ArtSlant - Current exhibits en-us 40 Mike Shankman - 111 Minna Gallery - June 1st, 2012 - June 30th, 2012 <p style="text-align: justify;"></p> <div align="center"> <p align="center">111 Minna Gallery Presents</p> </div> <p style="text-align: justify;"></p> <p align="center"> </p> <p style="text-align: justify;"></p> <p align="center">SUPERSTRUCTURE</p> <p style="text-align: justify;"></p> <p align="center"> </p> <p style="text-align: justify;"></p> <p align="center">Solo Exhibition by Mike Shankman</p> <p align="center"></p> <p style="text-align: justify;"><span size="2" style="font-size: small;"><br /></span></p> <p style="text-align: justify;"></p> <p align="justify"><span style="font-size: small;">Mike Shankman creates a beautiful body of work for 111 Minna Gallery with his boldly colorful SUPERSTRUCTURE exhibition.</span></p> <p style="text-align: justify;"></p> <p align="justify"><br /><span style="font-size: small;">Mike Shankman has shown his work nationally and internationally, including 2010 shows at the Riverside Art Museum and Joshua Tree National Park, where he was Artist-in-Residence.  His work has been featured in <em>Harper’s Magazine</em>, <em>Guernica Magazine, Southwest Art, </em>and <em>New American Paintings</em>.</span></p> <p style="text-align: justify;"></p> <p align="justify"><span style="font-size: small;">This show will be featured at this years Yerba Buena Gallery Walk on Saturday, June 9th 3PM - 6PM. On display through June 30th.</span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;"><br /></span></p> <p style="text-align: justify;"></p> Sat, 22 Feb 2014 15:25:17 +0000 Michael Walsh, Sean Barton - 1AM Gallery - June 15th, 2012 - July 15th, 2012 <p align="center"><b>It’s A Long Way To The Top</b></p> <p align="center">A collection of sculptures, found signs, gold lettering and installations</p> <p align="center"> </p> <p align="center">Opening Reception: June 15<sup>th</sup>, 2012 from 6:30-9:30pm</p> <p align="center">On View Through: July 15<sup>th</sup>, 2012</p> <p> </p> <p>1AM is proud to present “<b>It’s A Long Way to the Top</b>”, featuring artists Michael Walsh and Sean Barton. Both artists have gained their individual style, technique and insight from a variety of materials and trades, artisan and commercial.  The new exhibit showcases a unique variety of work in multiple mediums- spanning from 3D printed nylon sculpture to gold leafed sign imagery.  Using their self-taught initiative and an eleven-fingered ambition, “<b>It’s A Long Way to the Top</b>” showcases the artists’ wide range of creativity and talent.  The opening reception is Friday, June 15th, 2012, from 6:30 to 9:30pm and will run through July 15th, 2012.</p> <p> </p> <p>Coming together through hard work and life experiences, these two artists have shared ideas, labor, and studio space. Drawing inspiration from their surroundings and a euphoria that sets in after an excessive amount of work, Michael and Sean have connected again to produce a body of work for San Francisco that focuses around the production process of art and the use of cutting edge materials. Though working independently in their respective cities in different mediums, they connect through the freedom they each gain while making their work a reality.    </p> <p> </p> <p class="Textbody">Both artists have been shown around the U.S. and abroad in places such as Italy, Japan, Canada and the Netherlands. Sean Barton is a self-taught sign painter with eleven years of experience in hand lettering, designing, building and installing.  Michael Walsh is an artist who has worked in a variety of creative trades for over 20 years including painting, interior design, and sculpture.</p> <p class="Textbody"> </p> <p>Join us on June 15<sup>th</sup> from 6:30 to 9:30pm for the opening reception of “<b>It’s A Long Way To The Top</b>”.  DJ Don Kainoa will be on the wheels of steel.  For more information, visit </p> Sat, 22 Feb 2014 15:35:31 +0000 Feng Jin - Alameda Museum - June 6th, 2012 - June 29th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Featuring Alameda sculptor Feng Jin's metal sculpture inspired by Chinese calligraphy.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tao of Metal 2.0: Feng Jin Sculpture Solo Artist Opening is Saturday June 9th, from noon to 4pm. Always a very inspirational exhibit. Will be showing in the Art Gallery through end of month.