ArtSlant - Openings & events en-us 40 gonzalo Fuenmayor - Dolby Chadwick Gallery - September 1st 5:30 PM - 7:30 PM <p>Dolby Chadwick Gallery is pleased to announce a new exhibition of charcoal drawings by the Colombian-born, Miami-based artist Gonzalo Fuenmayor. His 2013 d&eacute;but show at DCG garnered critical raves for its deft exploration of culture clash and hybrid mashup, reflecting the artist&rsquo;s concerns since 1998, when he moved to the U.S. to attend art school. In New York, he became so conscious of his outsider status that, in what he calls an attempt at &lsquo;self-exoticization&rsquo;&mdash;becoming defiantly Colombian&mdash;he made so many drawings of tone of his country&rsquo;s chief exports&mdash;one with a tragic colonialist history&mdash; that fellow students dubbed him &ldquo;the banana man.&rdquo; The eclectic mixing of cultures by Fuenmayor and other immigrants has become more common in the intervening years, as demographic change has darkened the composite national complexion. The works from the show three years ago, They Say I Came Back Americanized (its title borrowed from the Latina actress Carmen Miranda) could thus be considered prophetic. Certainly Fuenmayor&rsquo;s combination of ethnic pride, cultural/political criticism, and stunning drawing struck a chord with satire-simpatico critics. Alison McCarthy wrote in 7x7:</p> <p>Rococo chandeliers hanging from banana bunches, disco balls amidst palm trees, and exploding headdresses of flamingoes and flowers &hellip; all culminate in an extravagance rooted in both reality and imagination. It's eye candy with serious heft.</p> <p>DeWitt Cheng wrote in ArtLtd:</p> <p>The artist differs &hellip; from earlier political artists like Siqueiros (with whom he shares a dark, dramatic style) by ironically juxtaposing &ldquo;clich&eacute;d aspects of [indigenous] tropical culture... with [forcibly imposed European] Rococo and Victorian style elements.&rdquo;</p> <p>Fuenmayor&rsquo;s new work, entitled Picturesque, continues to explore the complicated warp and weft of nature and culture as colonial European culture combines with colonized Third World nature:&nbsp;</p> <p>The work has grown both in scale and complexity; the subject matter remains the same (exploration of exoticism, the constant negotiation of identity-heritage, dislocation), but in this case I&rsquo;ve been focused more in creating tensions with odd/absurd architectural hybrids and questioning the manner in which tropical culture is contextualized&hellip;. I&rsquo;ve been using the image of the pool - symbol of suburban (tropical?) life with 17-18th century architectural paraphernalia&hellip; The pool as a token of status, juxtaposed with the opulence/splendor associated to a Victorian era.</p> <p>Fuenmayor has modified the general concept of his new drawings, replacing the Surrealist shock of anachronistic elements, fused into funny and disturbing hybrids, with the creation of&nbsp; &ldquo;dramatic/atmospheric scenarios.&rdquo; The new &ldquo;dry-pigment paintings&rdquo; resemble mysterious stage sets, while the older works tended toward depictions of bizarre sculpture. His pair pf armchairs violently pierced by a palm tree trunk has the dark power of a Caravaggio, while a grand palatial salon, replete with gilded frames, velvet draperies and lion-legged armchairs, the whole chamber as dramatically illuminated as any film noir stage set, serves to frame an empty swimming pool built as if to resemble a coffered Versailles ceiling, upside down. As life has become increasingly surreal, the &lsquo;new normal&rsquo; may be unprecedentedly odd. Fuenmayor:</p> <p>The idea of an empty pool somehow echoes those vast empty Victorian Palaces [from earlier work] &hellip;.[e]mpty, desolate, mysterious&hellip;. [F]or me, performance/ the stage/ theatricality is very important when thinking about the drawings. The pool&mdash;symbol of tropicalia&mdash;serves as a stage within these absurd spaces&hellip;. Somehow I believe it speaks about being in Florida for over 8 years now...