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

Anthony Meier Fine Arts is pleased to present an exhibition of new paint ings by Caragh Thuring. \; In her inaugural exhibition at the gallery\, Thuring exhibits a body of work that ties together ideas and motifs previo usly referenced in her work. \;

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Thuring invites a sense of wonder\, presenting several compositions rif e with incongruities of scale and dimension. Meanwhile\, other paintings pr esent tangible objects &ndash\; a window balcony\, an ornately fastened rop e &ndash\; whose properties are fully bound in realism and physics.< span style="font-size: small\;"> \;

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Drawing from her own experience\ , Thuring takes inspiration from a range of source material\, including her own photographs\, books\, travels\, memories\, and her knowledge of art hi story. \;Galarus \;and \;San Petronio\, \;for example\, depict the marquetry of a choir stall in Bologna\, while&nbs p\;Pool Palmrecollects surfacing from a swimming pool to encounter a looming palm tree. In both cases the general scale is shifted and obscur ed in an otherwise realistic presentation. \;

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Characteristic in her use of unprimed linen\, Thuring&rsq uo\;s paintings feature figures and elements amidst an open background\; la yered paint and unpopulated linen create a depth of field that leaves much to the imagination. A figure constructed of bricks lounges in the corner of one canvas\, while outlined half-figures direct another scene. \;

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Tying these together are several the mes repeated throughout: pyramids\, window panes\, brick constructions &nda sh\; each presented in an imaginative arrangement. \;

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Caragh Thuring was born in Brussels in 1972. She lives and works in London. Her work is included in many public and private collections\, among them the Tate\, the Zabludowicz Collection\, and the Sa atchi Collection.

DTEND:20131018 DTSTAMP:20141021T123834 DTSTART:20130913 GEO:37.7897063;-122.4267796 LOCATION:Anthony Meier Fine Arts\,1969 California Street \nSan Francisco\, CA 94109 SEQUENCE:0 SUMMARY:Solo Exhibition\, Caragh Thuring UID:293825 END:VEVENT BEGIN:VEVENT DTEND:20130912T200000 DTSTAMP:20141021T123834 DTSTART:20130912T180000 GEO:37.7897063;-122.4267796 LOCATION:Anthony Meier Fine Arts\,1969 California Street \nSan Francisco\, CA 94109 SEQUENCE:0 SUMMARY:Solo Exhibition\, Caragh Thuring UID:293826 END:VEVENT BEGIN:VEVENT DESCRIPTION:

To kick-off Proximities 2: Knowing Me\, Knowing You (titled after a 1976 hit song by the pop sensation ABBA)\, the museum will host a karaoke lounge in Samsung Hall. Taking inspiration from the theme o f the show&mdash\;examining Asia through family and shared experience&mdash \;this lounge pays tribute to the spirit of karaoke\, the global pastime th at brings people together through popular music. Guest curator Glen Helfand introduces the theme of the exhibition with an in-gallery talk to start of f the program\, and the fun picks up with a challenge to see who offers the most dynamic performance of the afternoon\, whether ABBA\, Whitney\, Linda Ronstadt\, or a wild card selection. KJ Kendoke (Kenneth Fate) presides over the festivities. Ge t ready and prepare your selection from the karaoke song book. \;

DTEND:20131019 DTSTAMP:20141021T123834 DTSTART:20131019 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Proximities 2: Karaoke Lounge from ABBA to ZZ Top UID:301546 END:VEVENT BEGIN:VEVENT DTEND:20131019T160000 DTSTAMP:20141021T123834 DTSTART:20131019T133000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Proximities 2: Karaoke Lounge from ABBA to ZZ Top UID:301547 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Rena Bransten Gallery is pleased to present an exhi bition of new photographs by Dawoud Bey titled The Birmingham Project that will run through September and O ctober\, 2013.

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Dawoud Bey is best known for his portrait series that int roduce individuals on both sides of the camera to each other in an effort t o broaden awareness of who &ldquo\;the others&rdquo\; all around us are &nd ash\; in our neighborhoods\, schools\, interest groups\, community and beyo nd. By making his photographic subjects part of the art process\, Bey hopes to expand and balance an understanding between viewer and viewed so both s ides see that &ldquo\;the bigger picture&rdquo\; in any context is the shar ed experience of observation and recognition &ndash\; where opposing sides may see what they might have in common - as humans &ndash\; exchanging view s. \;

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Portraits in The Birmingham Project commemorate the four girls killed in 1963 when the 67th Street Birmingham Baptist church wa s bombed and the two boys killed later that same day in a separate incident of racial violence. \; While the source events were shocking and sense less\, the pictures serve as reminders of the strength and beauty possible in the aftermath of a tragedy when healing is shared by family and communit y. \;

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In these portraits\, Bey photographed local Birmingham inhabi tants &ndash\; men\, women\, and children &ndash\; of the same ages as the deceased and at the ages they would be today if they had survived. \; S urprisingly\, the historical references for the portraits do not in any way burden them with sentimentality\, rather\, their presentation as diptychs give viewers a vision of the child plus their fulfilled potential as an adu lt. \; The warmth and charm Bey has captured in the pairings give each set a stunning and convincing immediacy showing the power of art to enhance and transform experience.

