ArtSlant - Current exhibits en-us 40 John Wentz - 111 Minna Gallery - May 4th, 2012 - May 25th, 2012 <p style="text-align: justify;"><span style="font-size: small;">“<em>In this new body of work I am viewing my own childhood through the lens of psychology and mythology. The images are a result of intense psychological exploration and automatic responses to memories and dreams of childhood. The settings are often bleak and somewhat dystopian representing the vastness of the human psyche. In continuing with the theme of the archetype, I am interested in the synthesis of the child with the archetype of the hero figure in both mythology and psychology</em>.” -JOHN WENTZ</span></p> <p style="text-align: justify;"><span style="font-size: small;">“<em>My process involves taking seemingly disparate images, which are derived from dreams and memories. These images are then synthesized on the picture plane to form a language or narrative. A systematic form of geometry is then used to give the pictures structure and unify the images giving them integrity with the rectangle that holds them</em>.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">“<em>Each individual component is viewed as a piece of vocabulary and when put together develop as language.  Elements of comic books are used as the vocabulary of my youth while the predominantly achromatic figures allude to the psychological or dream state. The image of the crow is repeated as a symbol of a particular time of my youth. As a child, I regrettably hunted birds: shooting and burying them. They represent the cycle and ritual of birth, growth, discovery and death</em>.”</span></p> Sat, 22 Feb 2014 15:25:17 +0000 Nate Boyce - Altman Siegel Gallery - April 20th, 2012 - June 16th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Altman Siegel</strong> is pleased to present a show of new work by video artist/sculptor<strong> Nate Boyce</strong>.  Boyce will present several new sculptures and single channel videos in his first solo show with the gallery. </span><br /><br /><span style="font-size: small;">Nate Boyce treats the temporal moving image as a basically malleable sculptural material, by using various image processing methods, ranging from obsolete to cutting edge, to engage with the act of making an object by hand.   In his newest works, Boyce starts by shooting video of a rotating three-dimensional object and then builds compositions in the computer by partially reconstructing the object with 3D animation and analog video over the original footage.  Ultimately mixing layers of mediation as sculptural texture, this process amplifies the contrasts between the grain of analog video and the super clean, digital look of CGI and calls attention to the surface of the screen itself.</span><br /><br /><span style="font-size: small;">The objects originally shot on video are carved by hand from foam, smoothly coated in plaster then airbrushed in elusive shades of metallic, iridescent and pearlescent colors that associatively counter the visceral and aggressive qualities of the form. Shown on industrial LCD screens mounted to monochromatically related steel frames, these objects in the round become flattened on the screen but assume a new dimensionality through the sculptural display. </span><br /><br /><span style="font-size: small;">Boyce will also exhibit single channel videos and irregularly shaped video stills printed on plastic and mounted on steel frames that extrude from the wall.  These images are generated using an analog video setup that combines simple geometric shapes and refracted light to create painterly compositions emphasizing tense interactions between rectilinear and curvilinear forms. </span><br /><br /><span style="font-size: small;">Boyce looks back at the role of abstraction in early video art and explores the absence of dialogue it had with modernist painting and sculpture.  He conflates sculpture and video to create compositions that live at the intersection of the two mediums, and relate more directly to the critical history of painting and sculpture than the narrative tradition of film and video. His work actively probes the ideas originally posited by 1960's Structuralist filmmakers, as he investigates formal ideas around Futurist and Cubist sculpture, late modernist painting, and more recent experiments in staged photography and new technology based practices.    </span><br /><br /><span style="font-size: small;"><strong>Nate Boyce</strong> lives and works in San Francisco.  He was featured in the California Biennial, 2010, and a recent solo show at IMO, Copenhagen.  He participated in group shows at Vilma Gold, London, Jack Hanley, San Francisco, Christopher Grimes Gallery, Los Angeles, The Bemis Center for Contemporary Art, Omaha, Landings Project Space, Oslo, (Curated by Will Bradley), Deitch Projects, New York, (Curated by Takeshi Murata), Ullens Center For Contemporary Art, Beijing, Galerie Neue Alte Bruecke, Frankfurt, Center for Contemporary Art, Glasgow, CCA Wattis Institute, San Francisco, and the San Jose Institute of Contemporary Art, San Jose.  Nate Boyce is also actively involved in the experimental music scene, collaborating and touring with musical acts including Matmos and Oneohtrix Point Never with whom he has performed at venues such as the Museum of Modern Art, NY, San Francisco Museum of Modern Art, Centre Pompidou, Paris, Royal Festival Hall, London, and The Mattress Factory, Pittsburgh, among others.   </span></p> Thu, 26 Jul 2012 15:38:21 +0000 Tony Oursler - Anglim Gilbert Gallery - May 2nd, 2012 - June 2nd, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Gallery Paule Anglim</strong> is pleased to announce an exhibition of new works by <strong>TONY OURSLER</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">"<strong><em>top-down-bottom-up</em></strong>" presents a range of new work, including video sculptures, paintings with moving images, and some collage works on paper.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Continuing his broader exploration of the moving image, Oursler has created three micro scale installations that incorporate small objects and tiny video projections within a miniature active proscenium. Little worlds unto themselves, mounted on platforms suspended in space on metal stands, these intimate sculptures are concrete pictures of thoughts and psychology.  