</p> <p>As well as a traditional status symbol (in a state now threatened by rising seas), the swimming pool&mdash;filled, that is&mdash;is a modern version of the pond, or, even the primordial sea, while water in Freudian thought symbolizes the dark, unruly subconscious. Fuenmayor&rsquo;s pools are empty of both water and users, and thus lifeless&mdash;&rdquo;absurd.&rdquo;&nbsp; An early defender of the Flemish visionary Hieronymus Bosch asserted that that pious fifteenth-century artist depicted man as he is, and not as how enlightened sixteenth-century intellectuals conceive him to be. Picturesque shows, in metaphoric form, the modern world as it is, beneath the socioeconomic myth that &ldquo;he who dies with the most toys wins&rdquo;; irrational, topsy-turvy, and arid. Fuenmayor powerfully combines the sometimes clashing cultures of Surrealism and social criticism.&nbsp;</p> <p>Gonzalo Fuenmayor was born in Barranquilla, Colombia, in 1977, and currently lives and works in Miami, Florida. He earned his BFA from the School of Visual Arts, New York in 2000 and his MFA&nbsp; from the School of the Museum of Fine Arts, Boston in 2004. Fuenmayor has been the recipient of numerous prestigious awards and fellowships and exhibited across North and South America, including a 2014 residency at the Bemis Center in Omaha, NE and a 2015 solo exhibition at the Museum of Fine Arts, Boston. This will be his second solo exhibition at the Dolby Chadwick gallery.</p> Sat, 11 Jun 2016 18:11:44 +0000 Micah Wood - Johansson Projects - September 1st 5:00 PM - 8:00 PM <p class="p1">&nbsp;In his first solo exhibition at Johansson Projects, Micah Wood explores the semiotics of coherent symbols through painting and sculpture by presenting a critical commentary on western society&rsquo;s strange relationship to food marketing and to food itself. &ldquo;Healthy Tears&rdquo; uses the physicality and spatial weight of sculpture techniques as well as the expressive and organic substance within painting to create a work that questions perception and truth in relation to consumer culture. Wood attempts to unpack an apparent hypersensitivity around food labeling and product awareness, while also questioning how consumer products are gendered, and the trope of certain foods as they become analogies for the body. In a Saussurean exploration of signs, warm flashes of color and organic elements alongside textural minimalism work to deconstruct our familiar symbols to their bare minimums. In their figurative simplicity, Wood&rsquo;s paintings are intimate and inviting, and in turn call on the viewer to reevaluate their emotional relationships to food and consumer culture. Wood wrestles with his realization that almost all foods in Western society carry some form of guilt behind where it comes from. Name a fruit, vegetable, or meat and someone can tell you five reasons why you are hurting yourself, the environment, or supporting a drug cartel. Wood aims to champion the messy amongst the pristine, to highlight the carnage, rage and violence that underlies our desperate attempts at portraying our lives as &lsquo;normal&rsquo; and &lsquo;perfect&rsquo;. He references Thomas Pynchon in &ldquo;Vineland&rdquo;, who speaks on vegetarian pacifists and other exaggerated forms of diets. Wood finds this carnage and hypersensitivity in the everyday, in a pint of blueberries spilled on a pristine white aisle that accidentally creates a actionist, gestural painting, in a contact solution advertising the supposed simulation of &ldquo;healthy tears&rdquo;, in a health food store sign mistakenly read as &ldquo;BIO CARNAL&rdquo;. In his exhibition, Wood presents his response to the ideally perfect California lifestyle, an examination of &ldquo;unhealthy tears&rdquo; and of &ldquo;organic sex&rdquo;, challenging us to question how we are molded by accepted ways of perception within western society and consumer culture by presenting his own new visual language.</p> Sat, 30 Jul 2016 20:25:19 +0000 - SOMArts Cultural Center - September 1st 6:30 PM - 9:00 PM <p class="p1">The San Francisco Foundation and SOMArts Cultural Center present The Annual Murphy and Cadogan Contemporary Art Awards Exhibition, a focused look at the future of the Bay Area visual arts, September 1&ndash;24, 2016. The exhibition showcases 15 promising visual artists working across disciplines and identifies young artists from Master of Fine Arts programs throughout the Bay Area whose work intersects with emerging trends.