</span></p> Sat, 16 Jun 2012 17:47:10 +0000 Group Show - Andrea Schwartz Gallery - June 6th, 2012 - July 27th, 2012 <p style="text-align: justify;"><b style="font-size: small;">FOR IMMEDIATE RELEASE</b></p> <p style="text-align: justify;"><span style="font-size: small;">Contact: Jennifer Draughon</span></p> <p style="text-align: justify;"><span style="font-size: small;">Andrea Schwartz Gallery</span></p> <p style="text-align: justify;"><span style="font-size: small;">525 2<sup>nd</sup> Street, San Francisco, CA 94107</span></p> <p style="text-align: justify;"><span style="font-size: small;">415.495.2090 – Phone</span></p> <p style="text-align: justify;"><span style="font-size: small;">415.495.2094 – Fax</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 style="text-align: justify;"><span style="font-size: small;">                                                                                               </span></p> <p style="text-align: justify;"><span style="font-size: small;"><b>Summer In South Park (Again)</b></span></p> <p style="text-align: justify;"><span style="font-size: small;"><b>June 6 – July 27</b></span></p> <p style="text-align: justify;"><span style="font-size: small;"><b>Opening Reception: Wednesday, June 6, 2012, 5:30 - 7:30 PM </b></span></p> <p style="text-align: justify;"><span style="font-size: small;"><b> </b></span></p> <p style="text-align: justify;"><span style="font-size: small;">Andrea Schwartz Gallery is pleased to announce <i>Summer In South Park (Again)</i>, a group exhibition featuring new work by John Belingheri, Jamie Brunson, Albert Dicruttalo, Wynne Hayakawa, Gordon Huether, Kim Squaglia, and others, with an opening reception held on Wednesday, June 6 from 5:30 – 7:30 pm.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><i>“I work with a mix of oil paint, alkyd medium and refined beeswax on canvas stretched over panel, building up saturated chromatic surfaces to suggest an infinite field extending beyond the plane of the canvas.”</i></span></p> <p style="text-align: justify;"><span style="font-size: small;"><i>                                                            </i>--Jamie Brunson</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Jamie Brunson’s process draws from a level of consciousness and presence she reaches during her practice of kundalini meditation. Kundalini meditation focuses on rhythmic, cyclical breathing that allows for unfocused seeing and deep concentration, which Brunson visually translates in her lattice paintings.  Her forms and painting process mirror the sensory phenomena Brunson experiences during meditation, blurring, vibration, spatial depth, dispersion, and radiance.  Brunson judges the successfulness of her painting by their ability to evoke the sense of expansion and connection in their audience.</span></p> <p style="text-align: justify;"><span style="text-decoration: underline; font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><i>“My work explores the use of repeated forms to create a dynamic composition that presents itself as an exhibition of paradoxes. </i></span></p> <p style="text-align: justify;"><span style="font-size: small;"><i>                                                            </i>--Albert Dicruttalo</span></p> <p style="text-align: justify;"><span style="font-size: small;">In his sculptures, Albert Dicruttalo exhibits the elegance and beauty of industrial materials.  His work is compromised of stacked geometric forms that grow in size as the sculpture moves upward. The aluminum construction of Dicruttalo’s work presents an interesting contradiction; the sculptures are, at one perspective, dense and at another, delicate.  The result is a form that is complex and compelling.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Andrea Schwartz Gallery was established in 1982 and is located in the South of Market district of San Francisco.  ASG exhibits contemporary work of mid-career artists from the Bay Area and across the country.  ASG is a member of SFADA.  Gallery Hours are Monday - Friday 9 – 5.  The gallery will be closed July 4 and Saturdays through the month of August. For further information and materials please contact Jennifer Draughon at 415-495-2090 or  Additional information may also be found on our website, Thank you! </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Please Note the gallery will be closed July 4 and on Saturdays through the month of August.</strong></span></p> <h3></h3> Wed, 06 Jun 2012 07:50:44 +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 Lacey Bryant - Anno Domini - June 1st, 2012 - June 30th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Anno Domini presents "Tenuous Threads"a solo exhibition of Lacey Bryan</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Lacey Bryant</strong>'s paintings, like Lacey herself, have a massive presence within a small space. A keen observer of the patterns, connections and duality of all things, Bryant's new series of paintings continue to depict the poetic beauty in the odd and disconcerting.</span><br /><br /><span style="font-size: small;">Her visual story telling can be described as a noir morality tale rather than a fairy tale. The ambiance is one of curiosity and trepidation…a foreboding dream in which the dreamer is lucid, consciously searching for the true meaning of their situation before they wake up. Her girls and boys are beautiful, not in the conventional tradition of perfect features, but rather because of their defiant gaze and confident stance that speaks of an age old wisdom in the soul, realizing too soon that childhood notions of a perfect world need to be set aside.