ArtSlant - Closing soon en-us 40 Group Show - Root Division - January 9th, 2013 - January 9th, 2013 <p>Root Division presents our Alumni Exhibition and 10-Year Anniversary Celebration. <b>10-Year Anniversary Publication</b> includes an archive of over 115 artists from Root Division’s Studios Program as well as a decade in review. The <b>Alumni Exhibition</b> showcases 20 of these artists, featuring two per year of the organization’s 10-year history.</p> Thu, 06 Dec 2012 19:55:39 +0000 Group Show - Pro Arts Gallery - December 7th, 2012 - January 11th, 2013 <p style="text-align: justify;"> <span face="Century Gothi挀, sans-serif" style="font-family: 'Century Gothi挀', sans-serif;"><span size="2" style="font-size: small;">Pro Arts is pleased to present </span></span><span face="Century Gothi挀, sans-serif" style="font-family: 'Century Gothi挀', sans-serif;"><span size="2" style="font-size: small;"><i>Dis/Order</i></span></span><span face="Century Gothi挀, sans-serif" style="font-family: 'Century Gothi挀', sans-serif;"><span size="2" style="font-size: small;">, Juried Annual 2013, selections by Naomi Beckwith, Curator, Museum of Contemporary Art, Chicago. </span></span><span face="Century Gothi挀, sans-serif" style="font-family: 'Century Gothi挀', sans-serif;"><span size="2" style="font-size: small;">The critically acclaimed Juried Annual presents a survey of the best new work in the Bay Area selected by a juror from the international arts community.</span></span><span face="Century Gothi挀, sans-serif" style="font-family: 'Century Gothi挀', sans-serif;"><span size="2" style="font-size: small;"> </span></span></p> <p style="text-align: justify;"><span face="Century Gothi挀, sans-serif" style="font-family: 'Century Gothi挀', sans-serif;"><span size="2" style="font-size: small;"><i>Dis/Order</i></span></span><span face="Century Gothi挀, sans-serif" style="font-family: 'Century Gothi挀', sans-serif;"><span size="2" style="font-size: small;"> is on view December 7, 2012 – January 11, 2013. An Artists’ Reception is scheduled on Friday, December 7, 2012, 6pm. An Artists’ Talk will take place on Friday, January 4, 6.30pm. </span></span></p> <p style="text-align: justify;"><span face="Times New Rom愀渀, serif" style="font-family: 'Times New Rom愀渀', serif;"><span face="Century Gothi挀, sans-serif" style="font-family: 'Century Gothi挀', sans-serif;"><span size="2" style="font-size: small;">The title of the exhibition - </span></span><span face="Century Gothi挀, sans-serif" style="font-family: 'Century Gothi挀', sans-serif;"><span size="2" style="font-size: small;"><i>Dis/Order</i></span></span><span face="Century Gothi挀, sans-serif" style="font-family: 'Century Gothi挀', sans-serif;"><span size="2" style="font-size: small;"> - is an expression of the new languages Beckwith identified being used by artists to describe Bay Area 'landscapes'. She writes, "There is an incredible weight of the landscape on the minds of many of the Bay Area artists... With that observation, I also realized that many artists were not simply celebrating a sense of place but attempting to come to terms with what it means to be located in an environment shaped by immigration, difference, resilience, violence, commerce, economic cycles and, yes, beauty." </span></span></span></p> <p style="text-align: justify;"><span face="Times New Rom愀渀, serif" style="font-family: 'Times New Rom愀渀', serif;"><span face="Century Gothi挀, sans-serif" style="font-family: 'Century Gothi挀', sans-serif;"><span size="2" style="font-size: small;"></span></span></span></p> <p style="text-align: justify;"><b>About the Juror:</b> Named the 2011 Leader to Watch by ArtTable, Naomi Beckwith is a curator for the Museum of Contemporary Art in Chicago. Prior to joining the MCA staff, Beckwith was associate curator at The Studio Museum in Harlem and The Whitney Lauder Curatorial Fellow at the Institute of Contemporary Art in Philadelphia. She has curated and co-curated exhibitions at New York alternative spaces Recess Activities, Cuchifritos and Artists Space.