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Art Works Downtown announces drawing\, a show of original artwo rk\, juried by Suzanne Gray McSweeney and Donna Seagergray of Seagergray Ga llery.

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The show includes 28 artists from the San Francisco Bay Area. The theme of the show is drawing in all forms. While traditional drawings were welcome in the submission process\, the jurors encouraged non-traditional mediums and concepts pushing the boundaries of drawing. Drawing media inclu des charcoal\, pencil\, pastel\, marker\, and mixed media.

DTEND:20130705 DTSTAMP:20141228T220450 DTSTART:20130524 GEO:37.9734453;-122.5317766 LOCATION:art works downtown\,1337 Fourth Street \nsan rafael\, CA 94901 SEQUENCE:0 SUMMARY:Drawing UID:281842 END:VEVENT BEGIN:VEVENT DTEND:20130614T200000 DTSTAMP:20141228T220450 DTSTART:20130614T170000 GEO:37.9734453;-122.5317766 LOCATION:art works downtown\,1337 Fourth Street \nsan rafael\, CA 94901 SEQUENCE:0 SUMMARY:Drawing UID:281843 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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This is a collaborative exhibitio n between RayKo Photo Center and the Center for Fine Art Photography in Ft. Collins\, Colorado. Center Forward was juried by gallery directors\ , Hamidah Glasgow and Ann Jastrab.  The exhibit brings together the visions of both curators and explores the current trends in contemporary photograp hy. Featuring 42 artists from across the country and around the globe. High lights include Noah David Bau’s portraits depicting young professional Muay Thai (Thai Boxing) fighters in Bangkok from his series “This is My Body\,” Susan Barnett’s “Not in Your Face” alternative portrait series\, and Brett Van Ort’s massive interactive “Minescape” pictures that initially just see m like sublime color landscapes\, but indeed there are landmines or bombs b uried within them. Brett will also be here signing copies of his newly publ ished book of the same name.

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\n DTEND:20130705 DTSTAMP:20141228T220450 DTSTART:20130530 GEO:37.7821062;-122.3969007 LOCATION:Rayko Photo Center\,428 Third St \nSan Francisco\, CA 94107 SEQUENCE:0 SUMMARY:Center Forward\, Susan Barnett\, Noah David Bau\, Brett Van Ort UID:275716 END:VEVENT BEGIN:VEVENT DTEND:20130530T200000 DTSTAMP:20141228T220450 DTSTART:20130530T180000 GEO:37.7821062;-122.3969007 LOCATION:Rayko Photo Center\,428 Third St \nSan Francisco\, CA 94107 SEQUENCE:0 SUMMARY:Center Forward\, Susan Barnett\, Noah David Bau\, Brett Van Ort UID:275717 END:VEVENT BEGIN:VEVENT DESCRIPTION:

 RAYKO PHOTOGRAPHY EXHIBITION

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Documents the great story of country music

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Honky Tonk

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Photographs by Henry Horenstein

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Forty years after he began documenting the country m usic scene in and around Nashville\, Henry Horenstein’s deep love for the m usic and its people continues. Having spent a lifetime around performers an d fans\, he has been granted access to the high-glamour backstage at the Gr and Ole Opry in its heyday as well as the rough-and-tumble dive bars and fa mily-friendly festivals. Spanning from 1972-2011\, Horenstein’s photographs featured in his book\, “Honky Tonk” capture the irrepressible spirit of an American institution as it has evolved over the years. Familiar stars incl uding Dolly Parton\, Jerry Lee Lewis\, Waylon Jennings\, Tex Ritter\, Ralph Stanley\, and Tammy Wynette are seen here alongside the familiar venues an d enthusiastic fans that sustained them. Horenstein’s photographs and the l atest edition of his book are as evocative and irresistible as the music it self.

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Visit RayKo during the opening reception to meet the legend himself\, see his prints and have him sign a c opy of his beautiful and nostalgic book\, “Honky Tonk\, Portraits of Countr y Music.”

