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This exhibit features the two artists Patti Oji and Patrcia Leeds.

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< span style="font-size: small\;">Patti Oji creates intimate portraits in her Still Lives.  A teacup\, a bowl of cherries\, or a cluster of marbles tell s the story of the people outside the frame.  She uses darker palates and d eep shadows to create a somber or reflective mood\, capturing private\, per sonal moments.

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Patricia Leeds is an abstract artist who entices the view er’s senses through her use of imagery\, color and texture.

DTEND:20130507 DTSTAMP:20140728T084131 DTSTART:20130412 GEO:37.9734453;-122.5317766 LOCATION:art works downtown\,1337 Fourth Street \nsan rafael\, CA 94901 SEQUENCE:0 SUMMARY:Oji + Leeds\, Patti Oji\, Patrcia Leeds UID:271222 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130507 DTSTAMP:20140728T084131 DTSTART:20130410 GEO:37.9734453;-122.5317766 LOCATION:art works downtown\,1337 Fourth Street \nsan rafael\, CA 94901 SEQUENCE:0 SUMMARY:“Spontaneous Perceptions” the art of Dominican University Art Stude nts UID:271223 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Kala Art Institute and Berkeley Central Arts Passage present Supra Natural. Please join us for the Opening Reception on Wednesday\, February 20\, 6-8pm.
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Supra Natural presents the work of five visual artists an d one writer as it relates to the immeasurable character of nature: big\, b eyond\, fast\, mystical\, and utterly overwhelming. Supra Natural  is the second exhibition in this new exhibition series featuring artworks f rom Berkeley-based artists and the Kala community. With three exhibitions y early\, Berkeley Central Arts Passage looks forward to being a part of the vibrant downtown Berkeley Arts District and forging new connections between artists and audience.
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Bessma Khalaf presents two large-scale photographs that dwarf the viewer and one that cr eates a mystical tableau. Carrie Hott installs a compilati on of research in various mediums making her subject familiar but peculiar. Elizabeth Mooney’s paintings capture a contemporary take on landscape painting – she is concerned with the speed with which we perce ive nature today. Three prints by George Pfau focus on the permeable and transitional nature of skin and of the human body itself. Mayumi Hamanaka’s work investigates human stories as they re late to the landscapes – socio-historical and psychological both – that we inhabit and traverse. Sarah Fontaine presents a language-b ased work that speaks to the immensity of responsibility.

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Viewing hours: Monday - Saturday 9am-6pm\, Sunday 10am-5pm
DTEND:20130510 DTSTAMP:20140728T084131 DTSTART:20130215 GEO:37.8654727;-122.2625529 LOCATION:Berkeley Central Arts Passage\,2055 Center Street\, (between Shatt uck and Milvia) \nBerkeley \, CA 94704 SEQUENCE:0 SUMMARY:Supra Natural \, Bessma Khalaf\, Carrie Hott\, Elizabeth Mooney\, G eorge Pfau\, Mayumi Hamanaka\, Sarah Fontaine UID:259182 END:VEVENT BEGIN:VEVENT DTEND:20130220T200000 DTSTAMP:20140728T084131 DTSTART:20130220T180000 GEO:37.8654727;-122.2625529 LOCATION:Berkeley Central Arts Passage\,2055 Center Street\, (between Shatt uck and Milvia) \nBerkeley \, CA 94704 SEQUENCE:0 SUMMARY:Supra Natural \, Sarah Fontaine\, Mayumi Hamanaka\, Carrie Hott\, B essma Khalaf\, Elizabeth Mooney\, George Pfau UID:259183 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"Schrödinger's Cats"

New works by Andrew Chapman\ , Aaron Finnis\, Dana Hemenway\, Christopher Fülleman\, and Ginger Wolfe-Su arez &\; Primitivo Wolfe-Suarez.

"Schrödinger's Cats" is a tw o-part exhibition organized by Aaron Harbour and Jackie Im. Artists have be en invited to contribute a work not entirely present in a final\, physical manifestation\; instead\, something hovering in an intermediary state waiti ng to be substantiated. 

