BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20141220 DTSTAMP:20141024T185654 DTSTART:20141104 GEO:37.803384;-122.413948 LOCATION:Paul Thiebaud Gallery (SF)\,645 Chestnut Street \nSan Francisco\, CA 94133 SEQUENCE:0 SUMMARY:Christopher Benson: INSIDE and OUT\, Christopher Benson UID:362159 END:VEVENT BEGIN:VEVENT DTEND:20141106T190000 DTSTAMP:20141024T185654 DTSTART:20141106T170000 GEO:37.803384;-122.413948 LOCATION:Paul Thiebaud Gallery (SF)\,645 Chestnut Street \nSan Francisco\, CA 94133 SEQUENCE:0 SUMMARY:Christopher Benson: INSIDE and OUT\, Christopher Benson UID:362160 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Haines Gallery is pleased to present two concurrent solo exhibitions feat uring new works by artists Binh Danh and Kota Ezawa.

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Binh Danh | This\, Then\, is San Francisco

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Binh Danh&rsquo\;s latest series of daguerreotypes foc uses on the San Francisco cityscape&mdash\;rendering scenic vistas\, sites of civic engagement\, and familiar street scenes all with the exquisite det ail that only his chosen medium can capture. This body of work is many thin gs at once: an homage to a place the artist loves\; a nod to the daguerreot ype albums by pioneering photographers like Carleton Watkins and Eadweard M uybridge\, who focused on the developing San Francisco metropolis during th e late nineteenth and early twentieth centuries\; and a politically charged effort to freeze an important moment in San Francisco&rsquo\;s history&mda sh\;a dynamic time of economic growth\, disparity and displacement. For Dan h\, the work brings together his photographic practice and lived experience \, as he revisits many sites from his formative years and bears witness to the city during a time of significant transformation. The exhibition takes its name from a 1901 poem by William Vaughn Moody called The Daguerreot ype.

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Kota Ezawa | The Aesthetics of Silence

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Kota Ezawa&rsquo\;s latest body of related works&mdash\;which includes silver gelatin prints\, light boxes and a new video installation&mdash\;focus on the protagonists of American mode rn art\, as well as the European artists who helped lay the groundwork for abstract painting. Translating historical photographic portraits of artists such as Kazmir Malevich\, \; Agnes Martin and Ad Reinhardt into his si ngularly flat\, pared-down style\, Ezawa enacts a surprising reversal\, pri nting in gelatin silver on fiber-based paper\, a process that highlights th e obdurate materiality of the photograph and transforms well-circulated ima ges into unique editions. Similarly\, his newest light boxes operate as fre estanding objects\, alluding to the minimalist objects of the depicted arti sts. The centerpiece of the exhibition is a new video installation entitled The Aesthetics of Silence. Named for an eponymous 1967 Susan Sont ag essay\, the work draws footage from the 1972 documentary Painters Pa inting\, which surveys American art movements from the 1940s to 1970s through conversations with artists\, dealers\, critics and collectors of th e period\, including Barnett Newman\, Helen Frankenthaler and Leo Castelli. Rather than giving us words\, the only audio accompanying Ezawa&rsquo\;s v ideo is ambient sound &ndash\; deep breaths\, rustling jackets and sipped w ater&ndash\;heightening the work&rsquo\;s visual impact and amplifying Sont ag&rsquo\;s claim that &ldquo\;silence remains\, inescapably\, a form of sp eech&hellip\;and an element in a dialogue.&rdquo\;