</span><br /><br /><span style="font-size: small;">Roots, veins, thread are the language Bryant often uses as metaphors for little connections that reach out and twine around things, getting tangled up or sometimes grasping where there is nothing to hold to. Birds and insects are also prevalent in her work. Her young subjects are the natural caretakers of these small species that are only slightly more fragile than the youngsters themselves.</span><br /><br /><span style="font-size: small;">Creation and destruction, ego and soul, beauty and the unsightly all exist in natural harmony. The "other self', (occasionally more than just two) occupy the same space on her canvases with only slight acknowledgment for each other. Therein lies the human condition we each grapple with. Within Lacey's narrative, we see ourselves…our own duality of the beautiful and imperfect.</span><br /><br /><span style="font-size: small;">For preview/purchase inquiries, please email:</span><br /><span style="font-size: small;">rEvolution [at]</span><br /><br /><span style="font-size: small;"><strong>Artist's Reception:</strong> Friday, June 1, 2012 from 7–11pm </span><br /><span style="font-size: small;"><strong>Live Music:</strong> Kinsey Lee</span><br /><span style="font-size: small;"><strong>Exhibition on view:</strong> June 1–30, 2012</span><br /><br /><span style="font-size: small;">Opening Reception is part of the South FIRST FRIDAYS monthly art walk, June 1, 2012. View the full schedule of exhibitions at participating venues</span></p> Fri, 01 Jun 2012 15:14:15 +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 Deneth Piumakshi - art works downtown - June 6th, 2012 - July 10th, 2012 <h1 style="text-align: center;"><span style="font-size: small;">"The Man I Know"</span></h1> <h4 style="text-align: center;"><span style="font-size: small;">in the Underground Gallery June 6 - July 10</span></h4> <p style="text-align: center;"><br /><span style="font-size: small;">featuring Sri Lankan painter and fashion designer <strong><br />       Deneth Piumakshi</strong></span></p> <p style="text-align: center;"></p> <p style="text-align: center;"><span style="font-size: small;"><em>paintings | fashion | performance | interactive art <br /><br /></em></span></p> <p style="text-align: center;"><span style="font-size: small;"><strong>OPENING RECEPTION: Friday June 8 • 5-8pm</strong></span><br /><span style="font-size: small;">during <a href="">2nd Fridays Art Walk</a></span></p> <p style="text-align: center;"><span style="font-size: small;"><em>      • follow the flowers •<br />            • join the  procession •<br />                   • drink ceremonial tea •<br />                • enter a new world •<br />            • paint the wall •</em></span></p> Fri, 01 Jun 2012 11:16:56 +0000 James Blose, Pamela Buchignani, Carol Lee, Madison Miller, Kimmy Pelfini, Lea Salanon, Zoe Vais - art works downtown - June 8th, 2012 - June 30th, 2012 <h2 style="text-align: justify;"><span style="font-size: small;">In the Founders Lounge • June 2012</span></h2> <p style="text-align: justify;"><span style="font-size: small;"><strong>RECEPTION: Friday June 8 • 5-8pm</strong></span><br /><span style="font-size: small;">during 2nd Fridays Art Walk</span></p> <p style="text-align: justify;"><span style="font-size: small;">An invitational exhibit featuring Cindy Pavlinac photography interns 1994-present from Marin County high schools.</span></p> <p style="text-align: justify;"><span style="font-size: small;">New works in digital photography, black and white, video</span></p> Fri, 01 Jun 2012 11:22:10 +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 Group Show - Berkeley Art Center - June 16th, 2012 - July 14th, 2012 <p style="text-align: justify;">Over 70 outstanding artists including <strong>Kim Anno, Robert Brady, Squeak Carnwath, Tom Holland, Hung Liu, Tom McKinley, Maria Porges, Kay Sekimachi, Joe Slusky </strong>and<strong> Katherine Westerhout </strong>are featured in COLLECT!, a special exhibition and on-going silent auction opening on Saturday, June 16 and culminating in a closing party and final bidding bash on Saturday, July 14. Join us in an opportunity to acquire extraordinary work and support Berkeley Art Center, a "hidden gem" of our community!</p> <p style="text-align: justify;"><em><strong>Opening Reception: Saturday, June 16, 5:30-7:30pm</strong></em></p> <p style="text-align: justify;">Join us for the first opportunity to see the exhibition and silent auction works at this opening reception. Be the one to "Buy it Now" at a reserve price, or consider your strategy over the course of the 4-week exhibition.</p> <p style="text-align: justify;"></p> <p align="left" style="text-align: justify;"><em><strong>Closing Party &amp; Final Bidding Bash: Saturday, July 16, 5:00-8:00pm</strong></em></p> <p style="text-align: justify;">Don't miss our closing exhibition bash and last chance to bid on some incredible art. Many of the artists will be present and there will be special risqué entertainment and hors d'oeuvres by a celebrity caterer, as well as drinks and live music! </p> <div style="text-align: justify;"></div> <div style="text-align: justify;"><em><strong>Tickets are $25 at the door, and $20 in advance. To reserve advance tickets, please e-mail Ann Weber at <a href="" target="_blank"></a> or call <a href="tel:510.644.6893" value="+15106446893" target="_blank">510.644.6893 </a>.