ArtSlant - Recently added en-us 40 Mark Benson - Ever Gold Gallery - January 16th, 2015 - February 14th, 2015 <p class="p1">Mark Benson</p> <p class="p2">&nbsp;</p> <p class="p1"><em>How was your weekend?</em></p> <p class="p2">&nbsp;</p> <p class="p1">January 16th &ndash; February 14th</p> <p class="p2">&nbsp;</p> <p class="p1">Opening reception: Friday, January 16th, 6-10pm</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p1">Loud alarms. Slight panics. Big yawns. Heavy eyes. Long showers. Blank stares. Dragging feet. Rough commutes. Emails. Lists. Reminders. Bitter coffee. Stuffy meetings. Groggy coworkers.</p> <p class="p2">&nbsp;</p> <p class="p1"><em>How was your weekend?</em></p> <p class="p2">&nbsp;</p> <p class="p1">Taking cues from the 9-5 work life, Mark Benson employs the common conversation held in jobs the world over every Monday morning to bring to light the mundane and repetitive in the life of contemporary work culture.</p> <p class="p2">&nbsp;</p> <p class="p1">Sculptures and paintings elevate weekend activities and place them on odd pedestals, a show of respect and honor for better times. Absent of their protagonists, a pall hangs over these moments alluding to them as dead and gone forever, or for at least another business week. Milkshakes, quick trips out of town, couch time, drunk time, and time spent working all have a place.</p> <p class="p2">&nbsp;</p> <p class="p1">The resounding tone of this new body of work is just that: all things pass. The best part of the week is over, and here we are at its polar opposite. Let&rsquo;s recap.</p> Sat, 20 Dec 2014 21:48:46 +0000 Jennie Ottinger - Johansson Projects - January 10th, 2015 - February 28th, 2015 <p><strong><strong>Letters to the Predator</strong><br /> <em>Featuring: Jennie Ottinger</em><br /> Show Runs January 10 - February 28, 2015<br /> Reception: Saturday, January 10, 2-5pm</strong></p> <p>Chew with your mouth closed. Don't talk back. We're taught to be polite, sometimes, at all costs. In her newest exhibition, Letters to the Predator, Jennie Ottinger takes a tip from the animal kingdom (and "The Real World") and throws propriety out the window in favor of carnal instinct and survival. Ottinger asks: "what happens when people stop being polite... and start getting real?"&nbsp;</p> <p>&nbsp;</p> <p>Ottinger paints human scenarios where manners and refinement break down -- from a gruesome football tackle to a questionable circus extravaganza. Ottinger's painted creatures live on the brink between human and not, their peachy facial features dripping and shifting before your eyes. A mouth, shifted just so, looks more like a maw, and eyes lack any semblance of consciousness -- or conscience.'</p> <p>&nbsp;</p> <p>The show also features a series of soft-sculptures, thrift store teddy bears that have undergone botched surgeries and barely lived to tell the tale. The formerly adorable creatures, mutated and deformed, have no interest in being polite, their chopped and screwed features are visual manifestations of innocence left out to rot.&nbsp;</p> <p>&nbsp;</p> <p>In Ottinger's a-moral kingdom, being polite is a privilege that too many can't afford. Her power plays, verging between mischievous and savage appear altogether alien, yet still a bit too close too home.</p> Sat, 20 Dec 2014 21:39:41 +0000 Stephen Gill, Yamini Nayar, Chloe Sells, Lorenzo Vitturi, Hannah Whitaker - Gallery Wendi Norris - January 15th, 2015 - February 28th, 2015 <p style="text-align: justify;">Gallery Wendi Norris is pleased to announce <em>The&nbsp;</em><em>Return to Reason</em>, the gallery&rsquo;s first exhibition devoted solely to photography. This group exhibition, opening January 15 and curated with Allie Haeusslein of Pier 24 Photography, will feature photographic works by <strong>Stephen Gill, Yamini Nayar, Chloe Sells, Lorenzo Vitturi </strong>and&nbsp;<strong>Hannah Whitaker </strong>where the act of layering plays a fundamental role in shaping the final result.