ArtSlant - Openings & events en-us 40 - Asian Art Museum - September 7th, 2013 1:00 PM - 1:45 PM <p>Enjoy the museum's Asian art collections and drink whisked green tea with traditional Japanese sweets while learning about the art of seasonality and display from local tea school Urasenke Foundation San Francisco. Seating is limited and is available on a first-come, first-served basis.</p> Thu, 01 Aug 2013 19:38:20 +0000 - Asian Art Museum - September 7th, 2013 2:30 PM - 3:15 PM <p>Enjoy the museum's Asian art collections and drink whisked green tea with traditional Japanese sweets while learning about the art of seasonality and display from local tea school Urasenke Foundation San Francisco. Seating is limited and is available on a first-come, first-served basis.</p> Thu, 01 Aug 2013 19:40:04 +0000 Ed Moses - Brian Gross Fine Art - September 7th, 2013 4:00 PM - 7:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Brian Gross Fine Art</strong> is pleased to announce the inaugural exhibition of its new location at 248 Utah Street, San Francisco. Internationally renowned artist <strong>Ed Moses</strong> opens <strong><em>Yesterday's Tomorrow</em></strong>, an exhibition of recent paintings on September 7, 2013, with a reception for the artist from 4 to 7 pm. On display will be a selection of his crackle paintings, dynamic works that play with surface and illusion. The exhibition will be on view through October 26, 2013.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ed Moses is one of the original artists affiliated with the legendary Los Angeles Ferus Gallery, where he had his first show of abstract paintings in 1958. Throughout his extensive career, Moses has embraced new approaches in his art practice. The continuous thread throughout his oeuvre is his intuitive process of painting, in which he emphasizes gesture, mark-making, and exploration. Moses states, "I'm an explorer, I'm trying to discover things, discover the phenomenal world by examining it, by looking at it, by playing with the materiality, pushing it around, shoving it, throwing it in the air."</span></p> <p style="text-align: justify;"><span style="font-size: small;">The works included in <em>Yesterday's Tomorrow</em> exemplify the importance of experimentation with new techniques and materials in his painting process. Ed Moses remarks, "I don't visualize and execute. Every breath is brand new. Don't think of the future, don't think of the past, the only factor is now." For Moses, the "now" is a series of crackle paintings that embody Moses' methodology of marking and gesture. The crackling causes the surface of each painting to break open, peel away, and thus reveal the layers of contrasting color beneath.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Furthering the use of surface as a subject, the exhibition includes monumental multi-panel geometric shaped paintings that break from the traditional picture plane. The panels within each work are interchangeable, enabling a unique play of shapes. In addition, the exhibition includes crackle paintings that incorporate an overlay of geometry. The constriction of the unpredictable gesture within the restraints of structured geometry creates tension and intricacy. The works on view play with texture and bold color, spontaneous and deliberate gesture, and complexity of surface.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ed Moses was born in Long Beach, California, in 1926 and received his BA and MA from the University of California, Los Angeles. His career began in the legendary Ferus Gallery in Los Angeles in 1958; in the same year he exhibited at the Dilexi Gallery in San Francisco. In 1996, the Museum of Contemporary Art in Los Angeles presented a full-scale retrospective of his career. In 2012, Ed Moses was included in <em>Pacific Standard Time</em> at the J. Paul Getty Museum. His work is included in the public collections of the Art Institute of Chicago; Los Angeles County Museum of Art; Menil Foundation, Houston; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; Philadelphia Museum of Art; San Francisco Museum of Modern Art; and the Whitney Museum of American Art, New York, among others.