ArtSlant - Recently added en-us 40 Lisa Espenmiller, Sabine Reckewell - Chandra Cerrito Contemporary - April 3rd - May 28th <p align="center"><span style="font-size: medium;"><strong>On the Line</strong></span><br /><br /><span style="font-size: medium;"><strong><span style="text-align: left;">works by Lisa Espenmiller &amp; Sabine Reckewell</span></strong></span></p> <p align="center"><span style="font-size: small;"><strong>April 3 - May 28, 2015</strong></span></p> <p align="center"><span style="font-size: small;"><strong>Opening Reception: Friday, April 3, 2015, 6 - 8 PM</strong></span></p> <p align="center"><span style="font-size: small;"><strong>Open First Friday, May 1, 6 - 8 PM</strong></span></p> <p align="center"><span style="font-size: small;"><strong>Artist Reception and Talk:&nbsp;Thursday, April 23, 6 &ndash; 7:30 PM</strong></span></p> <p align="center"><span style="font-size: small;"><strong>Led by SJICA Executive Director and Chief Curator Cathy Kimball</strong><span style="text-align: left;">&nbsp;</span></span></p> <p><strong>&nbsp;</strong></p> <p><strong>Oakland, CA</strong> Chandra Cerrito Contemporary presents the work of Lisa Espenmiller and Sabine Reckewell, two artists who use line, movement, and space with similar intentions. Both focus on material and repetition of pattern, and view their process as a meditative one. Espenmiller has a controlled technique akin to writing on a scroll, while Reckewell fills and redefines an architectural context. Their work mimics one another&rsquo;s, while complimenting and transforming the gallery space.</p> <p>Espenmiller draws horizontal ink lines, one after the other, until the entire surface of canvas or paper becomes a field of meditative resonance. She states that, &ldquo;making art is a way of deepening my Zen practice and furthering my understanding of The Tao in the same way that my practice of sitting zazen twice a day is, or writing haiku, or tending our garden.&rdquo;</p> <p>The lines and washes of color in her paintings are visual descriptions of the chi or breath-energy that flows through all things. In her series <em>(the groundless ground)</em> she depicts the ever-changing inner and outer landscape in a quest to sober and quiet the mind. The <em>(chant)</em> drawings are densely woven tapestries of meditative quotes from <em>The Tao </em>methodically repeated and imbued with talismanic power. A mystical form and structure mystically surprisingly emerge from the written patterns.</p> <p>&nbsp;</p> <p>Similarly, Reckewell&rsquo;s practice is disciplined and repetitious. After carefully considering the dimensions of her installation, she creates simple geometric shapes by stretching ribbons, rope, or tape between walls, ceilings, and columns to make drawings in three dimensions. Manipulating the shapes by changing the spacing between the lines, she then allows gravity to curve the lines and alter the installation&rsquo;s &ldquo;personality&rdquo;. Hard lines are softened and movement is created by the flow of air in the room.</p> <p>Reckewell comes from a background in design and fiber art. Her work is informed by minimalism and conceptual art of the 60&rsquo;s and 70&rsquo;s. She earned her MFA in textile art from the famed Fiberworks Center in Berkeley. In 2011 she revisited and recreated several early installations from the late 70&rsquo;s. She has since created new work in public spaces in collaboration with Pro Arts in Oakland, the San Francisco Arts Commission and the San Jose Institute for Contemporary Art. In 2014 she created site-specific permanent installations for Zoo Labs in Oakland and The Summit in Austin. Earlier this year, her work was selected for &ldquo;HERE Part II&rdquo;, a 5-person show at the Berkeley Art Center, curated by Aimee Friberg, director of CULT Exhibitions.</p> <p>Lisa Espenmiller is a poet and writer as well as a painter. Her drawings are in a sense another form of written language&mdash;a visual haiku offered as objects of reflection. Lisa studied at UC Berkeley and California College of the Arts after receiving her BA in political science from California Polytechnic State University in 1985. She has exhibited throughout California including at the David Brower Center in Berkeley, the Bedford Gallery in Walnut Creek, San Jose Institute of Contemporary Art in San Jose, and the Berkeley Art Center.