ArtSlant - Current exhibits en-us 40 Mike Shine - 111 Minna Gallery - September 21st, 2012 - October 13th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Mike Shine</strong> is a Bay Area artist who creates paintings, installations and performances that involve the viewer as participant. His influences have been described as <em>“Nordic mythology, Teutonic philosophy, Kubrick, PT Barnum, Absinthe, and his wife.”</em>  At the center of his installations stands Pyotr Flotsam, the dark, enigmatic, Mephistophelean ringleader, who seems to be collecting souls in exchange for fulfilling dreams. His show at 111 Minna will explore the characters that surround Flotsam in his travels; The Carny Bastards. Spanning centuries and geographies, the ragtag collection of souls are a mix of gods and mortals, beauty and beasts. The work will be a follow up to Shine’s show at the SF Outside Lands in August, offering an in-depth look at the world of Dr. Flotsam. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Shine has created installations for SFMOMA, the Museum of Craft and Folk Art, Laguna Art Museum, 941 Geary, and is a repeat artist performer at SF Outside Lands.</span></p> Sat, 22 Feb 2014 15:25:14 +0000 Monty Guy, Chamber Made, Leon Loucheur, Optimist, Robert Bowen, Pemex - 1AM SF - September 28th, 2012 - October 27th, 2012 <p>1AM is pleased to present "<b>Reckoning</b>", a group exhibition reflecting society's obsession with catastrophe, both imagined and real. The collection includes original art by Leon Loucheur, Optimist, Robert Bowen, Pemex, Monty Guy and Chamber Made.  Drawing from a wide array of disciplines and cultural influences, these six artists expose a darkening horizon, commenting on the ruinous, self-destructive capacity of human societies.  <b>The opening reception is on September 28<sup>th</sup> from 6:30-9:30pm and is on view through October 27<sup>th</sup></b>.</p> <p> </p> <p>“<b>Reckoning</b>” will feature works that incorporate a variety of styles and techniques, blending highly rendered realism with abstract painting, collage, urban and graphic influences to build mood and dynamic into the narrative of the composition. With graffiti and street art backgrounds, these artists will surprise viewers with this newest collection of works aimed at deconstructing conventional realism and reassembling it with layers of context and meaning.</p> <p><br /> All of the participating artists have been actively showing in galleries around the Bay Area and abroad, bringing worldly impressions from Ireland, South Africa, Taiwan and more.  Explore their imagination and experience their influences through dramatic images and compelling landscapes in the paintings displayed in “<b>Reckoning</b>”.</p> <p> </p> <p>For more information, visit  </p> Sat, 22 Feb 2014 15:35:31 +0000 Devin Leonardi - Altman Siegel Gallery - September 6th, 2012 - October 20th, 2012 <p style="text-align: justify;"><span size="3" style="font-size: small;"><strong>Altman Siegel</strong> is pleased to present<strong> Devin Leonardi</strong>'s second exhibition with the gallery.  In a departure from his previous work, which was exclusively acrylic on paper, Leonardi will present an exhibition of exquisite, small-scale oil paintings on canvas.   <br /><br />Leonardi's works are primarily figurative and take cues from classical painting traditions. They aim to subvert standard viewing by emphasizing an anonymity that Leonardi sees as the potential within photography to provide an image of the world whose details grow more diffuse with the passage of time.  In order to highlight this concept, Leonardi bases his paintings on photographs from the 1850s to the 1880s attributed to artists as varied as Thomas Eakins, Oscar Rejlander and Lady Clementina Hawarden. In every case he has either edited down or re-combined these images into new compositions that he makes his own through oil paint, revealing something beyond their respective subjects by illuminating the nature of the photographic illusion itself. <br /></span></p> <p style="text-align: justify;"><span size="3" style="font-size: small;">Leonardi asserts that while photography can provide a perfectly detailed image of the world, it also retains just as much potential to blur that image without a caption or memory to ground it.  For Leonardi, this conflict reveals itself most clearly at the dawn of modernity when photography began to contest painting's supremacy in the art historical canon.  