ArtSlant - Recently added en-us 40 Alejandro Almanza Pereda - San Francisco Art Institute - Walter and McBean Galleries - July 28th - October 3rd <div> <div><span style="font-family: 'Helvetica Neue';"><em>Everything but the kitchen sank&nbsp;</em>is on display now through December 12 in the Diego Rivera Gallery and through&nbsp;October 3&nbsp;in the Walter and McBean Galleries. This ambitious exhibition spans two gallery spaces &mdash; in the Diego Rivera Gallery, Pereda has erected&nbsp;<em>Change the world or go home</em>&nbsp;(2009-2015), a 24-foot tall fluorescent scaffolding structure in front of the iconic work&nbsp;<em>The Making of a Fresco Showing the Building of a City&nbsp;</em>(1931), simultaneously illuminating and obscuring one of the institution&rsquo;s most-treasured and historically significant works.</span></div> <div><span style="font-family: 'Helvetica Neue';">&nbsp;</span></div> <div><span style="font-family: 'Helvetica Neue';">Join us&nbsp;Friday, September 11, to celebrate the final phase of this unprecedented exhibition with al fresco drinks and light snacks on the quad.</span></div> <div><span style="font-family: 'Helvetica Neue';">&nbsp;</span></div> <div>For more info:&nbsp;<a href="" target="_blank" rel="nofollow"></a></div> <p>&nbsp;</p> </div> Fri, 28 Aug 2015 23:22:47 +0000 Dan Fenstermacher - Pro Arts Gallery - August 28th - September 18th <p><strong>Sonrisas J&oacute;venes Que Hacen, Felices A Corazones Viejos<br /></strong><strong>Exhibition Dates: August 25 - September 18, 2015,&nbsp;</strong><strong>Window installation on view 24/7</strong></p> <p><strong>Oakland, CA:</strong> Pro Arts is pleased to present <em>Sonrisas&nbsp;</em><em>J&oacute;venes Que Hacen, Felices A Corazones Viejos</em>, an&nbsp;exhibition of new work by photographer Dan&nbsp;Fenstermacher. <em>Sonrisas J&oacute;venes Que Hacen, Felices&nbsp;</em><em>A Corazones Viejos</em> will be on view from August 25 to&nbsp;September 18 in the PROJECT installation window at&nbsp;Pro Arts&rsquo; downtown Oakland gallery.</p> <p>The portraits in <em>Sonrisas J&oacute;venes Que Hacen, Felices </em><em>A Corazones Viejos</em> were created while Fenstermacher&nbsp;was on an artist residency in Costa Rica.&nbsp;Fenstermacher spent two months working with&nbsp;residents of Hogar Para Ancianos, a senior citizen&nbsp;home in the town of San Ramon, to take intimate&nbsp;portraits he then shared with them at the conclusion of&nbsp;his residency. The portraits were also exhibited at the&nbsp;San Ramon Museum.</p> <p><br />The large scale works on view at Pro Arts were printed&nbsp;by the INSIDE OUT project. This global initiative, by the&nbsp;anonymous artist JR, encourages &ldquo;wheat pastings&rdquo; as a&nbsp;platform for people to share their stories and transform&nbsp;messages of personal identity into works of public art.&nbsp;Nearly 200,000 people from more than 112 countries&nbsp;and territories have participated. #insideoutproject</p> <p><strong>About the Artist: </strong>Dan Fenstermacher's work explores&nbsp;how life extends beyond oneself. He uses photography&nbsp;to collaborate with communities and tell stories about&nbsp;global cultural interaction. Dan Fenstermacher was born&nbsp;and raised in Seattle, Washington. He is currently a&nbsp;student at San Jose State University working towards&nbsp;his MFA. Photographing for ten years, his work has&nbsp;been featured at the San Ramon Museum, Costa Rica;&nbsp;First Street Gallery, New York; and in the exhibition&nbsp;Divergence: Emerging Legacies at the de Young&nbsp;Museum, San Francisco.</p> <p><strong>About Pro Arts:</strong> Pro Arts is an Oakland-based regional organization that encourages change in and through the arts&nbsp;to invigorate our communities. Pro Arts' work is rooted in service to community, artistic excellence and our belief that&nbsp;creativity generates vitality. We provide creative platforms for artists, youth and public audiences. Our programs focus&nbsp;on the visual arts - exhibitions, commissionings and open studios; artist services; and arts education in schools.</p> Fri, 28 Aug 2015 19:16:20 +0000 Bruno Fazzolari - Anglim Gilbert Gallery - September 9th - October 10th <p>Anglim Gilbert Gallery is pleased to announce Seyrig, an exhibition of new work by Bruno Fazzolari, his third exhibition with the gallery.