craft, and, at its most fundamental, a sophisticated intensity of looking.</p> <p style="text-align: justify;">The title of the exhibition references a common idiom that if something looks wrong, it probably is. In the case of these works, the traditional terms of photography have been abandoned, leaving the viewer initially disoriented. One is led to a set of basic questions: &ldquo;What am I looking at? Why am I looking at it? Why is it compelling? Is the photographer off-kilter or is the subject? Is this a digital fabrication or did it happen in front of the lens, in real time?&rdquo; The cumulative sense is that boundaries have expanded, and nascent languages have taken root.</p> <p style="text-align: justify;">Artists Ruth van Beek and Michael Lundgren will be present for the opening.</p> </div> </div> </div> </div> Sat, 21 Jun 2014 04:19:45 +0000 Yoshitomo Saito - Haines Gallery - July 10th 5:30 PM - 7:30 PM <p class="p1">For his ninth exhibition at Haines Gallery, Yoshitomo Saito presents a selection of recent bronze works, ranging from singular, freestanding sculptures to large-scale wall installations. He has spent the last thirty years casting varied and highly intricate forms, with a particular affinity for natural objects. For Saito, the works in&nbsp;<em>Ethos in Bronze&nbsp;</em>resonate with the avant-garde sensibility of French composer and pianist Erik Satie. The nuanced tension and eccentric quality exemplified by Satie&rsquo;s groundbreaking compositions&nbsp;<em>Gymnop&eacute;dies&nbsp;</em>(1888) and&nbsp;<em>Gnossiennes&nbsp;</em>(1889-1897) are echoed in Saito&rsquo;s ability to shape our perceptions of the familiar through the poetic, almost alchemical approach to his medium.</p> <p class="p3">Organic forms from Saito&rsquo;s native Japan and current environment in Colorado fill the exhibition. He explores this perennial interest with a new approach, grinding all or part of each work&rsquo;s surface to reveal and revel in the natural hue and texture of the bronze. This recent strategy renders the material in a new light, celebrating the medium&rsquo;s ability to appear fresh, clean and contemporary. For instance, the subtle treatment of the bamboo poles and their striking, angular arrangements in&nbsp;<em>Gymnop&eacute;dies: Bamboo Gymnast #1 and #2&nbsp;</em>celebrate this union of material and form. The unusual combination of elements in&nbsp;<em>Gymnop&eacute;dies: Golden Stitch&nbsp;</em>were inspired by the aftermath of a flood in Colorado, and the manner in which disparate elements suddenly became intertwined. The lustrous lines of the entangled reeds operate harmoniously in relation to the rough, highly textured objects &ndash; like shells, bark and roots.&nbsp;</p> <p class="p3">After first training as a glassblower in Tokyo, Saito began working in bronze during his time as a graduate student at California College of the Arts. He employs a process known as lost wax or investment mold casting, a laborious technique with a long history from around the world. While many contemporary artists typically outsource bronze casting to commercial foundries, Saito has instead developed a sophisticated studio space that allows him to produce these works independently.&nbsp;</p> <p class="p3">Saito&rsquo;s work has been exhibited internationally and collected by institutions including the Hawaii State Foundation on Culture and the Arts, Honolulu; de Young Museum, San Francisco; California College of the Arts, Oakland/San Francisco; and Oakland Museum of California. Publications such as&nbsp;<em>Art in America</em>,&nbsp;<em>San Francisco Chronicle&nbsp;</em>and&nbsp;<em>Sculpture Magazine&nbsp;</em>have discussed his work and dynamic practice. Saito lives and works in Denver.</p> <p class="p4">For press inquiries or images, please contact Brent Nu&ntilde;ez:</p> <p class="p4"></p> <p class="p4">For sales inquiries, please contact Catie Rini Patton:</p> <p class="p4"></p> Tue, 24 Jun 2014 19:55:24 +0000 Amberlee Rosolowich - Hespe Gallery - July 10th 5:30 PM - 7:30 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Hespe Gallery</strong> presents new works by <strong>Amberlee Rosolowich</strong>, beginning June 17 through&nbsp;July 26, 2014. &nbsp;A reception will be held on&nbsp;Thursday, July 10 from 5:30 to 7:30 p.m.