By re-working these photos, Leonardi expresses his ambivalence toward more disposable methods of image making, and uses the mediums and language of art history to make the dual nature of the photographic illusion more apparent.     <br /><br /><strong>Devin Leonardi</strong> (b. 1981) lives and works in Missoula, Montana.  Recent exhibitions include, "Sentimental Panorama" and "Germany is your America" at Broadway 1602, NYC, and "Bread Box" at Zieher Smith, Nashville, TN.  His work is in the collections of many prestigious public and private institutions, including the Whitney Museum, NY.  </span></p> Wed, 19 Sep 2012 07:22:40 +0000 - Andrea Schwartz Gallery - September 12th, 2012 - October 5th, 2012 <p><b>FOR IMMEDIATE RELEASE</b></p> <p>Contact: Jennifer Draughon</p> <p>Andrea Schwartz Gallery</p> <p>545 - 4<sup>th </sup>Street, San Francisco, CA 94107</p> <p>415.495.2090 – Phone</p> <p>415.495.2094 – Fax</p> <p></p> <p></p> <p>                                                                                               </p> <p><b>Patrick Dintino            </b></p> <p><i>Euphoria</i></p> <p><b>September 12 – October 5, 2012</b></p> <p><b></b><b>Grand Opening Reception: Wednesday, September 19, 2012 5:30 PM – 8:30 PM</b></p> <p><b></b><i>“Euphoria, as it relates to the human experience, can take many forms, evoking a multitude of emotions through stimulation of the senses.”</i></p> <p><i>                                                                                                                        -</i>- Patrick Dintino</p> <p>Andrea Schwartz Gallery is pleased to announce a solo exhibition featuring new paintings and collages by Patrick Dintino.</p> <p>Through pulsations of color and pattern of imagery, Patrick Dintino expresses the notion of euphoria as it relates to the human experience.  Intrigued by the individual’s response, Dintino explores these stimuli and how it expands the human spirit.  He believes that through this experience of euphoria there is a heightened awareness of the connection between the inner self and the external forces of exhilaration. </p> <p>San Francisco artist Patrick Dintino received a B.A. from San Diego State University, and a B.F.A. and an M.F.A. from California College of Arts.  In 2000, Dintino was invited as a guest artist to work with Sol LeWitt to create “Sol LeWitt: A Retrospective” at SFMOMA and received the prestigious Pollock/Krasner Foundation Grant in 2004.  Patrick Dintino currently teaches at CCA.</p> <p>Andrea Schwartz Gallery was established in 1982 and is located in the South of Market district of San Francisco. <b>After years of leasing in SOMA, Andrea and Steve are proud to announce the purchase of their new gallery space, located at 545 – 4<sup>th</sup> Street.  The gallery will officially open September 12. </b>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, Saturday 1 – 5.  The gallery will be closed September 17 &amp; 26. 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! </p> Thu, 23 Aug 2012 20:48:26 +0000 Milton Resnick - Anglim Gilbert Gallery - September 5th, 2012 - October 6th, 2012 <p align="left" style="text-align: justify;"><span style="font-size: small;"><strong>Gallery Paule Anglim</strong> is pleased to announce an exhibition of paintings by <b>Milton Resnick</b> (1917-2004).  This first exhibition of Resnick's work at the gallery will feature seven paintings from the period 1973 - 1983.</span></p> <p align="left" style="text-align: justify;"><span style="font-size: small;">Born in the Ukraine, Resnick came to the US as a child, discovering his interest in painting early on.  He left his Brooklyn home as a youth in pursuit of his vocation. Emphatically passionate and serious, he came to colorfully exemplify the marginalized downtown bohemian artist. His unquestionable dedication to his craft, a pronounced characteristic that may have kept him distanced from his New York post-war painter contemporaries, led him to his solitary style of thick impasto in a dark palette. Resnick's psychologically expressive paintings balance a visceral immediacy with detailed sensitivity that bears testimony to trial and reflection.   </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">His singular ethic and primary commitment to his painting left him less interested in theory or critical movements.  Yet historically Resnick's works have a relationship to his Abstract Expressionist contemporaries, and also to European Impressionism (Cezanne and Monet.)  The paintings may be seen relative to Minimalist painting practice, as well.  