<br /><br />The exhibition will include paintings and a perfume, as well as the first sculptures he has shown in 14 years. Fazzolari&rsquo;s work explores perception and the senses, and engages his own experience of synesthesia and abstraction. He also is inspired by the visual culture and history of perfume. His work as a perfumer has garnered strong acclaim and numerous awards. His last perfume shown with the gallery earned four stars from the eminent (and notoriously feisty) perfume critic, Luca Turin.</p> <p>Bruno Fazzolari has also exhibited with Feature, Inc., (NYC), Michael Kohn Gallery, and Jancar Jones Gallery (LA). His work has been included in shows at the M.H. de Young Museum and the Katonah Museum of Art and is in the permanent collection of the Berkeley Art Museum. Fazzolari has been reviewed in Artforum, Art in America, the New Yorker, the San Francisco Chronicle, and the New York Times. He has been a resident at the Headlands Center for the Arts and received awards from Artadia and the International Artisan Fragrance Salon. He was a finalist for the 2010 SECA award and for the 2014 Artisan Art and Olfaction Award. Fazzolari teaches in the graduate program at the California College of the Arts (CCA).&nbsp; His writing has appeared at and, more recently, in Art in America. He earned an MFA from the San Francisco Art Institute after graduating from U.C. Berkeley.</p> Thu, 27 Aug 2015 22:26:02 +0000 - SOMArts Cultural Center - September 10th 5:30 PM - 10:00 PM <h2 style="text-align: center;"><span style="font-size: small;">Join us for Art Auction &rsquo;15</span></h2> <p style="text-align: center;">Transforming Art Into Action: Reclaiming Our City</p> <p>&nbsp;</p> <p>Special Guest Auctioneer: Carolyn Tyler, ABC7 Anchor</p> <p>Featuring over 200 pieces of artwork, live music from MJ&rsquo;s Brass Boppers (New Orleans Style Brass Band), catered dinner by Sous Buerre Kitchen, open beer and wine bar, exciting raffle prizes and the Great Tortilla Conspiracy!</p> <p>Tickets are $40, but sliding scale (no one turned away for lack of funds)<br />Purchase tickets at&nbsp;<a href="" target="_blank">BrownPapertickets</a>.</p> <p>To support the Art Auction, please&nbsp;<a href="" target="_blank">become a sponsor!</a>&nbsp;(See form for details.)</p> <p>For questions regarding the program, please contact Arefa at 415-346-3740 Ext.303 or at&nbsp;<a href=""></a>.</p> <p>For questions regarding artwork, please contact Oscar at&nbsp;<a href=";;/a&gt;.&lt;/p&gt;&lt;p&gt;For%20more%20information%20about%20the%20program,%20events,%20and%20featured%20artwork,%20please%20visit%20&lt;a%20href=" target="_blank">our Tumblr site</a>.</p> Thu, 27 Aug 2015 07:11:58 +0000 Johnna Arnold, Jenna Kuiper, Vanessa Marsh, Klea McKenna, Maggie Preston, Meghann Riepenhoff, Sonja Thomsen - Rayko Photo Center - September 23rd - October 23rd <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>RayKo Photo Center presents </strong></p> <p align="center"><strong>the unique prints of 7 women artists </strong></p> <p align="center"><strong>&nbsp;</strong></p> <p style="text-align: center;"><strong><em>Femme Papel</em></strong></p> <p style="text-align: center;">Photographs by Johnna Arnold, Jenna Kuiper, Vanessa Marsh, Klea McKenna, Maggie Preston, Meghann Riepenhoff, and Sonja Thomsen</p> <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>Opening Reception: Wednesday, September 23rd, 6-8pm</strong></p> <p align="center"><strong>Exhibition dates: September 23rd &ndash; October 23rd, 2015</strong></p> <p align="center"><strong>&nbsp;</strong></p> <p><strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong>&nbsp;<strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong>&nbsp;RayKo is proud to kick off the fall exhibition schedule with unique prints by seven women artists. <strong><em>Femme Papel</em></strong>, sounding similar to <em>Femme Fatale</em>, features incredible works by innovative women who push the boundaries of the definition of photography. And also the creation of it. Some of these photographers are local, using RayKo&rsquo;s darkroom facilities to pull their one-of-a-kind mural-sized chromogenic prints out of our color processor (yes, we still have color darkrooms where artists can make optical c-prints!). Some of them who aren&rsquo;t local, have flown into San Francisco to use our B&amp;W mural darkroom to make huge gelatin silver prints. Others are unfurling large sheets of paper coated with cyanotype chemistry into the sea and pulling them back before the waves can take them and before they can totally develop into a deep intense blue.