ArtSlant - Openings & events en-us 40 - Asian Art Museum - December 31st 9:30 AM - 11:30 AM <p>In this contemplative and festive ceremony, participants can strike the museum&rsquo;s 2,100-lb., 16th-century Japanese bronze bell to herald the start of a fresh New Year. Led by Rev. Gengo Akiba with opening remarks about the Japanese New Year by Yoshie Akiba (founder and namesake of Yoshi&rsquo;s jazz club), the ceremony includes a purification ritual and chanting of the Buddhist Heart Sutra.</p> <p>Rev. Akiba begins the bell ringing, and participants take turns ringing the bronze bell to leave behind any negative experiences, wrong deeds and ill luck of the previous year.</p> <p>First come, first served. Pick up tickets to ring the bell at the admission desk. Doors open at 9 AM for members.</p> Fri, 12 Dec 2014 19:36:49 +0000 Donald Bradford, Peter Combe, Alex Couwenberg, Ned Evans, Alex Weinstein - Andrea Schwartz Gallery - January 7th, 2015 5:30 PM - 7:30 PM <p><strong></strong></p> <p><strong>&nbsp;</strong></p> <p><strong>FOR IMMEDIATE RELEASE</strong></p> <p>Contact: Jennifer Draughon</p> <p>Andrea Schwartz Gallery</p> <p>545 - 4<sup>th </sup>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>LA | SF&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;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong></p> <p><strong>January 7 &ndash; January 30, 2015</strong></p> <p><strong>Opening Reception: Wednesday, January 7, 2015 5:30 PM &ndash; 7:30 PM</strong></p> <p><strong>&nbsp;</strong></p> <p>Andrea Schwartz Gallery is pleased to announce, LA | SF, a group exhibition featuring new work by Donald Bradford, Peter Combe, Alex Couwenberg, Ned Evans, and Alex Weinstein with an opening reception held on Wednesday, January 7 from 5:30 &ndash; 7:30 pm.</p> <p>&nbsp;</p> <p><em>&ldquo;This series began as a meditation on loss and evolved into a celebration of life.&rdquo;</em></p> <p><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; </em>--Donald Bradford</p> <p>&nbsp;</p> <p>The wall of yarn skeins, belonging to a loved one, became the focal point for Donald Bradford&rsquo;s reflections on loss.&nbsp; Through his characteristic loose, painterly style and vibrant colors, the series developed into a tribute of a life lived.</p> <p><em>&nbsp;</em></p> <p><em>&ldquo;After nearly five decades of surfing and painting, a symbiosis occurs between the two, a deeply interwoven relationship feeds both passions.&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; --Ned Evans</p> <p>&nbsp;</p> <p>From the sand to the ocean and water, Ned Evans finds inspiration in his two passions of surfing and art.&nbsp; His works are derived from the memory and the ephemeral experience the ocean gives to those who love it.</p> <p>&nbsp;</p> <p><em>&ldquo;My paintings are visual resting places where the viewer&rsquo;s interpretive associations can collect inside.&rdquo;&nbsp;&nbsp; </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; --Alex Weinstein</p> <p>&nbsp;</p> <p>Alex Weinstein mixes abstraction with the faintest traces of representational imagery in his painting and sculptures to evoke the essence and texture of hazy sea surfaces.&nbsp; The atmospheres he creates become quiet, contemplative places for the audience to interpret as they see fit.</p> <p>&nbsp;</p> <p>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 1 &ndash; 5. The gallery will be closed 1/21.&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> Tue, 23 Dec 2014 22:24:23 +0000 Clare Kirkconnell - John Berggruen Gallery - January 8th, 2015 5:30 PM - 7:30 PM <p style="text-align: justify;">John Berggruen Gallery is pleased to present an exhibition of new paintings by California-based artist Clare Kirkconnell. The exhibition &ndash; the first of the gallery&rsquo;s 45th year in business &ndash; opens&nbsp;Thursday, January 8th, and continues through&nbsp;Saturday, January 31st. John Berggruen Gallery will host a reception for the artist on&nbsp;Thursday, January 8th from 5:30 to 7:30pm&nbsp;to coincide with the San Francisco Art Dealers Association&rsquo;s First Thursdays. This is Kirkconnell&rsquo;s third solo show at John Berggruen Gallery.