</p> <p class="p1">The competitive Jack K and Gertrude Murphy Award and the Edwin Anthony and Adalaine Boudreaux Cadogan Scholarships are administered by The San Francisco Foundation. The awards are designed to further the development of Bay Area MFA students and foster the exploration of their artistic potential in hybrid practice, installation, mixed media, painting, photography and sculpture.</p> <p class="p1">The Jack K and Gertrude Murphy Award of $40,000 is given to an MFA student of unusual caliber with great artistic promise. Edwin Anthony and Adalaine Boudreaux Cadogan both experienced financial challenges as art students and understood the great difference scholarships can make in the early phase of an artist&rsquo;s career. The winners of the Cadogan Scholarships receive $6,500 each to support their MFA studies. All the students benefit from participation in a professionally curated exhibition at SOMArts Cultural Center.</p> Tue, 09 Aug 2016 17:22:52 +0000 - Asian Art Museum - September 4th 10:30 AM - 2:30 PM <p>Discover and play as a family at the Asian Art Museum. On Family Fun Days, our gallery activities, creative art projects and immersive storytelling make art appreciation into a lively, family-friendly event. Themes and projects change regularly, so visit again and again.</p> <p>In September, explore rare masterpieces from imperial China and create artwork inspired by the special exhibition <em>Emperors&rsquo; Treasures: Chinese Art from the National Palace Museum</em>, <em>Taipei</em>. All Family Fun Day art projects are developed and led by the museum&rsquo;s teen Art Speak interns.</p> <p>&nbsp;Please note: Street parking is free on Sundays, making a visit to the museum both fun and affordable.</p> Thu, 14 Jul 2016 21:24:38 +0000 Patrick Dintino - Andrea Schwartz Gallery - September 7th 5:30 PM - 7:30 PM <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p><strong>Patrick Dintino: Voyeur</strong><br /><strong> September 7 &ndash; October 7, 2016</strong><br /><strong> Opening Reception: Wednesday, September 7, 5:30 - 7:30</strong></p> <p>Andrea Schwartz Gallery is pleased to announce the fifth solo exhibition by Patrick Dintino entitled <em><strong>Voyeur</strong></em>.</p> <p>Composed of broad, coalescing bands of color, the intermeshed lines in Patrick Dintino&rsquo;s paintings formulate a plethora of shades, tones, and hues that invite us as the audience upon a delightful journey of discovery. Upon first glance we are drawn immediately towards the bold, sharp contrasts of Dintino&rsquo;s subtle choice of hue and line. The varying thickness of line ! some ample, others slender ! both speeds up and slows the eye down, creating an undulating sense of movement within the work as we take a second, more measured look.</p> <p>The complex play between aesthetic and metaphor is crucial to Dintino&rsquo;s work. In his most recent body of work the artist is preoccupied with the idea of voyeurism as a part of everyday life.</p> <p>As the artist explains, &ldquo;<em>From instant feeds of images and world events to personal explorations and obsessions, stimuli are readily available for us to soothe and titillate our curiosity. The need to know and understand is a force that affects our judgment with every new thread of information. As we navigate the sensual environment there is an undercurrent of desire and motivation driven by the quest of knowledge. The question becomes then, what is important to us? What are those things that capture our imagination and are so compelling that we cannot divert our eyes? By understanding what captivates us, we can see into our future and free the path of our dreams</em>&rdquo;.&nbsp;</p> </div> </div> </div> Mon, 15 Aug 2016 20:21:58 +0000 Howard Fried, Camille Blatrix - CCA Wattis Institute - September 8th 6:00 PM - 8:30 PM <p>Please join to celebrate the opening of two new exhibitions.