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

On the Line

works by Lisa Espenmiller &\; Sabine Reckewell

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April 3 - May 28\, 2015

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Opening Reception: Frid ay\, April 3\, 2015\, 6 - 8 PM

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Open First Friday\, May 1\, 6 - 8 PM

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Artist Reception and Talk: \;Thursday\, April 23\, 6 &ndash\; 7:30 P M

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< strong>Led by SJICA Executive Director and Chief Curator Cathy Kimball \;

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Oakland\, CA Chandra Cerrito Cont emporary presents the work of Lisa Espenmiller and Sabine Reckewell\, two a rtists who use line\, movement\, and space with similar intentions. Both fo cus on material and repetition of pattern\, and view their process as a med itative one. Espenmiller has a controlled technique akin to writing on a sc roll\, while Reckewell fills and redefines an architectural context. Their work mimics one another&rsquo\;s\, while complimenting and transforming the gallery space.

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Espenmiller draws horizontal ink lines\, one after the other\, until the entire surface of canvas or paper becomes a field of meditative resonance. She states that\, &ldquo\;making art is a way of deep ening my Zen practice and furthering my understanding of The Tao in the sam e way that my practice of sitting zazen twice a day is\, or writing haiku\, or tending our garden.&rdquo\;

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The lines and washes of color in he r paintings are visual descriptions of the chi or breath-energy that flows through all things. In her series (the groundless ground) she depi cts the ever-changing inner and outer landscape in a quest to sober and qui et the mind. The (chant) drawings are densely woven tapestries of meditative quotes from The Tao methodically repeated and imbued wi th talismanic power. A mystical form and structure mystically surprisingly emerge from the written patterns.

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Similarly\, Recke well&rsquo\;s practice is disciplined and repetitious. After carefully cons idering the dimensions of her installation\, she creates simple geometric s hapes by stretching ribbons\, rope\, or tape between walls\, ceilings\, and columns to make drawings in three dimensions. Manipulating the shapes by c hanging the spacing between the lines\, she then allows gravity to curve th e lines and alter the installation&rsquo\;s &ldquo\;personality&rdquo\;. Ha rd lines are softened and movement is created by the flow of air in the roo m.

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Reckewell comes from a background in design and fiber art. Her w ork is informed by minimalism and conceptual art of the 60&rsquo\;s and 70& rsquo\;s. She earned her MFA in textile art from the famed Fiberworks Cente r in Berkeley. In 2011 she revisited and recreated several early installati ons from the late 70&rsquo\;s. She has since created new work in public spa ces in collaboration with Pro Arts in Oakland\, the San Francisco Arts Comm ission and the San Jose Institute for Contemporary Art. In 2014 she created site-specific permanent installations for Zoo Labs in Oakland and The Summ it in Austin. Earlier this year\, her work was selected for &ldquo\;HERE Pa rt II&rdquo\;\, a 5-person show at the Berkeley Art Center\, curated by Aim ee Friberg\, director of CULT Exhibitions.

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Lisa Espenmiller is a po et and writer as well as a painter. Her drawings are in a sense another for m of written language&mdash\;a visual haiku offered as objects of reflectio n. Lisa studied at UC Berkeley and California College of the Arts after rec eiving her BA in political science from California Polytechnic State Univer sity in 1985. She has exhibited throughout California including at the Davi d Brower Center in Berkeley\, the Bedford Gallery in Walnut Creek\, San Jos e Institute of Contemporary Art in San Jose\, and the Berkeley Art Center.< /p>\n

About Chandra Cerrito Contemporary: Established in 2007 as a curatorial project space\, Chandra Cerrito Contemporary features exhibitions and site-specific installations that highlight exceptional reg ional and national artists\, with an emphasis on conceptual strength\, refi ned craftsmanship\, contemporary vision and art historical relevance.

DTEND:20150528 DTSTAMP:20150303T202113 DTSTART:20150403 GEO:37.812543;-122.2682623 LOCATION:Chandra Cerrito Contemporary\,480 23rd Street \nOakland\, CA 94612 -2322 SEQUENCE:0 SUMMARY:On the Line: works by Lisa Espenmiller & Sabine Reckewell\, Lisa Es penmiller\, Sabine Reckewell UID:375618 END:VEVENT BEGIN:VEVENT DTEND:20150403T200000 DTSTAMP:20150303T202113 DTSTART:20150403T180000 GEO:37.812543;-122.2682623 LOCATION:Chandra Cerrito Contemporary\,480 23rd Street \nOakland\, CA 94612 -2322 SEQUENCE:0 SUMMARY:On the Line: works by Lisa Espenmiller & Sabine Reckewell\, Lisa Es penmiller\, Sabine Reckewell UID:375619 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Sandy Kim
How's the Weather Down There?