So diminutive they would practically fit into a human skull, they address the workings of the brain, and the strange and familiar in human behavior. </span></p> <blockquote> <p style="text-align: justify;"><em style="font-size: small;">"The characters interact as though they embody poetically layered patterns of thought. Each of these works is a contemplation on human relationships and the implicit existential struggle;  I invite the viewer to lean in and decipher the shouts and murmurs as these relationships unfold. I hope they recognize a few of these situations."</em><span style="font-size: small;">  - Tony Oursler</span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Tony Oursler studied fine art practice at the California Institute for the Arts, Valencia, California, graduating in 1979. His art explores new media and the moving image, as well as sculpture, installation, performance and painting. Oursler is acknowledged internationally for his unique contribution to contemporary art. Museum exhibitions have been mounted by the Walker Art Center, Minneapolis;  Documenta VIII, IX, Kassel;  Museum of Modern Art, New York; Whitney Museum of American Art, New York; the Centre Pompidou, Paris; the CarnegieMuseum of Art, Pittsburgh;  Skulptur Projekte, Munster; Museum Ludwig, Cologne;  the Hirshhorn Museum, Washington; Tate, Liverpool and Kunsthaus Bregenz, Austria.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Oursler's interest in the culture of the moving image (movies, television, the internet) comes in part because it is accessible to so many.  He recently contributed an interactive artwork, "The Valley", a virtual flowchart of thought for the Adobe Museum of Digital Media. View </span></p> <p style="text-align: justify;"><span style="font-size: small;">AMDM curator Tom Eccles interview with Tony Oursler <a href="" shape="rect" target="_blank">HERE</a>.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">You may visit the gallery's web site for more information: <a href="" shape="rect" target="_blank"></a></span></p> Thu, 26 Jul 2012 15:38:29 +0000 Tony Labat - Anglim Gilbert Gallery - May 2nd, 2012 - June 2nd, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Gallery Paule Anglim</strong> is pleased to announce an exhibition of new works by <strong>TONY LABAT</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The artist will show drawings and photography from recent investigations into ideas and implications of planned presentations. Ranging from elevated platforms (physical and metaphorical) to stages to theaters, catwalks and reality shows.  Labat's drawings, photography and sculptures examine the choices the artist makes in enlisting the attention of the audience.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Labat will show a series of mechanical drawings for sculptures to be constructed. These 2-D depictions mix sculptural and architectural elements to conceive objects whose function is implicit to some kind of performance or elevated activity.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A centrally featured work will be a light-box photograph of a figure in a garment. Labat constructed the motley dress from sewing patterns accumulated by his mother for over 30 years.  His mother selected the colors and fabrics; he arranged the pieces intuitively; and the finished garment is worn by his daughter and documented by the artist. Interpreted as mechanical drawings, these patterns are essential to the presentation of fashion, another exercise in theatricality and interaction with an audience.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Labat received his BFA and MFA degrees from the San Francisco Art Institute and teaches performance and video there.  His video works have been exhibited internationally and found in the collections of the Centre Pompidou in Paris, the Kunstmuseum, Bern, the Stedelijk Museum in Amsterdam and the Long Beach Museum of Art.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tony Labat will show related new work at the Havana Biennial, 11th  May to 11th  June.  In the Pavilion de Cuba he will show an over-sized pool table, constructed by traditional artisans. With stylized curves it mimics the shape of the island. Also addressing the idea of performance, this presentation will have bleachers designed by Labat. </span></p> Thu, 26 Jul 2012 15:38:33 +0000 Poesia - Anno Domini - May 4th, 2012 - June 30th, 2012 <p style="text-align: justify;"><span style="font-size: small;">In this exhibition entitled, <em>More Force than Judgment</em>, Poesia draws inspiration from a quote by renaissance biographer Giorgio Vasari describing the work of Tintoretto. The quote resonates with Poesia because of his involvement over the past two decades with the graffiti movement. Graffiti as an art form has not usually been taken seriously because it is perceived as consisting of actions and aesthetics that have to do more with force than judgment. Art historians and collectors in the past have been unable to make the connections between the power of a spray painted tag on the street, a Pollock drip on a canvas, or a Tintoretto sketch on a piece of paper. These relationships are made synonymous on these canvases as a pointed metaphor about the importance of the graffiti writer's mark on art history, as well as on the physical world itself.</span><br /><br /><span style="font-size: small;">In the paintings themselves, Poesia creates a direct dialogue with art history and graffiti's recently recognized, yet still contentious, central role in it in the new millennium. The compositions involve revised versions of old masterpieces that are influenced by the artist's history as a graffiti artist and the techniques and materials that he uses. As his traditional subject matter, he repaints historical masterpieces from the High Renaissance through the Baroque period. As his challenging commentary, he utilizes geometric abstraction to slice into them and graffiti tools wielded with an expressionistic stroke to disperse and obscure them. Poesia uses this visual dialectic to create a simile between new millennium masters and their historical counterparts, thereby making a statement that elevates both the art form and their practitioners, as well as progressing it's stylistic palette into the future.