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Thursday\, April 2\, 2015\n
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7 PM\, galleries are open 5:30-8:30 PM
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$10 ($6 for member s)
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Pushpamala N. challenges traditional represen tations of Indian women in photography and cinema. In work that is part per formance\, part social critique\, she created an album of women from South India as they have been imaged across centuries. She reenacted 19th-century ethnographic portraits and 1920s film stills featuring mysterious Bollywoo d images in her series "Native Women of South India" (2000-2004)\, which is on view \;in the exhibition \;Po stdate: Photography and Inherited History in India. \;She will discuss her work with Sugata Ray\, assistant professor of South Asian Art\ , University of California\, Berkeley.

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http://sjmusart.org/exhibiti on/postdate-photography-and-inherited-history-india

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\n DTEND:20150402T203000 DTSTAMP:20150331T003623 DTSTART:20150402T190000 GEO:37.3332706;-121.890218 LOCATION:San Jose Museum of Art\,110 South Market St. \nSan Jose\, CA 95113 SEQUENCE:0 SUMMARY:Creative Minds: Pushpamala N. \, Pushpamala N. UID:378836 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Thursday\, April 2\, 2015\n
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7 PM\, galleries are open 5:30-8:30 PM
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\n
\ n
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$10 ($6 for member s)
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Pushpamala N. challenges traditional represen tations of Indian women in photography and cinema. In work that is part per formance\, part social critique\, she created an album of women from South India as they have been imaged across centuries. She reenacted 19th-century ethnographic portraits and 1920s film stills featuring mysterious Bollywoo d images in her series "Native Women of South India" (2000-2004)\, which is on view \;in the exhibition \;Po stdate: Photography and Inherited History in India. \;She will discuss her work with Sugata Ray\, assistant professor of South Asian Art\ , University of California\, Berkeley.

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http://sjmusart.org/event/cr eative-minds-pushpamala-n

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DTEND:20150402T203000 DTSTAMP:20150331T003623 DTSTART:20150402T190000 GEO:37.3332706;-121.890218 LOCATION:San Jose Museum of Art\,110 South Market St. \nSan Jose\, CA 95113 SEQUENCE:0 SUMMARY:Creative Minds: Pushpamala N. \, Pushpamala N. UID:378835 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Kick off your weekend at the S FAC Galleries Window Installation Site! Join renowned visual artist/designe r/educator \;Jeremy Mende \;on the sidewalk as he discusses his new Grove Street installation with special guests includi ng artist Isabelle Smeall\, and Amy Ress\, director\, the 1% Program at Pub lic Architecture and SFAC Galleries Advisory Board member. A short\, fun pr esentation will be followed by Q &\; A with the artist about his practic e and what went into creating his installation. The discussion will also de lve into the general idea of urban art interventions. \;

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Jeremy Mende's new site specific Grove Street Windo w installation\, \;Untitled (This is a metaphor\, No. 3)\, is the third installment of an ongoing serie s of works that reframe everyday objects in order to reveal distinct tensio ns that shape our identities\, anxieties\, and relationships. At the center of Mende's installation is a 20 ft. inflatable dancing figure\, the kind u sed commercially at car dealerships\, etc.\, however his figure's head is p ermanently attached to a short tube on the opposite side of the gallery spa ce. Bent in half and flailing wildly\, Mende's character is simultaneously hilarious and pathetic in its Sisyphean attempts to become free.

DTEND:20150605 DTSTAMP:20150331T003623 DTSTART:20150327 GEO:37.778073;-122.419067 LOCATION:San Francisco Arts Commission Gallery (Window Site)\,155 Grove St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY: Untitled (This is a metaphor\, No. 3)\, Jeremy Mende UID:378708 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist Rhonda Holberton will b e joined by Ceci Moss\, Assistant Curator at Yerba Buena Center for the Art s\, to discuss \;Holberton&rsquo\;s current installation. \;Ceci Mo ss is a PhD candidate in Comparative Literature at NYU\, her academic resea rch addresses contemporary internet-based art practice and network culture\ , digital technology and perception. She has written for several publicatio ns including \;Rhizome\, ArtAsiaPacific\, Artforum\, The Wire\, Per forma Magazine\, and various art catalogs.

