ArtSlant - Current exhibits en-us 40 David Choong Lee - 111 Minna Gallery - January 28th, 2013 - February 23rd, 2013 <div align="left"> <p align="justify"><strong>111 Minna Gallery</strong> proudly presents the most recent body of work by the incredibly prolific and multi-talented artist, <strong>David Choong Lee</strong>. This show will be David's third solo exhibition with 111 Minna and represents his constant growth and transition as an artist as his current practices and sculptural tendencies with which he builds from his paintings, are in stark contrast from the original paintings from his first solo exhibition, which were primarily sourced from San Francisco's local streets. David Choong Lee is a master creator of environments and builder of stylistic formulas comprised of everything he knows, meticulously composed in a way which expands the viewers mind and furthers ones perception of painting and art itself.</p> </div> <div align="justify"> <p>David's work has shown at many galleries in San Francisco such as 111 Minna gallery, Bucheon Gallery, Culture Cache Gallery, LEVI'S as well as many other galleries in the US and abroad, such as South Korea. He has self-published a number of art books- God Made Dirt, and Dirt Don't Hurt, 4 WORDS, DIRT, CONVERGENCE- and some of his books are distributed by Gingko Press and 2nd round productions to Europe and Asia.<span style="text-align: left;"> </span></p> <p>He's been teaching figurative art at the Academy of Art University in San Francisco for last 10 years (from 1998), and he lives in downtown San Francisco with his wife.</p> </div> Sat, 22 Feb 2014 15:25:13 +0000 Hydro74, Jesse Hernandez - 1AM Gallery - January 18th, 2013 - February 9th, 2013 <p>1AM is pleased to present, “<b>Rednecks &amp; Aztecs</b>”, a dual artist exhibition featuring new works by Hydro74 and Jesse Hernandez. Hydro (the Redneck) and Hernandez (the Aztec) will combine their aesthetics and talents to create a strong, graphic show. On <b>January 18th, 6:30-9:30pm</b>, we are excited to bring back two prior 1AM Gallery artists to display the products of their collaboration as well as new pieces for 2013.<br /><br />Hydro74 leads a strong international career as a designer, typographer and illustrator. Working in a variety of mediums such as silkscreen prints, graphic design, apparel design, and vinyl toys, his brand and style has become a favorite amongst the culture. Utilizing similar mediums, Hernandez combines traditional indigenous styles and themes with an urban street sensibility. His work utilizes bold line work, sharp colors, and dynamic imagery.<br /><br />No doubt it will be a visual masterpiece to see the juxtaposition of style, imagery, and mediums all packed into one for the opening of “Rednecks &amp; Aztecs”. Fans of street art, fine art, prints and vinyl toys will all converge for the unveiling of Jesse Hernandez and Hydro74’s newest works on January 18th, 6:30-9:30pm!</p> Sat, 22 Feb 2014 15:35:31 +0000 Jane Burton, Tyler Burton - a new leaf gallery | sculpturesite - January 26th, 2013 - April 28th, 2013 <p style="text-align: justify;"><span style="font-size: small;">SONOMA, CA. – Renowned figurative ceramic sculptors <strong>Jane Burton </strong>and<strong> Tyler Burton</strong> will debut their first collaborative exhibition titled “<em><strong>Sisters</strong></em>” on Saturday, January 26 at <strong>A New Leaf Gallery l Sculpturesite</strong> located at Cornerstone in Sonoma, California. A reception for the artists will be held on Sunday, January 27 from 2:00 p.m. to 5:00 p.m. in the gallery. The show will remain at A New Leaf Gallery l Sculpturesite until April 21, 2013.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Working in collaboration for the first time, sisters Jane and Tyler Burton have created an installation titled “Selective Memory,” comprised of more than 1,200 hanging white porcelain rocks layered over scores of ancestral faces. The 12’H x 7’L x 3’D piece reflects on family ties, perceived family memories, as well as a realization that we are each a fragment of a larger whole. Both artists’ works are significantly influenced by the countless patterns, textures and colors of nature and reveal their reverence for the power and quietude found there. In addition to the one major collaborative piece, both Jane and Tyler will exhibit several solo works each.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jane Burton has been represented by A New Leaf Gallery l Sculpturesite owner Brigitte Micmacker for more than eight years. “I am thrilled that Jane and her sister Tyler are collaborating on their first show which will take place at our gallery in Sonoma. The idea for ‘Sisters’ grew out of a two-month residency the Burton sisters participated in at the Banff Art Centre in Banff, Alberta Canada,” says Brigitte Micmacker.