ArtSlant - Openings & events en-us 40 Michael Bartalos, Galen Jackson, Eleanor Oakes, Ben Peterson, Anja Ulfeldt - Thomas Welton Stanford Art Gallery - January 8th, 2013 5:30 PM - 7:30 PM <p style="text-align: justify;"><span style="font-size: small;">The Department of Art &amp; Art History at Stanford University is pleased to present <b>ARSENAL</b><i> </i>on view from January 8 to February 10, 2013, with opening reception on January 10, 5:30-7:30 PM at the Thomas Welton Stanford Art Gallery. This exhibition introduces five first year MFA students in Art Practice to Stanford and the arts community. The artists include Michael Bartalos, Galen Jackson, Eleanor Oakes, Ben Peterson, and Anja Ulfeldt. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">As the exhibition title suggests, a supply of methods and resources has been deployed at the Art Gallery, resulting in the creation of new work from the diverse and eclectic practices of the five artists. As curator Terry Berlier states, “one often thinks of ‘arsenal’ as weapons or in terms of the military, but the term is employed here to define a collection of individuals and the worlds they reimagine.”</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Michael Bartalo</strong>s’s sculptural work references scientific inquiry, sociological investigation, and codified languages to propose nonlinear, fragmented narratives in space. His piece, <i>Projections</i>, creates an array of ‘sculptural drawings.’ Made of wood, wire, and light, it produces physical protuberances that interact with cast shadows that explore material and immaterial images, mappings, and architectures. Viewers are invited to manipulate the environments by using a flashlight or moving among the list constructions to project dynamic shadows.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Galen Jackson</strong>’s performance, video, and relicts compile a world of decay, chaos, and confusion. His work entitled <i>The Advent---Dispatches of Enterprising Malevolence from the Birth Canal of He of Limitless Rational Technical</i> offers multiple layers that are hard to decipher: oversized computer keyboards, micro controllers, hundreds of light bulbs, faulty connections, and the list goes on.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Eleanor Oakes</strong> uses photography to seek and explore the nature of human interactions and perceptions.  Her photographic prints and 35mm slide projections called <i>Terrestrial Explorations / Cosmic Somnium</i>, offer viewers new worlds to discern apart from the imagery and visual experience that they may have from their understanding of outer space based on history of artist renderings, photographic manipulations, and even science fiction.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Ben Peterson</strong> presents two sculptures, made of particleboard, acrylic paint, cardboard, and fabric, that are positioned on the left and right sides of the stairs leading to the Art Gallery. These works recall clothing donations boxes and multi purpose recycling centers.  Their placement, however within the context of the exhibition and on Stanford campus as well, seeks to question how public space is ordered and if that order can be thrown into question by an object with an ambiguous nature and use value.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Anja Ulfeldt</strong>’s <i>Obstacles</i> challenges viewers the way they go about their daily lives during times of instability and insecurity. Using a platform that includes a piezoelectric contact microphones embedded in the support structure to produce every tilt, creak, and thud, the form mimics the everyday by duplicating a sidewalk which viewers cannot quietly cross as their every move is amplified, drawing attention to them and heightening the sense of removal from everyday experience in a public space.</span></p> Mon, 17 Dec 2012 13:21:36 +0000 Tom Bolles, Andrew Burgess, Luis Garcia-Nerey, David Jansheski, Barbara Kronlins, Emilio Lobato - Andrea Schwartz Gallery - January 9th, 2013 5:30 PM - 7:30 PM <p><b> </b></p> <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>3+2+1: A Group Show            </b></p> <p><b>January 9 – February 1, 2013</b></p> <p><b>Opening Reception: Wednesday, January 9, 2013 5:30 PM – 7:30 PM</b></p> <p><b> </b></p> <p>Andrea Schwartz Gallery is pleased to announce, 3+2+1: A Group Show, a group exhibition featuring new work by Tom Bolles, Andrew Burgess, Luis Garcia-Nerey, David Jansheski, Barbara Kronlins, and Emilio Lobato, with an opening reception held on Wednesday, January 9 from 5:30 – 7:30 pm.