ArtSlant - Openings & events en-us 40 Dan Grayber & Craig Dorety - Johansson Projects - June 25th 3:00 PM - 5:00 PM <p>In &lsquo;<strong>Maintenance</strong>,&rsquo;&nbsp;<strong>Dan Grayber</strong>&nbsp;creates machines that are strangely human in a particular sense: their main objective is to keep themselves afloat. The delicate creations, housed in glass cases like peculiar specimens under scientific examination, held in stasis, their entire existence devoted to maintaining equilibrium. Through the sinewy apparatuses, Grayber alludes to the Sisyphean nature of human existence, as well as the contemporary obsession with "convenient" appliances that in reality create as many problems as they fix. And yet, despite the critiques embedded within them, the sculptures ultimately exist as extravagant answers to simple questions. If you have ever watched the sun rise, you know that light is not just a hue, nor a shade, and not even a tone. It is the natural agent that stimulates seeing, what makes things visible, allowing the world to be at once felt and understood. In</p> <p>&ldquo;<strong>Gradient</strong>,&rdquo;&nbsp;<strong>Craig Dorety</strong>&nbsp;explores our ever-shifting relationship to the properties of light, crafting pseudo-sunsets that mimic the gradient of day passing into night. Inspired by Johannes Itten&rsquo;s writing, Josef Albers&rsquo; painting, and Isaac Newton&rsquo;s research, Dorety&rsquo;s sculptures are color-theory-in-action: exploring the ethereal properties of light, shadow, and time by providing them physicality and weight. The abstract works warp the viewer&rsquo;s perspective as hues morph atop shapes within shapes, using electronics and animated light to mirror the shapeshifting illusions natural light provides every day.&nbsp;</p> Sat, 04 Jun 2016 02:40:41 +0000 - San Jose Institute of Contemporary Art (ICA) - June 26th 3:30 PM - 5:00 PM <p class="large">Talking Art is a series of lectures, panel discussions and engaging public talks aimed at promoting dialogue and conversation about art.</p> <p class="large">In collaboration with Seager Gray Gallery, the ICA will present This is Not a Book: Chapter Two in the Focus Gallery. On Sunday, June 26, 3:30pm-5pm, the ICA will host an exhibition walk-through with guest Curator Donna Seager of Seager Gray Gallery.&nbsp;</p> <p><span style="text-decoration: underline;">About the exhibition</span>:&nbsp;For the past decade, Seager Gray has taken the lead in presenting art related to books and recently celebrated the 10th&nbsp;anniversary of their now widely acclaimed&nbsp;<em>Art of the Book</em>&nbsp;exhibition, which takes place each May at the Mill Valley gallery. The ICA&rsquo;s presentation culls from that rich history and continues where the ICA&rsquo;s 2001 exhibition&nbsp;<em>This is Not A Book&nbsp;</em>left off. The current exhibition is curated by Donna Seager.</p> <p><span style="text-decoration: underline;">´┐ŻArtists</span>:<strong>&nbsp;</strong>Guston Abright,&nbsp;Jody Alexander,&nbsp;James Allen,&nbsp;Doug Beube,&nbsp;Sarah Brown,&nbsp;Kim Henigman Bruce,&nbsp;Valerie Buess,&nbsp;Julie Chen,&nbsp;Marie Dern &amp; Danielle Giudici Wallis,&nbsp;Brian Dettmer,&nbsp;Lauren DiCioccio,&nbsp;Jessica Drenk,&nbsp;Arian Dylan,&nbsp;Andrew Hayes,&nbsp;Helen Hiebert,&nbsp;Meg Hitchcock,&nbsp;Airan Kang,&nbsp;Lisa Kokin,&nbsp;Vince Koloski,&nbsp;Emily Payne,&nbsp;Maria Porges,&nbsp;Guy Laram&eacute;e,&nbsp;Jacqueline Rush Lee,&nbsp;Sandi Miot,&nbsp;Mike Stilkey,&nbsp;Vita Wells,&nbsp;Barbara Wildenboer</p> <p>For more information, visit&nbsp;</p> Tue, 14 Jun 2016 22:15:41 +0000 Cecilia Edefalk - Berkeley Art Museum and Pacific Film Archive - June 29th 6:30 PM - 8:00 PM <p><em>06.29.2016 Opening Reception and gallery walkthrough with artist and curator. Included with BAMPFA admission.