</span></p> <p style="text-align: justify;"><span style="font-size: small;">“We have always talked about doing some kind of suspended work, and porcelain rocks are a natural for us since we both work in clay and love to collect rocks,” says Jane Burton. “We created each piece and feel like we imbued our DNA, a common gene, on each rock. Our original intention was to create a hanging figure within the rocks, but as it progressed, we loved the simplicity of a suspended box.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">Both Jane and Tyler cite their residency at Banff as extremely productive and inspirational. Not only were they in their element as far as pristine mountains, glacial lakes and great hikes, they had 24 hour access to a fully equipped ceramic workspace, great work study assistants, as well as private studios.</span></p> <p style="text-align: justify;"><span style="font-size: small;">“Working with family or close friends can be challenging, and since we are sisters, you would think it would be extremely challenging, but Jane and I have a dynamic that works really well together,” said </span><span style="font-size: small;">Tyler Burton. “First of all, we have the same sense of humor and when together, we laugh a lot. We </span><span style="font-size: small;">also have close to the same esthetic and an appreciation for each other’s eye. We can anticipate what each other will think about certain things and often we don’t even have to verbalize a thought. I believe this gives us a communication edge.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">Comments Jane Burton on the Banff experience: “One of the goals of the Centre and my residency was certainly met in that I was exposed to international talent from many disciplines outside of visual arts, including dance, music, theatre, performance art and even stand-up comedy.</span></p> <p style="text-align: justify;"><span style="font-size: small;">“I experimented with concepts, techniques and styles new to me,” continues Jane, “shale-like layering, working from molds, dangling layered, hole-filled cones on wire, and while most of the prototypes were left behind in the dumpster, I expect their influences will impact my future work.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jane Burton graduated from U.C. Davis in the early ‘70s with a BFA, and continued on with graduate school and a career in Graphic Design. It was 20 years later that her passion for ceramics and pit firing ignited, inspired by a trip to Ghost Ranch in Abiquiu, New Mexico where she took a Native American pottery class. Burton is currently creating large ceramic sculptures ranging in height from two to 20 feet, and exploring the relationships between vessels and the energy they contain. The forms are reminiscent of the feminine connection to the ancient representations of the goddess; a shape starting small and rising into the fullness of her power and strength.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jane Burton’s work incorporates techniques such as multiple firings, stains, oxides and slips that create a timeless and aged look. Much of her work achieves the depth of texture and color through a fusion of clay slips and washes, layers of organic and inorganic materials, copper markers and tape and non-ceramic finishes such as gold leaf. Some of her recent works introduces the use of Terra Sigillata (fine clay particles immersed in water) that results in a soft glow. She scratches through the layers with intense journal writing – words that once committed to the work are no longer meant to be read.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In just the past year, Jane Burton’s work has been exhibited in Miami, Florida; Portland, Oregon; Bridgehampton, New York; Healdsburg, California; and two shows in Los Angeles, California. As one of the top gallery artists, Jane’s work is on continuous view at A New Leaf Gallery l Sculpturesite.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The concept of Tyler Burton’s recent work is about belief systems and how they affect all of us. “Our lives are constantly regulated by belief systems ingrained in us since birth or imposed on us by the societies in which we live,” says Tyler Burton, “and our whole existence is built upon what we believe.