</span><br /><br /><span style="font-size: small;"><em>Exhibition text by</em> Daniel Feral</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Artist's Reception:</strong> Friday, May 4, 2012, 7-11pm <a href=";id=d8baa47ffb&amp;e=bebc62c4ef" target="_blank">RSVP</a><br /><strong>Music:</strong> DJ Cutso<br /><strong>Exhibition on view:</strong> May 4 – June 30*, 2012 <em>(*extended date)</em><br /><strong>Website:</strong><br /><br />Opening Reception is part of the South FIRST FRIDAYS monthly art walk, May 4, 2012. View the full schedule of exhibitions at participating venues: http://www.southfirstfridays.<wbr>com</wbr></span></p> Sat, 16 Jun 2012 08:50:24 +0000 Group Show - art works downtown - May 4th, 2012 - June 22nd, 2012 <h2>Surface Design</h2> <h3>an art exhibit curated by Virginia Breier</h3> <h4>May 4 - June 22<br />in the 1337 Gallery<strong> </strong></h4> <p><strong><br />RECEPTION: Friday May 11 • 5-8pm</strong><br />during 2nd Fridays Art Walk</p> <p>This exhibit illustrates, with a large variety of techniques, the importance of surface design to the final object. Surfaces, whether organic texture or applied pattern, can define a form or accentuate movement, or simply add a decorative element.</p> <p><strong><em>featuring:</em></strong><br />Leon Borensztein, Jean Cacicedo, Jack da Silva, Marilyn da Silva, Aline Dargie, Victoria DeBlassie, Patricia Dreher, Carol Durham, Arlene Elizabeth, Steve Gandolfo + Jean Salatino, Ana Lisa Hedstrom, Suzanne Long, Lucia Matzger, Kathy Pallie, Carlos Perez, Gugger Petter, Rob Sieminski, Pamina Traylor and William Tyler</p> <p> </p> <p><em>Virginia Breier has exhibited and curated Contemporary Applied Art and Folk Art for over 35 years. Originally a partner with Meyer, Breier, Weiss Gallery in Fort Mason, she eventually opened and operated V. Breier Gallery in Pacific Heights for over 23 years, gaining a reputation for a unique aesthetic and honing her eye towards an eclectic mix of art and fine craft in all media.</em></p> Fri, 01 Jun 2012 11:12:05 +0000 Janet Robbins - art works downtown - May 9th, 2012 - June 5th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>From Petaluma to Istanbul</strong> is a multisensory installation of embodiment employing the written word, projected images, recorded and improvised sounds offering reflections on longing, love, and the effects of sound and light frequencies in opening our hearts and awakening our awe.</span></p> <p style="text-align: justify;"><em style="font-size: small;">Our 'world' is permeated with frequencies that translate into color, sound, shape. Everything around us is both visible and invisible to the human eye. I listen to color. I paint with sound. They take endless shapes on our journey into the deeper self beyond ordinary time.</em><span style="font-size: small;"> ~Janet</span></p> <h4 style="text-align: justify;"></h4> <h4 style="text-align: justify;"><span style="font-size: small;">Come join our celebratory gathering of alternate frequencies + magical delights.</span></h4> <p style="text-align: justify;"><span style="font-size: small;"><strong>Underground Gallery</strong></span><br /><span style="font-size: small;"><strong>May 9 - June 5</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Reception May 11 • 5-8pm</strong></span><br /><span style="font-size: small;">Improvisational voice and instruments, stuffed grape leaves </span></p> <p style="text-align: justify;"><span style="font-size: small;">Having recently moved from the mountains of Western North Carolina to Marin County, </span><br /><span style="font-size: small;">Janet Robbins continues her multidisciplimary life as composer, astrologer, vocalist, </span><br /><span style="font-size: small;">and weaver of fine tales. <a href="" rel="nofollow" target="_blank"></a></span></p> Fri, 11 May 2012 00:21:49 +0000 Group Show - Asian Art Museum - May 18th, 2012 - September 2nd, 2012 <p style="text-align: justify;">Asian Art Museum Organizes its First Large-Scale Exhibition of Contemporary Art, Offering Unique Insight into Asian Mythologies and Belief Systems</p> <p style="text-align: justify;">SAN FRANCISCO, February 21, 2012—This May, the Asian Art Museum debuts <i>Phantoms of Asia: Contemporary Awakens the Past</i>, an ambitious exhibition exploring the complex, diverse, cross-cultural perspectives of Asian cosmology and spirituality through a compelling interplay of 150 artworks from the past and present.</p> <p style="text-align: justify;"><em>Phantoms of Asia</em>—the first large-scale exhibition of contemporary art organized by the Asian Art Museum—fills its special exhibition galleries with artworks by living artists and integrates new works throughout the museum’s renowned pan-Asian collections. Providing visitors with immersive experiences, the exhibition offers rare insights into a range of belief systems and mythologies that have shaped Asian cultures over the ages.</p> <p style="text-align: justify;">On view May 18–September 2, 2012, and featuring more than 60 works by 31 living artists, including Hiroshi Sugimoto (Japan/USA), Apichatpong Weerasethakul (Thailand), Adeela Suleman (Pakistan), Raqib Shaw (India), and Choi Jeong Hwa (Korea), alongside 90 objects from the museum’s collections—some dating back 2,000 years—<em>Phantoms of Asia </em>challenges visitors to view traditional objects not as relics of the past, but as vibrant connections to the present.</p> <p style="text-align: justify;">“The concept of phantoms—or ‘spirits’—is elusive, yet it’s felt and shared across cultures and time periods,” said Jay Xu, museum director. “Through its emphasis on interconnectivity, this exhibition provides a rare opportunity to experience those ‘invisible forces’ in a tangible, accessible, and provocative way, with Asian art at the center.”</p> <p style="text-align: justify;">Curated by Mami Kataoka, chief curator of Tokyo’s Mori Art Museum, in collaboration with Allison Harding, assistant curator of contemporary art at the Asian Art Museum, <em>Phantoms of Asia</em> is organized around four themes: (1) Asian Cosmologies: Envisioning the Invisible; (2) World, Afterworld: Living Beyond Living; (3) Myth, Ritual, Meditation: Communing with Deities; and (4) Sacred Mountains: Encountering the Gods.