</em></p> <p>MATRIX 261 features the work of Stockholm-based artist Cecilia Edefalk (b. 1954), whose work probes the uncertain nature of historical memory, time, and the visionary role of light. While Edefalk&rsquo;s practice is intuitive and deeply personal, she variously explores notions of originality and multiplicity through a consistent use of repetition and seriality. Her attentive and reflective approach is evident in her paintings, photographs, watercolors, and sculptures.</p> <p>Edefalk&rsquo;s decades-long engagement with nature becomes manifest in the works included in this exhibition. For several years the artist has been visiting a dandelion-filled meadow near her house, capturing it with her camera in various moments of sunlight and states of bloom. In one monumental photograph on view in the exhibition we see a hand tenderly holding a perfect, spherical seed head before the wind carries the seeds away. Similarly, in the late 1970s Edefalk set out on a journey across Europe with a friend to document and draw coastal wildflowers she encountered in areas of historical significance in England, Italy, Spain, and Portugal. The flowers and plants she carefully captures in watercolor act as her lens onto these ancient landscapes; a selection of twenty of these watercolors appear in the exhibition. Birch trees, which are quite common in Sweden, are another subject that has inspired the artist for many years. A series of cast bronze sculptures included in MATRIX 261 were inspired by a birch tree she witnessed falling to the ground&mdash;an experience she recounts as a disquieting moment of destruction and decay. She then molded dozens of sculptures from its branches, fixing her experience of this fleeting moment into concrete forms.</p> <p>Other paintings, sculptures, and photographs displayed in MATRIX 261 point to her interest in historical sculpture, in particular a Roman marble mask of Marcus Aurelius that she encountered in the Malm&ouml; Konstmuseum. This spawned the series of paintings <em>To view the painting from within</em> (2002), in addition to a related series of photographs, <em>To view the painting from outside</em>, which shows the artist&rsquo;s eye traveling around the mask, capturing shifting perspectives. Her exploration of the mask continues in another series of bronze sculptures that combine the mask with leaves and pieces of tree bark. In each work, Edefalk captures the evanescence of subjects that often exude a mystical and fragile quality marked by time and space. This is Edefalk&rsquo;s first solo exhibition on the West Coast and her first in a US institution in ten years.</p> Tue, 19 Apr 2016 19:43:09 +0000 Isaac Vazquez Avila, Michael Berens, Lark Buckingham, Jos├ę Joaquin Figueroa, Clement Hil Goldberg, Jin Zhu - Berkeley Art Museum and Pacific Film Archive - July 1st 6:00 PM - 8:00 PM <p>Each year, BAMPFA teams up with the University of California, Berkeley Department of Art Practice to exhibit the work of their graduates. This year&rsquo;s MFA graduates are Isaac Vazquez Avila, Michael Berens, Lark Buckingham, Jos&eacute; Joaquin Figueroa, Clement Hil Goldberg, and Jin Zhu. Be among the first to encounter the work of these six exceptional artists as they embark on their careers.</p> <p>07.01.2016 @ 6PM<br />Opening Reception<br /><br />07.03.2016 @ 3PM<br />Artists' Talks</p> Tue, 19 Apr 2016 20:22:08 +0000 Lou Ros - Dolby Chadwick Gallery - July 7th 5:30 PM - 7:30 PM <p>Dolby Chadwick Gallery is delighted to announce an exhibition of new work by the French painter Lou Ros, SOMEWHERE, starting on July 7 and continuing through August 27.</p> <p>Raised in La Rochelle in western France, Ros started painting at 17, first as a graffiti artist, working on large works on the walls of abandoned buildings. The paintings took several days to paint and the work technically wasn&rsquo;t against the law, since the buildings were slated for demolition. Four years later, Ros began working on canvas. His new works evoke the freedom and spontaneity of graffiti art but show the maturity of years spent painting in his Paris atelier.</p> <p>Ros&rsquo;s work for SOMEWHERE encompasses three areas:&nbsp; portraits that evoke movement and transition, even as they capture the subject; haunting, mysterious scenes based on historical photos that Ros collects; and two landscapes that represent a new direction for the artist.