ArtSlant - Closing soon en-us 40 Leigh Barbier Michail Berens Paper Buck Natalya Burd Nuala Creed Arthur Comings Diane Dine Jessica Eastburn Joel Frudden Danielle Gherardi Rebekah Goldstein Adrienne Heloise Dana Hemenway Joshua Higher Edith Hilinger Kelly Inouye Becky J - Berkeley Art Center - June 29th, 2013 - August 25th, 2013 <p>All good art begins with a risk. Many of the ones in <em>Risk</em>, now at the Berkeley Art Center, pay off. Works like Cathy Lu&rsquo;s &ldquo;Girls Playing,&rdquo; which portrays a disembodied scalp and gouged-out eyeballs serving as maypole to a horde of tiny pig-tailed girl-creatures, and Nuala Creed&rsquo;s &ldquo;Mea Culpa,&rdquo; a sculpture of a bare-bottomed nun kneeling in prayer. These, too, certainly raise eyebrows, but ultimately succeed by pointing back to the compelling specificities and eccentricities of their creators. Expect plenty more of the good, the bad, and the ugly in this unusual show. -Alex Bigman</p> Sat, 23 May 2015 06:06:25 +0000 Francis Bacon, Raymond Pettibon, Hans Hofmann, George Grosz, Max Beckmann, Peter Paul Rubens, Thomas Hart Benton, Asger Jorn - Berkeley Art Museum and Pacific Film Archive - May 17th, 2013 - August 25th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The human figure has been a locus of artistic innovation and expression since the very first artworks were made. This focused presentation mines the permanent collection, bringing together paintings, sculptures, and works on paper that demonstrate the inexhaustible variety and texture of the human form in art. Seeking to explore the polymorphous nature of the figure, <b>Ballet of Heads</b> puts into dialogue the Baroque canvases of Peter Paul Rubens, the American Regionalism of Thomas Hart Benton, the colorful near abstractions of Asger Jorn and Hans Hofmann, the sharp angles and loose contours of George Grosz and Max Beckmann, the tormented personages of Francis Bacon, and the humorous critique found in the drawings of Raymond Pettibon. </span><br /><br /><span style="font-size: small;">The exhibition takes as its point of departure the work of Nicole Eisenman, on view in <a target="_blank"><i>MATRIX 248</i>,</a> teasing out many of the threads found in her paintings and works on paper—a blending of seemingly oppositional categories such as social realism, abstraction, folk art, and popular comics—and contextualizing it in the process. Eisenman cites many of the artists included as important influences, such as Théodore Géricault and Pablo Picasso, while the work of more recent artists, including as Joan Brown, Abraham Walkowitz, and Sue Coe, share striking affinities to Eisenman’s own.</span></p> Sat, 09 Mar 2013 17:28:40 +0000 - Marin Museum of Contemporary Art (Marin MOCA) - July 20th, 2013 - August 25th, 2013 <p>*Juror: Robert Allen of the Robert Allen Fine Art Gallery in Sausalito, CA</p> Fri, 05 Jul 2013 10:44:20 +0000 - Marin Museum of Contemporary Art (Marin MOCA) - July 20th, 2013 - August 25th, 2013 Fri, 05 Jul 2013 10:44:42 +0000 Motoi Yamamoto - Monterey Museum of Art - June 14th, 2013 - August 25th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>Organized by the Halsey Institute of Contemporary Art,&nbsp;College&nbsp;of&nbsp;Charleston&nbsp;School of the Arts</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">Motoi Yamamoto is an internationally acclaimed contemporary Japanese artist from Hiroshima, Japan, who creates elaborate, site-specific installations made entirely out of salt. Often in the form of large-scale labyrinths or aerial projections of typhoons, Yamamoto takes one of the earth&rsquo;s oldest, most sought-after mineral elements to cover the entire gallery floors during a two-week residency at the Monterey Museum of Art&mdash;Pacific Street location. Traditionally used as a symbol for purification and mourning in Japanese culture, the artist&rsquo;s use of salt emanates from a powerful personal experience in working through the death of his sister. His artwork is rooted in themes of life, death, and rebirth, and his process with salt has helped him cleanse his grief.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The public will have an opportunity to watch Motoi create his installation during his residency, as well as interact with him in the galleries. A series of drawings and photography will also accompany the exhibition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The closing of the exhibition on August 25, 2013, offers another important participatory experience with the opportunity for visitors to participate in the dismantling of the salt artwork.