ArtSlant - Closing soon en-us 40 Kumi Korf - Chandler Fine Art - April 7th, 2012 - May 31st, 2012 <p style="text-align: justify;" class="paragraph"><span style="font-size: small;">We are pleased to present a solo exhibition of <strong>Kumi Korf'</strong>s recent intaglio prints. Based on western garden designs, these new prints take black and white architectural renderings of gardens and transform them with layers of saturated color and overlapping shapes.</span></p> <p style="text-align: justify;" class="paragraph"><span style="font-size: small;">Asked about her process the artist responds "It is a magic moment, each time when the dampened paper is peeled off from the plate, revealing the transferred image from plate to paper. I love the surface of the copper plate, polished, worked, inked, and wiped. My technique of intaglio printing is traditional, however the experience is more like painting than printing for me."</span></p> <p style="text-align: justify;" class="paragraph"><span style="font-size: small;">A new color catalogue of Kumi Korf's work will be available in May.</span></p> Sat, 12 May 2012 08:53:01 +0000 Jennie Ottinger - Johansson Projects - June 1st, 2012 - June 1st, 2012 <p>Johansson Projects is pleased to present Jennie Ottinger's "What to Do with Your Orphan: A Manual", in which orphans partake in orphan-like activities. These include sleeping, playing dodgeball, and eating breakfast. But don't be fooled into thinking an orphan's life is just like yours or mine. Ottinger nonchalantly renders a mouth too far unhinged or a patch of flesh a bit too pink, making her gouache ghosts look almost human, but not quite. Horror invades the lullaby of the sweet, little orphan. <br /><br /> Ottinger's collection depicts groups of children who, for some reason or other, do not have a place to call home. Yet her subjects don't even seem to be at home in their own skin, which morphs and erodes before your eyes. In fact, in the face of her paintings, you won't feel at home either. With a style that evokes Marlene Dumas and Francis Bacon, Ottinger creates her own orphan legend, part "Annie" and part "The Bad Seed". She skillfully balances levity and dread, the sweet and the grotesque, making her aesthetic a visual manifestation of gallows humor. Ottinger's orphans need something to laugh at in their unfortunate situations. The lucky ones get godparents who exploit them, while the unlucky ones... well, we don't really know where they go. <br /><br /> Ottinger gives cliched scenarios a funhouse mirror treatment, rendering every nun into a monster, every schoolgirl into a freak. But it is a topsy-turvy world when a child is left without parents at such a young age, and a world filled with ugly indeed. <br /><br /> Jennie Ottinger was raised in Massachusetts and currently lives in San Francisco, CA. Ms. Ottinger earned her BFA from California College of the Arts and her MFA from Mills College. <i> What to do with Your Orphan: A Manual</i> will be Jennie's third solo show at Johansson Projects. She has also mounted solo exhibitions at Eleven Gallery in London as well as a solo booth at Volta NY Art Fair. Her works have also been included in the NADA Art Fair in Miami, Southern Exposure, Headlands Center for the Arts, and Adobe Books in California, as well as galleries in New York, Dallas and Los Angeles. She was awarded a residency at the Kala Art Institute as well as two Graduate Research Grants from Mills College and the Sara Lewis Scholarship Award. Ottinger's reviews appeared in Art in America, San Francisco Chronicle, ArtSlant, Daily Serving and 7x7 Magazine.</p> <p>First Friday: June 1, 6-9pm<br />Show runs until June 16, 2012</p> Sat, 22 Feb 2014 15:26:25 +0000 Jordan Eagles - Mark Wolfe Contemporary Art - April 5th, 2012 - June 1st, 2012 <p class="FreeFormA" style="text-align: justify;"><span style="font-size: small;">Mark Wolfe Contemporary Art is pleased to present HAEMOSCURO, a series of new works by New York-based Jordan Eagles in his second solo exhibition at the Gallery.</span></p> <p class="FreeFormA" style="text-align: justify;"><span style="font-size: small;">Eagles has been using preserved animal blood in his multidimensional works for over a decade.  He applies blood to layers of clear Plexiglas and then permanently preserves the organic material with layers of resin, allowing the high-gloss surfaces to suspend the fluid, organic forms.  In the presence of light, the blood's translucency is revealed under and between the multiple layers of clear resin, retaining and vibrating the light and illuminating pools of reds/blacks and proteins with sealed-in air bubbles; the results are remarkably luminous and always breathtaking, as the blood permanently maintains its rich color and natural texture.