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">Her current series, titled “Bound by Beliefs,” looks at how cultures throughout the world are bound and limited by beliefs passed down through tradition. Using clay and wood as primary materials, Tyler adds binding metals to express the concept. In her haunting work “A Thousand Reasons,” hundreds of copper nails pounded into the wood express hundreds of beliefs.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tyler Burton grew up in California and has a strong love of the outdoors, the ocean, the mountains and</span> <span style="font-size: small;">deserts, all of which has inspired and permeated her work. She enjoys spending hours on a beach looking at rocks, as well as taking alley walks in Los Angeles collecting industrial castaways. She is inspired by hiking, cycling and yoga as well as African tribal art, simplified figures of early Mediterranean culture and the poets Rumi and Mary Oliver. Tyler lives in Southern California with her husband, two children, a wolfhound and a hedgehog. Her works have been exhibited throughout the west coast from Seattle to San Diego.</span></p> Mon, 08 Apr 2013 14:24:26 +0000 Laeh Glenn, Sanya Kantarovsky, Sara VanDerBeek, Emily Wardill - Altman Siegel Gallery - January 10th, 2013 - February 16th, 2013 <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 06:49:47 +0000 John Belingheri - Andrea Schwartz Gallery - February 6th, 2013 - March 15th, 2013 <p style="text-align: justify;"><b>FOR IMMEDIATE RELEASE<br /></b>Contact: Jennifer Draughon<br />Andrea Schwartz Gallery<br />545 4<sup>th</sup> Street, San Francisco, CA 94107<br />415.495.2090 – Phone<br />415.495.2094 – Fax<br /><br /></p> <p style="text-align: justify;"><b>John Belingheri</b></p> <p style="text-align: justify;"><b>February 6 – March 15, 2013</b></p> <p style="text-align: justify;"><b>Opening Reception: Wednesday, February 6, 2013, 5:30 - 7:30 PM </b></p> <p style="text-align: justify;"><b><strong>Please note the gallery will be closed 2/16 – 2/18.</strong></b></p> <p style="text-align: justify;"><i>“My paintings are bounded surfaces that connect to something larger and their potentially infinite interplay of pattern gives the work energy providing an evocative surprise.”                                                                                    </i></p> <p style="text-align: justify;"><i>                                                                                                                         </i>– John Belingheri</p> <p style="text-align: justify;">                                   </p> <p style="text-align: justify;">Andrea Schwartz Gallery is pleased to announce a solo exhibition for John Belingheri opening Wednesday, February 6, 2013. John Belingheri’s oil and mixed media paintings on canvas express an interrelationship of form and pattern that creates energy on the surface.  Rather than starting from a plan, the paintings evolve from starts and stops and missteps.  The lines are static and unpredictable, with worn surfaces of marks and edits. Each painting pulls the viewer closer to a repetitive chant of linear lines and rich colors. Belingheri’s paintings are an abstraction with pattern, which pushes up to the square edges of the canvas to be included in the formalistic demands of the painting. The work is a conscious dialog with a range of collected language from other abstract art.  The paintings are minimal and postmodern.</p> <p style="text-align: justify;">John Belingheri is a Bay Area artist who has exhibited extensively in the United States and abroad.  His work is included in both public and private collections throughout the world. He received his MFA and his BFA from Brigham Young University in 1981 and 1976 respectively.</p> <p style="text-align: justify;">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 2/16 – 2/18.  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> <p> </p> Wed, 06 Feb 2013 17:36:52 +0000 Klone - Anno Domini - February 1st, 2013 - March 15th, 2013 <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;"><span style="color: black;" color="black" face="Times New Roman,Georgia,Times"><b>Anno Domini <i>presents...</i></b></span> <span style="color: black;" color="black" face="Trebuchet MS, Geneva, Arial, Helvetica, SunSans-Regular, sans-serif"><i><b>The Moment (when the world stopped turning)</b></i><br /> Solo Exhibition of KLONE (Tel Aviv, Israel)<br /> </span></span></p> <p style="text-align: justify;"><span style="color: black; font-family: arial,helvetica,sans-serif; font-size: small;" color="black" face="Trebuchet MS, Geneva, Arial, Helvetica, SunSans-Regular, sans-serif"><span style="color: black;" color="black" face="Trebuchet MS, Geneva, Arial, Helvetica, SunSans-Regular, sans-serif" size="2">A collection of glimpses from our world, snapshot like documentation of possible/impossible moments. Each of those moments is represented through a visual vocabulary, loaded with symbolism that is derived from various experiences from not so far away childhood and through not so clear adulthood. This is visual documentation of life , no matter where you're from, which part of the globe and which side of the ocean. The dreams we have, the days we live, the politics, the unnecessary battles, the necessary struggles, the poor and the rich, the tired and the restless. There's place for everybody and place for no one. This is daydreaming of what could be and what won't ever return. The chase that never ends.