<br /><br /><br /><span style="color: #000000;"><a href="" rel="nofollow"><span style="color: #000000;">Howard Fried</span></a></span>:&nbsp;<em>Derelicts</em><br /><br />&amp;<br /><br /><span style="color: #000000;"><a href="" rel="nofollow"><span style="color: #000000;">Camille Blatrix</span></a>:</span>&nbsp;<em>Heroe</em></p> Wed, 27 Jul 2016 00:43:03 +0000 David Simpson - Haines Gallery - September 8th 5:30 PM - 7:00 PM <p>Haines Gallery is pleased to present Now &amp; Then: The Work of David Simpson, a solo exhibition spanning over five decades of artwork by one of the San Francisco Bay Area&rsquo;s most significant painters. This retrospective look at Simpson&rsquo;s extraordinary career coincides with the publication of David Simpson: Works, 1965&ndash;2015, a new, large-scale monograph from Radius Books documenting the artist&rsquo;s entire oeuvre.</p> <p>&nbsp;</p> <p>This is the first exhibition that will enable viewers to consider the vast diversity of Simpson&rsquo;s painting practice, which weaves together impulses of minimalism and hard-edge abstraction with those of the California Light and Space movement to forge an entirely singular creative vision, one that rewards careful consideration. &ldquo;I want my paintings to create space without taking it,&rdquo; Simpson has remarked, &ldquo;and to be contemplative in the process.&rdquo;</p> <p>&nbsp;</p> <p>The earliest pieces in the exhibition, Simpson&rsquo;s striped paintings from the late 1950s and early &lsquo;60s, signal a departure from the geometric abstraction that previously defined the artist&rsquo;s career. In works such as Coast Stripe (1961), soft bands of oceanic color radiate from the vanishing point of a distant horizon line, blurring into overlapping, translucent washes before regaining their composure at the canvas&rsquo; edges. These early works&mdash;many of which have not been shown since premiering in museum exhibitions in New York and San Francisco&mdash;showcase Simpson&rsquo;s remarkable ability to compose with color. With their pared-down hints at landscape, the paintings of this period form a surprising antecedent to the works on paper that Simpson began producing in the early 2000s&mdash;acrylic paintings of layered and scraped luminosity that evoke a spelunker&rsquo;s cave as much as the misty peaks of a classical Chinese landscape.</p> <p>&nbsp;</p> <p>The 1970s finds geometry returning to Simpson&rsquo;s practice, first in the surprising rectangular bands of color that frame and compliment otherwise monochromatic works such as Amigo (1976); and later, at the dawn of the 1980s, with Suprematist-like compositions of squares atop squares in starkly contrasting black, red and white. As the decade wore on, the canvases themselves would be reshaped to create Simpson&rsquo;s Eccentric Monoplane and Polyplane pieces&mdash;angular inventions made from interlocking panels of color unlike anything Simpson has produced before or since.</p> <p>A number of these works are on view in the exhibition: triangular, cruciform, and unnamable shapes that show the artist working at the height of innovation.</p> <p>&nbsp;</p> <p>Simpson&rsquo;s boundless curiosity and desire to expand the limits of his chosen medium are the red threads that link all of the works in Now &amp; Then. These impulses are reiterated in a selection of the artist&rsquo;s celebrated interference paintings, made using special pigments whose titanium-coated mica particles appear to shift dramatically in hue depending on the lighting conditions and the position of the viewer. In Year of the Dragon (2014), for example a royal purple shades miraculously into a peacock green. Throughout the show, Simpson&rsquo;s poetic titles offer up associative clues, while the works imbue sensual, optical experience with a profound sense of the sublime.</p> <p>&nbsp;</p> <p>David Simpson has exhibited his work widely since the 1950s throughout Europe, Asia, and the United States. He is represented in important public and private collections that include the Panza Collection, Varese, Italy; the Museo Cantonale d&rsquo;Arte, Lugano, Switzerland; the Museum of Modern Art, NY; San Francisco Museum of Modern Art, CA; Philadelphia Museum of Art, PA; Seattle Museum of Art, WA; National Collection of Fine Art, Washington, D.C.; John D. and Catherine T. MacArthur Foundation, Chicago; and the Contemporary and Modern Art Museum of Trento and Rovereto, Italy. Simpson received his MFA from San Francisco State College (now SFSU) and BFA from the California School of Fine Arts (now SFAI).