</p> Tue, 25 Dec 2012 09:59:19 +0000 Group Show - Rayko Photo Center - December 19th, 2012 - January 11th, 2013 <p style="text-align: justify;"><span style="font-size: small;">During the past 7 years, thousands of students have gone through RayKo’s workshop and tutoring programs. It’s been phenomenal to see the outstanding submissions to “Showcase,” the first student and instructor exhibition at RayKo. Equally wonderful is seeing some long-time students make the top of the list in a completely blind jurying process. Peruse the gallery to see the winners of all three rounds of entries and view some of the stellar work our students have produced over the years like Kaden Kratzer’s minimalist Dragonfly tintype, Nadine Defranoux’s gorgeously captured moment in Mongolia on color film, and Ron Moultrie Saunders magical photograms. The exhibition will be on view from December 19th, 2012 – January 11th, 2013 with an opening reception on Wednesday, December 19th, from 6-8pm. Entry is free and open to the public.</span></p> Mon, 10 Dec 2012 18:23:43 +0000 Janet Delaney - Rayko Photo Center - December 19th, 2012 - January 11th, 2013 Mon, 10 Dec 2012 18:25:32 +0000 Chester Arnold - Catharine Clark Gallery - November 3rd, 2012 - January 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Catharine Clark Gallery</strong> announces <strong><em>A Pilgrim's Progress</em></strong>, a </span><span style="font-size: small;">solo exhibition of new paintings by <strong>Chester Arnold</strong>. The exhibition dates are </span><span style="font-size: small;">November 3 through January 12, 2013. The artist will be present for the </span><span style="font-size: small;">reception on Saturday, November 3, from 3 to 5pm, and will lead a casual walkthrough of the exhibition at 3pm.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For Chester Arnold’s 2012 solo exhibition at Catharine Clark Gallery, the artist </span><span style="font-size: small;">presents new paintings rooted in imagery of the west—grand landscapes scarred </span><span style="font-size: small;">by the work of miners, stratified and marked by history: geological and human. </span><span style="font-size: small;">Metaphorical narratives and occasions for contemplating the duality of the human </span><span style="font-size: small;">journey unfold on the painting’s panoramic stages. The binary sides of our </span><span style="font-size: small;">emotional experiences, dark and light, are present in each work. The title of the </span><span style="font-size: small;">exhibition, <em>A Pilgrim’s Progress</em>, references a Christian allegory written by John </span><span style="font-size: small;">Bunyan and published in 1678,<em> The Pilgrim's Progress from This World to That  </em></span><span style="font-size: small;"><em>Which Is to Come</em>. It is regarded as one of the most significant works of religious </span><span style="font-size: small;">English literature. The paintings in the exhibit convey the artist’s personal journey through what he calls “the disorganized religion of </span><span style="font-size: small;">art.” “As the secular madman that I am, there is a constant, inescapable commentary staring back at me from the Judeo-Christian </span><span style="font-size: small;">pollution in my early life. I love the stories, but deplore the dogma.” Arnold’s painted imagery also grapples with transitions and the </span><span style="font-size: small;">passage of time (perhaps his own aging) through depictions of elderly men, skeletons, and the heavily chiseled chasms in the earth. </span><span style="font-size: small;">Arnold’s tenebrous mood in the paintings is tempered by passages that are also humorous and light, providing visual reprieve and a bit </span><span style="font-size: small;">of optimism in the ponderous, larger narratives. </span></p> <p style="text-align: justify;"><span style="font-size: small;">American by birth, but raised in post-war Germany during the formative years of his childhood, <strong>Chester Arnold</strong> is interested in the </span><span style="font-size: small;">capacity of painting to convey the complexities of the human psyche. His compositions often present skewed linear perspectives that </span><span style="font-size: small;">place the viewer at a remove, above and beyond an unfolding narrative. The romantic natural landscape in Arnold’s