</p> <p><strong>About Chandra Cerrito Contemporary:</strong> Established in 2007 as a curatorial project space, Chandra Cerrito Contemporary features exhibitions and site-specific installations that highlight exceptional regional and national artists, with an emphasis on conceptual strength, refined craftsmanship, contemporary vision and art historical relevance.</p> Sun, 01 Mar 2015 00:42:37 +0000 Sandy Kim - Ever Gold Gallery - March 13th - April 18th <div class="column"> <p>Sandy Kim<br /> How's the Weather Down There?</p> <p>March 13th &ndash; April 25th</p> <p>Opening Reception: Friday, March 13th, 7-10pm</p> <p>&ldquo;I often think about my photography and what makes it special, what it is that connects my photos, what I do that makes my photos apart of me, what I do that makes me apart of my photos, and one thing kept coming up: I'm short. Height is one of the most important physical traits that shape who we are and how we shape the world. It's something we're born with, something that doesn't change, something we have no control over, yet it will forever define view of the world.&rdquo;</p> <p>Ever Gold Gallery is pleased to announce its 3rd solo exhibition with contemporary photographer Sandy Kim. How's The Weather Down There? is a body of new work presented in large scale photographic prints created over the last two years of the artist&rsquo;s travels through dark, playful, sensual and emotionally charged personal situations of herself and her subjects. This new body of work stays true to her roots, that being influenced by Nan Goldin and Diane Arbus, yet moves towards a dream like state of an unique aesthetic of a jaded youth.</p> <p>Immersed in San Francisco&rsquo;s vibrant music scene, Kim gained international exposure for her intimate portraits of the band Girls. Her work has since been featured in<br /> publications such as Artforum, Purple Fashion, FADER, New Yorker, New York Times, Vogue Italia, Pitchfork, Nylon, Guardian, Elle,Wired, and Rolling Stone, among many others. She has exhibited at Salon 94, The Hole, Ever Gold Gallery, Mudd Guts, and New Image Art. Kim&rsquo;s work has also been the subject for multiple books and zines. In 2014 she lectured</p> <p>at the Aperture Foundation, New York.&nbsp;</p> </div> Sat, 28 Feb 2015 00:15:08 +0000 Maiko Sugano - Kala Art Institute - March 3rd 7:00 PM - 8:00 PM <p>Join us on Tues, March 3 at 7PM for an evening artist talk and performance by 2014-15 fellowship artist Maiko Sugano. In her performance Maiko will present new work that she created in residency at Kala in the form of a tea ceremony. Kala Residency Fellowship Program includes an annual series of artist talks, workshops, and performances presented by current Fellows during their studio residencies. This series is free of charge and open to the public.</p> <p>&nbsp;</p> <p></p> Fri, 27 Feb 2015 20:44:25 +0000 Group Show - Mercury 20 Gallery - February 26th - April 4th <div id="yui_3_16_0_1_1425010393368_9836"><strong><em>A Common Thread</em> OAKLAND</strong>, curated by Fernando Reyes and Ruth Tabancay, offered a mission to a group of artists: Feel this city...macro/micro; filtered/raw; spectrum/monochrome; people/ us.</div> <div>+</div> <div align="left">Through sculptural installation, video, photography, and painting, eighteen Mercury 20 artists and thirteen guest artists beckon us down various paths of thought and feeling inspired by this fascinating city.Found objects and images are manipulated by some artists. For others, physical structure or space serve as guide for exploring themes. Some artists ask us to embrace big issues of social reform, while others invite us to feel the need for it in a very personal way. An example of the latter is an interactive installation in which PK Frizzell and Josh Garlick collaborate to pull us in emotionally, using two-way mirror and video portraits of diverse Oaklanders...visitors will first only see themselves in the mirror, but then gradually see their face overlaid with others.