ArtSlant - Openings & events en-us 40 - Asian Art Museum - August 30th 1:00 PM - 1:45 PM <p>Enjoy the museum's collections and drink a bowl of whisked green tea with traditional Japanese sweets while learning about the art of seasonality and display from local tea school Chado Urasenke Tankokai San Francisco Association. Seating is limited and first come, first served.</p> <p>Tea Room, second floor, Japan Gallery</p> Tue, 29 Jul 2014 19:50:32 +0000 - Marin Museum of Contemporary Art (Marin MOCA) - August 30th 5:00 PM - 7:00 PM Sat, 26 Jul 2014 17:58:56 +0000 - Marin Museum of Contemporary Art (Marin MOCA) - August 30th 11:00 AM - 4:00 PM Sat, 26 Jul 2014 17:59:08 +0000 Kathleen M King - Mercury 20 Gallery - August 30th 4:00 PM - 6:00 PM <p>Kathleen King makes painted constructions using wood found in streets, building sites and dumpsters. The artist creates a visual lexicon of spray painted markings, gradated color and blunt geometry that explores the relationships between the urban environment and the emotions and behavior of individuals.</p> <p>Taking a psychogeographic approach, King wanders transitional neighborhoods, corresponding in earnest empathy with phenomena and objects encountered, cultivating an awareness of the ways in which everyday life is conditioned and controlled as well as how control is subverted. King's work moves between painting and sculpture, investigating visual patterns and uncovering playful strategies that connect viewers to possibilities for openness and optimism. <a href=";c=V8MO_bMEGqRQ1DSJDJgNhmH4LdYkehW1_tyGDaSsG5pqYn-mqCpUYw==&amp;ch=hHVTKMqymwjCGx3J97owMlU-VdmREx0fCjuwakz7hrjibj6P92FG8w==" target="_blank" rel="nofollow"></a></p> <p>Kathleen King was born in Oakland, CA and has a BA in Art from UC Berkeley. Her work has been exhibited locally at Pro Arts, the Marin Museum of Contemporary Art and the City of Berkeley's Martin Luther King, Jr. Civic Center Building and is represented in numerous private collections.</p> Wed, 13 Aug 2014 16:22:55 +0000 Jill McLennan - Mercury 20 Gallery - August 30th 4:00 PM - 6:00 PM <p>Jill McLennan documents the constantly changing urban environment that is both thriving and deteriorating simultaneously.&nbsp; She is inspired by the artistic movement "Ruin Lust" (from Germany) and is drawn to landscapes of abandoned structures left in a beautified state of ruin.&nbsp; In working with these ideas she adds a futurist outlook to her oil paintings, showing the possibilities of mother earth to overcome the destruction of human kind.&nbsp; She also envisions the potential of people to appreciate and nurture our planet towards a more sustainable future, where wild nature and human structure can coexist.&nbsp; In the exhibit, "Industrial Resolution", McLennan includes drawings, mixed media built pieces and paintings that explore the ideas of industry, history, urban nature and our outlook towards a future of human and natural cooperation. <a href=";c=V8MO_bMEGqRQ1DSJDJgNhmH4LdYkehW1_tyGDaSsG5pqYn-mqCpUYw==&amp;ch=hHVTKMqymwjCGx3J97owMlU-VdmREx0fCjuwakz7hrjibj6P92FG8w==" target="_blank" rel="nofollow"></a></p> <p><br /> McLennan grew up in Providence, RI, a city evolving from an industrially dated past and went to Hampshire College on a farm in Massachusetts.&nbsp; She has lived in the Bay Area for 14 years working as an Arts Educator and a practicing artist.&nbsp; She teaches at the DeYoung Museum, the Randall Museum, Sequoia Elementary School and Spectrum Centers.&nbsp; She works for the Museum of Children's Art, MOCHA and started her own business, JMAC, Jill McLennan Arts and Community to encourage creativity and community outreach with youth.&nbsp; Her work has been exhibited throughout the Bay Area, and New England and she has been showing with Mercury 20 Gallery for 5 years.&nbsp; Recently she received the Harrington Gallery Merit Award in their exhibition, "Fresh Works" for her piece, "Dear Nature".&nbsp; &nbsp;&nbsp;</p> Wed, 13 Aug 2014 16:28:32 +0000 Kaya Fortune - Mercury 20 Gallery - August 30th 4:00 PM - 6:00 PM <p>Kaya Fortune's art represents African American history, music, and visual arts, as well as spiritual and social concepts. The work is a tapestry of our experience from Africa to urban America.&nbsp; He attempts to peel back the skins and layers of history and expose things that have been forgotten.