</p> Sat, 20 Aug 2016 00:09:45 +0000 Viet Le - SF Camerawork - September 8th 6:00 PM - 8:00 PM Wed, 27 Jul 2016 18:55:53 +0000 Afshin Chizari, Arash Fayez, Anahita Ghazvinizadeh, Babak Kazemi, Elham Rokni, Aram Tahmasebi. - fouladi projects - September 9th 6:00 PM - 8:00 PM <p>After Party<br />Opening Reception September 9, 6 &ndash; 8pm.<br />Painting, Photography, Printmaking and Video Installation<br />by Afshin Chizari, Arash Fayez, Anahita Ghazvinizadeh, Babak Kazemi, Elham<br />Rokni, Aram Tahmasebi.<br />The title After Party refers to events that transpired after The Iranian Revolution.<br />Artworks in the exhibition were created by artists born in Iran after 1979.<br />The revolution started with a significant amount of excitement. However, many<br />changes in a relatively short period of time have shaped a complex post<br />revolutionary experience. Some of the artists grew up during the eight year-long<br />Iran Iraq war while others have memories of immigration and dislocation. Then<br />there are the hopeful and rebellious new internet generation - the Iranian<br />millennials that the world has yet to see.<br />Fouladi Projects is pleased to present a group exhibition of thoughtful and vibrant<br />artwork influenced by a nation that - because of regime change and sanctions -<br />has been hidden away from the rest of the world for many years.<br />On view September 9 thru Oct 29, 2016</p> Tue, 23 Aug 2016 15:08:17 +0000 Amy Feldman - Ratio 3 - September 9th 6:00 PM - 8:00 PM Wed, 03 Aug 2016 14:48:34 +0000 Sita Kuratomi Bhaumik, Piñatas Las Morenitas Martínez, Little Piñata Maker, Cece Carpio (Trust Your Struggle), La Pelanga, People’s Kitchen Collective, Norma Listman - Southern Exposure - September 9th 7:00 PM - 9:00 PM <p>Southern Exposure presents&nbsp;<em>Estamos contra el muro | We Are Against the Wall</em>, an exhibition by Sita Kuratomi Bhaumik in collaboration with Pi&ntilde;atas Las Morenitas Mart&iacute;nez, Little Pi&ntilde;ata Maker, Cece Carpio (Trust Your Struggle), La Pelanga, People&rsquo;s Kitchen Collective, and Norma Listman.</p> <p>In this intensely divisive election season, Bhaumik and curator Michele Carlson produce a potent and nuanced response to our current social, political, and economic realities. A wall built of hand-crafted pi&ntilde;atas in the form of cinder blocks will dominate and divide the Southern Exposure gallery.</p> <p>Walls and borders are built to protect, segregate, detain, and enact power. Donald Trump's proposed border wall projects the perception of national unity and, conversely, ascribes otherness to those who lie beyond. But borders are porous, shifting, illusive. Divorced from geographical position,&nbsp;<em>Estamos contra el muro</em>&nbsp;highlights how every border wall is an imaginary.</p> <p>Over the course of the exhibition, the wall will undergo a dramatic transformation that enacts the dynamic transactional nature of border sites. The opening reception on September 9 marks the completion of the wall&rsquo;s construction with a Migration Mixtape by La Pelanga DJ collective, street food, and limited edition mini-pi&ntilde;atas by the Little Pi&ntilde;ata Maker. Several days later, under cover of night, Cece Carpio of the collective Trust Your Struggle will intervene to tag and deface the wall. On September 22, the wall will serve as the literal backdrop for a public dialogue with artists and organizers working around the subject of migration. Finally, at the closing reception on October 15, we will all come together to pummel the pi&ntilde;atas &ndash; celebrating the destruction of the wall with a blow-by-blow narration by People&rsquo;s Kitchen Collective, music by La Pelanga, and food to fuel our border crossings.</p> <p>Like other political walls, the pi&ntilde;atas beg to be beaten down, pulverized by force, and left as a fetishized relic of times past. Bhaumik&rsquo;s wall is not merely a narrative of division or a seductive solution to the problem of certain bodies. By questioning how one might unknowingly and unwittingly be complicit in its very construction, Bhaumik reminds us that, like these pi&ntilde;atas, all walls are built by hand.