</div> <div align="left">+</div> <div align="left"><strong>PARTICIPATING ARTISTS</strong>&nbsp; Julie Alvarado with Madelyn Covey &nbsp; Jo Ann Biagini&nbsp;&nbsp; Eric Bohr with Amy Sass &nbsp; Nick Dong with Corrie Messinger &nbsp; Carlo Fantin with Felipe Vazquez &nbsp; PK Frizzell with Josh Garlick &nbsp; Peter Honig&nbsp; Kathleen King &nbsp; Leah Markos &nbsp; Jill McLennan with Alison McLennan&nbsp;&nbsp; Charlie Milgrim with Tim West&nbsp;&nbsp; Jann Nunn&nbsp; Mary Curtis Ratcliff &nbsp; Fernando Reyes with Terry Furry &nbsp; KC Rosenberg with Modesto Covarrubias &nbsp; Joanna Salska with Michael Snyder and Robin Thomas &nbsp; Ruth Tabancay with Dinah Shapiro &nbsp; Kerry Vander Meer with Robert Strati and Valerie Garry</div> <div align="left">+ <div align="left"><strong>SPECIAL EVENTS</strong><br /> Opening Reception<br /> Saturday, Feb 28th 4 - 6pm<br /> +<br /> Artist Talk<br /> Thursday, March 19th 6 - 8pm<br /> +<br /> Oakland Art Murmur First Fridays<br /> Friday, March 6th 6 - 9pm<br /> Friday, April 3rd 6 - 9 pm</div> <div align="left">+</div> <div align="left">Third Thursdays on 25th Street<br /> Thursday, March 19th&nbsp; 6 - 8pm</div> </div> Fri, 27 Feb 2015 05:37:56 +0000 Ernie Button, Jennifer Shaw, Thomas Alleman, others - Rayko Photo Center - March 11th - May 3rd <p align="center"><strong>RayKo Photography Exhibition</strong></p> <p align="center"><strong>Features the best images from the worst cameras:</strong></p> <p align="center"><strong>&nbsp;</strong></p> <p><strong><em>RayKo&rsquo;s 8th Annual International Juried Plastic Camera Show</em></strong></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>Opening Reception: Wednesday, March 11<sup>th</sup>, 6-8pm</strong></p> <p align="center"><strong>Exhibition dates: March 11<sup>th</sup> &ndash; May 3<sup>rd</sup>, 2015</strong></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>&nbsp;</strong></p> <p><strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; RayKo&rsquo;s 8th Annual Plastic Camera Show</strong> includes stunning and sometimes surprising images made by the crappy camera-toting winners of this competition. Photographers from all over the Bay Area as well as national and international artists are featured in this dynamic exhibit. Each year we receive thousands of entries and this year was another challenge to select only a fraction of these images. &nbsp;Why does the plastic camera continue to be so popular? Is it because the toy camera is a backlash to this digital age of photography? It could be nostalgia for the soft, square pictures with vignetted edges. It could just be nostalgia for film and the latent image- you actually have to wait to see what you shot! Or it could be love of the creak of the cheap plastic dial as you wind it, wondering if it will break off. (Forget Instagram and the rest of them, this is the real deal). It could be too that we all missed the simple freedom of making pictures that aren&rsquo;t perfect, that don&rsquo;t have to be sharp or real or saturated or taken with a camera that costs hundreds of dollars or more. All you need is $35 (or less) and a roll of film, and you&rsquo;re in business. After seeing the exhibit, you may be inspired to start shooting one of these beauties yourself. Luckily RayKo is offering a class where you can reconnect with the simple joys of photography and have the ultimate plastic experience. Christine Zona will be teaching a 2-week class on Plastic Cameras starting March 22nd, in the midst of this exhibition.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Also highlighted in this year&rsquo;s plastic camera exhibit is the work of Arizona-based artist, Ernie Button and New Orleans-based photographer, Jennifer Shaw. Two very different featured artists couldn&rsquo;t be found in this plastic camera world. Ernie Button&rsquo;s color images were made in China with a few exceptions of images taken in Scotland, Italy and the States.&nbsp; Many different destinations interest him but China fascinates Ernie, from the Monumental to the Mundane. It is massive; both in size of land mass and sheer number of people. China is changing rapidly. The rush to embrace capitalism as well as opening up its borders to tourism has impacted and dramatically changed the landscape of China. Ernie travels with a Holga camera for several reasons. That camera was developed and made in China during the early 1980&rsquo;s to provide an inexpensive way for the citizens in China to have a camera and take pictures. The overall image of a Holga is a little fuzzy, kind of like the whirlwind events of travel creating memories that are a little more difficult to recall. Certain parts of a memory will be clear and others will be a little less so, kind of like the image from a Holga.