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Henry Horenstein has been a professional photographer\, teache r\, and author since the 1970s. He studied history at the University of Chi cago before turning to photography\, earning his BFA and MFA at Rhode Islan d School of Design (RISD)\, while studying under legendary photographers Ha rry Callahan and Aaron Siskind. Henry's work is collected and exhibited int ernationally\, and he has published over 30 books\, including Black & \; White Photography: A Basic Manual\, used by hundreds of thousands of college\, university\, high school\, and art school students as their intr oduction to photography. He has also published several monographs of his ow n work\, including Show\, Honky Tonk\, Animalia\, Humans\, Racing Days\, Close Relations\, and many others. Henry lives in Boston \, and is professor of photography at RISD. His photographs can be seen at www.horenstein.com

DTEND:20130705 DTSTAMP:20141228T220450 DTSTART:20130530 GEO:37.7821062;-122.3969007 LOCATION:Rayko Photo Center\,428 Third St \nSan Francisco\, CA 94107 SEQUENCE:0 SUMMARY:Honky Tonk\, Henry Horenstein UID:276019 END:VEVENT BEGIN:VEVENT DTEND:20130530T200000 DTSTAMP:20141228T220450 DTSTART:20130530T180000 GEO:37.7821062;-122.3969007 LOCATION:Rayko Photo Center\,428 Third St \nSan Francisco\, CA 94107 SEQUENCE:0 SUMMARY:Honky Tonk\, Henry Horenstein UID:276020 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130706 DTSTAMP:20141228T220450 DTSTART:20130614 GEO:37.9734453;-122.5317766 LOCATION:art works downtown\,1337 Fourth Street \nsan rafael\, CA 94901 SEQUENCE:0 SUMMARY:Solo Exhibition\, Lawrence Way UID:281844 END:VEVENT BEGIN:VEVENT DTEND:20130614T200000 DTSTAMP:20141228T220450 DTSTART:20130614T170000 GEO:37.9734453;-122.5317766 LOCATION:art works downtown\,1337 Fourth Street \nsan rafael\, CA 94901 SEQUENCE:0 SUMMARY:Solo Exhibition\, Lawrence Way UID:281845 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Dolby Chadwick Ga llery is pleased to announce Continuous Wave\, an exhibition of new paintings by Ian Kimmerly. Kimmerly boldly embraces the disparate by integrating vari ous styles and techniques into each painting. Softly blurred photorealistic figures slip between abstract gestures while gleaming\, thickly impastoed streaks of paint are counterbalanced by bright\, geometric pops of color. T hough the final paintings depend on a number of different factors\, his pro cess typically involves the same set of steps: after priming the canvas wit h an acrylic glaze and placing the figures\, Kimmerly begins adding generou s layers of paint that he manipulates and scrapes away while still wet. Fig ures subsequently get moved around and incorporated into the surrounding gr ound while he builds up his painting’s surfaces.  

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Within the tensions generated betw een nonobjective and illusory space\, notes of Abstract Expressionism\, Bay Area Expressionists such as Richard Diebenkorn and Elmer Bischoff\, Gerhar d Richter\, and John Singer Sargent are evident. As accumulations of styles and influences—and ideas and experiences—Kimmerly’s paintings look almost as if “they’re being constructed in front of you. You can see the seams hol ding them together and\, at the same time\, you can also see them falling a part. I like when you can see how something is built. There’s a sense of te nuousness about it.” With respect to his fragmented\, deconstructed aesthet ic Kimmerly explains: “I try to ask questions about reality through my pain tings. What is actually holding everything together? To have an image that’ s in the process of breaking apart and reforming before your eyes touches u pon that question.”

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One of the earliest inspirations for this body of work can be traced back to a personal project to convert old\ , VHS home movies to DVD. Initially intrigued by distortions that occasiona lly occurred during the conversion process\, Kimmerly began to ask himself what the goals of such projects were and whether or not technology somehow assists with or alters memory. Do we\, for instance\, only remember certain incidents because a parent took a video or picture of them? Such questions led Kimmerly to consider how modern innovations\, particularly social medi a\, and the ulterior motives of mediating technologies\, such as touchscree ns and rotating billboards\, have altered not only how we think and remembe r\, but also how we interact and exist. 

