ArtSlant - Recently added en-us 40 Julia Margaret Cameron, Henri Cartier-Bresson, Phil Chang, Dawoud Bey, Owen Kydd, Zoe Leonard, Jason Lazarus - SFMOMA - San Francisco Museum of Modern Art - May 14th - September 25th <div class="row"> <div class="col-sm-8"> <div class="text"> <p style="text-align: justify;">This thematic exhibition brings together work from across the medium&rsquo;s history &mdash; from daguerreotypes to slide projections to video installations &mdash; that consider the way photography&rsquo;s complex and ever-changing relationship with time has reflected and inflected our ideas about permanence and obsolescence, history and memory. In a period of tremendous technological change, this exhibition puts historical and contemporary works in dialogue to highlight the fundamental issues that have been central to the medium since its invention. The presentation showcases work by Julia Margaret Cameron, Henri Cartier-Bresson, Phil Chang, Dawoud Bey, Owen Kydd, and Zoe Leonard, among others, as well as Recordings #3&nbsp;<em>(At sea)</em>, a newly commissioned installation by Jason Lazarus.</p> <p class="body--xsmall" style="text-align: justify;">Major support for&nbsp;<em>About Time: Photography in a Moment of Change</em>&nbsp;is provided by Lisa and John Pritzker. Additional support is provided by Kate and Wesley Mitchell.</p> </div> </div> <div class="col-md-offset-1 col-md-3 col-sm-4" style="text-align: justify;"> <div class="buy-tickets cf"> <div class="buy-tickets-action"><a class="btn btn-primary" href="" target="_blank">Tickets</a></div> <div class="buy-tickets-text"> <p>Entry to this exhibition is included with general admission. Tickets are available now; advance online purchase is highly recommended.&nbsp;</p> </div> </div> </div> </div> <div class="row exhibition-hero-image-caption">&nbsp;</div> Mon, 23 May 2016 11:46:21 +0000 Tammy Rae Carland - Jessica Silverman Gallery - May 12th - June 11th <p style="text-align: justify;"><strong>Jessica Silverman Gallery South</strong> is a small temporary project space across the street from the main gallery, which hosts&nbsp;potent shows of diverse kinds. Please visit the main gallery first for&nbsp;access to&nbsp;<strong>South.</strong></p> <p style="text-align: justify;">The space opens&nbsp;with a mini-retrospective of work made between 1996 and 2013 by Tammy Rae Carland. &ldquo;The relatively consistent thread in all of my work,&rdquo; says Carland, &ldquo;is an interest in personal and political disappearance and the desire to re-perform marginal histories and bodies.&rdquo; Carland is influenced by Roland Barthes&rsquo;s assertion that photography as a practice is born out of the theater as much as its siblings in the visual arts. She interrogates the act of appropriation, treating the original as if it were a script that can be re-performed much like a play.</p> <p style="text-align: justify;"><strong>Tammy Rae Carland </strong>(b. 1965, Portland, ME) received her MFA from the University of California, Irvine, and was a fellow in the Whitney Independent Studies Program in New York. Carland&rsquo;s work has been exhibited in public institutions and biennials in New York, Los Angeles, San Francisco, Berlin and Sydney, and Istanbul. Her work is currently included in &ldquo;Collected&rdquo; at Pier 24. Carland is the provost of the California College of the Arts.</p> Fri, 20 May 2016 17:07:22 +0000 Group Show - Gagosian Gallery - San Francisco - May 18th - August 27th <p><em>The critic and curator Philip Rawson, an eloquent guide to the means and methods of drawing over the ages, points out that until the Italian Quattrocento, no European sculptor was supposed to be able to draw. In the medieval period, only those sculptors who also worked in two dimensions drew habitually; any other sculptor who needed, say, to show a client a proposed design hired a draftsman to make one. And when sculptors began to make drawings (for their own use or to guide assistants), they tended to do so without thinking of the format of the paper as a frame to which the image should relate. Instead, the image was generally treated as an independent motif, composed of mutually related units and placed anywhere on the sheet. In this approach, the space of the paper outside the image was not incorporated into the design but functioned like the open, empty space around actual sculptures. ... In contrast, Rawson observes, painters' drawings have tended to treat the usually rectangular format of the paper as a frame to which the image content relates.