</span></p> Fri, 09 Aug 2013 19:11:27 +0000 - Catharine Clark Gallery - September 7th, 2013 2:00 PM - 7:00 PM <p>On September 7, 2013, the lower Potrero Hill neighborhood of San Francisco will see a surge of contemporary art activity as four San Francisco art dealers launch inaugural shows in new gallery spaces on Utah Street and Potrero Avenue, each within a block of 16th Street.<br /> <br />Catharine Clark, Brian Gross, Jack Fischer and George Lawson join area pioneer Todd Hosfelt who reopened here in 2012, shifting the epicenter of contemporary galleries from downtown. All five galleries will coordinate Saturday afternoon openings on September 7th, with concurrent activities planned by surrounding established venues Southern Exposure (celebrating their 39th birthday), The CCA Wattis Institute for Contemporary Arts, and Steven Wolf Fine Arts, along with the new Fuseproject, a collaboration between art dealer Jessica Silverman and designer Yves Behar.<br /> <br />Catharine Clark is moving from her Minna Street location adjacent to SFMOMA, Brian Gross and Jack Fischer are moving from the 49 Geary building downtown, and George Lawson is returning from Los Angeles, adding to his Sutter Street location. Art world buzz has a number of other prominent San Francisco galleries considering the revitalized urban neighborhood. Catharine Clark Gallery will announce its grand re-opening exhibition in August. For more information in the meantime, please contact Catharine Clark: or 415.399.1439.</p> <p>&nbsp;</p> Sun, 18 Aug 2013 02:26:09 +0000 Gareth Spor, Bruno Fazzolari, Josh Greene, Stephanie Syjuco, Patricia Esquivias, Arash Fayez, Lauren Marsden, Kate Bonner, Piero Passacantando - Catharine Clark Gallery - September 7th, 2013 4:00 PM - 7:00 PM <p style="text-align: justify;"><strong>San Francisco, CA:&nbsp;</strong>Catharine Clark Gallery (CCG) announces the inaugural exhibition at its new Potrero Hill location, 248 Utah Street. The neighborhood, once heavily industrial, now boasts the presence of many cultural venues, including California College of the Arts (CCA), the recently re-located Wattis Center for Contemporary Arts, the Center for the Book, Southern Exposure, The Design Workshop Residency, The Museum of Craft and Design, and many other newly re-located galleries, including Jessica Silverman&rsquo;s new collaborative venture with Yves B&eacute;har. Responding to the gallery&rsquo;s new location and community, Catharine Clark invited long time gallery artist and CCA faculty member&nbsp;Anthony Discenza&nbsp;to curate an exhibition of artists associated with the school&rsquo;s Fine Arts program. The resulting exhibition&nbsp;<strong><em>This is the Sound of Someone Losing the Plot</em></strong>&nbsp;features the work of nine CCA alumni and faculty: Gareth Spor and Piero Passacantando; Bruno Fazzolari; Josh Greene; Stephanie Syjuco; Patricia Esquivias; Arash Fayez; Lauren Marsden; and Kate Bonner. The exhibition will run from&nbsp;<strong>September 7 through October 26, 2013.&nbsp;</strong>The reception will be held on&nbsp;<strong>Saturday, September 7, from&nbsp;4 to 7pm.&nbsp;</strong>There will be a walk-through of the exhibition at&nbsp;3 pm, guided by Anthony Discenza and several of the artists.<br /><br /><strong><em>This is the Sound</em></strong><strong>&nbsp;<em>of Someone Losing the Plot</em></strong>&nbsp;recognizes CCA&rsquo;s incredibly rich contributions, not merely to the cultural environs of the Potrero Flats neighborhood, but to wider Bay Area arts community. In his first curatorial foray, Discenza focuses on artists whose practices play with (mis)translations between different systems of working or understanding.&nbsp; He notes:&nbsp; &ldquo;When Catharine asked me if I would be willing to put together an exhibition of artists drawn from the CCA community, the fault line running through my own relationship with the program&mdash;the discontinuities between my experiences as a student and as an instructor&mdash;was initially something of a stumbling block, but eventually became my departure point for the exhibition. I found I was most drawn to artists who engage the zones of slippage that arise in the narratives we use to navigate daily existence.&nbsp; I&rsquo;m interested in the various ways these works play with non-agreements of subject and object, incomplete utterances and thwarted expectations.