Schrödinger’s Cat: a cat that might be alive or dead\, depending on an earlier random event. Erwin Schrödinger des cribed how one could\, in principle\, transpose the superposition of an ato m to large-scale systems. He proposed a scenario with a cat in a sealed box \, wherein the cat's life or death depended on the state of a subatomic par ticle. According to Schrödinger\, the Copenhagen interpretation implies tha t the cat remains both alive and dead (to the universe outside the box) unt il the box is opened.

The show will be repeated at the Popular W orkshop (SF) in June of this year. Works will change in scale\, content\, a nd arrangement.

Aaron Harbour and Jackie Im live and work in Oak land\, CA. This is the first exhibition they have organized at the gallery.

DTEND:20130510 DTSTAMP:20140728T084131 DTSTART:20130406 GEO:37.841679;-122.252926 LOCATION:Important Projects\,5432 Boyd Ave. \nOakland\, CA 94618 SEQUENCE:0 SUMMARY:Schrödinger's Cats\, Andrew Chapman\, Aaron Finnis\, Dana Hemenway\ , Christopher Fülleman\, Ginger Wolfe-Suarez\, Primitivo Suarez-Wolfe UID:269277 END:VEVENT BEGIN:VEVENT DTEND:20130406T200000 DTSTAMP:20140728T084131 DTSTART:20130406T180000 GEO:37.841679;-122.252926 LOCATION:Important Projects\,5432 Boyd Ave. \nOakland\, CA 94618 SEQUENCE:0 SUMMARY:Schrödinger's Cats\, Andrew Chapman\, Aaron Finnis\, Christopher Fü lleman\, Dana Hemenway\, Primitivo Suarez-Wolfe\, Ginger Wolfe-Suarez UID:269278 END:VEVENT BEGIN:VEVENT DESCRIPTION:\n

Opening Reception is part of the South FIRST FRIDAYS monthly art walk\, April 5\, 2013.

DTEND:20130511 DTSTAMP:20140728T084131 DTSTART:20130405 GEO:37.3305872;-121.8862658 LOCATION:Anno Domini\,366 South First St. \nSan Jose\, CA 95113 SEQUENCE:0 SUMMARY:Death Will Tear Us Apart\, Mike Egan UID:269197 END:VEVENT BEGIN:VEVENT DTEND:20130405T230000 DTSTAMP:20140728T084131 DTSTART:20130405T190000 GEO:37.3305872;-121.8862658 LOCATION:Anno Domini\,366 South First St. \nSan Jose\, CA 95113 SEQUENCE:0 SUMMARY:Death Will Tear Us Apart\, Mike Egan UID:269198 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Fouladi Projects is pleased to present a new body of work by American painter Marcus Payzant. His work is composed of an artfully chore ographed mix of abstract shapes\, painterly brush strokes\, and sensitively rendered imagery. The disparate styles co-mingle curiously\, prompting a s hift in perception and provoke commentary about what might otherwise be ove rlooked. Payzant's work also explores his intrigue with animism\, the belie f that a spiritual essence emanates from all things\, both inanimate and li ving. Detritus\, carcasses\, rocks\, plants\, etc. become "relics" worthy o f contemplation\, and through his process of re-contextualizing these objec ts upon the canvas\, they take on new meaning. By blurring the lines betwee n what is familiar and what is unexpected\, his paintings resonate a transc endent quality\, inviting us on a visual journey connecting the past\, the present and the future. 

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Payzant recently received his masters in F ine Art from UT Austin where he currently lives and works. 

