ArtSlant - Openings & events en-us 40 Julie Beaufils, Vincent Fecteau, Henry Gunderson, Tony Lewis, B. Ingrid Olson - Jessica Silverman Gallery - July 1st 6:00 PM - 8:00 PM <p style="text-align: justify;"><strong>Synecdoche </strong><em>/</em> syn&middot;ec&middot;do&middot;che / si&rsquo;nɛkdəki / <em>n</em>. <strong>1</strong> a figure of speech in which a part is made to represent the whole or vice versa (e.g. <em>give us this day our daily bread; all hands on deck</em>; <em>the meeting was full of suits</em>; <em>San Francisco won the World Series. </em><strong>2 </strong>a group exhibition, featuring artists whose works distill grand narratives, complex psychological states and/or linguistic universes into singular forms.&nbsp;synecdochic<em> adj.</em> [Middle English via Latin from Greek word for simultaneous understanding]<br /> <br /> <strong>Julie Beaufils,</strong> a French artist living in Los Angeles. Her &ldquo;picture feels whole in incompletion, a body described only by legs, and even those are turned upside down.&rdquo; *<br /> <br /> <strong>Vincent Fecteau</strong>, lives in San Francisco, currently has a solo show at the Kunsthalle Basel. &ldquo;How did you figure out that making persuades our senses to recognize more than what is?&rdquo;<br /> <br /> <strong>Henry Gunderson, </strong>born in the Bay Area, based in Brooklyn.<strong> &ldquo;</strong>A zero is there. Can you see it? It&rsquo;s real, but it&rsquo;s just a place holder where presence materializes as a numeral of naught.&rdquo;<br /> <br /> <strong>Tony Lewis</strong>, based in Chicago, with a solo show at MOCA Cleveland . &ldquo;Can you consider presence in absence when narrative flows
 and then opens into blankness, absent vowels, truant bodies.&rdquo;<br /> <br /> <strong>B. Ingrid Olson, </strong>the <em>New Yorker </em>described her recent show as a &ldquo;knockout d&eacute;but.&rdquo; &ldquo;To distill in limited narrative a fullness that we must fill in fragments of the familiar, a language changing direction.&rdquo;<br /> <br /> * Quotations are from a poem by Rena Rosenwasser, written in honor of the &ldquo;Synecdoche&rdquo; exhibition.<br /> <br /> ** The exhibition is accompanied by an illustrated catalog with an essay by Joseph Akel, which is free for download <a href="" target="_blank">here</a>.</p> Tue, 16 Jun 2015 11:02:49 +0000 - Asian Art Museum - July 2nd 6:00 PM - 9:00 PM <p>Writer, critic, artist and technologist An Xiao Mina has designed an interactive program that will explore the visual culture of the Chinese Internet. First, she will lead a panel of artists and researchers in the exploration of Chinese digital culture with a focus on creative forms of expression through words and images. Then attendees will participate in a calligraphy workshop meant to offer a hands-on exploration of Chinese-language Internet puns, sourced by Beijing-based artist Ma Yongfeng.</p> <p>&nbsp;Organized in conjunction with the museum&rsquo;s current exhibition, <em>28 Chinese</em>, the program aims to provide insight into Chinese digital culture, which influences and inspires many creative professionals today, as well as the broader public.&nbsp;</p> <p>&nbsp;<span style="text-decoration: underline;">About the organizer:</span></p> <p>An &ldquo;An Xiao&rdquo; Mina is co-founder of The Civic Beat, a creative collective and online magazine looking at issues of global justice, creativity and technology. In the tech sector, Mina works at Meedan, where they are building a platform for social translation of social media.</p> <p>&nbsp;Mina has spoken at venues like the Personal Democracy Forum, Creative Mornings and the Aspen Institute, and she has contributed writing to publications like the <em>Atlantic</em>, the<em> Los Angeles Review of Books</em> and the <em>Journal of Visual Culture</em>. She was a 2013 fellow at the USC Annenberg / Getty Arts Journalism Program and serves as contributing editor to Hyperallergic and the Civicist. Having recently served as a section editor for <em>Ai Weiwei: Spatial Matters</em> (published by MIT Press and Tate Publishing), she is currently working on a book about Internet memes and global social movements.</p> Thu, 25 Jun 2015 21:41:47 +0000 - Ratio 3 - July 2nd 6:00 PM - 8:00 PM Tue, 16 Jun 2015 11:12:41 +0000 - Asian Art Museum - July 5th 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, 25 Jun 2015 21:45:52 +0000 - Asian Art Museum - July 5th 11:00 AM - 12:00 PM <p>We&rsquo;ve created greater access to the practice of yoga by expanding our Yoga Flow program to include an additional class. Explore movement and meditation with yogini Lorna Reed on the first Sunday of every month. Each session offers an opportunity to participate in practices that balance energy, align your body and prompt you to go inward. Please bring mats and wear comfortable clothing. This is a mixed-level class for visitors age 13 and up.