ArtSlant - Closing soon http://www.artslant.com/sf/Events/show en-us 40 - art works downtown - May 24th, 2013 - July 5th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Art Works Downtown announces <em>drawing</em>, a show of original artwork, juried by Suzanne Gray McSweeney and Donna Seagergray of Seagergray Gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The show includes 28 artists from the San Francisco Bay Area. The theme of the show is drawing in all forms. While traditional drawings were welcome in the submission process, the jurors encouraged non-traditional mediums and concepts pushing the boundaries of drawing. Drawing media includes charcoal, pencil, pastel, marker, and mixed media.</span></p> Wed, 03 Jul 2013 16:35:50 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Susan Barnett, Noah David Bau, Brett Van Ort - Rayko Photo Center - May 30th, 2013 - July 5th, 2013 <div class="row sqs-row"> <div class="col sqs-col-12 span-12"> <div class="sqs-block html-block" data-block-json="{&quot;wysiwyg&quot;:{&quot;engine&quot;:&quot;code&quot;,&quot;mode&quot;:&quot;htmlmixed&quot;,&quot;isSource&quot;:false,&quot;source&quot;:&quot;&quot;},&quot;html&quot;:&quot;&lt;h3&gt;&lt;strong&gt;Center&amp;nbsp;Forward&lt;/strong&gt;&lt;em&gt;\u200B&lt;/em&gt;&lt;/h3&gt;&lt;p&gt;Exhibition Dates: &amp;nbsp;May 30 - July 5, 2013&lt;br&gt;\u200BOpening Reception: &amp;nbsp;May 30, 6 - 8pm&lt;/p&gt;&lt;!--[if gte mso 9]&gt;&lt;xml&gt;\n &lt;o:OfficeDocumentSettings&gt;\n &lt;o:AllowPNG/&gt;\n &lt;/o:OfficeDocumentSettings&gt;\n&lt;/xml&gt;&lt;![endif]--&gt;&lt;!--[if gte mso 9]&gt;&lt;xml&gt;\n &lt;w:WordDocument&gt;\n &lt;w:View&gt;Normal&lt;/w:View&gt;\n &lt;w:Zoom&gt;0&lt;/w:Zoom&gt;\n &lt;w:TrackMoves/&gt;\n &lt;w:TrackFormatting/&gt;\n &lt;w:PunctuationKerning/&gt;\n &lt;w:ValidateAgainstSchemas/&gt;\n &lt;w:SaveIfXMLInvalid&gt;false&lt;/w:SaveIfXMLInvalid&gt;\n &lt;w:IgnoreMixedContent&gt;false&lt;/w:IgnoreMixedContent&gt;\n &lt;w:AlwaysShowPlaceholderText&gt;false&lt;/w:AlwaysShowPlaceholderText&gt;\n &lt;w:DoNotPromoteQF/&gt;\n &lt;w:LidThemeOther&gt;EN-US&lt;/w:LidThemeOther&gt;\n &lt;w:LidThemeAsian&gt;JA&lt;/w:LidThemeAsian&gt;\n &lt;w:LidThemeComplexScript&gt;X-NONE&lt;/w:LidThemeComplexScript&gt;\n &lt;w:Compatibility&gt;\n &lt;w:BreakWrappedTables/&gt;\n &lt;w:SnapToGridInCell/&gt;\n &lt;w:WrapTextWithPunct/&gt;\n &lt;w:UseAsianBreakRules/&gt;\n &lt;w:DontGrowAutofit/&gt;\n &lt;w:SplitPgBreakAndParaMark/&gt;\n &lt;w:EnableOpenTypeKerning/&gt;\n &lt;w:DontFlipMirrorIndents/&gt;\n &lt;w:OverrideTableStyleHps/&gt;\n &lt;w:UseFELayout/&gt;\n &lt;/w:Compatibility&gt;\n &lt;m:mathPr&gt;\n &lt;m:mathFont m:val=\&quot;Cambria Math\&quot;/&gt;\n &lt;m:brkBin m:val=\&quot;before\&quot;/&gt;\n &lt;m:brkBinSub m:val=\&quot;&amp;#45;-\&quot;/&gt;\n &lt;m:smallFrac m:val=\&quot;off\&quot;/&gt;\n &lt;m:dispDef/&gt;\n &lt;m:lMargin m:val=\&quot;0\&quot;/&gt;\n &lt;m:rMargin m:val=\&quot;0\&quot;/&gt;\n &lt;m:defJc m:val=\&quot;centerGroup\&quot;/&gt;\n &lt;m:wrapIndent m:val=\&quot;1440\&quot;/&gt;\n &lt;m:intLim m:val=\&quot;subSup\&quot;/&gt;\n &lt;m:naryLim m:val=\&quot;undOvr\&quot;/&gt;\n &lt;/m:mathPr&gt;&lt;/w:WordDocument&gt;\n&lt;/xml&gt;&lt;![endif]--&gt;&lt;!--[if gte mso 9]&gt;&lt;xml&gt;\n &lt;w:LatentStyles DefLockedState=\&quot;false\&quot; 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Priority=\&quot;69\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium Grid 3 Accent 3\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;70\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Dark List Accent 3\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;71\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Colorful Shading Accent 3\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;72\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Colorful List Accent 3\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;73\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Colorful Grid Accent 3\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;60\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Light Shading Accent 4\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;61\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Light List Accent 4\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;62\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Light Grid Accent 4\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;63\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium Shading 1 Accent 4\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;64\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium Shading 2 Accent 4\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;65\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium List 1 Accent 4\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;66\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium List 2 Accent 4\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;67\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium Grid 1 Accent 4\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;68\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium Grid 2 Accent 4\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;69\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium Grid 3 Accent 4\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;70\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Dark List Accent 4\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;71\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Colorful Shading Accent 4\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;72\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Colorful List Accent 4\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;73\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Colorful Grid Accent 4\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;60\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Light Shading Accent 5\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;61\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Light List Accent 5\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;62\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Light Grid Accent 5\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;63\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium Shading 1 Accent 5\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;64\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium Shading 2 Accent 5\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;65\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium List 1 Accent 5\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;66\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium List 2 Accent 5\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;67\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium Grid 1 Accent 5\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;68\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium Grid 2 Accent 5\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;69\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium Grid 3 Accent 5\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;70\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Dark List Accent 5\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;71\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Colorful Shading Accent 5\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;72\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Colorful List Accent 5\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;73\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Colorful Grid Accent 5\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;60\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Light Shading Accent 6\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;61\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Light List Accent 6\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;62\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Light Grid Accent 6\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;63\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium Shading 1 Accent 6\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;64\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium Shading 2 Accent 6\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;65\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium List 1 Accent 6\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;66\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium List 2 Accent 6\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;67\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium Grid 1 Accent 6\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;68\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium Grid 2 Accent 6\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;69\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Medium Grid 3 Accent 6\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;70\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Dark List Accent 6\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;71\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Colorful Shading Accent 6\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;72\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Colorful List Accent 6\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;73\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; Name=\&quot;Colorful Grid Accent 6\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;19\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; QFormat=\&quot;true\&quot; Name=\&quot;Subtle Emphasis\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;21\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; QFormat=\&quot;true\&quot; Name=\&quot;Intense Emphasis\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;31\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; QFormat=\&quot;true\&quot; Name=\&quot;Subtle Reference\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;32\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; QFormat=\&quot;true\&quot; Name=\&quot;Intense Reference\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;33\&quot; SemiHidden=\&quot;false\&quot;\n UnhideWhenUsed=\&quot;false\&quot; QFormat=\&quot;true\&quot; Name=\&quot;Book Title\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;37\&quot; Name=\&quot;Bibliography\&quot;/&gt;\n &lt;w:LsdException Locked=\&quot;false\&quot; Priority=\&quot;39\&quot; QFormat=\&quot;true\&quot; Name=\&quot;TOC Heading\&quot;/&gt;\n &lt;/w:LatentStyles&gt;\n&lt;/xml&gt;&lt;![endif]--&gt;&lt;!