</p> Mon, 15 Aug 2016 22:39:35 +0000 - Asian Art Museum - September 10th 1:00 PM - 4:00 PM <p><em>Emperors&rsquo; Treasures: Chinese Art from the National Palace Museum</em>, <em>Taipei</em> is based on a vast collection passed down for hundreds of years. What heirlooms have stayed in your family through the generations? Grant Din, community relations director at the Angel Island Immigration Station Foundation, shares the genealogy of his family and guides you to research your own family tree and participate in a writing workshop.</p> Thu, 14 Jul 2016 21:30:20 +0000 Dana Hart-Stone - Brian Gross Fine Art - September 10th 4:00 PM - 6:00 PM <p>&nbsp;</p> <p align="center"><strong>Dana Hart-Stone</strong></p> <p align="center"><em>A Western Trip</em></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center">September 10 &ndash; October 29, 2016</p> <p align="center">Reception for the artist: Saturday, September 10, 4-6pm</p> <p>&nbsp;</p> <p>Brian Gross Fine Art is pleased to announce the opening of <em>A Western Trip</em>, a solo exhibition of paintings by Bay Area artist Dana Hart-Stone, on September 10, 2016, with a reception from 4-6pm.&nbsp; On view will be six new paintings, including two mural-sized works, created through the artist&rsquo;s continued exploration of vintage imagery, intricate patterning, and nostalgic remembrance.&nbsp; The exhibition will be on view through October 29, 2016.&nbsp;</p> <p>Each painting featured in <em>A Western Trip</em> is created through the appropriation of vintage American vernacular photographs to create vivid, intricate patterns printed onto raw canvas. &nbsp;Hart-Stone&rsquo;s repetitive use of imagery creates the feeling of a cinematic narrative, one whose story and meaning are left deliberately ambiguous.&nbsp; Digitally stitched together into fields of memory, Hart-Stone&rsquo;s paintings pay homage to the personal histories of everyday people, while simultaneously recalling the collective history of the American west.&nbsp;</p> <p>While each of Hart-Stone&rsquo;s works takes a nostalgic view, they are also studies in geometric abstraction and harmonic combinations of color.&nbsp; To create his patterns the artist employs the technique of serial repetition, often using a mirroring effect to amplify his motifs.&nbsp; The patterns are infused with saturated, vibrant color.&nbsp; In the title painting <em>A Western Trip</em>, a 13-foot mural, Hart-Stone has composed elaborately staggered, vertical bands of imagery to create a dynamic backdrop on which he has overlain iconic images of western rural life, including two women wrestling with a mule and a cavalry of hunters on horseback. &nbsp;Hart-Stone&rsquo;s manipulations on canvas achieve the effect of simultaneously imprinting his imagery in the viewer&rsquo;s mind, while also dissolving their pictorial foundations into the realm of abstraction.&nbsp;</p> <p>Born in Billings, Montana, Dana Hart-Stone attended Montana State University in Bozeman, and received his B.A. from San Francisco State University in 1997. His paintings and commissions can be found in numerous private and public collections, including the Crocker Art Museum, Sacramento, CA and the Monterey Museum of Art, Monterey, CA.&nbsp; This is his third show with Brian Gross Fine Art.&nbsp;</p> <p>For more information or visuals, please contact: Greg Flood, Assistant Director, at (415) 788-1050 or <a href="" rel="nofollow"></a>.</p> <p>&nbsp;</p> <p><strong>Brian Gross Fine Art</strong></p> <p>248 Utah Street</p> <p>San Francisco, CA 94103</p> <p>(415) 788-1050</p> <p>&nbsp;</p> <p>Gallery Hours: Tuesday-Saturday 11-6 pm</p> <p></p> <p></p> Tue, 23 Aug 2016 20:17:11 +0000 Zhong Yueying - Chinese Culture Center of San Francisco - September 10th 2:00 PM - 4:00 PM <p><strong>Chinese Culture Center.</strong> <em>Episode 2016: Mind Flows With Brush</em>: This exhibition is curated by Professor Qian Zhijian, Assistant Professor of Art History at City University of New York and features the ink-based works of Zhong Yueying, an artist based in the San Francisco Bay Area. Instead of manipulating the ink, the artist allows the brush to take unpredicted journeys, flowing freely, leaving hand and mind unstrained. The works present a sensational, cartographic experience, mapping the new continent located within one's inner universe. By bringing world class artists to the neighborhood <em>Mind Flows With Brush</em> elevates the community and is a part of the CCC&rsquo;s art movement &ldquo;Building Our Town.&rdquo;</p> Thu, 25 Aug 2016 19:14:39 +0000 Dana Hemenway