</span></span></p> <p style="text-align: justify;"><span style="color: black; font-family: arial,helvetica,sans-serif; font-size: small;" color="black" face="Trebuchet MS, Geneva, Arial, Helvetica, SunSans-Regular, sans-serif"><span style="color: black;" color="black" face="Trebuchet MS, Geneva, Arial, Helvetica, SunSans-Regular, sans-serif" size="2">Klone was born in Harkov , Ukraine (former USSR) and currently resides in Tel-Aviv , Israel. "My work is dealing with memories, my own and the ones I manage to collect in everyday life from surroundings, if it's my childhood in USSR or the coming to Israel, if it's the layers of the city, walls crumbling apart and graffiti covering and being covered, people getting old and the new generations appearing every moment, the search is endless thus my work of documenting it is still long, I learn a new language that invents itself along the way."</span></span></p> Mon, 28 Jan 2013 16:34:05 +0000 Kay Russell, Patricia Ancona, Claudia Tarantino - art works downtown - January 25th, 2013 - March 22nd, 2013 Wed, 06 Feb 2013 18:17:06 +0000 Beri Ketema - art works downtown - January 30th, 2013 - March 2nd, 2013 Wed, 06 Feb 2013 18:19:05 +0000 - Asian Art Museum - October 20th, 2012 - August 3rd, 2014 <p style="text-align: justify;">Our bodies are moving canvases; the orna&shy;ments we wear are seen from different angles, in bright sun and evening shadows, at simple gatherings and fancy events. While jewelry often proclaims the wealth and status of its owner, each object can also tell other stories. These are stories of the cycle of life&mdash;engagements, weddings, births, deaths. Jewelry can function as a talisman, encapsulating our wishes for protection or hopes for prosperity.<br /><br />On view in gallery 11 of the Southeast Asian galleries (October 20, 2012&ndash;August 3, 2014) is a remarkable selection of jewelry from the James and Elaine Connell Collection. After donating their collection of Thai ceramics to the Asian Art Museum in 1989, the Connells began collect&shy;ing jewelry, selecting rare objects from a wide range of Southeast Asian cultures. The forty-one pieces of jewelry on display, which were recently donated to the museum, come primarily from Indonesia but also include examples from the Philippines, Malaysia, and Burma.<br /><br />Ancient Indian texts describe a region called&nbsp;<em>Suvarnadvipa&nbsp;</em>(&ldquo;Golden Island&rdquo; or &ldquo;Golden Peninsula&rdquo;), a term thought by many to des&shy;ignate the Indonesian islands, particularly Sumatra. Sumatra is rich in gold deposits that were exported throughout the archipelago. Gold has long been treasured for its luster, malleabil&shy;ity, and resistance to corrosion. In many of these island cultures, gold was associated with the sun and with the ancestral deities.<br /><br />While many of the objects on display are gold, other materials were also used for ornamentation. Bells, beads, bones, beaks&mdash;Southeast Asians made jewelry from a vast array of materials, both imported and local. Traditions of jewelry making are especially rich among the peoples of Mindanao Island and the Luzon highlands of the Philippines and a case in the display exhibits objects from these regions.<br /><br />The jewelry of neighboring regions (or even within an area) can be dramatically varied, including both strikingly bold forms and objects finely crafted with intricate detail. Certain shapes, like the omega-shape &Omega;, spread across thousands of miles and are linked to notions of female fertility. Other forms, like the huge plate-shaped gold chest ornaments called&nbsp;<em>piring mas&nbsp;</em>(gold plates), are found only in a small number of eastern Indonesian islands.<br /><br />Most of the objects on display most likely date from 1800-1900, but it is possible some are much older. Jewelry of these types is no longer made in many of these regions, although heirlooms are still kept, treasured, and worn on ceremonial occasions. As a group these objects illustrate the great diversity of techniques, materials and functions of jewelry made by some of the many distinct cultural societies of Southeast Asia.