paintings, in part </span><span style="font-size: small;">informed by the work of 19</span><span style="font-size: small;">th</span> <span style="font-size: small;">century German painter Caspar David Friedrich and classic literature, is littered and marred with the </span><span style="font-size: small;">abject accumulation of modern cultural detritus. Arnold’s work was the subject of a survey exhibition at the Nevada Museum of Art, <em>On </em></span><span style="font-size: small;"><em>Earth as it is in Heaven</em> (2010), and was accompanied by a monograph. Next year, Arnold’s paintings on the subject of accumulation and </span><span style="font-size: small;">dispersal will be featured in a solo exhibition at American University’s Katzen Art Center, Washington DC. In 2008, Arnold’s work was </span><span style="font-size: small;">included in the San Jose Institute of Contemporary Art’s exhibition which highlighted recipients of the 2005 Eureka Fellowship. Donald </span><span style="font-size: small;">Kuspit selected Arnold’s work for <em>New Old Masters</em> at the National Museum in Gdańsk, Poland in 2006, accompanied by a major </span><span style="font-size: small;">catalogue. In 2001, an extensive solo exhibition of Arnold’s paintings was presented at the San Jose Museum of Art, also accompanied by a </span><span style="font-size: small;">catalogue. Arnold’s work is further represented in the public collections of many institutions, including the Smithsonian American Art </span><span style="font-size: small;">Museum, the Pasadena Museum of California Art, the Nevada Museum of Art, the di Rosa, the Tacoma Museum of Art, the San Jose </span><span style="font-size: small;">Museum of Art, and the Crocker Art Museum. His work has been reviewed in <em>Artforum, Works + Conversation</em>, and the<em> San Francisco </em></span><span style="font-size: small;"><em>Chronicle</em>. He lives and works in Sonoma, California, and has been represented by Catharine Clark Gallery since 2003.</span></p> Tue, 04 Dec 2012 07:02:30 +0000 Aideen Barry, Erin Cosgrove, Anthony Discenza, Lauren Kelley - Catharine Clark Gallery - November 3rd, 2012 - January 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Presented in the Media Room is a selection of video artists previously exhibited at Catharine Clark Gallery: <strong>Aideen Barry, Erin Cosgrove, Anthony </strong><strong>Discenza, and Lauren Kelley</strong>. Demonstrating the artistry and depth of new media, each piece varies in terms of subject matter, tone, and viewer engagement.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Aideen Barry</strong> is an international artist who has shown in many venues around the world, including The Irish  Museum of Modern Art, Dublin, Ireland; Kunsthall,  Vienna, Austria; Yerba Buena Center for the Arts,  California. Barry has done artist residencies at the Moltavo Arts Centre, California; Omi International Arts  Center, New York; Headlands Center for the Arts, California; Centre Cultural Irlandais, Paris; and NASA,  Florida. In 2007, she received her MA from the Institute of Art, Design and Technology IADT Dublin. Barry  lives and works in Belclare, Galway, Ireland. <strong>Aideen Barry</strong>’s performative film,<strong><em> Possession</em></strong> (2011), explores  the psychology of the contemporary Irish housewife: a protagonist quirkily possessed and haunted by her  obsessive compulsions and boredoms within the suburban house that confines her. Filmed in an agitated, shifting  style, the audience is confronted with darkly humorous reflection of neurosis and immobility as, for example, an  endless supply of baked goods are shoved into her helpless mouth.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Erin Cosgrove</strong>’s work has been included in solo and group exhibitions and screenings nationally and  internationally, including UCLA/Armand Hammer Museum of Art and Cultural Center, Los Angeles; Espace  Croisé Centre d’art Contemporain, Roubaix, France;  Museum of Modern Art,  New York; Santa Barbara  Museum of Art; and Wexner Center for the Arts, Columbus, Ohio, among others. Her work is included in the  collections of the Hammer Museum, and Museum of Contemporary Art, Los Angeles. Cosgrove studied at  University of Minnesota (BFA), and University of California, Los Angeles (MFA). She lives and works in  Altadena, California.