--[if gte mso 10]&gt;\n&lt;style&gt;\n /* Style Definitions */\ntable.MsoNormalTable\n\t{mso-style-name:\&quot;Table Normal\&quot;;\n\tmso-tstyle-rowband-size:0;\n\tmso-tstyle-colband-size:0;\n\tmso-style-noshow:yes;\n\tmso-style-priority:99;\n\tmso-style-parent:\&quot;\&quot;;\n\tmso-padding-alt:0in 5.4pt 0in 5.4pt;\n\tmso-para-margin:0in;\n\tmso-para-margin-bottom:.0001pt;\n\tmso-pagination:widow-orphan;\n\tfont-size:10.0pt;\n\tfont-family:\&quot;Times New Roman\&quot;;\n\tmso-fareast-language:JA;}\n&lt;/style&gt;\n&lt;![endif]--&gt;&lt;!--StartFragment--&gt;&lt;!--EndFragment--&gt;&lt;p&gt;This is a collaborative\nexhibition between RayKo Photo Center and the &lt;a href=\&quot;http://www.c4fap.org\&quot; target=\&quot;_blank\&quot;&gt;Center for Fine Art Photography&lt;/a&gt;\nin Ft. Collins, Colorado. &lt;em&gt;Center Forward&lt;/em&gt; was juried by gallery\ndirectors Hamidah Glasgow and Ann Jastrab.&amp;nbsp;\nThe exhibit brings together the visions of both curators and explores\nthe current trends in contemporary photography.&lt;/p&gt;&quot;,&quot;engine&quot;:&quot;visual&quot;}" data-block-type="2"> <div class="sqs-block-content"> <p style="text-align: justify;"><span style="font-size: small;">This is a collaborative exhibition between RayKo Photo Center and the Center for Fine Art Photography in Ft. Collins, Colorado. <i>Center Forward</i> was juried by gallery directors, Hamidah Glasgow and Ann Jastrab.  The exhibit brings together the visions of both curators and explores the current trends in contemporary photography. Featuring 42 artists from across the country and around the globe. Highlights include Noah David Bau’s portraits depicting young professional Muay Thai (Thai Boxing) fighters in Bangkok from his series “This is My Body,” Susan Barnett’s “Not in Your Face” alternative portrait series, and Brett Van Ort’s massive interactive “Minescape” pictures that initially just seem like sublime color landscapes, but indeed there are landmines or bombs buried within them. Brett will also be here signing copies of his newly published book of the same name.<br /></span></p> </div> </div> </div> </div> Wed, 22 May 2013 18:06:34 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Henry Horenstein - Rayko Photo Center - May 30th, 2013 - July 5th, 2013 <p align="center"><b> RAYKO PHOTOGRAPHY EXHIBITION</b></p> <p align="center"><b>Documents the great story of country music</b></p> <p style="text-align: center;"><b><i>Honky Tonk</i></b></p> <p style="text-align: center;"><b><i>Photographs by Henry Horenstein</i></b></p> <p style="text-align: justify;">Forty years after he began documenting the country music scene in and around Nashville, Henry Horenstein’s deep love for the music and its people continues. Having spent a lifetime around performers and fans, he has been granted access to the high-glamour backstage at the Grand Ole Opry in its heyday as well as the rough-and-tumble dive bars and family-friendly festivals. Spanning from 1972-2011, Horenstein’s photographs featured in his book, “Honky Tonk” capture the irrepressible spirit of an American institution as it has evolved over the years. Familiar stars including Dolly Parton, Jerry Lee Lewis, Waylon Jennings, Tex Ritter, Ralph Stanley, and Tammy Wynette are seen here alongside the familiar venues and enthusiastic fans that sustained them. Horenstein’s photographs and the latest edition of his book are as evocative and irresistible as the music itself.</p> <p style="text-align: justify;">Visit RayKo during the opening reception to meet the legend himself, see his prints and have him sign a copy of his beautiful and nostalgic book, “Honky Tonk, Portraits of Country Music.”</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">Henry Horenstein has been a professional photographer, teacher, and author since the 1970s. He studied history at the University of Chicago before turning to photography, earning his BFA and MFA at Rhode Island School of Design (RISD), while studying under legendary photographers Harry Callahan and Aaron Siskind. Henry's work is collected and exhibited internationally, and he has published over 30 books, including <i>Black &amp; White Photography: A Basic Manual</i>, used by hundreds of thousands of college, university, high school, and art school students as their introduction to photography. He has also published several monographs of his own work, including <i>Show</i>, <i>Honky Tonk</i>, <i>Animalia, Humans, Racing Days, Close Relations</i>, and many others. Henry lives in Boston, and is professor of photography at RISD. His photographs can be seen at <a href="http://www.horenstein.com/" rel="nofollow"><i><span style="text-decoration: underline;">www.horenstein.com</span></i></a></p> Wed, 22 May 2013 18:05:27 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Lawrence Way - art works downtown - June 14th, 2013 - July 6th, 2013 Wed, 12 Jun 2013 12:57:04 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Ian Kimmerly - Dolby Chadwick Gallery - June 6th, 2013 - July 6th, 2013 <p class="p1"><span style="font-size: 12px;">Dolby Chadwick Gallery is pleased to announce </span><i style="font-size: 12px;">Continuous Wave</i><span style="font-size: 12px;">, an exhibition of new paintings by Ian Kimmerly. Kimmerly boldly embraces the disparate by integrating various styles and techniques into each painting. Softly blurred photorealistic figures slip between abstract gestures while gleaming, thickly impastoed streaks of paint are counterbalanced by bright, geometric pops of color. Though the final paintings depend on a number of different factors, his process typically involves the same set of steps: after priming the canvas with an acrylic glaze and placing the figures, Kimmerly begins adding generous layers of paint that he manipulates and scrapes away while still wet. Figures subsequently get moved around and incorporated into the surrounding ground while he builds up his painting’s surfaces. </span><span style="font-size: 12px;"> </span></p> <p class="p4">Within the tensions generated between nonobjective and illusory space, notes of Abstract Expressionism, Bay Area Expressionists such as Richard Diebenkorn and Elmer Bischoff, Gerhard Richter, and John Singer Sargent are evident. As accumulations of styles and influences—and ideas and experiences—Kimmerly’s paintings look almost as if “they’re being constructed in front of you. You can see the seams holding them together and, at the same time, you can also see them falling apart. I like when you can see how something is built. There’s a sense of tenuousness about it.” With respect to his fragmented, deconstructed aesthetic Kimmerly explains: “I try to ask questions about reality through my paintings. What is actually holding everything together? To have an image that’s in the process of breaking apart and reforming before your eyes touches upon that question.”</p> <p class="p4">One of the earliest inspirations for this body of work can be traced back to a personal project to convert old, VHS home movies to DVD. Initially intrigued by distortions that occasionally occurred during the conversion process, Kimmerly began to ask himself what the goals of such projects were and whether or not technology somehow assists with or alters memory. Do we, for instance, only remember certain incidents because a parent took a video or picture of them? Such questions led Kimmerly to consider how modern innovations, particularly social media, and the ulterior motives of mediating technologies, such as touchscreens and rotating billboards, have altered not only how we think and remember, but also how we interact and exist. </p> <p class="p4">Kimmerly’s paintings explore these issues by attempting to both embody the complexity of human consciousness and reflect how modern “advancements” have rendered it increasingly fractured and disoriented. To create paintings that are as complicated as those experiences we live, Kimmerly often uses images of people and objects cast as reflections in windows, or will mix artificial elements (such as mannequins) with landscapes to create a subtle sense of dissonance. Figures both </p> <p class="p4">“real” and artificial are awash in a kind of visual static that produces a sense of distance between viewer and subjects: “I’m trying to show a struggle to have a close relationships with the subjects,” Kimmerly explains, “there’s always a distancing. There are things you’re fighting against to see what’s happening.”</p> <p class="p4"><i>Water Logic</i> (2012) exemplifies the struggle to know, grasp, and connect—to reconcile the self with the subjects and setting. Inspired by an image in the pages of a vintage <i>National Geographic</i>, <i>Water Logic</i> depicts a family soaking in a Finnish hot spring. Each person’s face is hazy though particularized, while pools of simmering mineral waters masquerading as abstract gestures flow over and around their bodies. Water is, of course, something that you have to look into, through, and depending on its opacity, beyond. To know what is on the other side you have to acutely engage the mind and imagination. Water is also a unifying and harmonizing force that envelopes its bathers both and aligns them with the rhythm of its currents. By using abstraction as an analogue to water, Kimmerly asks us to consider how art and, in particular, painting, can help return us to the real. His painting—themselves material, tactile objects—embody and activate sensory experiences that force us to see the natural symmetry that binds all together.</p> <p class="p4">Ian Kimmerly was born in Northport, Michigan in 1980. He earned his BFA from the University of Michigan in 2002 followed by his MFA from the University of Arizona in 2005. He has exhibited across the United States and the San Francisco Bay Area, including most recently at San Francisco’s Southern Exposure. This will be his first solo show the Dolby Chadwick Gallery.