ArtSlant - Closing soon en-us 40 Caragh Thuring - Anthony Meier Fine Arts - September 13th, 2013 - October 18th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Anthony Meier Fine Arts is pleased to present an exhibition of new paintings by Caragh Thuring.&nbsp; In her inaugural exhibition at the gallery, Thuring exhibits a body of work that ties together ideas and motifs previously referenced in her work.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Thuring invites a sense of wonder, presenting several compositions rife with incongruities of scale and dimension. Meanwhile, other paintings present tangible objects &ndash; a window balcony, an ornately fastened rope &ndash; whose properties are fully bound in realism and physics.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Drawing from her own experience, Thuring takes inspiration from a range of source material, including her own photographs, books, travels, memories, and her knowledge of art history.&nbsp;<em>Galarus</em>&nbsp;and&nbsp;<em>San Petronio,&nbsp;</em>for example, depict the marquetry of a choir stall in Bologna, while&nbsp;<em>Pool Palm</em>recollects surfacing from a swimming pool to encounter a looming palm tree. In both cases the general scale is shifted and obscured in an otherwise realistic presentation.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Characteristic in her use of unprimed linen, Thuring&rsquo;s paintings feature figures and elements amidst an open background; layered paint and unpopulated linen create a depth of field that leaves much to the imagination. A figure constructed of bricks lounges in the corner of one canvas, while outlined half-figures direct another scene.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tying these together are several themes repeated throughout: pyramids, window panes, brick constructions &ndash; each presented in an imaginative arrangement.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Caragh Thuring was born in Brussels in 1972. She lives and works in London. Her work is included in many public and private collections, among them the Tate, the Zabludowicz Collection, and the Saatchi Collection.</span></p> Fri, 13 Sep 2013 17:04:56 +0000 - Asian Art Museum - October 19th, 2013 - October 19th, 2013 <p>To kick-off <em>Proximities 2: Knowing Me, Knowing You</em> (titled after a 1976 hit song by the pop sensation ABBA), the museum will host a karaoke lounge in Samsung Hall. Taking inspiration from the theme of the show&mdash;examining Asia through family and shared experience&mdash;this lounge pays tribute to the spirit of karaoke, the global pastime that brings people together through popular music. Guest curator Glen Helfand introduces the theme of the exhibition with an in-gallery talk to start off the program, and the fun picks up with a challenge to see who offers the most dynamic performance of the afternoon, whether ABBA, Whitney, Linda Ronstadt, or a wild card selection. <a href="" rel="nofollow">KJ Kendoke</a> (Kenneth Fate) presides over the festivities. Get ready and prepare your selection from the <a href="" rel="nofollow">karaoke song book</a>.&nbsp;</p> Thu, 10 Oct 2013 19:39:36 +0000 Dawoud Bey - Rena Bransten Gallery - September 5th, 2013 - October 19th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The <strong>Rena Bransten Gallery</strong> is pleased to present an exhibition of new photographs by <strong>Dawoud Bey</strong> titled <em><strong>The Birmingham Project</strong> </em>that will run through September and October, 2013.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Dawoud Bey is best known for his portrait series that introduce individuals on both sides of the camera to each other in an effort to broaden awareness of who &ldquo;the others&rdquo; all around us are &ndash; in our neighborhoods, schools, interest groups, community and beyond. By making his photographic subjects part of the art process, Bey hopes to expand and balance an understanding between viewer and viewed so both sides see that &ldquo;the bigger picture&rdquo; in any context is the shared experience of observation and recognition &ndash; where opposing sides may see what they might have in common - as humans &ndash; exchanging views.&nbsp; </span></p> <p style="text-align: justify;"><span style="font-size: small;">Portraits in <em>The Birmingham Project</em> commemorate the four girls killed in 1963 when the 67th Street Birmingham Baptist church was bombed and the two boys killed later that same day in a separate incident of racial violence.&nbsp; While the source events were shocking and senseless, the pictures serve as reminders of the strength and beauty possible in the aftermath of a tragedy when healing is shared by family and community.