</p> Thu, 06 Mar 2014 17:11:19 +0000 - Asian Art Museum - November 2nd, 2012 - May 5th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The tools are simple. The technique is complicated. The results are extraordinary. Batik is a famous artistic tradition of the Indonesian island of Java, where the process of creating patterned cloth with hot wax has reached the highest level of complexity. In this exhibition you will see some of the finest batik textiles, whose remarkable diversity draws inspiration from a wide range of cultures and religions.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition was organized by the Asian Art Museum</span></p> Fri, 12 Oct 2012 10:32:10 +0000 - Badè Museum - September 21st, 2012 - April 5th, 2013 <p style="text-align: justify;" align="justify"><span style="font-size: small;">Archaeological evidence from houses and households provides detailed insight into everyday life of families in the biblical world. A basic Israelite house consisted of only three or four rooms, providing a family with limited space for performing the many daily tasks necessary for survival. Families thus came to depend on accessing the resources of their neighbors, sharing courtyards, storage rooms, roof tops, and ovens to complete daily activities. These dwelling compounds often shared interiors walls, fostering close living arrangements. Archaeological remains from Tell en-Nasbeh provide evidence of linked residential structures that were inhabited by extended families of ancient Israel.</span></p> <p style="text-align: justify;"><span style="font-size: small;">These shared living and activity spaces within residential complexes supported participation in communal production and subsistence practices among extended families and neighbors. Male and female residents of all ages cooperated in activities, such as textile production and food preparation, in multifunctional, open-access rooms and courtyards. This type of communal setting allowed for different practices and crafts to intersect, and encouraged interaction, learning, and multi-tasking among household members on a daily and seasonal basis.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The specific types of activities taking place around the home varied depending on the seasons. While weaving and spinning were mainly conducted inside during rainy winter months, ceramic and mudbrick production were usually practiced outside in the arid spring and summer because they required large, dry, open spaces. In contrast, some spaces were reserved for specific uses that remained consistent throughout the year; for example, ritual spaces and storage areas, though changes in family size and resources might alter their size and placement.</span></p> <p style="text-align: justify;"><span style="font-size: small;">We can access these types of social interactions and family activities in domestic space through studying the architectural and material remains of ancient houses. Such cooperative family dynamics contributed significantly to the health and livelihood of a settlement’s community, as is evidenced by the remains from Tell en-Nasbeh, and were the foundation of ancient Israelite society.</span></p> <p style="text-align: justify;" align="justify"></p> <p style="text-align: justify;"><span style="font-size: small;"><em><strong>~This exhibit is dedicated to the memory of William G. Badè, son of W. F. Badè, Emeritus Professor of Mathematics at UC Berkeley, and long-serving Advisory Board Member of the Museum (1924 –2012)</strong></em></span></p> Tue, 18 Dec 2012 14:27:13 +0000 - Badè Museum - October 5th, 2012 - April 5th, 2013 <p style="text-align: justify;" align="justify"><em>“For the LORD your God is bringing you into a good land - ... a land where bread will not be scarce and you will lack nothing; a land where the rocks are iron and you can dig copper out of the hills,” - Deuteronomy 8: 7-9 </em></p> <p style="text-align: justify;">The exploitation of metal is one of the most important technological innovations in human history. Metals were first used in ancient Israel/Palestine during the Chalcolithic Age (ca. 4300-3000 BCE). The word "chalcolithic" derives from the Greek words for "copper" (khalkos) and "stone" (lithikos). Copper is a naturally occurring soft, malleable metal that could be melted down and molded with relative ease. Copper was abundant and was mined for thousands of years in the southern Arabah desert. The metal seems to have been used by the inhabitants of the Chalcolithic era largely for personal adornment and as ceremonial objects. Because copper is so soft, it would not have been as practical as stone for use in agricultural tools or as weaponry. However, copper was highly valued as a luxury material, and was used to make beautiful items such as crowns and ceremonial maceheads.