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March 13th &ndash\; April 25th

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Opening Reception: F riday\, March 13th\, 7-10pm

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&ldquo\;I often think about my photogra phy and what makes it special\, what it is that connects my photos\, what I do that makes my photos apart of me\, what I do that makes me apart of my photos\, and one thing kept coming up: I'm short. Height is one of the most important physical traits that shape who we are and how we shape the world . It's something we're born with\, something that doesn't change\, somethin g we have no control over\, yet it will forever define view of the world.&r dquo\;

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Ever Gold Gallery is pleased to announce its 3rd solo exhibi tion with contemporary photographer Sandy Kim. How's The Weather Down There ? is a body of new work presented in large scale photographic prints create d over the last two years of the artist&rsquo\;s travels through dark\, pla yful\, sensual and emotionally charged personal situations of herself and h er subjects. This new body of work stays true to her roots\, that being inf luenced by Nan Goldin and Diane Arbus\, yet moves towards a dream like stat e of an unique aesthetic of a jaded youth.

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Immersed in San Francisc o&rsquo\;s vibrant music scene\, Kim gained international exposure for her intimate portraits of the band Girls. Her work has since been featured in publications such as Artforum\, Purple Fashion\, FADER\, New Yorker\, New York Times\, Vogue Italia\, Pitchfork\, Nylon\, Guardian\, Elle\,Wired\ , and Rolling Stone\, among many others. She has exhibited at Salon 94\, Th e Hole\, Ever Gold Gallery\, Mudd Guts\, and New Image Art. Kim&rsquo\;s wo rk has also been the subject for multiple books and zines. In 2014 she lect ured

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at the Aperture Foundation\, New York. \;

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DTEND:20150418 DTSTAMP:20150303T202113 DTSTART:20150313 GEO:37.7858571;-122.4120286 LOCATION:Ever Gold Gallery\, 441 O'Farrell\nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Sandy Kim "How's the Weather Down There?"\, Sandy Kim UID:375567 END:VEVENT BEGIN:VEVENT DTEND:20150313T220000 DTSTAMP:20150303T202113 DTSTART:20150313T190000 GEO:37.7858571;-122.4120286 LOCATION:Ever Gold Gallery\, 441 O'Farrell\nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Sandy Kim "How's the Weather Down There?"\, Sandy Kim UID:375568 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join us on Tues\, March 3 at 7PM for an evening artist talk and performance by 2014-15 fellowship artist Maiko Sugano. In her performan ce Maiko will present new work that she created in residency at Kala in the form of a tea ceremony. Kala Residency Fellowship Program includes an annu al series of artist talks\, workshops\, and performances presented by curre nt Fellows during their studio residencies. This series is free of charge a nd open to the public.

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http://www.kala.org/artwork/ artist-talk-performance-by-maiko-sugano/