&nbsp; </span></p> <p style="text-align: justify;"><span style="font-size: small;">In these portraits, Bey photographed local Birmingham inhabitants &ndash; men, women, and children &ndash; of the same ages as the deceased and at the ages they would be today if they had survived.&nbsp; Surprisingly, the historical references for the portraits do not in any way burden them with sentimentality, rather, their presentation as diptychs give viewers a vision of the child plus their fulfilled potential as an adult.&nbsp; The warmth and charm Bey has captured in the pairings give each set a stunning and convincing immediacy showing the power of art to enhance and transform experience.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Bey has an undergraduate degree from Empire State College, S.U.N.Y. and an MFA degree from Yale University School of Art. He has exhibited widely in the US and was included in the 2000 Whitney Biennial. He currently lives in Chicago and teaches at Columbia College.</span></p> Mon, 12 Aug 2013 16:23:26 +0000 Alice Cattaneo - Romer Young Gallery - September 6th, 2013 - October 19th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Romer Young Gallery</strong> is pleased to present its first solo exhibition with Milan artist&nbsp;<strong>Alice Cattaneo</strong>,&nbsp;<strong><em>Nothing quite flat and more round</em></strong>. There will be an opening reception for the artist on&nbsp;<strong>Friday, September 6, 6-9pm</strong>.</span><br /><br /><span style="font-size: small;">For this exhibition, Cattaneo will exhibit a new series of sculptures generated during her residency at the gallery this summer. The site sensitive, loose arrangement of works is organized in the space following a circular and invisible pattern. Subtle to the viewer, the design of this imaginary architecture within the gallery space takes into consideration a rigorous yet imperfect geometry&nbsp;<em>coupled with a (colorful) sense of playfulness</em>.</span><br /><br /><span style="font-size: small;"><em>"I&nbsp;</em><em>think of a Picasso&rsquo;s maquette for a monument dedicated to Apollinaire that was never realized. The geometrical structure was photographed in the artist&rsquo;s studio next to a long table with ceramic heads and all sort of figurative elements. There was a fascinating gap between the imaginary monument, the actual model in the studio and the stuff on the table. I tried to organize the sculptures in the space of the gallery considering these gaps and invisible patterns that create relationships between things."</em></span><br /><br /><span style="font-size: small;">As with much of Cattaneo&rsquo;s work, the sculptures are inspired by, and directly respond to their environment. Using an economy of gestures and common materials such as scotch tape, balsa wood, pastel, wire, foam board, cable ties, iron netting, the provisional sculptures balance against the walls, rest on the floor, slightly &ldquo;altering the perception of the room. The sculptures are assembled holding each other and challenging, to an extreme limit, their equilibrium&hellip;defining an apparent frangible place."</span><br /><br /><span style="font-size: small;">The artist writes:&nbsp;<em>When I first start working in a space I try to activate it by bringing materials that require movement like big pieces of cardboard or sticks of wood, and quickness like masking tape or cable ties. Then I try to follow a sort of system of selection through which forms come out and then are relocated into the physical work. It is not about memory but rather about a repetitive process that involves doing and undoing, making and remaking, the appearing and disappearing of forms.&nbsp;</em></span><br /><br /><span style="font-size: small;">Ephemeral and fragile in their immediate reception, the constructions command a spatial presence that is counterintuitive to that which their low-tech materials and physical weight suggest. Working with ideas of space, light, line, and gravity, the sculptures articulate a significant geometric volume.</span><br /><span style="font-size: small;">&nbsp;</span><br /><span style="font-size: small;">Cattaneo received her BA in Fine Art and Environmental Art at the Glasgow School of art, and her MFA in sculpture from the San Francisco At Institute. Recent solo exhibitions include Galerie Stadtpark (two person show with Fred Sandback), Krems; Galleria Suzy Shammah, Milan; Ikon Gallery, Birmingham; MADRE Museum, Naples; Analix Forever, Geneva.&nbsp;Selected group exhibitions include Arte in Memoria, Sinagoga di Ostia Antica; W&auml;scherei Kunstverein, Zurich; The Fourth Guangzhou Triennial, Guangdong Museum of Art; MUSMA, Matera; Collezione Maramotti, Reggio Emilia/Frankfurt Kunstverein, Frankfurt; Hangar Bicocca, Milan; Fondazione Pomodoro, Milan; Mus&eacute;e Cantonal des Beaux-Arts, Lausanne; Centro per L'Arte Contemporanea L.Pecci, Expo Shangai; Kaohsiung Museum of Fine Arts, Taiwan; Today Art Museum, Beijing; Palazzo delle Stelline, Milan; Galerie Christine Koenig, Vienna; Palazzo Grassi, Venice/MCA, Chicago; The Daejeon Museum of Art, Daejeon; MAXXI Museum, Rome; Wilhelm-Hack-Museum, Ludwigshafen.