&nbsp;&nbsp; With this exhibition, I&rsquo;ve also attempted to articulate something of the complex interrelationship between material practice and more conceptually diffuse methods of working that for me is such a distinguishing feature of the CCA community.&rdquo;<br /><br />Artists&nbsp;<strong>Piero Passacantando and Gareth Spor&nbsp;</strong>present a collaborative multi-media effort based on their respective interests in social practice and the geometries of space and time. Passacantando created&nbsp;<em>Mean Infinity-Blue&nbsp;</em>(2010) while studying Thangka painting in Kathmandu, Nepal. This influence is evident in the color, geometry and mathematical systems behind the associated series&nbsp;<em>My Geometric Commons of Imagination</em>. Interested in how new technologies let artists work as modern day alchemists, Spor created custom software to translate Passacantando&rsquo;s work into&nbsp;<em>Lost Horizon</em>, 2011, a looped film of ghostly interpretations of Passacantando&rsquo;s geometries. In his two-channel video work,<strong>Arash Fayez</strong>&nbsp;examines cultural and linguistic boundaries, staging a discussion with an Israeli friend about the conflict between their two countries. Addressing each other in their native tongues, Farsi and Hebrew, neither speaker fully understands the other; each speaker (along with the viewer) attempting to move through the conversation by relying on body language, tone, and occasionally recognizable keywords from either language. Manifesting a concern with linguistic disjunctures in a very different manner,&nbsp;<strong>Kate Bonner&nbsp;</strong>formalizes and abstracts familiar objects, proposing simple but elusive fictions that expose how systems of language conceal and withhold. Made with digital tools, jigsaw cuts and MDF board, her work emphasizes perceptual failure and real limits, walls and windows that may allow entry, or limit access.<br /><br />Working across two seemingly disparate media,&nbsp;<strong>Bruno Fazzolari&nbsp;</strong>explores the role of abstraction in everyday life, celebrating the interconnected and often contradictory nature of space, presence, pleasure and perception. His practice is unique in that it incorporates both paintings and perfumes of his own creation in an attempt to relay the &ldquo;olfactory shapes&rdquo; of different scents with marks on canvas. &nbsp;In&nbsp;<em>The Last First,</em>&nbsp;<strong>Josh Greene</strong>&nbsp;commissioned the Chinese artist Yangzi to reproduce a selection of his works from the past ten years. The piece relates to Greene&rsquo;s project&nbsp;<em>Least Favorite&nbsp;</em>in which he asked his family members to discuss their least favorite of his projects. Using this premise, Yangzi asked her family to consider those projects she had been hired to produce. In&nbsp;<em>Mother</em>(2011), an image of Yangzi&rsquo;s mother is positioned above the text: &ldquo;I do not have the ability to understand all the projects. I would like to spend more time thinking about god,&rdquo; a view that could belong to any layperson flummoxed by the dense, often exclusionary visual and theoretical language of contemporary art.<br /><br />In her new piece&nbsp;<em>The Precariat (Material Witnesses)&nbsp;</em>(2013),&nbsp;<strong>Stephanie Syjuco</strong>examines the ways in which artists navigate the production of their work. The ongoing, site-specific project comprises an ad-hoc assembly of objects resembling protest signs, created with cast-off and abandoned materials (some from the gallery&rsquo;s recent construction) from different periods that become literally conflated. Bearing incidental, precarious messages, these works hold up the hidden and unwanted for scrutiny. Vancouver-based&nbsp;<strong>Lauren Marsden&nbsp;</strong>often works collaboratively and with the intent of subverting narrative. Partnering with local court illustrator Felicity Don, Marsden orchestrated a criminal trial in which a group of women inhabited the roles of Judge, Prosecutor, Defense Lawyer and the Accused. Don recorded their performance of texts relating to the sentencing of the Accused, and Marsden replaced the courtroom setting with fantastical, idealized locales in&nbsp;<em>The Sentences</em>, 2013, undermining the event&rsquo;s authenticity. Through time-based works of images from diverse sources,&nbsp;<strong>Patricia Esquivias</strong>creates