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Bey has an undergraduate degree from Empire S tate College\, S.U.N.Y. and an MFA degree from Yale University School of Ar t. He has exhibited widely in the US and was included in the 2000 Whitney B iennial. He currently lives in Chicago and teaches at Columbia College.

DTEND:20131019 DTSTAMP:20141021T123834 DTSTART:20130905 GEO:37.7735554;-122.4209824 LOCATION:Rena Bransten Projects\,1639 Market Street \nSan Francisco\, CA 94 103 SEQUENCE:0 SUMMARY:The Birmingham Project\, Dawoud Bey UID:290618 END:VEVENT BEGIN:VEVENT DTEND:20130905T190000 DTSTAMP:20141021T123834 DTSTART:20130905T173000 GEO:37.7735554;-122.4209824 LOCATION:Rena Bransten Projects\,1639 Market Street \nSan Francisco\, CA 94 103 SEQUENCE:0 SUMMARY:The Birmingham Project\, Dawoud Bey UID:290619 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Romer Young Gallery is pleased to present its first sol o exhibition with Milan artist \;Alice Cattaneo\,  \;Nothing quite flat and more round. There will b e an opening reception for the artist on \;Friday\, September 6 \, 6-9pm.

For t his exhibition\, Cattaneo will exhibit a new series of sculptures generated during her residency at the gallery this summer. The site sensitive\, loos e arrangement of works is organized in the space following a circular and i nvisible pattern. Subtle to the viewer\, the design of this imaginary archi tecture within the gallery space takes into consideration a rigorous yet im perfect geometry \;coupled with a (colorful) sense of playfulness.

"I \;< em>think of a Picasso&rsquo\;s maquette for a monument dedicated to Apollin aire that was never realized. The geometrical structure was photographed in the artist&rsquo\;s studio next to a long table with ceramic heads and all sort of figurative elements. There was a fascinating gap between the imagi nary monument\, the actual model in the studio and the stuff on the table. I tried to organize the sculptures in the space of the gallery considering these gaps and invisible patterns that create relationships between things. "


As with much of C attaneo&rsquo\;s work\, the sculptures are inspired by\, and directly respo nd to their environment. Using an economy of gestures and common materials such as scotch tape\, balsa wood\, pastel\, wire\, foam board\, cable ties\ , iron netting\, the provisional sculptures balance against the walls\, res t on the floor\, slightly &ldquo\;altering the perception of the room. The sculptures are assembled holding each other and challenging\, to an extreme limit\, their equilibrium&hellip\;defining an apparent frangible place."

The artist writes: \; When I first start working in a space I try to activate it by bringing materials that require movement like big pieces of cardboard or sticks of w ood\, and quickness like masking tape or cable ties. Then I try to follow a sort of system of selection through which forms come out and then are relo cated into the physical work. It is not about memory but rather about a rep etitive process that involves doing and undoing\, making and remaking\, the appearing and disappearing of forms. \;

Ephemeral and fragile in their immediate receptio n\, the constructions command a spatial presence that is counterintuitive t o that which their low-tech materials and physical weight suggest. Working with ideas of space\, light\, line\, and gravity\, the sculptures articulat e a significant geometric volume.
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Cattaneo received her BA in Fine Art and Environmental Art at the Glasgow School of art\, and her MFA in sculpture from the San Francisco At Institute. Recent solo exhi bitions include Galerie Stadtpark (two person show with Fred Sandback)\, Kr ems\; Galleria Suzy Shammah\, Milan\; Ikon Gallery\, Birmingham\; MADRE Mus eum\, Naples\; Analix Forever\, Geneva. \;Selected group exhibitions in clude Arte in Memoria\, Sinagoga di Ostia Antica\; Wä\;scherei Kunstver ein\, Zurich\; The Fourth Guangzhou Triennial\, Guangdong Museum of Art\; M USMA\, Matera\; Collezione Maramotti\, Reggio Emilia/Frankfurt Kunstverein\ , Frankfurt\; Hangar Bicocca\, Milan\; Fondazione Pomodoro\, Milan\; Mus&ea cute\;e Cantonal des Beaux-Arts\, Lausanne\; Centro per L'Arte Contemporane a L.Pecci\, Expo Shangai\; Kaohsiung Museum of Fine Arts\, Taiwan\; Today A rt Museum\, Beijing\; Palazzo delle Stelline\, Milan\; Galerie Christine Ko enig\, Vienna\; Palazzo Grassi\, Venice/MCA\, Chicago\; The Daejeon Museum of Art\, Daejeon\; MAXXI Museum\, Rome\; Wilhelm-Hack-Museum\, Ludwigshafen .