</span><br /><br /><span style="font-size: small;">Alice Cattaneo is the second artist in residence at Romer Young Gallery&rsquo;s Artist in Residence program. Many thanks to the&nbsp;<a href="" target="_blank">Istituto Italiano di Cultura di San Francisco</a>, and to Paolo Barlera personally, for their generous support of this exhibition and residency.</span></p> Fri, 27 Sep 2013 09:04:52 +0000 Linda Geary - Steven Wolf Fine Arts - September 7th, 2013 - October 19th, 2013 <p style="text-align: justify;"><span style="font-size: small;">In the Fall of 2011, Linda Geary hit the pause button on her studio practice and began a quest to have 100 conversations about painting with people in San Francisco. The interlocutors form a who's who of artists, writers, curators and dealers in the bay area, and those conversations gave rise to <em>Studio Visit</em>, an artist book, and <em>All the Pink Together:Boom</em>, an exhibition of new paintings at Steven Wolf Fine Arts</span>.</p> Mon, 12 Aug 2013 16:40:11 +0000 Wendy White, Lecia Dole-Recio, Jeffrey Gibson, Mary Weatherford - Steven Wolf Fine Arts - September 7th, 2013 - October 19th, 2013 <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 17:49:32 +0000 Group Show - Warehouse 416 - September 14th, 2013 - October 19th, 2013 <p style="text-align: justify;"><span style="font-size: small;">A group exhibition exploring the current state of the Oakland Art Market, as represented by creative entrepreneurship of emerging artists.</span></p> Tue, 04 Mar 2014 18:04:16 +0000 Early Chinese Painters, Ma Yuan, Wen Riguan, Guo Min, Ma Wan - Berkeley Art Museum and Pacific Film Archive - June 5th, 2013 - October 20th, 2013 <p>We are delighted to present, for the first time in ten years, a selection of BAM/PFA’s earliest Chinese paintings. These rare and amazingly well-preserved works by early landscape and bird-and-flower painters of the late Song and early Yuan periods (thirteenth and fourteenth centuries), rendered on silk or paper with ink and light color, demonstrate the sophistication and accomplishment of the early Chinese painting tradition.<br /><br />Early Chinese painters often depicted the natural world through a lens of gentle mists created by delicate brushwork. Whether capturing a refined corner of the universe, as in Ma Yuan’s thirteenth-century <i>Plum Tree and Ducks by a Stream</i>, or a single twisted branch of a grapevine, as in Wen Riguan’s thirteenth-century <i>Grapes</i>, it is the artist’s control of ink, wash, and line that brings the subject to life. Equally compelling is the anonymous <i>Fish and Water Plants</i> from the fifteenth century, which depicts a powerful carp rising through a bed of delicately rendered vegetation; the very light touches of color in this work add a pleasing naturalism to the scene.<br /><br />Landscape painters, too, conveyed the beauty and grandeur of the natural world. Their interpretations were not intended to be of specific places rendered in realistic terms, but rather idealized landscapes of retreat and reclusion. The tall trees of Guo Min’s Fir and Pines in the Snow (thirteenth century) form a protective circle around a figure pictured in a hut at the base of a fantastic and turbulent mountain. The artist concedes that man is but a small part of a much grander universe. Similarly, River Landscape, attributed to Ma Wan (1325-1365), suggests the glory of the natural world with a remote view that allows the viewer to survey the landscape of mountains, trees, and streams.</p> Wed, 12 Jun 2013 17:06:50 +0000 Rob Barnard - Crocker Art Museum - July 21st, 2013 - October 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;">This exhibition introduces to a wider audience the ceramic art of Rob Barnard, exclusively featuring works collected by Rob and Josseline Wood, who gifted their collection to the Crocker in 2010. In all, thirty-nine objects span 20 years of the artist's career in this, the artist's first exhibition devoted to his production. Barnard embraces the irregular and displeasing, often developing tensions in form that are meant for the viewer to resolve. He prefers the Japanese-style anagama kiln for his wood-firings. Final results encompass subtle lusters, drips of glaze, and flashes of color that draw the eye to the vessel's surface. While such forms may be reductive, they are also nuanced in shape, line, and curve. These are the details that matter to Barnard, who believes pottery is capable of ennobling daily rituals and feeding the senses.