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Here&rsquo;s our line up:</p> <p><strong>Johnna Arnold</strong>&rsquo;s new images from her series, <em>Abundance</em> incorporate the color darkroom and the clich&eacute; verre process. Arnold shines light through lost and forgotten objects using a photographic enlarger to create large printed negatives of the world around her. With a simple curiosity and an appreciation for the traditional darkroom, she began her experiments wondering what it would look like if she were to put otherwise disposable aspects of her life into the enlarger, where a photographic negative usually goes. In working this way the enlarger presents its relation to a scientific microscope, and as the slightly&shy; mad scientist, she seeks to gain information and to show appreciation for the unexpected details within objects that were in some way left behind. By decontextualizing items and showing them in a new light, there is an impetus to reconsider our relationship with these commonplace aspects of our daily lives. The abundance of our current lifestyle both impresses and concerns the artist. She sees our current time in history shaped by a level of copiousness that does not appear sustainable. Time plays into the quality of these objects, as the intricacies of decay adds complexity and beauty. Through magnifying unappealing objects (for example, one gorgeous image is a pair of greasy onion rings), Arnold emphasizes the magical beauty that lies before our very eyes.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p><strong>Jenna Kuiper</strong> will unveil her project, <em>Drawing in the Dark</em>, which began in the darkrooms of RayKo and Kala. Her large-scale photograms bring the intentions of drawing to the materials of photography. Trained as a painter, Kuiper came across this process by accident while teaching middle-schoolers at a summer arts camp. The different grays achieved through timed light in the darkroom reminded her of the value scale in drawing. With this in mind, she set about creating prints with controlled light and cut-up shapes. She often refers to her process as drawing in the dark.</p> <p>Stones, daggers, ceremonial vessels, and geometric drawing forms come together in unusual and private altars spaces. Bringing these still-life forms to the darkroom subverts the nature of drawing: image-making is based on conjecture rather than sight and once developed the results cannot be changed. The unseen and unknown is given precedence. Kuiper find ceremony in this process. The darkroom acts as a space between light and dark, form and dissolution, the seen and unseen, known and unknown. It is a special processing space. Alone on her knees for hours in the dark, she is moving shapes, orchestrating light, and working with unforeseen results. Using cut up shapes, complex burning and dodging techniques, and a fiber-based, matte, silver-gelatin paper, these unique prints are made with materials that harken back to the beginnings of photographic history. Through this process, Kuiper aims to challenge the ubiquitous nature of photography and to appreciate the medium beyond its depiction of the seen world.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <strong>Vanessa Marsh</strong> has also been hunkering down in the RayKo darkrooms, for more than a year since her artist residency ended. She is on to something, for sure, exploring the intersections of man-made, natural and cosmological power through a mixed media process based in photography. Marsh remembers as a child the first time she looked intently out into a starry sky. She was away at summer camp up in the San Juan Islands and they were sleeping outside in a field by their cabin. It was dark enough to see the Milky Way; so dense it looked like a large smudge of light across the sky. Her counselor explained that the light we were seeing took so much time and crossed so much space that the stars it was coming from may not even exist anymore. Marsh doesn&rsquo;t remember when she fell asleep that night, but she knows it was awhile that she lay there staring up, her heart pounding, realizing the vastness.