BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:
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E verything but the kitchen sank \;is on display now through Decembe r 12 in the Diego Rivera Gallery and through \;October 3 \;in the W alter and McBean Galleries. This ambitious exhibition spans two gallery spa ces &mdash\; in the Diego Rivera Gallery\, Pereda has erected \;Cha nge the world or go home \;(2009-2015)\, a 24-foot tall fluorescen t scaffolding structure in front of the iconic work \;The Making of a Fresco Showing the Building of a City \;(1931)\, simultaneously illuminating and obscuring one of the institution&rsquo\;s most-treasured and historically significant works.
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Join us \;Friday\, September 11\, to celebrate the final phase of this unprecedented exhibition with al fresco drinks and light snacks on the quad.
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For more info: \;http://www .sfai.edu/events-calendar/detail/alejandro-almanza-pereda-everything-but-th e-kitchen-sank-reception
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DTEND:20151003 DTSTAMP:20150830T185512 DTSTART:20150728 GEO:37.8033836;-122.4172055 LOCATION:San Francisco Art Institute - Walter and McBean Galleries\,800 Che stnut St. \nSan Francisco\, CA 94133 SEQUENCE:0 SUMMARY:Everything but the kitchen sank\, RECEPTION\, Alejandro Almanza Per eda UID:394421 END:VEVENT BEGIN:VEVENT DTEND:20150911T210000 DTSTAMP:20150830T185512 DTSTART:20150911T190000 GEO:37.8033836;-122.4172055 LOCATION:San Francisco Art Institute - Walter and McBean Galleries\,800 Che stnut St. \nSan Francisco\, CA 94133 SEQUENCE:0 SUMMARY:Everything but the kitchen sank\, RECEPTION\, Alejandro Almanza Per eda UID:394422 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sonrisas Jó\;venes Que Hacen\, Felices A Coraz ones Viejos
Exhibition Dates: August 25 - September 1 8\, 2015\, \;Window installation on view 24/7

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Oakland\, CA: Pro Arts is pleased to present Sonrisas \;Jó\;venes Que Hacen\, Felices A Corazones Vie jos\, an \;exhibition of new work by photographer Dan \;Fenste rmacher. Sonrisas Jó\;venes Que Hacen\, Felices \;A Corazones Viejos will be on view from August 25 to \;September 18 in the PROJECT installation window at \;Pro Arts&rsquo\; downtown Oakla nd gallery.

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The portraits in Sonrisas Jó\;venes Que Hacen \, Felices A Corazones Viejos were created while Fenstermache r \;was on an artist residency in Costa Rica. \;Fenstermacher spent two months working with \;residents of Hogar Para Ancianos\, a senior citizen \;home in the town of San Ramon\, to take intimate \;portra its he then shared with them at the conclusion of \;his residency. The portraits were also exhibited at the \;San Ramon Museum.

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The large scale works on view at Pro Arts were printed \;by the INSIDE OUT project. This global initiative\, by the \;anonymous artist JR\, en courages &ldquo\;wheat pastings&rdquo\; as a \;platform for people to s hare their stories and transform \;messages of personal identity into w orks of public art. \;Nearly 200\,000 people from more than 112 countri es \;and territories have participated. #insideoutproject

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About the Artist: Dan Fenstermacher's work explores \;how l ife extends beyond oneself. He uses photography \;to collaborate with c ommunities and tell stories about \;global cultural interaction. Dan Fe nstermacher was born \;and raised in Seattle\, Washington. He is curren tly a \;student at San Jose State University working towards \;his MFA. Photographing for ten years\, his work has \;been featured at the San Ramon Museum\, Costa Rica\; \;First Street Gallery\, New York\; and in the exhibition \;Divergence: Emerging Legacies at the de Young  \;Museum\, San Francisco.

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About Pro Arts: Pro Arts is an Oakland-based regional organization that encourages change in and th rough the arts \;to invigorate our communities. Pro Arts' work is roote d in service to community\, artistic excellence and our belief that \;c reativity generates vitality. We provide creative platforms for artists\, y outh and public audiences. Our programs focus \;on the visual arts - ex hibitions\, commissionings and open studios\; artist services\; and arts ed ucation in schools.

