ArtSlant - Closing soon en-us 40 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 D-L Alvarez - Berkeley Art Museum and Pacific Film Archive - July 18th, 2012 - October 7th, 2012 <p style="text-align: justify;"><span style="font-size: small;">D-L Alvarez’s first solo museum exhibition presents a haunting meditation on the violent end of innocence. Alvarez, an Oakland-based artist, focuses on the uncanny moments when social and domestic deviance collide. </span><br /> <br /><span style="font-size: small;">In Alvarez’s drawing series, <i>The Closet</i> (2006–07), we see an abstracted image of Jamie Lee Curtis as Laurie Strode in <i>Halloween</i> (1978), repelling the attacks of a masked psychopath while trapped in a closet. The character’s expression of horror is echoed by the drawings’ highly fractured compositions, which appear to be the result of some kind of electronic interference or degraded technology. </span><br /> <br /><span style="font-size: small;"><i>The Closet</i> is shown with <i>Something to Cry About I </i>and <i>II </i>(2007), patchwork bodysuits made of children’s clothing arranged over wooden armatures. The ominous draping is both vulnerable and sinister, evoking the footed pajamas of cartoon-addled kids as well as the grisly outfits and other mementoes that the notorious murderer Ed Gein fashioned out of corpses’ skins. </span><br /><br /><span style="font-size: small;">With these two projects Alvarez explores the aesthetic guises that sometimes mask unspeakable horrors. His drawings and sculptures conjure the psychic breaks that both constitute and disrupt identity. </span><br /> <br /><span style="font-size: small;"><b>MATRIX 243</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 09:22:01 +0000 Lydia Panas - Rayko Photo Center - September 5th, 2012 - October 7th, 2012 <p align="center"><b>RAYKO PHOTOGRAPHY EXHIBITION </b></p> <p align="center"><b>Features revealing images depicting family relationships </b></p> <p align="center" style="text-align: center;"><b> </b></p> <p style="text-align: center;"><b><i>The Mark of Abel</i></b></p> <p style="text-align: center;"><b><i>Photography by Lydia Panas</i></b></p> <p><b> </b></p> <p align="center"><b>Artist’s talk: </b>Thursday, September, 13<sup>th</sup>, 5:30pm</p> <p align="center"><b>Opening Reception and Book Signing: </b>Thursday, September, 13<sup>th</sup>, 6:30-8pm</p> <p align="center"><b>Exhibition dates: </b>September 5<sup>th</sup> – October 7<sup>th</sup>, 2012</p> <p align="center"><b> </b></p> <p align="center"><b>RayKo Photo Center Gallery</b></p> <p align="center"><b>428 Third Street</b></p> <p align="center"><b>San Francisco, CA 94107</b></p> <p align="center"><b> </b></p> <p style="text-align: justify;"><i>Our earliest relationships factor considerably in determining whom we turn out to be.</i></p> <p style="text-align: justify;">For three years, in hot weather and cold, Lydia Panas invited families of various forms to stand before her lens.  She asked them not because she knew what to expect, but because she was curious to see what would happen.  These groups and occasional individuals stood graciously before her.  She watched how they arranged themselves and then began to photograph them with her view camera.</p> <p style="text-align: justify;">In these pictures of family relationships, the details matter most.  Although they portray engaging people, verdant landscapes and beautiful light, the photographs also provide more subtle clues for understanding the nature of Lydia’s work.</p> <p style="text-align: justify;">These images depict specific people, but they go beyond portraits to explore the universal questions of how we feel.  The pictures ask that we look deeper than the surface for what lies underneath:  that complex part of our own personalities we often don’t see.</p> <p style="text-align: justify;">Come meet Lydia and hear her speak about her project and the resulting book on the evening of September 13<sup>th</sup>. Her first monograph “The Mark of Abel”, was recently released by Kehrer Verlag, and named one of Photo District News’ best photo books of 2012. Signed copies will be available during the opening reception.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">Lydia Panas is an award-winning photographer based in Pennsylvania.  Her work has been exhibited throughout the United States and internationally. Lydia’s photographs are in many collections including MoMA Shanghai, Museum of Contemporary Photography Chicago, the Brooklyn Museum, the Museum of Fine Arts Houston, and the Allentown Art Museum, among others.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"><b>About RayKo</b></p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"><b>RayKo Photo Center &amp; Gallery</b> is a comprehensive photographic facility, located near the Yerba Buena Arts District, with resources for anyone with a passion for photography. Established in the early 1990’s, RayKo Photo Center has grown to become one of San Francisco’s most beloved photography darkroom spaces; it includes traditional b&amp;w and color labs as well as a state-of-the-art digital department, a professional rental studio, galleries, and the Photographer’s Marketplace – a retail space promoting the work of regional artists. RayKo also has San Francisco’s 1<sup>st </sup>Art*O*Mat vending machine and a vintage 1947 black &amp; white Auto-Photo Booth.