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CONVERSATIONS @ Berkeley Art Center \;brings together artist s and scholars in a dialogue about art\, process and the Bay Area&rsquo\;s contemporary creative climate.

DTEND:20150422T190000 DTSTAMP:20150331T003623 DTSTART:20150422T180000 GEO:37.8847982;-122.2686797 LOCATION:Berkeley Art Center\,1275 Walnut Street \nBerkeley\, CA 94709 SEQUENCE:0 SUMMARY:Conversations @ Berkeley Art Center\, Rhonda Holberton UID:378707 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Two-venue exhibition\, co-pres ented at Kadist SF (3295 20th Street\, San Francisco\, CA 94110) and The La b\, San Francisco (2948 16th Street\, San Francisco\, CA 94103)

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Ka dist Art Foundation and The Lab co-present A Journal of the Plague Year \, a touring exhibition that shifts its center of gravity under the in fluence of magnetic forces in each location on its itinerary. Nevertheless\ , each iteration departs from and remains strongly connected to an explorat ion of the events that affected Hong Kong in the spring of 2003: the most s ignificant airborne epidemic in recent years&ndash\;the SARS crisis&ndash\; coupled with the tragic death of pop figure and pan-Asian icon Leslie Cheun g.

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Stemming from its colonial past\, Hong Kong has internalized a history of epidemics and representation as an infected land waiting to be conquered from nature\, disease\, and oriental habits in order to be made healthy\, modern\, and profitable. Culminating i n the discovery of the bacteria causing the plague during an 1894 epidemic in Hong Kong\, these narratives contributed to a dubious association of the disease with Asia\, and heightened the infamous &ldquo\;yellow peril&rdquo \; racist discourse in Europe and America at the time. For example\, the 19 00-04 plagues epidemic in San Francisco&rsquo\;s Chinatown (part of the sam e epidemic wave affected Hong Kong) together with the virulent racism in Ca lifornia further intensified the association between disease and Asian popu lations.

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A Journal of the Plague Year navigates disparate but interconnected narratives in order to con tribute to a critical discussion about recent history\, the implications of which extend beyond Hong Kong and beyond the realm of medicine. Through th e contributions of artists\, shown alongside historical artifacts and pop-c ulture ephemera\, the exhibition confronts fear of contamination (both phys iological and cultural) and the projections and prejudices that emerge from societies that encounter alterity. The exhibition also gathers documentati on of a selection of performances that have destabilized mechanisms of hatr ed and politics of differentiation\, which are based on dehumanizing the bo dy of &ldquo\;the other\,&rdquo\; such as the representation of immigrants as pests\, as a disease that sickens the homogenous social body.

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Each of the performance pieces places the fragi le but individualized human body on the frontline at various moments of his torical transformation and rupture and in different corners of the globe: t he identity struggles of Chicano communities in the US in the 1970s\; the h ighly insecure Hong Kong of the 1980s\, foreshadowing its handover to Mainl and China\; China itself during its traumatic post-Tiananmen years\; Singap ore and the last chapters of the Lee Kuan Yew era\; Kazakhstan at the dawn of nationhood and after the fall of the Soviet Union\; and finally\, Myanma r amidst its current transformation\, under the specter of a possible democ racy and growing rejection of Muslims.

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California and San Francisco were deeply affected by the Western world&rs quo\;s anti-Chinese immigration prejudices\, through the history of Chinese immigration in relation to the Gold Rush\, the 19th century railway constr uction in the Western United States\, and the subsequent Chinese Exclusion Act. These events make this exhibition highly relevant in a context that ha s not entirely moved beyond the stereotypes of its past centuries\, even as it finds itself ever more deeply entangled in an emerging Asia-Pacific geo politics of power. The exhibition thus visits and revisits the traces of su ch prejudices in California today and their contemporary cultural significa nce\, while considering a wider picture of immigration in the US and its cu rrent processes of othering.