DTEND:20150303T200000 DTSTAMP:20150303T202113 DTSTART:20150303T190000 GEO:37.8523369;-122.2868193 LOCATION:Kala Art Institute\,2990 San Pablo Avenue \nBerkeley\, CA 94702 SEQUENCE:0 SUMMARY:Kala Artist Talk & Performance by Maiko Sugano\, Maiko Sugano UID:375533 END:VEVENT BEGIN:VEVENT DESCRIPTION:
A Common Thread OAKLAND\, curated by Fernando Reyes and Ruth Tabancay\ , offered a mission to a group of artists: Feel this city...macro/micro\; f iltered/raw\; spectrum/monochrome\; people/place...show us.
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Through sculptural installation\, video\, photograp hy\, and painting\, eighteen Mercury 20 artists and thirteen guest artists beckon us down various paths of thought and feeling inspired by this fascin ating city.Found objects and images are manipulated by some artists. For ot hers\, physical structure or space serve as guide for exploring themes. Som e artists ask us to embrace big issues of social reform\, while others invi te us to feel the need for it in a very personal way. An example of the lat ter is an interactive installation in which PK Frizzell and Josh Garlick co llaborate to pull us in emotionally\, using two-way mirror and video portra its of diverse Oaklanders...visitors will first only see themselves in the mirror\, but then gradually see their face overlaid with others.
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PARTICIPATING ARTISTS \; Julie Alvarado with Madelyn Covey  \; Jo Ann Biagini \ ; \; Eric Bohr with Amy Sass  \; Nick Dong with Corrie Messinger &n bsp\; Carlo Fantin with Felipe Vazquez  \; PK Frizzell with Josh Garlic k  \; Peter Honig \; Kathleen King  \; Leah Markos  \; Jill McLennan with Alison McLennan \; \; Charlie Milgrim with Tim West& nbsp\; \; Jann Nunn \; Mary Curtis Ratcliff  \; Fernando Reyes with Terry Furry  \; KC Rosenberg with Modesto Covarrubias  \; Joan na Salska with Michael Snyder and Robin Thomas  \; Ruth Tabancay with D inah Shapiro  \; Kerry Vander Meer with Robert Strati and Valerie Garry
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SPECIAL EVENTS
Opening Reception
Saturday\, Feb 28th 4 - 6pm
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Artist Talk
Thursday\, March 19th 6 - 8pm
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Oakland Art Murmur First Fridays
Friday\, March 6th 6 - 9pm
Friday\, April 3rd 6 - 9 pm
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Third Thur sdays on 25th Street
Thursday\, March 19th \; 6 - 8pm
\n DTEND:20150404 DTSTAMP:20150303T202113 DTSTART:20150226 GEO:37.8144819;-122.2672596 LOCATION:Mercury 20 Gallery\,475 25th St. \nOakland\, CA 94612 SEQUENCE:0 SUMMARY:A Common Thread OAKLAND\, Group Show UID:375440 END:VEVENT BEGIN:VEVENT DTEND:20150228T180000 DTSTAMP:20150303T202113 DTSTART:20150228T160000 GEO:37.8144819;-122.2672596 LOCATION:Mercury 20 Gallery\,475 25th St. \nOakland\, CA 94612 SEQUENCE:0 SUMMARY:A Common Thread OAKLAND\, Group Show UID:375441 END:VEVENT BEGIN:VEVENT DESCRIPTION:

RayKo Photography Exhibition

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Features the best images from the worst cam eras:

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RayKo&rsquo\;s 8th Annual International Juried Plastic Camera Show< /em>

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Opening Reception: Wednesday\, March 11th\, 6- 8pm

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Exhibition dates: March 11 th &ndash\; May 3rd\, 2015

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 \; \; \; \; \; \; \; \;&nbs p\; \; \; RayKo&rsquo\;s 8th Annual Plastic Camera Show in cludes stunning and sometimes surprising images made by the crappy camera-t oting winners of this competition. Photographers from all over the Bay Area as well as national and international artists are featured in this dynamic exhibit. Each year we receive thousands of entries and this year was anoth er challenge to select only a fraction of these images.  \;Why does the plastic camera continue to be so popular? Is it because the toy camera is a backlash to this digital age of photography? It could be nostalgia for th e soft\, square pictures with vignetted edges. It could just be nostalgia f or film and the latent image- you actually have to wait to see what you sho t! Or it could be love of the creak of the cheap plastic dial as you wind i t\, wondering if it will break off. (Forget Instagram and the rest of them\ , this is the real deal). It could be too that we all missed the simple fre edom of making pictures that aren&rsquo\;t perfect\, that don&rsquo\;t have to be sharp or real or saturated or taken with a camera that costs hundred s of dollars or more. All you need is $35 (or less) and a roll of film\, an d you&rsquo\;re in business. After seeing the exhibit\, you may be inspired to start shooting one of these beauties yourself. Luckily RayKo is offerin g a class where you can reconnect with the simple joys of photography and h ave the ultimate plastic experience. Christine Zona will be teaching a 2-we ek class on Plastic Cameras starting March 22nd\, in the midst of this exhi bition.

