ArtSlant - Openings & events en-us 40 Richard T. Walker - Kadist Art Foundation - July 10th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Part two of the Kadist Summer Music Series, artist Richard T. Walker presents his most ambitious performance to date,&nbsp;<em>the security of impossibility</em>. With layered harmonies, live and recorded music, multiple projections, and participant-operated tape players, Walker brings a mountain of sound to Kadist.</span></p> Tue, 09 Jul 2013 17:38:34 +0000 Drop City - Mills College Art Museum - July 10th, 2013 7:00 PM - 8:30 PM <p style="text-align: justify;"><span style="font-size: small;"><em>Drop City </em>tells a story of whimsical innovation and the drive to create a new civilization on the scrapheap of a wasteful society. Often cited as the first rural commune of the 1960s, Drop City was an experimental community on the plains of Southern Colorado that blended practices of art, architecture, and resourceful living in ways that came to define a global counterculture. Visually arresting, idiosyncratic and utopian, Drop City's significance has deepened as a new generation embraces a do-it-yourself spirit for confronting an uncertain future.</span></p> <p style="text-align: justify;"><span style="font-size: small;">DROP CITY (2012) Directed by Joan Grossman, 82 min</span></p> Fri, 05 Jul 2013 10:55:03 +0000 Ken Graves - Anglim Gilbert Gallery - July 11th, 2013 5:30 PM - 7:30 PM <p style="text-align: justify;"><span style="font-size: small;">Gallery Paule Anglim is pleased to present an exhibition of new collage works by&nbsp;<strong>Ken Graves.</strong></span></p> <p style="text-align: justify;"><strong style="font-size: small;">Please join us for the artist's reception on&nbsp;</strong><strong style="font-size: small;"><strong>&nbsp;</strong></strong><em style="font-size: small;"><strong>Thursday, July 11 from 5:30-7:30pm</strong>.</em></p> <div style="text-align: justify;"><strong style="font-size: small;">Grave</strong><span style="font-size: small;">'s collage works belong to a tradition of small paper compositions made from&nbsp; engraving reproductions found in journals and books.&nbsp; Like his Surrealist forebears, Graves plays with wit, the incongruous and the unexpected.&nbsp; His masterfully put-together arrangements read like narratives of light social parody and deranged psychology.&nbsp; To the delicately juxtaposed engraving and photographic constructions he adds obsessive handwork, attaching thread, tiny objects, like beads and feathers, to infuse an aspect of tactile, old-world craft. &nbsp;</span></div> <p style="text-align: justify;"><span style="font-size: small;">Graves has worked many years and taught photography at Pennsylvania State University, before returning to the Bay Area, where he studied in the 1960's.&nbsp; His collage works employ a keen sense of the unique reality a photo image communicates.&nbsp; They combine images from different decades, paying simultaneous homage to Victorian paper collages, to&nbsp;</span><em style="font-size: small;">Surrealism</em><span style="font-size: small;">&nbsp;and to the cultures of scientific illustration and instruction manuals.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Graves works are represented in important public collections including the New York MoMA, SFMOMA, Brooklyn Museum of Art, Houston Museum of Fine Arts, the George Eastman House and the National Library, Paris among others.</span></p> Mon, 12 Aug 2013 16:15:08 +0000 Richard Shaw - Anglim Gilbert Gallery - July 11th, 2013 5:30 PM - 7:30 PM <div style="text-align: justify;"><span style="font-size: small;">Gallery Paule Anglim is pleased to present an exhibition of new ceramic sculptures by&nbsp;<strong>Richard Shaw.</strong></span></div> <div> <div style="text-align: justify;"><span style="font-size: small;"><strong>&nbsp;</strong></span></div> <div style="text-align: justify;"><span style="font-size: small;"><strong>Please join us for the artist's reception on&nbsp;</strong></span><em style="font-size: small;"><strong>Thursday, July 11 from 5:30-7:30 pm</strong>.</em></div> <br /> <p style="text-align: justify;"><span style="font-size: small;">The exhibition will present several new figures, stick characters cobbled together from humble objects remade in porcelain.&nbsp; The artist will also present tables with settings describing the artist's process.&nbsp; All are in a format where things are not what they appear to be, whether in their material, function or silhouette.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Shaw&nbsp;</strong>has been an integral part of the San Francisco Art scene since he began studies at the San Francisco Art Institute in 1963.&nbsp; His artworks have become key to California's&nbsp;<em>re-think</em>&nbsp;of postwar modernism bringing&nbsp;<em>trompe l'oeil</em>, humor and word play together into three dimensional imagery.&nbsp; Teachers and friends Jim Melchert and Ron Nagle helped him define his own approach to ceramic sculpture.