t - Eleanor Harwood Gallery - September 10th 6:00 PM - 9:00 PM <div class="page" title="Page 2"> <div class="section"> <div class="layoutArea"> <div class="column"> <p>Eleanor Harwood Gallery is pleased to</p> <p>present, All That Glows Sees, a solo exhibition by Bay Area artist, Dana Hemenway.</p> <p>The title, All That Glows Sees, is taken from a passage in The Poetics of Space by Gaston Bachelard, in which he describes the personification of the home via the light that glows inside it. He suggests that the light emanating from windows at night could been seen as eyes, looking and waiting, vigilant for what transpires outside of itself: &ldquo;The lamp in the window is the house&rsquo;s eye and, in the kingdom of the imagination, it is never lighted out-of-doors, but is enclosed light, which can only filter to the outside.&rdquo;</p> <p>In her first solo exhibition with Eleanor Harwood Gallery, Hemenway continues her investigation of extension cords as aesthetically manipulated objects. Over the past three years Hemenway has employed the craft technique of macramé using extension cords, elevating and transforming the object&rsquo;s value beyond the scope of its functionality. These works question the boundaries that exist when classifying objects and the ease in which value and meaning can be transformed via context. Further complicating classification, the extension cords remain true to their original function as they are also used to power lightbulbs.</p> <p>The works in All That Glows Sees originated during Hemenway&rsquo;s residency at the Bemis Center for Contemporary Art in Omaha, NE. During this time she made Untitled (Cord Grid No. 1) in which a single extension cord is woven through a handmade ceramic grid made of woven and flattened clay, juxtaposing the fragile process-oriented ceramics with the mass-produced, often overlooked industrial cord. Included in the show are a variety of approaches to this same objective: creating tension between natural and often hand-crafted materials and mass- produced machine made objects, as well as between design-oriented materials such as fabric covered cords and industrial items manufactured without regard for their aesthetic appeal. As the work developed she began to look at each sculpture as a reference to different lighting in the built environment, the ceramic grid works became flattened and abstracted side table lamps (often made with a ceramic base), hanging works seen as stand-ins for chandeliers, wall- mounted pieces as wall sconces, and works that integrate the cords into drywall as built-in fixtures.</p> <p>In past works, the cords powered bulbs partly to push the idea to its rational end, use the cords to power something&mdash; anything. They also reference historical works by artists who utilized light and put into question the notion of authorship through the unmanipulated use of found objects (namely Felix Gonzales Torres&rsquo; light bulbs strings, and Dan Flavin&rsquo;s fluorescent light works). All that Glows Sees explores the agency of lighting further by considering how by providing a function, these sculptures exist between the classifications of art and design, and where they might become analogous to recognizable forms of lighting&ndash;&ndash;wall sconces, chandeliers, side table lamps, and built-in or recessed lighting.</p> <p>Hemenway&rsquo;s practice is a search for the precise moment in which an object is imbued with meaning&mdash;is it the instant a power switch is flicked ON? A search for the point that value is</p> </div> </div> </div> </div> <div class="page" title="Page 3"> <div class="section"> <div class="layoutArea"> <div class="column"> <p>transferred&mdash;the moment the work is mounted on the wall? Or perhaps the moment the artist deems the work complete and the sum becomes larger than the individual parts combined? Her art occupies the liminal space in between. As the exhibition title suggests, the works in All That Glows Sees have agency - they give us cause to think about what we might overlook and how it might look back at us.