fragmented, unreliable narratives that present interpretations of both everyday and historical events. Employing low-fi technology and a decidedly DIY aesthetic, the artist films herself selecting and displaying various ephemera, visual counterpoints to her stream-of-consciousness monologues. &nbsp;</p> <p style="text-align: justify;"><strong>Anthony Discenza</strong>&nbsp;received his MFA from the California College of the Arts and his BA from Wesleyan University. Focusing his practice on the experiential overload created by the overwhelming amounts of information we consume, his work employs appropriative and mimetic strategies in order to interrupt, intensify, and displace the flow of this information, employing a range of media including, but not limited to, video projection, text, street signage, and audio.&nbsp; In addition to his solo work, Discenza works as part of the collaborative entity HalfLifers, along with longtime friend and fellow artist Torsten Z. Burns.&nbsp; HalfLifers fuses slapstick humor with a low-fi, improvisational approach to engage narratives of control and crisis embedded in technological culture.&nbsp; Discenza&rsquo;s solo and collaborative works have been presented both nationally and internationally, including most recently at the San Francisco Museum of Modern Art, Gallery 400 in Chicago, The Wattis Institute for Contemporary Arts, Ballroom Marfa, and Objectif Exhibitions in Antwerp, as well as the Getty Center, the Whitney Museum of American Art, and the University of California Berkeley Art Museum &amp; Pacific Film Archive. His work has garnered critical acclaim in&nbsp;<em>Artforum,</em>&nbsp;<em>Artweek</em>, and<em>ArtReview</em>, among other publications.&nbsp; He lives and works in Oakland, California and first exhibited at Catharine Clark Gallery in 2004.</p> <p style="text-align: justify;">&nbsp;</p> Wed, 28 Aug 2013 17:20:05 +0000 - Catharine Clark Gallery - September 7th, 2013 3:00 PM - 4:00 PM <p style="text-align: justify;"><span style="font-size: small;">There will be a walk-through of <em><a href="" target="_blank">This is the Sound of Someone Losing the Plot</a></em>&nbsp;at&nbsp;3 pm, guided by Anthony Discenza and several of the artists.</span></p> Wed, 28 Aug 2013 17:22:41 +0000 - Crocker Art Museum - September 7th, 2013 2:00 PM - 4:00 PM <p style="text-align: justify;"><span style="font-size: small;">Curator William Breazeale will lead a special tour of <em><a target="_blank" href="">The Epic and the Intimate: French Drawings from the John D. Reilly Collection</a></em>. After the tour, join him at the Crocker Cafe by Supper Club for a delicious sampling of French provincial cuisine and wines.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a href="">Buy tickets now</a>, at the Museum Admission Desk, or by calling 916.808.1182. Limited tickets may be available at the Admission Desk the day of the program.</span></p> Thu, 30 May 2013 00:33:37 +0000 Ward Schumaker - Jack Fischer Gallery - September 7th, 2013 4:00 PM - 6:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Jack Fischer Gallery</strong> is delighted to announce the opening of <em><strong>Years of Pretty</strong></em>, an exhibition of works by <strong>Ward Schumaker</strong>. The show also marks the opening of the gallery&rsquo;s new location at 311 Potrero in San Francisco.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ward Schumaker&rsquo;s work incorporates painting, bookmaking, collage, and sculpture. His handling of these various media is loose and expressionistic, always bowing to an intuitive approach. While he has had solo exhibitions in San Francisco, Los Angeles, New York, Nashville and Shanghai, this is the artist&rsquo;s first solo show at Jack Fischer, though he was featured in the gallery&rsquo;s The Collage Show in 2011.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition focuses on works from the years 2003 to 2013, an opportunity to expose the breadth of Schumaker&rsquo;s work. The word Pretty in the title references one of the artist&rsquo;s earliest shows&ndash;&ndash;of hand-painted books&ndash;&ndash;in 2004 at Topher Delaney&rsquo;s Seam. The artist is based in San Francisco, though he and his wife artist Vivienne Flesher spent 2012 living and working in Manhattan. It was during this time that Schumaker took up a series of sculptures (referred to by the artist as &ldquo;dumb boxes&rdquo;) that he had initiated 40 years earlier using cardboard; today he has created them in wood and gesso. In calling these boxes &ldquo;dumb&rdquo; the artist demonstrates a sense of self-deprecating humor and a sensibility that can be blunt and deadpan.