&nbsp;</p> <p>Looking back, Marsh has identified those moments as her first, and so far her most intense, experience of the sublime.&nbsp; That intimate time with the night sky led to a life long interest in the workings of the cosmos, the physics of light and photographic process.&nbsp;Within her work, she brings to form imagined landscapes and intensely starlit skies, highlighting both a personal as well as a collective experience of the world. Her goal is to create a relatable false reality, one that highlights the moments in our lives when we felt the most connected to the cosmos while underscoring the disconnect of our daily lives.</p> <p>Marsh&rsquo;s photographs are made through a personally developed process involving drawing, painting and darkroom techniques. The work is intended to be a space for the viewer to contemplate their place in the universe and to consider how we understand the real and truth in contemporary experience. Currently, she also has three large-scale pieces on view at the Contemporary Jewish Museum in their Night Begins the Day exhibition.</p> <p>&nbsp;</p> <p><strong>Klea McKenna</strong> wants to make an imprint of a place &ndash; both visual and emotional &ndash; rather than a picture of it. With this in mind, she rarely &ldquo;takes&rdquo; photographs. Instead, she devises ways that light sensitive materials, analog photographic paper and film, can interact directly with the landscape to reveal something unexpected; something that decodes the way we experience place. McKenna uses a variety of crude strategies; hand-made cameras, outdoor photograms, and methods of folding film and paper to create sculptural photographs. This experimental approach transforms the familiar, yielding unlikely images that refer to location and subject only through light and form. The flawed material of the film or paper often becomes as visible as the image it has captured.</p> <p><em>Rain Studies </em>is one of the projects she&rsquo;ll be showing here at RayKo (some of these works are also on display currently at the Contemporary Jewish Museum). This series began while visiting a piece of land that McKenna had lived on as a child &ndash; a rural one-room house on the volcanic slopes of the Big Island of Hawaii. She was making work in reaction to the emotional and physical volatility of that volcanic landscape. Heavy, tropical rain was such a big part of that place and so was darkness because during the early 1980&rsquo;s they had lived deep in the forest without electricity. &nbsp;She began experimenting with capturing rain patterns in photograms on gelatin silver paper - made outdoors, at night &ndash; and it evolved into this series of rain studies. Lately she has been working with lighter California spring rain with has had much smaller drops and has found that every storm looks different. McKenna will also be showing selections from her color photogram series, <em>How Forest Think</em>.</p> <p>&nbsp;</p> <p><strong>Maggie Preston</strong>, has been experimenting in the darkroom for years. The works in her series, <em>Black Velvet </em>are created by simply dropping a piece of black velvet onto photographic paper, exposing and then developing it, the result being a very bare bones photogram. The use of black velvet is significant; in photography it usually functions as a backdrop, whose whole purpose is to disappear and offer an empty shadowless field for a chosen subject. It is an eraser in a way, that erases itself. Preston flips the equation and uses this cloak of invisibility as the central subject, where it can instead imprint itself, its materiality finally given a shape. She repeats the process many times and displays multiple &ldquo;takes" together, to give more weight to the seemingly inconsequential subject.