</p> <p> </p> <p><i>“My artwork is more visceral than intellectual; I am more concerned with the form than the content.”</i>                                                                                     –Tom Bolles</p> <p> </p> <p>Tom Bolles is interested in the visual aspects of color, light, and texture. His paintings exhibit luminous and incandescent surfaces, which result from the application of multiple layers of translucent acrylic paint.  As he moves through layer by layer, the preceding colors can be detected under the surface, giving the painting depth and subtlety.</p> <p> </p> <p><i>“My works mainly deal with the subject of the Self and its interaction with the Other.”</i></p> <p>                                                                                                –Luis Garcia-Nerey</p> <p> </p> <p>Luis Garcia-Nerey is interested in the concept that all things are countered by the existence of another, including the self.  Garcia-Nerey intends his works to act as vehicles where the viewer has the choice in which direction to take them, without imposing limits and explanations.</p> <p> </p> <p>Andrea Schwartz Gallery was established in 1982 and is located in the South of Market district of San Francisco in our new gallery space located at 545 – 4<sup>th</sup> Street. 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 1/21.  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> Fri, 21 Dec 2012 23:33:52 +0000 Laeh Glenn, Sanya Kantarovsky, Sara VanDerBeek, Emily Wardill - Altman Siegel Gallery - January 10th, 2013 5:30 PM - 7:30 PM <blockquote> <p style="text-align: justify;"><span style="font-size: small;"><span size="3">"The time of a wave, say, in the advent of sound before it is heard by those with hands in parkas."<br /></span><span size="3">- from New Year's Day Swimmers by Gail Sher</span></span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;"><strong>Altman Siegel</strong> is pleased to present our winter group show, <strong><em>New Year's Day Swimmers</em></strong>, featuring the work of <strong>Laeh Glenn, Sanya Kantarovsky, Sara VanDerBeek</strong> and<strong> Emily Wardill</strong>.  Although each of these artists has a very distinct style, medium and conceptual practice, the works in this show are united by a certain fluidity of movement and form.  Several of the pieces are figurative and represent either literally or abstractly the body in motion.  Others reference space and the environment a form or body exists within.  </span><br /><br /><span style="font-size: small;"><strong>Laeh Glenn</strong>'s small-scale paintings and sculptures explore various methods of painting and mark making within the confines of a framed space. The purposeful installation of her paintings encompasses the space between the works bringing their poetic relationships into the final composition. </span><br /><br /><span style="font-size: small;"><strong>Sanya Kantarovsky</strong> explores the anxiety rooted in the creative process, often in the form of the artist at work and in the midst of an epiphany. Using fluid and minimal gestures he relays vivid stories of artistic archetypes: the performer leaving the theater after the performance, or the writer tearing up a recent draft in frustration and throwing the papers to the floor. </span><br /><br /><span style="font-size: small;"><strong>Sara VanDerBeek</strong>'s work often relates to the passage of time. The photographs and sculpture presented in this exhibition document elemental forms: the sun, moon and earth. Within this spacial context, VanDerBeek also explores the body in space, in this case the viewer reflected in a mirrored photograph. </span><br /><br /><span style="font-size: small;"><strong>Emily Wardill</strong> presents sculptures inspired by her short film, The Pips, which features the performance of a ribbon dancer.  These works consist of silkscreened ribbons on silk, framed in wooden boxes.  The lightness of materials and rhythmic movement of the image connote the fluidity of dance, with the silk gently responding to the movement of the viewer with slight undulations. The wooden frame that contains the silkscreen presents a solid counterpoint to this fluidity. </span><br /><br /><span style="font-size: small;">Laeh Glenn lives and works in Los Angeles CA.  