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"><b>RayKo Gallery</b> serves to advance public appreciate of photography and create opportunities for regional and national artists to create and present their work. RayKo Gallery offers 1600 square feet of exhibition space and the Photographer’s Marketplace, which supports the work of Bay Area artists, and encourages the collection of artwork by making it accessible to collectors of all levels. The Photographer’s Marketplace offers photography collectors unique and affordable work from artists living and working in the surrounding area.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"><b>RayKo Photo Center &amp; Gallery </b></p> <p style="text-align: justify;">428 Third Street</p> <p style="text-align: justify;">San Francisco, CA 94107</p> <p style="text-align: justify;">415-495-3773 (ph)</p> <p style="text-align: justify;"><a href="" rel="nofollow"></a></p> <p style="text-align: justify;">Tuesday-Thursday: 10-10 pm</p> <p style="text-align: justify;">Friday-Sunday: 10-8 pm</p> <p style="text-align: justify;">Monday: closed</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">*RayKo is located in the SOMA arts district of San Francisco within walking distance of SFMOMA, the Moscone Center, Yerba Buena Gardens, as well as AT&amp;T Ballpark.</p> <p> </p> Tue, 18 Sep 2012 18:28:07 +0000 Cindy Sherman - SFMOMA - San Francisco Museum of Modern Art - July 14th, 2012 - October 8th, 2012 <p style="text-align: justify;"><span style="font-size: small;">One of the most influential artists of our time, Cindy Sherman creates provocative artworks that explore wide-ranging issues of identity and representation. Working as her own model, she deftly transforms her appearance using wigs, costumes, makeup, prosthetics, and props to create intriguing tableaux and characters inspired by movies, TV, magazines, and art history. This major retrospective brings together more than 150 artworks made from the mid-1970s to the present, including her groundbreaking Untitled Film Stills (1977-80), which examine stereotypical female roles in film; history portraits (1989-90) made in the manner of old-master paintings; society portraits (2008) that address aging in a youth-obsessed culture; and her most recent work, startlingly larger-than-life photographic murals (2010).</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <div style="overflow: hidden; color: #000000; background-color: #ffffff; text-decoration: none; text-align: justify;"><br /><span style="font-size: small;">Source: <a style="color: #003399;" href=""></a> </span><br /><span style="font-size: small;"> <a style="color: #003399;" href="" target="_blank">San Francisco Museum of Modern Art</a></span></div> Sat, 07 Jul 2012 15:16:18 +0000 Group Show - SFMOMA - San Francisco Museum of Modern Art - July 14th, 2012 - October 8th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Exploring the ambiguous line between fine arts and performing arts, this thematic exhibition presents works in various media from the past three decades that respond to and embrace theatricality in contemporary art practice. Works include <strong>Janet Cardiff</strong>'s <em>The Telephone Call</em>, a participatory project in which visitors can check out a video camera and follow a self-guided narrative through the museum; <strong>Guy Ben-Ner</strong>'s <em>Stealing Beauty</em> video, which shows the artist and his family in IKEA model rooms; and a new project from Bay Area-based artist<strong> Tucker Nichols</strong>, commissioned by SFMOMA for the exhibition's in-gallery cinema and performance space. Also in the exhibition are seminal historic works by <strong>Charles Atlas, James Coleman, </strong>and<strong> General Idea</strong>, as well as more recent works by <strong>Sharon Hayes, Craigie Horsfield, </strong>and<strong> Mika Tajima</strong>, among others. The exhibition is organized in conjunction with the 2012 ZERO1 Biennial.</span></p> <div style="overflow: hidden; color: #000000; background-color: #ffffff; text-decoration: none; text-align: justify;"><br /><span style="font-size: small;">Source: <a style="color: #003399;" href=""></a> </span><br /><span style="font-size: small;"> <a style="color: #003399;" href="" target="_blank">San Francisco Museum of Modern Art</a></span></div> Thu, 07 Jun 2012 16:04:32 +0000 Josef Albers, Paul Klee - SFMOMA - San Francisco Museum of Modern Art - June 7th, 2012 - October 8th, 2012 <p style="text-align: justify;"><span style="font-size: small;">In the early 1920s, Paul Klee and Josef Albers met in Weimar, Germany, where they would become co-directors of the Bauhaus glass workshop. This exhibition of paintings and works on paper explores a rarely acknowledged dialogue between the artists that began early in Albers's career and continued well after Klee's death in 1940.