ArtSlant - Recently added en-us 40 Julio Cesar Morales - Gallery Wendi Norris - November 5th - December 19th <p style="text-align: justify;">Gallery Wendi Norris is pleased to present&nbsp;<a href=";id=a51918faf3&amp;e=597c632e15" target="_blank"><em>Emotional Violence</em></a>, artist Julio C&eacute;sar Morales&rsquo;s third solo exhibition at the gallery. Morales will debut his latest video work as well as a series of prints, a photographic installation, hand-drawn text works, and ceramic sculpture.&nbsp;<em>Emotional Violence</em>&nbsp;will open on Thursday, November 5 with a discussion between Morales and Luc&iacute;a Sanrom&aacute;n, Director of Visual Arts at the Yerba Buena Center for the Arts from&nbsp;6&ndash;7PM&nbsp;followed by a public reception from&nbsp;7&ndash;9PM. It will remain on view through&nbsp;December 19.<br />&nbsp;<br />Morales employs various forms of media to illuminate the poetic in the political, particularly surrounding issues of displacement, migration and informal economies. His approach, involving extensive research, is that of an anthropologist and a social historian. For over a decade, Morales has collected and archived images and anecdotes from the Internet and printed press outlets related to the trafficking of goods and people that later surface in his oeuvre. The exhibition title&nbsp;<em>Emotional Violence</em>&nbsp;derives from the recent rise in violent crimes committed by drug cartels in Latin America, with a particular emphasis on situations where violence is deployed to threaten or caution rival gangs. &nbsp;Morales also turns his eye beyond Latin America, to global areas of contested migration and failed government policies.&nbsp;The new work presented in&nbsp;<em>Emotional Violence</em>&nbsp;brings to light complex issues found in distressed populations around the world, and encourages viewers to consider his or her place within the contemporary global fabric.<br /><br />ABOUT&nbsp;<em>BOY IN SUITCASE</em><br /><em>Boy in Suitcase</em>&nbsp;is a video about an eight-year-old boy&rsquo;s journey from the Ivory Coast to Spain via Morocco, undertaken while&nbsp;hidden&nbsp;in a suitcase. The father, who lives in Spain, was trying to reunite with his son. Morales's video attempts to create visuals from the boy&rsquo;s perspective: what he might have seen through the small zipper and tiny holes in the suitcase. These visuals, as imagined by the artist, encompass spinning hallucinatory images and a bewildering array of colors and sounds. The animation is produced from a single x-ray image taken by Spanish custom officials with colors that are animated to produce the moving image. &nbsp;</p> Wed, 25 Nov 2015 10:10:36 +0000 Guy Diehl - Dolby Chadwick Gallery - November 5th - November 28th <p style="text-align: justify;">Dolby Chadwick Gallery is pleased to announce&nbsp;<em>A Dialogue with Tradition II,</em>&nbsp;an exhibition of new works by Bay Area painter Guy Diehl, on view November 5&ndash;December 5, 2015. Over the past thirty years, Diehl has explored the still-life format to make art about art, finding new and nuanced modes of execution to illuminate ways of both seeing art and appreciating the art historical canon.</p> <p style="text-align: justify;">Within the last year, natural light has become a central focus for Diehl, who previously relied on artificial illumination via incandescent light to create his unique variant of realistic paintings. Diehl explains,&nbsp;&ldquo;While collaborating with a photographer friend and colleague, I was shown new ways to manipulate daylight that I had not considered before. Seeing endless combinations created with daylight and subject matter, I can set up a still life and photograph it throughout the day, while working with the visual changes that the natural illumination will bring to the composition.&rdquo;</p> <p style="text-align: justify;">Painting, of course, is rooted in the science of light: each pigment is the result of a particular mixing of different colors of light. As Diehl&rsquo;s work has long set itself in immediate dialogue with art history&mdash;each painting creates a reflexive narrative around a specific artist, such as Richard Diebenkorn, Amedeo Modigliani, Egon Schiele, and Francisco De Zurbaran, among others&mdash;a return to the most basic form of illumination, one that is elemental to painting, therefore brings his entire process full circle.