She received her B.F.A. from California College of the Arts in 2008 and her M.F.A. from UCLA in 2012. </span><br /><br /><span style="font-size: small;">Sanya Kantarovsky was born in Moscow in 1982 and lives and works in New York City and Los Angeles. He studied at the Rhode Island School of Design and received his MFA from UCLA. He has exhibited at Marc Foxx, LA; Tanya Leighton, Berlin; Wallspace. NY; Bortolami Gallery, NY and the Museum of Modern Art in Moscow, among others.  Upcoming solo exhibitions include the Gesellschaft für aktuelle Kunst in Bremen and LAX Art in Los Angeles.  </span><br /><br /><span style="font-size: small;">Sara VanDerBeek lives and works in New York.  She has exhibited extensively including exhibitions at The Hammer, LA; The Whitney, NY; MOMA, NY; The Tang Museum, Saratoga Springs, NY; The Approach, London and Fondazione Memmo, Rome. She is currently working on an upcoming solo show at Metro Pictures, NY, and a solo booth for Altman Siegel at Frieze New York in May.</span><br /><br /><span style="font-size: small;">Emily Wardill lives in London. She has exhibited extensively including solo shows at Badischer Kunstverien, Karlsruhe; De Appel, Amsterdam; MCA, St. Louis; List Visual Art Center, MIT, Cambridge; Standard, Oslo; Fortescue Avenue, Jonathan Viner, London; ICA, London.  She recently completed a residency and solo exhibition at Artes in Porto and is currently working on an upcoming show with Carlier Gebauer in Berlin.</span></p> Sat, 05 Jan 2013 06:49:48 +0000 Rico Solinas - Anglim Gilbert Gallery - January 10th, 2013 5:30 PM - 7:30 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Gallery Paule Anglim</strong> is pleased to announce an exhibition of recent work by<b> Rico Solinas.</b></span></p> <p style="text-align: justify;"><span style="font-size: small;">Solinas will exhibit a series of oil paintings on saws. The 13 paintings in this exhibition are part of Solinas' ongoing project to capture all the art museums in the world in this unique format, to date a 15 year project. Painting on saws is an American folk art tradition which Solinas has taken up with humor and irony. </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">The buildings are distorted to fit the configuration of the saw, transforming the hard lines of the architecture into softer more organic forms with subtle hints of surrealism. Some are painted in</span><i style="font-size: small;">plein-air</i><span style="font-size: small;">, while others are painted from photographs; all are painted outdoors and subject to the elements.  The wind blows dirt and debris onto the surface which becomes part of the composition on the found object. </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">Rico Solinas has exhibited at the Oakland Museum, ASU Art Museum and has a M.F.A. from the San Francisco Art Institute and a B.A. from the University of California at Santa Barbara.</span></p> Sat, 05 Jan 2013 06:59:30 +0000 Tomas Nakada - Anglim Gilbert Gallery - January 10th, 2013 5:30 PM - 7:30 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Gallery Paule Anglim</strong> is pleased to announce an exhibition of new work by<b> Tomas Nakada.</b></span></p> <p style="text-align: justify;"><span style="font-size: small;">Tomas Nakada, who has exhibited with the gallery for over 15 years, will exhibit a series of oil paintings on wood. </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">This recent body of work references patterns that are created by microscopic cells. The painted image that Nakada constructs is like time elapsed photography compressed in on itself to create one single image that shows each stage of a colony of bacteria's migration. Following the wave of migration and consolidation, the process repeats itself over and over again. These cycles of expansion and stationary growth form the design and create meditative environments which suggest expansion over time. The artist also found similarities of these patterns to those of aerial photos of refugee camps in sub-Sahara regions of Africa and the idea of scarification of the land and its people.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Tomas Nakada</strong> has had solo exhibitions at the Newport Harbor Art Museum (now Orange County Museum) and at the Richmond Art Center, both in California. He has both a M.F.A. and a B.F.A. from the San Francisco Art Institute.</span></p> Sat, 05 Jan 2013 07:03:36 +0000 Elaine Buckholtz - Electric Works - January 10th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">In<strong> <em>Tuning For The Edge Of The Line</em> Elaine Buckholtz</strong> will take over the entire gallery with an installation featuring light-based work and videos that activate the surface of printed media on the wall.