Alice Cattaneo is the second artist in residence at Romer Young Gallery&rsquo\;s Artist in Reside nce program. Many thanks to the \;Istituto It aliano di Cultura di San Francisco\, and to Paolo Barlera personally\, for their generous support of this exhibition and residency.

DTEND:20131019 DTSTAMP:20141021T123834 DTSTART:20130906 GEO:37.7576425;-122.3935879 LOCATION:Romer Young Gallery\,1240 22nd St \nSan Francisco\, CA 94107 SEQUENCE:0 SUMMARY:Nothing quite flat and more round\, Alice Cattaneo UID:287069 END:VEVENT BEGIN:VEVENT DTEND:20130906T210000 DTSTAMP:20141021T123834 DTSTART:20130906T180000 GEO:37.7576425;-122.3935879 LOCATION:Romer Young Gallery\,1240 22nd St \nSan Francisco\, CA 94107 SEQUENCE:0 SUMMARY:Nothing quite flat and more round\, Alice Cattaneo UID:287070 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the Fall of 2011\, Linda Geary hit the pause button on her studio pra ctice and began a quest to have 100 conversations about painting with peopl e in San Francisco. The interlocutors form a who's who of artists\, writers \, curators and dealers in the bay area\, and those conversations gave rise to Studio Visit\, an artist book\, and All the Pink Together: Boom\, an exhibition of new paintings at Steven Wolf Fine Arts.

DTEND:20131019 DTSTAMP:20141021T123834 DTSTART:20130907 GEO:37.76034;-122.409399 LOCATION:Steven Wolf Fine Arts\,2747 19th Street A (cross street at York) \ nSan Francisco\, CA 94110 SEQUENCE:0 SUMMARY:All the Pink Together: Boom\, Linda Geary UID:290627 END:VEVENT BEGIN:VEVENT DESCRIPTION:

As part of an effort to further bridge her studio to the outside world\, Linda Geary organized a group show in the back room called \;Hotbo x Forever\, \;featuring New York and L.A. artists Wendy White\, Le cia Dole-Recio\, Jeffrey Gibson and Mary Weatherford.

DTEND:20131019 DTSTAMP:20141021T123834 DTSTART:20130907 GEO:37.76034;-122.409399 LOCATION:Steven Wolf Fine Arts\,2747 19th Street A (cross street at York) \ nSan Francisco\, CA 94110 SEQUENCE:0 SUMMARY:Hotbox Forever\, Wendy White\, Lecia Dole-Recio\, Jeffrey Gibson\, Mary Weatherford UID:294728 END:VEVENT BEGIN:VEVENT DTEND:20130907T200000 DTSTAMP:20141021T123834 DTSTART:20130907T180000 GEO:37.76034;-122.409399 LOCATION:Steven Wolf Fine Arts\,2747 19th Street A (cross street at York) \ nSan Francisco\, CA 94110 SEQUENCE:0 SUMMARY:Hotbox Forever\, Lecia Dole-Recio\, Jeffrey Gibson\, Mary Weatherfo rd\, Wendy White UID:294729 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A group exhibition exploring the current state of the Oakland Art Market \, as represented by creative entrepreneurship of emerging artists.< /p> DTEND:20131019 DTSTAMP:20141021T123834 DTSTART:20130914 GEO:0.0;0.0 LOCATION:Warehouse 416\,416 26th St. between Telegraph & Broadway\nOakland\ , CA 94612 SEQUENCE:0 SUMMARY:Town Business: State of the Art Hustle\, Nancy Cato\, Ralph Carlile Browne\, Erin Crawford\, Lauren Crew\, Gregorio de Masi\, Unity Lewis\, An dy Littlefield\, Adam Mitchell\, Doug Rhodes\, Danielle Schnur\, Dominic Tr eatunice Villeda UID:299999 END:VEVENT BEGIN:VEVENT DTEND:20131004T220000 DTSTAMP:20141021T123834 DTSTART:20131004T180000 GEO:0.0;0.0 LOCATION:Warehouse 416\,416 26th St. between Telegraph & Broadway\nOakland\ , CA 94612 SEQUENCE:0 SUMMARY:Town Business: State of the Art Hustle\, Ralph Carlile Browne\, Nan cy Cato\, Erin Crawford\, Lauren Crew\, Gregorio de Masi\, Unity Lewis\, An dy Littlefield\, Adam Mitchell\, Doug Rhodes\, Danielle Schnur\, Dominic Tr eatunice Villeda UID:300000 END:VEVENT BEGIN:VEVENT DESCRIPTION:

We are delighted to present\, for the first time in ten year s\, a selection of BAM/PFA’s earliest Chinese paintings. These rare and ama zingly well-preserved works by early landscape and bird-and-flower painters of the late Song and early Yuan periods (thirteenth and fourteenth centuri es)\, rendered on silk or paper with ink and light color\, demonstrate the sophistication and accomplishment of the early Chinese painting tradition.< br />
Early Chinese painters often depicted the natural world through a lens of gentle mists created by delicate brushwork. Whether capturing a r efined corner of the universe\, as in Ma Yuan’s thirteenth-century Plum Tree and Ducks by a Stream\, or a single twisted branch of a grapevine\ , as in Wen Riguan’s thirteenth-century Grapes\, it is the artist’s control of ink\, wash\, and line that brings the subject to life. Equally c ompelling is the anonymous Fish and Water Plants from the fifteenth century\, which depicts a powerful carp rising through a bed of delicately rendered vegetation\; the very light touches of color in this work add a pl easing naturalism to the scene.

Landscape painters\, too\, conve yed the beauty and grandeur of the natural world. Their interpretations wer e not intended to be of specific places rendered in realistic terms\, but r ather idealized landscapes of retreat and reclusion. The tall trees of Guo Min’s Fir and Pines in the Snow (thirteenth century) form a protective circ le around a figure pictured in a hut at the base of a fantastic and turbule nt mountain. The artist concedes that man is but a small part of a much gra nder universe. Similarly\, River Landscape\, attributed to Ma Wan (1325-136 5)\, suggests the glory of the natural world with a remote view that allows the viewer to survey the landscape of mountains\, trees\, and streams.

DTEND:20131020 DTSTAMP:20141021T123834 DTSTART:20130605 GEO:37.8681831;-122.2562092 LOCATION:Berkeley Art Museum and Pacific Film Archive\,2625 Durant Avenue #2250 \nBerkeley\, CA 94720-2250 SEQUENCE:0 SUMMARY:Gazing into Nature: Early Chinese Painting \, Early Chinese Painte rs\, Ma Yuan\, Wen Riguan\, Guo Min\, Ma Wan UID:281874 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Stanford\, Calif. &mdash\; Beginning Feb. 29\, the Cantor Arts Center at Stanford University presents a new installation of contemporary art\, &ldq uo\;Wood\, Metal\, Paint: Sculpture from the Fisher Collection< /strong>\,&rdquo\; in the Oshman Family Rotunda. The works will remain on view until fall 2013.

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Over the last decade the Fisher Family has bee n exceedingly generous in lending works of art from their unrivalled collec tion to the Cantor Arts Center. Richard Serra&rsquo\;s Sequence is the most recent loan from a roster of artists that has included Ellsworth Kelly\, A gnes Martin\, Isamu Noguchi and Andy Warhol\, as well as other famous conte mporary masters.

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&ldquo\;Wood\, Metal\, Paint: Sculpture from the Fi sher Collection&rdquo\; includes pieces by John Chamberlain\, Sol LeWi tt\, Claes Oldenburg and Martin Puryear\, together with Carl Andre&rsquo\;s Copper-Zinc Plain\, a floor piece comprised of 36 tiles\, and Joh n Chamberlain&rsquo\;s Bijou\, a large early work made of crushed automobiles and paint. The works on display are especially significant beca use they are examples of the innovations that established the reputations o f these artists. Hilarie Faberman\, the Center&rsquo\;s curator of modern a nd contemporary art\, selected works for this long-term installation in con sultation with Pamela Lee\, professor of contemporary art at Stanford\, who will use the exhibition in teaching about sculpture from the 1960s to the 1980s.

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This exhibition is made possible by support from the Cantor Arts Center&rsquo\;s Contemporary Collectors Circle.