</span></p> <p><a href=""><img class="alignnone size-full wp-image-7130" title="Untitled-1" src="" alt="" width="250" height="85" /></a></p> Fri, 16 Aug 2013 16:00:07 +0000 Sheila Ghidini - Chandra Cerrito Contemporary - August 2nd, 2013 - August 26th, 2013 <p align="center"><strong>Sheila Ghidini: <em>Conversations<br /> </em></strong>August 2nd &ndash; September 26th, 2013</p> <p align="center"><br /> Opening Reception: Friday, August 2nd, 6 &ndash; 8 pm<br /> Artist Talk moderated by Anthony Pinata from Oakland Museum of California</p> <p align="center">Saturday, August 10th, 2 &ndash; 3 pm<br /> Second First Friday Reception: Friday September 6, 6 - 8 pm</p> <p align="center">&nbsp;</p> <p>Chandra Cerrito Contemporary is pleased to announce a solo exhibition by Sheila Ghidini. Sheila Ghidini&rsquo;s ongoing fascination with chairs as a means to embody both presence and absence is displayed in her most recent works exhibited in <em>Conversations</em>. An empty chair can imply the prior presence, and therefore absence, of a human inhabitant, while it can also act as a stand-in for the human figure. Ghidini&rsquo;s current exhibition features a series of graphite drawings depicting individual chairs or groups of them as well as two sculptural works made from found chairs that have been altered.&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Ghidini&rsquo;s delicately rendered portraits of individual chairs, each with their own particular details, exhibit her love of close observation and her masterful technical abilities. While these renderings of single chairs are like character studies, drawings of multiple chairs reference the psychology of group dynamics. Disrupting a sense of communion among gathered chairs, Ghidini deliberately disturbs traditional spatial perspective. While traditional linear perspective calls for only one or two vanishing points, Ghidini assigns each chair, each figure, its own slightly different point of view. A scene that at first appears to be the remnants of a collective seems instead to be evidence of individual isolation within shared space.&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Chairs are metaphors in Ghidini&rsquo;s two sculptural works. In <em>Reflection</em>, a chair with two backs facing one another is created from reassembled wood chairs painted white. Like Narcissus, the figure caught in self-reflection is rendered useless. <em>Murmuration </em>is a dreamlike installation featuring a white wood chair with absurdly tall legs that is placed against the wall. A lacey graphite drawing covers parts of the wall and back of the chair, depicting birds in dynamic swarm formations. In this case, the chair is a figure whose firmly grounded nature is overcome so that it may also reach the celestial sphere.</p> <p>&nbsp;<strong>About the Artist: </strong>Sheila Ghidini earned her BFA from Hartford Art School at the University of Hartford, West Hartford, CT (1974), completed graduate studies at Cranbrook Academy of Art in Bloomfield Hills, MI (1979) and earned her MFA at UC Berkeley (1992). Her work has been exhibited at Hunter College in New York City, San Francisco&rsquo;s Museo ItaloAmericano, the Jewish Museum in San Francisco and the Maier Museum of Art in Lynchburg, VA. This is her fifth exhibition at Chandra Cerrito Contemporary.</p> <p>&nbsp;</p> Thu, 25 Jul 2013 21:32:10 +0000 Group Show - Berkeley Central Arts Passage - May 29th, 2013 - August 29th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Kala Art Institute</strong> is pleased to announce, “Print, Print, Pass,” the latest exhibition at Berkeley Central Arts Passage. We invite you to attend two events in conjunction with this exhibition: the Opening Reception on Wednesday, May 29, from 6-8pm and “The Pass” on Wednesday, June 26, from 6-8pm. </span><br /><br /><span style="font-size: small;">With a slightly imploded framework, “Print, Print, Pass” highlights the physical and social economies of the print medium. Fourteen artists were each asked for two prints – the “Print, Print” of the exhibition title. Artworks are initially hung to display the idiosyncrasies of seriality. One week into the exhibition, artists will be asked, anonymously, for their top five choices for an actual trade or “pass” of one of their prints. “The Pass” will be revealed Wednesday, June 26, from 6-8pm, with a new installation of the works reflecting these allegiances. Each artist offers one work for sale and one explicitly for trade with one of their cohorts in the show.</span></p> <p style="text-align: justify;"><span style="font-size: small;">”Print, Print, Pass” is the third exhibition in this new exhibition series featuring artworks from Berkeley-based artists and the Kala community. Berkeley Central Arts Passage looks forward to being a part of the vibrant downtown Berkeley Arts District and forging new connections between artists and audience.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>For further information, contact Amanda Curreri at Kala Art Institute, </strong><strong>, 510-549-2977.</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong><strong></strong></strong></span></p> Sun, 19 May 2013 19:31:48 +0000 Ivy Jacobsen - 111 Minna Gallery - August 2nd, 2013 - August 30th, 2013 <p style="text-align: justify;">After major aesthetic renovations undertaken during the month of July, 111 Minna Gallery will reopen its doors with two elegant and uniquely complimentary art exhibitions featuring the multi-processed works of Ivy Jacobsen and Tobias Tovera while also incorporating the exquisite fashion of Abigail Glass and live musical performance by Tim Carr.