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 \; \; \; \; \; \; \; \;&nb sp\; \; \; Also highlighted in this year&rsquo\;s plastic camera ex hibit is the work of Arizona-based artist\, Ernie Button and New Orleans-ba sed photographer\, Jennifer Shaw. Two very different featured artists could n&rsquo\;t be found in this plastic camera world. Ernie Button&rsquo\;s col or images were made in China with a few exceptions of images taken in Scotl and\, Italy and the States. \; Many different destinations interest him but China fascinates Ernie\, from the Monumental to the Mundane. It is mas sive\; both in size of land mass and sheer number of people. China is chang ing rapidly. The rush to embrace capitalism as well as opening up its borde rs to tourism has impacted and dramatically changed the landscape of China. Ernie travels with a Holga camera for several reasons. That camera was dev eloped and made in China during the early 1980&rsquo\;s to provide an inexp ensive way for the citizens in China to have a camera and take pictures. Th e overall image of a Holga is a little fuzzy\, kind of like the whirlwind e vents of travel creating memories that are a little more difficult to recal l. Certain parts of a memory will be clear and others will be a little less so\, kind of like the image from a Holga.

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And then there are Jenni fer Shaw&rsquo\;s exquisite silver gelatin prints from her series\, &ldquo\ ;The Space Between.&rdquo\; She is photographing her life. It is as simple and complex as that. Presently\, her life is overrun by exquisite little cr eatures known as children. As they explore the elements with carefree aband on\, she observes with camera poised\, balanced between protection and perm ission.  \;Shaw works from a place of intuition\, capturing the action as it unfolds\, meanwhile stealing sidelong glances at the details of our e nvironments. The images are juxtaposed to create an introspective narrative \, mining the richly ambiguous state of parenthood\, akin to the murky real m between a river&rsquo\;s glittering surface and its hidden undercurrents. Through the camera&rsquo\;s lens she is transported\, traversing the space between shadow and light\, dreams and reality\, delight and disquiet.

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Come see the power of Shaw&rsquo\;s and Button&rsquo\;s pictures and all the images of the winners of this year&rsquo\;s plastic c amera competition and experience nostalgia on more than one level. You can fall in love with Holga and Diana* and a world of other lo-tech cameras\, l ike my new favorite\, the Bluebird. Film isn&rsquo\;t dead\, so rejoice and come down to RayKo on the night of March 11th \;to experien ce the magic with the rest of us fans of the latent image.

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*The Holga and the Diana are plastic medium format cameras that have limited controls\, a fixed focal length lens\, and\, luc kily for artists everywhere\, each one is unique&hellip\;

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& nbsp\;

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About RayKo

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\n< p>About RayKo

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RayKo Photo Center &\; Ga llery \;is a comprehensive photographic facility\, located nea r the Yerba Buena Arts District\, with resources for anyone with a passion for photography. Established in the early 1990&rsquo\;s\, RayKo Photo Cente r has grown to become one of San Francisco&rsquo\;s most beloved photograph y darkroom spaces\; it includes traditional b&\;w\, color and alternativ e process labs as well as a state-of-the-art digital department\, a profess ional rental studio\, galleries\, and the Photographer&rsquo\;s Marketplace &ndash\; a retail space promoting the work of regional artists. RayKo also has San Francisco&rsquo\;s 1st \;Art*O*Mat vending machine and a vintage 1947 black &\; white Auto-Photo Booth and a retail store t hat sells all types of used film cameras\, from view cameras to Leicas to a build-your-own Nikon station. Everything you need to make any type of phot ograph!

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RayKo Gallery \;serves to advance public appreciation of photography and create opportunities for regional\, national and international artists to create and present their work. RayKo Gallery offers 1600 square feet of exhibition space and the Pho tographer&rsquo\;s Marketplace\, which encourages the collection of artwork by making it accessible to collectors of all levels. \;RayKo also has an artist-in-residence program to further support artists in the developmen t of their photographic projects and ideas.