&nbsp; The Ancestors perseverance provides the strength and encouragement to overcome adversity; Giving the artist the tools to create new visions in his or her work. He is influenced by the soulful history of Jazz and Blues music and musicians. Each element ties together his experience of the past and present allowing him to create a contemporary interpretation.&nbsp;</p> <p>The piece, "Living in Black and White" is influenced by the quilting traditions of African American women from the south. Within the idea of a quilt, He includes elements of his grandparents, historical figures, musicians, and contemporary references. The work allows the viewer to question their views of history and racial identity.</p> <p>Kaya Fortune moved to the Bay Area 1982 to pursue an academic teaching career. He was drawn to the Bay Area because of its' art scene, he saw it as a creative environment where he could pursue his own art career. He later focused on art education and became a teaching artist at MOCHA.&nbsp; He wanted to inspire children by using the visual arts as a vehicle to give them the voice to be creative spirits.&nbsp; He has shown his work during the last 20 years throughout the Bay Area.&nbsp; He has co-founded a visual arts organization called "Soul Salon Ten". He also collaborated on the "Hood Games" a series of organized skate boarding events for urban children in northern and southern CA. In addition, he created a fashion design company called "Afro Blue", that focused on classic men's fashion from the 30's and 40's with a contemporary style. He is exhibiting at Mercury 20 Gallery for the first time as an invited guest artist. &nbsp;</p> Wed, 13 Aug 2014 16:31:19 +0000 Patrick Dintino - Andrea Schwartz Gallery - September 3rd 5:30 PM - 7:30 PM <p><strong>FOR IMMEDIATE RELEASE</strong></p> <p>Contact: Jennifer Draughon</p> <p>Andrea Schwartz Gallery</p> <p>545 4th Street, San Francisco, CA 94107</p> <p>415.495.2090 &ndash; Phone</p> <p>415.495.2094 &ndash; Fax</p> <p></p> <p></p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p><strong>Patrick Dintino</strong></p> <p><strong><em>Speed of Light</em></strong></p> <p><strong>September 3 &ndash; October 3, 2014</strong></p> <p><strong>Opening Reception: Wednesday, September 3, 5:30 - 7:30 PM </strong></p> <p><strong>&nbsp;</strong></p> <p style="text-align: justify;"><em>&ldquo;I am motivated by the time and speed of everyday life&rdquo;</em>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; -- Patrick Dintino</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Andrea Schwartz Gallery is pleased to announce a solo exhibition featuring new paintings and collages by Patrick Dintino, with an opening reception held on Wednesday, September 3 from 5:30 &ndash; 7:30 pm.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">In this new body of work, Patrick Dintino explores the human fascination with speed.&nbsp; Dintino considers everything from rush hour traffic to high-speed broadband and how these events and tools shape the rhythm of our lives. &nbsp;He believes that the fluctuations of time and speed drive the pulse of everyday life, as we accelerate around obstacles toward our goals.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">San Francisco artist Patrick Dintino received a B.A. from San Diego State University, and a B.F.A. and an M.F.A. from California College of Arts.&nbsp; In 2000, Dintino was invited as a guest artist to work with Sol LeWitt to create &ldquo;Sol LeWitt: A Retrospective&rdquo; at SFMOMA and received the prestigious Pollock/Krasner Foundation Grant in 2004.&nbsp; Patrick Dintino currently teaches at CCA.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Andrea Schwartz Gallery was established in 1982 and is located in the South of Market district of San Francisco in our new gallery space located at 545 &ndash; 4<sup>th</sup> Street. ASG exhibits contemporary work of mid-career artists from the Bay Area and across the country.&nbsp; ASG is a member of SFADA.&nbsp; Gallery Hours are Monday - Friday 9 - 5, Saturday by appointment.&nbsp; The gallery will be closed 9/25.&nbsp; For further information and materials please contact Jennifer Draughon at 415-495-2090 or; Additional information may also be found on our website, Thank you!</p> <p style="text-align: justify;"><strong>Note: Gallery will be closed 9/25</strong></p> Sat, 30 Aug 2014 06:39:54 +0000 Ratur - 1AM Gallery - September 4th 6:30 PM - 9:30 PM <p>1AM is pleased to present, &ldquo;<strong>Becoming Lucid</strong>&rdquo;, opening on <strong>September 4<sup>th</sup></strong>, 6:30 &ndash; 9:30pm. The exhibit will showcase oil paintings on canvas by French street artist and graphic designer, Arthur Maslard a.k.a. RATUR.