&nbsp; Where funk artists brought together found or used ordinary objects, Shaw's own take on assemblage and construction has been to "quote' them in illusionistic reproduction from everyday life.&nbsp; Shaw's way of addressing craft and its presumed functionality has been very influential to other artists.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Shaw</strong>&nbsp;has exhibited his work for 45 years and his sculptures are in many museum collections from the Smithsonian Institution in Washington DC, to the Whitney Museum of American Art in New York, The Victoria &amp; Albert Museum in London, the Stedelijk Museum in Amsterdam, the National Museum of Modern Art in Tokyo, the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art and others.</span></p> </div> Mon, 12 Aug 2013 16:15:03 +0000 Sarah Cain - Anthony Meier Fine Arts - July 11th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Anthony Meier Fine Arts</strong> is pleased to present an exhibition of new paintings by artist<strong> Sarah Cain</strong>.  Exhibiting at the gallery for the third time, Cain debuts a series of works on canvas highlighting her unique blending of formal geometric principles with layered dimension and collaged materials.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">The ability to merge opposing elements without diminishing their individual attributes is a cornerstone of Sarah Cain’s practice.  In ‘synchronized dreaming’ Cain places multiple imperfectly horizontal cardboard panels across the canvas surface to create a look of ramshackle hardwood flooring.  The cardboard panels are then painted into square sections and covered loosely in a mix of spattered paint, gold leaf, prisms and screws.  The step-by-step movement from layer to layer holds reign on the piece,  keeping a balance between the chaotic and the controlled.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">This balance between chaotic and controlled is also seen in the duality between Sarah Cain’s work and her personal experience.  The objects embedded in Cain’s canvases are sourced from her own daily movements, directly or indirectly.  Title word associations, always extant, span from transparent to opaque. The life of the painter and the life of the painting are inherently intertwined.</span><span style="text-align: left;"> </span></p> Fri, 28 Jun 2013 10:56:10 +0000 gonzalo Fuenmayor - Dolby Chadwick Gallery - July 11th, 2013 5:30 PM - 7:30 PM <p class="p1" style="text-align: justify;"><span style="font-size: small;">Dolby Chadwick Gallery is honored to announce <em>They Say I Came Back Americanized</em>, an exhibition of new work by Gonzalo Fuenmayor. Born in Colombia but a resident of the United States since 1998, Fuenmayor&rsquo;s remarkably precise charcoal drawings explore themes of cultural hybridity, identity politics, and acculturation.</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">As a Colombian artist living abroad, Fuenmayor once felt he had a responsibility to make art that commented on the social events happening back at home. Feeling too detached from the drugs and violence that he was expected to engage, Fuenmayor started drawing bananas instead. Bananas carry great cultural, historical, and economic significance in Colombia, and have even been tacitly embroiled in controversy if one considers the various Chiquita Brands International scandals. What initially began as a lighthearted attempt to self-exoticize and position himself as specifically &ldquo;Colombian&rdquo; has since evolved into an earnest exploration of cultural hybridity and transnational identity.&nbsp;</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">In his <em>Apocalypse</em> series, for instance, opulent Victorian and Rococo chandeliers grow out of bunches of bananas like absurd Dadaesque fruits. Their glowing lights and glimmering crystals are articulated using the negative space of the naked white paper while the bananas climb upward into the charcoal&rsquo;s darkest values. The message is clear: the natural wealth of Latin America&rsquo;s Banana Republics brought financial prosperity to its European colonizers. But despite allusions to a tragic and violent past, there is a harmony to the disjointed imagery that suggests not reconciliation but rather, according to Fuenmayor, &ldquo;the subordination of the contradictory into a delicate and imaginative order&rdquo; that figures as the present.</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">Recent works have provided the artist with the opportunity to interrogate the many latino stereotypes and caricatures that exist in American pop culture. In the <em>Carmen</em> series, for example, exaggerated, towering headdresses feature impossible columns of bananas, disco balls strung from palm trees, an effusion of flowers and ferns that suggest the wilds of the jungle, and a nesting family of flamingos. There is a mythical, supernatural quality about these headdresses that recalls both the magical realism of latino literature as well as the mystery of &ldquo;the other.&rdquo; They are also sexy, witty, and inescapably humorous.