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RayKo Photo Center &\; Gallery

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428 Third Street

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San Francisco\, CA 94107

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415-495-3773 (ph)

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www.raykophoto.com

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

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&nbs p\;

DTEND:20150503 DTSTAMP:20150303T202113 DTSTART:20150311 GEO:37.7821062;-122.3969007 LOCATION:Rayko Photo Center\,428 Third St \nSan Francisco\, CA 94107 SEQUENCE:0 SUMMARY:RayKo's 8th Annual International Juried Plastic Camera Show\, Ernie Button\, Jennifer Shaw\, Thomas Alleman\, others UID:375432 END:VEVENT BEGIN:VEVENT DTEND:20150311T200000 DTSTAMP:20150303T202113 DTSTART:20150311T180000 GEO:37.7821062;-122.3969007 LOCATION:Rayko Photo Center\,428 Third St \nSan Francisco\, CA 94107 SEQUENCE:0 SUMMARY:RayKo's 8th Annual International Juried Plastic Camera Show\, Thoma s Alleman\, Ernie Button\, others\, Jennifer Shaw UID:375433 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Jaq Chartier

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A Fever in Matter

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Apri l 2 - May 2\, 2015

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Dolby Chadwick Gallery is please d to announce its first exhibition of paintings by the Seattle-based artist Jaq Chartier. A Fever in Matter features colorful abstract works made in Chartier&rsquo\;s signature Testing style and inspired by Lewis Wolberg&rsquo\;s book\, Micro-Art: Art Images in a Hidden World. In one of the book&rsquo\;s essays Brian O&rsquo\;Doherty writes:

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&hellip\; the understanding of crystal structure in terms of mathematic s (that is\, logic) confirmed a schism in matter - between the organic and the inorganic. Life could be seen as an inexplicable vitalism on the one ha nd\, and on the other a delusion within the inorganic\, or\, as it has been called\, a fever in matter.

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Chartier&rsquo\;s pain tings&mdash\;matter\, vitalized&mdash\;are the result\, not of romantic or expressionist ecstasy\, but orderly\, almost scientific investigations into the properties of color. In this sense\, they continue the color-optics ex plorations of Josef Albers&rsquo\; famous Homage to the Square oil paintings on panel\, compositionally simple yet radiant works composed of three or four squares\, variously colored and unmodulated\, with their over lapping arrangements implying portals and corridors seen in perspective. Ch artier:

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I love exploring color and the interactions of the mate rials. The paintings are stripped down to very specific rules\; each painti ng must be an actual test of some kind\, and every element has to be there for a reason which supports the test.

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If Alber s appended his notations on colors and varnishes to the backs of panels\, C hartier includes notations right in the works\; her method is transparent\, and her results reproducible&mdash\;verifiable. Her arrays of organic form s are drawn with an eye dropper and suggest the samples\, tests and charts of the natural scientist in the field\, while the white backgrounds behind her overlays of transparent color suggest illuminated microscope slides. In some works\, dark-rimmed circles\, like Petri dishes\, black-rimmed yellow -orange scorch marks\, and cellular honeycomb polygons replace the painterl y arrays of color swatches\; in others\, the patterns coalesce into abstrac t imagery\, evoking natural forces metaphorically or metonymically while re maining ambiguous and multivalent.

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Chartier describes her minimalis t Testing series\, featuring arrays of dots connected by or envelo ped by horizontal bands of color\, reminiscent of illustrations of the stag es of cell division\, or rippling wavelets on sunlit water\, with positive and negative reversed\, as if solarized:

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&hellip\;each painting begins as an actual test. Inspired by scientific images like gel electroph oresis\, they feature intimate views of materials reacting to each other\, to light\, and the passage of time. Instead of paint\, I use my own complex formulas of deeply saturated inks\, stains and dyes. Such colors can do th ings paint can't do &ndash\; change\, shift\, and migrate through other lay ers of paint\, or separate into component parts with differing properties. Whereas traditional artist paints are formulated to be stable and controlla ble\, stains are capricious and easily affected by lots of factors like hum idity\, gravity\, time\, UV light &ndash\; even the structure of molecules in the other elements they touch. After years of study I'm still intrigued by the hidden chemistries of these materials. I write notations directly on the paintings to help me track what&rsquo\;s happening in each test.< /p>\n

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(DNA electrophoresis is a method of sorting DNA mol ecules electrically by length for purposes of diagnostic analysis. The nega tively charged DNA is drawn to the positively charged part of the gel matri x in which they are suspended.) Chartier&rsquo\;s lyrical SubOptic series was similarly based on scientific methods\, including X-rays of cor al reef colonies that reveal their delicate internal structure\, and which provided the artist a subject with which to tackle the daunting question of climate change. The Ultra Marine series depicted marine bio- and phytoplan kton in simplified shapes and brilliant colors\, with the angle of vision r anging from the microscopic\, as in her depiction of blue polyps and rippli ng water\, to the macroscopic\, as in her painting from above\, as if seen from a satellite\, of Antarctica as a kind of coral atoll ringed by green&m dash\;or protoplasmic superorganism. A Fever in Matter includes wo rks from all three series\, providing a synoptic overview of the artist&rsq uo\;s interests and directions.