Roberta Smith writes in his obituary in 2004:</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>"While Mr. Resnick's emphasis on a continuous surface built of myriad painterly gestures was in some ways the culmination of Abstract Expressionism, the sheer materiality of his surfaces also foreshadowed the proto-Minimalist paintings and reliefs of artists like Robert Ryman, Ralph Humphrey, Frank Stella and Donald Judd"</i></span></p> <p style="text-align: justify;"><span style="font-size: small;"><i>- </i>Roberta Smith, NY Times, March 19, 2004</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Milton Resnick's paintings are in many public collections, including the Museum of Modern Art, the Guggenheim and the Metropolitan Museum in New York, the National Gallery of Art and the National Museum of American Art (Smithsonian Institution) in Washington.</span></p> Wed, 22 Aug 2012 03:05:21 +0000 Tom Marioni - Anglim Gilbert Gallery - September 5th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Gallery Paule Anglim</strong> is pleased to announce <em>PERCUSSION WORKS IN DRY FRESCO</em>, an exhibition of works by <strong>Tom Marioni</strong>. The works are the result of actions in the tradition of his performative drawings.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <blockquote> <p style="text-align: justify;"><span style="font-size: small;"><i>"To make this series of percussion drawings I use a pencil inserted in a two-foot-long piece of bamboo and beat the pencil against the surface.  I started out using rag paper, but literally bet the paper to a pulp.  These works are made as dry frescos in plaster.  They are an extension of the drum brush drawings I made in 1972."</i></span></p> <p style="text-align: justify;"><span style="font-size: small;">- Tom Marioni</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;">Tom Marioni is a founding member of San Francisco's conceptual art movement, recognized internationally for his work with sound, video, light and shadow, re-thinking the definition of art practice. In 1970 he opened the Museum of Conceptual Art, a vanguard alternative space, and, at the Oakland Museum exhibited The Act of Drinking Beer with Friends is the Highest Form of Art, a seminal installation-performance work. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Marioni's work is represented in the collections of MoMa New York, SFMOMA, The De Young Museum and the Orange County Museum of Art.  A retrospective of his work Tom Marioni: Beer, Art and Philosophy was exhibited in 2006 at the Contemporary Art Center in Cincinnati.</span></p> Tue, 18 Sep 2012 18:27:21 +0000 Tony Feher - Anthony Meier Fine Arts - September 14th, 2012 - October 19th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Anthony Meier Fine Arts</strong> is pleased to present an exhibition of new works by artist <strong>Tony Feher</strong>. Cultivating unexpected beauty in the everyday, Feher’s work engages viewers to expand their vision beyond what is in front of them to instill an object or set of objects with an expanded social and cultural context.  A new series of paintings and large sculptures anchor the show.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Exhibiting paintings for the first time in over two decades, Feher’s panels offer an askew simplicity.  Comprised of single coats of stain or primer on scarred plywood, the grain and composition of the panels complete the gesture.  The subtle nuance of imperfection is the success of the work.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Also featured are three distinct sculptures: an installation of colored glass attached to eight chain links hanging ceiling to floor radiates jewel-toned light from a bank of windows behind; looping strands of rope with multi-colored PVC tubing create a dense, complex sequence; and flourescent yellow nylon twine tied to steel pipe at the ceiling in an inverted rainbow of near invisibility, aglow at the edge of perception.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Playing on ideas and conversations extant in Feher’s vocabulary, the sculptures encompass a wide array of definition.  They are unified by Feher’s unique ability to illuminate elegance and emotion.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A twenty-year survey exhibition of Feher’s work curated by Claudia Schmuckli debuted at the Des Moines Art Center in May 2012.  It will open at the Blaffer Art Museum at the Univeristy of Houston on 12 October 2012 and continues to the deCordova Sculpture Park and Museum in Lincoln, MA and The Bronx Museum of the Arts, Bronx, NY.  The exhibition is accompanied by a 200+ page color monograph.