ArtSlant - Closing soon en-us 40 Andy Buchwald - art works downtown - June 13th, 2014 - July 5th, 2014 <p style="text-align: justify;">Andy Buchwald has made art at the Victory Center in San Anselmo for many years.&nbsp;His expressive, colorful sticks wrapped with yarn, fabric and beads have a life of their own.&nbsp;</p> <p style="text-align: justify;">Andy is a resident of the&nbsp;<a href=";msgid=1164336&amp;act=GVUD&amp;c=292265&amp;" target="_blank">Cedars of Marin</a>, which encourages independence and creativity for adults with developmental disabilities. The art program thrives with support throughout the community.&nbsp;</p> <p style="text-align: justify;">Visit the Artist Within Gallery, 603 San Anselmo Ave., San Anselmo, to see more artists work.</p> Thu, 12 Jun 2014 08:21:06 +0000 Sue Weil - art works downtown - June 13th, 2014 - July 5th, 2014 <p style="text-align: justify;"><span style="font-size: small;">For the past few years, Sue Weil has been exploring &ldquo;family&rdquo; through a series of 18&rdquo; x 24&rdquo; tapestry studies by reincarnating castoff garments and personal effects from family members&nbsp;into separate woven panels. A photograph of the original garment is paired with each tapestry on display.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">In this exhibit, Sue further explores the concept of &ldquo;family&rdquo; through broadening the scope to embrace members of all dimensions of the Art Works Downtown community. The exhibit features panels created from donated clothing and personal items from AWD residential and retail tenants, studio artists, staff and board members. Through her selection of colors, textures and shredded artifacts integrated into each panel, Sue hopes to portray the spirit of each AWD family member and their contribution to the project.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Sue Weil lives and weaves in Marin County, California. To see a preview of Sue&rsquo;s work, please visit her website:&nbsp;<a href=";msgid=1164336&amp;act=GVUD&amp;c=292265&amp;" target="_blank"></a></span></p> Thu, 12 Jun 2014 08:22:43 +0000 Tom Rohrer - art works downtown - June 13th, 2014 - July 5th, 2014 <p style="text-align: justify;">This Rock Face series of photographs addresses a sense of presence and personality. Each mountain portrait pictured here has its own unique characteristics. Just as with portraits of people, the texture and surface of each rock face was produced over time by gradual, intense experience. &nbsp;</p> <p style="text-align: justify;">Each of these faces are several hundred feet tall. Find the trees for scale. Their lifetimes are profoundly long. All of these photos were taken in Yosemite within miles of each other, yet each place reacted differently to the same conditions. Each looks different as the light hits it throughout the day and throughout the year. Each is a landmark.</p> Thu, 12 Jun 2014 08:24:23 +0000 Bernadette Jiyong Frank - Dolby Chadwick Gallery - June 5th, 2014 - July 5th, 2014 <p class="p1">Bernadette Jiyong Frank</p> <p class="p1"><em>Spaces in Between</em></p> <p class="p1"><span style="font-size: 12px;">June 5&ndash;July 5, 2014</span></p> <p class="p3">The lyrical geometry undergirding Frank&rsquo;s paintings is a means for expressing the Japanese concept of <em>ma</em>, or the space between objects and events that is both empty and yet full of meaning. <em>Ma</em> maintains a constant presence throughout Japanese culture; it can be found, for example, in the meaningful pause at the bottom of a bow or the resonant silences between musical notes. Frank, who is of Korean decent but grew up in Japan, uses the intervals, spaces, and voids of geometric bodies to locate visual representations of <em>ma</em>. The geometric compositions are, in turn, informed by nature and light. As Frank explains:</p> <p class="p5">&ldquo;Mathematics is all around us. Nature reveals its beauty through geometry. You see it in the veins of leaves, in the way trees grow, in the patterns on the backs of insects and animals, and in the shape of the landscape. I am also attuned to light in nature. I observe how it shifts throughout the day and how it changes the color of the environment, or how it refracts and casts shadows that seem to dance against a wall. Personally, as an artist, it&rsquo;s impossible for me to ignore these things.<span style="font-size: 12px;">&nbsp;</span></p> <p class="p3">Numerous overlapping planes of varying tonal values cover Frank&rsquo;s perfectly square compositions. Each new rectilinear plane is turned slightly askew to allow patterns and forms to emerge, giving the impression of, among other phenomena, light&rsquo;s refractivity. Within this interplay of two- and three-dimensional space, math, measuring, and precision are prioritized, as is a concern for proportion. The works featuring corporal-like forms in <em>The Spaces in Between</em> series, for example, can be viewed as a modern-day interpretation of Leonardo Da Vinci&rsquo;s <em>Vitruvian Man</em>.