DTEND:20131020 DTSTAMP:20141021T123834 DTSTART:20120229 GEO:37.4329645;-122.1705594 LOCATION:Cantor Arts Center\,Stanford University 328 Lomita Dr.\nStanford\, CA 94305-5060 SEQUENCE:0 SUMMARY:Wood\, Metal\, Paint: Sculpture from the Fisher Collection\, John C hamberlain\, Sol LeWitt\, Claes Oldenburg\, Martin Puryear\, Carl Andre UID:204242 END:VEVENT BEGIN:VEVENT DTEND:20120229T170000 DTSTAMP:20141021T123834 DTSTART:20120229T110000 GEO:37.4329645;-122.1705594 LOCATION:Cantor Arts Center\,Stanford University 328 Lomita Dr.\nStanford\, CA 94305-5060 SEQUENCE:0 SUMMARY:Wood\, Metal\, Paint: Sculpture from the Fisher Collection\, Carl A ndre\, John Chamberlain\, Sol LeWitt\, Claes Oldenburg\, Martin Puryear UID:204243 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Cantor Arts Center at Stanford University presents a rare opportunit y to view all three lithographic albums that French Symbolist artist Odilon Redon created in response to Gustave Flaubert’s 1874 book The Temptati on of Saint Anthony. The albums include a total of 42 individual compo sitions\, all of which are on view in the exhibition “Inspired by Temptatio n: Odilon Redon and Saint Anthony\,” from July 3 through October 20.

The story captured Redon’s a rtistic imagination like no other work of literature. Redon called it “a li terary marvel and a mine.” Based on the legend of a third-century monk who retreated to the Egyptian desert to contemplate God\, Flaubert described a single terrible night in which Saint Anthony confronts a succession of unho ly terrors\, sinful temptations\, gods and monsters from myth and centuries of religious tradition. Like Saint Anthony\, Redon was also preoccupied by the mystery of existence and the search for meaning in life. Using the med ium of lithography to great effect\, Redon’s dark and evocative images are informed by his wide-ranging interests in literature\, science\, philosophy \, the unconscious mind and mysticism\, among other subjects. The artist’s genius lies in his ability to create images suggesting multiple interpretat ions of Flaubert’s text while bringing the human soul vividly to life.

The 1888 album is on loan from the Detroit Institute of Arts\, while the 1889 and 1896 albums are in the Cantor’s collection. The 1896 album is a gift of Kirk Edward Long.

The exhibition is made pos sible through the support of the Halperin Exhibitions Fund.
< br /> “Inspired by Temptation” joins five other exhibitions this season\, presenting a special opportunity to experie nce French art at the Cantor Arts Center. The other exhibitions feature pri nts from the School of Fontainebleau\; graphic arts of Édouard Manet and hi s contemporaries\; 400 years of French drawings from the Blanton Museum of Art\; old master figure drawings from the Cantor’s collection\; and the col orful Jazz portfolio by Henri Matisse.

DTEND:20131020 DTSTAMP:20141021T123834 DTSTART:20130703 GEO:37.4329645;-122.1705594 LOCATION:Cantor Arts Center\,Stanford University 328 Lomita Dr.\nStanford\, CA 94305-5060 SEQUENCE:0 SUMMARY:Inspired by Temptation: Odilon Redon and Saint Anthony\, Odilon Red on UID:279519 END:VEVENT BEGIN:VEVENT DTEND:20130703T170000 DTSTAMP:20141021T123834 DTSTART:20130703T110000 GEO:37.4329645;-122.1705594 LOCATION:Cantor Arts Center\,Stanford University 328 Lomita Dr.\nStanford\, CA 94305-5060 SEQUENCE:0 SUMMARY:Inspired by Temptation: Odilon Redon and Saint Anthony\, Odilon Red on UID:279520 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Many American and European modernists chose to photograph beaches and de serts as an antidote to urban or industrialized landscapes. Artists Manuel Alvarez Bravo (1902-2002) and Edward Weston (1886-1958)\, among others\, ap proached these different and yet strangely similar landscapes in many ways: they could be evocative settings with distinct historic and symbolic assoc iations\, or backdrops defined by their pure and stark visual textures. App roximately 20 photographs on display.

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Marie Stauffer Sigall Gallery