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Kimmerly’s pain tings explore these issues by attempting to both embody the complexity of h uman consciousness and reflect how modern “advancements” have rendered it i ncreasingly fractured and disoriented. To create paintings that are as comp licated as those experiences we live\, Kimmerly often uses images of people and objects cast as reflections in windows\, or will mix artificial elemen ts (such as mannequins) with landscapes to create a subtle sense of dissona nce. Figures both 

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“real” and artificial are awash in a kind of visual static that produces a sense of distance between viewer and subjects: “I’m trying to show a struggle to have a close relationships with the subjects\,” Kimmerly explains\, “there’s always a distancing. There ar e things you’re fighting against to see what’s happening.”

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Water Logic (2012) exemplifies the struggle to know\, grasp\, and connect—to reconcile the self with the subjects and setting. Inspired by a n image in the pages of a vintage National Geographic\, Water Log ic depicts a family soaking in a Finnish hot spring. Each person’s face is hazy though particularized\, while pools of simmering mineral waters ma squerading as abstract gestures flow over and around their bodies. Water is \, of course\, something that you have to look into\, through\, and dependi ng on its opacity\, beyond. To know what is on the other side you have to a cutely engage the mind and imagination. Water is also a unifying and harmon izing force that envelopes its bathers both and aligns them with the rhythm of its currents. By using abstraction as an analogue to water\, Kimmerly a sks us to consider how art and\, in particular\, painting\, can help return us to the real. His painting—themselves material\, tactile objects—embody and activate sensory experiences that force us to see the natural symmetry that binds all together.

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Ian Kimmerly was born in Northp ort\, Michigan in 1980. He earned his BFA from the University of Michigan i n 2002 followed by his MFA from the University of Arizona in 2005. He has e xhibited across the United States and the San Francisco Bay Area\, includin g most recently at San Francisco’s Southern Exposure. This will be his firs t solo show the Dolby Chadwick Gallery.

DTEND:20130706 DTSTAMP:20141228T220450 DTSTART:20130606 GEO:37.7887091;-122.405531 LOCATION:Dolby Chadwick Gallery\,210 Post Street Suite 205 \nSan Francisco\ , CA 94108 SEQUENCE:0 SUMMARY:Ian Kimmerly: Continuous Wave\, Ian Kimmerly UID:272590 END:VEVENT BEGIN:VEVENT DTEND:20130606T193000 DTSTAMP:20141228T220450 DTSTART:20130606T173000 GEO:37.7887091;-122.405531 LOCATION:Dolby Chadwick Gallery\,210 Post Street Suite 205 \nSan Francisco\ , CA 94108 SEQUENCE:0 SUMMARY:Ian Kimmerly: Continuous Wave\, Ian Kimmerly UID:272591 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For her second exhibition at H aines Gallery\, Bay Area based artist Allison Smith presents a series of ph otographic works on linen alongside sculptural pieces that continue her inv estigation of the cultural phenomenon underlying Living History – or the reenactment of life from another time – as it relates to early America . This tradition is founded on the principle that historical events gain me aning and relevance when performed live in an open-air\, interactive settin g. Smith reframes this rich set of activities and objects within the field of contemporary art\, prompting content-based associations.

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Smith’s research-based practice is reve aled through these photographs\, which initially operate as a form of rigor ous anthropological note taking. Printed on texturally rich linens and disp layed in wood frames\, the works not only play at the distinction between p hotograph and painting\, but also evoke the craft history they document. Sh e photographs living history villages\, museums and craft fairs throughout the United States\, approaching these venues with a keen eye for scenes tha t relate to her work\, but also instances of uncanny juxtaposition – moment s where the contemporary challenges of framing this history reveal themselv es. Isolated from their original contexts\, the objects and environments de picted begin to function as props and sets for a performance you can imagin e\, but never see unfold. The absence of human presence in these pictures i mparts a certain timelessness\, encouraging interpretations beyond the pure ly historical.

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The sculp tural works restage early-American colonial craft and textile patterns. The unfinished tilt-top tables stand new and ready for use\, like props for a reenactment. Smith\, however\, reinterprets the potential of these tables. She situates them in unusable positions\, wrapping them in silks patterned with historical textiles rendered almost psychedelic through the manipulati on of their colors and contrast. While referencing the history from which t hey are derived – most notably\, the invention of the kaleidoscope – these reflector-like objects transform into decidedly contemporary works through Smith’s intervention.