</p> <p><strong>Meghann Riepenhoff</strong>&rsquo;s work stems from her fascination with the nature of our relationships to the landscape, the sublime, time, and impermanence. Titled <em>Littoral Drift</em>, a geologic term describing the action of wind-driven waves transporting sand and gravel, the series consists of camera-less cyanotypes made in collaboration with the landscape and the ocean, at the edges of both. The elements that she employs in the process&mdash;waves, rain, wind, and sediment&mdash;leave physical inscriptions through direct contact with photographic materials. Photochemically, the pieces are never wholly processed; they will continue to change over time in response to environments that they encounter, blurring the line between creation and destruction. As part of the larger project, Riepenhoff selectively re-photographs moments in the evolution of the images, to generate a series of static records of a transitory process. Titled <em>Continua</em>, the progressive images are shown as polyptychs. Perhaps where the fugitive cyanotypes are analogies for a terrifyingly fleeting and beautiful existence, the process of re-photographing them is a metaphor for the incorporation and mediation of photography in the contemporary human experience. Riepenhoff, like Marsh, McKenna, and Preston, has been an artist-in-residence at RayKo Photo Center, where her love of traditional materials earned her a residency.</p> <p>And last but not least in this group of fearless women is <strong>Sonja Thomsen</strong>, a Milwaukee-based artist whose multifaceted practice combines&nbsp;photography,&nbsp;sculpture, interactive installation and site-specific public art to create spaces reflective of our own perceptions and potential. Since earning an MFA in photography at the San Francisco Art Institute (2004), her work has evolved in myriad ways. In her practice she has become more and more concerned with space and our perceptions of ones own scale in a space. An attempt to make "the space between" perceptible. Thomsen has been working with the specifics of materiality in her practice and continues to be fascinated with the dichotomy of the emulsion and paper, one holding the illusion of depth in its glossy shadows and the other the matte fibers of form. The <em>Effaced</em> Polaroid series is one of many projects that Thomsen is currently developing. These pieces are made in the "in between&rdquo; moments of her larger studio practice. A quick peel that feels gestural and unpredictable. &nbsp;The defacing of the Polaroid, a one-of-a-kind photograph feels right- one offs- serendipity is at play. Thomsen is also interested in how the peeled figure disrupts the scene - a push/pull happens as the underlayer of the photograph is revealed on the surface. The origin of the Polaroids are from her own archive - snapshots of friends and family- used as raw material for experimentation.&nbsp;</p> <p>&nbsp;</p> <p>Stop by RayKo on Wednesday, September 23<sup>rd</sup>, between 6-8pm to meet these intrepid female artists and be inspired by their unique prints as well as their uncommon vision and creativity.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p><strong>About RayKo</strong></p> <p><strong>RayKo Photo Center &amp; Gallery</strong>&nbsp;is a comprehensive photographic facility, located near the Yerba Buena Arts District, with resources for anyone with a passion for photography. Established in the early 1990&rsquo;s, RayKo Photo Center has grown to become one of San Francisco&rsquo;s most beloved photography darkroom spaces; it includes traditional b&amp;w, color and alternative process labs as well as a state-of-the-art digital department, a professional rental studio, galleries, and the Photographer&rsquo;s Marketplace &ndash; a retail space promoting the work of regional artists. RayKo also has San Francisco&rsquo;s 1<sup>st&nbsp;</sup>Art*O*Mat vending machine and a vintage 1947 black &amp; white Auto-Photo Booth and a retail store that sells all types of used film cameras, from view cameras to Leicas to a build-your-own Nikon station. Everything you need to make any type of photograph!</p> <p>&nbsp;</p> <p><strong>RayKo Gallery</strong>&nbsp;serves to advance public appreciation of photography and create opportunities for regional, national and international artists to create and present their work. RayKo Gallery offers 1600 square feet of exhibition space and the Photographer&rsquo;s Marketplace, which encourages the collection of artwork by making it accessible to collectors of all levels.&nbsp;RayKo also has an artist-in-residence program to further support artists in the development of their photographic projects and ideas.