&nbsp;</p> <p class="p3">But for Frank, mathematics and geometry are not ends-in-themselves but rather conduits for something deeper. Like Agnes Martin&rsquo;s grid paintings and Naum Gabo&rsquo;s kinetic sculptures, Frank&rsquo;s paintings encourage us to transcend the visual limitations of everyday reality to commune with the rich, empyreal contours of our worlds and ourselves. Her heavy use of ponderous, Rothkoesque colors, such as midnight blue, deep purple, and dark grey, further facilitate this inward turn. These colors in conjunction with the scale of her panels also help recreate the solitary and disorienting experience of diving deep into a body of water, a situation Frank repeatedly put herself in while on a year-long sailing trip through the South Pacific during her late twenties.</p> <p class="p3">During this adventure, Frank explains how she became acutely aware of the passage of time, or lack thereof: &ldquo;the underwater experience [gives] me the sensation of floating in timeless space where the interconnection of self to the world was lost.&rdquo; And because life on the boat was so simple, minutes felt like hours. This formative experience with time is directly recalled in Frank&rsquo;s painting process. After applying white gesso to the panel, the artist spends the next several days laying down five to ten layers of acrylic paints. Once she achieves the right depth and tonality, she then moves on to oil paints. Due to the medium&rsquo;s drying time, Frank is only able to paint one layer a day: &ldquo;It can be painful and painstaking. But I learn to deal with this pain in a meditative way. I enjoy the process of going slow but digging deeper and deeper and adding another layer.&rdquo;&nbsp;</p> <p class="p3">Frank&rsquo;s current works largely adhere to three different visual motifs, each of which captures the vitality of <em>ma</em> in a unique way. In half of the <em>Spaces in Between</em> works, an hourglass shape rendered through compact, fan-like layering emits a central, explosive energy. In the second half of this series, energy is more diffuse as billowing, veil-like patterns encourage the viewer to weave in and out of space. Finally, in the <em>Void/ Emergence</em> paintings, the planes form a kaleidoscopic opening that allows an invisible force to burst through and into the viewer&rsquo;s consciousness.&nbsp;</p> <p class="p3">All of the works present a snapshot of the flow of time as a pattern; said another way, each reveals &ldquo;the texture that time has left.&rdquo; By corralling viewers to experience time&rsquo;s unique and often incommunicable dimensionality, Frank hopes that they will be able to grasp &ldquo;that void that exists in time and space as a place of contemplation, rejuvenation, and change.&rdquo;<span style="font-size: 12px;">&nbsp;</span></p> <p class="p3">Bernandette Jiyong Frank was born into a Korean family in Tokyo, Japan. She moved to the San Francisco Bay Area at the age of thirteen and, following high school, moved to Los Angeles where she later studied at the Otis Art Institute of Parson School of Design and the nearby Art Center College of Design in Pasadena. Her work has exhibited across the United States, including at the famed Southern Exposure Gallery in San Francisco and the Florida State Museum of Fine Arts in Tallahassee, and has been acquired into the permanent collection of the Crocker Art Museum, Sacramento. Her work has also been featured in New American Paintings. This is her first exhibition at the Dolby Chadwick Gallery.</p> Wed, 21 May 2014 18:04:08 +0000 Rudi Molacek - fouladi projects - May 23rd, 2014 - July 5th, 2014 <p>&ldquo;malen wir&rdquo;</p> <p>&nbsp;</p> <p>New paintings by Rudi Molacek</p> <p>&nbsp;</p> <p>Opening reception for the artist, Friday May 23<sup>rd</sup>,&nbsp;6 to 8pm</p> <p>Show will be on view through July 5<sup>th</sup>, 2014</p> <p>&nbsp;</p> <p>Originally from Vienna, Austria, artist Rudi Molacek embodies the spirit of a true romantic. He approaches his luminous oil paintings with unencumbered confidence, employing bold and gestural brush strokes buoyed by a dash of whimsy. His life long love of gardens is channeled into paint, translating his appreciation of nature onto the canvas. The paintings radiate with the timeless virtues of color, of light and the simple yet essential joy of a flower in bloom.&nbsp;&nbsp;</p> <p>&nbsp;</p> <p>On view will be a new suite of large works on canvas fresh from Rudi&rsquo;s studio in Berlin.