</span></p> <div style="overflow: hidden; color: #000000; background-color: #ffffff; text-decoration: none; text-align: justify;"><br /><span style="font-size: small;">Source: <a style="color: #003399;" href=""></a> </span><br /><span style="font-size: small;"> <a style="color: #003399;" href="" target="_blank">San Francisco Museum of Modern Art</a></span></div> Sat, 07 Jul 2012 15:14:04 +0000 - Rayko Photo Center - October 3rd, 2012 - October 10th, 2012 <h5 style="text-align: justify;"><span style="font-size: small;">A BOOK RELEASE PARTY AND EXHIBITION</span></h5> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">A photograph projects on the screen and the students speak. They have their stories to tell. They speak of what they see and what they do not see, what they imagine, and what they know. These conversations echo diverse backgrounds and voices, yet are spoken as one.</span><br /><span style="font-size: small;">This is the extraordinary collection of photographs spanning 10 years by students from the Out of Site Youth Arts Center.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The work of Out of Site is founded on a two-fold aspiration: to nurture student voices, helping students develop what they care about and how to articulate it; and to challenge the broader communities’ view of teens by seeking real-world projects and professional venues where youth voices can be heard and seen. Out of Site transforms the lives of low income/working class youth in San Francisco by offering free outside-of-school programs in visual and performing arts, as well as paid internships and youth leadership opportunities. Youth come to Out of Site from multiple public high schools for a chance to experiment in the arts and a place to be themselves: they find artistic training, new mediums for self-expression, and a diverse and supportive community.</span><br /><span style="font-size: small;"><a href="" target="_blank"></a></span></p> Tue, 11 Sep 2012 10:23:56 +0000 Jonathon Keats - Modernism Inc. - October 11th, 2012 - October 11th, 2012 <p>No portrait can match the verisimilitude of a clone, the ultimate artistic achievement. Though conventional genetic cloning is problematic, recently biologists have learned that the genes you inherit don't determine who you become. What matters is which genes are expressed, and gene expression depends on your environment. By replicating environmental factors from diet to pollutants, Jonathon Keats is pioneering the field of epigenetic human cloning. Having metabolically analyzed popular historical figures including George Washington and Jesus Christ by assessing their gross biochemical intake, Keats offers living people the chance to become their epigenetic clones through systematic exposure to a similar chemical regimen, activating epigenetic mechanisms such as DNA methylation. As epigenetic clones, patrons will have the unprecedented opportunity to become the figures they most admire. And to make epigenetic cloning ubiquitous, Keats offers a kit to epigenetically clone himself.</p> Fri, 05 Oct 2012 07:15:59 +0000 Dugald Stermer - CCA San Francisco Campus - October 1st, 2012 - October 12th, 2012 <p style="text-align: justify;"><span style="font-size: small;">When Illustration chair and Distinguished Professor Dugald Stermer passed away in December 2011, the CCA community experienced a monumental loss. The life and work of Stermer, our “beloved cowboy” chair of the Illustration Program, will be celebrated October 1-12, with the memorial exhibition <em>Drawing the Line</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition will be on view in the alcove of the Nave on CCA’s main San Francisco campus building, with a reception on Friday, October 12, from 6 to 8 p.m. The exhibition and reception are free and open to the public.</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Decades of Work</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Drawing the Line highlights work from Stermer’s dynamic career as an illustrator, designer, art director, author, and educator. It will span decades, from his early years as art director of the magazine <em>Ramparts</em> (including commissioned covers from Ben Shahn, Ed Sorrell, and Milton Glaser) to his designs for the 1984 Olympics to his more recent work on mural illustrations for Rancho Los Alamitos.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition will emphasize Stermer’s growth and flexibility as an illustrator, presenting examples of his evolving style and work from a wide range of genres.</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">A Museum in Itself</span></h2> <p style="text-align: justify;"><span style="font-size: small;">His desk and drawing table will also be on view. “His studio is absolutely a museum in itself,” says Alexis Mahrus, CCA Illustration alumna, previous student of Stermer’s, former assistant chair, and current interim chair of the Illustration Program. She has been working on this show with the family for the past year.</span></p> <p style="text-align: justify;"><span style="font-size: small;">“The goal of this exhibition is to share with everyone the true range of Dugald’s life and career,” says Mahrus. “I feel extremely lucky and quite humbled to be at the epicenter of the project. I already knew Dugald pretty well, having been his student, colleague, and friend for more than 15 years.