</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">Carmen Miranda&mdash;the Brazilian entertainer who purposefully sported a thick accent and knowingly performed the role of the exuberant latina&mdash;is the indisputable inspiration behind the <em>Carmen</em> series. What brought her success in the States, however, polarized her from her compatriots. Fuenmayor&nbsp;</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">explains that he too struggles to negotiate not only stereotypes of latinness, but as both a Colombian and American, he must also negotiate transnational identities. <em>The Moment of Surrender</em> is symbolic of Fuenmayor&rsquo;s attempt to resolve his liminal circumstances as a foreigner both at home and abroad. In a nod to Oswalde de Andrade&rsquo;s &ldquo;Cannibal Manifesto&rdquo; of 1928, a boa constructor, the proxy for one culture or experience, can be seen consuming the proxy of another: an ornate coat rack. The point is not to destroy the coat rack or to imitate it by becoming it, but to create something new. In this strange, startling act, hybridity is celebrated.</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">Gonzalo Fuenmayor was born in 1977 in Barranquilla, Colombia. He moved to New York City in 1998 to study at the School of Visual Arts, where he earned his BFA. In 2004 he earned his MFA from the School of the Museum of Fine Arts, Boston. Fuenmayor has exhibited across North and South America, and has been the recipient of numerous prestigious awards and fellowships. This past spring, he traveled to the Amazon in the region of Leticia, Colombia on an Alumni Traveling Fellowship from the School of the Museum of Fine Arts. This will be his first solo exhibition at the Dolby Chadwick Gallery.&nbsp;&nbsp;</span></p> <p class="p1" style="text-align: justify;"><span style="font-size: small;">The gallery will be closed&nbsp;August 11-19, 2013.&nbsp;</span></p> Tue, 09 Jul 2013 17:36:43 +0000 charley Brown - Dolby Chadwick Gallery - July 11th, 2013 5:00 PM - 7:00 PM <p class="p1" style="text-align: justify;">This body of work marks an important turning point for the San Francisco-based artist, who has been a figurative painter his entire life. Desiring the challenges and stimulation of a new aesthetic, Brown recently turned to abstraction as a way of breaking down illusory space into its essential elements. This dismantling and exploration of compound forms has been a slow, cautious project for Brown. Winterscape #1 and #2, for instance, feature imagery reminiscent of bare branches on a raw winter day. The primitive naturalism of these two intermediary paintings, however, ultimately gives way to bold, abstract gestures, while a black and white color palette is expanded to include bright, largely primary colors.</p> <p class="p1" style="text-align: justify;">Brown creates a new gestural line in this body of work by applying paint with a brayer rather than a brush. The resulting markings—which are placed sparingly and deliberately—are relatively consistent in width, weight, and value. A type of hand roller, the brayer lends itself well to the creation of perfectly curvilinear forms, which Brown arranges to push energy out, funnel energy in, or pull energy down. This activity is augmented by shadowy echoes produced by a brayer spent of its paint, the canvases’ grand scale, and the paintings’ smooth, encaustic-like surfaces. The final compositions induce a kind of synesthetic effect, awakening waves of sound that parallel their elegant visual reverberations. It is no wonder Brown identifies Igor Stravinsky, composer of the animalistic and boldly avant-garde The Rite of Spring, as one of his artistic inspirations. </p> <p class="p1" style="text-align: justify;">While Brown’s paintings—especially those in grayscale, such as June 28<sup>th</sup> #1 and Composition #1—are reminiscent of works by Richard Serra, Franz Kline, and Robert Motherwell, Brown cites Marcel Proust’s The Remembrance of Thing Past as the oeuvre’s greatest inspiration. At seven volumes long, this groundbreaking literary achievement focuses not on action and plot, but on interiority and the relationship between experience and memory. Brown says, “I discovered what a monumental artistic achievement Proust had accomplished. He changed my world. All these paintings were painted while I listened to those unabridged audiobooks. I'm currently in my fifth reading, and I'm getting to know it well. Proust’s work has been a constant reminder to be honest with myself and my work.” </p> <p class="p2" style="text-align: justify;"><span style="font-size: 12px;">In addition to Proust, Brown also identifies Caravaggio (see Composition #2 After Caravaggio), Henri Matisse (see Three Circles), and Francis Bacon as core influences. While his paintings indisputably build upon and answer to both abstract expressionism and minimalism, their sensuousness challenges the stark masculinity we come to expect for abstract expression while an affinity for experimentation subverts the control and premeditation that underlies minimalism. “It’s the accidents,” Brown says, “that keep feeding me more ideas.”