</p> <p>&nbsp;</p> <p>For more information or images contact&nbsp;<span style="text-decoration: underline;"><a href="" rel="nofollow"></a></span></p> <p>&nbsp;</p> <p>Fouladi Projects&nbsp;</p> <p>1803 Market St. San Francisco, CA 94103</p> <p><a href="file://localhost/tel/415-621-2535" rel="nofollow">415-621-2535</a>&nbsp;&nbsp;<a href="" rel="nofollow"></a></p> Sat, 19 Apr 2014 23:05:15 +0000 Charmaine Olivia - Shooting Gallery - June 14th, 2014 - July 5th, 2014 <p style="text-align: justify;">Shooting Gallery is pleased to present the new work of Charmaine Olivia in her third solo exhibition with the gallery titled, <em>Bloom</em>. The opening reception will be Saturday, June 14, 2014 from 7 pm to 11 pm. The exhibit will be on display through July 5, 2014 and is free and open to the public.</p> <p style="text-align: justify;">Charmaine Olivia, the renowned oil painter, has become an icon both locally and globally for her art and style. The self taught artist is best known for her oil paintings of beautifully rendered women that are almost too beautiful to be real. Their luminous and starryeyed qualities paired with vivid hues and visible brush strokes that seem to flicker before our eyes emphasize the both unattainable and inspiring beauty unique to Olivia&rsquo;s idyllic muses. With a Klimt-like decorative quality, her paintings redefine what it means to be beautiful.</p> <p style="text-align: justify;">In her new body of work, <em>Bloom</em>, Olivia revisits many of these past muses. However, in a different light. Her perspective is nostalgic, while also seeming to grow and evolve, just as her title suggests. While maintaining her signature style in terms of color and content, but experimenting with the abstract, Olivia explores new realms in <em>Bloom </em>by creating a dreamlike springtime.</p> Fri, 13 Jun 2014 17:58:12 +0000 Greg Gossel - White Walls Gallery - June 14th, 2014 - July 5th, 2014 <p style="text-align: justify;">White Walls is pleased to present <em>GODDAMN</em>, the latest solo show by Minneapolis-based artist Greg Gossel. The opening reception will be held on June 14 from 7 pm to 11 pm. The exhibition will be on view through July 5, 2014 and is free and open to the public.</p> <p style="text-align: justify;"><em>GODDAMN </em>features over 50 new original works on canvas and wood panel, is the most painterly show by the artist to date, and utilizes a variety of mediums and techniques including silkscreen printing, handpainted acrylic and enamel, and expressive spray paint marking. In <em>GODDAMN </em>Gossel continues to push his signature mixed-media approach with layer upon layer of iconic native american and civil rights imagery juxtaposed with a series of whimsical pop imagery referencing children's cartoons and coloring books. The end result is an exhibition that is both dynamic and colorful, offering a fragmented commentary on race, power, social injustice, and a loss of innocence.</p> <p style="text-align: justify;">With a background in design, Gossel's work is an expressive interplay of many diverse words, images, and gestures, and his multilayered compositions illustrate a visual history of change and process.</p> Fri, 13 Jun 2014 17:40:29 +0000 Justin Kerson - White Walls Gallery - June 14th, 2014 - July 5th, 2014 <p style="text-align: justify;">White Walls Project Space is pleased to present the new work of Justin Kerson in his solo exhibition titled, &ldquo;Blood &amp; Ink.&rdquo; The opening reception for Blood and Ink will be Saturday, June 14, 2014 from 7pm to 11pm. The exhibit will be on display through July 5, 2014 and is free and open to the public. </p> <p style="text-align: justify;">Created with the belief that art is all around us, Justin Kerson&rsquo;s latest twisted and morbid series of work titled &ldquo;Blood &amp; Ink&rdquo; uses cotton and linen to capture the blood and ink of freshly done tattoos. Kerson&rsquo;s process in Blood &amp; Ink creates an imprint of the tattoo as seen on the client&rsquo;s skin, making the tattoo an even more tangible as an archivable piece of art to be shared long beyond the life of the client. </p> <p style="text-align: justify;">Interested in tattooing as an evolving art form that has undergone several transformations in societal connotations, Kerson seeks to transform the art of tattooing for the fine art world. As opposed to paint will last for hundreds of years and sculptures that will last for thousands, tattoo art only lasts the duration of a single lifetime. Through the work of Blood &amp; Ink, Justin has found a way for the tattoo itself to be archivable and tangible; to be bought, traded, inherited and sold. </p> <p style="text-align: justify;" dir="ltr">Kerson lives and works in San Francisco and is motivated to making fine art accessible to all people. In 2012, artist and CEO of ToTT Global, Kerson worked as Executive Producer on a street art documentary titled, &ldquo;The Detroit Project,&rdquo; which starred Popoganda artist, Ron English, and debuted at the New York MoMA. In 2013, Kerson curated his 3rd pop-up gallery at Art Basel, which received acclaim from Rolling Stone Magazine and the Huffington Post. In addition, Kerson has collaborated with notable contemporary artists Anthony Ausgang, Mark Bode, Jeremy Fish, Sam Flores, Mike Giant and many more. Driven by the evolving nature of art and the idea that fine art can be a medium shared across multiple people and platforms, each new project Justin approaches is conceptually different from the last.