DTEND:20131020 DTSTAMP:20141021T123834 DTSTART:20130717 GEO:37.4329645;-122.1705594 LOCATION:Cantor Arts Center\,Stanford University 328 Lomita Dr.\nStanford\, CA 94305-5060 SEQUENCE:0 SUMMARY:Shifting Sands: The Beach and the Desert in 20th-Century Photograph s\, Manuel Alvarez Bravo\, Edward Weston UID:285167 END:VEVENT BEGIN:VEVENT DTEND:20130717T170000 DTSTAMP:20141021T123834 DTSTART:20130717T110000 GEO:37.4329645;-122.1705594 LOCATION:Cantor Arts Center\,Stanford University 328 Lomita Dr.\nStanford\, CA 94305-5060 SEQUENCE:0 SUMMARY:Shifting Sands: The Beach and the Desert in 20th-Century Photograph s\, Manuel Alvarez Bravo\, Edward Weston UID:285168 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition introduces to a wider audience the ceramic art of Rob Ba rnard\, exclusively featuring works collected by Rob and Josseline Wood\, w ho gifted their collection to the Crocker in 2010. In all\, thirty-nine obj ects span 20 years of the artist's career in this\, the artist's first exhi bition devoted to his production. Barnard embraces the irregular and disple asing\, often developing tensions in form that are meant for the viewer to resolve. He prefers the Japanese-style anagama kiln for his wood-firings. F inal results encompass subtle lusters\, drips of glaze\, and flashes of col or that draw the eye to the vessel's surface. While such forms may be reduc tive\, they are also nuanced in shape\, line\, and curve. These are the det ails that matter to Barnard\, who believes pottery is capable of ennobling daily rituals and feeding the senses.

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DTEND:20131020 DTSTAMP:20141021T123834 DTSTART:20130721 GEO:38.577094;-121.505959 LOCATION:Crocker Art Museum\,216 O Street \nSacramento\, California 95814 SEQUENCE:0 SUMMARY:Pottery As Pure Art\, Rob Barnard UID:285173 END:VEVENT BEGIN:VEVENT DTEND:20130721T170000 DTSTAMP:20141021T123834 DTSTART:20130721T100000 GEO:38.577094;-121.505959 LOCATION:Crocker Art Museum\,216 O Street \nSacramento\, California 95814 SEQUENCE:0 SUMMARY:Pottery As Pure Art\, Rob Barnard UID:285174 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition presents the large format photographic work of Canadian photographer Philip Jarmain. Since 2010\, Jarmain has been docu menting the increasingly rapid destruction of Detroit's early twentieth-cen tury buildings. \; His emphasis in this work is on the architecture its elf of these vanishing edifices: the form and the detail. \; In Jarmain 's own words: \; "These are the last large format architectural photogr aphs for many of these structures." Twenty fine art prints\, 4 x 6 and 5 x 7 feet in size\, depicting the interiors and exteriors of monumental public buildings\, are installed on the three floors of Meridian Gallery. These i mages comprise the core of the exhibition. \; This is work of great vis ual impact\, the scale and definition of the images translate into a space that the viewer enters\, a physical presence that one feels\, and history t hat one contemplates.

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The city of Detroit has had an unprecedented impact on the industrial age and the modern world. Once called "The Paris o f the Midwest\," it was a city driven by innovation and craftsmanship.  \;The architecture of Detroit in the early 1900s rivaled that of New York\, Chicago\, or Paris. Then came the Great Depression of the 1930s.  \;Th ough Detroit would rise again\, the era of opulence was over. \;The boo m of the 1950s did not produce another architectural renaissance.  \;In 2009\, the US recession hit Detroit like a second Great Depression\, compo unding the decline and the ruin. \;The population dropped from 2.8 mill ion people in the 1950s to a current population of 706\,000. The unemployme nt rate is now over 30%. \; The majority of these majestic pre-Depressi on buildings are presently being destroyed at an exponential rate as they l ie victim to scrappers\, arson\, and demolition. Despite these events Detro it -- Motown -- remains a cultural powerhouse and the passion of its reside nts is infectious.

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Meridian Gallery is pleased to present these pho tographs as an opportunity to consider the historical and current state of Detroit as an American city.

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Philip Jarmain is a photographer who e arns his living in advertising and is based in Vancouver and Toronto. \ ; \; \; His personal interests as a photographer include architectu re\, story telling\, and the filmic in photography.

DTEND:20131020 DTSTAMP:20141021T123834 DTSTART:20130907 GEO:37.7897061;-122.4088557 LOCATION:Meridian Gallery\,535 Powell Street \nSan Francisco\, CA 94108 SEQUENCE:0 SUMMARY:American Beauty: The Opulent Pre-Depression Architecture of Detroit \, Philip Jarmain UID:293451 END:VEVENT BEGIN:VEVENT DTEND:20130907T200000 DTSTAMP:20141021T123834 DTSTART:20130907T170000 GEO:37.7897061;-122.4088557 LOCATION:Meridian Gallery\,535 Powell Street \nSan Francisco\, CA 94108 SEQUENCE:0 SUMMARY:American Beauty: The Opulent Pre-Depression Architecture of Detroit \, Philip Jarmain UID:293452 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Park Life is proud to present Close Wildern ess\, an exhibit of new paintings and drawings from A mze Emmons.