</span></p> <p class="p1" style="text-align: justify;">Charley Brown was born in 1945 in Barstow, California. He studied at California College of the Arts in Oakland, CA, and received both his BA and MA in Art from Humbolt State University. In addition to exhibiting in galleries across the United States and Europe, Brown has shown at the New Museum, New York City and has had murals commissioned by the Smithsonian Institute, the New Main Library of San Francisco, and Stanford University. This will be his first solo exhibition at the Dolby Chadwick Gallery.</p> <p class="p1" style="text-align: justify;">The gallery will be closed August 11-19, 2013. </p> Wed, 03 Jul 2013 09:27:59 +0000 Group Show - Gallery Wendi Norris - July 11th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;">Gallery Wendi Norris is pleased to announce <em>Journey Forth: contemporary landscape between technology and tradition</em>, the first thematic group show at the gallery in several years. Artists in <em>Journey Forth</em> include Brice Bischoff, Val Britton, Castaneda/Reiman, Kevin Cooley, Gregory Euclide, Patrick Jacobs, Tania Kitchell, Mary Anne Kluth, Matthew Moore, and Clement Valla. <br /><br />Landscape pictures have served as representations and metaphors for generations. Through these images, people have envisioned idealized situations, imaginary alternative worlds, and metaphysical possibilities, throughout art history. As technology continues to develop, people have unprecedented access to a flood of images from remote corners of our planet. Contemporary artists working within the landscape genre may live in the era of Google Earth, but nevertheless build on centuries of tradition.<br /><br />In paintings, sculptures, digital images, and videos, these artists construct a new vision of the world we inhabit, deconstructing traditional concepts of the sublime, and what it means to bring the outdoors inside. As the broader culture continues to evaluate humanity’s role in our natural environment, the works in this exhibition demonstrate echoes of the Romantic desire to connect to the world we live in.<br /><br /><em>The exhibition will then travel to the Museum of Art and History (MAH) in Santa Cruz, CA.</em></p> Tue, 11 Jun 2013 18:35:46 +0000 Matt Mignanelli, Dominic Paul Moore, Russell Tyler - Mark Wolfe Contemporary Art - July 11th, 2013 5:30 PM - 8:00 PM <p style="text-align: justify;" align="left"><span style="font-size: small;">Mark Wolfe Contemporary Art is pleased to present&nbsp;<strong>Surfacing</strong>, an exhibition of new paintings by Matt Mignanelli, Dominic Paul Moore, and Russell Tyler.</span></p> <p style="text-align: justify;" align="left"><span style="font-size: small;">The title of this exhibition refers to the use of layers, frameworks, and textures by each painter, and how their techniques emerge as visual revelations within the resulting paintings. Mignanelli's works are a study in precision, offering up smooth, exacting planes with subtle variations from matte to gloss between shades; their simplicity belies the painstaking process behind their creation. Conversely, works by Moore appear deceptively loose and informal, and only reveal their complexity upon study; tiers of varying gesture and media hover above and below one another, creating a unique visual tension. Similarly, Tyler's highly textured paintings appear informal, but cleverly reveal subtle glimmers of hidden layers and precise structures upon closer examination. &nbsp;</span></p> Wed, 26 Jun 2013 08:05:58 +0000 Yisrael K. Feldsott - Meridian Gallery - July 11th, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;"><span style="font-size: small;">For nearly forty years, Yisrael K. Feldsott's work has defied easy categorization and has invoked controversial responses from his audience. This exhibition showcases Peter Selz' personal selection of Feldsott's visceral and prolific body of work.</span></p> <p style="text-align: justify;"><span style="font-size: small;">After meeting Feldsott in 2011, Selz described Feldsott's work as "painting that would change your life." The two began to collaborate on a retrospective show that spans four decades of work and highlights Feldsott's incredible artistic journey. Feldsott's work was born from a life on the fringes of our culture - from interacting with drug addicts, beat poets and Rock musicians to becoming an indigenous advocate working with tribal leaders in South America and Mexico.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In his twenties, Feldsott was one of the first artists to link the modern art world with the grittiness of graffiti - art that was deemed "without merit" in the early seventies. Sandra Roos, a noted art historian in the Bay Area, said, after the movement, "Feldsott was like the Matisse of the (then emerging) punk art scene." Early in his career, Feldsott had the distinction of being the youngest artist to ever display his works at the San Francisoc Museum of Modern Art and seemed destined for stardom. But Feldsott quickly become disillusioned with the hyper-political art scene and issues of censorship and commercialism drove Feldsott to stop showing his work publicly for two decades.