</p> <p style="text-align: justify;">Bronze began to be used widely around 3000 BCE. Initially, copper was alloyed with arsenic; around 2000 BCE true bronze, an alloy of 90% copper and 10% tin, took over. While sources of arsenic are local, tin had to be imported from afar. Tin, is found associated with granite rock, in Anatolia (modern Turkey), and in sources in Afghanistan. Stronger and more brittle than copper and stone, bronze represented a technologically advanced material used for weaponry, tool, and armor manufacturing.</p> <p style="text-align: justify;">Around 1000 BCE iron began to be used in ancient Israel. Unlike copper and tin, iron did not have to be mined from the ground but was extracted from ore on the earth’s surface. However, because the iron ore indigenous to ancient Israel was of poor quality, the Israelites may have imported iron ore from regions such as Syria, Gilead, or Anatolia. Iron that was made through a process called carburization (coming into contact with carbon) and then quenched (cooled) in cold water was the hardest and strongest metal available to the ancient Israelites. Therefore, iron replaced bronze as the metal of choice for weaponry as well as agricultural tools. Yet, bronze and copper continued to be used for the manufacture of specific products. For example, copper was used to make luxury bowls and cauldrons while bronze was used to produce statues, figurines, jewelry, and other vessels.</p> Tue, 18 Dec 2012 14:27:08 +0000 Peter Voulkos, Harold Paris, Stephen De Staebler - Berkeley Art Center - October 24th, 2012 - October 24th, 2014 <p>Berkeley Art Center debuts its new Sculpture Patio, featuring the work of seminal Bay Area ceramic sculptors: Harold Paris, Peter Voulkos and Stephen De Staebler. Come view three exceptional works that mark a historic transformation in the medium of clay. This exhibition is on-going and admission is free, donations appreciated.</p> <p>For more information and details on membership please visit or call 510-644-6893.</p> Wed, 02 Jan 2013 18:35:00 +0000 - Berkeley Art Museum and Pacific Film Archive - January 15th, 2012 - December 21st, 2014 <p style="text-align: justify;"><span style="font-size: small;"><strong>The Reading Room</strong> is a temporary project dedicated to poetry and experimental fiction offering visitors the chance to take home a free book drawn from the overstock collections of several noted East Bay small presses, including Kelsey Street Press, Atelos Books, and Tuumba Press. Books and catalogs from Small Press Distribution will also be available. In turn, visitors are asked to replace that book with one from their own library. We look forward to seeing how the character of the works on the shelves evolves over the course of the project!</span></p> <p style="text-align: justify;"><span style="font-size: small;">Stop by <strong>The Reading Room</strong> during gallery hours to enjoy a comfortable reading area, listen to recordings of selected poets published by these presses, and view silk-screen prints and original works on paper created by George Schneeman in collaboration with poets Ron Padgett, Bill Berkson, and Lewis MacAdams.</span></p> <p style="text-align: justify;"><span style="font-size: small;">As part of selected Friday night <strong>L@TE</strong> programs throughout winter and spring, <strong>The Reading Room</strong> will be the site of literary readings (<strong>RE@DS</strong>) co-curated by poet/author David Brazil and Suzanne Stein, poet, publisher, and community producer at the San Francisco Museum of Modern Art.&nbsp;</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;">Guided and inspired by arts writer and poet Ramsay Bell Breslin and poet and UC Berkeley Professor of English Lyn Hejinian, BAM/PFA&rsquo;s new literary project invites visitors to look, listen, share, and read in <strong>The Reading Room.