&nbsp;</p> <p style="text-align: justify;">Although none of the paintings are explicitly about Vermeer, they are all suffused with the Dutch artist&rsquo;s hallmark mastery of shadow and light to create depth, richness, and movement. In&nbsp;<em>Conversation with Egon Schiele</em>&nbsp;(2015), the objects take on an enhanced vitality as a result of the bright, low, raking daylight that Diehl observes, records, and synthesizes as it moves across the objects. Here, the dark face of a rectangular white box is offset by its brightly illuminated side and top, which are further enhanced by the shadow-play of a spherical object that sits on the box. Contrasts provided by an intriguing object wrapped in parchment paper are equally dramatic and add important texture and depth to the composition by introducing a range of mid-tone values. Finally, an otherwise static postcard featuring one of Schiele&rsquo;s nudes, reinterpreted here by Diehl, is cleverly set in motion by an iridescent shell marked by swirls of pink and blue. The shell also figures as a symbol of the feminine and a nod to art historical iconography in that it codes, among other things, the Fibonacci sequence&mdash;otherwise known as the golden ratio&mdash;made famous by Leonardo da Vinci and here embodied by Schiele-cum-Diehl&rsquo;s sitting female figure.</p> <p style="text-align: justify;">Guy Diehl was born in 1949 in Pittsburgh, Pennsylvania. He earned his BA from California State University Hayward in 1973 followed by his MA from San Francisco State University in 1976. In addition to exhibiting extensively across the United States and at select international galleries, Diehl was featured in the acclaimed 2014 exhibition&nbsp;<em>&ldquo;Realism, Really?&rdquo;</em>&nbsp;at the Sonoma Valley Museum of Art. His work can be found in the permanent collections of the Fine Arts Museums of San Francisco, the San Jose Museum of Art, and the Oakland Museum of California. This will be his third solo show at the Dolby Chadwick Gallery.</p> Wed, 25 Nov 2015 09:55:16 +0000 Tavares Strachan - Anthony Meier Fine Arts - November 6th - December 11th <p style="text-align: justify;">Anthony Meier Fine Arts is pleased to present an exhibition of new work by New York-based artist Tavares Strachan.&nbsp;</p> <p style="text-align: justify;">Strachan has spent the past decade investigating the nature of invisibility and the way a given society determines which aspects of culture become a part of its historical narrative and which parts are erased. The artist is considering aesthetics as a part of society&rsquo;s established power structure that guides who and what becomes relevant over time.&nbsp;</p> <p style="text-align: justify;"><em>Seeing is Forgetting the Thing that You Saw</em>&nbsp;continues the artist&rsquo;s examination of individuals who have made significant achievements but whose names and contributions go widely unnoticed; these works question which details have been omitted from common accounts of history.&nbsp;The exhibition highlights English scientist Rosalind Franklin, whose research led to the discovery of DNA&rsquo;s molecular structures. The exhibition&rsquo;s centerpiece is a suspended, life-sized neon sculpture depicting Franklin&rsquo;s flickering circulatory system &ndash; a nod to her key contribution to the field of science. Franklin&rsquo;s face is immortalized as a portrait in four parts, collaged from myriad encyclopedic illustrations of figures and events relative to Rosalind&rsquo;s life.&nbsp;</p> <p style="text-align: justify;">A series of vitrines &ndash;&nbsp;<em>The Invisibles &ndash;&nbsp;</em>display Franklin&rsquo;s tools and possessions in museum-like curio cases. These objects, half actual and half depicted referentially, are based on tangible achievements according to historic record. &nbsp;</p> <p style="text-align: justify;">Tavares Strachan was featured in Prospect.3 in New Orleans 2014, and he represented the Bahamas in the 55th&nbsp;Venice Biennale in 2013.&nbsp;<em>Seeing is Forgetting the Thing that You Saw</em>&nbsp;is his first exhibition at Anthony Meier Fine Arts.