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Robert Morgan, the&nbsp;<em>Arcale Award</em>&nbsp;winning art critic, called Feldsott, "A born rebel, a pariah in search of his own standards. On another level, his point of view as an artist is not outside the parameters of recognized criteria that connoisseurs would choose to call significant. His paintings are less about art as a detached postmodern idea than about the artist's uncanny mediumistic ability to simply allow works of art to evolve."</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Cries, Chants, Shouts and Whispers: Songs of the Forgotten</em>&nbsp;demonstrates a form of modern art that is less about deciphering insider artist jargon and more about eliciting primal reactions in the viewer. In his essay, Morgan continues on to say, "As a painter/healer, Feldsott stands at the threshold of what is essential, what it means to be human. Therefore, he attempts to endow his paintings with a mythic eloquence - much like the early Pollock."</span></p> <p style="text-align: justify;"><span style="font-size: small;">In 2002, after more than two decades of refusing to show his work publicly, Feldsott consented to an exhibition at the Museo Guayasam&iacute;n in Quito, Ecuador. This show marked his subsequent return to the art scene he had abandoned. Over the last decade, Feldsott has had a number of shows in San Francisco, Santa Fe, and Los Angeles, but&nbsp;<em>Cries, Chants, Shouts and Whispers: Songs of the Forgotten</em>&nbsp;will be the first of Feldsott's exhibitions to travel to multiple cities. The show begins its journey in San Francisco at the Meridian Gallery before traveling on to New York City, a home-coming for famed curator, Peter Selz, and then continuing on to&nbsp;<em>Art Miami</em>.</span></p> Fri, 12 Jul 2013 15:58:02 +0000 Alexandra Bellissimo, Christopher Colville, Klea McKenna, Laura Parker, Diane Pierce, Meghann Riepenhoff, Saul Robbins, Ian van Coller, Mimi Youn - Rayko Photo Center - July 11th, 2013 6:00 PM - 8:00 PM <p>RayKo’s summer show highlights photographers who are making one-of-a-kind prints. Everything from photograms to collage to cliché verre prints to manipulated Polaroids. While some of these processes harken back to the first days of photography, these aren’t like anything you’ve seen before.</p> <p><b>Alexandra Bellissimo’s</b> “Simulations” is a collection of photo collages that depict psychological imagery by merging the human figure with various forms of nature. With meticulous attention to detail, she executes her visual intentions by physically piecing prints together to create textures and depth within the images. Forget PhotoShop: here’s a woman with an extremely sharp blade…</p> <p><b>Christopher Colville’s</b> “Works of Fire” were born out of a fascination with the dual nature of creation and destruction.  The images in this series were made by igniting a small portion of gunpowder on the surface of silver gelatin paper. In the resulting explosion, light and energy abrade and burn the surface while simultaneously exposing the light-sensitive silver emulsion. These fire prints visually reference celestial events, the residue of both creation and obliteration, generated from a single spark.  Who needs an enlarger when you have a match?  </p> <p><b>Klea McKenna</b> wants to make an imprint of a place – both visual and emotional – rather than a picture of it. With this in mind, she rarely “takes” 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. She 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. McKenna will be showing images from “Grassland Photograms” and “Rain Studies.” Who knew you could capture storms as photograms on gelatin silver paper?</p> <p><b>Laura Parker’s</b> discovery that exposed and developed sheets of color photography paper could be used to translate a series of physical marks led to her series of “Photo Rubbings.” Suddenly a piece of chromogenic paper, when pressure is applied, could become a labyrinth, a leaded window, a double-headed axe. Shapes and occasional colors advance and recede, sometimes just a hint of the object under the paper, sometimes the object multiplies into complex patterns.  An old printmaking process adapted to modern times.</p> <p><b>Diane Pierce’s</b> Polaroids from her series “The Accidental Photograph” are manipulated over time with a variety of casually collected materials. A flightless bird hanging from a yellow thread that is adhered to the surface of the print with the muted tones of the instant film igniting with thick bright paint in specific spots…The techniques and substances of collage become the associated possibilities for what is seen in the still photograph. The images ask to be deciphered by one’s own internal logic and are not suggestive of any one particular notion.  A series of little mysteries.