</p> <p style="text-align: justify;">These artists adeptly intermingle the abstract and familiar through processes both physical and alchemical, ranging from cutting, assembling and rephotographing to manipulations both in the camera and darkroom. A heightened sense of form, color, materiality and texture permeate these works, alongside an underlying tension between the flatness of the photographic plane and the disorienting dimensionality that arises from the various layers and surfaces at play in each picture. Though their works and intentions are distinctive and wide-ranging, these artists produce innovative photographic forms that playfully reveal and obscure what we have come to expect from an image.</p> <p style="text-align: justify;">The exhibition takes its title from Man Ray&rsquo;s first film, <em>Le retour </em><em>&agrave; </em><em>la raison (The Return to&nbsp;</em><em>Reason</em>) (1923), a two-minute short combining enigmatic photograms and spiraling objects with glimpses of decipherable figures and scenes. This experimental, non-narrative piece explores the possibilities of the medium through a visual barrage of overlapping and colliding images that teeter between the abstract and recognizable.</p> <p style="text-align: justify;">Between 2009 and 2013, <strong>Stephen Gill </strong>produced &ldquo;in-camera photograms&rdquo; of his East London neighborhood, placing objects, creatures and other artifacts from the area in his camera before photographing his urban surroundings. Gill&rsquo;s photographs have been widely exhibited at institutions including the Victoria &amp; Albert Museum, London; National Portrait Gallery, London; Palais des Beaux Arts, Brussels; and Haus der Kunst, Munich. In 2013, his work was the subject of a major retrospective at Foam (Fotografiemuseum Amsterdam). Gill is well known for his photobooks &ndash; including <em>Hackney Flowers </em>(2007), <em>Outside In </em>(2010), <em>Coexistence </em>(2012) and <em>Best Before End </em>(2014) &ndash; meticulously produced under his own imprint, Nobody Books.&nbsp;</p> <p style="text-align: justify;"><strong>Yamini Nayar</strong>&rsquo;s architectural assemblages are diligently constructed in her studio from various found pictures and materials including wood, cardboard and fabric. The artist then photographs these disorienting scenes, further complicating the viewer&rsquo;s relationship to perspective, texture and reality in the completed images. Nayar&rsquo;s work has been featured in publications such as <em>The New Yorker</em>, <em>The New York Times</em>, <em>Artforum</em>, <em>Art in America </em>and <em>The&nbsp;</em><em>Guardian</em>. Her photographs are held in both private and public collections including the Saatchi Gallery, London; Queens Museum, New York; Cincinnati Art Museum; and the United States Arts in Embassies.</p> <p style="text-align: justify;">Working with images of the Canadian Rockies and its surrounding vistas, <strong>Chloe Sells&nbsp;</strong>reconfigures these landscapes by layering various colors and textures over traditional photographic negatives during the printing process, an approach that renders her analog color prints one-of-a-kind. Sells received her BFA in Photography from the Rhode Island School of Design and MFA from Central St. Martins in London. She currently splits her time between London and Botswana.</p> <p style="text-align: justify;"><strong>Lorenzo Vitturi</strong>&rsquo;s <em>Dalston Anatomy </em>examines East London&rsquo;s Ridley Road Market through dynamic installations that incorporate both sculpture and photographs. Vitturi reworks the surfaces of his photographs, overlaying portraits and street scenes with materials or objects found at the market; he rephotographs these collages, often pairing them with images of sculptures or still lifes the artist has created from the market&rsquo;s detritus. Vitturi&rsquo;s photographs may be pinned directly to walls, mounted on painted wood or incorporated into sculptural objects. <em>Dalston Anatomy </em>was exhibited at The Photographers&rsquo; Gallery in London in 2014 and Foam in 2013. The project&rsquo;s monograph was shortlisted for both Aperture&rsquo;s First PhotoBook Award and MACK&rsquo;s First Book Award, and was named as one of the best photobooks of 2013 by <em>The New York Times</em>, among many others.