BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

The human figure has been a locus of artistic innovation and expression since the very first artworks were made. This focused presentation mines th e permanent collection\, bringing together paintings\, sculptures\, and wor ks on paper that demonstrate the inexhaustible variety and texture of the h uman form in art. Seeking to explore the polymorphous nature of the figure\ , Ballet of Heads puts into dialogue the Baroque canvases of Peter P aul Rubens\, the American Regionalism of Thomas Hart Benton\, the colorful near abstractions of Asger Jorn and Hans Hofmann\, the sharp angles and loo se contours of George Grosz and Max Beckmann\, the tormented personages of Francis Bacon\, and the humorous critique found in the drawings of Raymond Pettibon. 

The exhibitio n takes as its point of departure the work of Nicole Eisenman\, on view in MATRIX 248\, teasing out many of the threads found in her paintings and works on paper—a blending of seemingly oppositio nal categories such as social realism\, abstraction\, folk art\, and popula r comics—and contextualizing it in the process. Eisenman cites many of the artists included as important influences\, such as Théodore Géricault and P ablo Picasso\, while the work of more recent artists\, including as Joan Br own\, Abraham Walkowitz\, and Sue Coe\, share striking affinities to Eisenm an’s own.

DTEND:20130825 DTSTAMP:20140711T175707 DTSTART:20130517 GEO:37.8681831;-122.2562092 LOCATION:Berkeley Art Museum and Pacific Film Archive\,2625 Durant Avenue #2250 \nBerkeley\, CA 94720-2250 SEQUENCE:0 SUMMARY:Ballet of Heads: The Figure in the Collection\, Francis Bacon\, Ray mond Pettibon\, Hans Hofmann\, George Grosz\, Max Beckmann\, Peter Paul Rub ens\, Thomas Hart Benton\, Asger Jorn UID:260429 END:VEVENT BEGIN:VEVENT DTEND:20130517T170000 DTSTAMP:20140711T175707 DTSTART:20130517T110000 GEO:37.8681831;-122.2562092 LOCATION:Berkeley Art Museum and Pacific Film Archive\,2625 Durant Avenue #2250 \nBerkeley\, CA 94720-2250 SEQUENCE:0 SUMMARY:Ballet of Heads: The Figure in the Collection\, Francis Bacon\, Max Beckmann\, Thomas Hart Benton\, George Grosz\, Hans Hofmann\, Asger Jorn\, Raymond Pettibon\, Peter Paul Rubens UID:260430 END:VEVENT BEGIN:VEVENT DESCRIPTION:

*Juror: Robert Allen of the Robert Allen Fine Art Gallery in Sausalito\, CA

DTEND:20130825 DTSTAMP:20140711T175707 DTSTART:20130720 GEO:38.0574726;-122.5191229 LOCATION:Marin Museum of Contemporary Art (Marin MOCA)\,Novato Arts Center at Hamilton Field 500 Palm Drive\nNovato\, CA 94949 SEQUENCE:0 SUMMARY:Out of Order: MarinMOCA Artist Members Exhibition UID:285179 END:VEVENT BEGIN:VEVENT DTEND:20130720T190000 DTSTAMP:20140711T175707 DTSTART:20130720T170000 GEO:38.0574726;-122.5191229 LOCATION:Marin Museum of Contemporary Art (Marin MOCA)\,Novato Arts Center at Hamilton Field 500 Palm Drive\nNovato\, CA 94949 SEQUENCE:0 SUMMARY:Out of Order: MarinMOCA Artist Members Exhibition UID:285180 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130825 DTSTAMP:20140711T175707 DTSTART:20130720 GEO:38.0574726;-122.5191229 LOCATION:Marin Museum of Contemporary Art (Marin MOCA)\,Novato Arts Center at Hamilton Field 500 Palm Drive\nNovato\, CA 94949 SEQUENCE:0 SUMMARY:Cedars of Marin UID:285181 END:VEVENT BEGIN:VEVENT DTEND:20130720T160000 DTSTAMP:20140711T175707 DTSTART:20130720T110000 GEO:38.0574726;-122.5191229 LOCATION:Marin Museum of Contemporary Art (Marin MOCA)\,Novato Arts Center at Hamilton Field 500 Palm Drive\nNovato\, CA 94949 SEQUENCE:0 SUMMARY:Cedars of Marin UID:285182 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Organized by the Halsey Institute of Contemporary Art\, \;Colleg e \;of \;Charleston \;School of the Arts