</p> <p style="text-align: justify;">The exhibition includes artworks by contemporary artists hailing from Canada, China, Hong Kong, India, Indonesia, Iran, Japan, Korea, Taiwan, Thailand, Pakistan, the Philippines, Singapore, Tibet, and the U.S. Many of the contemporary installations are new or site-specific commissions. When combined with objects from the museum’s collections, these artworks represent a vast array of materials, forms and media, including works of stone, metal, fabric, wood, and modern materials; and masks, textiles, sculptures, ceramics, film and video, photographs, and paintings.</p> <p style="text-align: justify;">Expressing the museum’s new aspiration to “awaken the past and inspire the next,” the building itself will undergo a transformation to meet the full-scale challenges of the exhibition, starting with a 30-foot installation outside the museum, moving into the building’s public courtyards, and finally throughout the special exhibition and collection galleries.</p> <p style="text-align: justify;">Asian Cosmologies: Envisioning the Invisible <br /> The exhibition begins with Choi Jeong Hwa’s (Korea) 24-foot red lotus (titled <i>Breathing Flower</i>) in Civic Center Plaza, across the street from the museum. With motorized bright red fabric leaves opening and closing, simulating the movement of a live lotus flower, the installation creates a link between the modern world and one of the most important cosmological symbols in Asia.</p> <p style="text-align: justify;">Inside the museum, Sun K. Kwak’s (Korea/USA) site-specific drawing made with masking tape dramatically transforms the museum’s North Court, manifesting invisible energies in the space. Kwak’s installation relies on the artist’s process of “lyrical meditation” to detect the subtle energies in the room, and serves to shift visitors’ consciousness from the mundane concerns of daily life to the spiritual/cosmological themes of <em>Phantoms of Asia</em>.</p> <p style="text-align: justify;">The exhibition then takes a look at the future, with Heman Chong’s (Singapore) installation, <em>Calendars (2020–2096</em>). One thousand and one calendar pages, each showing one of Chong’s photographs of public and domestic spaces, transfigure the installation space. Repetition, an imagined future time, and haunting stillness encourage meditation on being and absence, mortality and eternity.</p> <p style="text-align: justify;">Moving into Lee Gallery, Hiroshi Sugimoto’s (Japan/USA) <em>Five-Elements</em> series stands as a shrine to the origins of existence. Seven crystal pagodas resting on wooden plinths form a single, stark line across the gallery. Using geometric symbols from thirteenth-century Buddhism, Sugimoto encases a single image from his iconic Seascape series in each glass structure. The sea and air, origins of all life, are seen through a prism of ancient Buddhist views of the universe.</p> <p style="text-align: justify;">In Hambrecht Gallery, several objects from the museum’s collections present traditional Asian cosmographic symbols. In one area, Chinese bronze mirrors (some dating back to 480 BCE) depict the cosmos on their nonreflecting sides even as they reflect the real, earthly world on their polished surfaces. The mirrors orient viewers to Poklong Anading’s (Philippines) <em>Anonymity</em> series, where subjects hold mirrors to their faces to reflect flashes of light into the camera. With people’s faces obscured, Anading’s photographs ask viewers to consider how they construct personal and collective identity. In another section, Guo Fengyi’s (China) drawings map the flow of energy through the artist’s own nervous system. Influenced by her study of qigong, the drawings illustrate the experience of artistic practice as spiritual practice. Palden Weinreb’s (USA/Tibet) minimalist works (including paintings and light boxes) are meditations on existence and the universe: “Abstraction,” Weinreb suggests, “parallels the sublime emptiness of Buddhism.”</p> <p style="text-align: justify;">World, Afterworld: Living Beyond Living<br /> Works in the next phase of the exhibition explore the connection between this life and the afterworld. The theme begins in Hambrecht Gallery with Araya Radsjarmrearnsook's (Thailand) video installation, <em>The Class</em>, in which the artist gives a seminar on death to several shrouded corpses. Her lecture prompts our own contemplation: How do we speak about death? What do we envision in the afterworld?</p> <p style="text-align: justify;">Between Hambrecht and Osher Galleries, Jakkai Siributr’s (Thailand) <em>Karma Cash &amp; Carry</em> depicts a spirit house similar to those found in the artist’s native country. Siributr’s work shows the intersection of modern-day animism, Buddhist practice, and material culture. Jompet’s (Indonesia) Anno Domini, an arrangement of colonial military uniforms hanging bodiless, reenacts traditional mythologies, symbolizing protection from the exigencies of modernization and colonization.</p> <p style="text-align: justify;">Also just outside Osher Gallery, Takayuki Yamamoto’s (Japan) San Francisco version of his ongoing video project, <em>What Kind of Hell Will We Go To</em>, documents the artist’s workshop with elementary school children from the Bayview area. After showing students the Kumano Kanjin Jikkai Mandala, a collection of traditional Japanese paintings depicting Buddhist notions of vice, virtue, and punishment, Yamamoto then encourages them to create and talk about cardboard dioramas representing their own ideas of hell. These dioramas are presented along with the video.</p> <p style="text-align: justify;">Myth, Ritual, Meditation: Communing with Deities<br /> Marking the transition to the third theme, seventeen traditional masks greet visitors at the entrance of Osher Gallery. Masks play an integral role in ceremonies and rituals across many Asian cultures, and provide the context for Motohiko Odani’s (Japan) carvings. Odani’s <em>SP Extra: Malformed Noh Mask Series: San Yujo</em> transforms the surface of Noh masks to depict the sinew and flesh of the human face, exposing the vulnerable underside of the masks’ spiritual beauty.