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Smith’s work ha s been the subject of numerous exhibitions and projects at institutions and is included in many collections throughout the US including the Los Angele s County Museum of Art\; San Francisco Museum of Modern Art\; Whitney Museu m of American Art\; Indianapolis Museum of Art\; Berkeley Art Museum\; Mild red Lane Kemper Art Museum\, St. Louis\, MO\; and Museum of Contemporary Ar t\, Denver\, CO. Later this month\, Allison Smith: Rudiments of Fife &am p\; Drum will open at the Aldrich Contemporary Art Museum in Ridgefield \, CT. Smith is a tenured professor and Chair of the Sculpture Program at C alifornia College of the Arts.

DTEND:20130706 DTSTAMP:20141228T220450 DTSTART:20130523 GEO:37.7877888;-122.40434 LOCATION:Haines Gallery\,49 Geary St. Suite 540\nSan Francisco\, CA 94108 SEQUENCE:0 SUMMARY:Allison Smith: Living History\, Allison Smith UID:278231 END:VEVENT BEGIN:VEVENT DTEND:20130620T193000 DTSTAMP:20141228T220450 DTSTART:20130620T173000 GEO:37.7877888;-122.40434 LOCATION:Haines Gallery\,49 Geary St. Suite 540\nSan Francisco\, CA 94108 SEQUENCE:0 SUMMARY:Allison Smith: Living History\, Allison Smith UID:278232 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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Kala Art Institute is proud to announce FREE DOM OF EXPRESSION\, an exhibition of the work of Enrique Chagoya. Co -Curated by Peter Selz and Sue Kubly\, Freedom of Expression is a survey of Chagoya’s artwork from the past thirty years\, including large charcoal and pastel drawings\, prints\, codices and three-dimensional objec ts\, many of them completed since 2000.

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Chagoya 's work incorporates historic and political subject matter to cast new inte rpretations of Mexico's history and current political events. It follows in the grand tradition of the great 20th Century Mexican muralists\; But it i s most indebted to the legendary exponents of art of social satire: José Gu adalupe Posada and Francisco Goya.

His work invokes elements of pre-Columbian mythology\, western religious iconography\, and American popular culture\, to address issues of Colonial conquest and its destructive wake\, the problems of the border an d the legacy of Mesoamerican culture. Chagoya approaches these subjects wit h a sharp but playful visual and verbal language\, fusing a sense of irony with an incisive political and personal commentary. His innovative use of t raditional media adds poignancy and surprise to his work\, which are hallma rks of his art practice.

Highlights of this show include the iconic 1984 piece\, Their Freedom of Expression…The Recovery of Their Economy\, and Recession Watchdog . Other featured works include Chagoya’s Homage to Goya II: Disaster s of War\, intaglio prints\, as well as other lithographs\, silkscreen prints\, and digital prints.

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The exhibition of Freedom of Expression and rela ted programs are generously funded by the Phyllis C. Wattis Foundation.

DTEND:20130706 DTSTAMP:20141228T220450 DTSTART:20130518 GEO:37.8523369;-122.2868193 LOCATION:Kala Art Institute\,2990 San Pablo Avenue \nBerkeley\, CA 94702 SEQUENCE:0 SUMMARY:Their Freedom of Expression\, Enrique Chagoya UID:271726 END:VEVENT BEGIN:VEVENT DTEND:20130523T200000 DTSTAMP:20141228T220450 DTSTART:20130523T180000 GEO:37.8523369;-122.2868193 LOCATION:Kala Art Institute\,2990 San Pablo Avenue \nBerkeley\, CA 94702 SEQUENCE:0 SUMMARY:Their Freedom of Expression\, Enrique Chagoya UID:271727 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Modernism is pleased to present the first U.S. exhibiti on of French artist Pierre ANTONIUCCI.