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Curators: Cosmin Costinas and Inti Gue rrero

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Research Collaboration: Marie Martraire and Xiaoyu Weng

DTEND:20150509 DTSTAMP:20150331T003623 DTSTART:20150401 GEO:37.7588877;-122.4145952 LOCATION:Kadist Art Foundation\,2401 Folsom St. (Entrance at 3295 20th Stre et) \nSan Francisco\, California 94110 SEQUENCE:0 SUMMARY:A Journal of the Plague Year\, Ai Weiwei\, Asco\, Bernd Behr\, Nata lia Sui-hung Chan\, Oscar Chan Yik Long\, Yin-Ju Chen\, George Chinnery\, M egan Cope\, Sergio de la Torre\, Dung Kai-cheung\, Larry Feign\, James T. H ONG\, Rustam Khalfin\, Henry Kiyama\, Irene Kopelman\, Firenze LAI\, Lam Qu a\, Dorothea Lange\, Lee Kit\, Len Lye\, Gabriel Leung\, Ma Liuming\, Paul McCarthy\, Fionnuala McHugh\, Moe Satt\, Josef Ng\, Yoshua Okon\, Pak Sheun g Chuen\, Lygia Pape\, Para/Site Art Criticism Class 2003\, Anand Patwardha n\, Raymond Pettibon\, Shooshie Sulaiman\, Apichatpong Weerasethakul\, Adri an Wong\, Ming Wong\, Ricky Yeung Sau-churk\, Samson Young\, Zuni Icosahedr on\, Mathias Woo\, Edward Lam UID:378701 END:VEVENT BEGIN:VEVENT DTEND:20150401T210000 DTSTAMP:20150331T003623 DTSTART:20150401T180000 GEO:37.7588877;-122.4145952 LOCATION:Kadist Art Foundation\,2401 Folsom St. (Entrance at 3295 20th Stre et) \nSan Francisco\, California 94110 SEQUENCE:0 SUMMARY:A Journal of the Plague Year\, Para/Site Art Criticism Class 2003\, Asco\, Bernd Behr\, Natalia Sui-hung Chan\, Yin-Ju Chen\, George Chinnery\ , Pak Sheung Chuen\, Megan Cope\, Sergio de la Torre\, Larry Feign\, James T. HONG\, Zuni Icosahedron\, Dung Kai-cheung\, Rustam Khalfin\, Lee Kit\, H enry Kiyama\, Irene Kopelman\, Firenze LAI\, Edward Lam\, Dorothea Lange\, Gabriel Leung\, Ma Liuming\, Oscar Chan Yik Long\, Len Lye\, Paul McCarthy\ , Fionnuala McHugh\, Josef Ng\, Yoshua Okon\, Lygia Pape\, Anand Patwardhan \, Raymond Pettibon\, Lam Qua\, Moe Satt\, Ricky Yeung Sau-churk\, Shooshie Sulaiman\, Apichatpong Weerasethakul\, Ai Weiwei\, Adrian Wong\, Ming Wong \, Mathias Woo\, Samson Young UID:378702 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Fouladi Projects is pleased to present our Springtime Group Show. On view will be select works from our p rogram: Lauren Ari\, Karen Barbour\, Omar Chacon\, Sean Cheetham\, Pip Culb ert\, Bill Culbert\, Yuichi Hirako\, Darija Jelincic\, Liam Jones\, Jemima Kirke\, Rudi Molacek\, Laurina Paperina\, Marcus Payzant\, Lisa Solomon\, G ail Tarantino\, Russell Tyler\, and Anne Veraldi.  \;Also on view in ou r store front windows is a whimsical grouping of playful ceramic sculptures by Lauren Ari. Please stop in to say hello and to enjoy a satisfying surve y of the diverse and wonderful artists in our gallery. \;