&nbsp;</p> <p>Each painting in &ldquo;Becoming Lucid&rdquo; based off a computer-edited photo, usually of the artist himself. He then uses the photo as a guide to manipulate depth of field, carefully rendering the foreground while allowing the mid and background to slip away into less contrasted illustrations. As a result, each painting contains in itself a sense of unreality; a dreaminess that seems to push forward out of the painting. The hands of his figures in particular seem to reach out of the canvas. Allying digital work and technical virtuosity, the series questions the painter&rsquo;s place in our overwhelmingly digital society and challenges the relationship between street art and a more classical, academic current.</p> <p>Born in 1983 in Le Havre, France, RATUR took after his father who was a graphic designer and photographer. After high school, he began studying visual communication with focuses in illustration and design. He quickly gravitated toward graffiti art after a chance meeting with a graffiti artist from the nearby town Rouen, Madkow. They later formed the MV3 crew along with RATUR&rsquo;s brother Sckaro, touring France to paint at various festivals and alongside other prominent graffiti crews. He has become known for his many illustrations and murals for playgrounds and skate parks throughout France as well as his designs for vinyl records, logos, and other digital forms of visual communication. He also works with Burning Man, creating digital designs for the yearly festival in Black Rock City, Nevada.</p> <p>The exhibit will be on display until October 3rd. If you would like to preview the show, please contact</p> Thu, 21 Aug 2014 00:26:10 +0000 Saya Woolfalk - Asian Art Museum - September 4th 6:00 PM - 9:00 PM <p>In conjunction with the exhibition <em>Enter the Mandala: Cosmic Centers and Mental Maps of Himalayan Buddhism</em>, the museum presents a newly commissioned performance by visual artist Saya Woolfalk, which will be developed during her residency at Headlands Center for the Arts.</p> <p>The artist&rsquo;s work encompasses performance art while drawing from anthropology, mythology and science fiction to explore notions of hybridity and utopia. Woolfalk&rsquo;s new work will feature the Empathics, a fictional group of women who blend racial and ethnic identities as they transform, taking on characteristics of humans and plants.</p> <p>The performance features an original soundtracks composed by Paul D. Miller a.k.a. DJ Spooky that Subliminal Kid. Tonight's event is presented in collaboration with Headlands Center for the Arts.</p> Tue, 12 Aug 2014 21:04:09 +0000 - Asian Art Museum - September 4th 7:00 PM - 9:00 PM <p>If beauty is in the eye of the beholder, where are the lines between art, kitsch and pornography? If beauty is only skin deep, is race skin deep as well? Join artist Việt L&ecirc; &nbsp;in a conversation about the controversial politics of looking&mdash;and the gorges of looking gorgeous&mdash;through the lenses of camp, desire, loss and capital gains.&nbsp;&nbsp;</p> Thu, 21 Aug 2014 21:01:33 +0000 - Asian Art Museum - September 4th 7:00 PM - 8:00 PM <p>If beauty is in the eye of the beholder, where are the lines between art, kitsch and pornography? If beauty is only skin deep, is race skin deep as well? Join artist Việt L&ecirc; &nbsp;in a conversation about the controversial politics of looking&mdash;and the gorges of looking gorgeous&mdash;through the lenses of camp, desire, loss and capital gains.&nbsp;&nbsp;</p> Thu, 21 Aug 2014 20:55:17 +0000 Kai Samuels-Davis - Dolby Chadwick Gallery - September 4th 5:30 PM - 7:30 PM <p><em>Between Head and Hand</em>, an exhibition of new paintings by Kai Samuels-Davis, will open at the Dolby Chadwick Gallery on Thursday, September 4. Rendered in richly textured, de-saturated oils, Samuels-Davis&rsquo;s paintings are forged at the nexus of figuration and abstraction. Portraits comprise the vast majority of his subject matter, though the figures typically cannot be identified as any one person. They instead act as roadmaps for a conglomerate of inter-personal relationships and sensations, both visual and emotional.