ArtSlant - Openings & events en-us 40 Daniel Phill - Sandra Lee Gallery - June 2nd 5:30 PM - 7:30 PM <p>Opening Reception June 4, 5:30-7:30pm, Exhibition June 2-June 27, 2015</p> <p>Sandra Lee Gallery is proud to present new paintings by Bay Area artist Daniel Phill, entitled Rhythm &amp; Flux. In this show, Mr. Phill interprets nature through the use of sophisticated colors, vigorous brushwork, and emphatic facture. As the show's title implies, his works vacillate between contrasting ideas - abstract and representational, deliberate and spontaneous, serene and wild - engaging the viewer to discover Phill's unique visual language. <br /><br />A fluid application of paint, using non-traditional painting tools, contributes to achieve results that are intensely colorful and often sensuous. In each painting, Phill's use of color dramatizes the illusion of space and light to produce an ambiance of both energy and serenity. He seems to deconstruct the natural environment, to then reconstruct it - using an improvised painterly expressionism. "The excitement for me is referencing an object by using loose gestures and seemingly very little information," Phill says.<br /><br />Daniel Phill can be seen as the spontaneous sower of seeds, who casts them into a space with abandon, prepared to work with nature, cultivating whatever takes root. Although he identifies with many of the principles and techniques of Abstract Expressionism, he relishes the ambiguity between abstraction, figuration and the illusion of space in his paintings.<br /><br />Born in Washington State. Mr. Phill received his MFA from Stanford University and his BFA from the San Francisco Art Institute. Phill has exhibited widely and his work is in diverse public and private collections, including: Achenbach Foundation, Fine Arts Museums of San Francisco; Citigroup; Clear Channel; de Saisset Museum, CA; First USA Bank; GTE; Haggerty Museum of Art, Marquette University, WI; Morgan Stanley; Nordstrom; Santa Clara Valley Medical Center; SAP America; Sharper Image; Sprint; Stanford University;Tucson Museum of Art; and The US Department of State, among others. <br /><br />Opening Reception: Thursday, June 4th, 5:30 - 7:30pm</p> <p>&nbsp;</p> Fri, 22 May 2015 03:48:26 +0000 Pemex, Rpes, AMUSE 126 - 1AM Gallery - June 4th 6:30 PM - 9:30 PM <p style="text-align: justify;">1AM Gallery is pleased to present, &ldquo; <strong>CMYK </strong>&rdquo;, showcasing brand new works by graffiti artists RPES, PEMEX, and AMUSE 126. The demand for colors in today&rsquo;s art market is substantial, with shades ranging infinitely along the color wheel. CMYK aims to contrast this freedom of colors and experiment with simplified styles and techniques. CMYK was selected among the many color options because it is a universal color pallet. For this exhibit, each artist will create one piece where they use only a single color. This simplification will not only reflect the relationship each person has with that one color, but it will also showcase their unique artistic style. If anything, CMYK emphasizes that colors are not solely accessories for art, but fundamental building blocks to promote an artist&rsquo;s message.</p> <p style="text-align: justify;">RPES was born in the south of France in 1987. He along with four of his friends discovered graffiti in the early 2000's whilst visiting the city of Toulouse, France. Captivated by the letters and the art&rsquo;s forbidden aspects, himself and the others decided to join this culture of Graffiti. In 2004, DSEK, IWOK, BAR, SHREK and RPES started the PMB crew. Nearly a decade later the PMB crew has delighted us with their profound specialty and has left their mark throughout Europe and two other continents. Eventually, RPES wanted to travel beyond Europe and landed in the Bay Area. He fell in love with the city and decided to stay. For the past 3 years, RPES lives, works and paints in the Bay &nbsp;Area and a few other cities in the US. He is also the co-&shy;founder of the clothing line "BROY". His style has matured within the last 5 years as he has become more serious with his work and refined his graffiti style.</p> <p style="text-align: justify;">In the world of graffiti and massive urban murals, PEMEX is a hard name to overlook. He's paid plenty of dues getting his hands dirty and raised through the ranks to be one of the most renowned graffiti artists putting up work all throughout California and abroad. It wasn't an easy road getting there. Born and raised in South Central Los Angeles, it would have been easy to fall victim to the environment that raised him, to follow the same disastrous path that so many others did. But PEMEX is no ordinary person. He was able to do what few other were, to process his experience and channel it to grow strong and resilient, self-&shy;capable and fearless. His street work is savage and unrelenting, stylish and possessing in it a humor and history unique to the artist himself.