DTEND:20150424 DTSTAMP:20150331T003623 DTSTART:20150326 GEO:37.7719101;-122.4232744 LOCATION:fouladi projects\,1803 Market St. \nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:Spring Group Show\, Rudi Molacek\, Jemima Kirke\, Liam Jones\, Dari ja Jelincic\, Bill Culbert\, Pip Culbert\, Sean Cheetham\, Omar Chacon\, Ka ren Barbour\, Lauren Ari\, Russell Tyler\, Gail Tarantino\, Lisa Solomon\, Marcus Payzant\, Laurina Paperina\, Anne Veraldi UID:378533 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Deepen your understanding of Edo-period Japan&rsquo\;s (1615 &ndash\;1868) &ldquo\;floating world&rdquo\; and consider the various ways that representations in art can distort reality. Draw inspiration for your own print from the exquisite woodblock prints on display in Seduction: Japan&rsquo\;s Floating World and The Printer&rsquo\;s Eye. T his program is made possible by generous support from The Henri and Tomoye Takahashi Charitable Foundation.

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Pre-registration is required\, so visit education.asianart.org to get started.

DTEND:20150418T123000 DTSTAMP:20150331T003623 DTSTART:20150418T093000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Teacher Workshop: Seduction and The Printer's Eye UID:378527 END:VEVENT BEGIN:VEVENT DESCRIPTION:

 \;Mark Frey\, director of JETAANC Kabuki Club\, takes y ou on an intimate tour of the Yoshiwara or pleasure quarters through the le ns of Kabuki theatre. Supplemented with video excerpts from popular Kabuki plays\, visitors will see artworks in the exhibition come to life as the Ka buki actors\, themselves celebrated denizens of the floating world\, re-cre ate the Yoshiwara's intoxicating mix of seduction\, commerce and betrayal.< /p>\n

 \;Seductive Idea talks are informal\, impromptu in-gallery con versations facilitated by scholars\, artists\, filmmakers and writers who e xplore ideas arising from the artwork on view in the exhibition Seducti on: Japan&rsquo\;s Floating World. Each facilitator will present an id ea that piques his or her curiosity and host a session to investigate it th rough two or three artworks.

DTEND:20150423T200000 DTSTAMP:20150331T003623 DTSTART:20150423T190000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Seductive Idea: A Kabuki Tour of the Yoshiwara UID:378526 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Explore Seduction: Japan&rsquo\;s Floating World wi th Dr. Laura Allen\, curator of Japanese art\, and discover the ins and out s of presenting a stunning\, though complicated\, exhibition.

DTEND:20150417T161500 DTSTAMP:20150331T003623 DTSTART:20150417T153000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:In-Gallery Talk with the Curator UID:378525 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This talk will focus on the unique textile t raditions of the ethnic minority peoples living in the mountainous areas of Guizhou\, Guangxi\, and Yunnan Provinces of China. Exploring techniques an d sources in South West China\, we will explore the homes and villages of t hose continuing these amazing traditions as well as consider the impact of tourism on traditional craftsmanship. Pam will also talk about the governme nt's commitment to UNESCO's program of Safeguarding of Cultural Heritage.\n

 \;Pam Najdowski is an independent researche r and ethnographic expert from Santa Fe\, New Mexico and a frequent partici pant at the San Francisco Tribal &\; Textile Arts Show. On her way to So uth West China to do further research she is stopping over in San Francisco to present this talk.