</p> Thu, 25 Jun 2015 21:54:05 +0000 - Asian Art Museum - July 5th 12:30 PM - 1:30 PM <p>We&rsquo;ve created greater access to the practice of yoga by expanding our Yoga Flow program to include an additional class. Explore movement and meditation with yogini Lorna Reed on the first Sunday of every month. Each session offers an opportunity to participate in practices that balance energy, align your body and prompt you to go inward. Please bring mats and wear comfortable clothing. This is a mixed-level class for visitors age 13 and up.</p> Thu, 25 Jun 2015 21:56:25 +0000 Group Show - 1AM Gallery - July 9th 6:30 PM - 9:30 PM <p style="text-align: justify;">1AM Gallery is pleased to present, &ldquo;Free To Be&rdquo;, a group exhibition, opening July 9th, 6:30 &ndash; 9:30pm. The show will feature works by Bask, Nate1, Christopher de Leon, Joshua Lawyer, Jet Martinez, Askew, Sam Rodriguez, VyalOne, Mark Bode, Mike Tyau, Nuria Mora, J.S. Weis and Steven Lopez.</p> <p style="text-align: justify;">Independence Day is about our commitment to freedom of choice and liberty. We all state our intentions of what attributes we choose to protect that are vital to our character. In this exhibit, the artists will portray in their paintings what is important to them and what values do they strive to share with the world. What is it that they try to emulate in their actions. What do they like to defend. Love, patience, courage, wisdom, freedom, peacefulness, strength, humility, beauty, humor, joy, independence, innocence, protection, integrity, righteousness, empathy, generosity, optimism, and defiance are some of the themes.</p> <p style="text-align: justify;">With heavy focus on long time local artists, we are also happy to welcome back Bask and LA based, Steven Lopez and VyalOne. Nuria Mora from Madrid will bring her abstract, crisp style and Askew from New Zealand.</p> <p>1AM Gallery is pleased to present, &ldquo;Free To Be&rdquo;, agroup exhibition, opening July 9th, 6:30 &ndash;9:30pm. The show will feature works byBask, Nate1, Christopher de Leon,Joshua Lawyer, Jet Martinez, Askew,Sam Rodriguez, VyalOne, Mark Bode,Mike Tyau, Nuria Mora, J.S. Weis andSteven Lopez.Independence Day is about our commitmentto freedom of choice and liberty. Weall state our intentions of what attributeswe choose to protect that are vital to ourcharacter. In this exhibit, the artists willportray in their paintings what is importantto them and what values do theystrive to share with the world. What is itthat they try to emulate in their actions.What do they like to defend. Love, patience,courage, wisdom, freedom,peacefulness, strength, humility, beauty,humor, joy, independence, innocence,protection, integrity, righteousness, empathy,generosity, optimism, and defianceare some of the themes.With heavy focus on long time local artists, we are also happy to welcome backBask and LA based, Steven Lopez and VyalOne. Nuria Mora from Madrid willbring her abstract, crisp style and Askew from New Zealand.</p> Thu, 18 Jun 2015 06:24:25 +0000 Jenifer Kent - Dolby Chadwick Gallery - July 9th 5:30 PM - 7:30 PM <p class="p1">Dolby Chadwick Gallery is honored to announce an exhibition of new works by the artist Jenifer Kent. Kent draws on a wide range of inspiration for her drawings, which creatively merge aspects of Minimalism, Conceptualism, and Expressionism. The myriad small markings she makes in black ink on white clayboard coalesce into networked, radial forms reminiscent of organic and biological structures, while also moving well beyond such references. They cull from scientific drawings, the almost infinitesimal textural variances in master etchings, the mirrored unfolding of interrelated micro and macro processes. They render the invisible visible, articulating three-dimensional space in unexpected, meditative ways and revealing the passage of time and space through the evidence of their exacting, iterative process. &nbsp;</p> <p class="p1">Kent&rsquo;s works are firmly rooted within the Minimalist tradition, and strong parallels can be observed, in particular, with Agnes Martin&rsquo;s interest in monochromy, pattern, precision, and systemicity. Also at play are ties to artists who straddle Minimalism and Conceptual Art, such as Agnes Denes, who explores the shifting matrices of space, and Mel Bochner, who experiments with texture and accumulation. Kent, in light of this emphasis on space and accumulation, often thinks of her works as sculptural and looks to sculptors like Ruth Asawa, Lee Bontecou, and Eva Hesse for inspiration. The depth of the clayboard augments these affinities to sculpture by allowing the works to sit away from the wall, both hovering and projecting in ways drawing typically cannot.