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Buckholtz explores light as an ephemeral phenomenon and uses it to unmask hidden aspects of architectural forms in relation to painting. She uses visual and temporal repetition to explore the intersection of space, image, movement, and light. Her fascination with light has a long history. Buckholtz will use her background in lighting and theater design in this exhibition to generate her own luminous theater in the gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This is Buckholtz’ third exhibition with Electric Works. Buckholtz received her MFA at Stanford University and has shown at The Swiss Technorama Museum, Winterthur Switzerland; Yerba Buena Center For The Arts, San Francisco, California; The Claremont Museum in Southern California; Pierogi Leipzig, Leipzig Germany; The Luggage Store in San Francisco; The San Francisco Arts Commission; California College of The Arts; Stanford University; The Wexner Center For The Arts; Sun Valley Center For The Arts; and Fusion Art Space, San Francisco, California.</span></p> Wed, 02 Jan 2013 12:10:26 +0000 Dorothea Tanning - Gallery Wendi Norris - January 10th, 2013 5:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong><em>Unknown but Knowable States</em></strong> will feature rare and ground-breaking paintings, drawings, and sculptures <strong>by Dorothea Tanning</strong>. For the first time, the gallery will be dedicating the entire 5,000 square foot space to the work of one artist, paying tribute to Tanning’s fearless vision and prolific body of work. Focusing on works creating between 1960 and 1979, during which the Surrealist artist and writer lived, worked, and exhibited in Paris, the show will include over thirty pieces, and will be documented in a 60-page catalog featuring an essay by Catriona McAra.</span><br /><br /><span style="font-size: small;"> Included amongst these works will be <em>Chiens de Cythère (Dogs of Cythera)</em>(1963), a turbulent composition in oil on canvas displaying an erotically charged, organic abstraction prefiguring that of contemporary art star Cecily Brown, and Tanning’s largest painting ever completed. Soft sculptures like Étreinte(1969) elaborate on this unbridled, biomorphic aesthetic, emulating her seminal installation piece <em>Hôtel du Pavot, Chambre 202</em> (1970-73.) This work originally exhibited in and now in the collection of the Centre George Pompidou in Paris, prefigures contemporary installation artists such as Urs Fischer, Sandy Skoglund, and Kim Dingle by decades. Much like <em>Unknown but Knowable States</em>, a quote attributed to Tanning herself during this period, the works protrude from the walls, grow from the floor, and define a haunting physical and psychological space. As a whole the exhibition offers a rare, in-depth opportunity to experience the scope and magnitude of work Tanning accomplished during two productive decades of her long career.</span><br /><br /><span style="font-size: small;"> Dorothea Tanning’s work is included in nearly fifty museum collections including The Museum of Modern Art, New York, The Smithsonian American Art Museum, the Tate Modern, Los Angeles County Museum of Art, and the Hood Museum of Art. Her paintings, drawings, prints, and sculptures have been widely exhibited in the US and abroad, and her poetry has appeared in such publications as <em>the Yale Review, the New Yorker</em>, and <em>Poetry</em>. Born in 1910 in Galesburg, Illinois, Dorothea Tanning studied in Chicago before meeting art dealer Julien Levy, and the Surrealist painter Max Ernst in New York. A contributing participant to the Surrealist movement, she went on to marry Ernst in a double ceremony with Man Ray and Juliet Browner. She and Ernst lived and worked in the US and France during their 34 years together. Tanning passed away in Manhattan in 2012 at the age of 101. Gallery Wendi Norris has been working with Tanning and The Dorothea Tanning Foundation for nearly six years, and this is the second solo exhibition of her work with the gallery.