<em><strong> In Defense of Ghosts</strong></em> (2011) satirizes the current basis of social and political order. Fusing  animation and performance, a professor passionately lectures the viewer of the importance of believing in ghosts,  as animated ghosts and caricatures of presidents of past dance on screen.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Anthony Discenza</strong>’s  works have been presented widely nationally and internationally, including at the San  Francisco Museum of Modern Art,  San Francisco; the Australian Center for the Moving Image, Melbourne,  Australia; the Whitney Museum of American Art, New York; the Getty Center, Los Angeles; and the University  of California, Berkeley Art Museum &amp; Pacific Film Archive, Berkeley. His work has garnered critical attention  in Artforum, Artweek, and ArtReview, among other publications.  Discenza received his MFA from California  College of the Arts in 2000, and a BA in Studio Art from Wesleyan University. He lives and works in Oakland,  California and had his first exhibition  at Catharine Clark Gallery in 2004.  <strong>Anthony Discenza</strong> presents a  meditation on the culture of consumption and the drudgery of desire with <em><strong>Drift</strong> </em>(2003). Visually, the piece is a  slowly shifting mosaic, constantly interchanging images of stereotypical houses; conceptually, it quietly  embodies the consumer ethos of restlessness and emptiness.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Lauren Kelley</strong>’s videos and photographs have been presented nationally at The Studio Museum in Harlem, New  York; New Museum, New York; Contemporary Arts Museum Houston, Texas; Johns Hopkins University,  Baltimore, Maryland; The Kitchen, New York; and Dodge Gallery, New York. Kelley received her MFA from  the School of Art Institute, Chicago in 1999, and currently lives and works in Houston, Texas. <em><strong>True Falsetto</strong></em>  (2011) is a short stop-motion film that wonderfully engages the viewer in its claymation artistry and its  compelling insight into states of desire, despair, and stagnancy. An invisible protagonist narrates his preparations  for a wonderful date that never occurs, as the video scans a lush picnic of delicately prepared, though  untouched, delicacies. Amid the dialogue of hope turned despair, bees and flies hum excitedly around the  food, ultimately succumbing to its seduction.</span></p> <p style="text-align: center;"><span style="font-size: small;">***</span></p> <p style="text-align: justify;"><span style="font-size: small;">Catharine Clark Gallery will be closed from <strong>December 23, 2012 - January 1st, 2013</strong> and will re-open <strong>January 2, 2013!</strong></span></p> Wed, 02 Jan 2013 18:35:36 +0000 Group Show - Fecal Face Dot Gallery - December 7th, 2012 - January 12th, 2013 <p style="text-align: justify;">We celebrate our first year at our Mission St. location with this dynamic group show featuring artists we've had the pleasure of working with over the years and open our walls up to some fresh new faces in contemporary art. The Winter Group show features abstract paintings, street art orientated artists, illustrative works and much more in this group show featuring small works from 20 artists working in the United States, with the exception of Max Rippon who works out of Barcelona, Spain. All works contain exquisite detail with each artist representing the best of their genres.</p> <p style="text-align: justify;">Note that the gallery will be closed the week of Dec 24 - 29th.