</span></p> <p></p> Fri, 05 Jul 2013 10:31:35 +0000 Philip Jarmain - Meridian Gallery - September 7th, 2013 - October 20th, 2013 <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 18:06:50 +0000 Amze Emmons - Park Life - September 20th, 2013 - October 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Park Life</strong> is proud to present <em><strong>Close Wilderness</strong>,</em> an exhibit of new paintings and drawings from <strong>Amze Emmons</strong>. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">The work in this exhibition tracks a research thread connecting, vernacular architecture, informal economies, and self-organized systems of community &amp; exchange, essentially the intersection of <em>Syst&egrave;me D</em> and material culture. Emmons finds something inherently hopeful embodied in these improvised solutions, spaces, and markets. He is inspired by walking the cities, photo-cataloging aspects of street life. In particular, he is interested in evidence of local place making and the global circulation of material goods.</span></p> <p style="text-align: justify;"><span style="font-size: small;">By collaging the source material within the drawing process, Emmons aims to present how the things we consume and build connect us to one another, to show the way everyday objects contain both histories &amp; creative potential, and to make the familiar strange through proximity.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibit will also feature contributions from by special guests:&nbsp;Anni Altshuler,&nbsp;Glen Baldridge,&nbsp;Matt Furie,&nbsp;Michael Krueger,&nbsp;Nathan Haenlein,&nbsp;R.L. Tillman,&nbsp;Nathaniel Parsons,&nbsp;Imin Yeh</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Bio</span></p> <p style="text-align: justify;"><span style="font-size: small;">Amze Emmons&nbsp;(b. 1974, Amsterdam, NY) is a Philadelphia-based, multi-disciplinary artist with a background in drawing and printmaking. Emmons received a BFA from Ohio Wesleyan University and a MA and MFA from the University of Iowa. He has held solo exhibitions at Park Life, San Francisco; Kesting Ray, New York; Space 1026, Philadelphia; OHT Gallery, Boston; and Works on Paper Gallery, Philadelphia. His work has been exhibited in group exhibitions including EFA Project Space and the International Print Center, New York; the Delaware Center for Contemporary Art, Wilmington; the Des Moines Art Center, Des Moines; Wendy Cooper Gallery, Chicago; and The Print Center, Philadelphia. Emmons has received numerous awards including a Fellowship in the Arts from the Independence Foundation; an Individual Creative Artist Fellowship from the Pennsylvania Arts Council; and a Fellowship at the MacDowell Colony.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Also featuring contributions from by special guests:&nbsp;Anni Altshuler,&nbsp;Glen Baldridge,&nbsp;Matt Furie,&nbsp;Michael Krueger,&nbsp;Nathan Haenlein,&nbsp;R.L. Tillman,&nbsp;Nathaniel Parsons,&nbsp;Imin Yeh</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Amze Emmons&nbsp;(b. 1974, Amsterdam, NY) is a Philadelphia-based, multi-disciplinary artist with a background in drawing and printmaking. His&nbsp;images evoke a sense of magical/minimal realism inspired by architectural illustration, comic books, cartoon language, information graphics, news footage, consumer packaging, and instruction manuals.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Emmons received a BFA from Ohio Wesleyan University and a MA and MFA from the University of Iowa.</span></p> Sat, 14 Sep 2013 10:47:35 +0000 Doug Hall - San Jose Museum of Art - July 18th, 2013 - October 20th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The iconic and glorious Golden Gate Bridge, recognized around the world, is nearly synonymous with the Bay Area. This summer, SJMA invites visitors to experience the bridge in a completely new way through the art of Doug Hall. In <i>Timelapse</i>, the bridge is more than a landmark: it is an elegant engineering feat, a symbol of global maritime commerce, a portal to the Pacific Rim, and a tourist destination of the West. This exhibition marks the debut of the Museum’s recent major acquisition, purchased with funds contributed by the Lipman Family Foundation and the Acquisitions Committee.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><i>Chrysopylae</i> (2012) is a dual-screen, high-definition, video portrait of the Golden Gate Bridge and the massive international container ships that pass under it on their way in and out of the San Francisco Bay. The explorer John C. Fremont named the mouth of the bay <i>Chrysopylae</i>, Greek for “golden gateway,” in 1846, long before the bridge was built. From land, from sea, and from above, Hall filmed the activities that take place at the extraordinary interface of nature and this manmade wonder. He went out to sea with the skilled bar pilots who guide the container ships through the rough currents of the bay and even climbed to the top of the bridge’s towers. Hall edited over forty hours of footage into twentyeight minutes that panoramically capture the monumental and the ordinary moments in daily existence at the Golden Gate. A sound track composed by Jim McKee and Joan Jeanrenaud in Dolby surround sound accompanies the footage. Hall’s binocular images and the deep, resonant sound create a multisensory experience that is kinesthetically felt as much as it is seen. <i>Chrysopylae</i> was commissioned for the exhibition International Orange at Fort Point, San Francisco, which was organized by the FOR-SITE Foundation in honor of the bridge’s seventy-fifth anniversary.