</span></p> Mon, 10 Dec 2012 18:12:39 +0000 Dennis Parlante, Matt Gonzalez - Meridian Gallery - January 10th, 2013 6:00 PM - 9:00 PM <p><b id="internal-source-marker_0.9675250819418579">Regarding Configurations: Dennis Parlante and Matt Gonzalez presents recent collage pieces by two San Francisco-based artists. This exhibition offers collage as an experience for contemplation. Taking the time to navigate through individual works, either through repetition or attention, transforms both understanding and appreciation of the collage. <br /><br />Dennis Parlante creates mixed media collage. Using vintage materials such as letters, postal envelopes, tags, and ephemera of all kinds, he works with the relationship “between old and new, spontaneous and deliberate.” While his lyrical images hint at nostalgia, Parlante complicates the signification of aged letters, foreign languages, and historical ledgers by both sensitively and boldly deleting the full referent with ink, paint, and graphite. Parlante has exhibited most recently at Modernism, SF; Washington Square East Galleries, NY; and Art Basel, Miami. <br /><br />Matt Gonzalez’ collage is in both paper and wood. Gonzalez work with found paper collected throughout the day and the city, making work that becomes witness to life in San Francisco: transfer tickets, exhibition cards, matchbooks, paperbacks, and product packaging. His paper collages are primarily monochromatic, ranging from pale variations of white and grey to bold statements of black, green or yellow. A selection of recent wood works will also be shown. Gonzalez is an attorney, writer, and former politician. He has been exhibiting since 2006, most recently at Guerrero Gallery, SF; The Bold Italic, LA; and Jack Fischer Gallery, SF.<br /></b></p> Wed, 09 Jan 2013 19:52:44 +0000 - The Contemporary Jewish Museum - January 10th, 2013 6:30 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Noir Czar and founder of the SF Noir Film Festival Eddie Muller investigates the life, work, and legacy of the crime photographer Weegee.  Originally a member of the Photo League, Weegee became notorious as the most dramatic of photojournalists because he approached his crimes scenes as art.  Muller will use short film clips to illustrate his talk. </span></p> <div class="logos"> <p style="text-align: justify;" class="footnote"><span style="font-size: small;">Public Programs at the Contemporary Jewish Museum are generously supported by the Leavitt Family and The Toole Charitable Foundation.</span></p> </div> Thu, 15 Nov 2012 16:15:41 +0000 Catherine Wagner - Wirtz Art - January 10th, 2013 5:30 PM - 7:30 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Stephen Wirtz Gallery</strong> is pleased to present<strong> </strong><em><strong>trans/literate</strong>,</em> a new exhibition of photographs by <strong>Catherine Wagner</strong>. In this exhibition, volumes of braille texts are presented as diptychs; an image of the closed book on the left with its accompanying open pages and embossed braille on the right.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;"><em>trans/literate </em>continues Wagner’s investigation of cultural archives that use unique systems to transfer knowledge. Presented as typologies, these investigations present materials that are often associated with highly specific audiences, creating rich commentary on significant issues of medical, technological, and contemporary cultural experiences.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">In the twelve works presented, all of which represent seminal literary works of fiction and philosophy, Wagner investigates the experiential difference between reading and listening, with particular focus on the decline of braille text publishing as audio recording gains prevalence. This decline places braille firmly in a larger conversational matrix, one in which sighted books and book publishing are declining as more convenient, technology-based, and portable modes of reading continue their ascent. This context transcends the world of the blind. In a literal sense, the growing prevalence of auditory materials is a harbinger of reading itself entering a retreat into history and memory.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Braille has remained a constant, unchanged language since its invention in 1834. Books in general have long been fetishized as tactile, almost sensual objects. With braille, the physical connection of holding and reading a book is even further enhanced, with each word possessing this tactile immediacy. Wagner’s photographs convey a strong understanding of physical loss, documenting the books as flat surfaces that create a sculptural illusion of punched relief, but with a distance that reinforces the irreplaceable loss of a physical dimension.