</p> <p><b>Meghann Riepenhoff</b> will be exhibiting unique works from three series, “Instar*,” “Eluvium,” and “Relics”. “Relics” is a series of unique 2-d and 3-d chromogenic photograms made with discarded objects from the Film and Photography departments at the San Francisco Art Institute. The artists who have taught and studied at SFAI are credited with initiating paramount movements in image-based media, particularly with experimental and conceptual work. The school is both Riepenhoff’s alma mater and her employer, and her time spent there has revealed the institution as an archive of photographers’ tools, a collection now subject to technological developments.  As the school purged itself of film processing equipment, reels, safelights, and enlargers, Riepenhoff collected remnants of processes past and used them in photograms, a nod to early photographic practices.  The series considers transformation and materiality, light and its imprint.</p> <p><b>Saul Robbins’</b> ongoing project, “Where’s My Happy Ending?” is his attempt to step back and make sense of the struggles he and his wife have been engaged in to start a family. After too many tests and procedures and more emotional ups and downs than they care to recount, this collection of photographs, drawings, video, and ephemera, is the closest he has come, so far, to making sense and taking control of this extremely challenging and personal struggle. Daily, he and his wife remain united, actively engaged in, and focused on their desired outcome: a healthy happy family of their own genetic makeup. What began as a few simple snapshots and drawings has become a uniquely meaningful project, as the intentions that infuse Robbins’ creative process remain a constant meditation on the outcome they so desire. Each image is a unique c-print, carved with different tools,  different patterns and marks scratched into the surfaces of the papers, leaving the viewer too with the sense of the artist’s emotionally trying journey.</p> <p><b>Ian Van Coller</b> came of age in apartheid era South Africa and is now raising his children in a small college town in Montana. As a parent, he answers their questions with as much probity and truthfulness as possible, wondering about the repercussions of this decision. As the nature of the world we exist in continues to evolve, each generation must come of age to face the essential challenges of their time.  When and how we each become aware of injustice, inequality, corruption and violence -- and how we make sense and meaning of these discoveries -- shapes our humanity.   In Van Coller’s series, “Coming of Age,” he photographs his children with an 8x10” view camera and then prints on Japanese paper. He thinks about the uncertain future and the things that scare him about that future for his children. The photographs are painstakingly hand cut and hand embroidered, with each piece taking several months to complete. As Van Coller works, the designs mutate from found patterns into his own imaginations (taking on contemporary political themes). As an artist, the contemplative process of patterning and mark-making act in counterpoint to the often difficult themes depicted.</p> <p>And last but not least, Korean artist <b>Mimi Youn ’s</b> artistic practice began with photographs. She was fascinated with the power of photographs, but felt there were limitations to expressing her thoughts, emotions and ideas. So she transitioned to a Polaroid camera. After she takes a picture, she cuts text into the surface of the Polaroid, sometimes in English, sometimes in Korean. Most of the pictures Youn takes look ambiguous and vague because of intentional overexposure; however, marks cut from the photographs look paradoxically strong and painful. Also before fixing the image on the surface of Polaroid, during the developing process, she usually alters the surface: bending, shaking or scratching a knife against the surface, so the emulsion under the surface spreads. These tiny, poignant SX-70 prints are jarring in their intimacy and what they reveal about the artist and life itself.</p> <p> </p> <p>Stop by RayKo on July 11<sup>th</sup> between 6-8pm to meet the artists and be inspired by not just their unique prints, but their unique ways of making them.</p> Wed, 26 Jun 2013 20:06:13 +0000 Jesse Kauppila - Rayko Photo Center - July 11th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;">In his recent project “I.O.P. I.E.D.” (Inside Out Printer Improvised Explosive Device), Jesse Boardman Kauppila, this spring’s artist-in-residence at RayKo, explodes printer toner onto glass plates. He uses these plates to create unique gelatin silver and chromogenic photographic prints. The toner used in laser printers is ubiquitous yet it is also carcinogenic and explosive. For those lucky enough to possess digital technology, its direct physical harm has been relegated to either factories or dumps. In this deferral, the danger of representation becomes not an experienced, lived reality, but an abstraction. Kauppila developed this project to mirror this process of abstraction. The artist will be demonstrating his technique during the opening on July 11<sup>th</sup>, so stand back and watch the flames.