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Motoi Yamamoto is an internationally acclaimed contemporary Japanese artist from Hiroshim a\, Japan\, who creates elaborate\, site-specific installations made entire ly out of salt. Often in the form of large-scale labyrinths or aerial proje ctions of typhoons\, Yamamoto takes one of the earth&rsquo\;s oldest\, most sought-after mineral elements to cover the entire gallery floors during a two-week residency at the Monterey Museum of Art&mdash\;Pacific Street loca tion. Traditionally used as a symbol for purification and mourning in Japan ese culture\, the artist&rsquo\;s use of salt emanates from a powerful pers onal experience in working through the death of his sister. His artwork is rooted in themes of life\, death\, and rebirth\, and his process with salt has helped him cleanse his grief.

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The public will have an opportunity to watch Motoi create his installation during his residency\, as well as inte ract with him in the galleries. A series of drawings and photography will a lso accompany the exhibition.

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The closing of the exhibition on August 25 \, 2013\, offers another important participatory experience with the opport unity for visitors to participate in the dismantling of the salt artwork.

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DTEND:20130825 DTSTAMP:20140711T175707 DTSTART:20130614 GEO:36.594185;-121.888086 LOCATION:Monterey Museum of Art\,559 Pacific Street and 720 Via Mirada \nMo nterey\, CA 93940 SEQUENCE:0 SUMMARY:Return to the Sea\, Motoi Yamamoto UID:291333 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sheila Ghidini: Conversations
August 2nd &ndash\; September 26th\, 2013

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Opening Reception: Friday\, August 2nd\, 6 &ndash\; 8 pm
Artist Talk moderated by Anthony Pinata from Oakland Museum of California

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Saturday\, August 10th\, 2 &ndash\; 3 pm
Seco nd First Friday Reception: Friday September 6\, 6 - 8 pm

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Chandra Cerrito Contemporary is pleased to announce a solo exhibition by Sheila Ghidini. Sheila Ghidini&rsquo\;s ongoing fascinat ion with chairs as a means to embody both presence and absence is displayed in her most recent works exhibited in Conversations. An empty cha ir can imply the prior presence\, and therefore absence\, of a human inhabi tant\, while it can also act as a stand-in for the human figure. Ghidini&rs quo\;s current exhibition features a series of graphite drawings depicting individual chairs or groups of them as well as two sculptural works made fr om found chairs that have been altered. \;

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 \; \; \ ; \; \; \; \; \; \; \; \; Ghidini&rsquo\;s delicately rendered portraits of individual chairs\, each with their own pa rticular details\, exhibit her love of close observation and her masterful technical abilities. While these renderings of single chairs are like chara cter studies\, drawings of multiple chairs reference the psychology of grou p dynamics. Disrupting a sense of communion among gathered chairs\, Ghidini deliberately disturbs traditional spatial perspective. While traditional l inear perspective calls for only one or two vanishing points\, Ghidini assi gns each chair\, each figure\, its own slightly different point of view. A scene that at first appears to be the remnants of a collective seems instea d to be evidence of individual isolation within shared space. \;

\n< p> \; \; \; \; \; \; \; \; \; \;&nb sp\; Chairs are metaphors in Ghidini&rsquo\;s two sculptural works. In Reflection\, a chair with two backs facing one another is created from reassembled wood chairs painted white. Like Narcissus\, the figure caught in self-reflection is rendered useless. Murmuration is a dreamlike installation featuring a white wood chair with absurdly tall legs that is placed against the wall. A lacey graphite drawing covers parts of the wall and back of the chair\, depicting birds in dynamic swarm formations. In thi s case\, the chair is a figure whose firmly grounded nature is overcome so that it may also reach the celestial sphere.