</p> Sat, 22 Feb 2014 15:28:14 +0000 Rachel Kaye - Johansson Projects - November 29th, 2012 - January 12th, 2013 <p>Rachel Kaye's textile playgrounds channel the eternally dramatic love affair between art and fashion. Ripped from fashion magazines today's top trends melt into mazes of color and pattern, pure visual stimulation devoid of opinion or moral stance. As if conducting an operation, Kaye deconstructs the visual fabric of her physical fabrics, letting the symbiosis of art and fashion exist on the same picture plane. Eventually any trace of the textiles' former life as a clothing object is forgotten as the patterns invite comparisons to graffiti, the internet, hieroglyphics and even technicolor cartography. The ghosts of high art masters like Yayoi Kusama and Andy Warhol loom above the trendy polka dots and floral motifs, yet instead of lamenting their grand visions' fall to consumer levels Kaye revels in the beautiful all-at-onceness of it all.<br /><br /><br />Show runs November 29-January 12, 2013<br />Artist Reception: December 1, 3-5pm</p> Sat, 22 Feb 2014 15:26:23 +0000 Casey Watson - Johansson Projects - November 29th, 2012 - January 12th, 2013 <p><i>Opal Dust</i> features <b>Casey Watson</b> depicting the sharp-edged task of portraying a soft exterior. Watson’s meticulous colored pencil and graphite drawings invite the viewer to unearth her treasures and inspect their intricacies. Up close, petals, leaves and stems arrange themselves into romantic kaleidoscopic wreaths. These fibrous orbs careen and breed, evoking ideas of natural symmetry, squished floral formations, and cycles of life and death. From a distance, the same drawings take on new forms – fireworks, galaxies, and magnified molecules pop from the paper.</p> <p>Show runs November 29-January 12, 2013<br /> Artist Reception: December 1, 3-5pm</p> Sat, 22 Feb 2014 15:26:23 +0000 - Marin Museum of Contemporary Art (Marin MOCA) - December 1st, 2012 - January 12th, 2013 Fri, 12 Oct 2012 15:32:06 +0000 Deborah Sullivan - Marin Museum of Contemporary Art (Marin MOCA) - December 8th, 2012 - January 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">MarinMOCA will feature work by Deborah Sullivan, whose unique photographs will be on display in an exhibition entitled “Actuality, Reminiscence, and Fabrication.” Sullivan's photographic images seem like stills from a dream or attempts to recover a faded memory, but she brings them down to earth by adhering them to silk, polyblended materials, linen, aluminum, wood and clay. Their ethereal quality is in productive tension with the emphasis on unusual, and often heavy materials, giving viewers a meditative experience that is all the while grounded in physical presence. Don't miss this powerful exhibition that explores the possibilities of the photograph.</span></p> Wed, 19 Dec 2012 15:47:04 +0000 Hung Liu - Rena Bransten Gallery - November 15th, 2012 - January 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The<strong> Rena Bransten Gallery</strong> is pleased to present <strong><em>Happy and Gay</em></strong>, an exhibition of new works by<strong> Hung Liu</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In the new paintings, Liu revisits her childhood through recreations of pages from primers as well as depictions of</span> <span style="font-size: small;">her local street readers - book stands where children could rent and read on premises. The primers were not only</span> <span style="font-size: small;">sources of entertainment, but also effective propaganda tools. Their illustrations glorified civic responsibility and</span> <span style="font-size: small;">cooperation through the joyful performance of manual labor by happy and gay villagers of all ages.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In other paintings inspired by these childhood memories of reading, Liu illustrates verses from the ancient Chinese</span> <span style="font-size: small;">poem, “The Ballad of Mulan,” featuring a female heroine who went to war in place of her aged father and led many</span> <span style="font-size: small;">victorious campaigns. Upon returning to village life years later, she shunned a hero’s welcome or any personal</span> <span style="font-size: small;">recognition. Through the Mulan series, Liu continues to mine China’s cultural history for stories of exemplary</span> <span style="font-size: small;">women who set the standards for a future enlightened social order.