</p> <p style="text-align: justify;"><strong>Hannah Whitaker </strong>employs multiple exposures and hand-cut screens inserted between 4 x 5 negatives and the camera&rsquo;s lens to produce intricate patterns that distort the subject photographed. These processes enable her to juxtapose flatness and depth, the geometric and photographic and the handmade and mechanical in a single image. Whitaker was selected from nearly 1,500 applicants for Foam Talent 2014, which features highly regarded young photographers from around the world. Her work is the subject of a forthcoming monograph by M&ouml;rel Books. She currently lives in New York where she teaches at Parsons The New School for Design.</p> <p style="text-align: justify;">For additional information and images please contact the gallery at (415) 346-7812 or email</p> Sat, 20 Dec 2014 15:21:12 +0000 David Fought, Danielle Lawrence, Linn Meyers, Jessica Snow - Traywick Contemporary - January 25th, 2015 - March 21st, 2015 <p>Traywick Contemporary is pleased to announce <em>New Abstraction</em>, an exhibition exploring the varied approaches of four artists in creating non-figurative work. For some of these artists abstraction is a means by which to translate observed reality, while for others it is a pure investigation of the formal aspects of art. Ranging from distinct lines and sharp forms to more organic visual effects, these artists use sculpture, painting, and mark making to create work in which color, texture, surface, line, and form are the primary subjects.&nbsp;</p> <p><strong>David Fought&rsquo;s </strong>sculpture thoughtfully explores both the limits and possibilities of object making combined with drawing. Wire is burned, cooled and bent into various shapes, providing a physical framework that references the elemental lines of a drawing. Delicate layers of plaster fill negative spaces, simultaneously emphasizing mass and planar two-dimensionality. Using the form of the Mobius, Fought examines the tension between surface and void, stating, &ldquo;the Mobius has only one side, and to see this side means following the surface around and back to the beginning.&rdquo;</p> <p><strong>Danielle Lawrence </strong>blurs the lines between the two- and three-dimensional, abstracting the boundaries of painting and sculpture. The artist pours brightly colored enamel paint onto a flat surface, creating a record of her process that she then removes and drapes over freestanding and wall-mounted pedestals. Found items from the artist&rsquo;s studio such as plastic bags, Styrofoam, and bubble wrap add unexpected texture. By transforming paint into a sculptural entity that extends beyond its physical supports, Lawrence examines the notion of the frame as a structure and explores what can exist within and outside of it.&nbsp;</p> <p><strong>Linn Meyers&rsquo; </strong>undulating waves and pulsating patterns, comprised of individually-drawn lines, amplify the artist&rsquo;s own singular gestures. Each subsequent line echoes the subtle imperfections of the last, creating a visual document of Meyers&rsquo; artistic practice over the course of time. Neither a reference to nor a translation of imagery drawn from the natural world, Meyers&rsquo; non-figurative work depicts the artist&rsquo;s own internal experiences.