</span></p> <p class="FreeFormA" style="text-align: justify;"><span style="font-size: small;">Describing his new work, Eagles says:  "I use various mark-making methods, including layering the blood at different densities as well as heating, burning, and aging the material. Copper, a conductor of electricity, is sometimes mixed with the blood, imparting a unique, fiery energy. Blood-soaked gauze, stretched over the surface, creates another textural layer that serves as a map of memory and homage to ancient wrapping rituals. In some instances, blood that has decomposed for years forms dense masses that are ground into dust and tossed into the works, as a sign of passing and change."</span></p> <p style="text-align: justify;"><span style="font-size: small;">Eagles’ works are part of the permanent collections of several museums, including the Princeton University Art Museum, the Addison Gallery of American Art in Andover, Mass., the University of Michigan Museum of Art, and the Peabody Essex Museum.  His has recently staged solo shows at Causey Contemporary and Krause Gallery, both in New York, David Weinberg Gallery in Chicago, and has a forthcoming exhibition at the University of Michigan Museum of Art.  A 2011 New York Magazine "Critics Pick," he has been featured in The New York Times, L’Uomo Vogue, Architectural Digest and Wired, to name a few.</span></p> Thu, 03 May 2012 10:04:02 +0000 Megan Whitmarsh, Ariana Roesch, Nicole Gordon, Maja Ruznic - Michael Rosenthal Gallery - April 28th, 2012 - June 1st, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Nicole Gordon</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Gordon’s paintings, with obvious influences from Northern Renaissance painters Bruegel and Hieronymus Bosch to William Blake, are simultaneously religious and carnivalesque, each one illuminating one of the seven deadly sins as acted upon the planet. Gordon considers each sin from a purely environmental perspective, where, for example, gluttony is imagined as an apocalyptic oil-drilling scene, and envy as a surrealist diamond mine. The connection is hardly new, and the show doesn’t leave very much up to the analysis of the viewer in terms of theme or intellectual challenge. The paintings turn out to be most interesting in their hybrid style, which comprises a striking combination of quasi-realistic backgrounds and cartoon-like, overtly artificial foregrounded figures. This kind of visual mash-up seems to offer much more insight into the way we experience the world now—perhaps a comment on the simulacric way we interact with the natural environment (when we do so at all), where specific fictions have allowed such eco-holocausts to take place. However, the images themselves, from animals in gas masks to a childish depiction of a man being sodomized by a gas line, seem overly simplistic, and it’s hard to know how we’re to take the final image, “The Culmination,” which depicts a literal apocalypse, complete with a nuclear cloud in the distance; the artist statement claims these paintings reflect hope and a possibility for change, but other than the ambivalent style, the work itself shows the frustrating lack of complexity that underlies all propaganda, eco-friendly or otherwise. (Monica Westin)</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Ariana Roesch</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">I  am interested in how we situate ourselves within a mechanized society. My work questions the physical and psychological structures that make up our everyday, ranging from essential building structures such as electrical wiring, to the basic conduct of how people communicate and behave. Since the human drive is not only to make things work but to constantly better the functionality of an object or system, as well as our selves, it conjures the question of sustainability. If we are always searching, looking for something better, when are we satisfied? And most importantly what are we looking for? My work turns this question of sustainability inward, addressing the viewer, rather than examining outside sources.</span></p> <div style="text-align: justify;"></div> <div style="text-align: justify;"><span style="font-size: small;">These questions are investigated using color, light, and textiles to create a sensory experience taking shape in objects and room-sized installations. Light is used to direct the viewer or make visible an electrical structure, either specific to the space or diagrammatic. Electroluminescent wire, which produces a continuous line of light, is applied in site-specific line drawings that perceptively dominate and change the space. The environments immerse the viewer in a phenomenological experience. I also create hand-constructed textile objects, titled PLAYMATES, which invite interaction with the audience.