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Among the paintings in <em>Happy and Gay</em>, and a frequent visual device in Liu’s works, are lush details of animals and</span> <span style="font-size: small;">mythical landscapes which, along with the social realist images and those of Mulan, reveal Liu’s attempt to</span> <span style="font-size: small;">ameliorate pointed political content or issues of social inequality with natural or supernatural beauty. Liu’s</span> <span style="font-size: small;">awareness and depiction of the many disparities in real life, fiction, fantasy, and history provide the dynamic tension</span> <span style="font-size: small;">in much of her work. In these new paintings, she negotiates her way between a personal history that embraces larger </span><span style="font-size: small;">social issues and confirms the power of art to confront, comment, and comfort.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Liu was born in Changchun, China in 1948 and graduated from the Central Academy of Fine Art in Beijing. She</span> <span style="font-size: small;">immigrated to the US in 1984 to attend the University of California, San Diego where she received an MFA. Liu</span> <span style="font-size: small;">currently lives in Oakland and is a professor at Mills College. She has been the recipient of numerous awards</span> <span style="font-size: small;">including the Joan Mitchell Foundation Grant and the National Endowment of the Arts Painting Fellowship. Her</span> <span style="font-size: small;">work has been exhibited in the Whitney Museum of American Art, the Los Angeles County Museum of  Art, and the</span> <span style="font-size: small;">Walker Art Center, Minneapolis among others. From January through September 2013, a Retrospective of Hung’s</span> <span style="font-size: small;">work will start at the Oakland Museum of Art and travel to several other museums.</span></p> <p style="text-align: justify;"><span style="font-size: small;">  </span></p> <p style="text-align: justify;"><span style="font-size: small;">PLEASE NOTE: The gallery </span><span style="font-size: small;">will be closed for the holidays December 23, 2012 through January 1, 2013.</span></p> Sat, 10 Nov 2012 09:53:41 +0000 Xu Bing, Mark Tobey, Brice Marden, Franz Kline - Asian Art Museum - October 5th, 2012 - January 13th, 2013 <p style="text-align: justify;"><span style="font-size: small;">What defines a masterwork? This exhibition, focusing on fifteen masterpieces supported by twenty-five additional works of the highest quality, explores the roles of tradition, creativity and self-expression in the art of Chinese calligraphy. Through the centuries, a complex set of rules and traditions evolved impacting every aspect of the calligrapher’s practice. Within these constraints, creativity and self-expression have remained the goals of the Chinese calligrapher. Global artistic phenomenon Xu Bing has proposed a new multi-media piece especially for the exhibition. <i>Out of Character</i> also includes paintings--borrowed from the collection of SFMOMA--by modern American masters Brice Marden, Franz Kline, and Mark Tobey, whose works have been linked with calligraphy.</span></p> Tue, 18 Dec 2012 14:10:34 +0000 Mark Adams - John Berggruen Gallery - December 6th, 2012 - January 13th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>John Berggruen Gallery</strong> is pleased to present an exhibition of watercolors by the late San Francisco-based artist <strong>Mark Adams</strong>. The works included in the exhibition range in date from 1977 to 1991 and display Adams’ quintessential still-lifes and landscapes, all of which were painted with his luminous and compelling style and superb draftsmanship. There will be an opening reception held on Thursday, December 6 from 5:30-7:30pm.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Mark Adams is best remembered for his versatility as an artist, possessing talent in a diverse array of artistic media including tapestry, stained glass, oil painting, mosaic, drawing, watercolor, and printmaking. Early in his artistic career he focused on tapestry and stained glass. By 1962 Adams had two solo exhibitions of his tapestries at the de Young Museum and the San Francisco Museum of Modern Art. He completed tapestry commissions for various institutions, including the San Francisco International Airport. Adams later took an interest in stained glass, which he considered an extension of his work with tapestry and his enthusiasm for liturgical art.