</p> Tue, 24 Nov 2015 17:40:45 +0000 John Buck, Hunter Buck, Deborah Butterfield, Þórdís A. Sigurðardóttir, Emma Ulen-Klees, Nina Zurier, John Zurier - Anglim Gilbert Gallery - November 28th - January 16th, 2016 <div style="text-align: justify;"><strong>Anglim Gilbert Gallery</strong>&nbsp;is pleased to present&nbsp;<em>A Studio In Iceland</em><em>,&nbsp;</em>a group exhibition of works made in the exceptional environment of a farm house in Iceland. At the invitation of Icelandic artist &THORN;&oacute;rd&iacute;s A. Sigur&eth;ard&oacute;ttir, six American artists used her studio building at different times and in different seasons for a special experience of nature, encounter and retreat.&nbsp; Sometimes as a group and sometimes alone the artists responded to both landscape and the spartan space, producing work that melds their practices with the character and culture of Iceland.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><strong>John</strong>&nbsp;and&nbsp;<strong>Nina Zurier</strong>&nbsp;have been regularly visiting and making work in Iceland the past few years. Both in summer and winter, they have relished the atmosphere and light play of long days and long nights. John's abstract paintings and watercolors have been inspired by the immediacy of Icelandic weather and landscape; the elements of water, air and earth as felt and observed.<strong>&nbsp;Nina Zurier</strong>&nbsp;will present "Til &Iacute;slands", a suite of eight black-and-white photographic prints that capture snapshots of a stark landscape rich in texture and energy. The works draw parallels to her recent exhibition, "If I Had Been (Ef &eacute;g hef&eth;i veri&eth;)" in Iceland at the Reykjavik Museum of Photography. The catalog from that exhibition will be available during the exhibition.</div> <div style="text-align: justify;"><strong>&nbsp;</strong></div> <div style="text-align: justify;"><strong>Deborah Butterfield</strong>,<strong>&nbsp;John Buck</strong>,<strong>&nbsp;Hunter Buck&nbsp;</strong>and<strong>&nbsp;Emma Ulen-Klees</strong>&nbsp;engaged with the studio space as a close-knit group.&nbsp;<strong>Deborah Butterfield</strong>&nbsp;gathered dead wood and weathered, colorful broken jetsam to conjure up small sculptures that pay homage to the small breed of Icelandic horses and, one might think, Icelandic faeries. These unusual works magically infuse colorful abstraction into the horse form.&nbsp;<strong>John Buck</strong>&nbsp;carved the comical "SNAEFELLSNES" woodblock to depict images of Iceland as compiled from the gamut of folklore to natural observation. The exhibition features the woodblock in its entirety, standing over five feet high, and subsequent rubbing in nero crayon on paper.</div> <div> <div style="text-align: justify;"><strong>&nbsp;</strong></div> <div style="text-align: justify;"><strong>Hunter Buck</strong>&nbsp;and&nbsp;<strong>Emma Ulen-Klees</strong>&nbsp;have visited and worked in Iceland several times. Hunter's works on paper address the texture and physicality of his materials and subject: "Intuition and improvisation fuel my process, the conscious and unconscious relationship to the hand exposes the balance between primitive and refined." Emma's drawings and writing respond to the landscape she describes as "enmeshed in a dialogue of self-creation and decay."&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><strong>&THORN;&oacute;rd&iacute;s A. Sigur&eth;ard&oacute;ttir's</strong>&nbsp;practice is rooted in "the reuse of objects from our shared existence, as well as elements and actions that relate us to nature." Her piece for the exhibition features an interactive element alongside images of found man-made landmarks in the open, natural landscape of her home country.</div> </div> Tue, 24 Nov 2015 09:46:31 +0000 Meghann Riepenhoff - SF Camerawork - January 19th, 2016 6:00 PM - 8:00 PM <p>Meghann Riepenhoff in conversation with Emily Lambert, Associate Director, Fraenkel Gallery.</p> Tue, 24 Nov 2015 08:27:42 +0000 Meghann Riepenhoff - SF Camerawork - December 10th - February 3rd, 2016 <p style="text-align: justify;">Please join us on Thursday, December 10th from 6 - 8 PM for the opening reception of&nbsp;<em>Littoral Drift</em>, a solo exhibition of new and recent works by Meghann Riepenhoff.</p> Tue, 24 Nov 2015 08:27:56 +0000 John Sanborn - SF Camerawork - November 13th - December 3rd <p style="text-align: justify;">SF Camerawork is pleased to present&nbsp;<em>V+M</em>, a multi-channel video and sound installation by renowned video artist John Sanborn with music composed by Theresa Wong. Organized by Joseph De Mario,&nbsp;<em>V+M</em>&nbsp;is the first San Francisco exhibition of the artist's work in 25 years.