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While Chartier&rsqu o\;s approach appears empirical and scientific\, her work&rsquo\;s electric color\, graphic power and use of metaphor paradoxically produce poetic ima ges reminiscent of such visionary artists as Vincent Van Gogh\, Marsden Har tley\, Georgia O&rsquo\;Keefe\, Charles Burchfield and Mark Tobey.

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Chartier received her BFA in painting from the University o f Massachusetts and MFA in painting from the University of Washington in 19 94. Her work has been exhibited in museums across the country\, including t he Seattle Art Museum\, San Jose ICA\, Bellevue Art Museum\, and the Palm S prings Desert Museum. She has been reviewed in the San Francisco Chronicle\ , Artweek\, Art in America\, New American Paintings\, and Artforum. This wi ll be Chartier's first solo show at Dolby Chadwick Gallery.

DTEND:20150502 DTSTAMP:20150303T202113 DTSTART:20150402 GEO:37.7887091;-122.405531 LOCATION:Dolby Chadwick Gallery\,210 Post Street Suite 205 \nSan Francisco\ , CA 94108 SEQUENCE:0 SUMMARY:A Fever in Matter\, Jaq Chartier UID:375414 END:VEVENT BEGIN:VEVENT DTEND:20150402T193000 DTSTAMP:20150303T202113 DTSTART:20150402T173000 GEO:37.7887091;-122.405531 LOCATION:Dolby Chadwick Gallery\,210 Post Street Suite 205 \nSan Francisco\ , CA 94108 SEQUENCE:0 SUMMARY:A Fever in Matter\, Jaq Chartier UID:375415 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Wednesday\, April 22\, 2015

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7:00 PM\, Danforth Lectu re Hall

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Los Angeles-based artist Jacqueline Kiyomi Gordon works in sound\, installation\, and sculpture. She&rsquo\;s particularly interested in the history of cybernetics and its relation to regulation and control. H er work is often systems-based and it incorporates the physical and sonic q ualities of surrounding architecture to engage the viewer&rsquo\;s senses. She&rsquo\;s exhibited at Eli Ridgway Gallery\, Queens Nails Annex\, San Fr ancisco Arts Commission Gallery\, Sonoma State University\, and the Cue Art s Foundation. She received an MFA from Stanford in 2011.

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Art + Proc ess + Ideas (A+P+I) is a new artist-in-residence program created in collabo ration with the Mills College Studio Art Department.

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For more infor mation\, please visit http://mcam.mills.edu/

DTEND:20150422T200000 DTSTAMP:20150303T202113 DTSTART:20150422T190000 GEO:37.7826776;-122.1875731 LOCATION:Mills College Art Museum\,5000 MacArthur Blvd. \nOakland\, CA 9461 3 SEQUENCE:0 SUMMARY:Artist + Process + Ideas (A+P+I) Lecture: Jacqueline Kiyomi Gordon \, Jacqueline Kiyomi Gordon UID:375294 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Wednesday\, April 8\, 2015

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7:00 PM\, Danforth Lectur e Hall

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Weston Teruya was born and raised in Honolulu\, Hawai&lsquo\ ;i and currently resides in the San Francisco Bay Area. He has had solo exh ibitions at Intersection for the Arts and Patricia Sweetow Gallery in San F rancisco and Pro Arts in Oakland. He has also exhibited at Southern Exposur e and Yerba Buena Center for the Arts in San Francisco\, Longhouse Projects &\; the NYC Fire Museum in New York\, Hiromi Yoshii Gallery in Tokyo\, the Atlanta Contemporary Art Center\, and the Palo Alto Art Center. Weston was an Irvine Fellow at the Lucas Artist Residency of the Montalvo Arts Cen ter\, a recipient of a 2009 Artadia grant\, and received a 2014 Investing i n Artists grant from the Center for Cultural Innovation. Weston received an MFA in Painting and Drawing and MA in Visual &\; Critical Studies from California College of the Arts.