</p> <p>In &ldquo;SR&rdquo;, Ros creates an intimate portrait of a tantalizing, barely glimpsed woman. We see the glow of her skin, mostly hidden by a curtain of white and gold hair. It&rsquo;s a scene we want to enter and be a part of, but we are left to just keep looking, trying to glimpse a bit more of this enigmatic woman who promises to have something to tell us. Two brilliant slashes of blue punctuate the canvas and propel the painting from traditional portraiture to something modern.&nbsp;</p> <p>Lucky for us, we get to know more about this subject, with &ldquo;SR2&rdquo;, which reveals the visage of the woman we studied from the side. She regards us with a detachment that entices us to stare, trying to understand her giacondesque mien.&nbsp; Where in &ldquo;SR&rdquo;, you can see the weave of her sweater and the subtle highlights in her hair, this portrait has her floating above a wash of white that we can understand as a garment, but it doesn&rsquo;t distract us from the intensity of her face.&nbsp; The canvas moves from the expressive paint strokes of her face to her hands, which move from realism to line drawings that express more in their sparseness than a fully rendered hand would do.</p> <p>Ros paints his friends and fellow artists and then names the canvases with their initials.</p> <p>&ldquo;Portraits are intuitive,&rdquo; Ros says. &ldquo;It&rsquo;s like a study. That&rsquo;s why I always make portraits in real scale &ndash; it&rsquo;s approximately life size. I won&rsquo;t do a two-meter portrait.&rdquo; He destroys many of the portraits he paints, seeing the process of creating and destroying as a key part of his artistic method. &ldquo;When I&rsquo;m trying to paint one, I can make three or four portraits and destroy one or two and just let go the two that are good &hellip; or the one, or sometimes none of them.&rdquo;</p> <p>For Ros, what&rsquo;s left undone on the canvas is as important as what he paints.</p> <p>&ldquo;Through the colors, brush strokes, composition, background and rhythm of the painting, I attempt to create works which truly represent bodies in a space without distortion,&rdquo; Ros says. &rdquo;Without having a clear idea of the final result, I stop my work before it seems finished. The moment where little is enough to suggest the structure interests me, leaving the spectator&rsquo;s imagination open at the moment the scene is starting to appear.&rdquo; &nbsp;</p> <p>In &ldquo;INC6&rdquo;, Ros draws from one of the historical photos he collects from the 1930s and 40s. Mystery pervades &ldquo;INC6&rdquo;. Is it a magician like Harry Houdini calmly waiting to free himself from his bonds and burst free? Is the man sleeping? Are those ropes tying him or are they allegorical bonds? Is he dreaming or dead? Ros likes the mystery, leaving it to the viewer to interpret the scene. &ldquo;I like that people see really different things in it,&rdquo; Ros says. &ldquo;You don&rsquo;t know if it&rsquo;s a real scene. You can&rsquo;t say exactly what it is.&rdquo;</p> <p>In &ldquo;The Doctor&rdquo;, a physician appears to be examining a woman, but what&rsquo;s really happening and why is the scene so unsettling? Ros has done several works of doctors, barbers and tattoo artists. &ldquo;These are persons that are suddenly really close to your body,&rdquo; he says. &ldquo;Sometimes I paint that kind of subject to see it differently and maybe to be more comfortable with it.&rdquo;</p> <p>The two landscapes in the show are a departure for Ros.&nbsp;</p> <p>&ldquo;At the base, it&rsquo;s an exercise to make a painting without anyone in it. It&rsquo;s different from much of my work because there&rsquo;s always a human presence in it. It was to improve my capacity to not make a focus on the human body,&rdquo; Ros says. &ldquo;This place doesn&rsquo;t exist. Call it somewhere. Because we don&rsquo;t know where it is.