DTEND:20130511 DTSTAMP:20140728T084131 DTSTART:20130315 GEO:37.7719101;-122.4232744 LOCATION:fouladi projects\,1803 Market St. \nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:"Shifted Perception" featuring work by Marcus Payzant\, Marcus Payz ant UID:262313 END:VEVENT BEGIN:VEVENT DTEND:20130315T200000 DTSTAMP:20140728T084131 DTSTART:20130315T180000 GEO:37.7719101;-122.4232744 LOCATION:fouladi projects\,1803 Market St. \nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:"Shifted Perception" featuring work by Marcus Payzant\, Marcus Payz ant UID:262314 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Fouladi Projects is pleased to present a new body of work by American painter Marcus Payzant. His work is composed of an artfully chore ographed mix of abstract shapes\, painterly brush strokes and sensitively r endered imagery. The disparate styles co-mingle curiously\, prompting a shi ft in perception\, and provoke commentary about what might be otherwise ove rlooked. Payzants work also explores his intrigue with animism\, the belief that a spiritual essence emanates from all things\, both inanimate and liv ing. Detritus\, carcasses\, rocks\, etc. become "relics" worthy of contempl ation\, and through his process of recontextualizing these objects upon the canvas\, they take on new meaning. His depiction of entropy within nature reminds the viewer of both the beauty and inevitability of decay. By blurri ng the lines between what is familiar and what is unexpected\, his painting s resonate a transcendent quality\, inviting us on a visual journey connect ing the past\, the present and the future. \;

Payzant recent ly received his masters in fine art from UT Austin\, where he currently liv es and works.

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DTEND:20130511 DTSTAMP:20140728T084131 DTSTART:20130315 GEO:37.7719101;-122.4232744 LOCATION:fouladi projects\,1803 Market St. \nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:Shifted Perceptions\, Marcus Payzant UID:290893 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Jessica Silverman Gallery is pleased to present “ Lunar Mirror\,” a show of new work by Christo pher Badger\, on view from March 22 to May 4\, 2013\, extended thr ough May 11.

The exhibit ion will debut a series of sculptures made of polished cast aluminum called  "Lunar Mirrors\," and a 7x7 foot chalk-and-oil paintin g\, titled "Shadow Phase."
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Inspired by artists such as Robert Smiths on\, Sol LeWitt and Heinz Mack along with ancient Greek geometers and NASA photographers\, Badger continues his exploration of abstraction and earthwo rks. Using the moon as his touchstone\, this body of work also advances Bad ger’s interest in objective maps with subjective associations as well as th e ambiguous relationship between reflections and projections.
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In making the “Lunar Mirror” reliefs\, Badger starts with aerial photogr aphs of the moon produced by the Apollo 15 crew in 1974. He traces the topo graphical lines of the photos\, makes a vector map\, and uses a 3-D modelin g program to create digital files from which the works are cast. The result ing aluminum sculptures are then polished to a fine mirror finish so that t he viewer can see his/her own reflection\, rippled and distorted\, in its s urface. The resulting reflections\, like the moon itself\, appear and disap pear\; they are constant but changing\, unattainable but common to all.
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“Shadow Phase” is an elegant abstract painting on black gesso ground. On top of the smooth surface are white lines made of chalk and oil that hark back to classical Greek mathematical equations from 300 BC and Mi nimalist ideals of beauty from the 1960s and 70s.
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\nThe exhib ition will also feature eight new 4x4 foot paintings\, also oil and chalk o n black gesso\, from Badger’s “Construction 3-15” series.\n \n
A s Leonard Cohen memorably put it\, “They’ll never ever reach the moon\, at least not the one that we’re after.”
DTEND:20130511 DTSTAMP:20140728T084131 DTSTART:20130322 GEO:37.7847074;-122.4142568 LOCATION:Jessica Silverman Gallery\,488 Ellis Street \nSan Francisco\, CA 9 4109 SEQUENCE:0 SUMMARY:Lunar Mirror\, Christopher Badger UID:264071 END:VEVENT BEGIN:VEVENT DTEND:20130322T200000 DTSTAMP:20140728T084131 DTSTART:20130322T180000 GEO:37.7847074;-122.4142568 LOCATION:Jessica Silverman Gallery\,488 Ellis Street \nSan Francisco\, CA 9 4109 SEQUENCE:0 SUMMARY:Lunar Mirror\, Christopher Badger UID:264072 END:VEVENT BEGIN:VEVENT DESCRIPTION:

John Berggruen Gallery is pleased to present The Time is Now\, a group exhibition featuring Doug Aitken\ , Darren Almond\, Diane Arbus\, Richard Artschwager\, Michael Craig-Martin\ , Hans Peter-Feldmann\, Lee Friedlander\, Philip Guston\, Jasper Johns\, Ka ren Kilimnik\, Vera Lutter\, Christian Marclay\, Tom McKinley\, Tin Ojeda\, Richard Prince\, Robert Rauschenberg\, Linda Ridgway\, Ugo Rondinone\, Jam es Rosenquist\, Ed Ruscha\, Stephen Shore\, Taryn Simon and Lawrence Weiner .