DTEND:20150416T200000 DTSTAMP:20150331T003623 DTSTART:20150416T183000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Chinese Minority Textiles–Exploring Techniques and Sources With Pam Najdowski UID:378522 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join Asian American and African American lea ders\, thinkers\, and organizers in a conversation focused on the current C ivil Rights crisis\; placing #BlackLivesMatter within historic context\, an d articulating connections between the experience of Asian Americans and Af rican Americans in the United States. \;Moderated by journalist William Gee Wong\; panelists include Alex Tom\, Executive Director\, Chinese Progr essive Association\; Nadia Khastagir\, Design Action Collective &\; Asia n Americans for Black Lives\; Jeff Adachi\, San Francisco Public Defender&r squo\;s Office\; and\, Karissa Lewis\, #BlackLivesMatter.

DTEND:20150402T210000 DTSTAMP:20150331T003623 DTSTART:20150402T180000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:First Thursday Asian Americans and the New Racial Justice Movement UID:378519 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Dolby Chadwick Gallery is ple ased to announce lost light\, featuring the work of Phoenix-based artist Ma yme Kratz\, on view from June 4&mdash\;July 3\, 2015. Kratz will present wa ll-mounted works in resin on panel\, as well as freestanding resin sculptur e\, in her first exhibition with the gallery. The title is drawn from Rebec ca Solnit's book\, A Field Guide to Getting Lost\, poetic thoughts about th e evocative potential of disassociation from the familiar. Solnit writes\, "The world is blue at its edges and in its depths. This blue is the light t hat got lost." Kratz finds inspiration in the parched and desolate expanses of the Arizona desert\, in lonely stretches of sand and the kind of hardy vegetation and animal life that can thrive there\, &ldquo\;cactus and creos ote bush...scruffy and wild&rdquo\; says the artist. Her regular wanderings yield artifacts that she notices and collects along the way&mdash\; seeds\ , bits of plants\, deer bones&mdash\;or even a snake that met an untimely e ncounter with a car. Overlooked\, and certainly left\, by most\, for Kratz these hold the key to an intimate world of the ephemeral components of life .

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As a child growing up in the rural outskirts of San Diego\, Kratz developed a kinship with the stark desert light and wide expanses. She als o embarked upon a process of biological inquiry\, studying\, then burying t he bodies of birds or small animals&mdash\;often later to exhume their rema ins\, study them further\, and rebury&mdash\;trying to make sense of it all . Her current process\, which includes sealing bones\, seeds\, or other bio logical matter in layers of resin\, and then sanding back down through the resin to unearth portions of the objects\, clearly stems from her childhood fascination. Kratz explores and studies the plant and animal specimens tha t she collects\, breaking them down into smaller pieces\, or sawing them in to sections\, examining them under the microscope.

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Her haunting wor ks in resin on panel inhabit the world of painting\, as they hang mounted o n the wall\, but are more sculptural in their depth and physical presence\, possessing a weight both physical and metaphysical. With scattered bits of seed pods and animal bones\, these works evoke the night sky and the cosmo s\, while simultaneously recalling the geometric structure of the atom\, wi th its whirling electrons. &ldquo\;I think of the planets orbiting around t he sun and of my own journey here on earth. Often when viewing the night sk y the things I see through a telescope appear cellular and what I find thro ugh my microscope appears stellar.&rdquo\;

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With their ability to sh ift in focus from the minute to the vast\, we may ponder the individual obj ects\, viewing the intricate patterns of their interior structure\, or cont emplate the larger patterns created by her arrangements of these components . Moody hues found in nature&mdash\;the midnight blue of a dark sky\, green -gold of a pond\, amber the shade of the sap of trees&mdash\;form glitterin g layers encasing the once-living objects within their protection. For Krat z\, the circle relates to the cyclical nature of life\, the orbits of the p lanets\, the shape of seeds or eggs\, the round face of a clock\, &ldquo\;a way of measuring time or feeling time.&rdquo\; Circle Dream 56\, 2014\, pa rt of a series inspired by a dream in which she was herself transformed int o a circle\, is largely a tranquil green\, the shade of a desert cactus. Me xican buckeye seeds forming a ring display a skull-like aspect\, with the\n

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desi ccated appearance one might expect of objects parched in the desert sun. Di stant Space #2\, 2014\, glows in saturated\, alizarin red hues\; the striat ed\, translucent pigment reveals the panel beneath. Texas mountain laurel s eeds\, poppy pods\, and mesquite seeds are riven in two&mdash\;their hollow \, segmented interior spaces remain a void. Taking the name of the exhibiti on\, Lost Light 1\, 2015\, in a deep\, intense blue\, mingles shells and ra ttlesnake ribs in diffuse\, spiraling compositions.