<br /><br />In this exhibition of fourteen new paintings, Kirkconnell continues to communicate her vested interest in nature through her selection of organic subject-matter and through her process, which mimics the elemental unpredictability intrinsic to the natural world. She mixes her paint directly on the canvas, allowing the pigments to pool and mix freely. Despite the surrender to entropy this process entails, Kirkconnell relies heavily on a grid to structure her compositions. Although it is a recurring theme in her paintings, the grid takes center stage in the new works exhibited in Juxtapositions.<br /><br />The prominent position the grid assumes in her works is rooted in her early experience with and exposure to the fiber arts. Kirkconnell&rsquo;s grandmother taught the artist to knit and weave, and thereby introduced her to the grid, at a very early age. From then on, it became a powerful informant behind her creative impulse. &ldquo;Graph paper was a constant tool from early on,&rdquo; Kirkconnell has acknowledged, explaining that &ldquo;the warp and weft of those clean blue lines inspired [her] to create much more readily than a blank sheet of paper.&rdquo; The impulse, however, is not to treat each of the small squares comprising the grid as distinct, solid, matte blocks. Unlike graph paper, stained glass, and screen pixels, each of Kirkconnell&rsquo;s subcomponents borrows from the next. Each square blends into its neighbors, harboring unique graduations of hue and tone that create an alluring visual display by freeing the pure, unmodified grid of its inherent rigidity and severity.<br /><br />Kirkconnell is also interested in investigating how colors interact with each other, and the overall effect these interactions produce. Driven by a budding interest in color theory, she has researched at length the work of French chemist Michel Eugene Chevreul, whose color principle &ndash; namely that the perception of a given color can change depending on the colors surrounding it &ndash; greatly advanced art in Europe in the eighteenth century. Kirkconnell employs the grid as a playground upon which to explore this theory in her art. The combinations of earthy tones used in this latest body of work make the canvases subtly shift and pulsate, morphing as if alive, sometimes in entirely unexpected ways.<br /><br />Born in Brownsville, Texas, in 1955, Clare Kirkconnell spent a number of years in Mexico City before returning to Houston to finish high school. She developed an interest in the arts early on and continued her education at Palomar College in San Marcos, California. After college, Kirkconnell spent several years as a fashion model traveling the world from bases in New York and Paris. She concurrently studied acting, landing several film and television roles, including a three-year run as the female lead in the highly acclaimed drama The Paper Chase. Never abandoning her early interest in painting, Kirkconnell then continued her studies at Santa Monica College and Otis Parsons School of Design. Her work has been consistently well-received and can be found in many important private collections. When not in the studio, Kirkconnell divides her time between her husband and son, the family wine business, &ldquo;Hollywood and Vine Cellars,&rdquo; and a deep, abiding urge to see every corner of the globe.&nbsp;</p> Thu, 25 Dec 2014 15:25:41 +0000 Sarah Thibault - Mark Wolfe Contemporary Art - January 9th, 2015 5:30 PM - 8:00 PM <p class="FreeFormA"><strong>&nbsp;</strong></p> <p class="FreeFormA"><strong>FOR IMMEDIATE RELEASE </strong></p> <p class="FreeFormA">December 2, 2014</p> <p class="FreeFormA"><strong>&nbsp;Contact: &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong>Mark Wolfe, 415.369.9404 |</p> <p class="FreeFormA" align="center"><strong>SARAH THIBAULT : <em>STAYCATION</em></strong></p> <p class="FreeFormA" align="center">New Paintings &amp; 3-D Works</p> <p class="FreeFormA">&nbsp;<strong>Show Dates:</strong> &nbsp;January 9 &ndash; February 27, 2015</p> <p class="FreeFormA"><strong>Hours</strong>: &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;Tuesday &nbsp;&ndash; Friday, 11:00am &ndash; 5:00pm; Saturday by appointment&nbsp;</p> <p class="FreeFormA"><strong>Address</strong>: &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;1 Sutter Street, Suite 300, San Francisco, CA &nbsp;94104&nbsp;</p> <p class="FreeFormA"><strong>Reception</strong>: &nbsp;&nbsp;&nbsp; &nbsp;Friday, January 9, 2015, 5:30pm - 8:00pm</p> <p class="FreeFormA"><strong>&nbsp;</strong></p> <p class="FreeFormA">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p class="FreeFormACxSpMiddle" style="text-align: justify;">With &ldquo;Staycation,&rdquo; Thibault expands on her earlier explications of materialism, artifice, and the relationship between objects and power in the context of 19<sup>th</sup> Century French antiques.