</span></p> <p style="text-align: justify;"><span style="font-size: small;">On view along with the video installation will be Hall’s photographs of attractions in the American West, such as Yosemite and Mount Rushmore—preludes to his portrayal of the far-Western presence that is the Golden Gate Bridge.</span></p> Fri, 05 Jul 2013 15:09:17 +0000 Robert Arneson, Richard Shaw, Nathan Oliveira, Raymond Saunders, Willie Birch, Maria Porges, Mineko Grimmer, Donald Roller Wilson - San Jose Museum of Art - July 18th, 2013 - October 20th, 2013 <p style="text-align: justify;">Katie and Drew Gibson, longtime supporters of SJMA, believe that culture is a big part of what makes a city important and meaningful. From the very early days of the Museum, when it occupied the old library, they dreamed of an art museum with a collection of national prominence and gutsy distinction. The Gibsons have helped the Museum realize its ambitions for some thirty years. A developer of commercial properties in San Jose, Drew was a driving force, alongside Averill Mix, in the capital campaign and the construction of the Museum&rsquo;s impressive new wing in 1991. He and Katie made a gift to name the Gibson Family Gallery and, to date, have generously donated seventy-five works of art from their extraordinary private collection to SJMA, including visitor favorites such as Mildred Howard&rsquo;s monumental <em>Abode: Sanctuary for the Familia(r) </em>(1994), known affectionately as &ldquo;the bottle house.&rdquo;</p> <p style="text-align: justify;">This exhibition celebrates the Gibson&rsquo;s legacy and their belief in sharing with the public the exhilarating experience that artworks bring. Highlights include works by California artists Robert Arneson, Nathan Oliveira, Raymond Saunders, and Richard Shaw, among others. Also on view will be a powerful sculpture by New Orleans artist Willie Birch, made in response to the harrowing 1992 &ldquo;Rodney King&rdquo; riots in Los Angeles; Maria Porges&rsquo;s&nbsp;<em>The virtues and vices of history</em>, from the series &ldquo;History Lessons&rdquo; (1998); Mineko Grimmer&rsquo;s&nbsp;<em>Mahogany Music Box</em>&nbsp;(n.d.); and the comical and subversive work of Donald Roller Wilson. In 2014, the Museum will present a separate exhibition of the Gibson&rsquo;s gift of over thirty photographs by David Levinthal, an exemplary archive assembled with the artist that rivals the holdings of his work at the Metropolitan Museum of Art, New York, and the Los Angeles County Museum of Art.</p> <p style="text-align: justify;">The Gibsons built their collection adventurously and independently, with a deep passion for art and a belief in supporting the work of living artists. These artworks were part of their daily lives and daily pleasures&mdash;and will now be enjoyed by Museum visitors for years to come.</p> Wed, 10 Jul 2013 05:03:11 +0000 James Torlakson, William Farley - SFMOMA Artists Gallery - September 7th, 2013 - October 24th, 2013 <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 22:08:14 +0000 Amanda Hughen, Jennifer Starkweather - Electric Works - September 6th, 2013 - October 25th, 2013 <div><strong><em>Valediction</em></strong></div> <div>September 6 - October 19, 2013</div> <div>Opening reception: Friday, September 6, 6-8 p.m.</div> <div>&nbsp;</div> <p>Coinciding with the opening of the new Bay Bridge and the eventual demolition of the old East Span, Electric Works is pleased to announce&nbsp;<em>Valediction,&nbsp;</em>collaborative works by Amanda Hughen and Jennifer Starkweather.&nbsp;</p> <p>Continuing the artists' exploration of the Bay Bridge over the past several years,<em>&nbsp;Valediction&nbsp;</em>is a new series of works on paper&nbsp;that focuses on the soon-to-be demolished East Span of the Bay Bridge.&nbsp;As the new bridge nears completion, the original East Span, which has been a part of the daily landscape of hundreds of thousands of commuters, will soon exist only in our collective memory.&nbsp;In&nbsp;<em>Valediction</em>, the artists explore this idea, as well as the past and future of the East Span, including its construction 75 years ago as a railroad bridge, the 1989 earthquake damage that predestined its eventual replacement, and its future as an abandoned structure on the Bay as it is dismantled over the next few years.