</p> <p style="text-align: justify;">Communication between humans, plants, and animals plays a part in the mythologies of many cultures. Several artists take up this theme in Osher Gallery. In Jagannath Panda’s (India) <em>The Cult of Survival II</em>, the artist symbolizes endless cycles of consumption and production in the form of a snake crafted from pipes. Adeela Suleman (Pakistan) uses stainless steel reliefs of natural objects—birds, flowers, trees—to act as storytellers. Interrupting these traditional motifs are contemporary images of death (including suicide vests), prompting awareness of the ever-present threat of violence and extinction and the transitory nature of all things.</p> <p style="text-align: justify;">Within the gallery, Adrian Wong (USA/Hong Kong) constructs two rooms following the precepts of <em>feng shui</em> (a system of geomancy that attempts to incorporate laws of heaven and earth), one auspicious and the other inauspicious. Using Korean ceremonial objects from the museum’s collection, Wong experiments with the space between spaces and challenges visitors to tune into nearly imperceptible harmonies and disharmonies.</p> <p style="text-align: justify;">Sacred Mountains: Encountering the Gods<br /> Sacred mountains have a place of prominence in Hinduism and Buddhism, among other religions, and several artists working with this theme are featured in the second-floor Tateuchi Gallery. Lin Xue (China/Hong Kong) connects to a spiritual past through his paintings of imagined mountains, rendered with a sharpened bamboo twig. His Untitled 2010-9 takes experiences from mountainous landscapes to create newly imagined landscapes, such as an island floating among an ocean replete with marine life. Aki Kondo’s (Japan) newest work, which depicts mountain deities, was motivated by the March 2011 Tohoku earthquake and tsunami.</p> <p style="text-align: justify;">Exploring the same theme, but located in the Korean gallery on the second floor, Bae Young-whan’s (Korea) depictions of nature demonstrate a view of the body as a microcosm of the universe; for example, his installation of tiny ceramic mountain ranges echo the shape of his brain waves.</p> <h2 style="margin-bottom: 0pt; text-align: justify;">ASIAN ART MUSEUM’S NEW VISION: INTERCONNECTIVITY WITHIN ASIA AND WITH THE REST OF THE WORLD</h2> <p style="text-align: justify;">Partnering curator Kataoka suggests, “Asia is not a timeless construct,” but rather an ever-evolving concept that can “awaken a new awareness of our existence in this world.” Harding considers how the collection at the Asian Art Museum connects to art of today’s Asia and “how these traditional and contemporary objects can reveal new aspects of each other.”</p> <p style="text-align: justify;">To express these points of view, regional artists’ works are situated among traditional objects in the museum’s region-specific galleries, including Raqib Shaw’s (India/UK) hedonistic, dreamlike canvases in the South Asian galleries. The Kashmiri artist fuses influences as diverse as Japanese screens, Mughal miniatures, and Hieronymus Bosch paintings. Shaw’s style is both opulent and fastidious: his materials include glitter, rhinestones, and industrial paint, all applied painstakingly with a porcupine quill.</p> <p style="text-align: justify;">In the Chinese Buddhist sculpture gallery, Charwei Tsai’s (Taiwan) minimalist works evoke meditations on the ephemeral. Tsai’s calligraphy of the Chinese characters of the Heart Sutra on organic, transitory materials—tofu, mushrooms, lotus leaves—are exercises in the Buddhist precept of nonattachment.</p> <p style="text-align: justify;">“We hope visitors will connect with the essence of creative activity in Asia, a region that is rapidly changing on the surface, but where ancient phantoms still linger and spread their spells,” said Kataoka.</p> <p style="text-align: justify;">In all, 31 artists will participate in Phantoms of Asia:</p> <p style="margin-bottom: 0pt; text-align: justify;">Poklong Anading – Philippines<br /> Ringo Bunoan – Philippines<br /> Heman Chong – Singapore<br /> Lin Chuan-Chu – Taiwan<br /> Guo Fengyi – China<br /> Hyon Gyon –Korea<br /> NS Harsha – India<br /> Choi Jeong Hwa –Korea<br /> Pouran Jinchi – Iran<br /> Jompet – Indonesia<br /> Aki Kondo – Japan<br /> Sun K. Kwak –Korea/USA<br /> Fuyuko Matsui – Japan<br /> Prabhavathi Meppayil – India<br /> Motohiko Odani – Japan<br /> Jagannath Panda – India<br /> Araya Radsjarmrearnsook – Thailand<br /> Varunika Saraf – India<br /> Raqib Shaw – India/United Kingdom<br /> Jakkai Siributr –Thailand<br /> Yoshihiro Suda – Japan<br /> Hiroshi Sugimoto – Japan<br /> Adeela Suleman – Pakistan<br /> Charwei Tsai – Taiwan<br /> Howie Tsui – Hong Kong/Canada<br /> Apichatpong Weerasethakul – Thailand<br /> Palden Weinreb – USA/Tibet<br /> Bae Young Whan – Korea<br /> Adrian Wong – USA/Hong Kong<br /> Lin Xue – China/Hong Kong<br /> Takayuki Yamamoto –Japan</p> <p></p> <p style="text-align: justify;" class="creditline"><span style="font-size: small;">This exhibition was organized by the Asian Art Museum, San Francisco in collaboration with the Mori Art Museum, Tokyo. The exhibition is curated by Mami Kataoka, chief curator of the Mori Art Museum, in collaboration with Allison Harding, assistant curator of contemporary art, Asian Art Museum, with assistance from other museum curators. Presentation at the Asian Art Museum is made possible by support from The Bernard Osher Foundation, the W.L.S. Spencer Foundation, Koret Foundation, Columbia Foundation, The Henri and Tomoye Takahashi Charitable Foundation, the National Endowment for the Arts, Credit Suisse, United, Union Bank, Christie’s, Pacific Gas and Electric Company, and an anonymous foundation, with additional support from The Dedalus Foundation, Inc.