</span><br /><span style="font-size: small;">&nbsp;</span><br /><span style="font-size: small;">Amberlee Rosolowich presents the viewer with something that instantly transports them back to childhood experiences: wonder and magic. Her paintings remind us that we share the world with beautiful creatures that live in harmony with us, in a carefree, spontaneous way. Her current body of work focuses on the flocks and herds of animals that are united by their identity. Rosolowich renders groups of animals to comment not only on the power and beauty of their species, but also their dwindling numbers. A staunch conservationist, Rosolowich places a small innocent child in the image to remind us that animals too are to be cared for and cherished, just as a child is. Despite the great size of these majestic animals, the juxtaposition of the two evokes a sense of playfulness while illuminating the peaceful and gentle relationship between them.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Born in Canada, raised in Hawaii, Rosolowich spent her days with her marine biologist mother; daydreaming and wandering through the zoo, imagining its inhabitants were her friends and confidants. She received her BFA from the Academy of Art in San Francisco. Rosolowich has been featured in California Home and Design, Artslant and Juxtapose and was recently featured on the cover of The Contemporary Art of Nature, Mammals; She has shown with Hespe Gallery since 2009. This will be her fourth solo exhibition with us.&nbsp;</span></p> Wed, 25 Jun 2014 18:02:52 +0000 Michael Gregory - John Berggruen Gallery - July 10th 5:30 PM - 7:30 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>John Berggruen Gallery</strong> is pleased to present an exhibition of new paintings by California-based artist<strong> Michael Gregory</strong>. Long Way Home marks Gregory&rsquo;s eleventh solo exhibition at the gallery and will be on view&nbsp;July 10 &ndash; August 16, 2014. John Berggruen Gallery will host a reception for the artist on&nbsp;Thursday, July 10th between 5:30 and 7:30 p.m.&nbsp;to coincide with the San Francisco Art Dealers Association&rsquo;s First Thursdays.&nbsp;</span><br /><br /><span style="font-size: small;">Michael Gregory is best known for his signature subject matter, that of barns, silos, and rural fields typically dwarfed against a backdrop of mountains or trees. Exhibiting a remarkable degree of photographic realism and richness in detail, Gregory&rsquo;s paintings are entirely the product of the artist&rsquo;s imagination. His landscapes are &ldquo;constructs&rdquo; of different buildings and places assembled and recreated by Gregory in his studio. In contrast to the tradition of &ldquo;plein air&rdquo; painters, Gregory does not aim to paint was he sees. Symbolic of a psychological state&ndash;&ndash;an &ldquo;inscape&rdquo;&ndash;&ndash;rather than a direct representation of the external world, Gregory&rsquo;s landscapes become the stage sets where human drama plays out. Examining the seamless interaction between the geometry of the buildings and that of the landscape, Gregory calls attention to the barns and structures he paints as archaeological sites and remnants of lives once lived now eternally frozen in time. As such, the paintings in a Long Way Home are best classified as landscape portraiture, deviating from the conventions of traditional landscape painting in that they occasionally utilize a vertical canvas rather than a horizontal one. Gregory&rsquo;s paintings, while set in a landscape, are not really landscape paintings. Rather, the landscape becomes the supporting character for people and their stories, told through what is left behind.</span><br /><br /><span style="font-size: small;">The paintings in a Long Way Home, as the title suggests, celebrate the road trip. Unlike in previous exhibitions, the inspiration for a Long Way Home derives from Gregory&rsquo;s travels in his own backyard&ndash;&ndash;the scenic landscape of Northern and Central California. For Gregory, exploring and experiencing the unknown or the unusual is a fundamental quality of humanity, something he calls a &ldquo;genetic necessity.