</span></p> <p style="text-align: justify;"><span style="font-size: small;">"But it’s been such a privilege to have this new experience of uncovering his early work -- so much evidence of a full career that was built brick by brick, hour by hour. It has certainly been an emotional, but very special process.”</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Contributors</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Illustration faculty Bob Ciano and David Asari have also contributed to the planning of the exhibition. Kit Hinrichs, a designer and art director who worked with Stermer on many jobs and designed Stermer’s 1986 solo retrospective exhibition at the California Academy of Sciences, submitted design sketches for the exhibition layout.</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">A Lasting Legacy</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Throughout the past year, CCA's Illustration community has remembered Stermer not only for his influential career and wonderful teaching, but also for his genuine personality and leadership.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Illustration faculty member Barron Storey says, “I will miss my friend; the field of illustration will miss his serious, sensitive voice and incomparable craftsmanship; and all at CCA who were fortunate enough to know him will try to carry on his legacy of excellence. We will continue to do our best in his memory.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">“The cowboy will watch over us always,” echoed faculty member Owen Smith.</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">A Celebration &amp; Memorial</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Speakers at the closing reception, which is also a celebration of Stermer’s life and career, will include his daughter, Crystal Stermer; Robert Hunt (CCA Illustration faculty); Eric Madsen (a graphic designer and Stermer’s best friend); and Brad Holland(an illustrator, a good friend, and a colleague).</span></p> <p style="text-align: justify;"><span style="font-size: small;">Steve Heller (a good friend and colleague, former art director at the <em>New York Times</em>, current cochair of Designer as Author at School of Visual Arts, and author of many books on illustration and graphic design), will speak via video.</span></p> Tue, 02 Oct 2012 04:28:53 +0000 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 Laura Paulini - Eleanor Harwood Gallery - September 8th, 2012 - October 13th, 2012 <p class="paragraph_style_1"><br class="Apple-interchange-newline" />The paintings for the exhibition, “Shimmer,” were created over the past several years, each stripe and dot meticulously rendered by hand in multiple layers of paint on panel. Due to the juxtaposition of minute changes in hue and value over the painted surfaces, the picture planes appear to vibrate. Waverings, absences, and misalignments in the mark-making contribute to an optical effect, while the simple, iconic, and symmetrical compositions retain a sense of stillness. These paintings are a continuation of Laura Paulini's decade long exploration of the tension between movement and stillness, growth and decay, harmony and chaos.</p> <p class="paragraph_style_1"></p> <p class="paragraph_style_1"></p> Thu, 16 Aug 2012 22:13:14 +0000 Gustavo Ramos Rivera - Elins Eagles-Smith Gallery - September 6th, 2012 - October 13th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Elins Eagles-Smith Gallery</strong> is pleased to exhibit recent monoprints by renowned San Francisco artist <strong>Gustavo Ramos Rivera</strong>. This body of work was produced in the Summer of 2011 at the Thomas Blaes Atelier in Bern, Switzerland.</span><br /> <br /><span style="font-size: small;"> Gustavo Ramos Rivera is an abstract painter, sculptor and print-maker whose work is known nationally for its intense emotional content and its unique, personal symbolism. Rivera combines the palette and iconography of the indigenous cultural heritage of his native Mexico with classic techniques of Post-War American abstraction. Rivera constructs layers of intense translucent color fields upon which he lays simple hieroglyphic markings, which seem at once archaic and contemporary.    </span><br /> <br /><span style="font-size: small;"> Born in Ciudad Acuna, Mexico in 1940 Rivera has lived and worked in San Francisco since 1976.He is the recipient of numerous awards and fellowships and in 2006 the San Jose Museum of Art presented a survey exhibition of the artist's work that traveled to additional venues in Mexico and California.