</p> <p><strong>Jessica Snow</strong> uses a visual vocabulary of symbols to compose rhythmic abstractions. The artist arranges elemental forms including circles, lines, and triangles, or more fluid shapes resembling punctuation marks such as commas, apostrophes, or thought bubbles, to form interrelated combinations; a process the artist likens to playing with language or composing a song. Similarly Snow builds up layers of paint to erase any evidence of her brushstrokes, creating paintings and works on paper that are at once systematic and spontaneous.</p> Fri, 19 Dec 2014 22:03:44 +0000 Bruce Connor - San Jose Institute of Contemporary Art (ICA) - February 7th, 2015 - May 16th, 2015 <p><em>Bruce Conner: Somebody Else's Prints</em> spans nearly 60 years of work, from the first etchings and lithographs that Conner made while a student in Kansas in 1944 to his 2003 inkjet prints made with Photoshop at Magnolia Editions, Oakland, CA. Based in San Francisco, Conner is an internationally recognized artist who worked in numerous media, including found-object assemblage, for which he is best known. This exhibition is the first in-depth examination of his work as a printmaker and features rarely seen examples from the Conner Family Trust and private collections. <em>Bruce Conner: Somebody Else&rsquo;s Prints</em> is organized by the Ulrich Museum of Art, Wichita State University.</p> Fri, 19 Dec 2014 21:27:20 +0000 Chris Fraser - SF Camerawork - February 5th, 2015 - March 21st, 2015 Fri, 19 Dec 2014 17:10:57 +0000 Mona Kuhn - SF Camerawork - December 19th 5:30 PM - 7:30 PM Fri, 19 Dec 2014 17:10:10 +0000 - Asian Art Museum - January 24th, 2015 1:00 PM - 2:30 PM <p>The spread of Buddhism from India throughout Asia has left a legacy of truly great art. This new film by the award-winning Mark Stewart Productions tells the story of that fragile inheritance through the treasures of Bhutan and Ladakh in the Himalayas and the Dunhuang Grottoes on the Silk Road in China. Efforts to save vulnerable wall paintings in these regions are contrasted with imminent threats of fire, flood, tourists and devotional practice.</p> <p>&nbsp;</p> <p>The screening is followed by a Q&amp;A with David Park, director of the <a href="" rel="nofollow">Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation</a>.</p> Thu, 18 Dec 2014 20:08:17 +0000 - Asian Art Museum - January 10th, 2015 12:00 PM - 1:00 PM <p>Celebrate the Japanese New Year with Kagami Kai, an acclaimed mochi group, as it presents the colorful and exciting New Year tradition of mochi pounding to make delectably sweet rice cakes, with lively music, energetic dance and traditional costumes.</p> Thu, 18 Dec 2014 20:02:58 +0000 Chris Kallmyer - Southern Exposure - February 14th, 2015 2:00 PM - 4:00 PM <p><ins cite="mailto:Valerie%20Imus" datetime="2014-12-06T16:13">The LADWM&rsquo;s annual Valentine&rsquo;s Day celebration articulates a love letter from precipitation to the people of San Francisco. Thunder needs you and wants you back. Bring an umbrella and a friend.&nbsp;</ins>This event is part of <em>Sets, </em>three two-week projects of process-based, video and performance work by Bay Area artists Christy Chan, Chris Kallmyer and Olivia Mole.<ins cite="mailto:Valerie%20Imus" datetime="2014-12-10T18:02"></ins></p> Wed, 17 Dec 2014 23:09:13 +0000 Chris Kallmyer - Southern Exposure - February 12th, 2015 - February 12th, 2015 <p>A weather expert <ins cite="mailto:Valerie%20Imus" datetime="2014-12-06T16:11">discusses weather modification in California and the </ins><ins cite="mailto:Valerie%20Imus" datetime="2014-12-06T16:12">LADWM</ins><ins cite="mailto:Valerie%20Imus" datetime="2014-12-11T12:36">, featuring Andrew Tholl and Archie Carey,</ins><ins cite="mailto:Valerie%20Imus" datetime="2014-12-06T16:12"> </ins>perform the <ins cite="mailto:Valerie%20Imus" datetime="2014-12-06T16:12">autotuned </ins>story of Charles Hatfield, <ins cite="mailto:Valerie%20Imus" datetime="2014-12-06T16:12">an early experimental rainmaker.</ins><ins cite="mailto:Valerie%20Imus" datetime="2014-12-11T12:30"> </ins></p> <p>This event is part of <em>Sets, </em>three two-week projects of process-based, video and performance work by Bay Area artists Christy Chan, Chris Kallmyer and Olivia Mole.