&rdquo; Gregory captures in his landscapes, which simultaneously oscillate between the bucolic and the eerie, an unparalleled sense of quiet stillness paired with an overwhelming appreciation for the vastness of this continent. Gregory&rsquo;s paintings evoke a fundamental sense of loneliness, isolation, and dislocation that aligns with the character of the American West. The artist intends for the theme of the road trip to serve as a metaphor for internal exploration. The journey towards personal knowledge and understanding takes an indirect route, one abound in obstacles and diversions. The road trip is akin to such a journey because there are no rules and no map, just the admonition to take your time and enjoy the Long Way Home.&nbsp;</span><br /><br /><span style="font-size: small;">Michael Gregory was born in Los Angeles in 1955. He received his BFA from the San Francisco Art Institute in 1980, and currently lives and works in the Bay Area. Aside from exhibiting on a regular basis at John Berggruen Gallery, Nancy Hoffman Gallery in New York, and Gail Severn in Idaho, Gregory&rsquo;s work is included in many private and public collections including the Delaware Art Museum, the Denver Art Museum, The U.S. Trust Company in New York, Microsoft Corporation, General Mills Corporation, Bank of America, and the San Jose Museum of Art. The artist&rsquo;s work has been shown at museums across the country including: The Arkansas Art Center, Little Rock; The Boulder Center for the Visual Arts, Colorado; The Fine Arts Museums of San Francisco, California; The Hunter Museum of Art, Chattanooga, Tennessee; and The Butler Institute of American Art, Youngstown, Ohio.&nbsp;</span></p> Wed, 18 Jun 2014 14:47:59 +0000 Michael Wolf - Robert Koch Gallery - July 10th 5:30 PM - 7:30 PM <p style="text-align: justify;"><span style="font-size: small;">Robert Koch Gallery is pleased to present <em>Paris Abstract</em>, an exhibition premiering new work by renowned photographer, Michael Wolf. In <em>Paris Abstract</em>, Wolf continues his exploration of the urban landscape and expands on his fascination with density and life in cities. Formal in nature,<em>Paris Abstract</em> lyrically expresses both the architectural complexity and density of the Parisian landscape. </span><br /><br /><span style="font-size: small;"> In 2008, Wolf began living part-time in Paris after living in Hong Kong for over a decade.At that time he was apprehensive about the prospect of working in his new home city, concerned about the clich&eacute;s associated with images of Paris. It was during this period that he produced the series Paris Street Views by essentially sequestering himself in his apartment and appropriating images of Paris from Google Street View. </span><br /><br /><span style="font-size: small;"> Since then, with his distinct perspective, Wolf photographed Paris eschewing well-known locations and focusing instead on the innumerable roof tops each with its own identity. Wolf&rsquo;s strong geometric abstractions offer the viewer a freshly re-contextualized Parisian landscape that examines the density and life in a contemporary metropolis. </span><br /><br /><span style="font-size: small;"> Born in Munich in 1954, Michael Wolf was raised in the United States and Germany. He studied at UC Berkeley before earning a degree from the University of Essen in Germany as a student of Otto Steinert. Wolf is recipient of a 2005 and 2010 <em>World Press Photo Award</em>, and his work was included in the Hong Kong Pavilion at the 2010 Venice Biennale for Architecture. Wolf&rsquo;s work has been exhibited at the Museum of Contemporary Photography in Chicago, the Deutsches Architektur Museum in Frankfurt, the Museum der Arbeit in Hamburg, and the Bauhaus Museum in Dessau. His photographs are included in prestigious collections both domestically and abroad at The Metropolitan Museum of Art, the Brooklyn Museum, the Museum of Contemporary Photography, Chicago, the Milwaukee Art Museum, the Deutsches Architektur Museum, and the Museum Folkwang, Essen.