</p> Thu, 27 Jun 2013 06:31:08 +0000 Candida Höfer, Matthias Hoch, Dennis Gallagher, Gilles Barbier, Miriam Bäckström, Tony Delap, Amer Kobaslija, Tommy Støckel - Rena Bransten Gallery - July 11th, 2013 5:30 PM - 7:30 PM <p style="text-align: justify;"><span style="font-size: small;"><strong><em>Space, Place, and Order </em></strong>is a group exhibition of work by Tony DeLap, Miriam B&auml;ckstr&ouml;m, Gilles Barbier, Dennis Gallagher, Matthias Hoch, Candida H&ouml;fer, Amer Kobaslija, and Tommy St&oslash;ckel.&nbsp; Each artist included utilizes their media &ndash; painting, photography, ceramics, and collage - to explore the way we make, use, and understand our constructed environments.&nbsp; </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Tony DeLap</strong>&rsquo;s canvases are visual magic tricks. &nbsp;Composed on flat canvases, his paintings turn sculptural before one&rsquo;s eyes, as if making three-dimensional space in a two-dimensional form.<strong>&nbsp; </strong>Similarly intrigued by illusion, <strong>Miriam B&auml;ckstr&ouml;m</strong> photographs film and television sets, allowing the unfinished edges of the deceptively ordinary rooms enter the frame; in effect, pointing to the constructed nature of our commonly experienced spaces.&nbsp; Also engaging our perception of a typical domestic interior, <em>My Living Room is a Martian Colony </em>by <strong>Gilles Barbier</strong>, displays a living space peppered with directive notes that encourage the viewer to imagine an alternate site transported onto the space pictured. &nbsp;<strong>Dennis Gallagher</strong>&rsquo;s monolithic ceramic sculptures begin as roughly glazed, scored, and stacked clay blocks that combine to become architectonic constructions suggesting the many forms of our urban landscape.&nbsp; <strong>Matthias Hoch</strong>&rsquo;s carefully composed photographs extract the universal structures &ndash; the rhythmic geometry of a wall of alternating glass and concrete bricks, for instance - of modernist and contemporary architecture from the buildings&rsquo; particular place to explore the forms and spaces per se.&nbsp; <strong>Candida H&ouml;fer</strong>&rsquo;s photographs also focus on the structures of our built spaces, but turn more specifically to the way in which these spaces are composed; from libraries to museums, the institutional interiors she captures beg us to consider how we order our world.&nbsp; In his paintings, <strong>Amer Kobaslija</strong> accesses space &ndash; in this case, the artist&rsquo;s studio - through unexpected angles and expressive brushwork to affect an immediate and intimate portrait of personal space.&nbsp; The intimate spaces of <strong>Tommy St&oslash;ckel</strong>&rsquo;s colorful grids is achieved through collage; variously populated, the miniature squares invite the viewer deeper into a simulated world</span>.&nbsp;</p> Mon, 05 Aug 2013 18:44:13 +0000 Ian McDonald - Rena Bransten Gallery - July 11th, 2013 5:30 PM - 7:30 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Ian McDonald&rsquo;s</strong> exhibition of ceramic and mixed media sculptures presents a departure from earlier works where a single sculpture consisted of an installation of strategically arranged parts.&nbsp; New work focuses on vessel-like ceramic &ldquo;core&rdquo; forms thrown on a potter&rsquo;s wheel and built up by the addition of dissected portions of other vessels or cylinders &ndash;a process where he improvises within a set parameter.&nbsp; His guidelines are those of a studio potter &ndash; be ever mindful of your materials, observe an economy of form, and use simple glazing to finish. &nbsp;The works reference architecture, design elements, or the rich glazed surfaces of industrial pottery.&nbsp; McDonald&rsquo;s precise command of the medium and his ability to present familiar but oblique forms with such authority, demonstrate a playful interest in functional ware but a deeper appreciation of the sculptural purity occurring when form follows function.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">McDonald graduated from UC Santa Barbara in 2000 with an MFA and currently teaches at the San Francisco Art Institute. In 2008, his work was included in the &ldquo;Bay Area Now 5&rdquo; show at Yerba Buena Center for the Arts; his work is also included in the collections of The Museo Internazionale della Ceramiche in Faenza, Italy, and the International Ceramic Center, Denmark.</span></p> Fri, 12 Jul 2013 15:48:02 +0000 Joshua Lutz - Robert Koch Gallery - July 11th, 2013 5:30 PM - 7:30 PM <p style="text-align: justify;"><span style="font-size: small;">The Robert Koch Gallery is pleased to announce a solo exhibition of photographs from Joshua Lutz&rsquo; newly released monograph, <em>Hesitating Beauty;</em> published by Schilt Publishing (Hardcover, 96 pages, 9.5 x 6.7 inches).