</span></div> <div style="text-align: justify;"></div> <div style="text-align: justify;"><span style="font-size: small;">Aiming to entice the viewer through a point of recognition and familiarity in the constructed objects and environments in a perceptual and sensory way, the work then has the possibility to create associations for the viewer, which leads to a heightened sense of awareness of how these elements manifest themselves in their life and what kind of role they play.</span></div> <div style="text-align: justify;"></div> <div style="text-align: justify;"></div> <div> <div style="text-align: justify;"><span style="font-size: small;"><strong>Maja Ruznic </strong></span></div> <div style="text-align: justify;"><span style="font-size: small;">was born in Bosnia &amp; Hercegovina, 1983  and now lives and works in San Francisco, CA. She has a BFA from the Univeristy of California, Berkeley, Berkeley, CA (2005) and an MFA from the California College of Arts, San Francisco, CA (2009)</span></div> <div style="text-align: justify;"></div> <div style="text-align: justify;"><span style="font-size: small;">Artist Statement</span></div> <div style="text-align: justify;"></div> <div style="text-align: justify;"><span style="font-size: small;">Over the past year or so, I have been drawing and painting people, objects and memories of experiences that evoke a sense of failure and trigger a sense of psychological unease that echoes my childhood refugee experience. In documenting these people, objects and events with highly editorialized and projected-upon personae, I am simultaneously preserving them and destroying who they actually are.  My intention in painting these subjects is to meditate on who they are and infuse them with a second chance.  I am interested in the repetitive nature of recording and the meditative and spiritual aspects of redemption.  The paintings become a collection of failed objects and experiences.  It is also an agglomeration of memory, imagination and misinformation I have collected over time. Through the glut of imagery and objects, I am interested in evoking the past, while fictionalizing it.  The figures in my small works on paper are Anti-Heroes, characters I have created based on my interest in those who live along the interstices of society—homeless, drug addicts, prostitutes, derelicts and vagabonds—individuals whose psychological state reminds me of my immigrant experience.</span></div> </div> Fri, 20 Apr 2012 16:35:20 +0000 Andrew Chapman, Yvette Deas, Rhonda Holberton, Adam Katseff, Yulia Pinkusevich - Root Division - May 23rd, 2012 - June 1st, 2012 <p style="text-align: justify;"><span style="font-size: small;">NEVER ODD OR EVEN<b><i> </i></b>is an exhibition of artwork created by five graduating artists for their final MFA Thesis. The artists include Andrew Chapman, Yvette Deas, Rhonda Holberton, Adam Katseff, and Yulia Pinkusevich.</span></p> <p style="text-align: justify;"><span style="font-size: small;">As curator Enrique Chagoya states, “the imagery and abstraction in some of the artwork in this exhibition may suggest connections that do not exist and others that are actually there, but at the end we may realize that this is more about the NEVE RO DDO REVEN effect: the effect of going endlessly back and forth between art and reality.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">Andrew Chapman’s work is site-specific. Rather than being immobile as the term implies, the piece functions as a kind of Rubik’s cube gone awry. The parts consist of two-dimensional painted elements that address a three-dimensional sculptural space and are made of materials that are paused mid-motion, otherwise shifting, stacking, animated, and folding. This piece, which takes on the roll of a virtualized traveling show, plays with abstraction as Chapman looks into notions of authenticity, duplicity, and visual signification within his practice in an omnipresent digital era.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In <i>Dissection Series</i>, Yvette Deas moves from the representational in her earlier work into the less representational in her paintings of cadavers. Considered as an examination of portraiture, the subject is centralized and decentralized alternating between absorption of the flesh and the vestiges left behind. Body parts become traces of a life, even as the surgeon’s hands become the artist’s hands and the viewer’s eyes. The strange disjunction between a conscious understanding of the body as impersonal, vacated body parts and the understanding of the body as a specific person is where these paintings are sited, either within a single painting, or in juxtaposition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Rhonda Holberton’s interdisciplinary practice documents her attempts to navigate complex phenomenological systems.  