</span></p> Sat, 22 Sep 2012 18:56:40 +0000 Denise Johnson, Theresita Solomon - art works downtown - September 8th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;">You are invited to the Opening Reception of two local ceramic artisans:</span><br /><span style="font-size: small;">Theresita Solomon + Denise Johnson</span><br /><span style="font-size: small;">Come and meet the artists!  Refreshments will be served. </span></p> <p style="text-align: justify;"></p> Fri, 31 Aug 2012 15:38:23 +0000 Kate Peper - art works downtown - October 3rd, 2012 - November 3rd, 2012 <p style="text-align: justify;"><span style="font-size: small;">Watercolors depicting Marin backyard scenes and beyond, with views of Yosemite National Park</span></p> Sat, 06 Oct 2012 17:24:09 +0000 Claire Sherman, Michelle Blade, Andrew Schoultz, Jay Davis, Liat Yossifor, Wesley Kimler - Aurobora Press - September 1st, 2012 - October 27th, 2012 Fri, 24 Aug 2012 06:51:04 +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 - Badè Museum - September 21st, 2012 - April 5th, 2013 <p style="text-align: justify;" align="justify"><span style="font-size: small;">Archaeological evidence from houses and households provides detailed insight into everyday life of families in the biblical world. A basic Israelite house consisted of only three or four rooms, providing a family with limited space for performing the many daily tasks necessary for survival. Families thus came to depend on accessing the resources of their neighbors, sharing courtyards, storage rooms, roof tops, and ovens to complete daily activities. These dwelling compounds often shared interiors walls, fostering close living arrangements. Archaeological remains from Tell en-Nasbeh provide evidence of linked residential structures that were inhabited by extended families of ancient Israel.</span></p> <p style="text-align: justify;"><span style="font-size: small;">These shared living and activity spaces within residential complexes supported participation in communal production and subsistence practices among extended families and neighbors. Male and female residents of all ages cooperated in activities, such as textile production and food preparation, in multifunctional, open-access rooms and courtyards. This type of communal setting allowed for different practices and crafts to intersect, and encouraged interaction, learning, and multi-tasking among household members on a daily and seasonal basis.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The specific types of activities taking place around the home varied depending on the seasons. While weaving and spinning were mainly conducted inside during rainy winter months, ceramic and mudbrick production were usually practiced outside in the arid spring and summer because they required large, dry, open spaces. In contrast, some spaces were reserved for specific uses that remained consistent throughout the year; for example, ritual spaces and storage areas, though changes in family size and resources might alter their size and placement.</span></p> <p style="text-align: justify;"><span style="font-size: small;">We can access these types of social interactions and family activities in domestic space through studying the architectural and material remains of ancient houses. Such cooperative family dynamics contributed significantly to the health and livelihood of a settlement’s community, as is evidenced by the remains from Tell en-Nasbeh, and were the foundation of ancient Israelite society.</span></p> <p style="text-align: justify;" align="justify"></p> <p style="text-align: justify;"><span style="font-size: small;"><em><strong>~This exhibit is dedicated to the memory of William G. Badè, son of W. F. Badè, Emeritus Professor of Mathematics at UC Berkeley, and long-serving Advisory Board Member of the Museum (1924 –2012)</strong></em></span></p> Tue, 18 Dec 2012 14:27:13 +0000 Group Show - Berkeley Art Center - September 22nd, 2012 - November 18th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Please come for <em>Community Open House</em> on September 22nd from 2-5pm and stay for the <em>Opening Reception</em> from 5-7pm.