</span></p> Tue, 01 Jul 2014 14:59:06 +0000 Eugene Atget, Louis-Emile Durandelle, Brassaï, Remi Duval, Charles Marville, Édouard Baldus - Robert Koch Gallery - July 10th 5:30 PM - 7:30 PM Tue, 01 Jul 2014 15:02:04 +0000 Ljubodrag Andric - Robert Koch Gallery - July 10th 5:30 PM - 7:30 PM <p style="text-align: justify;"><span style="font-size: small;">Robert Koch Gallery presents the debut exhibition of <em>Visible Cities</em>, a series of large-format color photographs by Canadian photographer Ljubodrag Andric. Shot over a period of ten years and spanning the globe, Andric&rsquo;s painterly, color field abstractions reveal an ambiguous, meditative cityscape. </span><br /><br /><span style="font-size: small;"> Ljubodrag Andric describes, &ldquo;This work evolved from an early awareness that just as it is possible to have content without subject, it is possible to have context without object. Put differently, context is everything - all is figure and all is ground. My work evolves around the exploration of relationships, not of measure, but of influence. I am not interested in isolated incidents and tensions but rather a sum.&rdquo; </span><br /><br /><span style="font-size: small;"> Andric who is of Italian decent, was born in Belgrade, Yugoslavia in 1965 to a family of artists &ndash; his mother an actress, his father a writer, and his brother a painter. In 1981, at the age of sixteen, photography become his main focus. In 1988, while studying literature in Belgrade, Andric first exhibited at the Modern Art Gallery in Belgrade. The work for the exhibition was produced in Italy and dealt with the relationship between space and architecture, which remained at the core of his exploration ever since. For over twenty years, inspired by extensive travel, Andric&rsquo;s work has revolved around recontextualizing the urban landscape. In 2002 Andric relocated to Toronto where he currently lives and works, and in 2005 renationalized as a Canadian citizen.</span></p> Tue, 01 Jul 2014 15:02:46 +0000 Todd Berman - San Francisco City Hall - July 10th 4:00 PM - 7:00 PM <p><br />Supervisor David Campos presents</p> <p>City of Awesome at City Hall</p> <p>Room 268,&nbsp;1 Dr. Carlton B. Goodlett Place, SF, CA</p> <p>Berman will discuss his City of Awesome art project and his approach to community informed art at a reception on <br />July 10, 2014, 4:00&ndash;7:00 p.m.</p> <p>The exhibit, titled City of Awesome, captures San Francisco&rsquo;s bold civic character and quirky individuals through a unique crowd-sourcing technique in which Berman collects self-portrait drawings made by people of all ages and uses them as collage material for a series of large collaborative paintings.</p> <p>The office/gallery is open 9am-5pm during weekdays through August 8th, 2014.</p> <p>Click here for press release: .<br />Click here for hi-resolution images .</p> Wed, 25 Jun 2014 20:34:28 +0000 Gregg Chadwick, Evri Kwong - Sandra Lee Gallery - July 10th 5:30 PM - 7:30 PM <p style="text-align: justify;">Sandra Lee Gallery presents a juxtaposition of two artists, Gregg Chadwick and Evri Kwong, working on opposite ends of the painterly spectrum. Chadwick's oil paintings evoke distant memories that suddenly pull the viewer back to another time and place while Kwong's illustrative drawings and paintings confront viewers with dramatic stories. The pairing of these two artists creates a compelling balance between poetics and narratives.<br /><br />Gregg Chadwick's new series, Revenant, exposes moments of clarity in the hazy, ghostlike recollections from events past. Each painting is worked through a series of sessions where the surface is scraped down, overpainted, and layered with transparent pigments. This results in remnants of past figures and locations emerging from the foggy memories on the canvas. The fluid movement of the visible brush strokes is a reminder that as these figures and moments passed, so will the stories we have yet to experience.