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The work in this exhibition tracks a researc h thread connecting\, vernacular architecture\, informal economies\, and se lf-organized systems of community &\; exchange\, essentially the interse ction of Systè\;me D and material culture. Emmons finds some thing inherently hopeful embodied in these improvised solutions\, spaces\, and markets. He is inspired by walking the cities\, photo-cataloging aspect s of street life. In particular\, he is interested in evidence of local pla ce making and the global circulation of material goods.

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By collaging the source material within the drawing process\, Emmons aims to present how th e things we consume and build connect us to one another\, to show the way e veryday objects contain both histories &\; creative potential\, and to m ake the familiar strange through proximity.

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This exhibit will also featu re contributions from by special guests: \;Anni Altshuler\, \;Glen Baldridge\, \;Matt Furie\, \;Michael Krueger\, \;Nathan Haenlei n\, \;R.L. Tillman\, \;Nathaniel Parsons\, \;Imin Yeh

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Bio

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Amze Emmons \;(b. 1974\, Amsterdam\, NY) is a Philadelphia- based\, multi-disciplinary artist with a background in drawing and printmak ing. Emmons received a BFA from Ohio Wesleyan University and a MA and MFA f rom the University of Iowa. He has held solo exhibitions at Park Life\, San Francisco\; Kesting Ray\, New York\; Space 1026\, Philadelphia\; OHT Galle ry\, Boston\; and Works on Paper Gallery\, Philadelphia. His work has been exhibited in group exhibitions including EFA Project Space and the Internat ional Print Center\, New York\; the Delaware Center for Contemporary Art\, Wilmington\; the Des Moines Art Center\, Des Moines\; Wendy Cooper Gallery\ , Chicago\; and The Print Center\, Philadelphia. Emmons has received numero us awards including a Fellowship in the Arts from the Independence Foundati on\; an Individual Creative Artist Fellowship from the Pennsylvania Arts Co uncil\; and a Fellowship at the MacDowell Colony.

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Also featuring contrib utions from by special guests: \;Anni Altshuler\, \;Glen Baldridge\ , \;Matt Furie\, \;Michael Krueger\, \;Nathan Haenlein\, \; R.L. Tillman\, \;Nathaniel Parsons\, \;Imin Yeh

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Amze Emmons \;(b. 1974\, Amsterdam\, NY) is a Philadelphia-based\, multi-dis ciplinary artist with a background in drawing and printmaking. His \;im ages evoke a sense of magical/minimal realism inspired by architectural ill ustration\, comic books\, cartoon language\, information graphics\, news fo otage\, consumer packaging\, and instruction manuals.

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Emmons received a BFA from Ohio Wesleyan University and a MA and MFA from the University of I owa.

DTEND:20131020 DTSTAMP:20141021T123834 DTSTART:20130920 GEO:37.7832038;-122.4616808 LOCATION:Park Life\,220 Clement Street \nSan Francisco\, CA 94118 SEQUENCE:0 SUMMARY:Close Wilderness\, Amze Emmons UID:293058 END:VEVENT BEGIN:VEVENT DTEND:20130920T220000 DTSTAMP:20141021T123834 DTSTART:20130920T190000 GEO:37.7832038;-122.4616808 LOCATION:Park Life\,220 Clement Street \nSan Francisco\, CA 94118 SEQUENCE:0 SUMMARY:Close Wilderness\, Amze Emmons UID:293059 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The iconic and glorious Golden Gate Bridge\, recognized around the world \, is nearly synonymous with the Bay Area. This summer\, SJMA invites visit ors to experience the bridge in a completely new way through the art of Dou g Hall. In Timelapse\, the bridge is more than a landmark: it is an elegant engineering feat\, a symbol of global maritime commerce\, a portal to the Pacific Rim\, and a tourist destination of the West. This exhibition marks the debut of the Museum’s recent major acquisition\, purchased with funds contributed by the Lipman Family Foundation and the Acquisitions Comm ittee.

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Chrysopylae (2012) is a dual-screen\, high-definition\, vi deo portrait of the Golden Gate Bridge and the massive international contai ner ships that pass under it on their way in and out of the San Francisco B ay. The explorer John C. Fremont named the mouth of the bay Chrysopylae< /i>\, Greek for “golden gateway\,” in 1846\, long before the bridge was bui lt. From land\, from sea\, and from above\, Hall filmed the activities that take place at the extraordinary interface of nature and this manmade wonde r. He went out to sea with the skilled bar pilots who guide the container s hips through the rough currents of the bay and even climbed to the top of t he bridge’s towers. Hall edited over forty hours of footage into twentyeigh t minutes that panoramically capture the monumental and the ordinary moment s in daily existence at the Golden Gate. A sound track composed by Jim McKe e and Joan Jeanrenaud in Dolby surround sound accompanies the footage. Hall ’s binocular images and the deep\, resonant sound create a multisensory exp erience that is kinesthetically felt as much as it is seen. Chrysopylae< /i> was commissioned for the exhibition International Orange at Fort Point\ , San Francisco\, which was organized by the FOR-SITE Foundation in honor o f the bridge’s seventy-fifth anniversary.