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An atmospheric place of unc ertainty and potential is central to the work\, a place where objects have lost their previous identity and the comfortable reassurance of function\, yet the viewer is invited to consider them anew\, the residue of a living t hing recontextualized as a conduit for new connections and emotions in the viewer. The pieces function as well as memento mori\, in the painterly trad ition where skulls\, flowers\, and plant life serve as symbolic reminders o f the fleeting passage of life.

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&ldquo\;I'm always searching for th e light in the objects that I'm collecting and finding a way to celebrate t he life or light of that spirit...the 'lost light' is like trying to dig up or uncover something that you know is there...but you may not be able to s ee initially. It's a way of exploring the transformation that takes place d uring the process of decay\, and finding the beauty in that.&rdquo\; says K ratz.

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Mayme Kratz was born in San Diego County\, and has made her h ome in Phoenix\, Arizona since 1986. Kratz has had solo exhibitions at the Tuscon Museum of Art and The Tacoma Museum of Glass. She was a visiting art ist at Pilchuck Glass School and was awarded a residency at The Museum of G lass in Tacoma\, Washington\, she has also recently received a mid-career a ward and exhibition at the Phoenix Museum of Art. Kratz's work is held in m any public and private collections throughout the United States. \;

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DTEND:20150703 DTSTAMP:20150331T003623 DTSTART:20150604 GEO:37.7887091;-122.405531 LOCATION:Dolby Chadwick Gallery\,210 Post Street Suite 205 \nSan Francisco\ , CA 94108 SEQUENCE:0 SUMMARY:lost light\, Mayme Kratz UID:378517 END:VEVENT BEGIN:VEVENT DTEND:20150604T190000 DTSTAMP:20150331T003623 DTSTART:20150604T170000 GEO:37.7887091;-122.405531 LOCATION:Dolby Chadwick Gallery\,210 Post Street Suite 205 \nSan Francisco\ , CA 94108 SEQUENCE:0 SUMMARY:lost light\, Mayme Kratz UID:378518 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In conjunction with her exhibition\, Sanaz Mazinani: Thr eshold\, Mazinani has invited contemporary dancer Bobbi Jene Smith to choreograph a performance that engages Threshold both thematically and physically.

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 \; About the artists

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Sanaz Mazinani is a San F rancisco-based artist. She works primarily in photography\, video and large -scale installations. Her practice explores the relationship between percep tion and representation\, responding to site\, sight and insight\, especial ly in relation to digital culture. She has received awards and honors from the Canada Council for the Arts\, D.C. Commission for the Arts and Humaniti es\, Kala Art Institute\, Magic of Persia Contemporary Art Prize\, Stanford University and San Francisco Arts Commission.

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 \;Bobbi Jene Smith has danced with the Batsheva Dance Company based in Te l Aviv\, Israel since 2006\, and is authorized by Ohad Naharin to teach his Gaga movement language and set his choreography. Her early dance training took place at the Royal Winnipeg Ballet School\, North Carolina School of t he Arts and The Juilliard School\, under the direction of Lawrence Rhodes.< /p> DTEND:20150416T210000 DTSTAMP:20150331T003623 DTSTART:20150416T183000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Crossing Threshold with Sanaz Mazinani and Bobbi Jene Smith \, Sana z Mazinani\, Bobbi Jene Smith UID:378514 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Melody Takata\, founder of GenRyu Arts\, will take audiences on an aural and visual adventure based on the classic tale of The Monkey K ing. This special afternoon celebration brings dance\, drumming and jazz to the museum in both traditional and contemporary arrangements&mdash\;featur ing GenRyu Arts&rsquo\; intergenerational performers in an affirmation of o ur connection to nature\, family and community. The event will showcase JCC CNC&rsquo\;s GenRyu Arts school of dance and taiko\, Gen ensemble\, Gen Tai ko alumni\, master artist Hideko Nakajima\, and special guests Tatsu Aoki a nd Kioto Aoki\, visiting from Chicago.