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 \;About t he Artist: Sheila Ghidini earned her BFA from Hartford Art School at the University of Hartford\, West Hartford\, CT (1974)\, completed gradu ate studies at Cranbrook Academy of Art in Bloomfield Hills\, MI (1979) and earned her MFA at UC Berkeley (1992). Her work has been exhibited at Hunte r College in New York City\, San Francisco&rsquo\;s Museo ItaloAmericano\, the Jewish Museum in San Francisco and the Maier Museum of Art in Lynchburg \, VA. This is her fifth exhibition at Chandra Cerrito Contemporary.

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DTEND:20130826 DTSTAMP:20140711T175707 DTSTART:20130802 GEO:37.812543;-122.2682623 LOCATION:Chandra Cerrito Contemporary\,480 23rd Street \nOakland\, CA 94612 -2322 SEQUENCE:0 SUMMARY:Conversations\, Sheila Ghidini UID:288017 END:VEVENT BEGIN:VEVENT DTEND:20130802T200000 DTSTAMP:20140711T175707 DTSTART:20130802T180000 GEO:37.812543;-122.2682623 LOCATION:Chandra Cerrito Contemporary\,480 23rd Street \nOakland\, CA 94612 -2322 SEQUENCE:0 SUMMARY:Conversations\, Sheila Ghidini UID:288018 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Kala Art Institute is pleased to announce\, “Print\, Pr int\, Pass\,” the latest exhibition at Berkeley Central Arts Passage. We in vite you to attend two events in conjunction with this exhibition: the Open ing Reception on Wednesday\, May 29\, from 6-8pm and “The Pass” on Wednesda y\, June 26\, from 6-8pm.

With a slightly imploded framework\, “Print\, Print\, Pass” highlights t he physical and social economies of the print medium. Fourteen artists were each asked for two prints – the “Print\, Print” of the exhibition title. A rtworks are initially hung to display the idiosyncrasies of seriality. One week into the exhibition\, artists will be asked\, anonymously\, for their top five choices for an actual trade or “pass” of one of their prints. “The Pass” will be revealed Wednesday\, June 26\, from 6-8pm\, with a new insta llation of the works reflecting these allegiances. Each artist offers one w ork for sale and one explicitly for trade with one of their cohorts in the show.

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”Print\, Print\, Pass” is the third exhibition in this new exhibit ion series featuring artworks from Berkeley-based artists and the Kala comm unity. Berkeley Central Arts Passage looks forward to being a part of the v ibrant downtown Berkeley Arts District and forging new connections between artists and audience.

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For further information\, contact Amanda C urreri at Kala Art Institute\, amanda@kala.org\, 510-549-2 977.

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http://www.kala.org/exhibitions/current_be rkeleycentral.html

DTEND:20130829 DTSTAMP:20140711T175707 DTSTART:20130529 GEO:37.8654727;-122.2625529 LOCATION:Berkeley Central Arts Passage\,2055 Center Street\, (between Shatt uck and Milvia) \nBerkeley \, CA 94704 SEQUENCE:0 SUMMARY:Print\, Print\, Pass\, Erin Allen\, Annie Albagli\, Hayley Delaney\ , Llewelynn Fletcher\, Pablo Guardiola\, Nif Hodgson\, Nick Karvounis\, 
Ka te Klingbeil\, Sam Lopes\, Susan O’Malley\, Carissa Potter\, Unai San Marti n\, Lena Wolff\, Erik Scollon UID:277165 END:VEVENT BEGIN:VEVENT DTEND:20130529T200000 DTSTAMP:20140711T175707 DTSTART:20130529T180000 GEO:37.8654727;-122.2625529 LOCATION:Berkeley Central Arts Passage\,2055 Center Street\, (between Shatt uck and Milvia) \nBerkeley \, CA 94704 SEQUENCE:0 SUMMARY:Print\, Print\, Pass\, Annie Albagli\, Erin Allen\, Hayley Delaney\ , Llewelynn Fletcher\, Pablo Guardiola\, Nif Hodgson\, Nick Karvounis\, 
Ka te Klingbeil\, Sam Lopes\, Unai San Martin\, Susan O’Malley\, Carissa Potte r\, Erik Scollon\, Lena Wolff UID:277166 END:VEVENT BEGIN:VEVENT DESCRIPTION:

After major aesthetic renovati ons undertaken during the month of July\, 111 Minna Gallery will reopen its doors with two elegant and uniquely complimentary art exhibitions featurin g the multi-processed works of Ivy Jacobsen and Tobias Tovera while also in corporating the exquisite fashion of Abigail Glass and live musical perform ance by Tim Carr.