</span><br /><br /><span style="font-size: small;"> Seamlessly blending his own photographs with family records, interviews and letters, Joshua Lutz offers a startling yet intimate portrait of a family consumed by the tragedy of mental illness. In <em>Hesitating Beauty</em>, Lutz deftly builds a cumulative, non-linear narrative, echoing the mental decline of the artist&rsquo;s mother. Lutz offers a somber portrayal of the family unit; presenting images that are simultaneously nostalgic and foreign. Hospital beds, medical bracelets and sunspots through spider-web covered, overgrown suburbs, bestow the glancing semblance of time and our own conception of reality. </span><br /><br /><span style="font-size: small;"> As Susan Sontag states in her essay, <em>On Photography</em>, &ldquo;the camera&rsquo;s rendering of reality must always hide more than it discloses...only that which narrates can make us understand&rdquo;. Lutz challenges the traditional function of the photographic medium in portraying narrative and shows us what it <em>feels</em> like to cope with a family member slipping away into psychosis.</span><br /><br /><span style="font-size: small;"> On the series Joshua Lutz elaborates: <em>"Holding on so tightly to what I believed was sanity and being consumed by fear of depression and schizophrenia prevented me from being fully present to my mother's reality. The past few years, as she slipped away from the aggressive paranoia and depression of my youth to an almost calming sense of delusion, made it much easier for me to rid the anger that veiled my life and to attempt to find a place of empathy and compassion as I managed her care. In making this work and simultaneously falling deeper into her psychosis, I tried to imagine a time when the past, present and future collided; a place where the weight of memory is heavier than reality."</em></span><br /><br /><span style="font-size: small;"> Joshua Lutz received his BFA from Bard College in 1997, and his MFA from Bard College at the International Center of Photography in 2005. The recipient of the Tierney Fellowship, Best Editorial awards from <em>Photo District News</em> and <em>Communication Arts</em>, Lutz was also named one of <em>Photo District News</em>&rsquo; top 30 emerging photographers. His work has been featured in publications ranging from <em>The New Yorker</em> and Harper&rsquo;s to <em>The New York Times Magazine</em>. He is currently on the faculty at the International Center of Photography. </span><br /><br /><span style="font-size: small;"> Joshua Lutz&rsquo;s first monograph, <em>Meadowlands</em>, was published by powerHouse Books in 2008.</span></p> <p>&nbsp;</p> Tue, 28 May 2013 14:37:57 +0000 - San Francisco City Hall - July 11th, 2013 5:30 PM - 7:30 PM <p style="text-align: justify;"><span style="font-size: small;">The SFAC Galleries Art at City Hall Program presents <i>The Bridge Builders, </i>a photography exhibition featuring 70 of Blum’s large-format color photographs that give viewers an all-access look at the making of the new bridge.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Joe Blum has been hard at work on the Bay Bridge’s newly constructed eastern span, but his tools look a bit different than the men and women that surround him – his tools are a 35 mm Nikon camera, and occasionally a large format Pentax camera. From the Bridge project’s inception in 1989, Blum has been dutifully documenting the process of its expansion, and intends to continue until the Bridge’s completion and formal opening sometime this year.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Twenty-five years as a boilermaker, shipfitter, and welder, provide Blum with an informed eye, an expansive mechanical vocabulary, and a unique ability to focus on the important human component of the bridge’s construction. While the artist has photographed all aspects of the structure’s erection, the people who labor to build the new bridge hold the greatest interest for Blum. He explains, “In so far as possible, I have attempted to photograph the building of this bridge from their perspective and I think that the public should get to see their work from that point of view and hopefully honor and celebrate it, as I do.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">Arresting height and gargantuan scale assault the viewer in images that often seem inconceivable. Blum’s images capture the sheer physicality necessary to work in the midst of rebar cages and tower cranes. Men and women are documented in rapt attention as they leverage their weight against steel and concrete, muscles taught and eyes focused. The photographer has infused each of his photographs of the Bridge’s laborers with distinct nobility. It’s clear from the artist’s treatment of his subjects that these individuals are an imperative piece of the project’s puzzle. Blum states, “There would not be a bridge without the men and women who are building it. They are the ones who have transformed the ideas of the bridge designers, architects and engineers from blueprints and drawings into a living structure of steel and concrete.”</span></p> Sat, 15 Jun 2013 07:21:35 +0000