</p> <p style="text-align: justify;">&nbsp;</p> Fri, 11 Jul 2014 17:36:43 +0000 David Bayus, Ben Bigelow - City Limits - June 6th, 2014 - July 6th, 2014 <p>While the word "performative" has become art jargon, misused to romanticize works which vaguely invoke&nbsp;performance, recent works by&nbsp;David Bayus and Ben Bigelow have succesfully combined aspects of performance with painting, sculpture, and video installation. "The stage," in various incarnations, is inherent to each work.<br /><br />Both artists use&nbsp;hybrid art practices and&nbsp;complex digital processes to create&nbsp;tenuous&nbsp;pictorial spaces, existing somewhere between the real and hyperreal. The&nbsp;aesthetics may be sleek, but verisimilitude&nbsp;and technical prowess serve more to agitate than they do to impress. And most importantly, they are funny, imbued with a humor wholly unexpected from&nbsp;such works.<br /><br />Ben Bigelow has made a new suite of work influenced by pies, politics, and Franklin Delano Roosevelt's 1941 State of the Union Address. In a new&nbsp;video, Bigelow performs as a ne'er-do-well&nbsp;politican and schizophrenic deviant,&nbsp;bombarded with pies hurled&nbsp;by an unseen attacker. Bigelow's projected image is life-sized, intentionally filmed to look as if he is performing&nbsp;within an extension of the gallery itself.&nbsp;Accompanying the video are related works involving&nbsp;photography, sculpture, and 8 gallons of maraschino cherries.<br /><br />David Bayus, inspired by Paul Klee's description of drawing as "taking a line for a walk," relates the drawn&nbsp;line to a verbal line from a staged performance.&nbsp;Sculpting various anthropomorphic forms&nbsp;by hand, Bayus then photographs&nbsp;these arrangements with backdrop papers, colored gels, and studio&nbsp;lighting before&nbsp;digitally stitching&nbsp;hundreds of composite photographs&nbsp;together. Similar compositions are made entirely within&nbsp;3D modeling programs.&nbsp;Bayus will also debut new ceramics made by "Dina J. Blazer," a pseudonym for a collaboration with Bay Area scultor Brynda Glazier.</p> Wed, 04 Jun 2014 03:56:16 +0000 John Bonick, Tim Yankosky - Andrea Schwartz Gallery - June 4th, 2014 - July 11th, 2014 <p><strong>FOR IMMEDIATE RELEASE<br /><br /></strong>Contact: Jennifer Draughon</p> <p>Andrea Schwartz Gallery</p> <p>545 4<sup>th</sup> Street, San Francisco, CA 94107</p> <p>415.495.2090 &ndash; Phone</p> <p>415.495.2094 &ndash; Fax</p> <p></p> <p></p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p><strong>John Bonick and Tim Yankosky</strong></p> <p><strong>June 4 &ndash; July 11, 2014</strong></p> <p style="text-align: justify;"><strong>Opening Reception: Wednesday, June 4, 5:30 - 7:30 PM</strong></p> <p style="text-align: justify;">Andrea Schwartz Gallery is pleased to announce a two-person exhibition featuring new work by John Bonick and Tim Yankosky opening Wednesday, June 4, 2014.</p> <p style="text-align: justify;"><em>&ldquo;In my work, any one element of a painting becomes entangle with every other element and every other choice.&rdquo; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </em>&ndash;John Bonick</p> <p style="text-align: justify;">In this body of work, John Bonick examines natural uncertainty and entanglement.&nbsp; Drawing from his knowledge on quantum reality, Bonick explores the idea that elementary particles do not have pure states, but rather have only probabilities of various states.&nbsp; This leads to uncertainty and entanglement, in which individual parts cannot be described independently.&nbsp; Bonick expresses this through the overlapping lines, which entwine with every other element in the composition.&nbsp;</p> <p style="text-align: justify;"><em>&ldquo;My materials are the driving force and inspiration behind the work I create&rdquo; </em></p> <p style="text-align: justify;"><em>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </em>&ndash;Tim Yankosky</p> <p style="text-align: justify;">Tim Yankosky was initially inspired to work with vintage metal rulers as a way of communicating his feelings of being socially judged and measured.&nbsp; Now, as he continues working with this medium, Yankosky has become &ldquo;obsessed&rdquo; with the process and materials.&nbsp; He enjoys the repurposing of old into new, contemporary forms that are visually pleasing to the eye and to see how far he can push the material from it&rsquo;s original purpose.&nbsp; The resulting works represent both content and construction.&nbsp;</p> <p style="text-align: justify;">Andrea Schwartz Gallery was established in 1982 and is located in the South of Market district of San Francisco in our new gallery space located at 545 &ndash; 4<sup>th</sup> Street. ASG exhibits contemporary work of mid-career artists from the Bay Area and across the country.