</p> <p>&nbsp;</p> <p><strong>RayKo Photo Center &amp; Gallery </strong></p> <p>428 Third Street, San Francisco, CA 94107</p> <p>415-495-3773 (ph)&nbsp;&nbsp;</p> <p><a href="" rel="nofollow"></a></p> <p>Tuesday-Thursday: 10-10 pm, Friday-Sunday: 10-8 pm, Monday: closed</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> Wed, 26 Aug 2015 23:38:36 +0000 Nathan Oliveira - Wiegand Gallery, Notre Dame de Namur University - September 18th - October 31st <p>The Wiegand Gallery will be presenting works in various media by the late Nathan Oliveira (1928-2010), truly a major figure in shaping the Bay Area&rsquo;s artistic heritage. The exhibition will relate to Oliveira&rsquo;s paintings done for Windhover&mdash;the newly built contemplative center on the Stanford campus. Windhover was designed to house these large themed paintings. The Wiegand exhibition will offer visitors an opportunity to see the source work and inspiration for this 20-year project. The exhibiton is curated by Joe Oliveira and Robert M. Poplack.</p> Wed, 26 Aug 2015 17:51:44 +0000 Luz Elena Castro, Matthew O'Brien - SF Camerawork - October 8th 6:00 PM - 8:00 PM <p style="text-align: justify;">SF Camerawork is pleased to present: Fourth World: Current Photography from Columbia. Organized by curators Carolina Ponce de Le&oacute;n and Santiago Rueda Fajardo, the exhibition will be on view at SF Camerawork from September 10 through October 24, 2015.</p> <div id="block-yui_3_17_2_3_1438821848183_5580" class="sqs-block html-block sqs-block-html" data-block-type="2"> <div class="sqs-block-content"> <p style="text-align: justify;"><em>Fourth World: Contemporary Photography from Colombia </em>will highlight the work of four photographers whose images explore experiences of cultural and ideological conflict that characterize daily life in Colombia. The exhibition title, taken from a series of works by artist Jaime &Aacute;vila, suggests a geographical and social specificity that points to the urgency surrounding photography in Colombia today. Embedded in a history of social and armed conflict, ethnography, anthropology, journalism and political activism, the most compelling photography emerging from the country grapples with the weight of history, questioning its visual codes and blending them with contemporary concerns. Complex and fundamental issues such as class, identity, economic survival and a sixty-year civil war merged with illegal drug trafficking remain very much on the surface.</p> <p style="text-align: justify;">&nbsp;The photographs included in the exhibition reveal an enigmatic relationship with the 'real' world that they seem to depict. Each photograph is a translation, a distillation of reality that is complex and full of layers and can be understood as fragments containing the essence of the whole.</p> <p style="margin-left: 0in; margin-right: 0in; text-align: justify;"><strong>ARTISTS</strong></p> <p style="text-align: justify;"><strong>Jaime &Aacute;vila</strong> is a visual artist based in Bogota. Much of Avila&rsquo;s work centers on portraits of marginal young adults, while looking at the economics implied in their performativity &mdash;sense of fashion, street attitude, sexual demeanor as well as the urban landscape they inhabit. Jaime &Aacute;vila has presented his work at international contemporary art events such as the 9th Havana Biennial (Cuba), the 29th Sao Paulo Bienal (Brazil), and the 3rd Liverpool Biennial (UK), among others.</p> <p style="margin-left: 0in; margin-right: 0in; text-align: justify;"><strong>Zoraida D&iacute;az</strong> is a Colombian-born photographer who has covered Latin America for the Reuters News Picture Agency for over 20 years. Based out of Bogot&aacute;, Buenos Aires and Washington D.C. In her body of work on Colombia she has documented the painful reality of her homeland, events, and circumstances beyond the scope of the ordinary.</p> <p style="text-align: justify;"><strong>Luz Elena Castro </strong>is San Francisco-based photographer, born and raised in Medell&iacute;n, Colombia. She began her career as a staff photographer for El Mundo Newspaper and has worked as a photojournalist for the EFE News Agency in Madrid, the BBC in London, and El Tiempo in Bogot&aacute;.</p> <p style="text-align: justify;"><strong>Andres Felipe Orjuela</strong> is a Colombian-born artist currently living in Mexico. Orjuela&rsquo;s work has been exhibited in Colombia, the United States, Mexico, Panama, Brazil, Peru, Argentina, France, Spain and England. His work addresses the nature of power, altering the sensationalism of journalistic images through graphic interventions. He uses the process of gathering and contrasting data and communication platforms to make evident and interfere in the mechanics of media circulation, consumption, and the dominant political and economical establishment.