</p> <p style="text-align: justify;">With over 15 years of consistent work, marked by vicious determination, self-&shy;taught graffiti artist AMUSE 126 has clearly proven to the world that his efforts are nothing less than extraordinary. Longevity is key in an art where nothing is permanent, nor widely accepted. AMUSE 126, a Chicago native, lures an unaware audience into a new dimension of abstract typography and illustrative design. With the mindset to never settle for less than perfection, this is one artist that has yet to unveil what remarkable visions circulate deep within the human psyche.&nbsp;</p> Fri, 01 May 2015 09:45:39 +0000 Yan Xing - Asian Art Museum - June 4th 7:00 PM - 8:30 PM <p><em>Lessons on the Far East</em>&nbsp;is a new project by artist Yan Xing presented in conjunction with the exhibition&nbsp;<em>28 Chinese</em>. In the hopes of opening up a new mode of debate, Yan Xing has staged a compelling academic lecture that blurs the lines of reality and performance.</p> <p>&nbsp;<em>Lessons on the Far East</em>&nbsp;will take place under the auspices of the Honourable East India Institute (HEII). This&nbsp;institution is a new organization created by the artist, designed to explore ways of researching and reexamining&nbsp;various subjects in the field of East Asian Studies.&nbsp;In this unique and site-specific performance the artist will&nbsp;collaborate with two participating academics from leading institutions. He hopes that <em>Lessons on the Far East</em> will&nbsp;provide new avenues for deciphering and framing an emerging regionalism, and for presenting the insights thus&nbsp;gained to a global audience.</p> Thu, 21 May 2015 18:57:00 +0000 Mayme Kratz - Dolby Chadwick Gallery - June 4th 5:00 PM - 7:00 PM <div class="page" title="Page 1"> <div class="section"> <div class="layoutArea"> <div class="column"> <p>Dolby Chadwick Gallery is pleased to announce lost light, featuring the work of Phoenix-based artist Mayme Kratz, on view from June 4&mdash;July 3, 2015. Kratz will present wall-mounted works in resin on panel, as well as freestanding resin sculpture, in her first exhibition with the gallery. The title is drawn from Rebecca Solnit's book, A Field Guide to Getting Lost, poetic thoughts about the evocative potential of disassociation from the familiar. Solnit writes, "The world is blue at its edges and in its depths. This blue is the light that got lost." Kratz finds inspiration in the parched and desolate expanses of the Arizona desert, in lonely stretches of sand and the kind of hardy vegetation and animal life that can thrive there, &ldquo;cactus and creosote bush...scruffy and wild&rdquo; says the artist. Her regular wanderings yield artifacts that she notices and collects along the way&mdash; seeds, bits of plants, deer bones&mdash;or even a snake that met an untimely encounter with a car. Overlooked, and certainly left, by most, for Kratz these hold the key to an intimate world of the ephemeral components of life.</p> <p>As a child growing up in the rural outskirts of San Diego, Kratz developed a kinship with the stark desert light and wide expanses. She also embarked upon a process of biological inquiry, studying, then burying the bodies of birds or small animals&mdash;often later to exhume their remains, study them further, and rebury&mdash;trying to make sense of it all. Her current process, which includes sealing bones, seeds, or other biological matter in layers of resin, and then sanding back down through the resin to unearth portions of the objects, clearly stems from her childhood fascination. Kratz explores and studies the plant and animal specimens that she collects, breaking them down into smaller pieces, or sawing them into sections, examining them under the microscope.</p> <p>Her haunting works in resin on panel inhabit the world of painting, as they hang mounted on the wall, but are more sculptural in their depth and physical presence, possessing a weight both physical and metaphysical. With scattered bits of seed pods and animal bones, these works evoke the night sky and the cosmos, while simultaneously recalling the geometric structure of the atom, with its whirling electrons. &ldquo;I think of the planets orbiting around the sun and of my own journey here on earth. Often when viewing the night sky the things I see through a telescope appear cellular and what I find through my microscope appears stellar.