</p> <p>And then there are Jennifer Shaw&rsquo;s exquisite silver gelatin prints from her series, &ldquo;The Space Between.&rdquo; She is photographing her life. It is as simple and complex as that. Presently, her life is overrun by exquisite little creatures known as children. As they explore the elements with carefree abandon, she observes with camera poised, balanced between protection and permission. &nbsp;Shaw works from a place of intuition, capturing the action as it unfolds, meanwhile stealing sidelong glances at the details of our environments. The images are juxtaposed to create an introspective narrative, mining the richly ambiguous state of parenthood, akin to the murky realm between a river&rsquo;s glittering surface and its hidden undercurrents. Through the camera&rsquo;s lens she is transported, traversing the space between shadow and light, dreams and reality, delight and disquiet.</p> <p>&nbsp;</p> <p>Come see the power of Shaw&rsquo;s and Button&rsquo;s pictures and all the images of the winners of this year&rsquo;s plastic camera competition and experience nostalgia on more than one level. You can fall in love with Holga and Diana* and a world of other lo-tech cameras, like my new favorite, the Bluebird. Film isn&rsquo;t dead, so rejoice and come down to RayKo on the night of March 11<sup>th</sup>&nbsp;to experience the magic with the rest of us fans of the latent image.</p> <p><strong>&nbsp;</strong></p> <p>*The Holga and the Diana are plastic medium format cameras that have limited controls, a fixed focal length lens, and, luckily for artists everywhere, each one is unique&hellip;</p> <p><strong>&nbsp;</strong></p> <p><strong>About RayKo</strong></p> <p>&nbsp;</p> <p><strong>About RayKo</strong></p> <p><strong>RayKo Photo Center &amp; Gallery</strong>&nbsp;is a comprehensive photographic facility, located near the Yerba Buena Arts District, with resources for anyone with a passion for photography. Established in the early 1990&rsquo;s, RayKo Photo Center has grown to become one of San Francisco&rsquo;s most beloved photography darkroom spaces; it includes traditional b&amp;w, color and alternative process labs as well as a state-of-the-art digital department, a professional rental studio, galleries, and the Photographer&rsquo;s Marketplace &ndash; a retail space promoting the work of regional artists. RayKo also has San Francisco&rsquo;s 1<sup>st&nbsp;</sup>Art*O*Mat vending machine and a vintage 1947 black &amp; white Auto-Photo Booth and a retail store that sells all types of used film cameras, from view cameras to Leicas to a build-your-own Nikon station. Everything you need to make any type of photograph!</p> <p>&nbsp;</p> <p><strong>RayKo Gallery</strong>&nbsp;serves to advance public appreciation of photography and create opportunities for regional, national and international artists to create and present their work. RayKo Gallery offers 1600 square feet of exhibition space and the Photographer&rsquo;s Marketplace, which encourages the collection of artwork by making it accessible to collectors of all levels.&nbsp;RayKo also has an artist-in-residence program to further support artists in the development of their photographic projects and ideas.</p> <p>&nbsp;</p> <p><strong>RayKo Photo Center &amp; Gallery </strong></p> <p>428 Third Street</p> <p>San Francisco, CA 94107</p> <p>415-495-3773 (ph)</p> <p><a href="" rel="nofollow"></a></p> <p>Tuesday-Thursday: 10-10 pm, Friday-Sunday: 10-8 pm, Monday: closed</p> <p>&nbsp;</p> Fri, 27 Feb 2015 01:56:14 +0000 Jaq Chartier - Dolby Chadwick Gallery - April 2nd - May 2nd <p>Jaq Chartier</p> <p><em>A Fever in Matter</em></p> <p>April 2 - May 2, 2015</p> <p>&nbsp;</p> <p>Dolby Chadwick Gallery is pleased to announce its first exhibition of paintings by the Seattle-based artist Jaq Chartier. <em>A Fever in Matter</em> features colorful abstract works made in Chartier&rsquo;s signature <em>Testing</em> style and inspired by Lewis Wolberg&rsquo;s book, <em>Micro-Art: Art Images in a Hidden World</em>. In one of the book&rsquo;s essays Brian O&rsquo;Doherty writes:</p> <p>&hellip; the understanding of crystal structure in terms of mathematics (that is, logic) confirmed a schism in matter - between the organic and the inorganic. Life could be seen as an inexplicable vitalism on the one hand, and on the other a delusion within the inorganic, or, as it has been called, a fever in matter.