&nbsp; ASG is a member of SFADA.&nbsp; Gallery Hours are Monday - Friday 9 - 5, Saturday by appointment. The gallery will be closed 7/4. For further information and materials please contact Jennifer Draughon at 415-495-2090 or; Additional information may also be found on our website, Thank you!</p> Thu, 05 Jun 2014 11:14:13 +0000 Martin Soto Climent, Rana Hamadeh, Cinthia Marcelle, William Powhida, Li Ran, Ian Wallace, Real Time and Space - CCA Wattis Institute - April 17th, 2014 - July 12th, 2014 <p style="text-align: justify;"><em>Many Places at Once</em> is an exhibition curated by the graduating class of the Graduate Program in Curatorial Practice at California College of the Arts with the support of the Wattis Institute for Contemporary Arts.</p> <p style="text-align: justify;">Decades after the "post-studio" turn announced by Minimalism and Conceptual art in the 1960s, <em>Many Places at Once</em> reconsiders the place of artistic production in our era of creative industries and flexible labor. Featuring new commissions and existing works by seven international artists, the exhibition presents artworks that call attention to the nuanced circumstances that characterize the economic, social, and technological conditions in which artists work today.</p> <p style="text-align: justify;">The exhibition departs from the performance entitled <em>At Work 1983</em> by the Vancouver-based artist Ian Wallace (b. 1943, Shoreham, England), in which the artist presented himself in the window of the artist-run Or Gallery in Vancouver, late at night, seated behind a simple desk, engaged in reading, thinking, and drawing. Staging himself before the city&rsquo;s nightlife as an intellectual worker rather than a paint-spattered bohemian, Wallace embraced the new nature of art as thought over making, while reflecting on his new identity with tongue firmly in cheek. <em>Many Places at Once</em> includes a video of his original performance and large-scale drawings he produced during his tenure in the gallery window. New photographs in Ian Wallace&rsquo;s <em>Hotel series</em> (1986&ndash;ongoing), made for this exhibition, marry photography and painting, and show the temporary &ldquo;studios&rdquo; that are the hotel rooms he occupies as he travels.</p> <p style="text-align: justify;">Alongside Wallace are recent works by other artists that embody different notions of the place of artistic production. Cinthia Marcelle (b. 1974, Belo Horizonte, Brazil) produces drawings while attending art events such as artists&rsquo; talks. Martin Soto Climent (b. 1977, Mexico City) makes the pages of his journals and notebooks his site of production. Rana Hamadeh (b. 1983, Beirut, Lebanon) creates sculptural cabinets and vitrines where her archives are displayed, which she animates through performances. William Powhida (b. 1976, New York) generates diagrammatic drawings that reflect critically on the art world and the network it represents. Through videos and performances, Li Ran (b. 1986, Hubei, China) uses mimicry, satire, and irony to challenge the representation of artists' identity and work. In dialogue with the above, the shared studios of Oakland-based Real Time and Space (established in 2011) evidence a continuation of the artist&rsquo;s studio as a physical location, with the added dimension of group self-organization.</p> <p style="text-align: justify;">Taken individually, each contemporary work presents a site: a hotel, a notebook, an archive, a network, an event, or a theatrical stage. Together they constitute the &ldquo;many places&rdquo;&mdash;physical and conceptual&mdash;that &ldquo;at once&rdquo; constitute a reimagined artist&rsquo;s studio.</p> <p style="text-align: justify;">An accompanying publication will provide an opportunity for further engagement with each featured practice through interviews with the artists, focusing on their processes and places of production.</p> <p style="text-align: justify;">The exhibition&rsquo;s programming will engage the Bay Area arts and education communities to develop dialogues on the pressing issues facing artists and creative professionals, with several conversations and public roundtables. <em>Many Places at Once</em> will also feature performances or events by Rana Hamadeh, Li Ran, and members of Real Time and Space. For a schedule of these programs, please visit the <a href="" target="_blank">our calendar</a>.