<br /> <br /> <strong>Ivy Jacobsen</strong> strives to create a place of magical realism in her landscapes, balancing magical elements with real world rendering of flora and fauna found in our natural world. She uses oil paint, bronzing powder, earth pigments, acrylic paint, resin, and other mixed media on canvas and birch panel in creating her paintings. They are composed of many thin layers of glazes slowly built up over time. Through the multiple semi-transparent layers all the colors are visible creating a glowing depth of field. By painting the trees and plant forms in between the layers of glazes the forms begin to occupy various spaces in the foreground and background, further creating the illusion of depth. It is Ivy&rsquo;s hope that the viewer is invited &ldquo;into&rdquo; the painting to fully explore the imaginary environment.</p> <p style="text-align: justify;">In&nbsp;<strong>Last Light</strong>, the ethereal scenery in Ivy Jacobsen&rsquo;s work carries with it a feminine sensibility that&rsquo;s soothing to the eye and rarely seen in works displayed at 111 Minna Gallery.</p> Sat, 22 Feb 2014 15:25:07 +0000 Tobias Tovera - 111 Minna Gallery - August 2nd, 2013 - August 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><b>Life Forms</b> by Tobias Tovera will incorporate collaborations with fashion designer, Abigail Glass: who is completing a new line of couture using the artists Diffusions of Pigment series as inspiration and material. Abigail will be print-dying fabric with a selection of his paintings of which will be on display at the exhibit opening, fashioned by live models. In addition, Tim Carr (named best Bay Area Local Musician by 7×7 Magazine 2012) will perform from his latest album, The Shadows; the performance of which incorporates video, sound, and light. Tobias’s vision for the show will combine visual media, live music, and fashion which will create interaction with audiences and creative use of the gallery as a site. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Tobias Tovera is an American visual artist recognized for the sensory surrounds of his multi-media installations as well as his work in painting and performance. Using time as process and material; Tovera’s methods of making serve to explore energy systems that posit new dimensions to otherwise static materials through the introduction of opposing elements. By examining dichotomies such as nature/artifice or chaos/order, his work merges these distinctions creating paradoxical conjunctions of opposites, and in doing so questions what constitutes the nature of intuitive and processed based strategies.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tobias Tovera is based in San Francisco, California. He received his BFA in Sculpture from California College of the Arts in 2002 where he was on the Dean’s List and received a Merit Scholarship. He also studied MFA Painting in the Summer Residency Program at SFAI in 2011 and is currently an artist in residence at Root Division, a community arts and education organization in San Francisco.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tovera has had seven solo and twenty-three group exhibitions on the East and West coast with recent publication in Studio Visit Magazine.</span></p> <p style="text-align: justify;"><span style="font-size: small;">- See more at:</span></p> Sat, 22 Feb 2014 15:25:07 +0000 Matt Mignanelli, Dominic Paul Moore, Russell Tyler - Mark Wolfe Contemporary Art - July 11th, 2013 - August 30th, 2013 <p style="text-align: justify;" align="left"><span style="font-size: small;">Mark Wolfe Contemporary Art is pleased to present&nbsp;<strong>Surfacing</strong>, an exhibition of new paintings by Matt Mignanelli, Dominic Paul Moore, and Russell Tyler.</span></p> <p style="text-align: justify;" align="left"><span style="font-size: small;">The title of this exhibition refers to the use of layers, frameworks, and textures by each painter, and how their techniques emerge as visual revelations within the resulting paintings. Mignanelli's works are a study in precision, offering up smooth, exacting planes with subtle variations from matte to gloss between shades; their simplicity belies the painstaking process behind their creation. Conversely, works by Moore appear deceptively loose and informal, and only reveal their complexity upon study; tiers of varying gesture and media hover above and below one another, creating a unique visual tension. Similarly, Tyler's highly textured paintings appear informal, but cleverly reveal subtle glimmers of hidden layers and precise structures upon closer examination. &nbsp;</span></p> Tue, 09 Jul 2013 17:40:43 +0000 Group Show - Alameda Museum - August 10th, 2013 - August 31st, 2013 Fri, 16 Aug 2013 10:56:24 +0000 Zarouhie Abdalian, Shannon Ebner, Matt Keegan, Trevor Paglen - Altman Siegel Gallery - June 6th, 2013 - August 31st, 2013 Mon, 29 Jul 2013 07:43:43 +0000 Sandra Yagi, Dave Correia, Robert Bowen, Ian Huebert, Lee Harvey Roswell, Christopher Ulrich - Bash Contemporary - August 2nd, 2013 - August 31st, 2013 Tue, 06 Aug 2013 16:53:03 +0000 gonzalo Fuenmayor - Dolby Chadwick Gallery - July 11th, 2013 - August 31st, 2013 <p class="p1" style="text-align: justify;"><span style="font-size: small;">Dolby Chadwick Gallery is honored to announce <em>They Say I Came Back Americanized</em>, an exhibition of new work by Gonzalo Fuenmayor. Born in Colombia but a resident of the United States since 1998, Fuenmayor&rsquo;s remarkably precise charcoal drawings explore themes of cultural hybridity, identity politics, and acculturation.