Her work reveals a magic and symbolic reading of empirical canons of belief through a hybrid of scientific and metaphysical practices.  In the <i>Holes</i> series<i>,</i> photographs document her actions in the vastness of the desert landscape.  The video work, <i>All Tomorrrows,</i> abstracts apocalyptic imaginings through a series of analog compressions. These works place the human body in an ambiguous relationship to scale, drawing attention to the complexities of human engagement in natural systems and point toward a reality that is immaterial and unpredictable in nature.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Adam Katseff uses photography to capture the feeling behind a landscape, rather than simply what it “looks like.”  His current series juxtaposes darkness and light, using a stripped down sense of place to transmute our everyday experience of interior and exterior spaces into one centered around spirituality and the personal imagination.  By way of nearly black landscapes full of minute detail, and blindingly white vacant interiors, his recent works communicate with the viewer in a manner both meditative and physical.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Influenced by her personal history of being uprooted from the former Soviet Union at an early age and observations from many of her international and domestic travels, Yulia Pinkusevich’s work explores fragmented vision of architectural layering and perceptions of the built environment. Formally, the work is engaged with the direct experience of the viewer through perspectival illusion and spatial perception that play with the subconscious and cognitive understanding of space. By breaking logical perspectives she create illusions of impossible spaces, non-places or Utopias that shift the viewpoint to the panoptic.</span></p> <p align="center"><span style="font-size: small;"><b>On view May 15 - June 17, 2012</b></span></p> <p align="center"><span style="font-size: small;"><b>Reception: May 17, 5:30 – 7:30 PM</b> <b><br />Thomas Welton Stanford Art Gallery</b></span></p> <p align="center"><span style="font-size: small;"> <b></b></span></p> <p align="center"><span style="font-size: small;"><b>On view May 23 – June 1, 2012</b></span></p> <p align="center"><span style="font-size: small;"><b>Reception: May 23, 7 – 10 PM</b></span></p> <p align="center"><span style="font-size: small;"><b>Root Division, San Francisco</b></span></p> <p><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Thomas Welton Stanford Art Gallery is open Tuesday through Friday, 10 AM–5 PM, and Saturday and Sunday, 1-5 PM. Admission is free. The Gallery is located in the Stanford campus, off Palm Drive at 419 Lasuen Mall. Parking is free after 4 PM and all day on weekends. Information:  (650) 723-2842, <a href="" rel="nofollow"></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;">Root Division is open Wednesday through Saturday, 2-6 PM, and is located at 3175 17<sup>th</sup> Street, San Francisco. Information:  (415) 863-7668 , <a href="" rel="nofollow"></a>.</span></p> Thu, 03 May 2012 09:26:57 +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 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 ROGER WEIK - Crocker Art Museum - June 1st, 2012 - June 2nd, 2012 <p>Annual Art Auction by Invitiation only</p> <p>also "Big Names/Small Art" Exhibition</p> <p>Juried Selections</p> <p>130 ARTISTS Exhibiting in the Main Galleries</p> Wed, 25 Apr 2012 14:06:39 +0000 Tom Lieber - Dolby Chadwick Gallery - May 3rd, 2012 - June 2nd, 2012 <p>Dolby Chadwick Gallery is pleased to present <i>Wired</i>, an exhibition of new oil paintings by Tom Lieber. With this body of work, Lieber continues to engage, explore, and push the limits of abstraction. The sweeping, gestural lines that rip through the pictorial space are reminiscent of the lyrical, looping currents found in Hans Hartung’s mid-century paintings or the curvilinear markings of Joan Mitchell’s looser compositions while thicker black cross-hatchings, such as those in <i>Tall Tip</i> (2012) or <i>Step</i> (2012), call to mind Franz Kline’s signature motif. All of Lieber’s notations run across and weave through mostly neutral though highly nuanced fields of gradually shifting color in the style of Rothko or Newman. Despite these visual references, the overall execution of Lieber’s formal language produces a unique holism recognized as the artist’s own. More often than not, two loose masses with gravitational clout take center stage: the expressive, colorful energy they emit ignites the entire canvas and propels along the semblance of a narrative, despite the nonrepresentational nature of Lieber’s subject matter.