The Time is Now brings together a group of works that acknowledge and contend with the r epresentation of time (past\, present and future)\, and how it is reinterpr eted and revealed across diverse media. Through drawing\, sculpture\, insta llation\, sound and light this exhibition illustrates the continuing human fascination with exploring the concept of time\, both in the metaphysical a nd physical sense. This exhibition evades easy classification\, with each a rtist bringing their own experience to one of the oldest topics that defies the typical social\, cultural and political context.

In its most literal sense\, the clock serves as a common allegorical image to convey how we calculate the presence of ti me within our lives. Philip Guston’s colorful\, almost whimsical portrait o f a timepiece shows the city below\, dwarfed and eventually crushed by the presence of a large clock. For a more abstract representation\, there is Do ug Aitken’s lightbox depicting a beautiful island vista glimpsed simply thr ough the ominous word “END.” Both of these images speak directly to the fea r underlying every artist’s curiosity and obsession with the progression of time.

Another interesti ng element is the effect of the passage of time on the work itself. In 1967 \, Lee Friedlander was documenting everyday American life\, while today his snapshot of a television in “Aloha\, Washington\,” is an artifact\, depict ing obsolete technology rendering his image to a specific period within our history. This overarching theme is segmented even further as the work feat ured stretches from the early 1960’s to present day\, created by artists bo th living and dead born between 1913 and 1982.

Grouped together\, all of these images display the i mpulse to transcend our inevitable circumstances and capture or define the ultimate progression of time\, an unstoppable force. The result is a group show that circumnavigates the expectations of typical group shows\, turning the viewer into part of the experience\, by reminding us all of the import ance of each passing minute. 

The exhibition will be on view April 4-May 4\, 2013 on two floors of exhibition space. John Berggruen Gallery will host a reception on Thursday\ , April 4th between 5:30 and 7:30 p.m. 

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The exhibit will coincide with C hristain Marclay’s film “The Clock” being shown at SFMOMA from April 6th-Ju ne 2nd.

DTEND:20130511 DTSTAMP:20140728T084131 DTSTART:20130404 GEO:37.7889453;-122.4053056 LOCATION:John Berggruen Gallery\,228 Grant Ave. \nSan Francisco\, CA 94108 SEQUENCE:0 SUMMARY:The Time is Now\, Doug Aitken\, Darren Almond\, Diane Arbus\, Richa rd Artschwager\, Michael Craig-Martin\, Lee Friedlander\, Philip Guston\, J asper Johns\, Karen Kilimnik\, Vera Lutter\, Christian Marclay\, Tom McKinl ey\, Tin Ojeda\, Richard Prince\, Robert Rauschenberg\, Linda Ridgway\, Ugo Rondinone\, James Rosenquist\, Ed Ruscha\, Stephen Shore\, Taryn Simon\, L awrence Weiner\, Hans-Peter Feldmann UID:267962 END:VEVENT BEGIN:VEVENT DTEND:20130404T193000 DTSTAMP:20140728T084131 DTSTART:20130404T173000 GEO:37.7889453;-122.4053056 LOCATION:John Berggruen Gallery\,228 Grant Ave. \nSan Francisco\, CA 94108 SEQUENCE:0 SUMMARY:The Time is Now\, Doug Aitken\, Darren Almond\, Diane Arbus\, Richa rd Artschwager\, Michael Craig-Martin\, Hans-Peter Feldmann\, Lee Friedland er\, Philip Guston\, Jasper Johns\, Karen Kilimnik\, Vera Lutter\, Christia n Marclay\, Tom McKinley\, Tin Ojeda\, Richard Prince\, Robert Rauschenberg \, Linda Ridgway\, Ugo Rondinone\, James Rosenquist\, Ed Ruscha\, Stephen S hore\, Taryn Simon\, Lawrence Weiner UID:267963 END:VEVENT BEGIN:VEVENT DESCRIPTION:

*"In our hearts\, we hope w e never discover everything." 
– E. O. Wilson

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DTEND:20130511 DTSTAMP:20140728T084131 DTSTART:20130329 GEO:37.7517368;-122.4180121 LOCATION:Ratio 3\,2831A Mission St. \nSan Francisco\, CA 94110 SEQUENCE:0 SUMMARY:Magnetic North\, Christopher Williams\, Mitzi Pederson\, Geof Oppen heimer\, Takeshi Murata\, Ryan McGinley\, Roni Horn\, Sigurdur Gudmundsson\ , Buck Ellison\, Birgir Andrésson UID:265369 END:VEVENT BEGIN:VEVENT DTEND:20130329T200000 DTSTAMP:20140728T084131 DTSTART:20130329T180000 GEO:37.7517368;-122.4180121 LOCATION:Ratio 3\,2831A Mission St. \nSan Francisco\, CA 94110 SEQUENCE:0 SUMMARY:Magnetic North\, Birgir Andrésson\, Buck Ellison\, Sigurdur Gudmund sson\, Roni Horn\, Ryan McGinley\, Takeshi Murata\, Geof Oppenheimer\, Mitz i Pederson\, Christopher Williams UID:265370 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Romer Young Gallery is pleased to present its second so lo exhibition with artist ERIK SCOLLONA Moment Lasts Forever Until It’s Gone presents a new series of ceramic objects that explores our desire for the continual renewal of presentness and our very human attempts to h old on to that state.
 
This present\, so fleeting and e lusive\, this present and this place\, like no other place\, impossible to be like any other place... We should remember how\, once\, we were in the p resent of this wonderful place. To more intensively lived present\, to an o verwhelming place. – Felix Gonzalez-Torres
 
Scollon’s first exhibition with the gallery\, The Urge\, playfully satirized a quote from Adolf Loos’ essay Ornament and Crime. The essay beca me the conceptual underpinning for the show\, inspiring a series of pieces that questioned and re-contextualized our relationship to vessels and anti- vessels. For this new exhibition\, A Moment Lasts Forever Until It’s Go ne\,Scollon approaches the work from a much more personal per spective and presents us with a series of objects that are a physical manif estation of himself and his mid-life look at the body\, hope\, love\, beaut y\, heartbreak and their insistent impermanence.

At the heart of this exploration is the idea of ti me as an instrument and arbiter. We all share in this universal presence an d impermanence\, but through the art of creation Scollon finds for himself\ , as well as for others\, the possibility of transcendence. The artist uses a series of porcelain photographs\, ceramic flowers\, and other things cre atively borrowed from vanitas painting to use as an engine of renewal.  "Th e works give permanence\, through ceramic\, to our bodies\, to the things t hat are here\, now\, but not forever… Our bodies are insistently here\, som etimes\, and then at other times\, so easy to ignore. Ceramics can carry on a permanent unchanging life if cared for. Or can be shattered beyond repai r just as easily." In this exhibition fleeting objects are built in a way t hat puts a premium upon physical presence. The porcelain photograph and flo wers series - strong\, beautiful\, hopeful representations of things that u ltimately will change - are invested with meaning and memories about people \, places\, events that are at once personal and collective.
ERIK SCOLLON  is an artist and educator based in Oakland\, California. Scollon was r ecently the artist in residence at Albion College\, MI and Watershed Center for the Ceramic Arts in Maine. In 2008 Scollon was selected to participate in Yerba Buena Center for the Arts’ Bay Area Now 5 show. His work has been exhibited and seen in venues as diverse as galleries\, craft fair s\, museum shows\, and gay biker bars.  He teaches at California College of the Arts.