Ivy Jacobsen strives to cre ate a place of magical realism in her landscapes\, balancing magical elemen ts with real world rendering of flora and fauna found in our natural world. She uses oil paint\, bronzing powder\, earth pigments\, acrylic paint\, re sin\, and other mixed media on canvas and birch panel in creating her paint ings. They are composed of many thin layers of glazes slowly built up over time. Through the multiple semi-transparent layers all the colors are visib le creating a glowing depth of field. By painting the trees and plant forms in between the layers of glazes the forms begin to occupy various spaces i n the foreground and background\, further creating the illusion of depth. I t is Ivy&rsquo\;s hope that the viewer is invited &ldquo\;into&rdquo\; the painting to fully explore the imaginary environment.

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In \;Last Light\, the ethereal scenery in Ivy Jacobsen&rsquo\;s work carries with it a feminine sensibility that& rsquo\;s soothing to the eye and rarely seen in works displayed at 111 Minn a Gallery.

DTEND:20130830 DTSTAMP:20140711T175707 DTSTART:20130802 GEO:37.7874591;-122.3994475 LOCATION:111 Minna Gallery\,111 Minna St. \nSan Francisco\, CA 94105 SEQUENCE:0 SUMMARY:Last Light\, Ivy Jacobsen UID:282551 END:VEVENT BEGIN:VEVENT DTEND:20130802T220000 DTSTAMP:20140711T175707 DTSTART:20130802T170000 GEO:37.7874591;-122.3994475 LOCATION:111 Minna Gallery\,111 Minna St. \nSan Francisco\, CA 94105 SEQUENCE:0 SUMMARY:Last Light\, Ivy Jacobsen UID:282552 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Life Forms by Tobias Tovera will incorporate collaborations with fashion designer\, Abigail Glass: http://www.abigailglass.com/ who is compl eting a new line of couture using the artists Diffusions of Pigment series as inspiration and material. Abigail will be print-dying fabric with a sele ction of his paintings of which will be on display at the exhibit opening\, fashioned by live models. In addition\, Tim Carr (named best Bay Area Loca l Musician by 7×7 Magazine 2012) will perform from his latest album\, The S hadows\; the performance of which incorporates video\, sound\, and light.  http://timcarrsongs.com/. Tobias’s vision for the show will combine visual media\, live music\, and fashion which will create interaction with audienc es and creative use of the gallery as a site.

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Tobias Tovera is an American visual artist recognized for the sensory surrounds of his multi-m edia installations as well as his work in painting and performance. Using t ime as process and material\; Tovera’s methods of making serve to explore e nergy systems that posit new dimensions to otherwise static materials throu gh the introduction of opposing elements. By examining dichotomies such as nature/artifice or chaos/order\, his work merges these distinctions creatin g paradoxical conjunctions of opposites\, and in doing so questions what co nstitutes the nature of intuitive and processed based strategies.

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Tobias Tovera is based in San Francisco\, California. He received his BFA in Scul pture from California College of the Arts in 2002 where he was on the Dean’ s List and received a Merit Scholarship. He also studied MFA Painting in th e Summer Residency Program at SFAI in 2011 and is currently an artist in re sidence at Root Division\, a community arts and education organization in S an Francisco.

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Tovera has had seven solo and twenty-three group exhibitio ns on the East and West coast with recent publication in Studio Visit Magaz ine.

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- See more at: http://www.111minnagallery.com/2013/last-light-life- forms/#more-12881

DTEND:20130830 DTSTAMP:20140711T175707 DTSTART:20130802 GEO:37.7874591;-122.3994475 LOCATION:111 Minna Gallery\,111 Minna St. \nSan Francisco\, CA 94105 SEQUENCE:0 SUMMARY:Life Forms\, Tobias Tovera UID:282553 END:VEVENT BEGIN:VEVENT DTEND:20130802T220000 DTSTAMP:20140711T175707 DTSTART:20130802T170000 GEO:37.7874591;-122.3994475 LOCATION:111 Minna Gallery\,111 Minna St. \nSan Francisco\, CA 94105 SEQUENCE:0 SUMMARY:Life Forms\, Tobias Tovera UID:282554 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mark Wolfe Contemporary Art is pleased to present \;Surfacing\, an exhibition of new paintings by Matt Mignanelli \, Dominic Paul Moore\, and Russell Tyler.