&nbsp; The show responds to the visual ubiquity of tie-dye patterns, peace signs, and other motifs of hippie iconography in the physical space of her Haight-Ashbury neighborhood on the one hand, and of emojis, emoticons, logos, and other motifs of social media in the networked virtual space that many view as the inevitable outcome of San Francisco&rsquo;s hippie ethos of the 1960s.&nbsp;</p> <p class="FreeFormACxSpMiddle" style="text-align: justify;">&nbsp;</p> <p class="FreeFormACxSpMiddle" style="text-align: justify;">Fifty years ago, a generation of twenty-somethings flocked to San Francisco to partake in a counter-cultural revolution fueled by sex, drugs, and political idealism.&nbsp; &ldquo;Staycation,&rdquo; titled from the idea of temporarily checking out of reality without actually going anywhere, compels the viewer to consider whether today&rsquo;s current techno-cultural revolution in San Francisco, where the &ldquo;we&rsquo;re changing the world&rdquo; mantra is as omnipresent as it was in 1968, and to ask what, if anything, is different?</p> <p class="FreeFormACxSpMiddle" style="text-align: justify;">&nbsp;</p> <p class="FreeFormACxSpMiddle">Sarah Thibault received her MFA from the California College of the Arts in 2011.&nbsp; In addition to Wolfe Contemporary, she has exhibited with Steve Turner Contemporary in Los Angeles, and in group shows and art fairs in Miami, Minneapolis, New York, and Paris.&nbsp; She lives and works in San Francisco</p> <p class="FreeFormACxSpLast">&nbsp;</p> <p>Please contact the gallery for hi-res images and/or a detailed artist CV.</p> <p>&nbsp;</p> <p class="Default" align="center"><strong>#####</strong></p> <p><strong><br clear="all" /> </strong></p> <p class="Default" align="center"><strong>&nbsp;</strong></p> <p class="Default" align="center"><strong>&nbsp;</strong></p> <p class="Default" align="center"><strong>&nbsp;</strong></p> <p class="Default">&nbsp;</p> <p class="Default">&nbsp;</p> <p class="Default">&nbsp;</p> Thu, 25 Dec 2014 15:39:38 +0000 Christy Chan - Southern Exposure - January 9th, 2015 7:00 PM - 9:00 PM <p><ins cite="mailto:Valerie%20Imus" datetime="2014-12-10T17:59"><span style="color: #000000;">Christy Chan's installation of videos contemplates race and power in American culture. As a child growing up in rural Virginia, she translated and responded to harassment letters from the Ku Klux Klan on behalf of her immigrant family. In Who's Coming to Save You, Chan portrays Klan figures in situations that interrupt their power dynamics. This installation is part of </span><em style="color: #000000;">Sets, t</em><span style="color: #000000;">hree two-week projects of process-based, video and performance work by Bay Area artists Christy Chan, Chris Kallmyer and Olivia Mole.&nbsp;</span></ins></p> Fri, 12 Dec 2014 21:07:56 +0000 - Asian Art Museum - January 10th, 2015 12:00 PM - 1:00 PM <p>Celebrate the Japanese New Year with Kagami Kai, an acclaimed mochi group, as it presents the colorful and exciting New Year tradition of mochi pounding to make delectably sweet rice cakes, with lively music, energetic dance and traditional costumes.</p> Thu, 18 Dec 2014 20:02:58 +0000 Andrea Way - Brian Gross Fine Art - January 10th, 2015 4:00 PM - 6:00 PM <p>Brian Gross Fine Art is pleased to announce an exhibition of works on paper by Andrea Way, on January 8, 2015. On view will be eight mixed media drawings that explore the concepts of development and evolution through systematic map making and linear patterns. Through intricate layers of abstract networks, Way builds dazzling arrangements that perfectly balance structure and beauty. Off the Grid will be on view through February 28, 2015.