</p> <p style="text-align: justify;"><strong>About CCA&rsquo;s Graduate Program in Curatorial Practice</strong><br /> Founded in 2003, CCA&rsquo;s Graduate Program in Curatorial Practice offers an expanded perspective on curating contemporary art and culture. Alongside traditional forms of exhibition making, this two-year master&rsquo;s degree program emphasizes the momentous impact over the last half-century of artist-led initiatives, public art projects, site-specific commissions, and other experimental endeavors that take place beyond the confines of established venues. It is distinguished by an international, interdisciplinary perspective, and it reflects San Francisco&rsquo;s unique location and cultural history by placing a particular importance on the study of curatorial and artistic practices in Asia and Latin America. For more information, visit <a href="" target="_blank"></a>.</p> Tue, 19 Jul 2016 14:28:23 +0000 Claire Colette - Eleanor Harwood Gallery - May 31st, 2014 - July 12th, 2014 <p>San Francisco artist Claire Colette continues working with her chosen medium, graphite on paper, in <em>small moves in strange rooms</em>, using her tight line work and geometric shapes to explore the impact of space from a concrete and interpretive perspective. Relating her methodical line work to wavelengths of sound, she establishes parameters for the drawings, building them out through the repetition of lines that resonate like an echo.</p> <p>This idea is carried over in <em>Speaking softly towards an intimate immensity</em>, a collaborative audio and visual installation between Claire Colette and Sean Smith. The piece will rely on the participation of the audience in the room, recording and creating generative sounds within the space. An extension to the drawings presented in the main space, the work explores the experience of intimate places, both externally and internally.</p> <p>Colette often works at this intersection of phenomenological and personal experience. That is, the physical embodiment of space&ndash;its textures, shapes and colors&ndash;as well as the psychic impressions that accumulate as attachments and associations when dwelling in a space, giving a place its sense of character.</p> <p>The show&rsquo;s title, <em>small moves in strange rooms</em>, evokes the artist&rsquo;s practice, a solitary and meditative experience, directly linked to its place of creation by way of the time spent, and impressions accumulated, during the process of her drawing.&nbsp;</p> Sat, 10 May 2014 00:27:19 +0000 Susan Grossman - Elins Eagles-Smith Gallery - June 5th, 2014 - July 12th, 2014 <p style="text-align: justify;"><span style="font-size: small;">Using a minimal palette of black, white , and gray, punctuated by the occasional primary color, Susan Grossman's drawings recall classic film noir. She finds compelling subjects and locations by crisscrossing the city and taking numerous photographs. Once in the studio, Grossman, like William Kentridge, begins to draw and then obsessively shifts her narrative world away from her sources. She re-positions buildings and vehicles while adding and subtracting characters to achieve the final cut. The physicality of her process is crucial to achieve the "just happened"feel of her work.</span><br /> <br /><span style="font-size: small;"> Grossman's expansive landscapes combine billowy Turner-like clouds and twisting roadways with Hopper-esque solitude. As art critic Phyllis Braff has said about Grossman's work, "like many effective metaphors, the work invites multiple readings. Its intentional ambiguity is underscored by faceless, generalized figures and by an open, non-specific narrative. Much implied, yet nothing is resolved, lending a compelling sense of edginess.'</span><br /> <br /><span style="font-size: small;"> Susan Grossman graduated from Bennington College and received he MFA from Brooklyn College. Ms Grossman has taught at Wesleyan University, the City College of New York, and the National Academy of Design School, and mantains a studio in Brooklyn. Her work can be found in numerous private and public collections throughout the United States, including the Mint Mueseum in North Carolina, the New York Historical Society, and numerous one-person exhibitions in New York City and around the United States.</span></p> Tue, 10 Jun 2014 10:54:05 +0000 Sarah Ratchye, Natalya N. Burd - Jack Fischer Gallery - June 7th, 2014 - July 12th, 2014 Tue, 03 Jun 2014 09:02:48 +0000 Gordon Glasgow, Iris Polos - Vessel Gallery - May 27th, 2014 - July 12th, 2014 <p style="text-align: justify;"><span style="font-size: small;">There's "us"--"all of us." And then there's "us"--"us, not them." This show explores human beings negotiating life between modes of inclusion and exclusion.</span></p> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <p style="text-align: justify;"><span style="font-size: small;">"It's lonely being at the top of the food chain, dominating the earth." All her life,&nbsp;<strong>Iris Polos</strong>&nbsp;has been re-establishing the links between human beings and the rest of nature, reconnecting to the animal world, and exploring those connections in her work. She was born in Oakland, the younger daughter of parents who were artists. Her mother attended the California College of Arts and Crafts in Oakland. Her father, Theodore Polos (1902 - 1976), came to the US from Mytilene, Greece, in 1916. Polos remembers him confessing what he missed most about Greece: the beautiful little donkey that lived with his family and that, to protect her from the evil eye, he would adorn with bright blue beads (donkey beads are still common throughout the Aegean and Middle East).