</p> <p>By painting from photographs instead of live models, Samuels-Davis is able to utilize multiple images of the same person&mdash;or even images of different people&mdash;to create highly layered, dynamic portraits. Although some of the subjects are people he knows, Samuels-Davis prefers to use strangers as his point of departure as they allow him the freedom to transcend the limits of existing knowledge, impart his own creative sensibilities, and inflect his own thoughts, feelings, and emotions. On the creative origins of his subject&rsquo;s identities, Samuels-Davis explains: &ldquo;I like the idea of each subject being &lsquo;born&rsquo;&mdash;of emerging&rdquo; out of entities that already exist in the world. Once fully formed, they come into their own and are &ldquo;no longer part of any real world but rather exist in this solitary void.&rdquo; His subjects, however, are far from imprisoned&mdash;if anything, they are free from life&rsquo;s quotidian restraints.</p> <p>In addition to referencing both color and black-and-white photographs of people, Samuels-Davis also utilizes close-up images of corroded metal, abstract swatches of paint, and distortions associated with digital artifacts, which are defined as unintended and ostensibly undesirable alterations in digitally-produced visual data. Incorporating these fragmented and textured visuals helps mitigate pretenses of overt premeditation, unrealistic order, or easy intelligibility.&nbsp;<em>The Secret</em>&nbsp;(2013), for example, presents a mash-up of blurred motion, &ldquo;pixilation,&rdquo; displaced forms, fractured borders, and &ldquo;corruptions&rdquo; of color. As a result of these combinatory practices, the paintings are reminiscent of Robert Rauschenberg&rsquo;s combines or Jess&rsquo;s paste-ups, though in a modified sense since Samuels-Davis&rsquo;s collages use painted&mdash;and ultimately, re-mastered&mdash;proxies of the original material.</p> <p>Samuels-Davis&rsquo;s process emerges from a subconscious place: an initial action leads intuitively to a second action, which points to a third action and, ultimately, a final composition. It is therefore unsurprising that he refers to his paintings as distorted mirrors, for although they don&rsquo;t serve as self-portraits, they are deeply influenced by and reflective of his inner sense of self. According to Samuels-Davis, this instills them with a therapeutic power: &ldquo;If I&rsquo;m stuck or frustrated I&rsquo;ll sometimes paint a face that&rsquo;s very confrontational, so that if feels like I'm confronting myself to snap out of it.&rdquo; Despite their various idiosyncrasies, the paintings are uniformly quiet and meditative, a total effect encouraged by his choice of residence in Jenner, a rural, isolated town along the mouth of the Russian River. On the intersection of his living experience and his process, Samuels-Davis explains:</p> <p>I like to be in a sort of meditative in-between place. That&rsquo;s why most of my subjects are solitary and seem lost in thought and quiet&mdash;I&rsquo;m painting them sitting alone in my studio, not speaking and (hopefully) with a clear, contemplating head. The works end up being a painted diary of sorts. &nbsp;</p> <p>While Samuels-Davis&rsquo;s paintings encourage inward reflection, they also activate our powers of perceptions and acts of close looking. Many of the compositions&mdash;especially&nbsp;<em>The Search, Beginning</em>&nbsp;(2014), for instance&mdash;are punctuated by glimmers of bright pink, violet, and cerulean blue that peek through the neutral, de-saturated tones, stimulating the eye and recalling sparks of cognition. In addition to building up layers and playing with textures, Samuels-Davis has been exploring forms with greater abandon, following new and unknown paths, breaking contours, and impulsively adding color and space so that each figurative painting contains multiple abstract paintings. As you look closer, previous unseen layers of texture and color become visible. Ever-conscious of viewer engagement, Samuels-Davis explains that such experimentation &ldquo;makes the process more exciting for me and hopefully gives the viewer a more fulfilling experience as well.&rdquo;</p> <p>Kai Samuels-Davis was born in Catskill, NY in 1980. He earned his BA in 2002 from the State University New York, Purchase, followed by his MFA in 2006 from Art Center College of Design in Pasadena, CA. He has exhibited across the United States, United Kingdom, and France, and was included in Dolby Chadwick Gallery&rsquo;s 2013&ndash;2014 group exhibition,&nbsp;<em>Hello, Goodbye</em>. This will be his first solo exhibition at the Dolby Chadwick Gallery.