</p> <p>&nbsp;</p> <p>Chartier&rsquo;s paintings&mdash;matter, vitalized&mdash;are the result, not of romantic or expressionist ecstasy, but orderly, almost scientific investigations into the properties of color. In this sense, they continue the color-optics explorations of Josef Albers&rsquo; famous <em>Homage to the Square</em> oil paintings on panel, compositionally simple yet radiant works composed of three or four squares, variously colored and unmodulated, with their overlapping arrangements implying portals and corridors seen in perspective. Chartier:</p> <p><em>I love exploring color and the interactions of the materials. The paintings are stripped down to very specific rules; each painting must be an actual test of some kind, and every element has to be there for a reason which supports the test.</em></p> <p>&nbsp;</p> <p>If Albers appended his notations on colors and varnishes to the backs of panels, Chartier includes notations right in the works; her method is transparent, and her results reproducible&mdash;verifiable. Her arrays of organic forms are drawn with an eye dropper and suggest the samples, tests and charts of the natural scientist in the field, while the white backgrounds behind her overlays of transparent color suggest illuminated microscope slides. In some works, dark-rimmed circles, like Petri dishes, black-rimmed yellow-orange scorch marks, and cellular honeycomb polygons replace the painterly arrays of color swatches; in others, the patterns coalesce into abstract imagery, evoking natural forces metaphorically or metonymically while remaining ambiguous and multivalent.</p> <p>Chartier describes her minimalist <em>Testing</em> series, featuring arrays of dots connected by or enveloped by horizontal bands of color, reminiscent of illustrations of the stages of cell division, or rippling wavelets on sunlit water, with positive and negative reversed, as if solarized:</p> <p><em>&hellip;each painting begins as an actual test. Inspired by scientific images like gel electrophoresis, they feature intimate views of materials reacting to each other, to light, and the passage of time. Instead of paint, I use my own complex formulas of deeply saturated inks, stains and dyes. Such colors can do things paint can't do &ndash; change, shift, and migrate through other layers of paint, or separate into component parts with differing properties. Whereas traditional artist paints are formulated to be stable and controllable, stains are capricious and easily affected by lots of factors like humidity, gravity, time, UV light &ndash; even the structure of molecules in the other elements they touch. After years of study I'm still intrigued by the hidden chemistries of these materials. I write notations directly on the paintings to help me track what&rsquo;s happening in each test.</em></p> <p>&nbsp;</p> <p>(<a href="" rel="nofollow">DNA</a> <a href="" rel="nofollow">electrophoresis</a> is a method of sorting DNA molecules electrically by length for purposes of diagnostic analysis. The negatively charged DNA is drawn to the positively charged part of the gel matrix in which they are suspended.) Chartier&rsquo;s lyrical <em>SubOptic</em> series was similarly based on scientific methods, including X-rays of coral reef colonies that reveal their delicate internal structure, and which provided the artist a subject with which to tackle the daunting question of climate change. The Ultra Marine series depicted marine bio- and phytoplankton in simplified shapes and brilliant colors, with the angle of vision ranging from the microscopic, as in her depiction of blue polyps and rippling water, to the macroscopic, as in her painting from above, as if seen from a satellite, of Antarctica as a kind of coral atoll ringed by green&mdash;or protoplasmic superorganism. <em>A Fever in Matter</em> includes works from all three series, providing a synoptic overview of the artist&rsquo;s interests and directions.