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Though absolutely subjective, Wagner set out to find books that had distinguishable resonance. Presenting them as diptychs allowed her to break each book into macro- and micro-abstractions. Viewed at a distance, the diptychs are color fields, the book covers a rich palette of crimsons, magentas, aubergines, and bright, verdant greens. Viewed alongside white fields of open books printed in braille, her presentation echoes the unadorned visual capacity of the blind. Upon closer inspection, the embossed dots become a seductive trompe l’oeil, coercing the viewer into a desire to touch the page. This dimensional deception is reconciled as the viewer reaches the bottom right of the image, where two titles converge, one in braille overlaying one in print.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">For over thirty years Wagner has been a keen observer of the built environment, examining institutions of learning and knowledge, such as art museums and science labs, as well as the ways we construct our cultural identity. Wagner has received many major awards, including the inaugural Visual Arts Fellowship from the San Jose Museum of Art, a Guggenheim Fellowship, NEA Fellowships, an award from Artadia: The Fund for Art and Dialogue, and the Ferguson Award. Ms. Wagner was also named one of Time Magazine’s Fine Arts Innovators of the Year for 2001.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">In addition to her studio work, Wagner has also created large-scale site-specific public art pieces for the City of San Francisco, the UCSF Medical School, the City of Los Angeles. Wagner recently won the Central Subway Public Art Competition from the San Francisco Art Commission for the Moscone Muni station.  Her public artworks combine the theoretical rigor of her photographic works with an awareness of the specifics and history of each site.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Her work is represented in the collections of the Museum of Modern Art, the Whitney Museum of American Art, the Metropolitan Museum of Art, the Los Angeles County Museum of Art, the San Francisco Museum of Modern Art, Museum of Fine Arts, Houston, the Museum of Folkswang, Essen, Germany, and the Victoria and Albert Museum, London. Her monographs include <em>Cross Sections</em> (Twin Palms Press 2002), <em>Art &amp; Science: Investigating Matter</em> (Washington University, 1996), <em>Home and Other Stories</em> (Los Angeles County Museum of Art, 1993), and <em>American Classroom</em> (Museum of Fine Arts, Houston, 1988).  Her work was included in the 2012 SFMOMA exhibition <em>Stage Presence: Theatricality in Art and Media, curated by Rudolf Frieling.</em></span></p> Sat, 05 Jan 2013 06:50:35 +0000 - art works downtown - January 11th, 2013 5:00 PM - 8:00 PM <p style="text-align: justify;"><strong style="font-size: small;">opening reception:  Dec 14 • 5 - 8pm</strong></p> <p><strong>2nd reception:  January 11 • 5 - 8pm</strong></p> <p style="text-align: justify;"><span style="font-size: small;">Holiday fundraising exhibit for Marin Organic's Farm Field Studies Program; a collaboration between Art Works Downtown, Marin Organic, Marin History Museum and <strong>Art on the Farm</strong>.  Celebrate art and local farms in a fun and educational manner. Exhibit will expand through our entire 40,000 sq.ft art center.</span></p> <p style="text-align: center;"><strong>Special thanks to friends + donors:</strong></p> <ul style="text-align: center;"> <li>The Anne T. Kent California Room, Marin County Free Library</li> <li>Point Reyes Vineyards   + Arizmendi Bakery, San Rafael</li> </ul> <p style="text-align: center;"><span style="font-size: small;"> </span></p> Tue, 18 Dec 2012 13:50:34 +0000 Sacha Eckes - fouladi projects - January 11th, 2013 6:00 PM - 8:00 PM <p>FOULADI PROJECTS PRESENTS:<br /> <br />Love, Life, Art and the Devil<br />Featuring work by Sacha Eckes<br />January 11th - February 23rd, 2013<br /><br />Sacha Eckes blossomed her career as an artist during an especially fertile time in San Francisco where she primarily resided from 1993 to 2007. Throughout this era, she was an active and visible member of the local Mission arts community, both showing and organizing exhibitions at many alternative spaces including Adobe Backroom Gallery, The Lab, Balazo, and The Luggage Store. She was one of the first artists to be interviewed on fecalfacedotcom, a website that continues to cultivate a large audience of skateboard and graffiti art enthusiasts. Her drawings and illustrations have been published in numerous national magazines. From 2006-2011 she drew a weekly cartoon for the SF Chronicle called "Life is Good" and worked