&nbsp;</p> <p>The artists researched the project through architecture and engineering drawings, data, maps and diagrams, and historic and current photographs. They also drew from their own experiences of years of driving across the bridge.</p> <div>Hughen/Starkweather create collaborative artworks that explore the layers, complexities, and patterns that comprise a specific place using both current and historic information, &shy;photographs, maps, and data &shy;to research a location. The resulting artworks map unique forms and patterns derived from built systems and natural movements of a place.&nbsp;They were recently commissioned to create a permanent public artwork in the exterior glass of the walls and roof deck of the new Central Subway station in Union Square.&nbsp;</div> <div>&nbsp;</div> <div>&nbsp;</div> <div>THE BRIDGE</div> <div>November 2012 marked the 75th anniversary of the opening of the Bay Bridge in 1936. At the time, many believed it would be impossible to build the bridge because of high winds, muddy depths, strong waters and varying soils. There had been discussion of building a bridge between San Francisco and Oakland since the 1870s, but the process was delayed due to many factors. Once completed in 1936, it was the longest bridge in the world. Fast forward to 1989, when the Loma Prieta earthquake collapsed a section of the east span and initiated seismic upgrades and eventually an entirely new design for the East Span. The project has passed through four governors, political hurdles and extensive design reviews. When the new bridge opens in 2013, it will be the most complex engineering feat in the history of California. The new structure, which begins at the Yerba Buena Island, will be the largest self-anchored suspension bridge in the world, with a single tower rising 525 feet into the air and transitioning to a graceful skyway that touches down in Oakland. Whereas the current bridge is double-decked, the replacement will feature side-by-side decks and a 15.5-foot-wide bicycle and pedestrian path running along the eastbound deck.</div> <div>&nbsp;</div> <div>For inquiries about the Bay Bridge, please contact the Bay Bridge Public Information Office at 510-286-7167 or visit the website at</div> Thu, 24 Oct 2013 16:37:33 +0000 - The American Institute of Architects, San Francisco Chapter - August 15th, 2013 - October 25th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>AIA San Francisco, Center for Architecture + Design, Environmental Design Archives at UC Berkeley, California Historical Society, SPUR and the San Francisco Public Library present Unbuilt San Francisco, a collaborative exhibition on view August &ndash; December, 2013.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">If San Franciscans like to describe their city as &ldquo;49 square miles surrounded by reality,&rdquo; the visionary ideas that were too grandiose for even San Franciscans to consider remain some of the most fantastic designs for any city in the world. Imagine a grand casino on Alcatraz, the city wrapped in freeways and a subdivision covering flattened hills north of the Golden Gate Bridge.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This ambitious five-venue exhibition and its accompanying programs will provide viewers with an opportunity to confront visions for the region that never came to pass. Images include early designs for San Francisco City Hall and other landmarks, neighborhood-scaled plans that were blocked by community activists, and provocative works by architects prodding society to take on challenges like sea level rise.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Each institution will display treasures from archival collections, architecture firms and private architectural collections, and host companion programming, panel discussions and lectures.</span></p> <h3>Unbuilt San Francisco: Grand Visions</h3> <p style="text-align: justify;"><span style="font-size: small;">Two themes &ndash; Dreams Deferred and On the Boards &ndash; frame the collection of thought-provoking photographs, original drawings, renderings and models that make up Unbuilt San Francisco: Grand Visions. The exhibition juxtaposes outlandish unbuilt work with existing plans which will, in time, have a major impact on our city. Featured content includes Vincent Raney&rsquo;s drawings of a United Nations at the foot of Twin Peaks; OMA&rsquo;s designs for Prada&rsquo;s West Coast headquarters, located near Union Square; Fougeron Architecture&rsquo;s envisioning of a future San Francisco with agriculture woven directly into the urban framework; and an early look at the revitalization of Pier 70&prime;s Waterfront Site.</span></p> Fri, 16 Aug 2013 10:13:36 +0000