</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>&nbsp;</strong></span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;"><strong>RE@DS</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Programmed by Suzanne Stein and David Brazil</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>&nbsp;</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Friday / 1.27.12 @ 5:30</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jackqueline Frost</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;Friday / 2.10.12 @ 5:30</span></p> <p style="text-align: justify;"><span style="font-size: small;">Tom Comitta</span></p> <p style="text-align: justify;"><span style="font-size: small;">Friday / 2.24.12 @ 5:30</span></p> <p style="text-align: justify;"><span style="font-size: small;">Monica Peck</span></p> <p><strong>&nbsp;</strong></p> <p><strong>&nbsp;</strong></p> <p></p> Sat, 21 Sep 2013 15:57:48 +0000 - Berkeley Art Museum and Pacific Film Archive - December 5th, 2012 - May 26th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The third and final rotation of <b>Himalayan Pilgrimage </b>explores the theme of <b>Sacred Space</b> with a pair of magnificent large mandala paintings, two-dimensional representations of a three-dimensional architectural space where a specific deity resides. Dating to the fourteenth and sixteenth centuries, these paintings represent, in vivid colors, a cosmology of the deity Hevajra. Several other paintings on view depict historic teachers of various Tibetan orders.</span><br /><br /><span style="font-size: small;">A continuation of <i><a href="">Himalayan Pilgrimage: Journey to the Land of Snows</a></i>, which explored the journey of Buddhism across several centuries and from India into Tibet, and of <i><a href="">Himalayan Pilgrimage: Liberation Through Sight</a></i>, which focused on artworks created as vehicles to enlightenment. </span><br /><br /><span style="font-size: small;">The works in this exhibition are on long-term loan from a single private collection. </span><br /> <br /><span style="font-size: small;"><b>Himalayan Pilgrimage</b> is organized by Senior Curator for Asian Art Julia M. White.</span></p> Sat, 12 Jan 2013 15:59:17 +0000 Rudolf de Crignis - Berkeley Art Museum and Pacific Film Archive - January 30th, 2013 - May 5th, 2013 <p style="text-align: justify;"><span style="font-size: small;">“I use the art of painting to represent color as the transparent appearance of light.”<sup>1</sup></span><br /><br /><span style="font-size: small;">When Swiss-born artist Rudolf de Crignis (1948–2006) first visited Manhattan in the late 1970s, he was deeply affected by Minimalism, particularly the powerfully spare abstract paintings of Agnes Martin, Robert Ryman, Brice Marden, and Ad Reinhardt. He soon made New York his home and shifted from performance, video, and installation-based work to making abstract paintings and drawings about color, light, and space. Gradually, de Crignis came to focus on the color blue, primarily ultramarine blue, aiming to “bring the blue onto a level where it becomes totally neutral… (so that the paintings) are just catalysts to create the space and the light.”<sup>2</sup> </span><br /><br /><span style="font-size: small;"><b>MATRIX 245</b>, the artist’s first solo museum exhibition in the United States, brings together fourteen paintings and a series of graphite-and-wash works on paper from 1991 to 2006. A constellation of blues and grays, each work is a singular array of pigments, such as ultramarine, cobalt blue, royal blue, Scheveningen Warm Gray, and Persian red. De Crignis would begin with a smooth white gesso ground, then over weeks add as many as forty layers of semitransparent paint in glazes. He alternated layers in horizontal and vertical strokes, gradually creating surface depth. Often, he would move a painting from one wall to another during the course of a day in order to capture shifting light in the studio. The finished paintings coalesce as radiant veils of color interwoven with light reflecting back from the white gesso ground through the sequenced hues and tones. </span><br /><br /><span style="font-size: small;">De Crignis wrote about his paintings as works in progress, one decision leading to the next without a preordained plan. Above all, his goal was for his painting to be perceived as an experience. Through “this lively act of perception, the work becomes a picture-space.”<sup>3</sup> </span><br /><br /><span style="font-size: small;">--------</span><br /><span style="font-size: small;">1. Press release for <i>Rudolf De Crignis Paintings</i> (New York: Peter Blum Gallery, 2003). </span><br /><span style="font-size: small;">2. Quoted in Michael Paoletta, <i>Rudolf de Crignis Newsletter </i>(October 2012).</span><br /><span style="font-size: small;">3. Harvard Art Museums website.</span><br /><br /> <br /><span style="font-size: small;"><b>MATRIX 245</b> is organized by Chief Curator and Director of Programs and Collections Lucinda Barnes. The MATRIX Program is made possible by a generous endowment gift from Phyllis C. Wattis and the continued support of the BAM/PFA Trustees.</span></p> Tue, 22 Jan 2013 16:07:10 +0000