&rdquo;</p> <p>With their ability to shift in focus from the minute to the vast, we may ponder the individual objects, viewing the intricate patterns of their interior structure, or contemplate the larger patterns created by her arrangements of these components. Moody hues found in nature&mdash;the midnight blue of a dark sky, green-gold of a pond, amber the shade of the sap of trees&mdash;form glittering layers encasing the once-living objects within their protection. For Kratz, the circle relates to the cyclical nature of life, the orbits of the planets, the shape of seeds or eggs, the round face of a clock, &ldquo;a way of measuring time or feeling time.&rdquo; Circle Dream 56, 2014, part of a series inspired by a dream in which she was herself transformed into a circle, is largely a tranquil green, the shade of a desert cactus. Mexican buckeye seeds forming a ring display a skull-like aspect, with the</p> </div> </div> <div class="layoutArea"> <div class="column"> <p>desiccated appearance one might expect of objects parched in the desert sun. Distant Space #2, 2014, glows in saturated, alizarin red hues; the striated, translucent pigment reveals the panel beneath. Texas mountain laurel seeds, poppy pods, and mesquite seeds are riven in two&mdash;their hollow, segmented interior spaces remain a void. Taking the name of the exhibition, Lost Light 1, 2015, in a deep, intense blue, mingles shells and rattlesnake ribs in diffuse, spiraling compositions.</p> </div> </div> </div> </div> <div class="page" title="Page 2"> <div class="section"> <div class="layoutArea"> <div class="column"> <p>An atmospheric place of uncertainty and potential is central to the work, a place where objects have lost their previous identity and the comfortable reassurance of function, yet the viewer is invited to consider them anew, the residue of a living thing recontextualized as a conduit for new connections and emotions in the viewer. The pieces function as well as memento mori, in the painterly tradition where skulls, flowers, and plant life serve as symbolic reminders of the fleeting passage of life.</p> <p>&ldquo;I'm always searching for the light in the objects that I'm collecting and finding a way to celebrate the life or light of that spirit...the 'lost light' is like trying to dig up or uncover something that you know is there...but you may not be able to see initially. It's a way of exploring the transformation that takes place during the process of decay, and finding the beauty in that.&rdquo; says Kratz.</p> <p>Mayme Kratz was born in San Diego County, and has made her home in Phoenix, Arizona since 1986. Kratz has had solo exhibitions at the Tuscon Museum of Art and The Tacoma Museum of Glass. She was a visiting artist at Pilchuck Glass School and was awarded a residency at The Museum of Glass in Tacoma, Washington, she has also recently received a mid-career award and exhibition at the Phoenix Museum of Art. Kratz's work is held in many public and private collections throughout the United States.&nbsp;</p> </div> </div> </div> </div> Thu, 26 Mar 2015 18:33:33 +0000 Group Show - Fraenkel Gallery - June 4th 5:30 PM - 7:30 PM <p style="text-align: justify;">Fraenkel Gallery&nbsp;is pleased to announce&nbsp;<em>The Heart is a Lonely Hunter</em>, curated by&nbsp;<a href="">Katy Grannan</a>. This group exhibition will present photographs and other objects by 18 artists, all of whom are being shown at the gallery for the first time.</p> <p style="text-align: justify;">The title of the exhibition refers to Carson McCullers&rsquo; novel,&nbsp;<em>The Heart is a Lonely Hunter</em>, and the poem that inspired it,&nbsp;<em>The Lonely Hunter</em>, written by Fiona MacLeod (aka William Sharp). The works selected for the exhibition resonate with pathos, obsession, and vulnerability, and speak to a fundamental source of artistic inspiration: the heart&rsquo;s private longing.</p> <p style="text-align: justify;"><em>The Heart is a Lonely Hunter</em>&nbsp;will feature works by:&nbsp;David Alekhuogie,&nbsp;Zak Arctander,&nbsp;Elizabeth Bick,&nbsp;Matthew Connors,&nbsp;Dru Donovan,&nbsp;J.W. Fisher,&nbsp;Curran Hatleberg,&nbsp;Fumi Ishino,&nbsp;Dwight Mackintosh,&nbsp;Christopher Miner,&nbsp;Bryson Rand,&nbsp;Heather Rasmussen,&nbsp;Judith Scott,&nbsp;David M. Stein,Ray Vickers,&nbsp;Didier William,&nbsp;Alice Wong,&nbsp;and&nbsp;Ying Gee Zhou.</p> <p style="text-align: justify;">The artists&rsquo; ages and backgrounds vary widely; likewise, the works presented in the exhibition will encompass a wide range of media, including contemporary color and black-and-white photography, figurative and abstract painting, line drawing, mixed-media works, artists&rsquo; books, video, and sculpture made with found materials.