</p> Wed, 21 May 2014 18:10:48 +0000 Claire Healy & Sean Cordeiro - Gallery Wendi Norris - September 4th 6:00 PM - 8:00 PM <div class="artist-exhibition-landing-text" style="text-align: justify;"> <p>Gallery Wendi Norris is excited to announce <em>Architects of Destruction</em>, a multimedia exhibition by Sydney-based artist duo Sean Cordeiro and Claire Healy.</p> <p>At the beginning of their collaboration, the two artists found themselves amidst the chaos of Sydney&rsquo;s rapidly evolving cityscape. Their early careers were marked by the city&rsquo;s influx of money and construction resultant of Australia&rsquo;s winning bid to host the 2000 Summer Olympics. &ldquo;It was a really stressful time, there was no retreat from the construction and we watched as all of these beautiful buildings, full of heritage and history, were torn down.&rdquo; states Healy. Rather than become overwhelmed by the noise of development, the duo found inspiration in destruction for the sake of reinvention and expansion. Ever since, Healy and Cordeiro&rsquo;s practice has investigated the wrecking and reconstitution of objects. <em>Architects of Destruction </em>provides viewers a window into the artists&rsquo; nuanced understanding of human progress&rsquo;s inherent costs.</p> <p>The Lego works utilize the iconic children&rsquo;s toy in a representation of the Challenger Space Shuttle disaster of 1986. An analogue of the modern house brick, the tessellated Lego block was conceived as an easily removed, replaced and repositioned building element. As a tool for play, the Lego inspires children to not only construct objects but to also dismantle them for the sake of creating something anew. By rendering the historic calamity of the Challenger in Lego, the artists deftly link child&rsquo;s play to the &ldquo;integral accident,&rdquo; or the understanding that within each act of creation, the possibility of destruction exists. &ldquo;People taking on powerful positions today were young witnesses to this tragedy. They saw firsthand that the optimistic gesture of space travel and technological advancement brings with it the possibility for disaster.&rdquo; Cordeiro states.</p> <p>Juxtaposing the Lego works, a series of small-scale cross-stitchings depict detail views from historic oil-fueled explosions. The time-intensive maquettes explore the incongruous chronology of fossil fuels; it took the universe aeons to produce the very fuel we as a species will exhaust in a matter of generations.</p> <p>The final component of the exhibit utilizes a medium familiar to today&rsquo;s tech industry: the whiteboard. Inspired by its fundamental use as a platform for planning, Cordeiro and Healy explore what role this icon of ideation will play in the foreshadowing of future catastrophe. Combining the image of the Tesseract, a four-dimensional Hypercube, with imagery from Albrecht Durer&rsquo;s <em>The Four Horsemen of the Apocalypse</em>, the artists examine how technological innovations may foreshadow humanity&rsquo;s demise. As scientists consider their next moves, their visions of a prosperous future may very well overlook the potential disasters awaiting us; without intending to, the whiteboard scrawlers of today could be mapping out a route to tomorrow&rsquo;s catastrophe.</p> <p>Taken as a whole, <em>Architects of Destruction </em>analyzes how humanity&rsquo;s endeavor to evolve may very well accelerate our extinction. Beneath its surface of children&rsquo;s toys and office work, the exhibition finally asks us: as we work in good faith towards an unknown future, have we considered that perhaps the denouement of the human race is integral to its very creation?</p> <p><strong>About the Artists </strong></p> <p>Sean Cordeiro and Claire Healy are internationally recognized collaborative artists based in Sydney and Berlin. Their work is characterized by the playful reinvention of prefabricated structures and the transformation of everyday objects into extraordinary sculptures and installations. Their work broaches concerns relevant to people&rsquo;s daily lives, such as the cost of living, problems of overpriced real-estate, the need for space, consumerism and the desire for things to be better in the future than they are today. Cordeiro and Healy's work has appeared throughout Europe, Asia and Australia, including at the 53rd Venice Biennial. Solo museum exhibitions include, <em>Are We There Yet? </em>at the Corcoran Gallery of Art in D.C. as well as a mid-career retrospective in 2012 at the Museum of Contemporary Art in Sydney.