<br /><br />In contrast with Gregg's romantic ghosts, Evri Kwong uses satire to portray the social injustices of everyday American life. Kwong uses his tremendous drawing and painting skills to create single canvas juxtapositions. One half of the canvas is painted in vibrant oil tones of red and yellow while the other half shows domestic characters, sketched expertly with Sharpie pen on a flat color background, telling the story of our society's loss of humanity ever-present in our consumer driven culture. The figures, called Howdy Doody Puppets, are dehumanized, blocky, faceless creatures with Pinocchio-esque noses that have been present in most of his work for the last several decades<br /><br />Chadwick and Kwong tell tales through the human figure. Whether they are in opposition or exploring comparable ideas is up to audience interpretation.</p> <p>&nbsp;</p> Sat, 05 Jul 2014 20:22:01 +0000 Joe Cornett, Amber Crabbe, Louis DeLuco, Christina McPhee, David Pace, Meghann Riepenhoff, Thom Sempere, Kyle Smith, Jason Tannen - SF Camerawork - July 10th 6:00 PM - 8:00 PM <p>SF Camerawork is pleased to support the work of local and emerging photographers with our annual juried exhibition, opening on July 10th. Our theme this year is <strong><em>Up All Night</em></strong>, and our jurors selected 9 finalists from over 100 entries. Artists were chosen based on the quality and originality of their work as well as their interpretation of the <strong><em>Up All Night</em></strong> theme. The 9 finalists selected for exhibition are: Joe Cornett, Amber Crabbe, Louis DeLuco, Christina McPhee, David Pace, Meghann Riepenhoff, Thom Sempere, Kyle Smith, and Jason Tannen.</p> <p>&nbsp;</p> <p>In addition to the gallery installation, <strong>SF Camerawork</strong> has partnered with <strong>Illuminate the Arts</strong> to produce a large-scale outdoor projection that will include the work of all the artists who submitted work to <strong><em>Up All Night</em></strong>. The projections will be shown at night, throughout the summer, from the roof of SF Camerawork at 1011 Market Street onto the east wall of 1019 Market Street.</p> <p>&nbsp;</p> <p>The jury for <em>Up All Night</em> was comprised of Hesse McGraw<em>, Vice President for Exhibitions and Public Programs, San Francisco Art Institute</em>; Jane Reed,<em> Photographer, Curator, and Documentary Filmmaker; </em>and Judy Walgren,<em> Director of Photography, San Francisco Chronicle.</em></p> <p><em>&nbsp;</em></p> Wed, 02 Jul 2014 00:55:36 +0000 Group Show - Toomey Tourell Fine Art - July 10th 5:30 PM - 7:30 PM <p style="text-align: justify;"><span style="font-size: small;">Gallery summer group shows may have roughly the same motivation &mdash; filling a gallery space during a slow season &mdash; but they can take many forms. Some revisit earlier exhibitions, while others feature work that&rsquo;s new or just didn&rsquo;t fit into previous lineups. Overarching themes are not required but can be ambitious. Or it can simply be some New Great Things, to be perused at leisure and with no more in mind than a way to see and ponder objects within a new framework. Works featured in this exhibit, not yet seen in the gallery, reflect an incredible mix of ideas and activity combined with a number of talented, committed and passionate people. Collectively, the works create a living organism comprised of a variety of media including oil, acrylic, photography, paper, photography and sculpture. This diversity, which collides, comments and compliments, is the psychic magic that generates a more fruitful dialogue that will resonate with its audience.</span></p> <p style="text-align: justify;">&nbsp;</p> <p align="left"><em>Please note: &nbsp;The gallery will be closed&nbsp;July 4th and 5th&nbsp;for the holiday</em></p> <p style="text-align: justify;">&nbsp;</p> <p align="left"><em>and the "First&nbsp;Thursday" reception will take place on July 10.</em></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> Sat, 05 Jul 2014 05:51:11 +0000 - Asian Art Museum - July 11th 3:30 PM - 4:15 PM <p style="text-align: justify;">Explore the exhibition <em>Gorgeous</em>&nbsp; with curator Forrest McGill and discover what it takes to present an exhibition from the inside.</p> Sat, 07 Jun 2014 21:22:42 +0000