&nbsp; It&rsquo;s not reality. It&rsquo;s something I invented. It&rsquo;s not exactly hyper-realistic. It&rsquo;s something that is changed from reality. The painting action modifies the figurative image.&rdquo; &nbsp;</p> <p>The conundrum in &ldquo;No Man&rsquo;s Land #4&rdquo; stems from the craggy ground and the dark, twisted trees shrouded in clouds &hellip; but there is a whisper of light &ndash; of hope? &ndash; in the distance that roots you in front of the painting. For the second landscape, &rdquo;No Man&rsquo;s Land #4&rdquo;, Ros infused a natural scene with light, glaring, bouncing, permeating the scene and creating an electricity on the canvas. The shock of white, snow-covered banks contrasts with the black tree trunks and the creek winding through the scene. Violet haze brings a dreamy quality to the canvas, sharply contrasting with the darkness of the companion landscape.</p> <p>Ros says when he looked back at his earlier works, he realized they were better partway through the process, when they were more raw and less finished. &ldquo;But it was difficult for me to put that in front of viewers,&rdquo; Ros says. &ldquo;And then I realized that people will be able to see the same thing as me. They will be able to catch the good part and the unfinished part of the painting because the human brain is really good when you see just two lines. You are able to imagine something. If everything is said in the painting, it blocks the spectator from dreaming on it and letting it go somewhere else.&rdquo;</p> <p>Lou Ros was born in La Rochelle, France, in 1984, and currently lives and works in Paris, France. He has shown across Europe and has been reviewed in MISC and ARTBOX magazines. This will be his first solo exhibition at the Dolby Chadwick gallery.</p> Sat, 11 Jun 2016 17:44:01 +0000 Taha Heydari - Haines Gallery - July 7th 5:30 PM - 7:30 PM <p>Haines Gallery is pleased to present <em>Corrupted</em>, an exhibition of recent paintings by Taha Heydari (b. 1986, Tehran, Iran; lives and works in Baltimore, MD). The exhibition marks the first time this promising artist&rsquo;s work has been exhibited on the West Coast.</p> <p>Taha Heydari&rsquo;s striking, large-scale canvases reflect the artist&rsquo;s ongoing interest in the power of images and the role of the spectator in the stagecraft of both politics and terror. Throughout the work, there is an emphasis on historic moments and current events that highlight the complex relationships between observer and image, viewer and viewed.</p> <p>Heydari begins each new painting by culling from his growing archive of source material, gleaned from research in libraries and on the Internet, but these images are fragmented and combined until they evoke a mood, rather than a narrative. The beauty of Heydari&rsquo;s paintings invites closer inspection, which yields an array of ominous associations. <em>Dark Chamber</em> (2015), utilizes a well-known photograph of German POWs being forced by American troops to watch film footage of the concentration camps. The Holocaust returns in Heydari&rsquo;s <em>Minister of Public Enlightenment </em>(2016), which is based on a famous image of Joseph Goebbels called <em>The Eyes of Hate</em>&mdash;so named for the facial expression offered by the Nazi propagandist upon discovering that the photographer before him, Alfred Eisenstaedt, was Jewish. A glowing cruciform seen in the painting comes from an image of a Klu Klux Klan rally, as the artist fuses two iconic moments of malevolence. Elsewhere, the recent crises of the Middle East appear in works such as <em>Page 39</em> (2016), which fractures two lines in the Constitution of the Islamic Republic of Iran that address freedom of speech&mdash;distorted to mirror the perversions of law that have resulted in the imprisonment of journalists and artists in Heydari&rsquo;s home country.