</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">As a Colombian artist living abroad, Fuenmayor once felt he had a responsibility to make art that commented on the social events happening back at home. Feeling too detached from the drugs and violence that he was expected to engage, Fuenmayor started drawing bananas instead. Bananas carry great cultural, historical, and economic significance in Colombia, and have even been tacitly embroiled in controversy if one considers the various Chiquita Brands International scandals. What initially began as a lighthearted attempt to self-exoticize and position himself as specifically &ldquo;Colombian&rdquo; has since evolved into an earnest exploration of cultural hybridity and transnational identity.&nbsp;</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">In his <em>Apocalypse</em> series, for instance, opulent Victorian and Rococo chandeliers grow out of bunches of bananas like absurd Dadaesque fruits. Their glowing lights and glimmering crystals are articulated using the negative space of the naked white paper while the bananas climb upward into the charcoal&rsquo;s darkest values. The message is clear: the natural wealth of Latin America&rsquo;s Banana Republics brought financial prosperity to its European colonizers. But despite allusions to a tragic and violent past, there is a harmony to the disjointed imagery that suggests not reconciliation but rather, according to Fuenmayor, &ldquo;the subordination of the contradictory into a delicate and imaginative order&rdquo; that figures as the present.</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">Recent works have provided the artist with the opportunity to interrogate the many latino stereotypes and caricatures that exist in American pop culture. In the <em>Carmen</em> series, for example, exaggerated, towering headdresses feature impossible columns of bananas, disco balls strung from palm trees, an effusion of flowers and ferns that suggest the wilds of the jungle, and a nesting family of flamingos. There is a mythical, supernatural quality about these headdresses that recalls both the magical realism of latino literature as well as the mystery of &ldquo;the other.&rdquo; They are also sexy, witty, and inescapably humorous.</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">Carmen Miranda&mdash;the Brazilian entertainer who purposefully sported a thick accent and knowingly performed the role of the exuberant latina&mdash;is the indisputable inspiration behind the <em>Carmen</em> series. What brought her success in the States, however, polarized her from her compatriots. Fuenmayor&nbsp;</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">explains that he too struggles to negotiate not only stereotypes of latinness, but as both a Colombian and American, he must also negotiate transnational identities. <em>The Moment of Surrender</em> is symbolic of Fuenmayor&rsquo;s attempt to resolve his liminal circumstances as a foreigner both at home and abroad. In a nod to Oswalde de Andrade&rsquo;s &ldquo;Cannibal Manifesto&rdquo; of 1928, a boa constructor, the proxy for one culture or experience, can be seen consuming the proxy of another: an ornate coat rack. The point is not to destroy the coat rack or to imitate it by becoming it, but to create something new. In this strange, startling act, hybridity is celebrated.</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">Gonzalo Fuenmayor was born in 1977 in Barranquilla, Colombia. He moved to New York City in 1998 to study at the School of Visual Arts, where he earned his BFA. In 2004 he earned his MFA from the School of the Museum of Fine Arts, Boston. Fuenmayor has exhibited across North and South America, and has been the recipient of numerous prestigious awards and fellowships. This past spring, he traveled to the Amazon in the region of Leticia, Colombia on an Alumni Traveling Fellowship from the School of the Museum of Fine Arts. This will be his first solo exhibition at the Dolby Chadwick Gallery.&nbsp;&nbsp;</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">The gallery will be closed&nbsp;August 11-19, 2013.