</p> <p>In works past, Lieber was focused on arriving at the right interaction between formal elements, working and reworking lines to such as degree that many if not most were ultimately erased in the process. In this body of work, however, Lieber describes a newfound “attempt to leave more of the search visible for the finished painting—I’m not erasing, but rather looking, revealing. The challenge for me is just to leave it.” Having recently started dividing his time between Hawaii and Los Angeles, the paintings that comprise <i>Wired</i> reflect his experiment in urban living. Los Angeles is perpetually abuzz with a very singular kind of animation: miles of traffic flow (or stall) in endless streams delimited by the city’s tangle of roads and highways, patrons fall into queues that regularly snake down and around blocks, people constantly chatter or punch messages into their smartphones, power lines serving millions dart across the city as webs of electricity, and planes criss-cross the sky in a proliferation of take-offs and landings. Lieber absorbs all of these environmental cues, distilling them down and calling them forth. This is in part why these newer paintings have a sharper, more forcefully energetic and unrelenting feel, as opposed to the calmer, more atmospheric nature of the works he created in Hawaii. Such insights shed light on Lieber’s observation that his paintings indirectly function as self-portraits.</p> <p>Born in St. Louis, Missouri, in 1949, Tom Lieber earned both his BFA (1971) and MFA (1974) from the University of Illinois. In addition to showing across North America and Europe, his work can be found in the permanent collections of the Guggenheim Museum of Art, New York; the Metropolitan Museum of Art, New York; the Museum of Contemporary Art, Los Angeles; and the Tate Gallery, London. In 1975, Leiber was honored with a grant from the National Endowment of the Arts. <i>Wired</i> will mark Leiber’s second solo show at Dolby Chadwick Gallery.</p> Thu, 29 Mar 2012 21:35:23 +0000 Lawrence Gipe, Erin Cone, Marianne Kolb, Hiroshi Sato, Alyssa Monks, Eric Zener - Hespe Gallery - May 15th, 2012 - June 2nd, 2012 Tue, 22 May 2012 09:25:41 +0000 Amparo Sard - Rena Bransten Gallery - April 5th, 2012 - June 2nd, 2012 <p style="text-align: justify;"><span style="font-size: small;">In her second exhibition at the Rena Bransten Gallery, Spanish artist <strong>Amparo Sard</strong> will show works on paper, small sculptures, and a video which further explore themes of identity and confinement.  As in her earlier drawings, thousands of perforations in paper surfaces form her imagery in a fashion that has been compared to “pointillism” or “pixilated embroidery.”  Embossed portions of the paper are enhanced by the tiny voids depicting delicate white-on-white images of a female figure (Sard herself) or isolated body parts struggling against or from within the paper surface.  The show takes its title, “Spacing the Impasse,” from this physical or imaginary impasse within the small spaces of the picture plane. In the struggle, the woman’s indecision becomes her prison – Sard also uses glass walls, wooden boards, and water as metaphors for intractable situations the woman must negotiate. Her struggle with water is particularly engaging and the subject of the video piece. The exhibition offers a spare yet probing reminder of the role indecision plays in all our lives whether providing breathing room, promoting conflict resolution, or fostering acceptance and compliance. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Sard was born in Mallorca, Spain and has exhibited extensively in international venues. Her work can be found in the collections of MoMA, New York; Guggenheim, New York; West Collection, Philadelphia; and Deutsche Bank, Berlin. She is currently a Professor of Fine Arts in Barcelona, Spain.