DTEND:20141220 DTSTAMP:20141024T185654 DTSTART:20141106 GEO:37.7877888;-122.40434 LOCATION:Haines Gallery\,49 Geary St. Suite 540\nSan Francisco\, CA 94108 SEQUENCE:0 SUMMARY:Solo Exhibitions: Binh Danh + Kota Ezawa\, Binh Danh\, Kota Ezawa UID:362147 END:VEVENT BEGIN:VEVENT DTEND:20141106T193000 DTSTAMP:20141024T185654 DTSTART:20141106T173000 GEO:37.7877888;-122.40434 LOCATION:Haines Gallery\,49 Geary St. Suite 540\nSan Francisco\, CA 94108 SEQUENCE:0 SUMMARY:Solo Exhibitions: Binh Danh + Kota Ezawa\, Binh Danh\, Kota Ezawa UID:362148 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Dolby Chadwick Gallery is pleased to announce \;The Gorg eous Nothings\, an exhibition of new paintings by southern California artis t Sherie&rsquo\; Franssen. \;Franssen has long been preoccupied by abst raction&rsquo\;s power to interrogate the contours of our world\, fragmenti ng and reordering them so as to distill \;something essential about tha t world and our experiences within it. This body of work pushes Franssen&rs quo\;s interest in fragmentation&mdash\;both as an \;aesthetic and emot ional condition&mdash\;to a new level. Empty spaces and larger areas of col or &ldquo\;evoke a little resting space&rdquo\; and allow for moments of&nb sp\;pause and reflection that are hinted at but not always evident in earli er works.

These moments are presented in different ways in diffe rent paintings. The broader\, heavier\, slower-moving gestures that curl ar ound and over fields of \;color in \;Turn Blue \;(2014)&mdash\; which is itself largely coded in shades of indigo\, violet\, and lilac&mdas h\;conjure a sense of melancholy\, even loss.  \;But it&rsquo\;s a soft  \;melancholy that unexpectedly works to hearten\, soothe\, and lift th e viewer up\, as evidenced by \;A Catch in the Breath \;(2014)\, wh ich begins to the jostle \;the pieces back into place\, creating an exp erience that Franssen likens to emerging from a fog. These pieces\, however \, always remain slightly askew\; \;this is done not to frustrate but t o inspire and preserve a sense of infinite possibility. In these works\, Fr anssen is like a poet jotting down brief \;observations on random fragm ents of paper&mdash\;gorgeous nothings of the Dickinsonian variety&mdash\;a bout our world and our lives\, which are themselves \;inescapably fragm ented.

Moments of pause also structure forms that allude\, thoug h very subtly\, to the human figure in paintings such as \;The Summer W ent \;(2014). This and \;other works\, which can be thought of as & ldquo\;bather paintings\,&rdquo\; reflect an interest in &ldquo\;the evocat ive\, mutable\, and transformational nature&rdquo\; that inhabits the \ ;blue paintings. Inspired by Max Beckmann&rsquo\;s\, Joan Brown&rsquo\;s\, David Park&rsquo\;s\, Paul Cé\;zanne&rsquo\;s\, and Ernst Kirchner&rs quo\;s bathers\, Franssen&rsquo\;s own bathers are \;imbricated within shifting compositional forms and exuberant splashes of color\, which produc e vivid allusions to the vibrancy of nature. Such \;fragmentation facil itates the melding of body and environment\, opening up new ways of underst anding fullness\, presence\, and being.

Born in Torrance\, Calif ornia\, in 1952\, Sherie&rsquo\; Franssen earned her BFA in Drawing and Pai nting from California State University\, Long Beach\, in 1999. \;Her wo rk has been exhibited in museums across the country and was selected by Pet er Selz for inclusion in the 2011 show HEADS at the Dolby \;Chadwick Ga llery. Franssen has been reviewed in The San Francisco Chronicle\, Los Ange les Times\, Art Ltd.\, and New American Paintings. This will be \;Frans sen&rsquo\;s fifth solo show at the Dolby Chadwick Gallery.

DTEND:20150131 DTSTAMP:20141024T185654 DTSTART:20141211 GEO:37.7887091;-122.405531 LOCATION:Dolby Chadwick Gallery\,210 Post Street Suite 205 \nSan Francisco\ , CA 94108 SEQUENCE:0 SUMMARY:Sherie' Franssen: The Gorgeous Nothings\, Sherie' Franssen UID:362103 END:VEVENT BEGIN:VEVENT DTEND:20141211T193000 DTSTAMP:20141024T185654 DTSTART:20141211T173000 GEO:37.7887091;-122.405531 LOCATION:Dolby Chadwick Gallery\,210 Post Street Suite 205 \nSan Francisco\ , CA 94108 SEQUENCE:0 SUMMARY:Sherie' Franssen: The Gorgeous Nothings\, Sherie' Franssen UID:362104 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141129 DTSTAMP:20141024T185654 DTSTART:20141104 GEO:37.7885251;-122.4060508 LOCATION:Hespe Gallery\,251 Post Street\, Suite 210\nSan Francisco\, CA 941 08 SEQUENCE:0 SUMMARY:Solo Exhibition\, Hiroshi Sato UID:362047 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Talking Art