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;I like very much what I am seeing of the boxes. There is as always your touch, your sensibility and there is also an authenticity to the weight of your sentiments. The sculptural aspect is very sophisticated without being too much so. They just feel right. They are poetic. They are slow to process, slow to sink in&hellip;. The device of the holes in your boxes, your funerary boxes, are spirit releases, portals, and key holes.&nbsp;Intimate and powerful stuff.&rdquo;Eric Fischl, March 2012</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Years of Pretty</em> will open Saturday, September 7th with a reception for the artist from 4 to 6pm. The exhibition will remain on view until October 12th.</span></p> Mon, 12 Aug 2013 16:46:38 +0000 Philip Jarmain - Meridian Gallery - September 7th, 2013 5:00 PM - 8:00 PM <p>This exhibition presents the large format photographic work of Canadian photographer Philip Jarmain. Since 2010, Jarmain has been documenting the increasingly rapid destruction of Detroit's early twentieth-century buildings.&nbsp; His emphasis in this work is on the architecture itself of these vanishing edifices: the form and the detail.&nbsp; In Jarmain's own words:&nbsp; "These are the last large format architectural photographs for many of these structures." Twenty fine art prints, 4 x 6 and 5 x 7 feet in size, depicting the interiors and exteriors of monumental public buildings, are installed on the three floors of Meridian Gallery. These images comprise the core of the exhibition.&nbsp; This is work of great visual impact, the scale and definition of the images translate into a space that the viewer enters, a physical presence that one feels, and history that one contemplates.</p> <p>The city of Detroit has had an unprecedented impact on the industrial age and the modern world. Once called "The Paris of the Midwest," it was a city driven by innovation and craftsmanship.&nbsp;The architecture of Detroit in the early 1900s rivaled that of New York, Chicago, or Paris. Then came the Great Depression of the 1930s. &nbsp;Though Detroit would rise again, the era of opulence was over.&nbsp;The boom of the 1950s did not produce another architectural renaissance. &nbsp;In 2009, the US recession hit Detroit like a second Great Depression, compounding the decline and the ruin.&nbsp;The population dropped from 2.8 million people in the 1950s to a current population of 706,000. The unemployment rate is now over 30%.&nbsp; The majority of these majestic pre-Depression buildings are presently being destroyed at an exponential rate as they lie victim to scrappers, arson, and demolition. Despite these events Detroit -- Motown -- remains a cultural powerhouse and the passion of its residents is infectious.</p> <p>Meridian Gallery is pleased to present these photographs as an opportunity to consider the historical and current state of Detroit as an American city.</p> <p>Philip Jarmain is a photographer who earns his living in advertising and is based in Vancouver and Toronto.&nbsp;&nbsp;&nbsp; His personal interests as a photographer include architecture, story telling, and the filmic in photography.</p> Wed, 28 Aug 2013 18:06:51 +0000 James Torlakson, William Farley - SFMOMA Artists Gallery - September 7th, 2013 1:00 PM - 3:00 PM <p style="margin: 0in 0in 0pt;">With a professional career that has spanned four decades, James Torlakson may be best known for his photo-based realism, though working from life is still an active part of his creative process. His imagery has centered on everyday America, shifting over the years to include trucks, railways, amusement parks, waterfronts, fireworks booths, deserted drive-in theaters, and coastal landscapes.</p> <p style="margin: 0in 0in 0pt;">&nbsp;</p> <p style="margin: 0in 0in 0pt;">Torlakson explains: "Often I am pointing out things that would be bypassed as mundane or very ordinary, therefore not normal fodder for aesthetic attention. Given a personal and honest perspective, most anything is worthy of consideration." For the upcoming exhibition, Torlakson will show several oil paintings, including <em>Halloween</em>, a recent large work depicting his children trick-or-treating.