</span></p> Mon, 10 Sep 2012 15:03:18 +0000 - San Jose Museum of Art - October 5th, 2012 - October 13th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Full Spectrum is the Museum’s signature fundraising event of the year and a gala like no other. It features an auction that brings you an amazing opportunity to acquire works by extraordinary Bay Area artists, many of whom are recognized nationally and are represented proudly in the Museum’s permanent collection. In advance of the gala on October 13, visitors may preview the auction lots in a special installation open to the public. Not attending the event? Absentee bids are welcome. An auction catalog and absentee bid form is <a target="_self" href="">here</a>. A limited number of tickets are still available at <a target="_blank" href=""></a>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Full Spectrum provides core support for the San Jose Museum of Art’s many public programs, educational activities, and exhibitions. Your participation helps the Museum provide opportunities for visitors to make real-life connections to the art of our time.</span></p> Fri, 12 Oct 2012 15:58:43 +0000 Chuck Close - de Young Museum - July 7th, 2012 - October 14th, 2012 <p style="text-align: justify;"><span style="font-size: small;">The year 2012 marks a milestone for Crown Point Press, Chuck Close and the Fine Arts Museums of San Francisco. The Press, recognized for its importance as a print workshop specializing in etching, celebrates the 50th anniversary of its founding by Kathan Brown in 1962. Chuck Close made his first print, the landmark mezzotint <em>Keith</em>, at the press 10 years later in 1972, breaking artistic ground for the photo-realist artist and initiating a long relationship with the Press. The Fine Arts Museums enters its third decade as the recipient of editioned prints from the Press since its 1991 acquisition of the Crown Point archive; there are now more than 1,500 Crown Point Press-published prints in the collection.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition in the Anderson gallery shows the development of Close’s printmaking style at the Press from a tonal process that was akin to his photorealist tendencies to linear mark-making and exposition of the transfer grid that became the hallmark of his painting in the 1970s. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Anderson Gallery</span></p> Sat, 02 Jun 2012 18:11:12 +0000 Pablo Picasso, Max Ernst, Roland Penrose, Dora Maar, Alexander Calder, Man Ray, Lee Miller - Legion of Honor - July 14th, 2012 - October 14th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>San Francisco, April 2012</strong>—One of the art world’s most notorious relationships comes alive with <em>Man Ray | Lee Miller: Partners in Surrealism</em> on view July 14–October 14, 2012 in the Rosekrans Galleries at the Legion of Honor. The exhibition consists of approximately 115 photographs, paintings, drawings and manuscripts that explore the creative interaction between Man Ray and Lee Miller, two giants of European Surrealism. Organized by the Peabody Essex Museum, Salem, MA, this is the first exhibition to focus exclusively on the pair’s artistic relationship. The works in the exhibition are drawn primarily from the Lee Miller Archives and Penrose Collection in Sussex, England, augmented for the San Francisco presentation by loans from important public and private collections in the United States. Included are selected works by artists in Ray and Miller’s circle in Paris, including paintings by Pablo Picasso, Max Ernst, Roland Penrose and Dora Maar and a small sculpture by Alexander Calder.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Man Ray and Lee Miller lived together in Paris from 1929 through 1932, first as teacher and student, and later as lovers. Their mercurial relationship resulted in some of the most powerful works of each artist’s career, and helped shape the course of modern art. The two artists inspired each other equally, collaborating on several projects. Though they lived together for only three years, <em>Man Ray | Lee Miller: Partners in Surrealism</em> examines the lingering effect each had on the other’s art. Connecting photography with other media, and combining rare vintage photographs, paintings, sculpture and drawings, the exhibition reveals how the Surrealists combined imagery in playful and unexpected ways, creating extraordinary feats of imagination. It also offers a window into the maelstrom of artistic and social experimentation that animated Paris in the 1930s and gave inspiration to writers, poets, filmmakers, musicians and visual artists of all stripes.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Exhibition highlights include:</span></p> <ul style="text-align: justify;" type="disc"> <li><span style="font-size: small;">Man Ray (1890–1976) <em>A l’heure de l’observatoire – les amoureux</em> <em>(Observatory Time–The Lovers)</em>, ca. 1931</span></li> <li><span style="font-size: small;">Man Ray (1890–1976) <em>Indestructible Object</em>, originally made 1928, destroyed Paris 1957, replica 1959. Metronome with gelatin silver print of Lee Miller’s eye</span></li> <li><span style="font-size: small;">Man Ray (1890–1976) <em>Lee Miller</em>, ca. 1930. Solarized vintage gelatin silver print</span></li> <li><span style="font-size: small;">Lee Miller (1907–1977) <em>Nude Bent Forward</em>, ca. 1930. Digital color coupler print</span></li> <li><span style="font-size: small;">Lee Miller (1907–1977) <em>Self Portrait</em>, ca. 1930. Gelatin silver