DTEND:20150918 DTSTAMP:20150830T185512 DTSTART:20150828 GEO:37.805116;-122.27111 LOCATION:Pro Arts Gallery\,150 Frank H. Ogawa Plaza \nOakland\, CA 94612 SEQUENCE:0 SUMMARY:Sonrisas Jóvenes Que Hacen\, Felices A Corazones Viejos\, Dan Fenst ermacher UID:394394 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Anglim Gilbert Gallery is pleased to announce Seyrig\, an ex hibition of new work by Bruno Fazzolari\, his third exhibition with the gal lery.

The exhibition will include paintings and a perfume\, as w ell as the first sculptures he has shown in 14 years. Fazzolari&rsquo\;s wo rk explores perception and the senses\, and engages his own experience of s ynesthesia and abstraction. He also is inspired by the visual culture and h istory of perfume. His work as a perfumer has garnered strong acclaim and n umerous awards. His last perfume shown with the gallery earned four stars f rom the eminent (and notoriously feisty) perfume critic\, Luca Turin.

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Bruno Fazzolari has also exhibited with Feature\, Inc.\, (NYC)\, Michael Kohn Gallery\, and Jancar Jones Gallery (LA). His work has been included i n shows at the M.H. de Young Museum and the Katonah Museum of Art and is in the permanent collection of the Berkeley Art Museum. Fazzolari has been re viewed in Artforum\, Art in America\, the New Yorker\, the San Francisco Ch ronicle\, and the New York Times. He has been a resident at the Headlands C enter for the Arts and received awards from Artadia and the International A rtisan Fragrance Salon. He was a finalist for the 2010 SECA award and for t he 2014 Artisan Art and Olfaction Award. Fazzolari teaches in the graduate program at the California College of the Arts (CCA). \; His writing has appeared at ArtPractical.com and\, more recently\, in Art in America. He e arned an MFA from the San Francisco Art Institute after graduating from U.C . Berkeley.

DTEND:20151010 DTSTAMP:20150830T185512 DTSTART:20150909 GEO:37.7879519;-122.4038023 LOCATION:Anglim Gilbert Gallery\,14 Geary St. \nSan Francisco\, CA 94108 SEQUENCE:0 SUMMARY:Seyrig\, Bruno Fazzolari UID:394328 END:VEVENT BEGIN:VEVENT DTEND:20150910T193000 DTSTAMP:20150830T185512 DTSTART:20150910T173000 GEO:37.7879519;-122.4038023 LOCATION:Anglim Gilbert Gallery\,14 Geary St. \nSan Francisco\, CA 94108 SEQUENCE:0 SUMMARY:Seyrig\, Bruno Fazzolari UID:394329 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join us for Art Auction &rsquo\;15

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Transforming Art Into Action: Reclaiming Our City

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Special Guest Auctioneer: Carolyn Tyler\, ABC7 Anchor

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Featur ing over 200 pieces of artwork\, live music from MJ&rsquo\;s Brass Boppers (New Orleans Style Brass Band)\, catered dinner by Sous Buerre Kitchen\, op en beer and wine bar\, exciting raffle prizes and the Great Tortilla Conspi racy!

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Tickets are $40\, but sliding scale (no one turned away for l ack of funds)
Purchase tickets at \;BrownPapertickets.

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T o support the Art Auction\, please \;become a sponsor! \;(See form for details.)

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For qu estions regarding the program\, please contact Arefa at 415-346-3740 Ext.30 3 or at \;avohra@cohsf.org.

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For questions regarding artwork\, please contact Oscar at \;our Tumblr site.

DTEND:20150910T220000 DTSTAMP:20150830T185512 DTSTART:20150910T173000 GEO:37.7726402;-122.4099154 LOCATION:SOMArts Cultural Center\,934 Brannan @ 8th \nSan Francisco\, CA 94 103 SEQUENCE:0 SUMMARY:Coalition on Homelessness Art Auction ’15 UID:394170 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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RayKo Photo Center presents

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the unique prints of 7 women artists

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F emme Papel

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Photographs b y Johnna Arnold\, Jenna Kuiper\, Vanessa Marsh\, Klea McKenna\, Maggie Pres ton\, Meghann Riepenhoff\, and Sonja Thomsen

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Opening Reception: Wednesd ay\, September 23rd\, 6-8pm

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Exhibit ion dates: September 23rd &ndash\; October 23rd\, 2015