</p> <p>While these works may resemble digitalized images, they are achieved though Heydari&rsquo;s skilled usage of painterly techniques, rather than computer manipulation. Alternating between variously sized rollers and an airbrush, Heydari compiles layer upon layer of contrasting paint applications to carefully produce visual effects that approximate pixelization, glitch-like repetitions, and flashes of gradient color, &ldquo;questioning the relationship between an actual event and its representation online, or through a screen,&rdquo; the artist explains. The exhibition&rsquo;s title comes from this dual nature of Heydari&rsquo;s practice: through a set of formal devices, the artist produces works that suggest corrupted image files, while the underlying photographic sources of his paintings reverberate with corruption of other kinds: political and ethical corrosion, but also the cruel and corrupting impact of certain images themselves. </p> <p>Taha Heydari&rsquo;s work has been presented in solo exhibitions at Ethan Cohen Fine Arts, New York, NY (2015) and the Azad Art Gallery, Tehran, IR (2011 and 2010), and has been featured in group exhibitions at venues that include the Touch Gallery, Cambridge, MA (2014); Castrum Peregrini, Amsterdam, NL (2013); the Mah Mehr Art Gallery, Tehran, IR (2012); the De Winkelhaak Gallery, Antwerp, BE (2012); the 1x1 Gallery, Dubai, UAE (2012); Frameless Gallery, London, UK (2011); the Freies Museum, Berlin, DE (2011); and the Museum of Contemporary Art, Tehran (2009). Heydari received his BFA from the Art University of Tehran and an MFA from Maryland Institute of <br /> Contemporary Art.</p> Mon, 20 Jun 2016 21:50:47 +0000 Maurizio Anzeri, Kota Ezawa, Chris McCaw, Allison Smith - Haines Gallery - July 7th 5:30 PM - 7:30 PM <p>This summer, Haines Gallery is pleased to present a group exhibition entitled <em>The</em><em> <em>Stand-ins</em></em>, featuring new and recent works by Maurizio Anzeri, Kota Ezawa, Chris McCaw, and Allison Smith. Many of the works included in this exhibition use photographic and digital images not simply to depict persons, things, or phenomena, but to stand in for them&mdash; images becoming objects that act as surrogates for that which has been lost, forgotten, stolen, or otherwise unseen.</p> <p><strong>Maurizio Anzeri</strong> (b. 1969, Italian; lives and works in London) embroiders onto vintage photographs with colored thread, producing unforgettable, otherworldly portraits that are as surreal as they are sublime. Serious-looking children, sophisticated adults, and prim newlyweds are all utterly transformed by Anzeri&rsquo;s vivid, precise filigree of obsessive threadwork. In Anzeri&rsquo;s deft hands, what was once a traditional photo portrait becomes something else entirely: a sculptural, diagrammatic artwork in which long-forgotten faces are recovered from flea market hinterlands and revived, stitch by stich. As Anzeri has remarked on his uncanny artworks, &ldquo;As long as something creates a reaction, it&rsquo;s alive.&rdquo;</p> <p><strong>Kota Ezawa</strong>&rsquo;s (b. 1969, German-Japanese-American; lives and works in Berlin and San Francisco) latest body of work examines the infamous 1990 theft at the Isabella Stewart Gardner Museum. Extant only in photographs, two of the stolen artworks&mdash;Manet&rsquo;s <em>Chez Tortoni</em> and Vermeer&rsquo;s <em>The Concert</em>&mdash;reappear here in Ezawa&rsquo;s reductive style as custom-made light boxes precisely sized to mimic the scale of the missing originals. Reflecting on his new body of work, he states, &ldquo;Painters working before 1850, like Rembrandt and Vermeer, were essentially the photographers of their time. The new series extends my project <em>The History of Photography Remix</em> into the pre-photographic age of images. I feel compelled to produce an exhibition dealing with &lsquo;stolen art works&rsquo; because my own process of appropriation could be regarded as a form of image theft. One could say I&rsquo;m hoping to steal these images back and give them a new life.&rdquo; Also on view is Ezawa&rsquo;s newest multimedia work, <em>TV Buddha Garden</em> (2016), which fuses the artist&rsquo;s take on two of Nam June Paik&rsquo;s well-known installations, <em>TV Buddha</em> and <em>TV Garden</em>.