DTEND:20130511 DTSTAMP:20140728T084131 DTSTART:20130405 GEO:37.7576425;-122.3935879 LOCATION:Romer Young Gallery\,1240 22nd St \nSan Francisco\, CA 94107 SEQUENCE:0 SUMMARY:A Moment Lasts Forever Until It's Gone\, Erik Scollon UID:266686 END:VEVENT BEGIN:VEVENT DTEND:20130405T210000 DTSTAMP:20140728T084131 DTSTART:20130405T180000 GEO:37.7576425;-122.3935879 LOCATION:Romer Young Gallery\,1240 22nd St \nSan Francisco\, CA 94107 SEQUENCE:0 SUMMARY:A Moment Lasts Forever Until It's Gone\, Erik Scollon UID:266687 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Opening event: Artists in conversation with Hou Hanru at 7pm

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Produced during their two month residency in San Francisco\, Young-Hae Chang Heavy Industries present P acific Limn\, a three-part narrative\, mixing thier signature rhythmic approach with the cultural climax of San Francisco. According to the artist s\, the word "Limn" calls upon both its literal meaning to "depict or descr ibe in painting or words\," but also self-consciously substitutes the word Rim\, pointing to the slippage between "L" and "R" in some Asian languages.

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Alternating between a seductive and acerbic use of language\, Pacif ic Limn combines erotic fantasy with sardonic wit. The project continu es YHCHI's exploration of "digital literature"\, a combination of up-tempo music\, the Monaco typeface\, and Adobe Flash text animation. Superimposed over static or moving images\, the texts appear at a pace just within the t hreshold of cognition. In this way\, YHCHI creates an immersive experience that fluctuates between reading and watching.

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Young-Hae Chang Heavy Industries (YHCHI) presents  Pacific Limn (2013)

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Three-channel HD QuickTime video\, 25 minutes 13 seconds ea ch\, entitled:
- WHY AM I AFRAID OF THE U.S.A.?
- I TRIED TO DISC USS COMMUNISM WITH THE CHINESE 
  BUT NO ONE WANTED TO TALK TO ME
- THE SECRET LIFE OF HARUMI

Original texts and music soundtrack s
Flexible dimensions

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Formed in 1999\, Young-Hae Chang Heavy I ndustries consists of Young-hae Chang and Marc Voge.

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 Extended through Sunday\, May 12

DTEND:20130512 DTSTAMP:20140728T084131 DTSTART:20130406 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:Pacific Limn\, YOUNG-HAE CHANG HEAVY INDUSTRIES (YHCHI) UID:268791 END:VEVENT BEGIN:VEVENT DTEND:20130403T210000 DTSTAMP:20140728T084131 DTSTART:20130403T170000 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:Pacific Limn\, YOUNG-HAE CHANG HEAVY INDUSTRIES (YHCHI) UID:268792 END:VEVENT BEGIN:VEVENT DESCRIPTION:

What is it like to look at the world with the sharpened powers of observ ation and insight of a masterful painter?

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This fall\, SJMA offers vi sitors the rare opportunity to look in depth at the practice of painting th rough the work of one of the most influential American painters of our time . Eric Fischl’s art is grounded in his keen understanding of the his torical language and the craft of painting. For him\, tradition serves as a n infrastructure for innovation: he uses age-old academic preparatory pract ices side by side with digital photography and Photoshop. Dive Deep invites you to track Fischl’s ever-adapting technical practice and his path from concept to completed work.  

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Drawn from major public and priva te collections in the United States\, the paintings are accompanied by more than one hundred beautifully fluid studies in various media: drawings\, oi l sketches\, sculptures\, digital composites\, photographs\, and printsmany never previously seen by the public. They illustrate how th e expressive power of Fischl’s subjects evolves as he juggles compositional components\, figures\, props\, and narrative tension. Schooled as an abstr act painter and self-taught as a representational artist\, Fischl mines his torical painting and photography for source material. His approach to the h uman figure is rooted in esteemed figurative traditions\, yet given a disti nctly radical 21st-century twist of content. To illustrate this aspect of h is art\, the exhibition includes a group of original photographs by the art ist Thomas Eakins (1844–1914) and his circle\, which Fischl has refe renced\, and at times quoted\, in his work. 

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This exhibition explore s the making of painting as well as the conceptual underpinnings of the art ist’s narrative. It offers visitors a profound\, insider’s understanding of the process of painting and of the careful act of looking.  

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Div e Deep: Eric Fischl and the Process of Painting is organized by the San Jose Museum of Art and the Pennsylvania Academy of the Fine Arts\, Philade lphia.