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Future Shock: The Consequences of Techno logy Consumption

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Join us for a Talking Art in association with our group exhibition Relics. From GPS navigation systems to the abunda nce of social media sites\, advancements in technology over the past decade have dramatically changed the world. They affect how we live\, how we do b usiness\, how we acquire information and how we communicate. Dozens of devi ces and formats that were once considered cutting-edge technology are now r egarded as obsolete. Many common items that were once ubiquitous have vanis hed from our lives. Typewriters\, pagers\, 8-track tapes\, walkmans\, answe ring machines\, slides and slide projectors are true relics of the past. Ho w does our society dispose of these antiquated objects of recent history? W hat is the effect of society&rsquo\;s desire to &ldquo\;upgrade&rdquo\; at every time a new technological advancement is announced?

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For more information about this exhibition\, visit our website\; http://sjica.o rg/detail.html?eid=1076

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DTEND:20150122T210000 DTSTAMP:20141024T185654 DTSTART:20150122T190000 GEO:37.3277051;-121.8841434 LOCATION:San Jose Institute of Contemporary Art (ICA)\,560 South First St. \nSan Jose\, CA 95113 SEQUENCE:0 SUMMARY:Talking Art Future Shock: The Consequences of Technology Consumptio n UID:361973 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mark Wolfe Contemporary Art is pleased to present &ldquo\;Back to Isla Vista\,&rdquo\; a suite of new oil paintings b y Todd Lanam\, in his second solo exhibition at the galler y.

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With &ldquo\ ;Back to Isla Vista\,&rdquo\; Lanam continues to explore the process of pai nting as it relates to the cognitive process of memory formation and recall . \; The nominal subjects are interior and exterior spaces that remain prominent in the artist&rsquo\;s memory. The ren­\;derings of these spac es\, however\, reflect the constant shifting\, omission\, distortion\, and re-creation of visual memories within the broader context of consciousness. They strive to highlight the inherently transient nature not only of actua l places in the physical realm\, but of our personal experiences of them th at exist within us only in constantly morphing memory.

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Lanam received hi s BFA from the California College of the Arts in 2007 and MFA in Painting f rom San Francisco State University in 2011. \; In addition to solo show s at Wolfe Contemporary\, his work has been exhibited at art fairs in Miami \, New York\, and San Francisco\, and in a recent group show at Gallery Hen och in New York.

DTEND:20141220 DTSTAMP:20141024T185654 DTSTART:20141107 GEO:37.790076;-122.4006891 LOCATION:Mark Wolfe Contemporary Art\,1 Sutter Street Suite 300\nSan Franci sco\, CA 94104 SEQUENCE:0 SUMMARY:Todd Lanam : New Paintings\, Todd Lanam UID:361724 END:VEVENT BEGIN:VEVENT DTEND:20141107T200000 DTSTAMP:20141024T185654 DTSTART:20141107T170000 GEO:37.790076;-122.4006891 LOCATION:Mark Wolfe Contemporary Art\,1 Sutter Street Suite 300\nSan Franci sco\, CA 94104 SEQUENCE:0 SUMMARY:Todd Lanam : New Paintings\, Todd Lanam UID:361725 END:VEVENT BEGIN:VEVENT DESCRIPTION:

New York-based artist Lucy Raven uncovers the complexiti es at play in technology through an exploration of topics such as the outso urcing of post-production work for the film industry\, evolving technical s tandards in film projection\, and the immense infrastructure behind the glo bal copper mining industry. For her solo presentation at YBCA\, Raven stage s a new anaglyph 3D video installation entitled Curtains that creates a por trait of an otherwise invisible global assembly line of post-production stu dios worldwide providing a glimpse into the human hands that lie behind the spectacle of fantastic computer-generated simulations. \; A series of screenprints from Raven&rsquo\;s ongoing RPx project are also featured in t he exhibition\, as well as a new lenticular print. Part of the Control: Tec hnology in Culture exhibition series.