</p> Sat, 30 May 2015 16:18:49 +0000 Erin Cone - Hespe Gallery - June 4th 5:30 PM - 7:30 PM <p style="text-align: justify;">Hespe Gallery is pleased to announce "Emergence", a solo exhibition of new works by Erin Cone. An opening reception will be held on Thursday June 4, from 5:30 &ndash; 7:30.</p> <p style="text-align: justify;">In this series, Cone explores emergence as both subject and theme. In the artist's own words "each painting reveals a liminal moment for the figure: bound yet on the cusp of release; passing from obscurity to clarity; the exact moment when everything shifts." Cone seeks to convey "elusive and undefined emotional states" using moody colors in high contrast. Her figures are integrated into the planes of color, yet break free from their one-dimensional existence, playing on the tension between what is real and what is not.</p> <p style="text-align: justify;">Cone received her BFA degree in Painting from the University of Texas in 1998. She has since exhibited twenty solo shows and has participated in over a dozen group shows in the U.S. and in Europe. Cone's work was recently featured on PBS, and her work numerous art publications along with being featured on the front cover of American Art Collector Magazine and Southwest Art Magazine. The artist currently resides in Santa Fe, New Mexico.</p> Sat, 30 May 2015 16:11:58 +0000 Patrick Hughes - Scott Richards Contemporary Art - June 4th 5:30 PM - 7:30 PM <p>In <strong>OPPERSPECTIVE,</strong> his fourth solo exhibition at Scott Richards Contemporary Art, celebrated British artist <strong>PATRICK HUGHES</strong> continues his pursuit of the paradox with a new series of three-dimensional, illusionistic, painted wood constructions.&nbsp; A reception for the artist will be held on <strong>Thursday, June 4, 5:30-7:30 pm</strong>.&nbsp; The exhibition continues through <strong>June 27</strong>.</p> <p>&nbsp;In Hughes&rsquo;s quirky and instantly recognizable wall reliefs, the line between sculpture and painting is blurred, and space itself is manipulated with disorienting results. The painted panels jut away at angles from the wall, but when the works are viewed head-on, their three-dimensionality disappears. &nbsp;By reversing the apparent perspective in the subject matter, and uncovering multiple points of view simultaneously, the paintings acquire a sense of enigmatic motion. &nbsp;As the viewer walks back and forth in front of a work, it takes on the appearance of a flat plane that moves and shifts, obscuring and revealing different aspects of the painted scene.</p> <p>&nbsp;Hughes has been fascinated with puzzles, perspective and optical illusion all his life.&nbsp; He created his first three-dimensional paintings in 1964, and has spent the last several decades exploring and honing his signature style.&nbsp; Favorite subjects, appearing in different forms throughout his works, include artwork, architecture, books, landscape, and doors that open onto mysterious hallways or distant horizons.</p> <p>&nbsp;In a recent interview in <em>ARTnews</em>, Barbara A. MacAdam wrote, &ldquo;Hughes&rsquo;s work fits no category but partakes of many.&nbsp; Falling between Surrealism, Pop art, and Conceptualism, with nods at Cubism and even Minimalism, it is most distinguished and energized by homemade magic.&rdquo;</p> <p>&nbsp;Patrick Hughes was born in 1939 in Birmingham, UK, and is based in London. Internationally recognized as a major contemporary British artist, he is also a designer, teacher, and author.&nbsp; His works have been exhibited in major cities such as London, Paris, New York, Toronto, Seoul, Los Angeles and Chicago and are held in many public collections, including the British Library and the Tate Gallery in London; the Gallery of Modern Art, Glasgow; the Deutsche Bibliothek, Frankfurt; and the Denver Art Museum</p> <p>&nbsp;</p> Tue, 26 May 2015 23:28:50 +0000 Grahame Perry, Hunter Reynolds, Frank Yamrus - SF Camerawork - June 4th 6:00 PM - 8:00 PM <p style="text-align: justify;">In celebration of annual Pride month and in honor of National HIV/AIDS Long-Term Survivor Day (June 5th), SF Camerawork is proud to present the&nbsp;<em>Long-Term Survivor Project</em>. Taking place from June 4 - July 18, 2015, this is an exhibition and public programming series addressing the experiences of HIV survivorship in our society. &nbsp;&nbsp; &nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;">Hunter Reynolds creates large scale, photo-weavings