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 \; \; \;& nbsp\; \; \; \; \; \; \; \;  \; \; \; \; \; \; \; \; \; \; \;  \;RayKo is proud to kick off the fall exhibition schedule wi th unique prints by seven women artists. Femme Papel\, sounding similar to Femme Fatale\, features incredible works by innovative women who push the boundaries of the definition of photograp hy. And also the creation of it. Some of these photographers are local\, us ing RayKo&rsquo\;s darkroom facilities to pull their one-of-a-kind mural-si zed chromogenic prints out of our color processor (yes\, we still have colo r darkrooms where artists can make optical c-prints!). Some of them who are n&rsquo\;t local\, have flown into San Francisco to use our B&\;W mural darkroom to make huge gelatin silver prints. Others are unfurling large she ets of paper coated with cyanotype chemistry into the sea and pulling them back before the waves can take them and before they can totally develop int o a deep intense blue.

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 \; \; \; \; \; \;&n bsp\; \; \; \; \; Here&rsquo\;s our line up:

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Johnna Arnold&rsquo\;s new images from her series\, Abundanc e incorporate the color darkroom and the cliché\; verre process. Arnold shines light through lost and forgotten objects using a photographi c enlarger to create large printed negatives of the world around her. With a simple curiosity and an appreciation for the traditional darkroom\, she b egan her experiments wondering what it would look like if she were to put o therwise disposable aspects of her life into the enlarger\, where a photogr aphic negative usually goes. In working this way the enlarger presents its relation to a scientific microscope\, and as the slightly­\; mad scienti st\, she seeks to gain information and to show appreciation for the unexpec ted details within objects that were in some way left behind. By decontextu alizing items and showing them in a new light\, there is an impetus to reco nsider our relationship with these commonplace aspects of our daily lives. The abundance of our current lifestyle both impresses and concerns the arti st. She sees our current time in history shaped by a level of copiousness t hat does not appear sustainable. Time plays into the quality of these objec ts\, as the intricacies of decay adds complexity and beauty. Through magnif ying unappealing objects (for example\, one gorgeous image is a pair of gre asy onion rings)\, Arnold emphasizes the magical beauty that lies before ou r very eyes.

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Jenna Kuiper will unveil her project\, Drawing in the Dark\, which bega n in the darkrooms of RayKo and Kala. Her large-scale photograms bring the intentions of drawing to the materials of photography. Trained as a painter \, Kuiper came across this process by accident while teaching middle-school ers at a summer arts camp. The different grays achieved through timed light in the darkroom reminded her of the value scale in drawing. With this in m ind\, she set about creating prints with controlled light and cut-up shapes . She often refers to her process as drawing in the dark.

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Stones\, daggers\, ceremonial vessels\, and geometric drawing forms come together in unusual and private altars spaces. Bringing these still-life forms to the darkroom subverts the nature of drawing: image-making is based on conjectur e rather than sight and once developed the results cannot be changed. The u nseen and unknown is given precedence. Kuiper find ceremony in this process . The darkroom acts as a space between light and dark\, form and dissolutio n\, the seen and unseen\, known and unknown. It is a special processing spa ce. Alone on her knees for hours in the dark\, she is moving shapes\, orche strating light\, and working with unforeseen results. Using cut up shapes\, complex burning and dodging techniques\, and a fiber-based\, matte\, silve r-gelatin paper\, these unique prints are made with materials that harken b ack to the beginnings of photographic history. Through this process\, Kuipe r aims to challenge the ubiquitous nature of photography and to appreciate the medium beyond its depiction of the seen world.

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 \; \;&n bsp\; \; \; \; \; \; \; \; \; Vanes sa Marsh has also been hunkering down in the RayKo darkrooms\, for more than a year since her artist residency ended. She is on to something\ , for sure\, exploring the intersections of man-made\, natural and cosmolog ical power through a mixed media process based in photography. Marsh rememb ers as a child the first time she looked intently out into a starry sky. Sh e was away at summer camp up in the San Juan Islands and they were sleeping outside in a field by their cabin. It was dark enough to see the Milky Way \; so dense it looked like a large smudge of light across the sky. Her coun selor explained that the light we were seeing took so much time and crossed so much space that the stars it was coming from may not even exist anymore . Marsh doesn&rsquo\;t remember when she fell asleep that night\, but she k nows it was awhile that she lay there staring up\, her heart pounding\, rea lizing the vastness. \;

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Looking back\, Marsh has identified tho se moments as her first\, and so far her most intense\, experience of the s ublime. \; That intimate time with the night sky led to a life long int erest in the workings of the cosmos\, the physics of light and photographic process. \;Within her work\, she brings to form imagined landscapes an d intensely starlit skies\, highlighting both a personal as well as a colle ctive experience of the world. Her goal is to create a relatable false real ity\, one that highlights the moments in our lives when we felt the most co nnected to the cosmos while underscoring the disconnect of our daily lives.