</p> <p class="p1">All of the works are visually highly expressive, as the markings erupt from a central source of energy, and, occasionally, from multiple nuclei scattered across the clayboard&rsquo;s matte surface. While previous works exhibit an ardent solidity of form, newer works, such&nbsp;<em>Flashpoint&nbsp;</em>(2014) and&nbsp;<em>Vanishing Point</em>&nbsp;(2014), introduce moments of pause&mdash;manifested as empty space&mdash;that disrupt the centrifugal motion.<em>&nbsp;Intersection</em>&nbsp;(2014) pushes this aesthetic even farther by galvanizing a different type of energy altogether. Within the bounds of a circular shape, lines ping pong back and forth between the form&rsquo;s circumference, occasionally dematerializing when they intersect vacuums of what can be thought of as &ldquo;paused time,&rdquo; which also manifest as circular forms. Interestingly, it is the negative space of the converging lines themselves that gives these moments their shape. &ldquo;Surrounded by such speed and violence,&rdquo; Kent explains, alluding in part to today&rsquo;s hyper-technological, fast-moving world, &ldquo;these drawings are my way to slow it all down and see things a mark at a time.&rdquo;</p> <p class="p1">Jenifer Kent earned her BFA from Rutgers University in 1994 followed by her MFA from Mills College, Oakland, in 1999. Having exhibited extensively across the West Coast of the United States, Kent has also been the recipient of numerous prestigious awards and residencies. This will be her first solo exhibition at the Dolby Chadwick Gallery.</p> Thu, 21 May 2015 00:35:49 +0000 James Kennedy - Dolby Chadwick Gallery - July 9th 5:30 PM - 7:30 PM <p class="p1" style="text-align: justify;">Dolby Chadwick Gallery is pleased to announce &ldquo;C O N T I N U U M,&rdquo; an exhibition of new work by New York&ndash;based artist James Kennedy. Kennedy&rsquo;s abstract paintings feature intricate, completely knitted surfaces that rely structurally on a buoyant tension of line, form, texture, and tonality. Working on eucalyptus masonite, which Kennedy describes as &ldquo;drinking up the medium beautifully,&rdquo; the artist builds up his signature layers of dilution, taping off areas before adding further layers of dilution and creating incisions that produce not only texture but dynamic lines for the eye to follow. &ldquo;I have to solve an equation in my compositions,&rdquo; Kennedy explains, &ldquo;it&rsquo;s very much about the line. As I work, I connect&mdash;from one line to another and from one gesture to another. Everything can change with just one incision.&rdquo; &nbsp;</p> <p class="p1" style="text-align: justify;">In each work, Kennedy leaves an aperture of space in which to allow &ldquo;the momentum of the painting to fall through.&rdquo; This momentum is generated by the coursing lines and the constant negotiation between foreground and background&mdash;between the grounding substructure and those ancillary structures that are raised from there.&nbsp; But color, too, plays an equally critical role.&nbsp;<em>SEQUENTIAL</em>&nbsp;(2014) is exemplary of many of Kennedy&rsquo;s paintings in its emphasis on shades of gray&mdash;from warm to cool, deep to light, muddy to crystalline. The subtle variations between the hues are heightened when isolated from the rest of the color spectrum, save for accents of brown&mdash;here produced by the masonite itself&mdash;or, in a painting like&nbsp;<em>CONSTUCTIVE VARIANT</em>&nbsp;(2014), blue. These accents galvanize a painting&rsquo;s rhythm through their punctuating presence. &nbsp;</p> <p class="p1" style="text-align: justify;">Despite the precision of his works, which contributes to their measured and harmonious gestalt, Kennedy&rsquo;s process is unpremeditated; he does not create preliminary drawings, nor does he make use of referential material. Such artistic automatism calls to mind the methods of the Surrealists or those &ldquo;action painters&rdquo; among the Abstract Expressionists, yet, visually, Kennedy&rsquo;s paintings feel more closely aligned with the modulating style of Post-Impressionists such as Paul C&eacute;zanne, which the Cubists and Futurists further exaggerated. While Kennedy does not attempt to break down reality into its component parts in the same way these artists did, he nonetheless plays with these elements, moving them around and finding a balance and dynamism that satisfies the eye. In this way, it is possible to &ldquo;see&rdquo; bits of reality where they might not exist: a landscape, a bridge, a building, a blueprint, even the visual equivalent of music.