</p> <p>&nbsp;</p> <p>While Chartier&rsquo;s approach appears empirical and scientific, her work&rsquo;s electric color, graphic power and use of metaphor paradoxically produce poetic images reminiscent of such visionary artists as Vincent Van Gogh, Marsden Hartley, Georgia O&rsquo;Keefe, Charles Burchfield and Mark Tobey.</p> <p>&nbsp;</p> <p>Chartier received her BFA in painting from the University of Massachusetts and MFA in painting from the University of Washington in 1994. Her work has been exhibited in museums across the country, including the Seattle Art Museum, San Jose ICA, Bellevue Art Museum, and the Palm Springs Desert Museum. She has been reviewed in the San Francisco Chronicle, Artweek, Art in America, New American Paintings, and Artforum. This will be Chartier's first solo show at Dolby Chadwick Gallery.</p> Thu, 26 Feb 2015 20:12:21 +0000 Jacqueline Kiyomi Gordon - Mills College Art Museum - April 22nd 7:00 PM - 8:00 PM <p>Wednesday, April 22, 2015</p> <p>7:00 PM, Danforth Lecture Hall</p> <p>Los Angeles-based artist Jacqueline Kiyomi Gordon works in sound, installation, and sculpture. She&rsquo;s particularly interested in the history of cybernetics and its relation to regulation and control. Her work is often systems-based and it incorporates the physical and sonic qualities of surrounding architecture to engage the viewer&rsquo;s senses. She&rsquo;s exhibited at Eli Ridgway Gallery, Queens Nails Annex, San Francisco Arts Commission Gallery, Sonoma State University, and the Cue Arts Foundation. She received an MFA from Stanford in 2011.</p> <p>Art + Process + Ideas (A+P+I) is a new artist-in-residence program created in collaboration with the Mills College Studio Art Department.</p> <p>For more information, please visit</p> Wed, 25 Feb 2015 20:28:58 +0000 Weston Teruya - Mills College Art Museum - April 8th 7:00 PM - 8:00 PM <p>Wednesday, April 8, 2015</p> <p>7:00 PM, Danforth Lecture Hall</p> <p>Weston Teruya was born and raised in Honolulu, Hawai&lsquo;i and currently resides in the San Francisco Bay Area. He has had solo exhibitions at Intersection for the Arts and Patricia Sweetow Gallery in San Francisco and Pro Arts in Oakland. He has also exhibited at Southern Exposure and Yerba Buena Center for the Arts in San Francisco, Longhouse Projects &amp; the NYC Fire Museum in New York, Hiromi Yoshii Gallery in Tokyo, the Atlanta Contemporary Art Center, and the Palo Alto Art Center. Weston was an Irvine Fellow at the Lucas Artist Residency of the Montalvo Arts Center, a recipient of a 2009 Artadia grant, and received a 2014 Investing in Artists grant from the Center for Cultural Innovation. Weston received an MFA in Painting and Drawing and MA in Visual &amp; Critical Studies from California College of the Arts.</p> <p>Art + Process + Ideas (A+P+I) is a new artist-in-residence program created in collaboration with the Mills College Studio Art Department.</p> <p>For more information, please visit</p> Wed, 25 Feb 2015 20:26:35 +0000 Zarouhie Abdalian - Mills College Art Museum - March 18th 7:00 PM - 8:00 PM <p>Wednesday, March 18, 2015</p> <p>7:00 PM, Danforth Lecture Hall</p> <p>Zarouhie Abdalian lives and works in Oakland, CA. She was the subject of a solo exhibition at the Berkeley Art Museum, Berkeley, CA. Recent exhibitions include Prospect.3, New Orleans, LA; "Audible Spaces," David Winton Bell Gallery, Providence, RI; 8th Berlin Biennale, Berlin, Germany; "Nothing Beside Remains," Gertrude Contemporary, Melbourne, Australia; CAFAM Biennale, Beijing, China; "Shanghai Biennial: Reactivation," Shanghai, China; "When Attitudes Became Form Become Attitudes," CCA Wattis Institute of Contemporary Art, San Francisco, CA; Moscow International Biennale for Young Art, Moscow, Russia; "Rendez-vous 12," South African National Gallery, Cape Town, South Africa; and the Istanbul Biennial, Istanbul, Turkey. Her solo exhibition "An Overture" is currently on view at Altman Siegel, San Francisco through December 20, 2014.</p> <p>Art + Process + Ideas (A+P+I) is a new artist-in-residence program created in collaboration with the Mills College Studio Art Department.