&nbsp;</span></p> Tue, 09 Jul 2013 17:36:41 +0000 charley Brown - Dolby Chadwick Gallery - July 11th, 2013 - August 31st, 2013 <p class="p1" style="text-align: justify;">This body of work marks an important turning point for the San Francisco-based artist, who has been a figurative painter his entire life. Desiring the challenges and stimulation of a new aesthetic, Brown recently turned to abstraction as a way of breaking down illusory space into its essential elements. This dismantling and exploration of compound forms has been a slow, cautious project for Brown. Winterscape #1 and #2, for instance, feature imagery reminiscent of bare branches on a raw winter day. The primitive naturalism of these two intermediary paintings, however, ultimately gives way to bold, abstract gestures, while a black and white color palette is expanded to include bright, largely primary colors.</p> <p class="p1" style="text-align: justify;">Brown creates a new gestural line in this body of work by applying paint with a brayer rather than a brush. The resulting markings—which are placed sparingly and deliberately—are relatively consistent in width, weight, and value. A type of hand roller, the brayer lends itself well to the creation of perfectly curvilinear forms, which Brown arranges to push energy out, funnel energy in, or pull energy down. This activity is augmented by shadowy echoes produced by a brayer spent of its paint, the canvases’ grand scale, and the paintings’ smooth, encaustic-like surfaces. The final compositions induce a kind of synesthetic effect, awakening waves of sound that parallel their elegant visual reverberations. It is no wonder Brown identifies Igor Stravinsky, composer of the animalistic and boldly avant-garde The Rite of Spring, as one of his artistic inspirations. </p> <p class="p1" style="text-align: justify;">While Brown’s paintings—especially those in grayscale, such as June 28<sup>th</sup> #1 and Composition #1—are reminiscent of works by Richard Serra, Franz Kline, and Robert Motherwell, Brown cites Marcel Proust’s The Remembrance of Thing Past as the oeuvre’s greatest inspiration. At seven volumes long, this groundbreaking literary achievement focuses not on action and plot, but on interiority and the relationship between experience and memory. Brown says, “I discovered what a monumental artistic achievement Proust had accomplished. He changed my world. All these paintings were painted while I listened to those unabridged audiobooks. I'm currently in my fifth reading, and I'm getting to know it well. Proust’s work has been a constant reminder to be honest with myself and my work.” </p> <p class="p2" style="text-align: justify;"><span style="font-size: 12px;">In addition to Proust, Brown also identifies Caravaggio (see Composition #2 After Caravaggio), Henri Matisse (see Three Circles), and Francis Bacon as core influences. While his paintings indisputably build upon and answer to both abstract expressionism and minimalism, their sensuousness challenges the stark masculinity we come to expect for abstract expression while an affinity for experimentation subverts the control and premeditation that underlies minimalism. “It’s the accidents,” Brown says, “that keep feeding me more ideas.”</span></p> <p class="p1" style="text-align: justify;">Charley Brown was born in 1945 in Barstow, California. He studied at California College of the Arts in Oakland, CA, and received both his BA and MA in Art from Humbolt State University. In addition to exhibiting in galleries across the United States and Europe, Brown has shown at the New Museum, New York City and has had murals commissioned by the Smithsonian Institute, the New Main Library of San Francisco, and Stanford University. This will be his first solo exhibition at the Dolby Chadwick Gallery.</p> <p class="p1" style="text-align: justify;">The gallery will be closed August 11-19, 2013. </p> Wed, 03 Jul 2013 09:27:58 +0000 Karen Barbour, Yuichi Hirako, Liam Jones, erik parra, Gail Tarantino, Sho Tsunoda, Anne Veraldi - fouladi projects - July 19th, 2013 - August 31st, 2013 <p><span style="font-size: medium;"><strong>Fouladi Projects 2013 Summer Group Show</strong></span><br /><br />We are pleased to present an exhibition of seven artists whose works reference the ever-inspiring mother of us all: Nature. Some do this directly, while others raise questions by taking a more subversive route. Must civilization and nature be at odds? Can one exist without the expense of the other? Trees can compose an enchanting forest. Yet, when strategically planted, they can also be the barrier between you and your neighbor. Controlling the natural environment can be perceived as a triumph or a tragic mistake, depending on one’s point of view. <br /><br />It would prove a difficult prospect indeed to remove nature entirely from our scope, for it is all around us and it is the very stuff from which we are made. Ubiquitous as it may be, however, nature never ceases to captivate our senses and embolden our awe. It is the primary language that needs no words. We bow to its majesty. In celebration of summertime, on view will be paintings, photographs and works on paper that will both pay homage to the beauteous bounty of all things natural as well as causing contemplation of our possible alienation from the source. <br /><br />Artists in the show: Karen Barbour, Yuichi Hirako, Liam Jones, Erik Parra, Gail Tarantino, Sho Tsunoda, and Anne Veraldi.</p> Wed, 03 Jul 2013 00:31:27 +0000