</p> <p>&nbsp;</p> <p>For additional information and images please contact the gallery (415) 346-7812 or email</p> </div> Mon, 21 Jul 2014 08:34:29 +0000 Nicolas Lobo - Gallery Wendi Norris - September 4th 6:00 PM - 8:00 PM <p style="text-align: justify;">Over the past few years, Nicolas Lobo has narrowed his interdisciplinary practice to hone in on the peculiar life-cycles of various mass-produced consumer goods. Purple cough syrup, breakfast cereal, energy drinks, and donut frosting are just some of the unorthodox substances Lobo reduces to their chemical substrates in order to recast them in customized distribution networks of his own devise.</p> <p style="text-align: justify;">Now stripped of their original utilitarian intent, Lobo takes these elemental building blocks and stages dramatic collisions between wildly disparate materials to coax a moment of heightened reappraisal in the viewer. What was once so ubiquitous as to be largely taken for granted, is now experienced in a more primal, bodily capacity. In fact, it is a visceral awareness of the body&rsquo;s own vast distribution network of neural synapses, branching capillaries and aortic superhighways &ndash; its chain of complex chemical reactions &ndash; that Lobo strives to activate in his work in order to orchestrate a reconsideration of both commercial and biological systems and their fundamental interplay.</p> <p style="text-align: justify;">For <strong><em>D.O.W.</em></strong>, his solo presentation at Gallery Wendi Norris, Lobo will present three &ldquo;Napalm Scholar Stones&rdquo; sitting on terrazzo pedestals, amplified in scale to approximate the human body and situated irregularly in the space in the manner of traditional Zen rock gardens. Originally conceived as objects of contemplation, meditation and inspiration among painters and poets in China at least as far back as the Song dynasty (960-1270), traditional scholar rocks or scholar stones, as they came to be known, are miniature, executive-desktop scaled versions of their much larger outdoor cousins, designed to bring the beauty of nature indoors as a spur to the creative act.</p> <p style="text-align: justify;">Physically reminiscent of coral reefs as well as the majestic mountain ranges they were initially meant to evoke, the pocked and dimpled surfaces of these crusty biomorphic forms instill a quiet reverie courtesy of their perfect fusion of the celestial and the cellular, the transcendental and the geological. It is a blissful moment of peak experience that Lobo wishes to disrupt.</p> <p style="text-align: justify;">By pouring gasoline on blocks of polystyrene in an improvisatory manner, Lobo melts segments of the block away until he chances upon the perfect asymmetric armature or superstructure. This proprietary &ldquo;napalm,&rdquo; true to the original ingredients of the horrific, jelly-like incendiary initially invented and mass-produced by DOW Chemical specifically to cling to human flesh, is then coated with a skin of Play-Doh forcing us to juggle two distinct symbol systems &ndash; one, sinisterly destructive; the other, innocently procreative.</p> <p style="text-align: justify;">Lobo &ldquo;completes&rdquo; each sculpture by vigorously impressing his fingers across its entire surface. Though evidence of the artist&rsquo;s unique hand is writ large over every square inch of each object&rsquo;s topology, the intent is less triumphal autographic stroke, and more a willingness on Lobo&rsquo;s part to make himself complicit in the sometimes haunting, sometimes delightful trajectory that is napalm and Play-Doh&rsquo;s curious industrial endgame.</p> <p style="text-align: justify;"><strong>About the Artist </strong></p> <p style="text-align: justify;">Nicolas Lobo was born in Los Angeles in 1979. He graduated from the Cooper Union in 2004 and lives and works in Miami. Fluent in all media, Lobo produces sculptures, installations, videos, performances, photographs, and works on paper through which he aims to represent the unrepresentable. Radio waves, social networks, no-fly zones, electromagnetic fields, and sound are among the immaterial elements he has transmuted into physical forms.</p> <p style="text-align: justify;">Lobo has exhibited at MOCA, North Miami; Perez Art Museum (Miami); BASS Museum (Miami); The Fabric Workshop (Philadelphia, PA); the de la Cruz Collection (Miami); Locust Projects (Miami); Marlborough Chelsea (New York); and Lisa Cooley Gallery (New York). His work has been covered by <em>Artforum</em>, <em>Black Book</em>, <em>Art Papers, </em>and <em>Interview Magazine</em>, among others. He is in the collection of the Perez Art Museum; MOCA, North Miami; and the de la Cruz Collection.