&nbsp;</p> <p class="p1" style="text-align: justify;">James Kennedy was born in County Down, Northern Ireland, and earned degrees from the Royal Scottish Academy, Edinburgh, Scotland, and Rhode Academy of Design, Brighton, England. His work has been exhibited across the United States and acquired by Saatchi + Saatchi and the St. Regis Hotel, among other prestigious collections. This will be his first exhibition at the Dolby Chadwick Gallery. &nbsp;</p> Sun, 24 May 2015 16:34:51 +0000 Rob Craigie, Nigel Poor, Allison Smith, Taha Belal, Jenifer Evans - Haines Gallery - July 9th 6:00 PM - 8:00 PM <p class="p1">FOR IMMEDIATE RELEASE</p> <p class="p2">Haines Gallery, 49 Geary Street, Fifth Floor, San Francisco CA 94108 | 415-397-8114</p> <p class="p2"></p> <p class="p3">For press inquiries or images, please contact Brent Nu&ntilde;ez:</p> <p class="p3">For sales inquiries, please contact Catie Rini Patton:</p> <p class="p4"><strong><em>The Collectors</em></strong></p> <p class="p2">Rob Craigie, Nigel Poor, and Allison Smith&nbsp;</p> <p class="p4"><strong><em>Nile Sunset Annex: The Many Hats</em></strong></p> <p class="p2">Organized by Taha Belal and Jenifer Evans</p> <p class="p5"><strong>July 9 &ndash; August 29, 2015</strong></p> <p class="p6"><strong>Opening Reception: Thursday, July 9 from 5:30 pm to 7:30 pm</strong></p> <p class="p2">Haines Gallery is pleased to present <em>The Collectors</em>, a group exhibition bringing together three artists whose practices have their basis in the selection, accumulation, and documentation of objects, images, and experiences. Far greater than the sum of their parts, each of the works included in the show accrues meaning through inspired acts of gathering, arranging, and cataloging. In conjunction with <em>The Collectors</em>, Haines Gallery has turned its back gallery into a temporary outpost for Nile Sunset Annex, an ambitious artist-run space operating in a flat in Cairo, Egypt.</p> <p class="p1"><strong><em>The Collectors</em></strong></p> <p class="p3">A collection tells stories&mdash;both about the materials it contains and about the logic of its owner. A consummate archivist for whom collecting is an essential creative device, Rob Craigie (b. 1968, Livonia, MI) presents <em>Collection: A Way</em>, an installation comprised of found items and sculptural works laid out for the visitor&rsquo;s inspection, as well as a series of short video projections that add a narrative dimension to the objects on view. Hexagonal cakes of beeswax are the material evidence of the collective labor of the hive as pollen is transformed into honey, measured here in the lifespans of its tiny makers, while an assortment of materials&mdash;including maps, a video, and a jar of salt crystals&mdash;form a constellation of evidence related to Craigie&rsquo;s fascination with (and 2014 journey to) Robert Smithson&rsquo;s <em>Spiral Jetty</em>, the iconic earthwork that keeps geological time through its own changing form. Another piece, <em>Pigeonholed Papers from a Dead Farmer </em>suggests a life reduced to an archive of discarded records, documents, and correspondence that evokes a bygone era. Entering Craigie&rsquo;s universe, visitors are invited to study his diverse artistic practice, forging new connections among the various pieces of a puzzle about transformation, death, rebirth, and discovery.&nbsp;</p> <p class="p4">The striking silver gelatin prints that comprise Nigel Poor&rsquo;s (b.1963, Boston, MA) <em>Found </em>series from 1998 offers up highly suggestive objects jettisoned by their owners and collected by the artist as she traversed the streets of San Francisco. By precisely illuminating her subjects and shooting them against uniformly black backgrounds, Poor elevated these castaways, transforming them into emblems of the myriad dramas that once unfolded throughout the city. Poor offers a melancholy congregation for our consideration&mdash;abandoned dolls, unreturned library books, and other objects deemed to have outlasted their usefulness. A catalogue of discarded, outgrown and unrealized possibilities, <em>Found </em>was first presented at Haines Gallery at the turn of the millennia, displayed as a large calendar of 365 images, one for each day of the year, arranged into twelve months of gridded photographs. For <em>The Collectors</em>, Poor revisits the series to present what remains in the gallery&rsquo;s flat files fifteen years later. Rather than arranging these works chronologically, they now form a map of the city&rsquo;s southeast quadrant, based on the locations where Poor discovered each object, tracing the city's past.