&nbsp;<em>V+M</em>&nbsp;will be on view at SF Camerawork from November 13 through December 3, 2015.</p> <p style="text-align: justify;"><em>V+M</em>&nbsp;retells the myth of Venus and Mars. Their story has fascinated poets and philosophers as a mythic example of the balance between opposing energies -- beauty and brutality, order and magic, grace and strength.&nbsp;<em>V+M</em>&nbsp;goes beyond the heteronormative code in order to get to the source material for the balance of power in relationships, the nature of myth making, and the origins of desire.</p> <p id="yui_3_17_2_8_1447197821705_8562" style="text-align: justify;"><strong id="yui_3_17_2_1_1448353410983_343">ARTIST</strong><br />John Sanborn is a world-renowned artist whose work has been shown at major museums across the world and broadcast on television networks worldwide. In the 1980s and early 1990s Sanborn was one of the first to experiment with interactive web-based content and performance-based videos. Currently, he creates media installations that tackle themes pertaining to identity, cultural truth, memory, and life's quotidian details.</p> <p style="text-align: justify;"><strong>COMPOSER</strong><br />Theresa Wong is a cellist, vocalist, composer, and improviser in the field of experimental music. Wong has performed throughout the United States and internationally with artists including Fred Frith, Jo&euml;lle L&eacute;andre, Rova Saxophone Quartet, Vinny Golia, Ellen Fullman, Carla Kihlstedt, Anna Halprin, and Luciano Chessa. She lives in the San Francisco Bay Area.</p> <p style="text-align: justify;"><strong>DANCERS</strong><br />Ismael Alvarez Acosta, Crystaldawn Bell, Joseph Copley, Margaret Cromwell, Toribia Garcilano, Pablo Lopez, Carlos Venturo, Katherine Wells</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">SF Camerawork will be closed from&nbsp;Thursday, November 26th through Saturday, November 28th. We will resume regular gallery hours on&nbsp;Tuesday, December 1st&nbsp;with our current exhibition&nbsp;<em>V+M</em>&nbsp;by John Sanborn.</p> Tue, 24 Nov 2015 08:24:37 +0000 Cathy Cunningham-Little, Lewis deSoto, Lisa Espenmiller, Sheila Ghidini, Alexandra Lederer, Penny Olson, Jenn Shifflet. - Chandra Cerrito Contemporary - December 4th - January 28th, 2016 <p class="p1">Chandra Cerrito Contemporary is pleased to announce <em>Objects of Contemplation</em>, a group show that offers a counterpoint to the frenzy and commercialism of the holiday season. Sub-themes of memorial, meditation, and perception are explored through a variety of media.&nbsp;</p> <p class="p1"><strong>Lewis deSoto&rsquo;</strong>s and <strong>Alexandra Lederer</strong>&rsquo;s artworks serve as memorials, inspired by the passing of their fathers. DeSoto&rsquo;s sculptural sound piece <em>Zenith</em> fills the gallery space with a hypnotic, intangible presence, while in Lederer&rsquo;s <em>The Weight of an Object</em>, a cushioned pen on a pedestal is weighed down by the absence of a loved one.&nbsp;</p> <p class="p1">Akin to the practice of meditation, <strong>Sheila Ghidini </strong>creates gradated drawings in graphite and mica dust that read as inspirations and exhalations. <strong>Jenn Shifflet</strong>, whose ethereal works often relate to her meditation practice, employs a tedious process of sifting powdered glass into subtly shaded sheets fused with tiny glass balls. <strong>Lisa Espenmiller,</strong> also a regular sitter of zazen, translates in ink a single chant from <em>The Tao</em>, handwritten repeatedly on paper until a densely woven tapestry emerges&mdash;the words are obscured but rhythms appear. &nbsp;</p> <p class="p1">Playing with perception, in <strong>Penny Olson</strong>&rsquo;s <em>Wafer,</em> what appears to be an almost holographic abstract image is derived from a photograph of discarded silicon wafers. <strong>Cathy Cunningham-Little</strong>&rsquo;s <em>Sunburst</em>, a light box made with filtered neon, never resolves into crisp visual focus, triggering awareness of our own act of seeing. Conversely, <strong>Dale Kistemaker</strong> heightens our sense of attention through a vividly focused photograph of grasses, reminding us to look closely at the natural world. The wide-ranging works in <em>Objects of Contemplation</em> ask us to listen, look, and linger just a little longer.&nbsp;</p> Tue, 24 Nov 2015 05:29:13 +0000