</span></p> <p style="text-align: justify;"><span style="font-size: small;">By 1975, Adams grew frustrated with the limitations of his craft and the lack of complete control he had over the actual fabrication of his work. Drawn to the idea of small, intimate, and personal works that he could manage from beginning to end, he began a new venture in watercolor. Adams soon realized he could incorporate his techniques of flat planes of color as he had in tapestry and stained glass by using a wash to create his desired spatial effects, along with continuing his ideas of transparency and luminosity. He favored the quotidian subjects that exemplified his life, depicting them in such a way as to evoke a sense of nostalgia. Adams eventually learned to deemphasize his precise technique as a means to communicate his excitement for the subject he was portraying.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Mark Adams was born in Fort Plain, New York in 1925 and died in San Francisco in 2006. He attended the Hans Hofmann School of Fine Arts in New York City in 1945 after studying for two years at Syracuse University. He spent the next few years traveling between New York and California before he settled in the San Francisco Bay Area in 1952. Adams married fellow artist Beth Van Hoesen in 1953, and completed a four-month apprenticeship in Aubusson tapestry with the acclaimed Jean Lurçart in Saint-Céré, France in 1955. After returning to the Bay Area, he and Van Hoesen settled in a 1909 Noe Valley firehouse, which the couple had converted into living and studio space in 1959. The San Jose Museum of Quilts and Textiles recently organized the first retrospective of Adams’ tapestries. Adams taught at such institutions as the University of California, Davis, the San Francisco Art Institute, and the Arrowmount School in Tennessee. He completed numerous commissioned tapestries and stained glass windows including a thirty-foot long tapestry for the Weyerhaeuser Co. headquarters in Tacoma, Washington and stained glass windows for Grace Cathedral and Temple Emanu-El in San Francisco. Adams’ works are included in the permanent collections of the San Francisco Museum of Modern Art, the de Young Museum, the Dallas Museum of Art, as well as in numerous other institutions.</span><br /><br /></p> Wed, 02 Jan 2013 18:37:10 +0000 Group Show - San Jose Museum of Art - July 26th, 2012 - January 13th, 2013 <div class="field field-type-text field-field-body"> <div class="field-items"> <div class="field-item odd"> <p style="text-align: justify;" class="PRFirstPara"><span style="font-size: small;">The San Jose Museum of Art will highlight works by such artists as Alexander Calder, Elmer Bischoff, David Levinthal, Nathan Oliveira, Anne Appleby, and Richard Misrach in a new exhibition on view July 26, 2012-January 13, 2013. Drawn from the Museum’s permanent collection, <i>Local Color </i>will explore the role of color in art and encourage visitors to look at color as content. The exhibition comprises approximately 50 paintings, photographs, sculptures, and prints spanning the last six decades.</span></p> <p style="text-align: justify;" class="PRBodyCopy"><span style="font-size: small;">“Color may be a vehicle for pure pleasure, for shaping the rhythm of a composition, or for invoking a particular emotional tone,” said Rory Padeken, curatorial assistant at SJMA and curator of the exhibition. “This exhibition looks at the primacy of color in works that range from Calder’s whimsical mobiles to Bischoff’s luscious, light-filled canvas to Levinthal’s slick, saturated photographs of Barbie dolls. Visitors will also see works in which artists consider nuances of black and white.”</span></p> <p style="text-align: justify;" class="PRBodyCopy"><span style="font-size: small;"><i>Local Color</i> will showcase some visitor favorites from SJMA’s collection that have not been on view recently: Bischoff’s <i>Two Women in Vermillion Light</i> (1959); Calder’s <i>Big Red </i>(1959); Oliveira’s <i>Raptor 1</i> (1986); <i>Yellow Cone (14,000 Curves) </i>(2005) by Bean Finneran; and <i>NOBODYWINSWHOFIGHTSALONE</i> (2009) by Markus Linnenbrink<i>. </i>The exhibition will also include recent acquisitions on view for the first time<i>, </i>including <i>Wheel (SJ)</i>, 2011, by Barbara Takenaga; <i>Untitled (Oblique 1)</i> 2011, by Sandeep Mukherjee; and photographs from the series “Modern Romance” by Levinthal.