</p> Sat, 20 Apr 2013 00:16:23 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Allison Smith - Haines Gallery - May 23rd, 2013 - July 6th, 2013 <p style="text-align: justify;">For her second exhibition at Haines Gallery, Bay Area based artist Allison Smith presents a series of photographic works on linen alongside sculptural pieces that continue her investigation of the cultural phenomenon underlying <i>Living History</i> – or the reenactment of life from another time – as it relates to early America. This tradition is founded on the principle that historical events gain meaning and relevance when performed live in an open-air, interactive setting. Smith reframes this rich set of activities and objects within the field of contemporary art, prompting content-based associations.</p> <p style="text-align: justify;" align="left">Smith’s research-based practice is revealed through these photographs, which initially operate as a form of rigorous anthropological note taking. Printed on texturally rich linens and displayed in wood frames, the works not only play at the distinction between photograph and painting, but also evoke the craft history they document. She photographs living history villages, museums and craft fairs throughout the United States, approaching these venues with a keen eye for scenes that relate to her work, but also instances of uncanny juxtaposition – moments where the contemporary challenges of framing this history reveal themselves. Isolated from their original contexts, the objects and environments depicted begin to function as props and sets for a performance you can imagine, but never see unfold. The absence of human presence in these pictures imparts a certain timelessness, encouraging interpretations beyond the purely historical.</p> <p style="text-align: justify;" align="left">The sculptural works restage early-American colonial craft and textile patterns. The unfinished tilt-top tables stand new and ready for use, like props for a reenactment. Smith, however, reinterprets the potential of these tables. She situates them in unusable positions, wrapping them in silks patterned with historical textiles rendered almost psychedelic through the manipulation of their colors and contrast. While referencing the history from which they are derived – most notably, the invention of the kaleidoscope – these reflector-like objects transform into decidedly contemporary works through Smith’s intervention.</p> <p style="text-align: justify;">Smith’s work has been the subject of numerous exhibitions and projects at institutions and is included in many collections throughout the US including the Los Angeles County Museum of Art; San Francisco Museum of Modern Art; Whitney Museum of American Art; Indianapolis Museum of Art; Berkeley Art Museum; Mildred Lane Kemper Art Museum, St. Louis, MO; and Museum of Contemporary Art, Denver, CO. Later this month, <i>Allison Smith: Rudiments of Fife &amp; Drum </i>will open at the Aldrich Contemporary Art Museum in Ridgefield, CT. Smith is a tenured professor and Chair of the Sculpture Program at California College of the Arts. </p> Mon, 17 Jun 2013 05:44:03 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Enrique Chagoya - Kala Art Institute - May 18th, 2013 - July 6th, 2013 <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="margin-bottom: 0in; text-align: justify;"><span style="font-size: small;">Kala Art Institute is proud to announce <b>FREEDOM OF EXPRESSION</b>, an exhibition of the work of Enrique Chagoya. <b>Co-Curated by Peter Selz and Sue Kubly,</b> <i>Freedom of Expression</i> is a survey of Chagoya’s artwork from the past thirty years, including large charcoal and pastel drawings, prints, codices and three-dimensional objects, many of them completed since 2000.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="margin-bottom: 0in; text-align: justify;"><span style="font-size: small;">Chagoya's work incorporates historic and political subject matter to cast new interpretations of Mexico's history and current political events. It follows in the grand tradition of the great 20th Century Mexican muralists; But it is most indebted to the legendary exponents of art of social satire: José Guadalupe Posada and Francisco Goya. </span><br /><br /><span style="font-size: small;">His work invokes elements of pre-Columbian mythology, western religious iconography, and American popular culture, to address issues of Colonial conquest and its destructive wake, the problems of the border and the legacy of Mesoamerican culture. Chagoya approaches these subjects with a sharp but playful visual and verbal language, fusing a sense of irony with an incisive political and personal commentary. His innovative use of traditional media adds poignancy and surprise to his work, which are hallmarks of his art practice. </span><br /><br /><span style="font-size: small;">Highlights of this show include the iconic 1984 piece, <i>Their Freedom of Expression…The Recovery of Their Economy, </i>and<i> Recession Watchdog</i>. Other featured works include Chagoya’s <i>Homage to Goya II: Disasters of War</i>, intaglio prints, as well as other lithographs, silkscreen prints, and digital prints.