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><b><i>Special presentation on the occasion of Berkeley Art Center’s 45<sup>th</sup> anniversary @ 6pm</i></b></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Local Treasures</em>, a bi-annual exhibition series started in 2010, features artists who have had a significant impact in the artistic fabric of this community. Co-curated by Berkeley Art Center Director, Suzanne Tan and Richard Whittaker, publisher of <em>works &amp; conversations</em>, the focus of this year’s exhibition is on Bay Area ceramics and includes the work of<strong> Clayton Bailey, Viola Frey, Ted Fullwood, Jon Gariepy, Mary Law, Annabeth Rosen, Nancy Selvin, Richard Shaw, Sandy Simon, John Toki, </strong>and<strong> Wanxin Zhang</strong>. An array of masterful and mysterious works in clay, the exhibition presents a compelling individualistic and authentic approach to the medium as expressed in the work of these accomplished artists. <em>A full color catalog with lead essay written by Nancy M. Servis will accompany the exhibition.</em></span></p> <div style="text-align: justify;"> <p><span style="font-size: small;">We extend our deepest gratitude to the <b>Zellerbach Family Foundation </b>and <b>The </b><strong>Wallace Alexander Gerbode</strong><b> Foundation </b>for their generous support of this exhibition<b> </b>and  to the<b> </b><b>Winifred and Harry Allen Foundation</b><b> </b>their support of the exhibition’s accompanying catalog.</span></p> </div> <p style="text-align: justify;"><span style="font-size: small;"><b> </b></span></p> <p style="text-align: justify;"><span style="font-size: small;"><b>ARTIST LECTURE SERIES ON SATURDAYS @ 4PM </b></span></p> <p style="text-align: justify;"><span style="font-size: small;"><i> </i></span></p> <p style="text-align: justify;"><span style="font-size: small;"><b><i>October 20 </i></b><b>MEL RAMOS</b></span></p> <p style="text-align: justify;"><span style="font-size: small;"><b><i>November 10 </i></b><b>JUDY DATER</b></span></p> <p style="text-align: justify;"><span style="font-size: small;"><b><i>November 17 </i></b><b>RICHARD SHAW</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;"><b><i>Become a member and receive admission to all, plus the benefits of membership!</i></b></span></p> <p style="text-align: justify;"><span style="font-size: small;"><b><i>Join on-line at <a href="" rel="nofollow"></a> or call 510.644.6893</i></b></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>All programs $10 general admission, free for BAC members. RSVPs strongly encouraged, call 510.644.6893 or e-mail <a href="" rel="nofollow"></a> </i></span></p> Sat, 08 Sep 2012 07:34:43 +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 Lutz Bacher - Berkeley Art Museum and Pacific Film Archive - July 18th, 2012 - October 7th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Since Lutz Bacher’s first MATRIX exhibition in 1993, the Berkeley-based artist has become a leading figure in contemporary art; she was the subject of a retrospective at MoMA PS1 in 2009 and was included in the 2012 Whitney Biennial. MATRIX 242 presents an important but rarely seen series from 2006–07 that sheds light on the artist’s often elusive practice.</span><br /><br /><span style="font-size: small;"><i>Bien Hoa</i> is is based on a set of ten photographs Bacher discovered at a Berkeley salvage store. All of the photographs were created by an American soldier named Walter, who was stationed at Bien Hoa Air Base during the Vietnam War. Walter inscribed the backs of all but two of the pictures before mailing them home to his partner in Oakland. Bacher has enlarged and reprinted the photographs to hang above the verso of the originals, which disclose Walter’s annotations. These have a surprisingly casual tone, given what must have been the harrowing experience of being a soldier stationed in Vietnam. In some cases, Walter’s inscriptions sound almost like a tourist writing a postcard; in others, he seems to have been more concerned with the composition of the image than with the grisly content of a scene. “This is Bien Hoa looking at it from the Air Base. This is a pretty good picture. Now do you think that’s beautiful? Can you see the wire, keeping the people from attacking the Air Base? That’s what those fences are out there for.” </span><br /><br /><span style="font-size: small;">By strategically juxtaposing these images and texts, and placing them in a museum setting, Bacher reveals the slippery nature of perception. She prompts us to wonder, Why was Walter so concerned with the quality of his images? Why were these photographs discarded? What became of Walter?</span><br /><br /> <br /><span style="font-size: small;"><b>MATRIX 242</b> is organized by Assistant Curator Dena Beard. The MATRIX Program at the UC Berkeley Art Museum and Pacific Film Archive is made possible by a generous endowment gift from Phyllis C. Wattis and the continued support of the BAM/PFA Trustees.</span></p> Sat, 07 Jul 2012 09:21:34 +0000