Drawing from sources ranging from antiqui ty to modernism\, Antoniucci melds these together\, dissolving the classic periods of chronological history in favor of an unbroken layer of globaliza tion that stretches back to the dawn of human history\, which day by day ge ts denser and more tightly woven than the previous day. The current exhibit ion will feature two major bodies of work by Antoniucci from the past ten y ears\, both examining the theme of time\, yet via different paths.
In Antoniucci’'s most recent s eries\, the paintings take inspiration from French author Alain Borer’s (re cipient of the Prix Apolllinaire for Icare &\; I don’t) dramatic w ork L e Quadrige Invectif (The Unruly Four-In-Hand—soon to be published in Englis h by Martin Muller Books). Here\, Borer’s text itself sparks a cavalcade of figures across various time periods (Pegasus and his mare Darling\; Fausto Coppi\, the dominant cyclist of the 1940s and 50s\; and Richard Mille\, a contemporary luxury watchmaker)\, who come together in an abstract expanse that can not really be described as a physical place. These characters enga ge in a “race against time” on hoof\, bicycle\, and Bugatti\, bantering bac k and forth as they go along.

The artist’s blank canvas here merges with the writer’s blank page. The text’s displacement and temporal slippage soon divert the cavalcade of figures into a cosmic cavalcade—poetic imagery radiates from the mix of st ampedes\, sudden halts\, and climaxes. Antoniucci has adopted the angle of childhood\, of a clownish\, mischievous Chronos who draws us into time’s cl ock case\, with its gears and wheels\, the whole mechanism being part of th e celestial universe.

In the second body of work Antoniucci continues to explore the theme of por traiture. In one grouping of works\, La Jeune Femme au Ruban (Young Girl Wi th a Ribbon)\, 2011\, color resides only in faces and hands. The bodies are reduced to a kind of silhouette\, which seems to be vanishing. “It’s the p assing of time\,” says Antoniucci\, “that makes these figures fade\, shrink \, lighten\, and disperse—it minimalizes them\, turning them into ghosts or angels.” Although some figures have lost their color\, their bodies are ve ry present—a presence with what you might call a paradoxically heavy lightn ess. The pale gray color of the bodies is the same as the ground\; only the texture of the silhouette is present. As time moves on\, becoming more rem ote\, it inevitably takes the disappearing body along with it. What remains \, in a kind of abstract punctuation\, are hands and faces. They exist in a residual\, angelic space\, as markers of human expressiveness t hat attrac t and hold memories. “The bright colors of the hands and faces were added b y spraying pigment—through filters—over layers of acrylic. Sometimes\,” say s Antoniucci\, “I wondered whether I was painting them or applying make-up to them.”

Pierre ANTON IUCCI has exhibited extensively in Europe\, and is in the collection of sev eral French museums. 

DTEND:20130706 DTSTAMP:20141228T220450 DTSTART:20130509 GEO:37.787646;-122.402759 LOCATION:Modernism Inc.\,685 Market St.\, Suite 290 \nSan Francisco\, CA 94 105 SEQUENCE:0 SUMMARY:"Question de Temps" (Matter of Time)\, Pierre Antoniucci UID:275583 END:VEVENT BEGIN:VEVENT DTEND:20130509T200000 DTSTAMP:20141228T220450 DTSTART:20130509T173000 GEO:37.787646;-122.402759 LOCATION:Modernism Inc.\,685 Market St.\, Suite 290 \nSan Francisco\, CA 94 105 SEQUENCE:0 SUMMARY:"Question de Temps" (Matter of Time)\, Pierre Antoniucci UID:275584 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130706 DTSTAMP:20141228T220450 DTSTART:20130528 GEO:37.803384;-122.413948 LOCATION:Paul Thiebaud Gallery (SF)\,645 Chestnut Street \nSan Francisco\, CA 94133 SEQUENCE:0 SUMMARY:Paintings\, Suong Yangchareon UID:279186 END:VEVENT BEGIN:VEVENT DTEND:20130608T170000 DTSTAMP:20141228T220450 DTSTART:20130608T140000 GEO:37.803384;-122.413948 LOCATION:Paul Thiebaud Gallery (SF)\,645 Chestnut Street \nSan Francisco\, CA 94133 SEQUENCE:0 SUMMARY:Paintings\, Suong Yangchareon UID:279187 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130706 DTSTAMP:20141228T220450 DTSTART:20130528 GEO:37.803384;-122.413948 LOCATION:Paul Thiebaud Gallery (SF)\,645 Chestnut Street \nSan Francisco\, CA 94133 SEQUENCE:0 SUMMARY:Paintings\, Hadas Tal UID:279188 END:VEVENT BEGIN:VEVENT DTEND:20130608T170000 DTSTAMP:20141228T220450 DTSTART:20130608T140000 GEO:37.803384;-122.413948 LOCATION:Paul Thiebaud Gallery (SF)\,645 Chestnut Street \nSan Francisco\, CA 94133 SEQUENCE:0 SUMMARY:Paintings\, Hadas Tal UID:279189 END:VEVENT BEGIN:VEVENT DESCRIPTION:

We are delighted to introduce to California Canadian artist Gordon Ha lloran\, well known to world audiences as the creator of Paintings B elow Zero\, ambitious monumental public art installations in Canada\, t he US and Europe\, inspired by glacial walls and exploding with pure pigmen ts interacting with the crystal structure of the ice.

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For this double ex hibition -- Ice Break in the gallery space and  Breaking Up is Hard to Do in Corners tone Sonoma's reflecting pool -- Halloran has sourced a modern\, acid-free material that allows him a process for creating permanent sculptures that a re closest in appearance to his frozen works. He says\, "I had the desire t o bring the naturally created ephemeral forms of my ice work into a permane nt but malleable state in order to further investigate the nature of the fr acture\, movement\, and disintegration of our evolving landscape\; to captu re the graphic patterns that emerge from the magnificent interplay of cryst alline growth and collaboratively play with that growth through the fabrica tion of structures that explore the interconnectedness of creation and entr opy."

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Ice Break is an evolving commentary inspired by the calving of Arctic icebergs and Claude Monet's impressionist Waterlilies\, a nd explores the nature of ephemeral existence and its relationship to incre asingly technologically-bound societies. Through the presentation of a simp le interplay between seemingly rigid materials and naturally occurring stru cture\, it attempts to awaken us to the ephemeral nature of being. Br eaking Up is Hard to Do uses site\, scale and color to seduce the v iewer with vibrancy\, luring us to the water's edge and into collective pla y. Viewers move around the piece and it moves alongside them. Juxtaposing a bstract sensibility with ecological patterns\, the elements relate to each other as well as their site\, not just in space\, but over time\, as each m oves in response to wind and wave.

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Together\, Ice Break an d Breaking Up is Hard to Do openly question our understanding of our environment in transformation -- permanent to ephemeral\, solid to liquid -- a dynamic and enduring landscape in permanent flux.

DTEND:20130707 DTSTAMP:20141228T220450 DTSTART:20130505 GEO:38.291859;-122.4580356 LOCATION:a new leaf gallery | sculpturesite\,At Cornerstone Sonoma 23588 A rnold Drive (Highway 121)\nSonoma\, CA 95476 SEQUENCE:0 SUMMARY:Ice Break\, Gordon Halloran UID:271715 END:VEVENT BEGIN:VEVENT DTEND:20130505T160000 DTSTAMP:20141228T220450 DTSTART:20130505T140000 GEO:38.291859;-122.4580356 LOCATION:a new leaf gallery | sculpturesite\,At Cornerstone Sonoma 23588 A rnold Drive (Highway 121)\nSonoma\, CA 95476 SEQUENCE:0 SUMMARY:Ice Break\, Gordon Halloran UID:271716 END:VEVENT BEGIN:VEVENT DESCRIPTION:

We are delighted to introduce to California Canadian artist Gordon Ha lloran\, well known to world audiences as the creator of Paintings B elow Zero\, ambitious monumental public art installations in Canada\, t he US and Europe\, inspired by glacial walls and exploding with pure pigmen ts interacting with the crystal structure of the ice.

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For this double ex hibition -- Ice Break in the gallery spa ce and Breaking Up is Hard to Do in Cornerstone Sonoma's refl ecting pool -- Halloran has sourced a modern\, acid-free material that allo ws him a process for creating permanent sculptures that are closest in appe arance to his frozen works. He says\, "I had the desire to bring the natura lly created ephemeral forms of my ice work into a permanent but malleable s tate in order to further investigate the nature of the fracture\, movement\ , and disintegration of our evolving landscape\; to capture the graphic pat terns that emerge from the magnificent interplay of crystalline growth and collaboratively play with that growth through the fabrication of structures that explore the interconnectedness of creation and entropy."