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DTEND:20130512 DTSTAMP:20140728T084131 DTSTART:20121027 GEO:37.3332706;-121.890218 LOCATION:San Jose Museum of Art\,110 South Market St. \nSan Jose\, CA 95113 SEQUENCE:0 SUMMARY:Dive Deep: Eric Fischl and the Process of Painting\, Eric Fischl UID:229903 END:VEVENT BEGIN:VEVENT DTEND:20121027T170000 DTSTAMP:20140728T084131 DTSTART:20121027T110000 GEO:37.3332706;-121.890218 LOCATION:San Jose Museum of Art\,110 South Market St. \nSan Jose\, CA 95113 SEQUENCE:0 SUMMARY:Dive Deep: Eric Fischl and the Process of Painting\, Eric Fischl UID:229904 END:VEVENT BEGIN:VEVENT DESCRIPTION:

SFMOMA's skyward sculpture garden showcases well-known and recently acqu ired works from the museum's collection. Sculptures spanning the last five decades by artists such as Robert Arneson\, Louise Bourgeois\, Alexander Ca lder\, Ellsworth Kelly\, Mario Merz\, Barnett Newman\, Ranjani Shettar\, an d Kiki Smith are featured in both open-air and enclosed spaces.

DTEND:20130512 DTSTAMP:20140728T084131 DTSTART:20090510 GEO:37.7859357;-122.4007612 LOCATION:SFMOMA - San Francisco Museum of Modern Art\,151 3rd St. \nSan Fra ncisco\, CA 94103 SEQUENCE:0 SUMMARY:Rooftop Garden\, Robert Arneson\, Louise Bourgeois\, Alexander Cald er\, Ellsworth Kelly\, Mario Merz\, Barnett Newman\, Ranjani Shettar\, Kiki Smith UID:103750 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Existing somewhere between Conceptual art and "social sculpture\," Ben K inmont's artwork takes the form of gesture\, conversation\, and promise\, a s well as the things that support and document such acts: contracts\, trans cripts\, prints\, shared meals. This exhibition in the Koret Visitor Educat ion Center presents ephemeral and archival material related to three of Kin mont's projects — the interview-based Moveable Type No Documenta a nd On Becoming Something Else\, as well the exhibition Promise d Relations\; or\, thoughts on a few artists' contracts— that weigh th e boundaries between art and the practice of everyday life.

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Source: http://www.sfmoma.org/exhib_event s/exhibitions/465#ixzz22mQjI2Fw
San Francisco Museum of Modern Art DTEND:20130512 DTSTAMP:20140728T084131 DTSTART:20120901 GEO:37.7859357;-122.4007612 LOCATION:SFMOMA - San Francisco Museum of Modern Art\,151 3rd St. \nSan Fra ncisco\, CA 94103 SEQUENCE:0 SUMMARY:Prospectus \, Ben Kinmont UID:229922 END:VEVENT BEGIN:VEVENT DTEND:20120901T190000 DTSTAMP:20140728T084131 DTSTART:20120901T170000 GEO:37.7859357;-122.4007612 LOCATION:SFMOMA - San Francisco Museum of Modern Art\,151 3rd St. \nSan Fra ncisco\, CA 94103 SEQUENCE:0 SUMMARY:Prospectus \, Ben Kinmont UID:229923 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Saturday\, May 11\, 11:00 a. m. - Sunday\, May 12\, 5:45 p.m.

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Six continuous screenings offer the opp ortunity to view the 24-hour piece in full.

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Please note: Seating capacit y is limited to only 81 visitors at a time. Admission to the installation i s on a first-come\, first-served basis\, with no time limits for viewers\, and demand is expected to be high\; queues may be expected. Follow @TheCloc kSFMOMA on Twitter for estimated wait times.

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DTEND:20130512 DTSTAMP:20140728T084131 DTSTART:20130511 GEO:37.7859357;-122.4007612 LOCATION:SFMOMA - San Francisco Museum of Modern Art\,151 3rd St. \nSan Fra ncisco\, CA 94103 SEQUENCE:0 SUMMARY:'The Clock' Continuous Screening (May 11-12) \, Christian Marclay UID:265912 END:VEVENT END:VCALENDAR