</p> <p style="margin: 0in 0in 0pt;">&nbsp;</p> <p style="margin: 0in 0in 0pt;">In the photographs of his <em>Fog at Night </em>series, William Farley explores natural and man-made environments. These have a dimension of expectation to them, similar to the atmosphere surrounding a movie set, where some dramatic human behavior has just taken place or is about to begin. He photographs urban and rural landscapes absent of their inhabitants, where the elementals seem visible and available to be recorded.<br /><br />Farley calls this work an exploration of his belief that the photographic image "has the potential to reach beyond the rational mind to our innate understanding of the mysterious beauty of the material world."</p> Mon, 19 Aug 2013 22:03:53 +0000 Karen Gilbert - Shibumi Gallery - September 7th, 2013 5:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Berkeley, CA: (August 12, 2013) Shibumi Gallery presents <em>Shift</em>, a&nbsp;</span><span style="font-size: small;">show featuring the work of Karen Gilbert and SkLO Studio. Shift&nbsp;</span><span style="font-size: small;">highlights the intimate relationship between material and form&nbsp;</span><span style="font-size: small;">viewed from the complimentary perspectives of craft and design.&nbsp;</span><span style="font-size: small;">The exhibition runs through October 27, 2013 at Shibumi Gallery,&nbsp;</span><span style="font-size: small;">with the opening reception held Saturday September 7th from 5-</span><span style="font-size: small;">8pm and artist talk beginning at 5:30pm.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Karen Gilbert&rsquo;s jewelry explores ideas of beauty and comfort by&nbsp;</span><span style="font-size: small;">merging materials of contrasting nature and challenging&nbsp;</span><span style="font-size: small;">conceptions of form and function. Working with various materials&nbsp;</span><span style="font-size: small;">such as oxidized sterling silver, stainless steel, glass, precious&nbsp;</span><span style="font-size: small;">stones, and textiles, the sculptural nature of her jewelry finds&nbsp;</span><span style="font-size: small;">inspiration in the microcosm of our everyday world, exposing "the&nbsp;</span><span style="font-size: small;">smallest as a visual representation of the larger complexity".&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">SkLO Studio is a collaborative&nbsp;</span><span style="font-size: small;">multi-disciplinary design studio&nbsp;</span><span style="font-size: small;">founded by Pavel Hanousek,&nbsp;</span><span style="font-size: small;">Karen Gilbert, and Paul Pavlak.&nbsp;</span><span style="font-size: small;">Working directly with glass&nbsp;</span><span style="font-size: small;">masters in the Czech Republic,&nbsp;</span><span style="font-size: small;">SkLO brings a new modern&nbsp;</span><span style="font-size: small;">sensibility to the hand blown&nbsp;</span><span style="font-size: small;">Czech glass tradition. While&nbsp;</span><span style="font-size: small;">remaining rooted in the unique&nbsp;</span><span style="font-size: small;">synergy found between design&nbsp;</span><span style="font-size: small;">and craft, SkLO is going beyond&nbsp;</span><span style="font-size: small;">glass and glassblowing to create a&nbsp;</span><span style="font-size: small;">vibrant modern design brand.</span></p> Wed, 14 Aug 2013 16:12:10 +0000 Wendy White, Lecia Dole-Recio, Jeffrey Gibson, Mary Weatherford - Steven Wolf Fine Arts - September 7th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">As part of an effort to further bridge her studio to the outside world, Linda Geary organized a group show in the back room called&nbsp;<em>Hotbox Forever,</em>&nbsp;featuring New York and L.A. artists Wendy White, Lecia Dole-Recio, Jeffrey Gibson and Mary Weatherford.