</span><br /><br /><span style="font-size: small;">He arrived in the Bay Area in 1922, where he worked in the Federal Arts Project of the WPA and achieved national acclaim as a painter. "I grew up on his easel," says Polos. &ldquo;He let me make little marks on his paintings.&rdquo; She was doing her own work as well; art wasn&rsquo;t a choice, it was what she had to do. She drew animals; she drew unicorns. She acquired an ever-changing menagerie: skunks, foxes, owls. Once she had a duckling that she liked to read to. From a very young age she knew with certainty that there were only two paths she would take through life: art or lion-taming. She scoured the pet stores in search of a lion, and one day in a store in East Oakland she found herself standing next to her father and face to face with a lion for sale. Her father was able to persuade her to return home with a domesticated short hair. &nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">She graduated from CCAC in 1972. She came of age as an artist during the Sixties and took part in the glory days of the Berkeley Free Speech Movement, LSD, the Cockettes. She hung out with somebody who was known to be a perfect bodhisattva. In 1974, she had her first solo show at Upper Market Street, titled &ldquo;Iris in a Tiger&rsquo;s Eye.&rdquo; It featured what she calls a &ldquo;sort of Jesus figure&rdquo; on a cross six feet tall and painted blue. No loincloth. The influence of those iconoclastic times endures in her work and in her passion for social and environmental justice.&nbsp;</span><br /><br /><span style="font-size: small;">She has exhibited at Lawson Galleries with director Don Lawson; Catharine Clark Gallery, San Francisco (<a href="" target="_blank"></a>); and Bert Green Fine Art, Los Angeles (<a href="" target="_blank"></a>). In 1997 she was part of "Hunger: A Juried Exhibition" curated by Judy Chicago. She has been exhibiting at Vessel since 2012.</span><br /><br /><span style="font-size: small;">In 2012, Polos suffered an injury to her right hand when walking her rescue greyhound, Zoo (so named because "he had the look of every animal," says Polos). In order to keep working she had to learn how to draw with her left hand--or rather, she had to revive that skill: when she was a student, she was so adept at drawing that her teachers required her to draw with her non-dominant left hand. Unsurprisingly, this focus on hands has found its way into her recent work and into her thinking about our connection to the rest of the primates.</span><br /><br /><span style="font-size: small;">In her work, Polos tries to knit together the fabric of life that others have studiously tried to unravel: animal to animal; person to person; personal to universal; abstraction to realism; life to death. One of the talismans of her life is the poem "The Tyger" by William Blake, who also wrote, in his "Auguries of Innocence,"</span><br /><br /><span style="font-size: small;">"A Robin Red breast in a Cage</span><br /><span style="font-size: small;">Puts all Heaven in a Rage....</span><br /><span style="font-size: small;">A dog starv'd at his Master's Gate</span><br /><span style="font-size: small;">Predicts the Ruin of the State...."</span><br /><br /><span style="font-size: small;">And this as well:</span><br /><br /><span style="font-size: small;">"The wild deer, wand'ring here &amp; there,</span><br /><span style="font-size: small;">Keeps the Human Soul from Care...."</span><br /><br /><span style="font-size: small;">Iris Polos lives in the Bay Area. Her son is the writer Apollo Papafrangou. Visit her&nbsp;<a href=";id=e9cb0596ee&amp;e=c0cd81ec83" target="_blank">Facebook</a>&nbsp;site. Hear her speak about her art and her passionate commitment to the preservation of species on&nbsp;<a href=";id=614368ae27&amp;e=c0cd81ec83" target="_blank">Youtube</a>. &nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Gordon Glasgow was born in London and as a child grew interested in design and forms.</span><br /><br /><span style="font-size: small;">His uncle taught him to measure and cut trousers, having learned in turn from his father, a tailor. Gordon&rsquo;s parents instilled self reliance and an open mind to learn new things.</span><br /><br /><span style="font-size: small;">He left London for New York City; while becoming a citizen he also encountered a range of art, and cultures of artful living. A journey west propelled him to Berkeley California, where he worked in Antique restoration, model-making, and museum installations.