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Art + Process + Ideas (A+P+I) is a new artist-in-residence program created in collaboration with the Mills Col lege Studio Art Department.

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For more information\, please visit htt p://mcam.mills.edu/

DTEND:20150408T200000 DTSTAMP:20150303T202113 DTSTART:20150408T190000 GEO:37.7826776;-122.1875731 LOCATION:Mills College Art Museum\,5000 MacArthur Blvd. \nOakland\, CA 9461 3 SEQUENCE:0 SUMMARY:Artist + Process + Ideas (A+P+I) Lecture: Weston Teruya \, Weston T eruya UID:375293 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Wednesday\, March 18\, 2015

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7:00 PM\, Danforth Lectu re Hall

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Zarouhie Abdalian lives and works in Oakland\, CA. She was the subject of a solo exhibition at the Berkeley Art Museum\, Berkeley\, CA . Recent exhibitions include Prospect.3\, New Orleans\, LA\; "Audible Space s\," David Winton Bell Gallery\, Providence\, RI\; 8th Berlin Biennale\, Be rlin\, Germany\; "Nothing Beside Remains\," Gertrude Contemporary\, Melbour ne\, Australia\; CAFAM Biennale\, Beijing\, China\; "Shanghai Biennial: Rea ctivation\," Shanghai\, China\; "When Attitudes Became Form Become Attitude s\," CCA Wattis Institute of Contemporary Art\, San Francisco\, CA\; Moscow International Biennale for Young Art\, Moscow\, Russia\; "Rendez-vous 12\, " South African National Gallery\, Cape Town\, South Africa\; and the Istan bul Biennial\, Istanbul\, Turkey. Her solo exhibition "An Overture" is curr ently on view at Altman Siegel\, San Francisco through December 20\, 2014.< /p>\n

Art + Process + Ideas (A+P+I) is a new artist-in-residence program created in collaboration with the Mills College Studio Art Department.

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 \;For more information\, please visit http://mcam.mills.edu/

DTEND:20150318T200000 DTSTAMP:20150303T202113 DTSTART:20150318T190000 GEO:37.7826776;-122.1875731 LOCATION:Mills College Art Museum\,5000 MacArthur Blvd. \nOakland\, CA 9461 3 SEQUENCE:0 SUMMARY:Artist + Process + Ideas (A+P+I) Lecture: Zarouhie Abdalian \, Zaro uhie Abdalian UID:375292 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Traywick Contemporary is pleased to announce Siblings of the Sun: an exhibition of new textiles\, collage and sculpture by Chi cago based artist\, Diana Guerrero-Maciá\;.

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 \;Diana Guer rero-Maciá\; is known for her textile-based work that explores new re lationships between diverse practices ranging from collage\, appropriation and pop-culture sampling to painting\, quilt making and sculpture. While he r bold compositions often reference the formal legacies of Modernism and Su prematism\, her borrowed imagery of graphic icons - signal flags\, targets\ , faces - reference everyday cultural expression. It is Guerrero-Maci&aacut e\;&rsquo\;s purposeful\, handmade processes and distinct choice of materia ls that deliberately blur the boundaries between the contemporary and the t raditional\, between craft and fine art and between message and medium.

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 \;&ldquo\;Diana Guerrero-Maciá\;&rsquo\;s fabric collag es are simultaneously nostalgic for\, and reminiscent of\, radical artistic activities throughout the twentieth century\, ranging from manifesto writi ng and Russian Suprematism to guitar smashing and punk rock.&rdquo\;&n bsp\; Jenni Sorkin\, art critic and Professor of Contemporary Art History a nd Critical Studies\, University of Houston\, TX.