<br />&nbsp;<br />Continuing to explore rule-based drawings of interconnecting marks and configurations, Way now turns her attention exclusively to black and white. Removing the complication and distraction of color, Way is free to focus on the foundation and reduction of her incredibly complex formations. Way begins each drawing with a distinct pattern, letting the boundaries of the paper dictate the direction of her lines, eventually building upon itself, both revealing and sometimes concealing the record of her activity. Small circles and subtle contours echo the exquisite complexities of a cellular network or elaborate maze. This unfurling of unforeseen shapes and elaborate rhythms create a delicate harmony of methodical intent and spontaneous discovery. &nbsp;<br />&nbsp;<br />The natural world inspires and informs Way&rsquo;s intuitive compositions, like the rings on a tree or the veins in a leaf, each interaction of a line or shape assembles to form a complex and unique entity. And much like flourishing organic systems found in nature, Way&rsquo;s drawings exemplify the elegant interplay between precision and fortuity. Way states, &ldquo;I enjoy working in a way that relates to how life evolves, and how nature works. The combination of a plan or code or formula, on the one hand, with accidents or unplanned activities, on the other, is a natural way of having an ebb and flow.&rdquo; <br />&nbsp;<br />Andrea Way received her B.A. from Indiana University, Bloomington, IN in 1971.&nbsp; Way, who divides her time between Washington D.C. and the Bay Area, has exhibited in solo and group exhibitions throughout the United States. She is represented in the public collections of the Honolulu Museum of Art, Honolulu, HI; Achenbach Foundation, Fine Art Museums of San Francisco, CA; Cleveland Museum of Art, Cleveland, OH; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Corcoran Gallery, Washington, DC; and the Smithsonian American Art Museum, Washington, D.C., among others. This is Andrea Way&rsquo;s fourth solo exhibition at Brian Gross Fine Art.<br /><br /></p> Sun, 14 Dec 2014 00:13:52 +0000 Jennie Ottinger - Johansson Projects - January 10th, 2015 2:00 PM - 5:00 PM <p><strong><strong>Letters to the Predator</strong><br /> <em>Featuring: Jennie Ottinger</em><br /> Show Runs January 10 - February 28, 2015<br /> Reception: Saturday, January 10, 2-5pm</strong></p> <p>Chew with your mouth closed. Don't talk back. We're taught to be polite, sometimes, at all costs. In her newest exhibition, Letters to the Predator, Jennie Ottinger takes a tip from the animal kingdom (and "The Real World") and throws propriety out the window in favor of carnal instinct and survival. Ottinger asks: "what happens when people stop being polite... and start getting real?"&nbsp;</p> <p>&nbsp;</p> <p>Ottinger paints human scenarios where manners and refinement break down -- from a gruesome football tackle to a questionable circus extravaganza. Ottinger's painted creatures live on the brink between human and not, their peachy facial features dripping and shifting before your eyes. A mouth, shifted just so, looks more like a maw, and eyes lack any semblance of consciousness -- or conscience.'</p> <p>&nbsp;</p> <p>The show also features a series of soft-sculptures, thrift store teddy bears that have undergone botched surgeries and barely lived to tell the tale. The formerly adorable creatures, mutated and deformed, have no interest in being polite, their chopped and screwed features are visual manifestations of innocence left out to rot.&nbsp;</p> <p>&nbsp;</p> <p>In Ottinger's a-moral kingdom, being polite is a privilege that too many can't afford. Her power plays, verging between mischievous and savage appear altogether alien, yet still a bit too close too home.</p> Sat, 20 Dec 2014 21:39:41 +0000 Stephen Gill, Yamini Nayar, Chloe Sells, Lorenzo Vitturi, Hannah Whitaker - Gallery Wendi Norris - January 15th, 2015 6:00 PM - 8:00 PM <p style="text-align: justify;">Gallery Wendi Norris is pleased to announce <em>The&nbsp;</em><em>Return to Reason</em>, the gallery&rsquo;s first exhibition devoted solely to photography. This group exhibition, opening January 15 and curated with Allie Haeusslein of Pier 24 Photography, will feature photographic works by <strong>Stephen Gill, Yamini Nayar, Chloe Sells, Lorenzo Vitturi </strong>and&nbsp;<strong>Hannah Whitaker </strong>where the act of layering plays a fundamental role in shaping the final result.