</span></p> <p><a href="" target="blank"><img src="" alt="The Bernard Osher Foundation" height="37" width="76" /></a> <a href="" target="blank"><img src="" alt="The Koret Foundation" height="38" hspace="50" width="69" /></a> <a href="" target="blank"><img src="" alt="The Columbia Foundation" height="24" width="138" /></a> <a href="" target="blank"><img src="" alt="National Endowment for the Arts" height="43" hspace="50" width="58" /></a></p> <p><a href="" target="blank"><img src="" alt="Credit Suisse" height="27" width="92" /></a> <a href="" target="blank"><img src="" alt="United Airlines" height="20" hspace="50" width="107" /></a><img src="" alt="" height="26" width="123" /></p> Wed, 11 Apr 2012 06:45:59 +0000 LoopmasterM - Aurobora Press - May 1st, 2012 - June 30th, 2012 Fri, 20 Apr 2012 17:03:31 +0000 - Badè Museum - March 21st, 2012 - October 5th, 2012 <p align="center"><span style="font-size: small;"><em>“A lamp is not merely that which gives light; it is the quintessence of cheer<br /> and security which, on a larger scale, the sun radiates upon the world” </em></span></p> <p align="right"><span style="font-size: small;">~Smith, “The Household Lamp of Palestine in Old Testament Times,” 1964</span></p> <p align="justify"><span style="font-size: small;">To truly appreciate the multifaceted nature of the lamp in antiquity, one must look past its unassuming size and relative simplicity, and consider instead its less conspicuous layers of creation, functionality, and symbolism. In a world that could not depend on electricity and far-reaching lighting systems, humans had two natural light sources, the sun and fire. While the sun provided an excellent light source for outdoor activities during the daytime, lamps allowed for work to be done both after sunset and in enclosed spaces, therein profoundly altering and manipulating the natural environment for the benefit of humans. This invaluable ability resulted in the production and use of lamps in almost all regions and time periods during antiquity. Yet like any modern commodity, lamps changed throughout time and place as a result of increasing technologies, wavering fashions, and changing environments.</span></p> <p><span style="font-size: small;"><img src="" style="border: 5px solid #ffffff;" height="165" width="115" align="left" /></span></p> <p style="text-align: justify;"><span style="font-size: small;"><img src="" style="border: 5px solid #ffffff;" height="165" width="115" align="right" />From an archaeological perspective, this consistent use and development of the lamp through place and time makes it a very useful means of dating stratigraphic levels at a single site and between different sites in a similar region. Archaeologists can also learn a lot about the activity areas of an ancient site based on the specific findspots of lamps. Lastly, lamps offer incomparable insight into the varying levels of artistic skills and production in antiquity. Yet, at a deeper level, lamps also attest to the importance of cultural style and to the connection tangible objects can have with ideological and spiritual beliefs within a specific culture and social group.</span></p> <p style="text-align: justify;"><span style="font-size: small;">All of these facets of the lamp are evinced by the archaeological and textual remains from Tell en-Nasbeh, and neighboring regions: from the physical objects themselves, to associated tools and materials used in their creation, and even the textual materials produced by the culture to whom they belonged. There was not a single area or mindset of ancient life at Tell en-Nasbeh that was not in some way lit, whether visually or spiritually, by the flame of a lamp.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This show is the product of the joint venture between the Badè Museum and the <a href=""> Doug Adams Gallery</a>, entitled <em>Mining the Collection</em>, in which the Badè Museum curators work with a resident artist at the Doug Adams Gallery to explore the Tell en-Nasbeh collection together, sharing a variety of ideas and concepts, and creating two exhibits that revolve around a shared interest in a particular aspect of the collection. The Doug Adams Gallery exhibit is entitled "Dimensions of Dark," featuring the work of <a href="">Cathy Richardson</a>.</span></p> Wed, 18 Apr 2012 14:54:53 +0000 David Wallace, Katherine Sherwood, Ehren Tool, Susan Schweig, Sunaura Taylor, Chau Thuy Huynh - Berkeley Art Center - April 14th, 2012 - June 2nd, 2012 <p style="text-align: justify;"><span style="font-size: small;">YELLING CLINIC is a disability arts collective comprised of artists that explore the intersection of art, war and disability through intensely personal and compelling work in a variety of media.  Artists include </span><strong style="font-size: small;">Huỳnh Thủy Châu, Nguyễn Văn Đường, Emma McElvoy, Katherine Sherwood , Nguyễn Quốc Trị, Katherine Sherwood, Sunaura Taylor, Ehren Tool, and David Wallace </strong><span style="font-size: small;">with writer, </span><strong style="font-size: small;">Susan Schweik</strong><span style="font-size: small;">.  Through the lens of wartime experience, YELLING CLINIC addresses the effect of military pollution on people with disabilities through extraordinary work that is hauntingly evocative.  This exhibition will </span><span style="font-size: small;">include work inspired by a recent trip to Vietnam.</span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;"><br /></span></p> Sat, 07 Apr 2012 16:20:01 +0000 - Berkeley Art Museum and Pacific Film Archive - June 16th, 2010 - June 8th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Reaching across several centuries and over the highest mountains in the world, Buddhism spread from India through the narrow corridors of Central Asia into Tibet, where it has remained the primary ethical and moral compass of the Tibetan people. Explore this journey in <b>Himalayan Pilgrimage: Journey to the Land of Snows</b> through exceptionally beautiful objects of sculpture and painting dating from the ninth to the eighteenth centuries and drawn from a private collection on long-term loan to the Berkeley Art Museum and Pacific Film Archive. The central image, a five-foot-tall seated Buddha, provides the axis and symbolic core of the exhibition. This sculpture of the historical Buddha Shakyamuni is seen in a gesture of “touching the earth,” or bhumisparsa mudra, in which he calls on the earth to witness his enlightenment. From this, the central figure and the basic principle of Buddhist thought, the exhibition goes on to explore the cosmic realms of Vajrayana, the Diamond Vehicle of Tibetan Tantric Buddhism.