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="margin-bottom: 0in; text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;"><i><b>The exhibition of Freedom of Expression and related programs are generously funded by the Phyllis C. Wattis Foundation.</b></i><br /></span></p> Sun, 28 Apr 2013 13:45:39 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Pierre Antoniucci - Modernism Inc. - May 9th, 2013 - July 6th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Modernism</strong> is pleased to present the first U.S. exhibition of French artist <strong>Pierre ANTONIUCCI</strong>.</span><br /> <br /><span style="font-size: small;"> Drawing from sources ranging from antiquity to modernism, Antoniucci melds these together, dissolving the classic periods of chronological history in favor of an unbroken layer of globalization that stretches back to the dawn of human history, which day by day gets denser and more tightly woven than the previous day. The current exhibition will feature two major bodies of work by Antoniucci from the past ten years, both examining the theme of time, yet via different paths.</span><br /> <br /><span style="font-size: small;"> In Antoniucci’'s most recent series, the paintings take inspiration from French author Alain Borer’s (recipient of the Prix Apolllinaire for Icare &amp; I don’t) dramatic w ork Le Quadrige Invectif (The Unruly Four-In-Hand—soon to be published in English by Martin Muller Books). Here, Borer’s text itself sparks a cavalcade of figures across various time periods (Pegasus and his mare Darling; Fausto Coppi, the dominant cyclist of the 1940s and 50s; and Richard Mille, a contemporary luxury watchmaker), who come together in an abstract expanse that can not really be described as a physical place. These characters engage in a “race against time” on hoof, bicycle, and Bugatti, bantering back and forth as they go along.</span><br /> <br /><span style="font-size: small;"> The artist’s blank canvas here merges with the writer’s blank page. The text’s displacement and temporal slippage soon divert the cavalcade of figures into a cosmic cavalcade—poetic imagery radiates from the mix of stampedes, sudden halts, and climaxes. Antoniucci has adopted the angle of childhood, of a clownish, mischievous Chronos who draws us into time’s clock case, with its gears and wheels, the whole mechanism being part of the celestial universe.</span><br /> <br /><span style="font-size: small;"> In the second body of work Antoniucci continues to explore the theme of portraiture. In one grouping of works, La Jeune Femme au Ruban (Young Girl With a Ribbon), 2011, color resides only in faces and hands. The bodies are reduced to a kind of silhouette, which seems to be vanishing. “It’s the passing of time,” says Antoniucci, “that makes these figures fade, shrink, lighten, and disperse—it minimalizes them, turning them into ghosts or angels.” Although some figures have lost their color, their bodies are very present—a presence with what you might call a paradoxically heavy lightness. The pale gray color of the bodies is the same as the ground; only the texture of the silhouette is present. As time moves on, becoming more remote, it inevitably takes the disappearing body along with it. What remains, in a kind of abstract punctuation, are hands and faces. They exist in a residual, angelic space, as markers of human expressiveness t hat attract and hold memories. “The bright colors of the hands and faces were added by spraying pigment—through filters—over layers of acrylic. Sometimes,” says Antoniucci, “I wondered whether I was painting them or applying make-up to them.”</span><br /> <br /><span style="font-size: small;"> Pierre ANTONIUCCI has exhibited extensively in Europe, and is in the collection of several French museums. </span></p> Wed, 08 May 2013 09:21:04 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Suong Yangchareon - Paul Thiebaud Gallery (SF) - May 28th, 2013 - July 6th, 2013 Mon, 22 Jul 2013 18:36:22 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Hadas Tal - Paul Thiebaud Gallery (SF) - May 28th, 2013 - July 6th, 2013 Mon, 22 Jul 2013 18:36:33 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Gordon Halloran - a new leaf gallery | sculpturesite - May 5th, 2013 - July 7th, 2013 <p style="text-align: justify;"><span style="font-size: small;">We are delighted to introduce to California Canadian artist <b>Gordon Halloran</b>, well known to world audiences as the creator of <i>Paintings Below Zero</i>, ambitious monumental public art installations in Canada, the US and Europe, inspired by glacial walls and exploding with pure pigments interacting with the crystal structure of the ice.