of photographs and text testifying to the artist's experience as an HIV positive gay man living in the age of AIDS. From 1989 through 1993 Reynolds collected New York Times articles and headlines about the AIDS crisis, the obituaries of those consumed by the disease, and the growth of LGBT activist movements. In 2010 Reynolds revisited this collection and began scanning, arranging, and altering them to produce a&nbsp;series of photo-weavings resembling&nbsp;quilts or tapestries. SF Camerawork will be displaying 5 of the thirty-seven pieces in the series, each one 60' x 48." The photographs are overlaid with images from Reynolds earlier, performance-based Blood Spot series, in which the artist extracted his own blood and dripped it over paper.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div> <p style="text-align: justify;">Frank Yamrus'&nbsp;<em>A Sense of A Beginning</em>&nbsp;is a series of solemn and stately portraits of long-term HIV survivors. Through this series Yamrus, who has been an AIDS activist since 1991, tells the story of survivorship as manifested not only in the lines and physical attributes of his subjects' faces, which bear subtle testimony to the effects of HIV medications, but also as a factual declaration of presence. Each person depicted in the series is alive today thanks to a complex regimen of medication and years of struggle and determination. Long-term survivorship is a story of countless physician appointments, blood draws, continually shifting drug regimes and constant monitoring of T-cells and viral loads, in the midst of untold grief watching friends and loved ones die. Through the peak years&nbsp;of the struggle against AIDS may have faded into recent memory, survivors live on, bearing the impact of AIDS in their everyday lives.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">San Francisco-based artist Grahame Perry will present his series titled&nbsp;<em>Materials of Survival</em>. This ongoing body of work is a highly imaginative reconfiguring of the visual elements in the life of an HIV-positive survivor. Perry's at times fantastical depictions of pills, bottles, prescriptions, vials, and other paraphernalia provide a colorful but poignant visual vocabulary with which the artist tells his own story of struggle, uncertainty, memory, and survival. Perry's work playfully combines graphic and symbolic photographic elements in the creation of abstract images that represent the very real process of the artist's own quest for meaning and strength in the battle against HIV.</p> </div> Tue, 12 May 2015 11:54:01 +0000 Group Show - Chandra Cerrito Contemporary - June 5th 6:00 PM - 8:00 PM <p style="text-align: center;"><span style="font-family: helvetica; font-size: medium;"><strong><em>Shattered</em><br />Defying Expectations in Glass</strong></span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;"><strong>June 5 - July 30, 2015<br />Opening Reception: Friday,&nbsp; June 5, 2015, 6 - 8 PM<br />Open First Friday, July 3, 6 - 8 PM</strong></span></p> <p style="text-align: center;"><span style="font-family: helvetica; font-size: small;"><strong>Round Table Discussion with the Artists</strong>: <strong>Thursday, June 11, 6 - 7:30 PM</strong><br />Moderated by James Della, Collector &amp; Board Member of <br />The Glass Alliance of Northern California</span></p> <p><span style="font-family: helvetica; font-size: small;"><strong>Chandra Cerrito Contemporary</strong> is pleased to present <em>Shattered</em>, a group exhibition in celebration of the annual GAS (Glass Art Society) conference, held this year in San Jose. This exhibition includes artists from Northern California and beyond whose works incorporating glass are more aligned with contemporary sculpture or installation than with traditional art glass. </span></p> <p><br /><span style="font-family: helvetica; font-size: small;">Today, glass artists are breaking the mold and pushing their practices far beyond the utilitarian factory objects and decorative studio vessels of times past. The artists featured in Shattered blend traditional glass working methods (blowing, casting, lamp working) and materials (mirrors, uranium glass) with new technologies (low rpm motors, 3D scans and prints, LEDs) creating sculptural artworks and encompassing installations. </span><br /><br /></p> <p style="text-align: center;"><strong>Artists Exhibited</strong>: Lynn-Rachel Altman, Cassandria Blackmore, Jen Blazina, Randy Colosky, Th&eacute;r&egrave;se Lahaie, Helen Lee, Clifford Rainey, David Ruth, Kana Tanaka</p> <p>&nbsp;</p> Sat, 09 May 2015 22:05:18 +0000 Ryan Wallace - Romer Young Gallery - June 5th 6:00 PM - 8:00 PM Wed, 20 May 2015 10:30:13 +0000 Carmina Eliason - San Jose Institute of Contemporary Art (ICA) - June 5th 6:00 PM - 10:00 PM <p><strong>Carmina Eliason: <em>Would you Like a Cup of Tea?