</em><br />&mdash;John Elderfield</p> <p style="text-align: justify;">Gagosian Gallery is pleased to present &ldquo;Plane.Site,&rdquo; a cross-generational exhibition of modern and contemporary artists organized by Sam Orlofsky to inaugurate the San Francisco gallery.</p> <p style="text-align: justify;">&ldquo;Plane.Site&rdquo; explores the dynamic exchanges between drawing and sculpture, in the work of artists from the modern post-war period to the present day. To that end, each participating artist is represented by a work in both two and three dimensions.</p> <p style="text-align: justify;">In an essay to accompany the exhibition, John Elderfield observes &ldquo;Moving from the boundaries of two dimensions into free space, artists may feel an obvious thrill of escape,&rdquo; while noting that there is also &ldquo;the less obvious but equally liberating escape from open space, with its grip of the literal, for the spontaneity of movement and freedom of illusion attainable in the haven of the two-dimensional.&rdquo; Consistent with his observation, many modern and contemporary artists have evaded the dictate of the rectangular frame, allowing the drawn line to exist on different planes, and eventually, to descend from the canvas into three dimensions. In stepping away from the drawn line on paper and into the heft and mass of three-dimensional sculpture, such artists continued to negotiate the rectangular plane, even when composing in open space.&nbsp;</p> <p style="text-align: justify;">Spanning multiple generations, &ldquo;Plane.Site&rdquo; reveals the shifting grounds of correspondence between two and three dimensions. Duchamp's readymade strategy by which an everyday object can attain the status of art object predicates Joe Bradley's life-size cast-bronze vintage television set (2016) and Jasper Johns's lumpen <em>Flashlight II</em> (1958) modeled in papier-m&acirc;ch&eacute; and glass, one of nine iterations of a single motif that he generated using approaches as diverse as bricolage and bronze-casting. In contrast to the deadpan quiddity of their sculptures, both artists exhibit a vivid quickness of touch in their drawings.</p> <p style="text-align: justify;">Cy Twombly's <em>Untitled, Lexington</em> (2009) represents perhaps the most intimate, intuitive aspect of his oeuvre. Composed with a painter's eye, the sculpture compresses thousands of years of dialogue between the object and its drawn representation. Twombly employed found materials in his three-dimensional work, commenting that his sculptures contain references to &ldquo;crossing over.&rdquo; A unique wood, plaster, and cardboard construction, this sculpture has never been shown before.&nbsp;</p> <p style="text-align: justify;">Just as drawn outlines expand the surfaces on which they are made, sculptural contours, both imaginary and real, generate entirely new spatial relationships. &ldquo;Plane.Site&rdquo; maps some of the mutually generative interactions of drawing and sculpture, as lines drawn on paper extend to touch those described in space.</p> <p style="text-align: justify;">&ldquo;Plane.Site&rdquo; features works by Louise Bourgeois, Joe Bradley, Alberto Giacometti, Mark Grotjahn, David Ireland, Jasper Johns, Roy Lichtenstein, Bruce Nauman, Giuseppe Penone, Pablo Picasso, Richard Serra, Robert Therrien, Tatiana Trouv&eacute;, Cy Twombly, Andy Warhol, and Rachel Whiteread.</p> <p style="text-align: justify;">A fully-illustrated catalogue with an essay by John Elderfield is forthcoming and can be ordered from our online shop.</p> Fri, 20 May 2016 17:01:14 +0000 Peter & Madeline Powell - Scott Richards Contemporary Art - June 2nd - June 30th <p>Husband and wife team Peter and Madeline Powell will present All Piled Up, their debut exhibition of photorealistic still life paintings at Scott Richards Contemporary Art, during the month of June 2016.&nbsp; A cocktail reception for the artists will be held on Thursday, June 2, and the exhibition continues through June 30.<br /><br />In what they describe as a &ldquo;creative alliance&rdquo;, Peter and Madeline Powell combine their talents, jointly sharing the artistic process from conception to the final brushstroke.&nbsp; They also share an amazing photorealistic technique, with every reflection, shadow and texture carefully reproduced. <br /><br />Together they assemble elaborate piles of objects that have been selected not just for their bright colors and playful shapes, but also for their equally important evocative meaning. These are photographed by the Powells, who then choose a final composition from dozens of potential shots. Favorite subjects include jumbled mounds of candy, toys, or other nostalgic objects from childhood, which are densely massed together in detailed, close-up views. <br /><br />In the Pop Art tradition, the everyday, playful objects are blown out of proportion on the canvas, directing our attention to their status as American icons and worthy cultural subjects. Meticulously painted in detail, including the minute text on the printed wrappers, the magnified objects engulf the viewer in exuberant color and dynamic movement. At the same time, the artists appreciate the good humor of their subject matter, inviting us to dive straight into the bounty for the sheer joy of it.