</span></p> <p style="text-align: justify;" class="PRBodyCopy"><span style="font-size: small;">The exhibition will also feature works by Josef Albers, Charles Arnoldi, Karl Benjamin, Fletcher Benton, Edward Corbett, Mary Corse, Tony DeLap, Sam Francis, Sonia Gechtoff, Paul Jenkins, Amy Kaufman, Karl Kasten, James Kelly, James Hayward, James Hyde, An Te Liu, Don Martin, Lee Mullican, Gordon Onslow-Ford, Gustavo Ramos Rivera, John Saccaro, Adrian Schiess, Shirley Shor, Hassel Smith, Fred Spratt, Sam Tchakalian, Patrick Wilson, and Elizabeth Voelker.</span></p> <p style="text-align: justify;" class="PRBodyCopy"><span style="font-size: small;"><i>Local Color</i> is sponsored by Doris and Alan Burgess.</span></p> </div> </div> </div> Thu, 05 Jul 2012 17:41:19 +0000 Ranu Mukherjee - San Jose Museum of Art - August 18th, 2012 - January 13th, 2013 <p style="text-align: justify;" dir="LTR"><span style="font-size: small;">We tend to think of nomads as age-old tribes who wandered the worlds’ deserts and plains in search of food, water, resources, or trade. But who are the nomads of the 21st century—e.g. migrant laborers, expatriates, transnationals, global high-tech virtuosos, international students, refugees, those who commute and relocate for work?</span></p> <p style="text-align: justify;" dir="LTR"><span style="font-size: small;">Ranu Mukherjee is fascinated by the idea of the contemporary nomad and the experience of repeated relocation that is common for so many of us today. What better place than Silicon Valley—with its rich history of immigration, itinerant workers, dot-com booms and busts, and outsourcing—to explore this updated notion of the nomad.</span></p> <p style="text-align: justify;" dir="LTR"><span style="font-size: small;">Memory, places, and possessions all contribute to our mutable sense of a “home” as something that you can take with you. For the ongoing project that she calls the “nomadic archive,” Mukherjee collects images that represent people’s very personal experiences of moving or up-rootedness. Mukherjee then elegantly renders the images in ink and paint on paper. The images contributed range from an airplane cabin to Rajasthani shoes (traditional Indian shoes). For<i> Telling Fortunes</i>, Mukherjee will gather diverse examples of contemporary nomadism in Silicon Valley – for example the bees at Happy Hollow Park and Zoo, San Jose; immigrants from Bangladesh and Pakistan; and the Buddhist temples followers in the area. Mukherjee wants her art to reflect the idea that “images are collectively made.” For her, such creativity—a coming-together of the experiences of a community—generates positive energy and auspiciousness.</span></p> <p style="text-align: justify;" dir="LTR"><span style="font-size: small;">Via painting, digital animation, and photography, Mukherjee transforms this crowd-sourced material into brilliantly colorful films. The result is a dazzling mix of fact and fantasy; digital and analog; and the spiritual and material.</span></p> <p style="text-align: justify;" dir="LTR"><span style="font-size: small;">You can be a part of this exhibition (the third installment of SJMA’s experimental series, “Beta Space”) by contributing material to Mukherjee’s “nomadic archive.” Please send your reflections, experiences, or ideas of the nomadic (in image or story-form) to or visit</span></p> <p style="text-align: justify;" dir="LTR"><span style="font-size: small;"><i>Ranu Mukherjee:</i><i> Telling Fortunes</i> is presented by SJMA in conjunction with the 2012 ZERO1 Biennial: Seeking Silicon Valley (September 12 – December 8, 2012). The ZERO1 Biennial, distributed throughout Silicon Valley and the greater Bay Area, is North America’s most significant showcase of contemporary work at the nexus of art and technology. For more information visit</span></p> Sat, 07 Jul 2012 15:07:47 +0000