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The title of thi s exhibition refers to the use of layers\, frameworks\, and textures by eac h painter\, and how their techniques emerge as visual revelations within th e resulting paintings. Mignanelli's works are a study in precision\, offeri ng up smooth\, exacting planes with subtle variations from matte to gloss b etween shades\; their simplicity belies the painstaking process behind thei r creation. Conversely\, works by Moore appear deceptively loose and inform al\, and only reveal their complexity upon study\; tiers of varying gesture and media hover above and below one another\, creating a unique visual ten sion. Similarly\, Tyler's highly textured paintings appear informal\, but c leverly reveal subtle glimmers of hidden layers and precise structures upon closer examination.  \;

DTEND:20130830 DTSTAMP:20140711T175707 DTSTART:20130711 GEO:37.790076;-122.4006891 LOCATION:Mark Wolfe Contemporary Art\,1 Sutter Street Suite 300\nSan Franci sco\, CA 94104 SEQUENCE:0 SUMMARY:Surfacing\, Matt Mignanelli\, Dominic Paul Moore\, Russell Tyler UID:283901 END:VEVENT BEGIN:VEVENT DTEND:20130711T200000 DTSTAMP:20140711T175707 DTSTART:20130711T173000 GEO:37.790076;-122.4006891 LOCATION:Mark Wolfe Contemporary Art\,1 Sutter Street Suite 300\nSan Franci sco\, CA 94104 SEQUENCE:0 SUMMARY:Surfacing\, Matt Mignanelli\, Dominic Paul Moore\, Russell Tyler UID:283902 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130831 DTSTAMP:20140711T175708 DTSTART:20130810 GEO:37.7635592;-122.2441396 LOCATION:Alameda Museum\,2324 Alameda Avenue \nAlameda\, CA 94501 SEQUENCE:0 SUMMARY:Alameda Women Artists 20th Anniversary\, Lily J. Abraham\, Kate And erson\, Gretchen Blais\, Bonnie Randall Boller\, Jane Crescent Brundage\, R enee Doty\, Patricia Edith\, Mi’Chelle Fredrick\, Wendy Lee Gadzuk\, Teddy Goldsworthy-hanner\, Deborah Griffin\, Miriam Infinger\, Barbara James\, De borah Kimsey\, Colene Leong\, Mary Loughran\, Christine Lyons\, Karen McClo ud\, Glenna Mills\, Jeanie Moran\, Thelma Richard\, Joan Tharp\, Loretta Fr anke Valero\, Leah Virsik\, Nicole Wakeman\, Linda Weinstock UID:291272 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130831 DTSTAMP:20140711T175708 DTSTART:20130606 GEO:37.7878527;-122.4043529 LOCATION:Altman Siegel Gallery\,49 Geary St. \nSan Francisco\, CA 94108 SEQUENCE:0 SUMMARY:Transmissions\, Zarouhie Abdalian\, Shannon Ebner\, Matt Keegan\, T revor Paglen UID:279177 END:VEVENT BEGIN:VEVENT DTEND:20130606T193000 DTSTAMP:20140711T175708 DTSTART:20130606T173000 GEO:37.7878527;-122.4043529 LOCATION:Altman Siegel Gallery\,49 Geary St. \nSan Francisco\, CA 94108 SEQUENCE:0 SUMMARY:Transmissions\, Zarouhie Abdalian\, Shannon Ebner\, Matt Keegan\, T revor Paglen UID:279178 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130831 DTSTAMP:20140711T175708 DTSTART:20130802 GEO:37.7818704;-122.4140571 LOCATION:Bash Contemporary\,210 Golden Gate Avenue \nSan Francisco\, CA 941 02 SEQUENCE:0 SUMMARY:Printastic\, Sandra Yagi\, Dave Correia\, Robert Bowen\, Ian Hueber t\, Lee Harvey Roswell\, Christopher Ulrich UID:289794 END:VEVENT BEGIN:VEVENT DTEND:20130809T200000 DTSTAMP:20140711T175708 DTSTART:20130809T180000 GEO:37.7818704;-122.4140571 LOCATION:Bash Contemporary\,210 Golden Gate Avenue \nSan Francisco\, CA 941 02 SEQUENCE:0 SUMMARY:Printastic\, Robert Bowen\, Dave Correia\, Ian Huebert\, Lee Harvey Roswell\, Christopher Ulrich\, Sandra Yagi UID:289795 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Dolby Chadwick Gallery is honored to announce They Say I Came Back Americanized\, an exhibition of new work by Gonzalo Fuenmayo r. Born in Colombia but a resident of the United States since 1998\, Fuenma yor&rsquo\;s remarkably precise charcoal drawings explore themes of cultura l hybridity\, identity politics\, and acculturation.