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Marsh&rsquo\;s photographs are made through a personally developed process involving drawing\, painting and darkroom techniques. The work is intended to be a space for the viewer to contemplate their place in the uni verse and to consider how we understand the real and truth in contemporary experience. Currently\, she also has three large-scale pieces on view at th e Contemporary Jewish Museum in their Night Begins the Day exhibition.

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Klea McKenna wants to make an imprint of a place &ndash\; both visual and emotional &ndash\; rather than a pictur e of it. With this in mind\, she rarely &ldquo\;takes&rdquo\; photographs. Instead\, she devises ways that light sensitive materials\, analog photogra phic paper and film\, can interact directly with the landscape to reveal so mething unexpected\; something that decodes the way we experience place. Mc Kenna uses a variety of crude strategies\; hand-made cameras\, outdoor phot ograms\, and methods of folding film and paper to create sculptural photogr aphs. This experimental approach transforms the familiar\, yielding unlikel y images that refer to location and subject only through light and form. Th e flawed material of the film or paper often becomes as visible as the imag e it has captured.

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Rain Studies is one of the projects she &rsquo\;ll be showing here at RayKo (some of these works are also on displa y currently at the Contemporary Jewish Museum). This series began while vis iting a piece of land that McKenna had lived on as a child &ndash\; a rural one-room house on the volcanic slopes of the Big Island of Hawaii. She was making work in reaction to the emotional and physical volatility of that v olcanic landscape. Heavy\, tropical rain was such a big part of that place and so was darkness because during the early 1980&rsquo\;s they had lived d eep in the forest without electricity.  \;She began experimenting with capturing rain patterns in photograms on gelatin silver paper - made outdoo rs\, at night &ndash\; and it evolved into this series of rain studies. Lat ely she has been working with lighter California spring rain with has had m uch smaller drops and has found that every storm looks different. McKenna w ill also be showing selections from her color photogram series\, How Fo rest Think.

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Maggie Preston\, has been experimenting in the darkroom for years. The works in her series\, Black Velvet are created by simply dropping a piece of black velv et onto photographic paper\, exposing and then developing it\, the result b eing a very bare bones photogram. The use of black velvet is significant\; in photography it usually functions as a backdrop\, whose whole purpose is to disappear and offer an empty shadowless field for a chosen subject. It i s an eraser in a way\, that erases itself. Preston flips the equation and u ses this cloak of invisibility as the central subject\, where it can instea d imprint itself\, its materiality finally given a shape. She repeats the p rocess many times and displays multiple &ldquo\;takes" together\, to give m ore weight to the seemingly inconsequential subject.

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Meghan n Riepenhoff&rsquo\;s work stems from her fascination with the nat ure of our relationships to the landscape\, the sublime\, time\, and imperm anence. Titled Littoral Drift\, a geologic term describing the act ion of wind-driven waves transporting sand and gravel\, the series consists of camera-less cyanotypes made in collaboration with the landscape and the ocean\, at the edges of both. The elements that she employs in the process &mdash\;waves\, rain\, wind\, and sediment&mdash\;leave physical inscriptio ns through direct contact with photographic materials. Photochemically\, th e pieces are never wholly processed\; they will continue to change over tim e in response to environments that they encounter\, blurring the line betwe en creation and destruction. As part of the larger project\, Riepenhoff sel ectively re-photographs moments in the evolution of the images\, to generat e a series of static records of a transitory process. Titled Continua\, the progressive images are shown as polyptychs. Perhaps where the fug itive cyanotypes are analogies for a terrifyingly fleeting and beautiful ex istence\, the process of re-photographing them is a metaphor for the incorp oration and mediation of photography in the contemporary human experience. Riepenhoff\, like Marsh\, McKenna\, and Preston\, has been an artist-in-res idence at RayKo Photo Center\, where her love of traditional materials earn ed her a residency.