</span></p> <p style="text-align: justify;">Exhibition continues as <strong><i><a href="">Himalayan Pilgrimage: Liberation Through Sight</a></i></strong>, a reinstallation that focuses on artworks created as vehicles to enlightenment. <br /> <br /><b>Himalayan Pilgrimage</b> is organized by Senior Curator for Asian Art Julia White.<span style="font-size: small;"></span><br style="font-size: small;" /><br /></p> Thu, 26 Jul 2012 15:41:37 +0000 - Berkeley Art Museum and Pacific Film Archive - January 15th, 2012 - December 21st, 2014 <p style="text-align: justify;"><span style="font-size: small;"><strong>The Reading Room</strong> is a temporary project dedicated to poetry and experimental fiction offering visitors the chance to take home a free book drawn from the overstock collections of several noted East Bay small presses, including Kelsey Street Press, Atelos Books, and Tuumba Press. Books and catalogs from Small Press Distribution will also be available. In turn, visitors are asked to replace that book with one from their own library. We look forward to seeing how the character of the works on the shelves evolves over the course of the project!</span></p> <p style="text-align: justify;"><span style="font-size: small;">Stop by <strong>The Reading Room</strong> during gallery hours to enjoy a comfortable reading area, listen to recordings of selected poets published by these presses, and view silk-screen prints and original works on paper created by George Schneeman in collaboration with poets Ron Padgett, Bill Berkson, and Lewis MacAdams.</span></p> <p style="text-align: justify;"><span style="font-size: small;">As part of selected Friday night <strong>L@TE</strong> programs throughout winter and spring, <strong>The Reading Room</strong> will be the site of literary readings (<strong>RE@DS</strong>) co-curated by poet/author David Brazil and Suzanne Stein, poet, publisher, and community producer at the San Francisco Museum of Modern Art.&nbsp;</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;">Guided and inspired by arts writer and poet Ramsay Bell Breslin and poet and UC Berkeley Professor of English Lyn Hejinian, BAM/PFA&rsquo;s new literary project invites visitors to look, listen, share, and read in <strong>The Reading Room.</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>&nbsp;</strong></span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;"><strong>RE@DS</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Programmed by Suzanne Stein and David Brazil</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>&nbsp;</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Friday / 1.27.12 @ 5:30</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jackqueline Frost</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;Friday / 2.10.12 @ 5:30</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tom Comitta</span></p> <p style="text-align: justify;"><span style="font-size: small;">Friday / 2.24.12 @ 5:30</span></p> <p style="text-align: justify;"><span style="font-size: small;">Monica Peck</span></p> <p><strong>&nbsp;</strong></p> <p><strong>&nbsp;</strong></p> <p></p> Sat, 21 Sep 2013 15:57:48 +0000 Group Show - Berkeley Art Museum and Pacific Film Archive - January 18th, 2012 - June 10th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><b>Abstract Expressionisms</b> brings together approximately forty paintings, works on paper, and sculptures from BAM/PFA’s renowned collection of mid-twentieth century works of art. This international array of work in various media reminds us of the broad reach and long-running influence of the movement and of its many radiating branches.</span><br /><br /><span style="font-size: small;">In signature paintings by artists such as Hans Hofmann, Jackson Pollock, and Mark Rothko we revisit the groundbreaking parameters of new art in post-World War II America. Powerful works from the 1950s and 1960s by Philip Guston, Theodore Stamos, Conrad Marca-Relli, and William Baziotes indicate the breadth and distinctiveness of achievement of the era. Bold, color-saturated works by American artists Sam Francis and Norman Bluhm date from the late 1950s when both artists were based in Paris. In a 1954 etching by German-French artist Hans Hartung, we are introduced to aspects of the dominant French expressionist movement, Tachisme. The CoBrA group, founded in Brussels in 1949, advocated vivid colors, fantastic forms, and interplay of line and color. A monumental work on paper by CoBrA cofounder Pierre Alechinsky demonstrates his dual interest in Japanese calligraphy and expressionist tenets; works by CoBrA cohorts Asger Jorn and Karel Appel also appear in <b>Abstract Expressionisms</b>. Antonio Saura, one of the leaders of Abstract Expressionist explorations in Spain, is represented by <i>Carajaraña</i> (1959), an aggressive black-and-white composition suggestive of Franz Kline and Willem de Kooning. Abstract Expressionist qualities are also strongly evident in a variety of works by artists such as Mark Tobey, Leonard Baskin, and photographer Aaron Siskind. In addition, sculptural works by David Smith, Ibram Lassaw, and Peter Voulkos that accompany paintings in Gallery A and works on paper in Gallery C, suggest how Abstract Expressionism found expression in three dimensions.</span></p> Wed, 22 Feb 2012 09:29:51 +0000 Group Show - Berkeley Art Museum and Pacific Film Archive - February 29th, 2012 - June 17th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Have you ever heard the sound of ice melting? <b>State of Mind: New California Art circa 1970</b>, part of Pacific Standard Time, offers an in-depth exploration of Conceptual art made by both Northern and Southern California artists during a pivotal period in contemporary art. The more than 150 works of art on display—many rarely seen or newly discovered—are organized by themes, such as the street, the body, politics, private/public space, and language/wordplay, that elucidate this dynamic era in our history and foreshadow the concerns of young artists working today.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><b>“A dense, seemingly encyclopedic presentation of Conceptual art from up and down the coast, shot through with various forms of satire, political fury, and emotional vulnerability."