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For this double exhibition -- <b><i>Ice Break</i></b> in the gallery space and <strong><i> <a target="_blank" href="http://www.artslant.com/sf/events/show/271717-breaking-up-is-hard-to-do">Breaking Up is Hard to Do</a> </i></strong> in Cornerstone Sonoma's reflecting pool -- Halloran has sourced a modern, acid-free material that allows him a process for creating permanent sculptures that are closest in appearance to his frozen works. He says, "I had the desire to bring the naturally created ephemeral forms of my ice work into a permanent but malleable state in order to further investigate the nature of the fracture, movement, and disintegration of our evolving landscape; to capture the graphic patterns that emerge from the magnificent interplay of crystalline growth and collaboratively play with that growth through the fabrication of structures that explore the interconnectedness of creation and entropy."</span></p> <p style="text-align: justify;"><span style="font-size: small;"><b><i>Ice Break</i></b> is an evolving commentary inspired by the calving of Arctic icebergs and Claude Monet's impressionist Waterlilies, and explores the nature of ephemeral existence and its relationship to increasingly technologically-bound societies. Through the presentation of a simple interplay between seemingly rigid materials and naturally occurring structure, it attempts to awaken us to the ephemeral nature of being. <b><i>Breaking Up is Hard to Do</i></b> uses site, scale and color to seduce the viewer with vibrancy, luring us to the water's edge and into collective play. Viewers move around the piece and it moves alongside them. Juxtaposing abstract sensibility with ecological patterns, the elements relate to each other as well as their site, not just in space, but over time, as each moves in response to wind and wave.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Together, <b><i>Ice Break</i></b> and <b><i>Breaking Up is Hard to Do</i></b> openly question our understanding of our environment in transformation -- permanent to ephemeral, solid to liquid -- a dynamic and enduring landscape in permanent flux.</span></p> Mon, 15 Apr 2013 17:10:09 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Gordon Halloran - a new leaf gallery | sculpturesite - May 5th, 2013 - July 7th, 2013 <p style="text-align: justify;"><span style="font-size: small;">We are delighted to introduce to California Canadian artist <b>Gordon Halloran</b>, well known to world audiences as the creator of <i>Paintings Below Zero</i>, ambitious monumental public art installations in Canada, the US and Europe, inspired by glacial walls and exploding with pure pigments interacting with the crystal structure of the ice.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For this double exhibition -- <strong><i><a target="_blank" href="http://www.artslant.com/sf/events/show/271715-ice-break">Ice Break</a></i></strong> in the gallery space and <b><i>Breaking Up is Hard to Do</i></b> in Cornerstone Sonoma's reflecting pool -- Halloran has sourced a modern, acid-free material that allows him a process for creating permanent sculptures that are closest in appearance to his frozen works. He says, "I had the desire to bring the naturally created ephemeral forms of my ice work into a permanent but malleable state in order to further investigate the nature of the fracture, movement, and disintegration of our evolving landscape; to capture the graphic patterns that emerge from the magnificent interplay of crystalline growth and collaboratively play with that growth through the fabrication of structures that explore the interconnectedness of creation and entropy."</span></p> <p style="text-align: justify;"><span style="font-size: small;"><b><i>Ice Break</i></b> is an evolving commentary inspired by the calving of Arctic icebergs and Claude Monet's impressionist Waterlilies, and explores the nature of ephemeral existence and its relationship to increasingly technologically-bound societies. Through the presentation of a simple interplay between seemingly rigid materials and naturally occurring structure, it attempts to awaken us to the ephemeral nature of being. <b><i>Breaking Up is Hard to Do</i></b> uses site, scale and color to seduce the viewer with vibrancy, luring us to the water's edge and into collective play. Viewers move around the piece and it moves alongside them. Juxtaposing abstract sensibility with ecological patterns, the elements relate to each other as well as their site, not just in space, but over time, as each moves in response to wind and wave.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Together, <b><i>Ice Break</i></b> and <b><i>Breaking Up is Hard to Do</i></b> openly question our understanding of our environment in transformation -- permanent to ephemeral, solid to liquid -- a dynamic and enduring landscape in permanent flux.</span></p> Mon, 15 Apr 2013 17:09:33 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list - Cantor Arts Center - March 6th, 2013 - July 7th, 2013 <p style="text-align: justify;"><span style="font-size: small;">In the photographs selected for this exhibition, people and places from other times come to us now, a collision of our moment and theirs. Time rolls in rear-view mirrors and ocean waves or across the sky in a passing phenomenon, a dirigible floating in the clouds. Twenty-two works on display.