as a curator from 2005-2007 at 111 Minna Gallery where she founded Sketch Tuesdays, a now legendary monthly drawing event. In 2007, she moved to Antwerp, Belgium and maintains her vibrant contribution to the arts community there and beyond. <br /><br />The title of this exhibition, "Life, Love, Art and the Devil", reveals the four major themes in Sacha's drawings, paintings and cartoons. These universal motifs are conveyed with abundant humor, palpable tenderness and a persevering desire to survive within this chaotic world. Her work pulls the viewer into a whimsical dimension populated frequently by comical characters questing for a deeper understanding of life's paradoxes. From Goya, she is inspired graphically and compositionally, and by Guston in her ongoing investigation to balance the abstract and the figurative.<br /><br />For more information, interviews or images contact:<br />Holly Fouladi, Fouladi Projects<br /> or (415) 425-2091</p> <p></p> Fri, 28 Dec 2012 05:32:17 +0000 Shawn Kuruneru, Gudrun Mertes-Frady - Mark Wolfe Contemporary Art - January 11th, 2013 5:00 PM - 8:00 PM <p>Mark Wolfe Contemporary Art presents <i>ADVENTURE/CHANCE</i>, new works by Shawn Kuruneru and Gudrun Mertes-Frady.  Both artists are based in Brooklyn, NY.</p> <p>Working in abstract expressionism, Kuruneru and Mertes-Frady each explore structure, form, and mark-making in various media. Their works seek intuitive responses to abstract forms, and a balance between physical and psychological presence.</p> <p>In addition to his ink and acrylic works on linen, for this exhibition Kuruneru will create a custom installation made up of millions of small ink beads that will spread across the gallery to create an abstract drawing on the floor. The ink beads are various small mixed media (couscous, pebbles, clay) painted with black ink. Each ink bead represents one dot mark and a group of marks creates shapes and images as the viewer connects the dots together. </p> <p>Originally from Toronto, Canada, Shawn Kuruneru has had solo exhibitions at Ribordy Contemporary in Geneva, SUI, Blackston Gallery, New York, NY, and Night Gallery, Los Angeles, CA. His work has been featured in numerous publications, including the <i>New York Times</i>, <i>Interview</i> Magazine, <span style="text-decoration: underline;">Domus</span> Magazine and <i>Columbia: A Journal of Literature and Art.</i></p> <p>Originally from Cologne, Germany, Gudrun Mertes-Frady lives and works in Brooklyn, NY, and has exhibited extensively, particularly in New York City and throughout Germany. Her works reside in a number of public collections.</p> <p>Please contact the gallery for hi-res images and a full CV for each artist.</p> Fri, 21 Dec 2012 23:28:17 +0000 Jordan Kantor - Ratio 3 - January 11th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Ratio 3</strong> is pleased to annouce a solo exhbition of new paintings by<strong> Jordan Kantor</strong>. The exhibition will be on view from January 11th through February 9th, 2013. This will be Kantor’s third solo exhibition at Ratio 3.</span><br /><br /><span style="font-size: small;">The exhibition will feature an installation of paintings that re-purpose materials employed during the process of painting but are rarely considered the end result. This idea is found in a series of colorful abstractions on cotton rags, sewn to canvas. The rags, once used for removing color from a painting-in-process or cleaning a paintbrush, have been gathered, sewn to un-primed canvas, and stretched. Attached to each side of the stretched object is a wooden slat, which has been painted to match a single color found in the cotton rag.</span><br /><br /><span style="font-size: small;">These pieces are shown alongside a group of dark, monochromatic paintings that utilize paint sludge, the usually-discarded pigment sediment that gathers at the bottom of a vessel containing mineral spirits used to clean paint brushes.</span><br /><br /><span style="font-size: small;">Extending these ideas, Kantor investigates the manner in which color is used and interpreted through another series of paintings included here, based upon film stills used in the studio setting. A sequence of ten paintings depict a film test–intended to be used by technicians to calibrate how color is captured and presented on film, not necessarily seen by an audience–of a woman’s hand passing in front of various colors of cloth. Elaborations of these color studies are found in Kantor’s installation of painted wooden structures that suspend from the gallery ceiling and hang on the wall. These pieces draw from individual colors found in the film still paintings.