</strong></em></div> <p style="text-align: justify;"></p> Fri, 25 May 2012 18:17:44 +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 - Berkeley Art Museum and Pacific Film Archive - June 15th, 2012 - November 25th, 2012 <p style="text-align: justify;"><span style="font-size: small;">The journey of <b>Himalayan Pilgrimage</b> continues with <b>Liberation Through Sight</b>, a reinstallation that focuses on artworks created as vehicles to enlightenment.</span><br /><br /><span style="font-size: small;">Vajrayana, the esoteric form of Buddhism that prevails in Tibet and the Himalayas, employs myriad icons of deities to reveal the true nature of the Buddha’s teachings. The making of these icons is in itself a devotional act, bringing merit to the artist as well as to the devotee who engages in the practice of visualization through the image. Artists of these works are anonymous, viewed as selfless interpreters of a high spiritual teaching. Their work serves to assist others in gaining understanding of the Buddha’s teachings through visual interpretation. </span><br /><br /><span style="font-size: small;">New art in the recently reinstalled gallery includes an exceptionally rare set of seven paintings depicting the lineage of the Great Fifth Dalai Lama, painted around 1815 upon the death of the ninth Dalai Lama, as well as images of compassionate and wrathful deities of the Tibetan pantheon.</span><br /><br /><span style="font-size: small;">A continuation of <strong><i><a href="">Himalayan Pilgrimage: Journey to the Land of Snows</a></i></strong>, which explored the journey of Buddhism across several centuries and from India into Tibet. </span><br /><br /><span style="font-size: small;">The works in this exhibition are on long-term loan from a single private collection.</span><br /> <br /><span style="font-size: small;"><b>Himalayan Pilgrimage</b> is organized by Senior Curator for Asian Art Julia M. White.</span></p> Sat, 07 Jul 2012 09:40:09 +0000 Adam Fowler - Brian Gross Fine Art - May 3rd, 2012 - June 30th, 2012 <p align="center"><b>Adam Fowler</b></p> <p align="center"><i>Hide/Reveal</i></p> <p align="center"><i> </i></p> <p align="center">May 3 – June 30, 2012</p> <p align="center">Reception for the artist: Saturday, May 5, 4-6pm</p> <p align="center"> </p> <p>Brian Gross Fine Art is pleased to announce the San Francisco debut of New York artist, Adam Fowler, opening Thursday, May 3 with a reception for the artist on Saturday, May 5 from 4-6pm. <i>Hide/Reveal </i>features Fowler’s precise cut paper constructions that are comprised of layered, gestural drawings. The exhibition will be on view through June 30, 2012.</p> <p> </p> <p>Adam Fowler’s drawings are formed through a meticulous and meditative process. Putting thought to paper, Fowler begins with the drawing of gestural lines in graphite on multiple sheets of paper. In a painstaking process, Fowler cuts away the negative space around and between each linear network and then layers the sheets of paper to create highly complex multi-layered compositions.</p> <p> </p> <p><i>Hide/Reveal</i> marks Fowler’s fifth solo exhibition nationwide and his first solo exhibition in San Francisco. The works included in <i>Hide/Reveal</i> feature Fowler’s signature drawings that push the boundary of drawing by physically overlapping layers of meticulously cut graphite drawings. Playing with the saturation of the graphite marks on paper, Fowler accentuates the complicity in texture and form in his lighter works such as <i>Untitled (two layers), </i>2011, and the competition of surface and structure in his darker works such as <i>Untitled (three layers)</i>, 2012. Oriented vertically or horizontally, the size of the works is 18.5 by 23 inches to 22 by 35.5 inches. Infused with rhythm and complexity of composition, Adam Fowler’s drawings play with tone, texture, line, and depth.</p> <p> </p> <p>Adam Fowler was born in Fairfax, VA and received his BFA from the Maryland Institute College of Art, Baltimore, in 2001. Fowler was featured in <i>Slash, Paper Under the Knife</i>, an exhibition celebrating the one-year anniversary of the Museum of Arts and Design, New York, NY, in 2009, and in <i>LineAge </i>at The Drawing Center, New York, NY in 2005. Fowler has been the recipient of numerous awards and grants including the New York Foundation for the Arts, Fellowship in Drawing in 2011; The Pollock-Krasner Foundation Grant, New York, NY in 2011; and the Young Artist Program Grant, DC Commission on the Arts and Humanities, Washington, DC in 2004. His work is found in numerous private and corporate collections throughout the U.S. Fowler currently lives and works in Brooklyn, NY.</p> <p> </p> <p>For more information or visuals, please contact: Charlotte Miller, Assistant Director, at (415) 788-1050 or Gallery hours: Tuesday - Friday 11-5:30pm; Saturday 11-5pm.</p> <p> </p> Sat, 31 Mar 2012 22:16:53 +0000