<br /></em><br /><strong>June 5, 2015, 6-10pm<br /><br />Carmina Eliason&rsquo;s performance piece is inspired by her interest in cultural anthropology and the observation of social interaction. Her work is often based on themes of identity, healing, and empowerment.<em>&nbsp;Would you like a cup of tea?</em>&nbsp; is a participatory installation where visitors are invited to enter a relaxed, domestic-like environment for conversations over a cup of tea.</strong></strong></p> <p>Consumed by various cultures around the world for centuries, tea is served during social gatherings from casual to formal, and the ritual of people drinking tea together has become associated with both communal and therapeutic experiences.</p> <p>For&nbsp;<em>ICA Live!</em>, Eliason will transform the ICA lounge to create a warm, inviting space with home-like surroundings to encourage open-ended chats about the complexities and intricacies of social life, or whatever visitors choose to talk about over a cup of tea, with the artist serving as host.</p> <p>Admission is always FREE!</p> <p><br />Visit our website for more information:</p> Wed, 13 May 2015 21:02:46 +0000 Kevin Cooley - Catharine Clark Gallery - June 6th 3:00 PM - 5:00 PM <p class="Default" style="text-align: justify;">Catharine Clark Gallery presents a multi-channel video installation by the photographer and media artist Kevin Cooley. This is the first exhibit of Cooley&rsquo;s work at Catharine Clark Gallery. On view in our dedicated media room June 6 &ndash; August 22, 2015, <em>Fallen Water </em>is a visual exploration of waterfalls and waterways that feed the city of Los Angeles, California. Exhibiting concurrently in our main gallery space is <em>Deep State</em>, new paintings by Scott Greene. Both artists will be present for the exhibitions opening on Saturday, June 6, from 3 &ndash; 5 pm. Artist talk and exhibit walk-thru 2:30 pm</p> <p class="Default" style="text-align: justify;">&ldquo;Expect poison from standing water.&rdquo;</p> <p class="Default" style="text-align: justify;">-William Blake</p> <p style="text-align: justify;"><em>Fallen Water </em>explores questions about why humans are drawn to waterfalls and flowing water as a source for renewal. Waterfalls imbue subconscious associations with pristine and healthy drinking water, but what happens when the fountain can no longer renew itself? Is the water no longer pure? Cooley&rsquo;s choice of subject matter strikes a deep chord with current social consciousness and anxieties about contemporary water usage and the drought crisis faced by the American West. Cooley references Blake&rsquo;s famous quote from <em>The Marriage of Heaven and Hell </em>as context for the diametric opposites of the current water conundrum: our deep sense of entitlement to and dire dependence on this precious commodity, coupled with a pervasive obliviousness concerning the sources which supply it. As a way to connect with his personal water use, Cooley hiked into the mountains to see firsthand the snowpack (or lack thereof), streams, and aquifers which feed the water sources supplying his Los Angeles home. This multi-channel installation is an amalgamation of videos made over numerous trips to remote locations in the San Gabriel Mountains, the Sierra Nevada Mountains, and locales as far away as the San Juan Mountains in Southwestern Colorado. These disconnected video vignettes coalesce, constructing a large water landscape canvasing the gallery walls and floors &ndash; reflecting the disparate and widespread origin of Los Angeles&rsquo;s drinking water. The colorspace within the videos is inverted, turning the water pink, orange and yellow&mdash;channeling an altered vision of water&mdash;in which something is definitely amiss: a stark reminder of the current water crisis in the state of California.</p> <p style="text-align: justify;"><strong>Kevin Cooley</strong>: Through photography, video, and installation, Cooley's work is a meditation on our evolving relationship with technology, nature, and ultimately each other. Cooley works with elemental forces beyond his control, addressing how these forces contend with each other, and how we exist among among them, using his experiences and direct interventions to provide the underlying conceptual framework of his practice. Cooley's video work was recently featured in solo exhibitions at the Nevada Museum of Art (Reno, Nevada); Disjecta Contemporary Art Center (Portland, Oregon); The Musuem of Photographic Arts (San Diego, California), Ryan Lee and Pierogi (New York City); and Kopeikin Gallery (Los Angeles, California). His work is in prominent collections including 21C, the Nelson-Atkins Musuem, and the Guggenheim Museum, and it has been reviewed in <em>Aesthetica</em>, <em>Artforum, The Los Angeles Times, Hyperallergic, Time Out New York</em>, and <em>Whitewall Magazine</em>, among others. This is Cooley's first solo exhibition in San Francisco. He lives and works in Los Angeles.