</p> <p style="text-align: justify;">For additional information and images please contact the gallery (415) 346-7812 or email</p> Thu, 14 Aug 2014 09:24:28 +0000 Taha Belal, Kota Ezawa, Jeanne Friscia, Alfredo Jaar, Todd Lavine, Dinh Q. Lê - Haines Gallery - September 4th 5:30 PM - 7:30 PM <p><strong><em>Political Fictions</em></strong></p> <p><strong>September 4 &ndash; November 1, 2014</strong></p> <p><strong>Opening Reception: Thursday, September 4, 2014, 5:30pm to 7:30pm</strong></p> <p>&nbsp;</p> <p>Bringing together an international group of artists whose diverse practices question the reportage and representation of current events, <em>Political Fictions</em> starts from the position that both artists and audiences can be active participants in the production, interpretation and transformation of media culture. By creatively intervening in the flow of news photos, television broadcasts and streaming data, these artists coax familiar images into revealing latent content through processes that suggest alternative models of analytical spectatorship. &nbsp;The exhibition takes its name from Joan Didion&rsquo;s 2001 collection of essays on American politics, which focuses on how the electoral process is packaged for the public consumption.</p> <p>The first in an ongoing series of curated exhibitions organized by Haines Gallery executive director David Spalding, <em>Political Fictions</em> brings the gallery&rsquo;s represented artists into dialogue with established and emerging artists from outside the gallery&rsquo;s regular program to address shared interests and urgencies.</p> Thu, 28 Aug 2014 23:13:34 +0000 David Park, Richard Diebenkorn, Nathan Oliveira, Manuel Neri - John Berggruen Gallery - September 4th 5:30 PM - 7:30 PM <p style="text-align: justify;"><strong>John Berggruen Gallery</strong> is pleased to present <em>David Park, Richard Diebenkorn, Nathan Oliveira, Manuel Neri: Figures and Landscapes</em>, an historical survey of works celebrating the iconic art of the Bay Area Figurative movement. This exhibition will be accompanied by an illustrated catalogue. Many of the works included in <em>Figures and Landscape</em>s are on loan from private collections and have rarely been shown to the public. We would like to extend our warmest gratitude to the individuals who have allowed us the opportunity to bring these paintings together in commemoration of the creative accomplishments of such distinguished artists. Please join us for our opening reception on Thursday, September 4<sup>th</sup>, 2014 between 5:30&ndash;7:30 PM.</p> <p style="text-align: justify;">John Berggruen Gallery, now approaching its 45<sup>th</sup>&nbsp;anniversary, is closely intertwined with the history of the Bay Area Figurative era. The longer we meditate on these artists and the history they forged together, the richer our understanding of this movement becomes. These four artists interpreted a forward looking modernist program not to require a specificity of medium and place, like their Abstract Expressionist cousins in New York City, but rather, deferred to optimism and a reverence for nature for inspiration. The majesty and mystery inherent in works such as Diebenkorn&rsquo;s&nbsp;<em>Landscape with Smoke,&nbsp;</em>1960, originates from the view that man and nature can indeed coexist in serenity, a perspective that defines the San Francisco Bay Area. </p> <p style="text-align: justify;">The freely brushed but carefully delineated canvases of these Bay artists quickly distinguished themselves as being disinterested in commercial interests, favoring instead psychological and pre-classical themes.&nbsp;While Diebenkorn and David Park consolidated and refined the wildness of the 1960's into elegant, color saturated canvases, Manuel Neri and Nathan Oliveira, the younger members of these four Bay Area favorites, were inspired by the fundamental quality of isolation. Neri's singular impasto figures and Oliveira's spiritual color fields contemplate man within and without the context of his natural environment. Together, these artists extract from the Bay Area a timeless and enduring view of man working together with nature. Through an exhibition offering a taste of the historical scope of these artists&rsquo; accomplishments, we also celebrate our own heritage.</p> Mon, 25 Aug 2014 11:02:42 +0000