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Kantor's artwork has been shown in numerous exhibitions, most recently at The San Francisco Museum of Modern Art (2012); Churner and Churner, New York (2011); The Henry Art Gallery, Seattle (2011); Ratio 3, San Francisco (2010); The Seattle Art Museum (2010); Art 40 Basel Statements (2009); The San Francisco Museum of Modern Art (2009); the 2008 California Biennial at the Orange County Museum of Art (2008); Johnen Galerie, Berlin, Germany (2008); Thomas Dane Gallery, London (2007); and Artists Space, New York (2006). In 2010, Kantor became the inaugural recipient of ArtNow International’s Pioneer Art Award, which includes a residency at the Kadist Art Foundation in Paris, France. He lives in San Francisco.</span></p> Wed, 09 Jan 2013 11:47:55 +0000 Amanda Curreri - Romer Young Gallery - January 11th, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Romer Young Gallery</strong> is pleased to present its third solo exhibition with Bay Area artist <strong>Amanda Curreri</strong>. Curreri transforms the gallery into <em>The Aunque</em>– a space of possibility, a space of the 'even though'. With both irreverence and with earnestness, <em>The Aunque</em> serves as a space for reflection on power, identity, and desire in the face of the violence of contemporary social life. There will be an opening reception for the artist on <strong>Friday, January 11, 6-9pm</strong>.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Beginning with the titular language shift from English to Spanish, Curreri’s work invokes a power shift and implicates itself and the viewer in acts of “reading” and legibility. The phrase "Aunque, violencia es total" entered Curreri's head like a mantra while on a long-distance run. Highlighting this meditative state achieved through physical and sensory experience, Curreri insists on an equivalence between body knowledge and cerebral understanding as a crucial tool of negotiating identity. Curreri’s work employs an <em>Active Formalism</em>: a mix of formalism with an insistence on experience as a way of learning and testing, do-ing and be-ing.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Artworks within <em>The Aunque</em> are a re-envisioned hand-dyed and sewn flag, multiple paintings, a video, confounding cocktail napkins, and an invitational play. The diverse languages in effect – color, form, vernacular, linguistic – all converge via poetry as a pragmatic model for this new work. Amanda offers: “I was looking for an intimate one-to-one structure for this work which is what lead me to poems. Poetry is so flagrantly about heart and commitment and also so much about the rogue and necessary pied piper figure in society. I asked a poet friend for insight on what makes something a poem, and, of course, they said that it is structure and form and then the breaking and bending of that form.” Curreri applies this formalist approach as a vehicle to push into new spaces of discourse.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">On Wednesday, January 30, 7pm, Curreri hosts a performance, <em>Jean Genet in the Aunque</em>, which utilizes a collaged script of quotes to create a conversation of poetry and outlaws, performance of selves, and cross-identification. Pocket-knives optional.</span></p> Sat, 05 Jan 2013 06:46:29 +0000 - Gallery Wendi Norris - January 12th, 2013 2:00 PM - 3:30 PM <p style="text-align: justify;"><span style="font-size: small;">On Saturday, January 12 from 2:00 - 3:30 PM, Gallery Wendi Norris will host a Dorothea Tanning Round Table Discussion. Participants include Ilene Fort, Curator of American Art, Los Angeles County Museum of Art (LACMA), Patricia Maloney, Founder/Publisher of Art Practical, and Dr. Catriona McAra, Tanning Scholar, University of Huddersfield (England).</span><br /><br /><span style="font-size: small;"><em>The exhibition catalogue is available on our <a href="" target="_blank">website</a>. It includes an introduction by Wendi Norris and an essay by Dr. Catriona McAra. Dr. Catriona McAra completed her doctoral thesis on the art and literature of Dorothea Tanning in History of Art at the University of Glasgow (Scotland), and is currently Research Assistant in Cultural Theory at the University of Huddersfield (England). She is working on her first monograph, a visual reading of Tanning's novel Chasm: A Weekend</em>. </span></p> Sat, 12 Jan 2013 06:58:08 +0000