<br /><br />While other still life painters might downplay the text on the labels, the Powells prefer to place it front and center.&nbsp; Brands such as Milky Way, Bazooka, Red Hots, M&amp;Ms and Hershey&rsquo;s Kisses are easily recognizable and summon up fond memories of summer vacation and Halloween trick-or-treating. We are likewise reminded of the strong temptation in these familiar brand names and how we unconsciously respond, wanting to unwrap the goodies on the spot.<br /><br />Peter and Madeline Powell have exhibited across the United States and their work is included in many private and public art collections including A&amp;M Records, Los Angeles, CA; BMW North America, Atlanta, GA; OPI, Beverly Hills, CA; COSBAR, Aspen, CO; and Robert McKay Corporate Collection, San Diego, CA.&nbsp; The couple resides in Hawaii.<br /><br /></p> Thu, 19 May 2016 22:38:49 +0000 David Park - Richmond Art Center - May 22nd 3:00 PM - 5:00 PM <p>It&rsquo;s been a wonderful few weeks living with&nbsp;David Park: Personal Perspectives&nbsp;and&nbsp;The Human Spirit: Contemporary Figuration as an Expression of Humanism&nbsp;but now it&rsquo;s time to say goodbye and get ready to welcome new work in our galleries.</p> <p>Please join us for our closing reception to bid farewell to an inspiring collection of visual art.</p> <p>Never Fade Away &ndash; Closing for&nbsp;David Park: Personal Perspectives&nbsp;and&nbsp;The Human Spirit:&nbsp;Contemporary Figuration as an Expression of Humanism.</p> Tue, 17 May 2016 19:24:51 +0000 Group Show - Traywick Contemporary - June 11th - August 20th <p><strong>Plus One</strong></p> <p><strong>June 11 - August 20, 2016</strong></p> <p>Traywick Contemporary</p> <p>895 Colusa Ave. Berkeley, CA 94707&nbsp;</p> <p>510-527-1214&nbsp;</p> <p>Traywick Contemporary is pleased to announce <em>Plus One, </em>a special invitational group exhibition featuring 26 artists from across the country. Looking towards our 20<sup>th</sup> anniversary in 2017, we asked each of our artists - many of whom we have represented since the early days of the gallery - to invite another artist who has impacted, inspired, instigated or confounded their own practice. <em>Plus One</em> gives a rare behind-the-scenes view of artist communities by bringing to light the ongoing dialogues and exchanges that continually feed the creative process.</p> <p>Within this group of artists, relationships range from colleagues to mentors to life-long friends. The various connections between artists ultimately guided the varying levels of collaboration from curating installations of their work, to developing new ideas and processes. For example, Cynthia Ona Innis and Reed Danziger have long admired each other&rsquo;s work, and chose this show to collaborate for the first time with the specific goal of working outside their usual studio practices. The resulting photo-based series abstractly documents the physical time and space between their two studios in Berkeley. Brad Brown and David Fought first collaborated in 1993 and have maintained a creative connection ever since. For <em>Plus One</em>, Fought and Brown thoughtfully curated their work to create an installation that reflects their shared dedication to materials. Samantha Fields and Thomas M&uuml;ller began discussing and exchanging ideas while in the MFA program at Cranbrook Academy of Art. Despite working in different disciplines, each artist identifies as a &ldquo;rule breaker&rdquo; and &ldquo;excavator&rdquo; - relentlessly pushing the boundaries of their respective mediums of clay and paint.</p> <p>&nbsp;In addition to contributing work for the exhibition, each Traywick artist was asked to elaborate in writing about their relationship to their invited artist. Many of the statements emphasize the necessity for artists to find inspiration outside of their regular studio routines in order to generate new ideas and approaches. <em>Plus One</em> allows a glimpse behind the scenes within the artist community to experience the art that visually and intellectually engages our artists, and ultimately, our program.</p> Tue, 17 May 2016 18:42:53 +0000