</p> <p><strong>Chris McCaw</strong>&rsquo;s (b. 1971, American; lives and works in Pacifica, CA) artistic practice is firmly rooted in the history of photography, even as the artist pushes the medium in new directions. In his <em>Sunburn</em> series, the lenses in the artist&rsquo;s handmade cameras function as magnifying glasses, allowing the sun to literally burn its path across light-sensitive negatives that are often solarized, creating a natural reversal of tonality through over-exposure&mdash;process. In <em>Sunburned GSP #704 (Pacific Ocean, sunset in 11 frames)</em>, 2013, the remarkable eleven-panel piece included in this exhibition, the subject of the photograph (the sun) disrupts the idea that a photograph is simply a representation of reality&mdash;instead becoming a physical embodiment of the earth&rsquo;s movement and the passage of time.</p> <p>Open-air and living history museums have long interested <strong>Allison Smith</strong> (b. 1972, American; lives and works in Oakland, CA), whose multidisciplinary practice often repurposes the material culture associated with early American life and its reenactment. Smith&rsquo;s <em>Itinerant Bedding, Connor Prairie, Indiana</em> (2013) begins with such a site:&nbsp; Prairietown, a &ldquo;historic&rdquo; but fictional 1836 pioneer community populated with &ldquo;Interpreters&rdquo; (actors) dressed in period clothing who play various roles (town blacksmith, potter, etc.). In this installation, photographs of a modest Prairietown bed (essentially a stage prop) have been printed onto fabric and transformed into a soft sculpture&mdash;thus becoming a surrogate version of the object they depict. Rather than feeling lost in the <em>mise-en-abyme</em> viewers will recognize something very contemporary in this makeshift sleeping place, which brings to mind the familiar urgencies of homelessness and the struggles of refugees around the world.</p> Mon, 20 Jun 2016 21:55:03 +0000 Ed Moses - Brian Gross Fine Art - July 9th 4:00 PM - 6:00 PM <p><strong>&nbsp;</strong></p> <p align="center"><strong><em>ED MOSES</em></strong></p> <p align="center"><em>LA &ndash; SAN FRANCISCO</em></p> <p align="center"><em>&nbsp;</em></p> <p align="center">July 9 &ndash; August 27, 2016</p> <p align="center">Opening reception: Saturday, July 9, 4:00-6:00 pm</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>In celebration of his 90th birthday, Brian Gross Fine Art is pleased to announce the opening of an exhibition of new paintings by internationally renowned artist, Ed Moses. <em>ED MOSES: LA &ndash; SAN FRANCISCO</em> opens July 9, 2016, with a reception from 4:00 &ndash; 6:00 pm. On view will be a selection of recent diagonal and rectilinear grid paintings, motifs he has explored since the 1970s. The exhibition will be on view through August 27, 2016.</p> <p>&nbsp;</p> <p>Ed Moses is one of the original artists affiliated with the legendary Ferus Gallery in Los Angeles, where he had his first show of abstract paintings in 1958. The driving force behind the creation of his work is the intuitive process of painting, in which Moses emphasizes gesture, mark making, and exploration of the painted surface. In the mid-1970s, Moses began employing the use of diagonal grids in his paintings as a vehicle to further explore spatial depth and pattern. He has returned to this motif continually throughout his career, each time discovering new territories. Moses states, &ldquo;People say I am always changing the way I paint, but I don&rsquo;t change, the paintings mutate.&rdquo;</p> <p>&nbsp;</p> <p>In 2015, the Los Angeles County Museum of Art mounted <em>Ed Moses: Drawings from the 1960s</em> <em>and 70s</em>, comprised of the artist&rsquo;s gift of 44 drawings to the museum. In it were a number of early drawings of grids, which had not been seen for decades. The works included <em>in LA &ndash; SAN FRANCISCO</em> are the result of Moses&rsquo; renewed interest in the grid. Created from stained, boldly applied strokes of predominantly red and black paint, the crisscrossing lines build up and recede simultaneously, both allowing the viewer entry into the work while also barring passage.