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On view along with the video i nstallation will be Hall’s photographs of attractions in the American West\ , such as Yosemite and Mount Rushmore—preludes to his portrayal of the far- Western presence that is the Golden Gate Bridge.

DTEND:20131020 DTSTAMP:20141021T123834 DTSTART:20130718 GEO:37.3332706;-121.890218 LOCATION:San Jose Museum of Art\,110 South Market St. \nSan Jose\, CA 95113 SEQUENCE:0 SUMMARY:Timelapse: Doug Hall and the Western Landscape\, Doug Hall UID:285201 END:VEVENT BEGIN:VEVENT DTEND:20130718T170000 DTSTAMP:20141021T123834 DTSTART:20130718T110000 GEO:37.3332706;-121.890218 LOCATION:San Jose Museum of Art\,110 South Market St. \nSan Jose\, CA 95113 SEQUENCE:0 SUMMARY:Timelapse: Doug Hall and the Western Landscape\, Doug Hall UID:285202 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Katie and Drew Gibson\, longti me supporters of SJMA\, believe that culture is a big part of what makes a city important and meaningful. From the very early days of the Museum\, whe n it occupied the old library\, they dreamed of an art museum with a collec tion of national prominence and gutsy distinction. The Gibsons have helped the Museum realize its ambitions for some thirty years. A developer of comm ercial properties in San Jose\, Drew was a driving force\, alongside Averil l Mix\, in the capital campaign and the construction of the Museum&rsquo\;s impressive new wing in 1991. He and Katie made a gift to name the Gibson F amily Gallery and\, to date\, have generously donated seventy-five works of art from their extraordinary private collection to SJMA\, including visito r favorites such as Mildred Howard&rsquo\;s monumental Abode: Sanctuary for the Familia(r) (1994)\, known affectionately as &ldquo\;the bottl e house.&rdquo\;

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This exhibition cele brates the Gibson&rsquo\;s legacy and their belief in sharing with the publ ic the exhilarating experience that artworks bring. Highlights include work s by California artists Robert Arneson\, Nathan Oliveira\, Raymond Saunders \, and Richard Shaw\, among others. Also on view will be a powerful sculptu re by New Orleans artist Willie Birch\, made in response to the harrowing 1 992 &ldquo\;Rodney King&rdquo\; riots in Los Angeles\; Maria Porges&rsquo\; s \;The virtues and vices of history\, from the series &ldquo\ ;History Lessons&rdquo\; (1998)\; Mineko Grimmer&rsquo\;s \;Mahogan y Music Box \;(n.d.)\; and the comical and subversive work of Dona ld Roller Wilson. In 2014\, the Museum will present a separate exhibition o f the Gibson&rsquo\;s gift of over thirty photographs by David Levinthal\, an exemplary archive assembled with the artist that rivals the holdings of his work at the Metropolitan Museum of Art\, New York\, and the Los Angeles County Museum of Art.

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The Gibsons bu ilt their collection adventurously and independently\, with a deep passion for art and a belief in supporting the work of living artists. These artwor ks were part of their daily lives and daily pleasures&mdash\;and will now b e enjoyed by Museum visitors for years to come.

DTEND:20131020 DTSTAMP:20141021T123834 DTSTART:20130718 GEO:37.3332706;-121.890218 LOCATION:San Jose Museum of Art\,110 South Market St. \nSan Jose\, CA 95113 SEQUENCE:0 SUMMARY:Breaking Ground: Gifts from Katie and Drew Gibson \, Robert Arneson \, Richard Shaw\, Nathan Oliveira\, Raymond Saunders\, Willie Birch\, Maria Porges\, Mineko Grimmer\, Donald Roller Wilson UID:285850 END:VEVENT BEGIN:VEVENT DTEND:20130718T220000 DTSTAMP:20141021T123834 DTSTART:20130718T110000 GEO:37.3332706;-121.890218 LOCATION:San Jose Museum of Art\,110 South Market St. \nSan Jose\, CA 95113 SEQUENCE:0 SUMMARY:Breaking Ground: Gifts from Katie and Drew Gibson \, Robert Arneson \, Willie Birch\, Mineko Grimmer\, Nathan Oliveira\, Maria Porges\, Raymond Saunders\, Richard Shaw\, Donald Roller Wilson UID:285851 END:VEVENT END:VCALENDAR