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And last but not least in this group of fearles s women is Sonja Thomsen\, a Milwaukee-based artist whose multifaceted practice combines \;photography\, \;sculpture\, intera ctive installation and site-specific public art to create spaces reflective of our own perceptions and potential. Since earning an MFA in photography at the San Francisco Art Institute (2004)\, her work has evolved in myriad ways. In her practice she has become more and more concerned with space and our perceptions of ones own scale in a space. An attempt to make "the spac e between" perceptible. Thomsen has been working with the specifics of mate riality in her practice and continues to be fascinated with the dichotomy o f the emulsion and paper\, one holding the illusion of depth in its glossy shadows and the other the matte fibers of form. The Effaced Polaro id series is one of many projects that Thomsen is currently developing. The se pieces are made in the "in between&rdquo\; moments of her larger studio practice. A quick peel that feels gestural and unpredictable.  \;The de facing of the Polaroid\, a one-of-a-kind photograph feels right- one offs- serendipity is at play. Thomsen is also interested in how the peeled figure disrupts the scene - a push/pull happens as the underlayer of the photogra ph is revealed on the surface. The origin of the Polaroids are from her own archive - snapshots of friends and family- used as raw material for experi mentation. \;

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Stop by RayKo on Wednesday\, Sept ember 23rd\, between 6-8pm to meet these intrepid female artists and be inspired by their unique prints as well as their uncommon vision an d creativity.

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About RayKo

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RayKo Photo Center &\; Gallery \;is a comprehensive photographic facility\, located near the Yerba Buena Arts District\, with resources for anyone with a passion for photography. Establ ished in the early 1990&rsquo\;s\, RayKo Photo Center has grown to become o ne of San Francisco&rsquo\;s most beloved photography darkroom spaces\; it includes traditional b&\;w\, color and alternative process labs as well as a state-of-the-art digital department\, a professional rental studio\, g alleries\, and the Photographer&rsquo\;s Marketplace &ndash\; a retail spac e promoting the work of regional artists. RayKo also has San Francisco&rsqu o\;s 1st \;Art*O*Mat vending machine and a vintage 1947 blac k &\; white Auto-Photo Booth and a retail store that sells all types of used film cameras\, from view cameras to Leicas to a build-your-own Nikon s tation. Everything you need to make any type of photograph!

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RayKo Gallery \;serves to advance public appr eciation of photography and create opportunities for regional\, national an d international artists to create and present their work. RayKo Gallery off ers 1600 square feet of exhibition space and the Photographer&rsquo\;s Mark etplace\, which encourages the collection of artwork by making it accessibl e to collectors of all levels. \;RayKo also has an artist-in-residence program to further support artists in the development of their photographic projects and ideas.

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RayKo Photo Center &am p\; Gallery

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428 Third Street\, San Francisco\, CA 94107\n

415-495-3773 (ph) \; \;

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www.raykophoto.com

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Tuesday-Thursday: 10- 10 pm\, Friday-Sunday: 10-8 pm\, Monday: closed

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DTEND:20151023 DTSTAMP:20150830T185512 DTSTART:20150923 GEO:37.7821062;-122.3969007 LOCATION:Rayko Photo Center\,428 Third St \nSan Francisco\, CA 94107 SEQUENCE:0 SUMMARY:Femme Papel\, unique prints by 7 women artists\, Johnna Arnold\, Je nna Kuiper\, Vanessa Marsh\, Klea McKenna\, Maggie Preston\, Meghann Riepen hoff\, Sonja Thomsen UID:394157 END:VEVENT BEGIN:VEVENT DTEND:20150923T200000 DTSTAMP:20150830T185512 DTSTART:20150923T180000 GEO:37.7821062;-122.3969007 LOCATION:Rayko Photo Center\,428 Third St \nSan Francisco\, CA 94107 SEQUENCE:0 SUMMARY:Femme Papel\, unique prints by 7 women artists\, Johnna Arnold\, Je nna Kuiper\, Vanessa Marsh\, Klea McKenna\, Maggie Preston\, Meghann Riepen hoff\, Sonja Thomsen UID:394158 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Wiegand Gallery will be presenting works in various medi a by the late Nathan Oliveira (1928-2010)\, truly a major figure in shaping the Bay Area&rsquo\;s artistic heritage. The exhibition will relate to Oli veira&rsquo\;s paintings done for Windhover&mdash\;the newly built contempl ative center on the Stanford campus. Windhover was designed to house these large themed paintings. The Wiegand exhibition will offer visitors an oppor tunity to see the source work and inspiration for this 20-year project. The exhibiton is curated by Joe Oliveira and Robert M. Poplack.