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As a Col ombian artist living abroad\, Fuenmayor once felt he had a responsibility t o make art that commented on the social events happening back at home. Feel ing 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 t acitly embroiled in controversy if one considers the various Chiquita Brand s International scandals. What initially began as a lighthearted attempt to self-exoticize and position himself as specifically &ldquo\;Colombian&rdqu o\; has since evolved into an earnest exploration of cultural hybridity and transnational identity. \;

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In his Apocalypse se ries\, for instance\, opulent Victorian and Rococo chandeliers grow out of bunches of bananas like absurd Dadaesque fruits. Their glowing lights and g limmering crystals are articulated using the negative space of the naked wh ite 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\, accord ing to Fuenmayor\, &ldquo\;the subordination of the contradictory into a de licate and imaginative order&rdquo\; that figures as the present.

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Recent works have provided the artist with the opportunity to interrog ate the many latino stereotypes and caricatures that exist in American pop culture. In the Carmen series\, for example\, exaggerated\, toweri ng headdresses feature impossible columns of bananas\, disco balls strung f rom 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\, supe rnatural quality about these headdresses that recalls both the magical real ism of latino literature as well as the mystery of &ldquo\;the other.&rdquo \; They are also sexy\, witty\, and inescapably humorous.

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Car men Miranda&mdash\;the Brazilian entertainer who purposefully sported a thi ck accent and knowingly performed the role of the exuberant latina&mdash\;i s the indisputable inspiration behind the Carmen series. What brou ght her success in the States\, however\, polarized her from her compatriot s. Fuenmayor \;

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explains that he too struggles to negotia te not only stereotypes of latinness\, but as both a Colombian and American \, he must also negotiate transnational identities. The Moment of Surre nder 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 d e Andrade&rsquo\;s &ldquo\;Cannibal Manifesto&rdquo\; of 1928\, a boa const ructor\, the proxy for one culture or experience\, can be seen consuming th e proxy of another: an ornate coat rack. The point is not to destroy the co at rack or to imitate it by becoming it\, but to create something new. In t his strange\, startling act\, hybridity is celebrated.

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Gonzal o Fuenmayor was born in 1977 in Barranquilla\, Colombia. He moved to New Yo rk 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 pas t 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.  \; \;

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The gallery will be closed \;August 11-19\, 201 3. \;

DTEND:20130831 DTSTAMP:20140711T175708 DTSTART:20130711 GEO:37.7887091;-122.405531 LOCATION:Dolby Chadwick Gallery\,210 Post Street Suite 205 \nSan Francisco\ , CA 94108 SEQUENCE:0 SUMMARY:They Say I Came Back Americanized\, gonzalo Fuenmayor UID:272594 END:VEVENT BEGIN:VEVENT DTEND:20130711T193000 DTSTAMP:20140711T175708 DTSTART:20130711T173000 GEO:37.7887091;-122.405531 LOCATION:Dolby Chadwick Gallery\,210 Post Street Suite 205 \nSan Francisco\ , CA 94108 SEQUENCE:0 SUMMARY:They Say I Came Back Americanized\, gonzalo Fuenmayor UID:272595 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This body of work m arks an important turning point for the San Francisco-based artist\, who ha s been a figurative painter his entire life. Desiring the challenges and st imulation of a new aesthetic\, Brown recently turned to abstraction as a wa y of breaking down illusory space into its essential elements. This dismant ling and exploration of compound forms has been a slow\, cautious project f or Brown. Winterscape #1 and #2\, for instance\, feature imagery reminiscen t of bare branches on a raw winter day. The primitive naturalism of these t wo intermediary paintings\, however\, ultimately gives way to bold\, abstra ct gestures\, while a black and white color palette is expanded to include bright\, largely primary colors.