</p> <p>&nbsp;For more information, please visit</p> Wed, 25 Feb 2015 20:27:28 +0000 Diana Guerrero-Maciá - Traywick Contemporary - March 29th - May 23rd <p>Traywick Contemporary is pleased to announce <em>Siblings of the Sun</em>: an exhibition of new textiles, collage and sculpture by Chicago based artist, Diana Guerrero-Maci&aacute;.</p> <p>&nbsp;Diana Guerrero-Maci&aacute; is known for her textile-based work that explores new relationships between diverse practices ranging from collage, appropriation and pop-culture sampling to painting, quilt making and sculpture. While her bold compositions often reference the formal legacies of Modernism and Suprematism, her borrowed imagery of graphic icons - signal flags, targets, faces - reference everyday cultural expression. It is Guerrero-Maci&aacute;&rsquo;s purposeful, handmade processes and distinct choice of materials that deliberately blur the boundaries between the contemporary and the traditional, between craft and fine art and between message and medium.</p> <p>&nbsp;<em>&ldquo;Diana Guerrero-Maci&aacute;&rsquo;s fabric collages are simultaneously nostalgic for, and reminiscent of, radical artistic activities throughout the twentieth century, ranging from manifesto writing and Russian Suprematism to guitar smashing and punk rock.&rdquo;</em>&nbsp; Jenni Sorkin, art critic and Professor of Contemporary Art History and Critical Studies, University of Houston, TX.</p> <p>&nbsp;The title of the exhibition<em>, Siblings of the Sun, </em>was inspired by scientific theory around the existence of other stars and planets in the galaxy that were potentially born from our sun. &nbsp;Guerrero-Maci&aacute;&rsquo;s work often embodies similar idea of group identity or tribalism, in tandem with a nod to rebellion and &ldquo;us vs. them&rdquo; oppositions. This series includes fifty textile and paper-based works and three large sculptural installations, all of which use a common visual vocabulary and similar materials that at once embrace and defy one another.&nbsp; The sculptural installations contain repurposed and non-functional objects, which are displayed in conversation (or confrontation) with larger textile pieces. Intrigued by the possibility of a found object being a catalyst for an idea, the artist repurposes cedar house posts and steel beams to create sculptures with implied functions - a window for reframing how we look, a gate to fence or define a particular space, or a soapbox on which to stand.&nbsp;</p> <p>&nbsp;Diana Guerrero-Maci&aacute; earned a BFA from Villanova University in 1988 before earning a MFA from Cranbrook Academy of Art in 1992. Since 2001, she has served as an Associate Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago. Her work has been exhibited extensively at public institutions such as the Museum of Contemporary Art, Chicago; Artpace, San Antonio, TX; Three Walls, Chicago, IL; Elmhurst Museum, IL and the Museum of Contemporary Art, S. Louis, IL. Guerrero-Maci&aacute; is also a recipient of the prestigious Louis Comfort Tiffany Foundation Award.&nbsp; This is her second solo exhibition with Traywick Contemporary.</p> <p align="center"><strong>For more information please call the gallery or visit the exhibition webpage:</strong></p> <p align="center"><strong></strong></p> Wed, 25 Feb 2015 19:15:21 +0000 Charles Curtis Blackwell, Todd Herman, Leroy Smooth, Joy Elan, Lateef McLeod, Cristine Martinez - SOMArts Cultural Center - April 23rd 6:00 PM - 9:00 PM <p class="p1"><strong>Title</strong>:<strong>&nbsp;</strong>DIS/PLAY Closing Reception w/Film, Pizza &amp; Poetry<br /> <strong>Date</strong>:&nbsp;Thursday, April 23, 6&ndash;9pm<br /> <strong>More Info</strong>:&nbsp;<a href="" rel="nofollow"></a>&nbsp;</p> <p class="p3"><strong>Description:&nbsp;</strong>A cabaret style evening that spotlights 10-minute or less performance pieces, experiments, and works in progress by pre-selected queer solo artists, groups, or troupes, this month&rsquo;s episode of The News is guest curated by Periwinkle Cinema and will feature short movies with live soundtracks performed by Annah Anti-Palindrome, Aja Archuleta, Beast Nest (Sharmi Basu), Lisa Ganser, Peter Max Lawrence with Chainsaw Jane, Sofia Moreno, and Julie Thi Underhill.