</span></p> Wed, 04 Sep 2013 17:49:33 +0000 - Asian Art Museum - September 8th, 2013 2:00 PM - 3:30 PM <p>New discoveries related to the Cyrus Cylinder continue to be made more than 130 years after its discovery in the ruins of Babylon in 1879. The ongoing discoveries shed fresh light on the character and concerns of Cyrus. Professor David Stronach, who has worked on and studied this archaeological site, will explore the gardens and monuments of Cyrus. He will also discuss the Oxus Treasure, focusing on a gold armlet in the exhibition, which exemplifies the rare quality of Achaemenid Persian jewelry from the 6th to 4th centuries BCE.</p> <p>David Stronach is professor emeritus of Near East Studies at UC Berkeley. A renowned archaeologist specializing in ancient Iran and Iraq, he is a leading expert on Pasargadae, the capital city of Cyrus. Co-presented by the Society for Asian Art.</p> Wed, 21 Aug 2013 01:15:53 +0000 - Crocker Art Museum - September 8th, 2013 1:30 PM - 2:30 PM <p style="text-align: justify;"><span style="font-size: small;">Before the Classical Concert, enjoy a docent-led tour of the exhibition <a target="_blank" href=""><em>Folding Paper: Infinite Possibilities of Origami</em></a>. Classical Concert goers will get the added benefit of appreciating the 3 PM performance in the context of the art on view. Open to all visitors.</span></p> Thu, 30 May 2013 00:27:00 +0000 - The Contemporary Jewish Museum - September 8th, 2013 2:00 PM - 5:00 PM <p style="text-align: justify;"><span style="font-size: small;">Exploring the father son relationship between Bob Dylan and Allen Ginsberg, over fifty artists perform the entirety of Bob Dylan&rsquo;s <em>Highway 61 Revisited</em>.&nbsp; Musicians include The Struts, Wiskermen, Kugelplex, Lily Taylor and more, with Karine Denike as musical director.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Co-presented by KALW.</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Supporters</span></h2> <p class="footnote" style="text-align: justify;"><span style="font-size: small;">Lead Support for the Highway 61 Revisited CD and program is generously provided by Emily and Stephen Mendel.</span></p> <p class="footnote" style="text-align: justify;"><span style="font-size: small;">Public Programs and New Media Initiatives at the CJM are made possible with lead support from The Jim Joseph Foundation. Major support has been provided by the Leavitt Family and supporting sponsorship comes from The Toole Family Charitable Foundation, David B. Gold Foundation, In Memory of Benjamin Alpert, and Alyse Mason Brill and Nathan Brill.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a href=""><img src="" alt="JJF_New_Logo" name="" width="120" height="40" /></a></span></p> Fri, 16 Aug 2013 10:36:14 +0000 Michel Auder, Slater Bradley, Martin Boyce, Philip-Lorca diCorcia, John Menick, Enrique Metinides, Yelena Popova, Amie Siegel, Kelley Walker - CCA Wattis Institute - September 10th, 2013 6:30 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;">The CCA Wattis Institute for Contemporary Arts will present the group exhibition&nbsp;</span><em style="font-size: small;">City of Disappearances</em><span style="font-size: small;">&nbsp;September 10 through December 14, 2013, in the Wattis Institute galleries, located on the San Francisco campus of California College of the Arts. The exhibition is free and open to the public, with an opening reception on Tuesday, September 10, from 6:30 to 8:30 p.m. After its appearance in San Francisco the exhibition will travel to the Zabludowicz Collection, London, under the title&nbsp;</span><em style="font-size: small;">Infinite City</em><span style="font-size: small;">, February 27&ndash;May 11, 2014.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>City of Disappearances</em>&nbsp;focuses on the city as material, site, and situation for the contemporary lived experience. It will feature works from two important collections: the Kadist Art Foundation (located in San Francisco and Paris) and the Zabludowicz Collection (located in London, New York, and Sarvisalo, Finland). The show is curated by Joseph del Pesco, director of the Kadist Art Foundation, and Elizabeth Neilson, director of the Zabludowicz Collection.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>City of Disappearances</em>&nbsp;involves three distinct but integrated elements: a solo display devoted to one artist from each collection, a new installation of works drawn from both collections, and a room in which artworks of different mediums are shown together. From the Kadist Art Foundation there is Berlin Remake (2005) by the New York&ndash;based artist Amie Siegel; this two-channel work juxtaposes preexisting films of Berlin with contemporary footage of the same locations, presenting a ghostly portrait of a city that has been a prominent protagonist in world conflict.