</p> <p style="text-align: justify;"><strong>CURATORS</strong><br /><br /><strong>Carolina Ponce de Le&oacute;n</strong> is the Visual Arts Advisor at the Ministry of Culture of Colombia. She was formerly the Curator at the Museo del Barrio in NYC, and Director of San Francisco&rsquo;s Galer&iacute;a de la Raza. Her book, <em>The Butterfly Effect: Critical Writings on Art and Culture in Colombia</em> (2004), by the Instituto Distrital de Cultura in Bogot&aacute;, Colombia, is currently in its second printing.</p> <p style="text-align: justify;"><strong>Santiago Rueda Fajardo </strong>is an independent curator with a PhD in History, Theory and Art Criticism. Rueda Fajardo has been a juror for national awards and grant programs in Colombia, as well as a professor at several universities in Bogot&aacute;. He won the National Award for Critical Essays on Colombian Art (2004 and 2008) for <em>H&iacute;per / ultra / neo / post: Miguel Angel Rojas 30 a&ntilde;os de arte en Colombia</em> and <em>&ldquo;A line of dust. Arts and drugs,&rdquo;</em> (2006).</p> <p style="text-align: justify;">This exhibition is supported by the Andy Warhol Foundation for the Visual Arts and Galer&iacute;a Nueveochenta.</p> </div> </div> Mon, 24 Aug 2015 15:49:34 +0000 Elisabeth Higgins O'Connor - San Francisco Arts Commission Gallery (Window Site) - June 26th - September 13th <p style="text-align: justify;">The SFAC Galleries Window Installation Site at 155 Grove Street, across from City Hall, will be transformed into a lair filled with creatures that conjure Maurice Sendak's famously affable monsters from&nbsp;<em>Where The Wild Things Are</em>. The installation, titled&nbsp;<em>Causatum</em>, is the work of Sacramento-based artist&nbsp;<a href="" target="_blank">Elisabeth Higgins O'Connor</a>&nbsp;who is known for her massive sculptural creatures made from salvaged bed sheets, quilts and pillows. The public will have the opportunity to meet O'Connor and learn about her creative process at an intimate sidewalk artist talk from 6 - 7 p.m. on Friday, June 26.</p> <p style="text-align: justify;">The public is invited to gather on the sidewalk for a discussion with O'Connor and SFAC Galleries Associate Curator Jackie Im. They'll discuss how the artist transformed the empty storefront gallery into a den for her massive sculptural creatures. O'Connor's use of traditional bedding materials make her sculptures accessible, even a little cuddly, despite their monstrous size. With their mixture of patterns and various degrees of disarray, they convey a degree of pathos, like much-loved stuffed animals rendered threadbare over time, only magnified to an absurd degree.</p> <p style="text-align: justify;">O'Connor explains that she's "interested in subverting cuteness and turning it on its head." Arranged in lumbering positions and propped up by two-by-fours, O'Connor's creatures exist between familiarity and the grotesque.</p> <p style="text-align: justify;">SFAC Galleries Associate Curator Jackie Im states, "With their oversized heads, elongated limbs and exposed skeletal armatures, Elisabeth's sculptures have an alien quality to them. Yet through her use of everyday materials, they become more intimate and recognizable, allowing the viewing public to relate to their hangdog expressions as well as their postures of determined survival."</p> <p style="text-align: justify;">ARTIST'S BIO</p> <p style="text-align: justify;">Elisabeth Higgins O'Connor received her BFA from California State University, Long Beach and her MFA from the University of California, Davis. Her work has been exhibited at venues including the Society for Contemporary Craft, Pittsburgh, PA; Suyama Space, Seattle, WA; Weber State University, Odgen, UT; and CUE Arts, New York, NY. She has been awarded a 2005 Joan Mitchell Foundation MFA Fellowship and a 2012 Artist-in-Residence Fellowship from the Bemis Center for Contemporary Art in Omaha, NE. O'Connor lives and works in Sacramento, CA, and teaches drawing and sculpture at Sacramento City College.</p> Mon, 24 Aug 2015 15:19:41 +0000