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Brown creates a new gestural line in this body of work by applying p aint with a brayer rather than a brush. The resulting markings—which are pl aced sparingly and deliberately—are relatively consistent in width\, weight \, and value. A type of hand roller\, the brayer lends itself well to the c reation of perfectly curvilinear forms\, which Brown arranges to push energ y 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’ g rand scale\, and the paintings’ smooth\, encaustic-like surfaces. The final compositions induce a kind of synesthetic effect\, awakening waves of soun d that parallel their elegant visual reverberations. It is no wonder Brown identifies Igor Stravinsky\, composer of the animalistic and boldly avant-g arde The Rite of Spring\, as one of his artistic inspirations. 

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While Brown’s paintings—especially th ose in grayscale\, such as June 28th #1 and Composition #1—are r eminiscent 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 re lationship between experience and memory. Brown says\, “I discovered what a monumental artistic achievement Proust had accomplished. He changed my wor ld. All these paintings were painted while I listened to those unabridged a udiobooks. I'm currently in my fifth reading\, and I'm getting to know it w ell. Proust’s work has been a constant reminder to be honest with myself an d my work.” 

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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 bu ild upon and answer to both abstract expressionism and minimalism\, their s ensuousness 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.”

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Charley Brown was born in 1945 in Barstow\, California. H e 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 exh ibiting 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 Sm ithsonian Institute\, the New Main Library of San Francisco\, and Stanford University. This will be his first solo exhibition at the Dolby Chadwick Ga llery.

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The gallery will be closed August 11-19\, 2013. 

DTEND:20130831 DTSTAMP:20140711T175708 DTSTART:20130711 GEO:37.7887091;-122.405531 LOCATION:Dolby Chadwick Gallery\,210 Post Street Suite 205 \nSan Francisco\ , CA 94108 SEQUENCE:0 SUMMARY:Charley Brown: Divergence\, charley Brown UID:280640 END:VEVENT BEGIN:VEVENT DTEND:20130711T190000 DTSTAMP:20140711T175708 DTSTART:20130711T170000 GEO:37.7887091;-122.405531 LOCATION:Dolby Chadwick Gallery\,210 Post Street Suite 205 \nSan Francisco\ , CA 94108 SEQUENCE:0 SUMMARY:Charley Brown: Divergence\, charley Brown UID:280641 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Fouladi Projects 2 013 Summer Group Show

We are pleased to present an exhibition of seven artists whose works reference the ever-inspiring mot her of us all: Nature. Some do this directly\, while others raise questions by taking a more subversive route. Must civilization and nature be at odds ? Can one exist without the expense of the other? Trees can compose an ench anting forest. Yet\, when strategically planted\, they can also be the barr ier between you and your neighbor. Controlling the natural environment can be perceived as a triumph or a tragic mistake\, depending on one’s point of view. 

It would prove a difficult prospect indeed to remove nat ure entirely from our scope\, for it is all around us and it is the very st uff from which we are made. Ubiquitous as it may be\, however\, nature neve r ceases to captivate our senses and embolden our awe. It is the primary la nguage that needs no words. We bow to its majesty. In celebration of summer time\, on view will be paintings\, photographs and works on paper that will both pay homage to the beauteous bounty of all things natural as well as c ausing contemplation of our possible alienation from the source. 

Artists in the show: Karen Barbour\, Yuichi Hirako\, Liam Jones\, Erik Pa rra\, Gail Tarantino\, Sho Tsunoda\, and Anne Veraldi.