&nbsp;</p> <p class="p9">Allison Smith&rsquo;s (b. 1972, Manassas, VA) <em>Stockpile</em>, 2011, is a mountainous mash-up of objects evoking colonial-era Americana and its reenactment&mdash;a pile (or pyre) of looted, stacked bric-a-brac teetering toward the heavens. The repeating forms of barrels, roll-top desks, Windsor chairs, cabriole-legged tables, and wooden guns, all made from the same unpainted wood, suggest at once the cut-and-paste reproducibility of the digital realm, the outsourced mass-production of &ldquo;historic&rdquo; American artifacts (thanks, in part, to the cheap labor and unprotected forests of Asia), and an obsessive desire to cling to the remnants of an imaginary past. With <em>Stockpile</em>, props from the waking dream of reenactment culture&mdash;particularly the &ldquo;living history&rdquo; villages of the eastern United States, depicted here in Smith&rsquo;s accompanying photo works&mdash;form a monument to national anxiety, a horror vacui born of an empire in decay. A dam to block the flow of time&rsquo;s river, <em>Stockpile </em>reflects a desire to stave off the advance of history, to live securely and eternally within the realm of repetition. In this way, Smith&rsquo;s practice can be said to embody a set of impulses that animates collecting of all kinds.</p> <p class="p9"><strong><em>Nile Sunset Annex: The Many Hats&nbsp;</em></strong></p> <p class="p9">Since its 2013 founding in a Cairo apartment by artists Taha Belal (b. 1984, Cairo, Egypt) and Jenifer Evans (b. 1982, Bristol, UK), Nile Sunset Annex has established an exhibition program that forms the basis for its own collection of contemporary art, which Belal and Evans call the only circulating collection of contemporary art in Egypt. Inspired in part by Marcel Duchamp&rsquo;s <em>Bo&icirc;te-en-valise</em>, at Haines Gallery Nile Sunset Annex will present 1:5-scale versions of the works in their collection, featuring miniature replicas of works by artists such as Faten El Disouky, James Wright, Leah Rosenberg and Mahmoud Khaled, publications created alongside each exhibition, and postcards bearing images of the original, full-sized artworks. In addition, Nile Sunset Annex will curate a selection from their growing collection of Egyptian contemporary art ephemera, providing a visual overview into 30 years of exhibition making through posters and invitation cards. Finally, Belal and Evans will each present artworks of their own, as well a collaborative piece presented under the Nile Sunset Annex name, demonstrating the multitude of hats they wear&mdash;including exhibition maker, publisher, administrator, collector, artist, and archivist&mdash;in their DIY efforts to develop a creative platform within a changing local context.</p> Fri, 12 Jun 2015 20:11:02 +0000 Luca Antonucci, Elizabeth Bernstein, Kristine Eudey, Carey Lin, Olivia Mole, Emma Webster - Pro Arts Gallery - July 9th 6:00 PM - 8:00 PM <p><strong>Selections by Christina Linden, Associate Curator of Painting and Sculpture, Oakland Museum of California</strong></p> <p><strong>July 3 - August 7, 2015</strong></p> <p><strong>Artists' Reception: Thursday, July 9, 6-8pm</strong></p> <p><strong>Artists' Talk: First Friday, August 7, 6.30pm</strong></p> <p><em>First Person Once Removed</em>&nbsp;brings together a constellation of seven artists working with the concept of the extended self to explore processes of abstraction. Juror Christina Linden says of the exhibition, &ldquo;Through a variety of techniques, these artists demonstrate that attempts to understand and represent external bodies&mdash;whether these bodies are lost objects, foreign landscapes or the people we live with&mdash;are always subject to abstraction. Some develop this abstraction in as much isolation as they can find in their studios, but others highlight the role of conversation, collaboration, and chance in their procedures.