</p> <p>&nbsp;</p> <p>In addition to the diagonal grids Moses is known for, the gallery will be exhibiting a series of rectilinear grids, a compositional format that the artist has not shown before. In these works, the vertical and horizontal bars of paint are built up over looser stained areas. The synergies created with this format sharpen the viewer&rsquo;s attention to the geometric constraints of the work, while the sensual, fluid consistency of the grid lines softens their severity. <em>LA &ndash; SAN FRANCISCO</em> is the artist&rsquo;s 12th solo exhibition with the gallery.</p> <p>&nbsp;</p> <p>Ed Moses was born in Long Beach, in 1926 and received his BA and MA from the University of California, Los Angeles. His career began at the legendary Ferus Gallery in Los Angeles in 1958, and in the same year he also exhibited at the Dilexi Gallery in San Francisco. In 1996, the Museum of Contemporary Art in Los Angeles presented a mid career retrospective exhibition. In 2012, Ed Moses was included in Pacific Standard Time at the J. Paul Getty Museum, Los Angeles, and in 2015 the Los Angeles County Museum of Art held a survey exhibition of his drawings.</p> <p>&nbsp;</p> <p>Ed Moses&rsquo; work is represented in the public collections of The Museum of Modern Art, New York; Whitney Museum of American Art; Smithsonian American Art Museum; Menil Collection, Houston; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; Norton Simon Museum, Pasadena; San Francisco Museum of Modern Art; Yale University Art Gallery; Art Institute of Chicago; Philadelphia Museum of Art; Albright-Knox Gallery, Buffalo; Denver Art Museum; Seattle Art Museum; Museum of Contemporary Art, San Diego; Walker Art Center, Minneapolis; UC Berkeley Art Museum; and the Oakland Museum of California, among others.</p> <p>&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> <p>&nbsp;</p> Thu, 09 Jun 2016 18:59:50 +0000 John Varley, the Younger - Cantor Arts Center - July 13th 11:00 AM - 5:00 PM <p>Art++ is a new augmented reality (AR) application that enlivens museum visitors&rsquo; in-gallery experience. Developed by Stanford graduate students and Cantor Arts Center staff, Art++ immerses visitors in the history, context, and importance of selected artworks by overlaying relevant content on a tablet viewfinder. With overlay features such as explorable historic photos and 3D panoramas, the learning experience becomes interactive and self-guided, encouraging visitors to look at art in new and exciting ways.</p> Fri, 10 Jun 2016 16:50:21 +0000 Driss Ouadahi - Hosfelt Gallery - July 16th 4:00 PM - 6:00 PM <p>Algerian painter Driss Ouadahi studied architecture before immigrating to Germany, where he continues to live and work.&nbsp; Utilizing a vocabulary of architectural motifs, Ouadahi makes large-scale paintings that borrow from the history of modernist grid painting and traditional Islamic aesthetics, while tackling the difficult and timely topic of human migration.</p> <p>Ouadahi asks us to consider the political and psychological aspects of boundaries and the relationship they have to ethnicity and social class, through representations of three types of architectural imagery: &nbsp;cityscapes of glittering modernist high-rises, claustrophobic depictions of subway tunnels and photo-realistically rendered pictures of chain link fences. &nbsp;&nbsp;</p> <p>Perhaps in response to his volunteer work&mdash;helping refugees from conflicts in the Middle East resettle in Germany&mdash;imagery of the cyclone fence dominates Ouadahi&rsquo;s most recent paintings.&nbsp; Fencing is a very real impediment to the movement of the millions of people currently fleeing war and violence or seeking a better life. &nbsp;It&rsquo;s used to shut them out, pen them in and divide &ldquo;them&rdquo; from &ldquo;us.&rdquo;&nbsp; The fence is a dehumanizing symbol of &ldquo;otherness&rdquo;&mdash;a metaphor for alienation&mdash;as ugly a signifier as it is an object.