</p> <p style="text-align: justify;">These artists adeptly intermingle the abstract and familiar through processes both physical and alchemical, ranging from cutting, assembling and rephotographing to manipulations both in the camera and darkroom. A heightened sense of form, color, materiality and texture permeate these works, alongside an underlying tension between the flatness of the photographic plane and the disorienting dimensionality that arises from the various layers and surfaces at play in each picture. Though their works and intentions are distinctive and wide-ranging, these artists produce innovative photographic forms that playfully reveal and obscure what we have come to expect from an image.</p> <p style="text-align: justify;">The exhibition takes its title from Man Ray&rsquo;s first film, <em>Le retour </em><em>&agrave; </em><em>la raison (The Return to&nbsp;</em><em>Reason</em>) (1923), a two-minute short combining enigmatic photograms and spiraling objects with glimpses of decipherable figures and scenes. This experimental, non-narrative piece explores the possibilities of the medium through a visual barrage of overlapping and colliding images that teeter between the abstract and recognizable.</p> <p style="text-align: justify;">Between 2009 and 2013, <strong>Stephen Gill </strong>produced &ldquo;in-camera photograms&rdquo; of his East London neighborhood, placing objects, creatures and other artifacts from the area in his camera before photographing his urban surroundings. Gill&rsquo;s photographs have been widely exhibited at institutions including the Victoria &amp; Albert Museum, London; National Portrait Gallery, London; Palais des Beaux Arts, Brussels; and Haus der Kunst, Munich. In 2013, his work was the subject of a major retrospective at Foam (Fotografiemuseum Amsterdam). Gill is well known for his photobooks &ndash; including <em>Hackney Flowers </em>(2007), <em>Outside In </em>(2010), <em>Coexistence </em>(2012) and <em>Best Before End </em>(2014) &ndash; meticulously produced under his own imprint, Nobody Books.&nbsp;</p> <p style="text-align: justify;"><strong>Yamini Nayar</strong>&rsquo;s architectural assemblages are diligently constructed in her studio from various found pictures and materials including wood, cardboard and fabric. The artist then photographs these disorienting scenes, further complicating the viewer&rsquo;s relationship to perspective, texture and reality in the completed images. Nayar&rsquo;s work has been featured in publications such as <em>The New Yorker</em>, <em>The New York Times</em>, <em>Artforum</em>, <em>Art in America </em>and <em>The&nbsp;</em><em>Guardian</em>. Her photographs are held in both private and public collections including the Saatchi Gallery, London; Queens Museum, New York; Cincinnati Art Museum; and the United States Arts in Embassies.</p> <p style="text-align: justify;">Working with images of the Canadian Rockies and its surrounding vistas, <strong>Chloe Sells&nbsp;</strong>reconfigures these landscapes by layering various colors and textures over traditional photographic negatives during the printing process, an approach that renders her analog color prints one-of-a-kind. Sells received her BFA in Photography from the Rhode Island School of Design and MFA from Central St. Martins in London. She currently splits her time between London and Botswana.</p> <p style="text-align: justify;"><strong>Lorenzo Vitturi</strong>&rsquo;s <em>Dalston Anatomy </em>examines East London&rsquo;s Ridley Road Market through dynamic installations that incorporate both sculpture and photographs. Vitturi reworks the surfaces of his photographs, overlaying portraits and street scenes with materials or objects found at the market; he rephotographs these collages, often pairing them with images of sculptures or still lifes the artist has created from the market&rsquo;s detritus. Vitturi&rsquo;s photographs may be pinned directly to walls, mounted on painted wood or incorporated into sculptural objects. <em>Dalston Anatomy </em>was exhibited at The Photographers&rsquo; Gallery in London in 2014 and Foam in 2013. The project&rsquo;s monograph was shortlisted for both Aperture&rsquo;s First PhotoBook Award and MACK&rsquo;s First Book Award, and was named as one of the best photobooks of 2013 by <em>The New York Times</em>, among many others.