&rdquo;</p> <p><strong>Featured Artists: </strong>Luca Antonucci, Elizabeth Bernstein, Kristine Eudey, Carey Lin, Olivia Mole, Emma Webster</p> <p>&nbsp;</p> <p><strong>Pro Arts</strong></p> <p><strong>150 Frank H. Ogawa Plaza, Oakland, CA 94612</strong></p> <p><strong><a href="" rel="nofollow"></a> // 510-763-4361</strong></p> <p><strong></strong></p> <p>&nbsp;</p> <p>&nbsp;</p> Sat, 13 Jun 2015 20:11:30 +0000 - SOMArts Cultural Center - July 9th 6:00 PM - 9:00 PM <p class="p1"><em>Making a Scene: 50 Years of Alternative Bay Area Spaces</em>, which received critical support from the National Endowment of the Arts, spotlights a rich history of Bay Area artist-run, independent and alternative spaces, as well as the pioneers and contemporary trailblazers of social justice who utilized these spaces as a catalyst and megaphone. Archival material from more than 20 individuals and spaces, and art and installations by more than 30 current and historic Bay Area artists, unite the featured spaces&rsquo; disparate, yet overlapping and contingent histories of cultural engagement, community development and social justice. &nbsp;</p> <p class="p4">The opening reception features a 7-monitor&nbsp;&ldquo;Pollination Pod,&rdquo; a mobile museum of alternative sexual identity, and a special performance by Annie Sprinkle and Elizabeth Stephens.</p> <p class="p4">For more&nbsp;information about the exhibit and the reception, visit&nbsp;<a href="" target="_blank" rel="nofollow"></a>.</p> Wed, 24 Jun 2015 21:36:21 +0000 Emma Spertus - City Limits - July 10th 7:00 PM - 11:00 PM Tue, 16 Jun 2015 11:01:22 +0000 Nicholas Bohac, Michelle Fleck, Jenny Sharaf, Emily Proud - Fecal Face Dot Gallery - July 10th 6:00 PM - 9:00 PM <p style="text-align: justify;">FFDG is pleased to present &ldquo;On Silent Haunches&rdquo; a group show including work by four local painters, Emily Proud, Jenny Sharaf, Michelle Fleck and Nicholas Bohac.&nbsp;<em>On Silent Haunches</em>&nbsp;is a microcosm of contemporary painting in San Francisco, with curatorial inspiration form an SF painting staple, Ferris Plock. An opening reception is scheduled for Friday, July 10 (6-9pm). The artists will be present. Beer and wine will be served.&nbsp;</p> <p style="text-align: justify;">While each painter works in very different methods, from Sharaf&rsquo;s pours to Fleck&rsquo;s precision and then to Bohac&rsquo;s layering and Proud&rsquo;s watercolors, all share a sense of light exclusive to the bay area. Working with pastel and bold colors, reflective surfaces and subtle hues, all of the works encapsulate what it is to see in San Francisco. Like bay-area painters of the past such as Wayne Thiebaud and Richard Diebenkorn, this light permeates the air we breathe and therefore the work we make.</p> <p style="text-align: justify;">One of the emblematic features of San Francisco is the fog that covers the city and diffuses the sun&rsquo;s light before it hits our concrete streets. Twitter followers have coined him Karl the Fog, and he spends summer looming over our city and encouraging weekend getaways. He may owe his nom de plume to Carl Sandburg who wrote the poem &ldquo;Fog&rdquo; which reads as follows:</p> <p class="text-align-right" style="text-align: justify;">The fog comes</p> <p class="text-align-right" style="text-align: justify;">on little cat feet.</p> <p class="text-align-right" style="text-align: justify;">&nbsp;</p> <p class="text-align-right" style="text-align: justify;">It sits looking</p> <p class="text-align-right" style="text-align: justify;">over harbor and city</p> <p class="text-align-right" style="text-align: justify;">on silent haunches</p> <p class="text-align-right" style="text-align: justify;">and then moves on.</p> <p class="text-align-right" style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Each of these painters seems to be perched on these &ldquo;silent haunches.&rdquo; Not quite confrontational, but not willing to be overlooked, this work seems to spring from a similar ethos into very disparate incarnations of what contemporary painting is today.&nbsp;</p> Fri, 19 Jun 2015 17:37:20 +0000 - Asian Art Museum - July 11th 1:00 PM - 1:45 PM <p>Join tea teachers from Urasenke Foundation San Francisco for a bowl of whisked green tea with traditional sweets. Seating is limited. First come, first served.</p> Thu, 25 Jun 2015 21:58:43 +0000 - Asian Art Museum - July 11th 2:30 PM - 3:15 PM <p>Join tea teachers from Urasenke Foundation San Francisco for a bowl of whisked green tea with traditional sweets. Seating is limited. First come, first served.</p> Thu, 25 Jun 2015 22:01:44 +0000