&nbsp;</p> </div> </div> </div> </div> Thu, 18 Aug 2016 01:09:29 +0000 Group Show - Hosfelt Gallery - September 10th 4:00 PM - 6:00 PM <p>Hosfelt Gallery celebrates its 20th anniversary with an exhibition exploring what makes an artwork significant and lasting, and the qualities that distinguish the most innovative artists of our era.&nbsp; This carefully curated selection of artists and works has been chosen to reflect the gallery&rsquo;s distinct philosophical and aesthetic approach as well as the key values that have guided its program since inception.</p> <p>&nbsp;</p> <p>The exhibition features 25 artists, including&nbsp;<strong>Jean-Michel Basquiat</strong>,&nbsp;<strong>Patricia Piccinini, Tim Hawkinson, Liliana Porter, Andrew Schoultz, Hannah Wilke, Marco Maggi, Shahzia Sikander, Nick Cave, William T. Wiley, Jay DeFeo, Channing Hansen</strong>,&nbsp;<strong>Jim Campbell,&nbsp;</strong>and<strong>&nbsp;Ed Ruscha</strong>.</p> <p>&nbsp;</p> <p>Central to the gallery&rsquo;s program are artists whose work is grounded in a deep understanding of history &mdash; be it artistic, literary, social, political or intellectual.&nbsp; Their originality derives from an idiosyncratic synthesis of that core knowledge with a mastery of their medium, resulting in artworks that allude to tradition while incorporating new materials, methods and ideas. &nbsp;From that informed viewpoint, they show us things we&rsquo;ve never seen, challenge our preconceptions, and give us access to life experiences very different from our own.</p> <p>&nbsp;</p> <p>Art, at its best, can unveil the collective unconscious of a culture, and open a space for &ldquo;the other&rdquo; in our minds&hellip; and from a perspective broader than ourselves, inclusive of others, we can become co-creators of a new reality.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p><strong>About Hosfelt Gallery</strong></p> <p>&nbsp;</p> <p>With a background in law, non-profit arts administration and collecting, Todd Hosfelt founded his gallery in 1996 in a 2,000 square foot space above the famed artist residency program, Capp Street Project, in San Francisco&rsquo;s SOMA district.&nbsp; Former San Jose Museum of Art curator and current partner Dianne Dec joined the gallery in 1997.&nbsp; Over the years, the gallery developed a reputation for transforming gritty industrial buildings in off-the-beaten-path locations into extraordinary exhibition spaces, starting with its relocation in 1999 to a South of Market former warehouse. &nbsp;In 2006, Hosfelt Gallery opened a second venue in New York City, a few blocks north of Chelsea in Hell&rsquo;s Kitchen, converting a derelict storeroom above an auto-body shop into 7,500 square feet of exquisite gallery space suffused in natural light.</p> <p>&nbsp;</p> <p>In 2012 the gallery consolidated its operations with a trailblazing move to its current location, establishing the nucleus of what is now San Francisco&rsquo;s newest and most vibrant arts district, DoReMi.&nbsp; With 9,000 square feet of sky-lit space in a former door factory, the gallery&rsquo;s integration of distinctive contemporary design with unaltered remnants of the building&rsquo;s prior function mirrors its programmatic emphasis on innovative expression born out of a deep understanding of social, political, and/or cultural history.</p> <p>&nbsp;</p> <p>Over the course of twenty years, Hosfelt Gallery has distinguished itself through the introduction of exceptional new artists from around the world, the intellectual rigor of its programming, its role in nurturing the careers of now internationally-renowned artists, a commitment to showing work that may not align with current trends, and representation of some of the most important artists of the Bay Area. &nbsp;In 2015 the gallery founded the first Digital Media Conservation Lab to address the growing need for the preservation of digital and electronic art.&nbsp; Hosfelt Gallery is a member of the Art Dealers Association of America.</p> Thu, 18 Aug 2016 00:58:21 +0000