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 \;The title of the exhibition\, Siblings of the Sun\, was inspired by scientif ic theory around the existence of other stars and planets in the galaxy tha t were potentially born from our sun.  \;Guerrero-Maciá\;&rsquo\; s work often embodies similar idea of group identity or tribalism\, in tand em with a nod to rebellion and &ldquo\;us vs. them&rdquo\; oppositions. Thi s series includes fifty textile and paper-based works and three large sculp tural installations\, all of which use a common visual vocabulary and simil ar materials that at once embrace and defy one another. \; The sculptur al installations contain repurposed and non-functional objects\, which are displayed in conversation (or confrontation) with larger textile pieces. In trigued by the possibility of a found object being a catalyst for an idea\, the artist repurposes cedar house posts and steel beams to create sculptur es with implied functions - a window for reframing how we look\, a gate to fence or define a particular space\, or a soapbox on which to stand. \;

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 \;Diana Guerrero-Maciá\; earned a BFA from Villanova Un iversity in 1988 before earning a MFA from Cranbrook Academy of Art in 1992 . Since 2001\, she has served as an Associate Professor in the Department o f Fiber and Material Studies at The School of the Art Institute of Chicago. Her work has been exhibited extensively at public institutions such as the Museum of Contemporary Art\, Chicago\; Artpace\, San Antonio\, TX\; Three Walls\, Chicago\, IL\; Elmhurst Museum\, IL and the Museum of Contemporary Art\, S. Louis\, IL. Guerrero-Maciá\; is also a recipient of the pres tigious Louis Comfort Tiffany Foundation Award. \; This is her second s olo exhibition with Traywick Contemporary.

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F or more information please call the gallery or visit the exhibition webpage :

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http://www.traywick.com/2015/03/< /strong>

DTEND:20150523 DTSTAMP:20150303T202113 DTSTART:20150329 GEO:37.8918842;-122.2797346 LOCATION:Traywick Contemporary\,895 Colusa Avenue \nBerkeley \, CA 94707 SEQUENCE:0 SUMMARY:Siblings of the Sun\, Diana Guerrero-MaciĆ” UID:375285 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Title: \;DI S/PLAY Closing Reception w/Film\, Pizza &\; Poetry
Date: \;Thursday\, April 23\, 6&ndash\;9pm
More Info: \;somarts.org/displaycloses \;

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Descripti on: \;A cabaret style evening that spotlights 10-minute or les s performance pieces\, experiments\, and works in progress by pre-selected queer solo artists\, groups\, or troupes\, this month&rsquo\;s episode of T he News is guest curated by Periwinkle Cinema and will feature short movies with live soundtracks performed by Annah Anti-Palindrome\, Aja Archuleta\, Beast Nest (Sharmi Basu)\, Lisa Ganser\, Peter Max Lawrence with Chainsaw Jane\, Sofia Moreno\, and Julie Thi Underhill.

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For more information about DIS/PLAY and the exhibiting and performing artists\, visi t somarts.org/displaycloses.

DTEND:20150423T210000 DTSTAMP:20150303T202113 DTSTART:20150423T180000 GEO:37.7726402;-122.4099154 LOCATION:SOMArts Cultural Center\,934 Brannan @ 8th \nSan Francisco\, CA 94 103 SEQUENCE:0 SUMMARY:DIS/PLAY Closing Reception w/Film\, Pizza & Poetry\, Charles Curtis Blackwell\, Todd Herman\, Leroy Smooth\, Joy Elan\, Lateef McLeod\, Cristi ne Martinez UID:375165 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Christina Kolozsvar y
6 Sessions »\;Thursday\, March 26&ndash\;April 30
7:30&ndash\;10:30 pm \;| \;DMS2 | $250

FM10 01
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Using your own footage\, or fo und footage provided by the instructor\, you will learn to cut together bas ic sequences that illustrate the fundamentals of film editing in Premiere o r Final Cut. The first class will introduce you to the software and workflo w. The following four classes will be 45 minutes of viewing and discussion\ , followed by in-class work time. The final studio day will be an opportuni ty for each student to share their best work from the class\, and engage in critique.

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Sample Assignments:

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Choosing from found footage\, you w ill have to illustrate a basic knowledge of continuity editing\, including ellipses\, match-on action\, and cross­\;cutting.

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You will selec t from footage of your choice to create a &ldquo\;Hollywood montage.&rdquo\ ; The purpose of this assignment is to use editing and music as a means to compress time\, and to imply as much action and activity as quickly as poss ible.

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You will create multiple examples of shot reverse shot\, usin g the same image of a person looking\, but cutting each one to a different &ldquo\;reverse shot.&rdquo\; You will be expected to understand the Kulesh ov Effect\, the principles of &ldquo\;looking&rdquo\; in narrative\, and th e concept of &ldquo\;off screen space.&rdquo\;

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3 /26/2015 7:30 PM - 4/30/2015 10:30 PM
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