print</span></li> <li><span style="font-size: small;">Lee Miller (1907–1977) <em>Portrait of Man Ray</em>, 1931. Gelatin silver print</span></li> </ul> <h3 style="text-align: justify;"><span style="font-size: small;">About the Artists</span></h3> <p style="text-align: justify;"><span style="font-size: small;"><strong>Man Ray</strong> (born Emmanuel Radnitzky, 1890–1976) was a leader in two pioneering modern art movements, Surrealism and Dada, but was never deeply invested in either of the two. Although accomplished as an avant-garde photographer, he eschewed labels and thought of himself primarily as a painter and as an artist wedded to no single medium. Man Ray's camerawork marked a turning point in the integration of photography among other visual art forms. When he and Lee Miller parted, Ray often lovingly and cleverly referred to her via coded motifs in his artworks years afterward.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Lee Miller</strong> (1907–1977) started her career as a fashion model in New York. With the encouragement of American artist and curator Edward Steichen, for whom she was a favorite subject, she moved behind the camera and moved to Paris in 1929 to seek out Man Ray as a teacher. Working in tandem and separately, Ray preferred to work in the studio while Miller mostly took to the streets. After she and Ray parted, she remained a photographer for two decades, including a seminal period as World War II war correspondent for Condé Nast. A first-hand witness to some of the worst atrocities of her time, she suffered from post-traumatic stress disorder that later hampered her productivity.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This is the first exhibition that presents Man Ray and Lee Miller together on equal terms. Lee Miller is regarded here as an artist and potent Surrealist force in her own right rather than as a foil for Man Ray's work. Historically, Miller has been described as Ray's muse, but their love affair was in fact a key source of mutual and sustained inspiration, which pushed the art of their time in a new direction.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Exhibition Organization and Sponsors</span></h3> <p style="text-align: justify;"><span style="font-size: small;">This exhibition is organized by the Peabody Essex Museum in Salem, Massachusetts. Lee Miller's photographs as well as the work of many of the other Surrealist artists in this exhibition appear courtesy of the Lee Miller Archives and Penrose Collection housed at Farley Farm House in Chiddingly, Sussex, England.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Catalogue</span></h3> <p style="text-align: justify;"><span style="font-size: small;">The official exhibition catalogue, <em>Man Ray | Lee Miller: Partners in Surrealism,</em> authored by Phillip Prodger, Ph.D., Curator of Photography, Peabody Essex Museum, tells the story of the tumultuous relationship between surrealist artists Man Ray and Lee Miller. Bringing together rarely seen photographs, paintings, sculpture and drawings by Ray and Miller, this publication also includes unique works from renowned artists in their circle including Picasso, Roland Penrose, Dora Maar and Alexander Calder. In addition, a candid essay written by Antony Penrose, the son of Miller and the English painter Roland Penrose, is featured. Published by Merrell Publishers: London and New York. Hardcover, 160 pages, $39.95.</span></p> <p></p> Wed, 05 Sep 2012 07:46:33 +0000 René Bouché - Legion of Honor - July 14th, 2012 - October 14th, 2012 <p style="text-align: justify;"><span style="font-size: small;">In 1940, art director and fashion illustrator René Bouché (1905-1963) left war-torn Paris for New York and became a regular contributor to <em>Vogue </em>magazine. In 1945, <em>Vogue</em> commissioned who was an art director and fashion illustrator in Paris before World War II, was commissioned Bouché to cover the first post-war couture shows in Paris. The trip to Europe was traumatic for the artist, who discovered a people struggling to regain normalcy after the war. This exhibition contains his “letters”—some of which were published in <em>Vogue</em>—illustrated with sketches of Parisians: poignant observations of young girls on bicycles, women waiting for their bread rations, black marketeers, American GIs amid crowded theaters and cafés.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition celebrates the 2010 gifts of these works by Denise Fitch, a trustee of the Fine Arts Museums who met Bouché while she was a <em>Vogue</em> editor and became his second wife. Through <em>Vogue</em>, Bouché is also associated with Lee Miller, whom he knew in pre-war Paris and who contributed photographs to the magazine before and after the war.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Rene Bouche’s second wife, Denise Fitch, an FAMSF trustee who met Bouché while she was an editor at <em>Vogue</em>. <em>Vogue</em> magazine is the thread that connects this exhibition to Lee Miller, whom Bouché knew in pre-war Paris, and who contributed photographs to <em>Vogue</em> before and after the war</span>.</p> Sat, 02 Jun 2012 18:33:07 +0000