DTEND:20151031 DTSTAMP:20150830T185512 DTSTART:20150918 GEO:37.5175306;-122.2847256 LOCATION:Wiegand Gallery\, Notre Dame de Namur University\,1500 Ralston Ave . \nBelmont\, CA 94002 SEQUENCE:0 SUMMARY:Nathan Oliveira: The Kestral\, and Windhover Related Works\, Nathan Oliveira UID:394109 END:VEVENT BEGIN:VEVENT DTEND:20150927T160000 DTSTAMP:20150830T185512 DTSTART:20150927T140000 GEO:37.5175306;-122.2847256 LOCATION:Wiegand Gallery\, Notre Dame de Namur University\,1500 Ralston Ave . \nBelmont\, CA 94002 SEQUENCE:0 SUMMARY:Nathan Oliveira: The Kestral\, and Windhover Related Works\, Nathan Oliveira UID:394110 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151008T200000 DTSTAMP:20150830T185512 DTSTART:20151008T180000 GEO:37.767964;-122.4278635 LOCATION:SF Camerawork\,1011 Market Street 2nd Floor \nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:Artist Talks & Book Signing: Fourth World: Current Photography from Columbia\, Luz Elena Castro\, Matthew O'Brien UID:393916 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The SFAC Galleries Window Inst allation Site at 155 Grove Street\, across from City Hall\, will be transfo rmed into a lair filled with creatures that conjure Maurice Sendak's famous ly affable monsters from \;Where The Wild Things Are. The inst allation\, titled \;Causatum\, is the work of Sacramento-based artist \;Elisabeth Higgins O'Connor \;who is known for her massive scul ptural creatures made from salvaged bed sheets\, quilts and pillows. The pu blic will have the opportunity to meet O'Connor and learn about her creativ e process at an intimate sidewalk artist talk from 6 - 7 p.m. on Friday\, J une 26.

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The public is invited to gath er on the sidewalk for a discussion with O'Connor and SFAC Galleries Associ ate Curator Jackie Im. They'll discuss how the artist transformed the empty storefront gallery into a den for her massive sculptural creatures. O'Conn or's use of traditional bedding materials make her sculptures accessible\, even a little cuddly\, despite their monstrous size. With their mixture of patterns and various degrees of disarray\, they convey a degree of pathos\, like much-loved stuffed animals rendered threadbare over time\, only magni fied to an absurd degree.

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O'Connor ex plains that she's "interested in subverting cuteness and turning it on its head." Arranged in lumbering positions and propped up by two-by-fours\, O'C onnor's creatures exist between familiarity and the grotesque.

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SFAC Galleries Associate Curator Jackie Im states \, "With their oversized heads\, elongated limbs and exposed skeletal armat ures\, Elisabeth's sculptures have an alien quality to them. Yet through he r use of everyday materials\, they become more intimate and recognizable\, allowing the viewing public to relate to their hangdog expressions as well as their postures of determined survival."

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ARTIST'S BIO

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Elisabeth Higgins O'Connor received her BFA from California State University\, Long Beach and her MFA from the University of California\, Davis. Her work has been exhib ited at venues including the Society for Contemporary Craft\, Pittsburgh\, PA\; Suyama Space\, Seattle\, WA\; Weber State University\, Odgen\, UT\; an d CUE Arts\, New York\, NY. She has been awarded a 2005 Joan Mitchell Found ation MFA Fellowship and a 2012 Artist-in-Residence Fellowship from the Bem is Center for Contemporary Art in Omaha\, NE. O'Connor lives and works in S acramento\, CA\, and teaches drawing and sculpture at Sacramento City Colle ge.

DTEND:20150913 DTSTAMP:20150830T185512 DTSTART:20150626 GEO:37.778073;-122.419067 LOCATION:San Francisco Arts Commission Gallery (Window Site)\,155 Grove St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Causatum\, Elisabeth Higgins O'Connor UID:393903 END:VEVENT END:VCALENDAR