DTEND:20141107 DTSTAMP:20141024T185654 DTSTART:20141107 GEO:37.7857943;-122.4024208 LOCATION:Yerba Buena Center for the Arts\,701 Mission St. \nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:Lucy Raven: Hollywood Chop Riding\, Lucy Raven UID:361511 END:VEVENT BEGIN:VEVENT DTEND:20141106T200000 DTSTAMP:20141024T185654 DTSTART:20141106T183000 GEO:37.7857943;-122.4024208 LOCATION:Yerba Buena Center for the Arts\,701 Mission St. \nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:Lucy Raven: Hollywood Chop Riding\, Lucy Raven UID:361512 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Traywick Contemporary is pleased to announce A Desert that Faces an Oce an: an exhibition of new photographs by Ken Fandell. This will be Fand ell&rsquo\;s fourth solo show with Traywick Contemporary. A fully illustrat ed catalog featuring an essay by Los Angeles art critic David Pagel will ac company the exhibition.

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 \;The title of the show references Carey McWilliams&rs quo\; 1946 non-fiction book Southern California: an Island on the Land\, in which the author de scribes the region as &ldquo\;a paradox: a desert that faces an ocean.&rdqu o\; Fandell&rsquo\;s latest body of work embraces this paradox through imag ery representative of American culture in the West\, and by exploring the c ollision of mysticism and popular culture\, natural and manmade forces\, an d the intertwining of life and death. As in past series\, the artist reveal s the extraordinary that is often found in the ordinary\, balancing these m oments with a distinct blend of skepticism\, irony\, and humor.

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 \;By using sub tle formal shifts like an unexpected angle or an enlarged scale\, Fandell c reates alternate realities in which to view the work&rsquo\;s surprising su bject matter. The artist methodically arranges quartz crystals in various p atterns: ordered grids\, random groupings\, and cryptic messages\, as if we ighing the stone&rsquo\;s competing scientific and mystical properties. Fan dell&rsquo\;s photograph of Dudleya pulverulenta\, a native California succulent that continues to grow new branches although it appears dead\, and colloquially known as &ldquo\;chalk liveforever\,&rdquo\; references a pop culture fascination wi th comebacks and reincarnation. A portrait of a singular twisted cactus vie wed from below imbues the iconic plant with human characteristics\, as if d epicting an old man clinging to youth. In contrast\, Fandell&rsquo\;s photo graph of his own toddler daughter\, enlarged to monumental proportions\, pr esents an image of distorted innocence.  \;

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 \;Ken Fandell has exhibited wi dely both nationally and internationally\, with exhibitions at the Museum o f Contemporary Art\, Chicago\, the Honolulu Museum of Art\, the San Jose In stitute of Contemporary Art\, the University of Delaware\, the Asheville Mu seum of Art\, and the Houston Center for Photography. His work is included in the collections of the Brooklyn Museum of Art\, Museum of Contemporary A rt\, Chicago\, and the Museum of Modern Art\, New York and is currently han ging in the U.S. Embassy in Bulgaria. He has received prestigious awards fr om Artadia\, the Fund for Art and Dialogue\; and The Louis Comfort Tiffany Foundation. Formerly from Chicago\, he currently lives and works in Souther n California\, where he is the Michael G. and C. Jane Wilson Chair in Arts and the Humanities at Harvey Mudd College in Claremont.

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DTEND:20150117 DTSTAMP:20141024T185654 DTSTART:20141116 GEO:37.8918842;-122.2797346 LOCATION:Traywick Contemporary\,895 Colusa Avenue \nBerkeley \, CA 94707 SEQUENCE:0 SUMMARY:A Desert that Faces an Ocean\, Ken Fandell UID:361502 END:VEVENT END:VCALENDAR