</p> Wed, 17 Dec 2014 23:08:09 +0000 Chris Kallmyer - Southern Exposure - February 5th, 2015 7:30 PM - 9:00 PM <p><ins cite="mailto:Valerie%20Imus" datetime="2014-12-11T15:14">In North India, music regularly ushers in the monsoon season. </ins><ins cite="mailto:Sarah%20Hotchkiss" datetime="2014-12-11T15:36">Join the </ins><ins cite="mailto:Valerie%20Imus" datetime="2014-12-11T15:14">LADWM </ins><ins cite="mailto:Sarah%20Hotchkiss" datetime="2014-12-11T15:36">for a </ins><ins cite="mailto:Valerie%20Imus" datetime="2014-12-11T15:14">concert of traditional and experimental ragas on sarode and tabla. Alam Khan, sarode player and son of Ali Akbar Khan, encourages precipitation with these rain-inspiring ragas.</ins></p> <p>This event is part of <em>Sets, </em>three two-week projects of process-based, video and performance work by Bay Area artists Christy Chan, Chris Kallmyer and Olivia Mole.<ins cite="mailto:Valerie%20Imus" datetime="2014-12-11T15:14"></ins></p> Wed, 17 Dec 2014 23:06:28 +0000 Chris Kallmyer - Southern Exposure - January 31st, 2015 - January 31st, 2015 <p><ins cite="mailto:Valerie%20Imus" datetime="2014-12-06T16:04">Join Kallmyer and guests for an </ins>afternoon performance of fog-inspired <ins cite="mailto:Valerie%20Imus" datetime="2014-12-06T16:10">music, with distant horns, slow moving sound and white-out conditions</ins><ins cite="mailto:Valerie%20Imus" datetime="2014-12-06T16:10">,</ins> tak<ins cite="mailto:Valerie%20Imus" datetime="2014-12-06T16:04">ing</ins> us back to <ins cite="mailto:Valerie%20Imus" datetime="2014-12-06T16:06">a </ins><ins cite="mailto:Valerie%20Imus" datetime="2014-12-06T16:05">pre-global warming </ins>San Francisco<ins cite="mailto:Valerie%20Imus" datetime="2014-12-06T16:10"> </ins>summer.</p> <p>This event is part of <em>Sets, </em>three two-week projects of process-based, video and performance work by Bay Area artists Christy Chan, Chris Kallmyer and Olivia Mole.</p> Wed, 17 Dec 2014 23:05:34 +0000 Chris Kallmyer - Southern Exposure - January 29th, 2015 7:30 PM - 9:00 PM <p><ins cite="mailto:Valerie%20Imus" datetime="2014-12-11T15:14">The California drought comes to an end as we dance it out and perform long-trusted drought-ending rituals, including an ancient Roman stone dragging ceremony, the tossing of water from a high place by a village elder and a gathering of twins.</ins></p> <p>This event is part of <em>Sets, </em>three two-week projects of process-based, video and performance work by Bay Area artists Christy Chan, Chris Kallmyer and Olivia Mole.</p> Wed, 17 Dec 2014 23:03:31 +0000 Chris Kallmyer - Southern Exposure - January 29th, 2015 - February 14th, 2015 <p>Sound artist Chris Kallmyer and the Los Angeles Department of Weather Modification establish an office space and Northern Bureau headquarters at Southern Exposure. <ins cite="mailto:Valerie%20Imus" datetime="2014-12-11T12:23">With five live programs and </ins><ins cite="mailto:Valerie%20Imus" datetime="2014-12-11T12:24">a gallery installation,</ins><ins cite="mailto:Valerie%20Imus" datetime="2014-12-11T12:23"> </ins><ins cite="mailto:Valerie%20Imus" datetime="2014-12-11T12:24">the LADWM continue </ins>their sonic explorations into our experience of weather<ins cite="mailto:Valerie%20Imus" datetime="2014-12-11T12:26"> and the cultural history of weather modification practices. Kallmyer and other musicians from the LADWM </ins>use immersive sound, ritual and radical environmental experiments to end <ins cite="mailto:Valerie%20Imus" datetime="2014-12-06T12:41">the California </ins>drought<ins cite="mailto:Valerie%20Imus" datetime="2014-12-11T12:16"> </ins>and create weather.</p> <p>This installation is part of <em>Sets, </em>three two-week projects of process-based, video and performance work by Bay Area artists Christy Chan, Chris Kallmyer and Olivia Mole.<ins cite="mailto:Valerie%20Imus" datetime="2014-12-06T16:34"></ins></p> Wed, 17 Dec 2014 23:02:28 +0000