</p> <p class="p3">For more information about DIS/PLAY and the exhibiting and performing artists, visit</p> Wed, 25 Feb 2015 00:23:49 +0000 Christina Kolozsvary - San Francisco Art Institute - March 26th 7:30 PM - 10:30 PM <div id="WebPart_gwpSimpleBreadCrumbs" class="WebPartChrome"> <div class="WebPartBody"> <div class="WebPartContents"> <div id="M_M_WPM_gwpSimpleBreadCrumbs_SimpleBreadCrumbs" class="BreadCrumbs">Basic Editing Techniques</div> </div> </div> </div> <div id="WebPart_gwperrorLabel" class="WebPartChrome">&nbsp;</div> <div id="WebPart_gwpprogramContent1" class="WebPartChrome"> <div class="WebPartBody"> <div class="WebPartContents"> <div id="M_M_WPM_gwpprogramContent1_programContent1"><span style="color: #333333;"><span style="font-family: Arial;"><strong>Christina Kolozsvary<br />6 Sessions &raquo;Thursday, March 26&ndash;April 30<br /></strong>7:30&ndash;10:30 pm&nbsp;|&nbsp;DMS2 | $250</span></span><br /><em>FM1001<br /></em> <div class="description"> <p>Using your own footage, or found footage provided by the instructor, you will learn to cut together basic sequences that illustrate the fundamentals of film editing in Premiere or Final Cut. The first class will introduce you to the software and workflow. The following four classes will be 45 minutes of viewing and discussion, followed by in-class work time. The final studio day will be an opportunity for each student to share their best work from the class, and engage in critique.</p> <div id="WebPart_gwpprogramContent1" class="WebPartChrome"> <div class="WebPartBody"> <div class="WebPartContents"> <div id="M_M_WPM_gwpprogramContent1_programContent1"> <div class="description"> <p><strong>Sample Assignments:</strong></p> <p>Choosing from found footage, you will have to illustrate a basic knowledge of continuity editing, including ellipses, match-on action, and cross&shy;cutting.</p> <p>You will select from footage of your choice to create a &ldquo;Hollywood montage.&rdquo; The purpose of this assignment is to use editing and music as a means to compress time, and to imply as much action and activity as quickly as possible.</p> <p>You will create multiple examples of shot reverse shot, using the same image of a person looking, but cutting each one to a different &ldquo;reverse shot.&rdquo; You will be expected to understand the Kuleshov Effect, the principles of &ldquo;looking&rdquo; in narrative, and the concept of &ldquo;off screen space.&rdquo;</p> </div> </div> </div> </div> </div> <div id="WebPart_gwpplaceHolderControl1" class="WebPartChrome"> <div class="WebPartBody"> <div class="WebPartContents"> <div id="M_M_WPM_gwpplaceHolderControl1_placeHolderControl1"> <table class="pd_metatable"> <tbody> <tr> <td> <div id="M_M_WPM_gwpplaceHolderControl1_placeHolderControl1_fldDuration"><label class="FieldLabel" for="M_M_WPM_gwpplaceHolderControl1_placeHolderControl1_fldDuration_C">Program Duration:</label>3/26/2015 7:30 PM - 4/30/2015 10:30 PM</div> </td> </tr> </tbody> </table> </div> </div> </div> </div> </div> </div> </div> </div> </div> Tue, 24 Feb 2015 06:01:19 +0000 Tanja Gels, Leslie Dreyer, Lee Lavy, Michelle Ott, Sofie amos, Matt Smith Chavez - Berkeley Art Center - May 17th 3:00 PM - 5:00 PM <p>Meet the 2015 graduates of UC Berkeley's Master of Fine Arts program as they talk about their work at the outset of their professional careers.</p> <p>Admission Free!</p> Mon, 23 Feb 2015 21:27:29 +0000 Alex Zecca - Gallery 16 - March 13th - May 1st Mon, 23 Feb 2015 19:26:32 +0000 Miriam Böhm - Ratio 3 - March 13th - April 25th Mon, 23 Feb 2015 19:25:43 +0000 Olivia Mole - CCA Wattis Institute - March 9th 7:15 PM - 8:00 PM <div class="listContainer times" style="text-align: justify;"><a href="" target="_blank">Olivia Mole</a> performs an epilogue to YOGAFLOGOGO, and invites the audience to enter the set for an exchange between interiority and televisual representation. The work is formed around the co-creative relationship between language, the material world, and the physical body. <br /> <br /> This event is organized by <a href="" target="_blank">Jacqueline Francis</a> and This event is organized by <a href="" target="_blank">Ranu Mukherjee</a>, and is the sixth of a year-long series of events about and around the work of <a href="" target="_blank">Joan Jonas</a>.</div> Mon, 23 Feb 2015 19:24:54 +0000