</p> Wed, 20 May 2015 10:25:34 +0000 Scott Greene - Catharine Clark Gallery - June 6th 3:00 PM - 5:00 PM <p class="Default" style="text-align: justify;">&nbsp;Catharine Clark Gallery presents <em>Deep State</em>, an exhibition of new work by Scott Greene, his fourth solo exhibition with Catharine Clark since 2004. On view June 6 &ndash; August 22, 2015, <em>Deep State </em>features paintings and prints in which the notion of power appears as a deep and abiding thread. A video project by Kevin Cooley titled <em>Fallen Water </em>(2015) will exhibit concurrently in our dedicated media room. Scott Greene and Kevin Cooley will be present for the exhibition opening on Saturday, June 6, from 3&ndash;5 pm. &nbsp;Artist talk and exhibit walk-thru 2:30 pm </p> <p style="text-align: justify;"><em>Deep State </em>is Greene&rsquo;s response to current social and environmental issues. The title refers to the belief in a state within a state, an influential alliance of corporations and institutions actively subverting our democratically elected government for profit and power. Consistent with this undercurrent of influence, Greene&rsquo;s affinity with Romanticism, a more personal and philosophic concept of <em>Deep State</em>, identifies his work within a tradition of narrative landscape, particularly American Sublime and the Hudson River School. Greene&rsquo;s latest work reflects a crossroads where both past and present meet, and a vision of a dystopian future where popular culture collides with politics, technology and the environment with tragic results. Greene&rsquo;s post-apocalyptic visions, however, are both sensuous and beautiful, as well as entertaining and humorous. The work seems to suggest that although life as we know it may radically shift, we can learn to adapt and make the best of a bad situation with whatever remains. Greene continues his exploration of the natural world punctuated by artificial constructs, but with a new emphasis on imagery of the American West. In <em>Siren </em>(2015), a tower of outdated speakers and woofers elevate an antique air raid siren. A tumbleweed, so large as to possess its own gravity, is suspended in the sky like a lunar body. This modern day Tower of Babel, balanced against the irrational symbol of a romanticized bygone Americana, suggests the futility of technological innovations to actually improve communication, and an inevitable path towards nostalgia, waste and obsolescence. In <em>How You Like Me Now? </em>(2015), a pant-less Mitt Romney surveys a ruined landscape atop a formal dressage horse. Greene taps into a long tradition of pomp and arrogance in the form of a triumphant equestrian, and lends a historical permanence to Romney&rsquo;s short-lived Presidential aspirations. The rider seems oblivious that he may become an &ldquo;Emperor&rsquo;s New Clothes&rdquo; story of power, while his horse defecates gold coins in the latest version of trickle down economics. Greene acknowledges a deep romantic inspiration in his compulsion to create <em>Trading Post</em>, a twelve-foot tall painting of a cell phone tower disguised as a tree. Uprooted and leaning from the weight of what it holds, the shear scale of this phony species serves to emphasis a feeling of precariousness, and invites the viewer to immerse themselves and suspend their disbelief.</p> <p style="text-align: justify;"><strong>Scott Greene</strong>: Scott Greene studied at California College of Arts before receiving his BFA from San Francisco Art Institute, and his MFA from University of New Mexico, Albuquerque. Adopting the language and finish of classical painting, Greene employs historical references as a tool to humorously examine the relationship between politics, nature and culture. His exhibition history includes shows at Austin Museum of Art, (Austin, Texas); Carlsbad Museum &amp; Art Center (Carlsbad, New Mexico); Roswell Museum of Art, (Roswell, New Mexico); Albuquerque Museum, (Albuquerque, New Mexico); and Kohler Art Center (Sheboygan, Wisconsin), the Schneider Art Museum, Southern Oregon University, (Ashland, Oregon); Palo Alto Art Center (Palo Alto, California); and Triton Museum (Santa Clara, California); and the Arnot Museum of Art (Elmira, New York). Greene is the recipient of a Juror Selection Award, Lubbock Fine Arts Center, and an Art Matters Fellowship. He completed a residency at the Roswell Museum in New Mexico and has works in the public collections of the Anderson Museum of Contemporary Art in Roswell and the McKesson Corporation in San Francisco. Greene&rsquo;s work is featured in <em>Environmental Impact</em>, a travelling exhibition that originated at Canton Museum of Art, Ohio in 2013. Greene has exhibited with Catharine Clark Gallery since 2003.