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Opening Reception: Thursday, April 5<br /> 5:30 - 7:30pm</span></p> Sat, 14 Apr 2012 15:58:41 +0000 Don Ed Hardy, John Bankston, Hung Liu, Sam Perry, Tracey Snelling, Tara Tucker, Marci Washington, Chris Thorson - Rena Bransten Gallery - April 5th, 2012 - June 2nd, 2012 <p style="text-align: justify;"><span style="font-size: small;">A Group Exhibition celebrating the 75th Anniversary  of the Golden Gate Bridge</span></p> <p style="text-align: justify;"><span style="font-size: small;">To celebrate the 75th Anniversary of the Golden Gate Bridge, the Rena Bransten Gallery will present an exhibition titled <strong>The Bridge,</strong> which will include art works in all media created especially for this occasion.  Taking “the bridge” as a theme, gallery artists John Bankston, Don Ed Hardy, Hung Liu, Sam Perry, Tracey Snelling, Tara Tucker, and Marci Washington, joined by Chris Thorson, artists from Creative Growth and the San Francisco Arts Education Project, produced special works that span the creative divide, plumb the depths of their visual imaginations, and describe points of view that extend across a wide spectrum of artistic visions and applications.  Bridges have inspired, challenged, and invited metaphor among artists, photographers, writers, poets, architects and engineers throughout history – but surely the most beautiful, romantic, and evocative of all the famous spans is the Golden Gate.</span></p> Sat, 14 Apr 2012 16:01:43 +0000 Group Show - San Jose Institute of Contemporary Art (ICA) - March 10th, 2012 - June 2nd, 2012 <p style="text-align: justify;"><span style="font-size: small;">Contemporary office culture examined, deconstructed, rearranged, and critiqued.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Like its television series namesake,<em> The Office</em> explores the absurdity and artistry of objects, ecosystems, culture and characters familiar to office works everywhere. <strong>Jill Sylvia</strong>’s meticulously cut ledger paper structures transform a nearly extinct material into elegant sculptures. <strong>Penny Young</strong> turns her obsession with organizational systems - library card catalogs, rolodexes, office files- into works that are liberated from structure and express chaos and absurdity. Kirk Crippens creates photo portraits of the ubiquitous office plant. <strong>Mitra Fabian </strong>and<strong> Allison Foshee</strong> explore the artistic potential of staples and binder clips. <strong>Packard Jennings</strong> appropriates the standard business reply envelope with his unique interventionist approach, and <strong>Jonn Herschend</strong> responds with an installation that threatens (or promises) to disrupt the ICA’s own office practices.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Members Reception </strong><br />5pm - 6pm<br />Complimentary wine and cocktail fare<br /><br /><strong>Public Reception</strong><br />6pm - 8pm<br />No host bar</span></p> Fri, 03 Feb 2012 08:38:12 +0000 BCL, the Center for PostNatural History, Markus Kayser, Allison Kudla, Machine Project, Phil Ross, and the SoEx Youth Advisory Board - Southern Exposure - April 20th, 2012 - June 2nd, 2012 <p style="margin: 0.1pt 0in;">Intimate Science explores the most recent investigations by artists working at the intersection of art, science, and technology. The exhibition looks at artist-initiated research in a scientific or technological area and notes the dramatic shift from artists operating on the periphery of research to conducting research themselves. The artists in Intimate Science have a sustained and intimate relationship to their studies and contribute in a meaningful way to cross-disciplinary discourse.</p> <p style="margin: 0.1pt 0in;"> </p> <p style="margin: 0.1pt 0in;">The <i>Intimate Science</i> exhibition and tour is organized by the Miller Gallery at Carnegie Mellon University in Pittsburgh, Pennsylvania, and is presented in San Francisco with additional programming and events by Southern Exposure and work by SoEx’s Youth Advisory Board.</p> <p style="margin: 0.1pt 0in;"> </p> <p style="margin: 0.1pt 0in;">The exhibition is accompanied by a densely illustrated publication, New Art/Science Affinities (Miller Gallery at Carnegie Mellon + STUDIO for Creative Inquiry, 2011). Co-authored by Grover, Régine Debatty, Claire Evans and Pablo Garcia, designed by Thumb, the book features more than 60 international artists and collaboratives</p> Tue, 10 Apr 2012 23:01:28 +0000 - Southern Exposure - May 23rd, 2012 - June 2nd, 2012 <p style="margin: 0.1pt 0in;">Join us for the opening of the Youth Advisory Board's virtual exhibition, Visioning the Invisible (in Augmented Reality)!  This work was made in response to the ideas presented by other artists in the exhibition, <a href="" rel="nofollow">Intimate Science</a>.  Bring your iPads, iPhones, Androids, and tablets to view this exhibition- the work only exists in Augmented Reality!</p> Wed, 16 May 2012 19:21:53 +0000