—Roberta Smith, </b><b><i>New York Times<br /></i></b><b><br /><br />State of Mind: New California Art circa 1970</b>, co-organized with the Orange County Museum of Art (OCMA), is the most comprehensive exhibition to date to focus on Conceptual art and related new genres in both Northern and Southern California during this pivotal period in contemporary art. Featuring more than 150<b> </b>works of art, the exhibition includes installations, photographs, works on paper, videos and films, artists’ books, extensive performance documentation, and other ephemera. Many of these are newly discovered works or rarely viewed materials culled from archives for this exhibition.</span><br /><br /><span style="font-size: small;">Some of the highlights of the exhibition include the important early surveillance installation <i>Being Photographed, Looking Out, Looking In</i>, <i>February 4-20, 1971 </i>by Chris Burden, currently in a private collection and not exhibited since the 1970s; the most comprehensive installation of artifacts, photographs, and the original soundtrack from Allen Ruppersberg’s, <i>Al's Grand Hotel</i> (1971); the most complete documentation ever presented in a museum of Bonnie Sherk’s street performances <i>Sitting Still Series</i> (1970); and archival photographs from William Wegman’s studio, recently discovered at BAM/PFA and never before seen in California. Other artists featured in <b>State of Mind </b>whose practices deserve greater attention are Gary Beydler, Nancy Buchanan, Adam (the late Paul Cotton), Lowell Darling, Stephen Laub, Darryl Sapien, Susan Mogul, Ilene Segalove, Fred Londier, and Robert Kinmont. </span><br /><br /><span style="font-size: small;">Public programs<b> </b>will bring together a range of artists, scholars, and curators for symposia, lectures, and performances. The exhibition is accompanied by a 250-page catalog with essays by the exhibition co-curators, BAM/PFA Adjunct Curator, and former Senior Curator at BAM/PFA, Constance Lewallen and OCMA Adjunct Curator Karen Moss, as well as additional contributions by UC Irvine Art History Professor Julia Bryan-Wilson and Anne Rorimer, an independent scholar. The catalog, published by the University of California Press, will feature seventy color plates and more than 125 black-and-white images.</span><br /><br /> <br /><span style="font-size: small;"><b>State of Mind: New California Art circa 1970</b> is supported by a grant from the Getty Foundation as part of the unprecedented collaborative initiative Pacific Standard Time: Art in L.A. 1945–1980.</span><br /><br /><span style="font-size: small;">Additional support for <b>State of Mind</b> has been provided by the National Endowment for the Arts. Support from Ms. Robin Wright and Mr. Ian Reeves has made possible the presentation of the pressured air work of Michael Asher. The catalog is supported in part by the Getty Foundation and by Furthermore: a program of the J.M. Kaplan Fund. </span><br /><br /><span style="font-size: small;"><b>State of Mind </b>is co-organized by the University of California, Berkeley Art Museum and Pacific Film Archive (BAM/PFA) and the Orange County Museum of Art (OCMA). The exhibition is co-curated by Constance M. Lewallen, adjunct curator at BAM/PFA, and Karen Moss, adjunct curator at OCMA. </span><br /><br /><span style="font-size: small;">Significant funding for the OCMA presentation of <b>State of Mind</b> is provided by Dr. Rosalyn M. Laudati and Dr. James Pick.</span><br /><br /><span style="font-size: small;">The presentation of <b>State of Mind</b> at BAM/PFA is made possible in part by the continued support of the BAM/PFA Trustees. </span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p><br /><img src="" width="80px" /> <img src="" /></p> Thu, 26 Jul 2012 15:39:29 +0000 Brett Walker, Jennie Smith, Kari Orvik, Amy Rathbone, Rodrigo Ojeda-Beck, Emilio Marquez-Leonard, Kari Marboe - Berkeley Art Museum and Pacific Film Archive - May 18th, 2012 - June 10th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Be among the first to encounter the work of seven exceptional artists as they embark on their careers in the <b>Forty-Second Annual University of California, Berkeley Master of Fine Arts Graduate Exhibition</b>. The artists work not only with the committed faculty of the Department of Art Practice, but also with curators, registrars, editors, visitor liaisons, security staff, education programmers, designers, and preparators at BAM/PFA to realize their final student exhibition. In light of the diversity of their projects, we have decided not to formulate an overarching exhibition title. Ultimately, it is more rewarding to experience each work within its own context, allowing for unanticipated discovery.</span><br /><br /><span style="font-size: small;"><strong>Kari Marboe</strong> measures the physical distance between language and image with site-specific narratives that upset the familiarity of textual landscapes. The precarious conditions of Frank <strong>Emilio Marquez-Leonard</strong>’s structures anticipate failure, pointing towards the paradox at the root of all material and immaterial investigations. Exploring the fictive space of cinematic narrative and the conditions of filmmaking itself—flickering, camera movement, focus, sound, and the edit—<strong>Rodrigo Ojeda-Beck</strong> builds unusual environments for storytelling. Bridging historical photo processes neighborhood histories, <strong>Kari Orvik</strong> stages a complex negotiation between medium and content. <strong>Amy Rathbone</strong>’s installations are questionably organic, drawing from the simplicity of natural forms yet bending the rules of what might be considered natural. <strong>Jennie Smith</strong> reverses the tenets of illustration—her watercolor and graphite drawings don’t explain, but rather compel and complicate the unfolding of stories. Rubbing the concerns of identity politics up against the publicity-seeking performances of our media-driven culture, <strong>Brett Walker</strong> plays with the structure and agency of his role as an artist.</span><br /><br /> <br /><span style="font-size: small;">The annual M.F.A. exhibition at BAM/PFA is made possible by the Barbara Berelson Wiltsek Endowment.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Related Public Programs<br /><a href="">View scheduled <b> M.F.A. 2012</b> gallery talks, member events, and more.</a></span></p> Wed, 18 Apr 2012 15:13:44 +0000