</p> Wed, 20 May 2015 10:27:04 +0000 Scott Greene, Kevin Cooley - Catharine Clark Gallery - June 6th 3:00 PM - 5:00 PM <p>Reception June 6, 3-5; exhibition June 6- August 22, 2015</p> <p>Catharine Clark Gallery presents Deep State, featuring new paintings and prints by Scott Greene in which the notion of power appears as a deep and abiding thread. Greene's latest work reflects a crossroads where both past and present meet, and a vision of a dystopian future where popular culture collides with politics, technology and the environment with tragic results. Greene's post-apocalyptic visions, however, are both sensuous and beautiful, as well as entertaining and humorous. The work seems to suggest that although life as we know it may radically shift, we can learn to adapt and make the best of a bad situation with whatever remains. Greene continues his exploration of the natural world punctuated by artificial constructs, but with a new emphasis on imagery of the American West. In Siren (2015), a tower of outdated speakers and woofers elevate an antique air raid siren. A tumbleweed, so large as to possess its own gravity, is suspended in the sky like a lunar body. This modern day Tower of Babel, balanced against the irrational symbol of a romanticized bygone Americana, suggests the futility of technological innovations to actually improve communication, and an inevitable path towards nostalgia, waste and obsolescence. <br /> <br />Exhibiting concurrently in our dedicated media room is Fallen Water, a multi-channel video installation by the photographer and media artist Kevin Cooley. Fallen Water explores questions about why humans are drawn to waterfalls and flowing water as a source for renewal. Waterfalls imbue subconscious associations with pristine and healthy drinking water, but what happens when when the fountain can no longer renew itself? Is the water no longer pure? Cooley's choice of subject matter strikes a deep chord with current social consciousness and anxieties about contemporary water usage and the drought crisis faced by the American West.</p> <p>&nbsp;</p> Fri, 22 May 2015 03:53:11 +0000 - Asian Art Museum - June 7th 10:30 AM - 2:30 PM <p>Discover and play as a family at the Asian Art Museum. On Family Fun Days, our fun gallery activities, immersive storytelling and creative art making opportunities, encourage you and your family to look more closely at the art and have some fun while doing so. Themes and projects change regularly.</p> <p>&nbsp;What can you do with a box full of stuff? This summer, make a found object sculpture using materials headed for the trash and explore themes of reusing, repurposing and recycling in the special exhibition <em>28 Chinese</em>.</p> Thu, 21 May 2015 19:00:25 +0000 - Andrea Schwartz Gallery - June 10th 5:00 PM - 8:00 PM <blockquote> <div class="gmail_extra"> <div class="gmail_quote"> <blockquote class="gmail_quote"> <div> <blockquote> <div dir="ltr"> <div> <div><span style="font-size: small;">For over 25 years, Tom Bolles has created minimalist works on canvas, that are chiefly identified as color field paintings. In this new body of work, which consists of his well known transparent acrylic paintings and also newly developed pigment prints, the artist has experimented with digital media more so than in his previous series. &nbsp;Tom still maintains his original technique of applying multiple translucent layers of acrylic in an attempt to create weight, depth, and a&nbsp;&nbsp;rich surface. &nbsp;Within these two mediums, Tom has created a unified marriage between the technological and traditional approaches to art making.</span></div> </div> </div> </blockquote> </div> </blockquote> </div> </div> </blockquote> <p>&nbsp;</p> <div class="gmail_extra"> <div class="gmail_quote"> <blockquote class="gmail_quote"> <div> <blockquote> <div dir="ltr"> <div> <div><span style="font-size: small;">&nbsp;</span></div> </div> </div> </blockquote> </div> </blockquote> </div> </div> <p>&nbsp;</p> Fri, 29 May 2015 17:40:20 +0000