</span><br /><br /><span style="font-size: small;">This work drew him in to further explore design and forms, and to learn the properties of various materials.&nbsp; Meanwhile, in his own studio he has sketched and prototyped handbags, jewelry, furniture, lamps, ceramics, and sculpture.</span><br /><br /><span style="font-size: small;">"My recent work has developed through an appreciation of the animal world, through the structures they create and their anatomy. I was inspired by daily encounters, and stories of animal exploits. These events also motivated me to use natural materials in creating tableaus which chronicle my concerns within our ever changing world.</span><br /><span style="font-size: small;">&nbsp;</span><br /><span style="font-size: small;">&nbsp; Much of my process in creating these pieces developed by the use of dissimilar elements. These elements over time began, like magnets in a box, to attract and repel each other before they began to fit together like a puzzle . My process gathered clarity and meaning as time moved along. Through the movement of time these pieces have allowed me to understand my connection in forming a balance between man and animal."&nbsp;<em><strong>&mdash; Gordon Glasgow</strong></em></span><br /><br /><br /><span style="font-size: small;">"Sculptor Gordon Glasgow and artist Iris Polos pose questions that allow us to reflect on what our mind's eye sees, and on deep social cultural concerns affecting our humanity. Not for the faint of heart, these artists take viewers to a place others dare not.&nbsp; We're very proud to present provocative show<em>&nbsp;Us&nbsp;</em>- a show that hopefully will be etched in the minds of visitors as one of Vessel's most profound. Moreover, if this show can serve to motivate and inspire us towards living kinder, gentler, and more caring lives then the power of art serves us well.&nbsp;&nbsp;&nbsp;<em>Us</em>&nbsp;paves the way for a transcendent visual journey, and asks "what will become of us?"&nbsp; &mdash;<strong>&nbsp;<em>Lonnie Lee</em></strong><em>, curator</em></span></p> <p style="text-align: justify;"><br /><span style="font-size: small;"><strong>JUNE 19</strong>,<strong>&nbsp;6-8PM&nbsp;CELEBRATION&nbsp;</strong>Coinciding with 3rd Thursday Art Walk on 25th Street</span><br /><span style="font-size: small;">7:00 PM&nbsp;Eco Friendly Sustainable Fashion Show directed by Tiffany Stewart of Underground Runway</span><br /><span style="font-size: small;">7:30PM&nbsp;Musical Performance by The Haydn Enthusiasts</span></p> <p style="text-align: justify;"><span style="font-size: small;">OPENING&nbsp;Friday, June 6, 6-9PM</span><br /><span style="font-size: small;">8PM&nbsp;Musical performance by Gospel Flats, celebrating their new self-titled album release "Gospel Flats"</span></p> Fri, 02 May 2014 07:14:22 +0000 Qi Baishi - Asian Art Museum - October 29th, 2013 - July 13th, 2014 <p style="text-align: justify;"><span style="font-size: small;"><em>The Carved Brush</em> showcases works by acclaimed Chinese artist Qi Baish. Born into a poor farming family and coming of age during China&rsquo;s century of civil strife, Baishi became the most widely recognized Chinese artist of his time. His distinctly modern art broke through class and cultural barriers through use of expressive &ldquo;carved&rdquo; brushwork. Qi Baishi&rsquo;s art is the ideal gateway through which art lovers of any class or culture can learn about the millennia-old tradition of Chinese brush painting.</span></p> <div style="text-align: justify;"><span style="font-size: small;">Born into a poor farming family and coming of age during China&rsquo;s century of civil strife, Qi Baishi rose to become one of the most widely recognized Chinese artists of his time. His distinctly modern art broke through class and cultural barriers through use of expressive &ldquo;carved&rdquo; brushwork, juxtaposition of vibrant colors against deep and rich ink tones, economy in form and composition, and selection of emotionally resonant subject matter. He is credited with transforming the brush art of China&rsquo;s educated elite into a more universal art form, appreciated by people of all social backgrounds. Qi Baishi&rsquo;s paintings featured rugged, expressive brushwork based on his practice of the related arts of brush-written calligraphy and seal carving&mdash;the art of carving characters in stone. Can you spot the relation between his calligraphy and seal carving, and the &ldquo;carved&rdquo; brushwork in his paintings?</span><br /><br /></div> <p style="text-align: justify;"><span style="font-size: small;">Much as a poet strives to communicate deep meaning with few words, Qi Baishi simplified his rendering of his subjects to a minimum number of brush touches. In this way, he integrated representational elements with abstraction in an attempt to capture the spiritual essence of his subjects.</span></p> Sat, 16 Nov 2013 16:06:28 +0000