</span></p> Tue, 12 Mar 2013 06:13:19 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Matt Moulthrop - Crocker Art Museum - March 10th, 2013 - July 7th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The 32 exquisitely turned bowls and other objects in this exhibition combine the beauty of wood with designs that accentuate wood's unique properties. Wood turning, like other craft media such as glass and clay, came into its own in the 1960s and 1970s as a rich form of creative expression. Using a lathe to carve these one-of-a-kind pieces, the turners showcased here seek to capture the splendor and richness of their medium, while also striking an aesthetic balance of color, form, and texture. More so, the artists seek to communicate through each work—and honor the tree it came from. Matt Moulthrop, whose legendary wood-turning family is well represented in this exhibition, explains, "Worm holes convey past life, rings communicate growth, and certain colors tell the story of death by lightening or blight. My job is to tell the story ... lengthening the life of the tree rather than ending it."</span></p> Thu, 31 Jan 2013 09:47:58 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Richard Diebenkorn, David Hockney, Wayne Thiebaud, Edward Ruscha - de Young Museum - February 23rd, 2013 - July 7th, 2013 <p style="text-align: justify;"><span style="font-size: small;">As electronic networks have grown to bridge ever-greater distances at increasing speeds, artists have shown an unflinching interest in mapping their worlds—both physical and metaphysical. Drawn primarily from the Anderson Graphic Arts Collection at the Fine Arts Museums, this exhibition surveys some of the strategies that printmakers have employed in their representations of space and place over the last 45 years.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The most familiar mode of depicting space in Western culture—linear perspective—is just one of many available strategies. Alternative approaches include the conceptual linear formations of Julie Mehretu and the manipulated geographies of Richard Diebenkorn, David Hockney, and Wayne Thiebaud. Ed Ruscha takes mapping a step further, incorporating the physicality of the Mixografia technique to describe topographical variations in the area surrounding Los Angeles.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Mediating landscapes, seascapes, and skyscapes, the works in this exhibition challenge viewers to consider alternative modes of seeing and understanding spaces that are themselves subject to continual reformation. By blurring abstract, undefined spaces with definitive places, <em>Mapping the Contemporary Print</em> demonstrates how artists best represent the world they experience.</span></p> Thu, 14 Mar 2013 11:34:33 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Shih Chieh Huang - Yerba Buena Center for the Arts - March 1st, 2013 - July 7th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>“What [Shih Chieh Huang] generates in all of his work is a genuine sense of technology as life form”</em></span></p> <div style="text-align: right;"><span style="font-size: small;">—Sally Butler, artlink.com</span></div> <div><span style="font-size: small;"> </span> <p style="text-align: justify;"><span style="font-size: small;">Shih Chieh Huang creates a sculptural ecosystem using found and collected objects — including toys, plastic bags, electrical devices, and sensors — into beautiful, ethereal installations that seem unexpectedly organic and life-like. For his exhibition at YBCA, he will create a work that reflects on the Bay Area’s rich legacy in both the machine performance movement and the countercultural aesthetics of psychedelia.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <div class="pane-content"> <div class="field field-type-text field-field-object-artist-bio"> <div class="field-items"> <div class="field-item odd"> <p style="text-align: justify;"><strong>Shih Chieh Huang</strong> received his MFA from the School of Visual Arts in New York City. He has exhibited his sculptures and installations at the Smithsonian Museum of Natural History, Busan Biennial, Aichi Triennial, 52nd Venice Biennale, Biennial Zero1 San Jose, Biennial Cuvée in Austria, the New Museum of Contemporary Art in New York, and Museum of Contemporary Art Shanghai. He has had solo exhibitions at the Rhode Island School of Design Museum of Art, Beall Center for Art and Technology, and Museum of Contemporary Art Taipei. Huang’s awards include an Artist Research Fellowship from the Smithsonian Institution, a Rockefeller Foundation New Media Arts Fellowship, a Joan Mitchell Foundation Sculpture Award, two New York Foundation for the Arts Fellowships, and residencies at Art Omi, Skowhegan, and The Marie Walsh Sharpe Art Foundation.<br /> www.messymix.com</p> </div> </div> </div> </div> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> </div> Thu, 04 Jul 2013 11:57:35 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list