</p> <p style="text-align: justify;"><strong>Hannah Whitaker </strong>employs multiple exposures and hand-cut screens inserted between 4 x 5 negatives and the camera&rsquo;s lens to produce intricate patterns that distort the subject photographed. These processes enable her to juxtapose flatness and depth, the geometric and photographic and the handmade and mechanical in a single image. Whitaker was selected from nearly 1,500 applicants for Foam Talent 2014, which features highly regarded young photographers from around the world. Her work is the subject of a forthcoming monograph by M&ouml;rel Books. She currently lives in New York where she teaches at Parsons The New School for Design.</p> <p style="text-align: justify;">For additional information and images please contact the gallery at (415) 346-7812 or email</p> Sat, 20 Dec 2014 15:21:14 +0000 - de Saisset Museum, Santa Clara University - January 16th, 2015 11:00 AM - 4:00 PM <p style="text-align: justify;">"Where do you get your name, and how do you pronounce it?" These are two of the most frequently asked questions at the de Saisset Museum. The answer is simple. The museum takes its name from the surname of Ernest de Saisset, a former student at Santa Clara College and an aspiring young painter. He came from a family of note, who emigrated from France and settled in San Jose, where they owned considerable property and maintained various business interests.</p> <p style="text-align: justify;">One of four children of Pedro and Maria de Saisset, Ernest wished to become a professional painter. Finding that quality art instruction was limited in San Jose in the 1880s, he left Santa Clara College to enroll at the Acad&eacute;mie Julian in France. He returned to California in 1895 following several years of art study. Unfortunately, he was never able to fully realize his artistic dreams; he died in 1899 at the young age of 35.</p> <p style="text-align: justify;">In 1950, Ernest's youngest sibling Isabel de Saisset also passed away. Upon her death, she left a bequest to Santa Clara University (renamed from Santa Clara College in 1912) that funded the founding and continued administration of a museum in her brother's name. In addition, she bequeathed one hundred of her brother's paintings as well as family heirlooms and artifacts.</p> <p style="text-align: justify;">The history of the de Saisset Museum's founding in not unique, but the story of the family behind it is compelling, and at times surprising. Over the years, the de Saisset Museum staff has worked to dig beyond the surface, to better understand the history of the family whose generosity gave this organization life. Through a selection of photographs, artifacts, and familial correspondence, this exhibition seeks to present a fuller picture of the de Saisset family and to pay homage to its lasting legacy.</p> Tue, 03 Jun 2014 08:29:47 +0000 Mark Benson - Ever Gold Gallery - January 16th, 2015 6:00 PM - 10:00 PM <p class="p1">Mark Benson</p> <p class="p2">&nbsp;</p> <p class="p1"><em>How was your weekend?</em></p> <p class="p2">&nbsp;</p> <p class="p1">January 16th &ndash; February 14th</p> <p class="p2">&nbsp;</p> <p class="p1">Opening reception: Friday, January 16th, 6-10pm</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p1">Loud alarms. Slight panics. Big yawns. Heavy eyes. Long showers. Blank stares. Dragging feet. Rough commutes. Emails. Lists. Reminders. Bitter coffee. Stuffy meetings. Groggy coworkers.</p> <p class="p2">&nbsp;</p> <p class="p1"><em>How was your weekend?</em></p> <p class="p2">&nbsp;</p> <p class="p1">Taking cues from the 9-5 work life, Mark Benson employs the common conversation held in jobs the world over every Monday morning to bring to light the mundane and repetitive in the life of contemporary work culture.</p> <p class="p2">&nbsp;</p> <p class="p1">Sculptures and paintings elevate weekend activities and place them on odd pedestals, a show of respect and honor for better times. Absent of their protagonists, a pall hangs over these moments alluding to them as dead and gone forever, or for at least another business week. Milkshakes, quick trips out of town, couch time, drunk time, and time spent working all have a place.