</p> <p>Ouadahi&rsquo;s depictions of the fence are meticulous.&nbsp; Delicately-rendered, woven-steel wire is drawn against the sky, simultaneously seductive and ominous. &nbsp;The fences sometimes stretch taught across the picture plane as an unbroken barrier, but more often are slashed open like a gaping wound or have the regularity of their grids bent out-of-shape, evidence that someone has torn through or scrambled up and over.&nbsp; These are images of struggle and irrepressibility&hellip;a message to those who call for the building of walls and the closing of borders.</p> <p>Driss Ouadahi was born in Morocco in 1959 to Algerian political exiles.&nbsp;&nbsp; He studied architecture in Algiers, and painting at the Kunstakademie in D&uuml;sseldorf, where he continues to live. &nbsp;He participated in the Cairo Biennial in 2010 and was included in&nbsp;<em>The Future of a Promise: Contemporary Art from the Arab World</em>during the 2011 Venice Biennale.&nbsp; He was awarded the grand prize at the Dakar Biennale in 2014.&nbsp; His work has been exhibited internationally, including in Dubai, New York, North Africa and throughout Europe.&nbsp; This is his fifth solo exhibition at Hosfelt Gallery.</p> <p>Hosfelt Gallery will present new paintings by Ouadahi, largely renderings of chain-link fences, that were influenced by the artist's interactions with Syrian and Iraqi refugees who have&nbsp;re-settled in Germany.&nbsp;</p> Sat, 11 Jun 2016 18:56:41 +0000 Mari Andrews, Esther Traugot - Chandra Cerrito Contemporary - July 21st 6:00 PM - 7:30 PM <p>In connection with the exhibition <em>Excerpts From the Natural World, </em>we are pleased to present an Artist Talk with exhibiting Bay Area artists Mari Andrews and Esther Traugot. The talk will be moderated by Karen Kienzle, Director of the Palo Alto Art Center.</p> Thu, 12 May 2016 23:20:10 +0000 Kota Ezawa, James Kirby Rogers - The Contemporary Jewish Museum - July 28th 5:00 PM - 8:00 PM <p>Dialogue has always been an integral part of learning in traditional Jewish contexts. Now, The Contemporary Jewish Museum repurposes the centuries-old practice of <em>havruta</em>&mdash;the study of religious texts by people in pairs&mdash;for the contemporary art community. Bay Area-based artist Kota Ezawa collaborates with San Francisco native and contemporary dancer James Kirby Rogers in the next installation of the new exhibition series, <em>In That Case: </em>Havruta<em> in Contemporary Art.</em></p> <p><em>In That Case: </em>Havruta<em> in Contemporary Art</em> brings individual Bay Area artists together with a scholar, scientist, writer, or other thinker of his or her choice for a ten-week fellowship in creativity. The resulting collaborations are presented in The Museum&rsquo;s Sala Webb Education Center.</p> <p>Ezawa and Rogers are creating <em>Tonya </em>(working title), a three-channel video animation based on Rogers&rsquo; choreography, which he performed in front of Ezawa&rsquo;s camera.</p> <p>In his practice, Ezawa often reworks images from popular culture, film, and art history, stripping them down to their core elements. His simplified versions remain easily recognizable and potent, maintaining a keen awareness of how images shape our experience and memory of events. For <em>Tonya</em>, Ezawa removes Rogers&rsquo; movements from any larger context and repeats them on multiple screens, making the choreography, initially unknown to the viewer, at once familiar and mechanical. As a synthesis of two art forms, the piece blurs the line between human movement and the imaginative power of digital animation.</p> <p>&nbsp;</p> <p>$12 adults, $10 students and senior citizens with a valid ID, and $5 on Thursdays after 5pm.* Youth 18 and under free.</p> <p>*An additional $3 surcharge will apply to all general admission tickets throughout the run of <em>Stanley Kubrick: The Exhibition,</em> on view June 30&ndash;October 30, 2016.&nbsp;</p> <p>&nbsp;</p> <p></p> <p>&nbsp;</p> Thu, 09 Jun 2016 20:05:10 +0000 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