</span></p> <p style="text-align: justify;"><span style="font-size: small;">From the Zabludowicz Collection comes a selection of hard-hitting reportage captured by Enrique Metinides, a Mexico City&ndash;based photographer, between 1949 and 1995.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The show will include a newly configured sculptural installation by the Scottish artist Martin Boyce; the work is appearing for the first time in San Francisco. Boyce references architectural and modernist design and materials to create environments that blend functionality and aesthetics, to uncanny effect.</span></p> <p style="text-align: justify;"><span style="font-size: small;">There will be video, painting, and photography by Slater Bradley, Yelena Popova, and Kelley Walker from the Zabludowicz Collection and Michel Auder, Philip-Lorca diCorcia, and John Menick from the Kadist Art Foundation.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Co-curator Joseph del Pesco says: &ldquo;Variously recognizable in the exhibition are corporeal vanishings, filmic echoes from the past dissolving in the present, and contaminated memories. The exhibition argues for the insubstantiality of the city as a concrete material and conceptual container, proposing instead that numerous cities live but are eventually forgotten in the minds of its inhabitants.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;Does the city make the people, or do the people make the city?&rdquo; asks co-curator Elizabeth Neilson. &ldquo;Whether we observe the formation of cities by their inhabitants or the formation of inhabitants by the cities in which they live, we recognize the city as a primary dilemma, a tension that is prevalent in all the works on view.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">The physical and spatial experience of a city defines a language spoken around the world -- a language of skyscrapers, traffic, human density, technology, affluence, poverty, and noise. Since 2007, the majority of the world's population has been urban, making it increasingly urgent for us to think about what &ldquo;the city&rdquo; means. Whether we extol or condemn particular features of a certain city, there is no disputing that urban denizens play a more critical role than ever in determining the direction of global culture.</span></p> <p style="text-align: justify;"><span style="font-size: small;">When the exhibition travels to the Zabludowicz Collection location in London it will appear with a different title:&nbsp;<em>Infinite City</em>. The underlying concept is that in each city, the show takes its title from a book relating to the other location; the intent is to highlight the ways in which the title of an exhibition, and by extension the context in which artworks are exhibited, influences the show&rsquo;s local reception.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The two books that inspired these exhibition title choices are Iain Sinclair&rsquo;s&nbsp;<em>London: City of Disappearances</em>&nbsp;(2006) and Rebecca Solnit&rsquo;s&nbsp;<em>Infinite City: A San Francisco Atlas</em>&nbsp;(2010). Sinclair calls his book an &ldquo;anthology of absence&rdquo;; it includes writings by more than a dozen authors, and the curators believe that it speaks broadly to the many &ldquo;cities of shadows&rdquo; in the exhibition. Solnit&rsquo;s book is a series of color maps created in collaboration with artists, writers, and cartographers to illuminate diverse aspects of San Francisco, its history, and its inhabitants.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition exchange was initiated by Jens Hoffmann during his tenure as director of the Wattis Institute and advisor to the Kadist Art Foundation. It is the first in a series of exchanges organized by Kadist in collaboration with local and international partner institutions. The next exchange will occur in 2014 with the Times Museum in Guangzhou, China.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> Mon, 08 Jul 2013 16:58:50 +0000