DTEND:20130831 DTSTAMP:20140711T175708 DTSTART:20130719 GEO:37.7719101;-122.4232744 LOCATION:fouladi projects\,1803 Market St. \nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:Considering the Source\, Karen Barbour\, Yuichi Hirako\, Liam Jones \, erik parra\, Gail Tarantino\, Sho Tsunoda\, Anne Veraldi UID:284790 END:VEVENT BEGIN:VEVENT DTEND:20130719T200000 DTSTAMP:20140711T175708 DTSTART:20130719T180000 GEO:37.7719101;-122.4232744 LOCATION:fouladi projects\,1803 Market St. \nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:Considering the Source\, Karen Barbour\, Yuichi Hirako\, Liam Jones \, erik parra\, Gail Tarantino\, Sho Tsunoda\, Anne Veraldi UID:284791 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gallery 16 \;is excited to announce its fourth exhi bition with artist \;Wayne Smith. \;His exhibition  \;5 Short Holidays \;continues his inter est in scanner-based imagery\, repetitive drawing techniques\, and working with found printed matter. The show will feature a new group of digital pri nts\, collage works with imagery layered between glass and ink and pencil d rawings on pieces of wood. \; The show will also include a text-based i nstallation piece that foregrounds his interest in writing/collecting seemi ngly random and often humorous titles for nonexistent projects. The title & ldquo\;5 Short Holidays&rdquo\; playfully refers to his decision to present work in these various styles. The title is also shared with an EP by Smith &rsquo\;s ongoing music project Aero-Mic&rsquo\;d to be released during the run of the show.

Wayne Smith is a visual and sound artist who lives and works in San Francisco. Wo rking in a variety of media including drawing\, installation and video\, hi s work has been shown locally and internationally. In 2007\, he collaborate d with Berlin-based artist D-L Alvarez on a sound and video installation in spired by Joan Didion&rsquo\;s &ldquo\;The White Album&rdquo\; that took pl ace at Derek Eller Gallery\, NY. A video installation at Exile Gallery in B erlin\, Germany was shown as part of the &ldquo\;Psychometry&rdquo\; exhibi tion in 2009.

In 2004\, Smith co-produced and performed on the CD &ldquo\;After Low&rdquo\; with ar tist Rex Ray\, as part of the exhibition &ldquo\;Fascination&rdquo\; at Gal lery 16. The CD\, a reworking of David Bowie&rsquo\;s &ldquo\;Low&rdquo\; a lbum\, featured performances by Matmos and Tom Recchion\, among others.

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Smith is also a member of San Francisco&rsquo\;s &ldquo\;Poet&rsquo\;s Thea tre&rdquo\;\, writing four plays with author Kevin Killian over the past fi fteen years. A revival of their 2001 play &ldquo\;The Shakers&rdquo\;\, was presented by Small Press Traffic at CCA\, San Francisco in Autumn 2010.&nb sp\;

On \;Fr iday\, July 26th\, we will host a special evening of \ ;Poet&rsquo\;s Theater \;curated by Brandon Brown. Poet&rsquo\ ;s Theater has been a vibrant the Bay Area arts scene for fifty years. Loca l writers Kevin Killian (author of many collections of fiction\, memoir)\, Lindsey Boldt (author of Overboard and the recently released Tittties for L indsey)\, and Sara of Walking Across This Field We Are Focused On This Time Now\, just out from Ugly Duckling Presse) classics from those five decades and perform them in the space! Smith is a member of San Francisco&rsquo\;s Theatre&rdquo\;\, writing four plays with author Kevin Killian over the pa st fifteen years.

DTEND:20130831 DTSTAMP:20140711T175708 DTSTART:20130621 GEO:37.781315;-122.395443 LOCATION:Gallery 16\,501 3rd St. \nSan Francisco\, CA 94107 SEQUENCE:0 SUMMARY:5 Short Holidays\, Wayne Smith UID:281895 END:VEVENT BEGIN:VEVENT DTEND:20130621T210000 DTSTAMP:20140711T175708 DTSTART:20130621T180000 GEO:37.781315;-122.395443 LOCATION:Gallery 16\,501 3rd St. \nSan Francisco\, CA 94107 SEQUENCE:0 SUMMARY:5 Short Holidays\, Wayne Smith UID:281896 END:VEVENT END:VCALENDAR