</p> <p class="p2">&nbsp;</p> <p class="p1">The resounding tone of this new body of work is just that: all things pass. The best part of the week is over, and here we are at its polar opposite. Let&rsquo;s recap.</p> Sat, 20 Dec 2014 21:48:47 +0000 Sheldon B. Smith, Lisa Wymore - Mills College Art Museum - January 21st, 2015 11:00 AM - 7:30 PM <p class="hilite margin-top30" style="text-align: justify;">Created by Sheldon B. Smith and Lisa Wymore, <em>Endless Gestures of Goodwill</em> is an attempt at making a never-ending dance.</p> <p style="text-align: justify;">This two-channel video work utilizes 250 separate video clips of short movement statements inspired by folk dances, edited together by custom software in a manner that implies continuity. In their work together, Sheldon B. Smith, Visiting Assistant Professor at Mills College, and Lisa Wymore, Associate Professor of Dance and Director of the Dance Program at UC Berkeley, create funny and provocative pieces that are deeply human, odd, rigorous, and inviting all at the same time.</p> Tue, 02 Dec 2014 18:22:06 +0000 Bill Owens - Mills College Art Museum - January 21st, 2015 11:00 AM - 7:30 PM <p class="hilite margin-top30" style="text-align: justify;">This exhibition features a group of 33 photographs of women and girls by Bill Owens, a recent gift from local collectors Robert Shimshak and Marion Brenner.</p> <p style="text-align: justify;">Owens is internationally recognized for his depictions of Northern California suburban life in the 1970s and this remarkable group of images demonstrates his keen interest and respect in documenting the lives of middle-class girls and women.</p> Tue, 02 Dec 2014 18:24:04 +0000 - San Jose Institute of Contemporary Art (ICA) - January 22nd, 2015 7:00 PM - 9:00 PM <p>Talking Art</p> <p>Future Shock: The Consequences of Technology Consumption</p> <p>Join us for a Talking Art in association with our group exhibition <em>Relics</em>. From GPS navigation systems to the abundance of social media sites, advancements in technology over the past decade have dramatically changed the world. They affect how we live, how we do business, how we acquire information and how we communicate. Dozens of devices and formats that were once considered cutting-edge technology are now regarded as obsolete. Many common items that were once ubiquitous have vanished from our lives. Typewriters, pagers, 8-track tapes, walkmans, answering machines, slides and slide projectors are true relics of the past. How does our society dispose of these antiquated objects of recent history? What is the effect of society&rsquo;s desire to &ldquo;upgrade&rdquo; at every time a new technological advancement is announced?</p> <p><br />For more information about this exhibition, visit our website;</p> <p>&nbsp;</p> Wed, 22 Oct 2014 18:31:28 +0000 Christy Chan - Southern Exposure - January 22nd, 2015 7:30 PM - 8:15 PM <p><em>The Long Distance Call</em> is a live re-enactment of phone calls between Christy Chan and Miss Anne, a KKK seamstress in Alabama. Chan obtained an authentic Klan robe for her video work, fabricated by Miss Anne&nbsp;according to Chan's specifications.&nbsp;Their unsettling yet banal phone calls tell a disturbing and human story of an unexpected interaction between the two women, from trust gained to the eventual abrupt end of their communication. This performance is part of of <em>Sets, </em>three two-week projects of process-based, video and performance work by Bay Area artists Christy Chan, Chris Kallmyer and Olivia Mole.&nbsp;</p> Fri, 12 Dec 2014 21:10:19 +0000 - Asian Art Museum - January 24th, 2015 1:00 PM - 2:30 PM <p>The spread of Buddhism from India throughout Asia has left a legacy of truly great art. This new film by the award-winning Mark Stewart Productions tells the story of that fragile inheritance through the treasures of Bhutan and Ladakh in the Himalayas and the Dunhuang Grottoes on the Silk Road in China. Efforts to save vulnerable wall paintings in these regions are contrasted with imminent threats of fire, flood, tourists and devotional practice.</p> <p>&nbsp;</p> <p>The screening is followed by a Q&amp;A with David Park, director of the <a href="" rel="nofollow">Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation</a>.</p> Thu, 18 Dec 2014 20:08:17 +0000