DTEND:20150411T150000 DTSTAMP:20150331T003623 DTSTART:20150411T130000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:20 Years of GenRyu Arts Anniversary Performance UID:378511 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join us for a performance that explores the portrayal of women in Japanese and American music and art. Celebrating 20 y ears of collaboration\, GenRyu Arts once again brings together a stellar ca st of musicians and dancers from Chicago\, San Francisco and Tokyo. This in terdisciplinary performance features taiko (Japanese drums)\, jazz\, dance\ , text and visual projections. Tatsu Aoki and Kevin Bean&rsquo\;s visual ar twork provides the backdrop for two special guests from Japan: Shamisen Gra nd Master Chizuru Kineya and Master Dancer Michikaoru Hanayagi. Tatsu Aoki and Kioto Aoki\, from Chicago\, will share the stage with the San Francisco -based musicians Francis Wong\, Megan Lee\, Wesley Hitomo Yee and Melody Ta kata.

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 \;Founded as Gen Taiko in 1995 and incorporated as GenRy u Arts in 2008\, the group&rsquo\;s mission is to promote\, present and par ticipate in Japanese and Japanese American culture through taiko drumming a nd other traditional and contemporary art forms. Deeply rooted in San Franc isco&rsquo\;s Japantown and in the Asian American Community\, GenRyu Arts m erges Japanese cultural forms&mdash\;taiko\, dance and folk songs&mdash\;wi th new music\, spoken word and visual design. These singular expressions ho nor community heritage and address key issues stemming from the legacy of i nternment and redevelopment\, both of which continue to impact San Francisc o&rsquo\;s Japanese American community.

DTEND:20150409T203000 DTSTAMP:20150331T003623 DTSTART:20150409T190000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Gen: Legacies in Transformation Collision of Tradition and the Ava nt-Garde UID:378509 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Used for furnishings&mdash\;as carpets\, spreads\, bolsters\ , hangings\, clothing&mdash\;and exchanged as diplomatic gifts\, silk velve ts have been preeminent luxury textiles in many parts of the Islamic world and Europe\, especially from the 15th century onwards. The 11 textiles in t his exhibition are selections from a private New York collection\, providin g a glimpse into the richness and diversity of Iranian\, Indian and Turkish silk velvets. Spanning three distinct cultural areas with their own design sensibilities and tastes\, this group of textiles showcases different tech niques of velvet production and suggests their varied uses.

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Of spec ial note are the two complete 17th-century carpets from India and Iran\, ea ch measuring nearly 6 by 4 feet and retaining not only their design element s but also their vibrant colors. These\, along with nine other substantiall y sized textile fragments\, show the cultural exchange between the Mughal\, Safavid and Ottoman empires&mdash\;linked by shifting ties of political\, religious and economic rivalry.

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Organized by the Asian Art Muse um.

DTEND:20151101 DTSTAMP:20150331T003623 DTSTART:20150326 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Woven Luxuries: Indian\, Persian\, and Turkish Textiles from the In dictor Collection UID:378507 END:VEVENT BEGIN:VEVENT DTEND:20150326T170000 DTSTAMP:20150331T003623 DTSTART:20150326T100000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Woven Luxuries: Indian\, Persian\, and Turkish Textiles from the In dictor Collection UID:378508 END:VEVENT END:VCALENDAR