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Ice Break is an evolving commentary inspired by the calving of Arctic icebergs and Claude Monet's impressionist Waterlilies\, and explores the na ture of ephemeral existence and its relationship to increasingly technologi cally-bound societies. Through the presentation of a simple interplay betwe en seemingly rigid materials and naturally occurring structure\, it attempt s to awaken us to the ephemeral nature of being. Breaking Up is Hard to Do uses site\, scale and color to seduce the viewer with vibranc y\, luring us to the water's edge and into collective play. Viewers move ar ound the piece and it moves alongside them. Juxtaposing abstract sensibilit y with ecological patterns\, the elements relate to each other as well as t heir site\, not just in space\, but over time\, as each moves in response t o wind and wave.

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Together\, Ice Break and Breaking U p is Hard to Do openly question our understanding of our environmen t in transformation -- permanent to ephemeral\, solid to liquid -- a dynami c and enduring landscape in permanent flux.

DTEND:20130707 DTSTAMP:20141228T220450 DTSTART:20130505 GEO:38.291859;-122.4580356 LOCATION:a new leaf gallery | sculpturesite\,At Cornerstone Sonoma 23588 A rnold Drive (Highway 121)\nSonoma\, CA 95476 SEQUENCE:0 SUMMARY:Breaking Up is Hard to Do\, Gordon Halloran UID:271717 END:VEVENT BEGIN:VEVENT DTEND:20130505T140000 DTSTAMP:20141228T220450 DTSTART:20130505T120000 GEO:38.291859;-122.4580356 LOCATION:a new leaf gallery | sculpturesite\,At Cornerstone Sonoma 23588 A rnold Drive (Highway 121)\nSonoma\, CA 95476 SEQUENCE:0 SUMMARY:Breaking Up is Hard to Do\, Gordon Halloran UID:271718 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the photographs selected for this exhibition\, people and places from other times come to us now\, a collision of our moment and theirs. Time ro lls in rear-view mirrors and ocean waves or across the sky in a passing phe nomenon\, a dirigible floating in the clouds. Twenty-two works on display.< /span>

DTEND:20130707 DTSTAMP:20141228T220450 DTSTART:20130306 GEO:37.4329645;-122.1705594 LOCATION:Cantor Arts Center\,Stanford University 328 Lomita Dr.\nStanford\, CA 94305-5060 SEQUENCE:0 SUMMARY:Hauntings: American Photographs\, 1845–1970 UID:257722 END:VEVENT BEGIN:VEVENT DTEND:20130306T170000 DTSTAMP:20141228T220450 DTSTART:20130306T110000 GEO:37.4329645;-122.1705594 LOCATION:Cantor Arts Center\,Stanford University 328 Lomita Dr.\nStanford\, CA 94305-5060 SEQUENCE:0 SUMMARY:Hauntings: American Photographs\, 1845–1970 UID:257723 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The 32 exquisitely turned bowls and other objects in this exhibition com bine the beauty of wood with designs that accentuate wood's unique properti es. Wood turning\, like other craft media such as glass and clay\, came int o its own in the 1960s and 1970s as a rich form of creative expression. Usi ng a lathe to carve these one-of-a-kind pieces\, the turners showcased here seek to capture the splendor and richness of their medium\, while also str iking an aesthetic balance of color\, form\, and texture. More so\, the art ists seek to communicate through each work—and honor the tree it came from. Matt Moulthrop\, whose legendary wood-turning family is well represented i n this exhibition\, explains\, "Worm holes convey past life\, rings communi cate growth\, and certain colors tell the story of death by lightening or b light. My job is to tell the story ... lengthening the life of the tree rat her than ending it."

DTEND:20130707 DTSTAMP:20141228T220450 DTSTART:20130310 GEO:38.577094;-121.505959 LOCATION:Crocker Art Museum\,216 O Street \nSacramento\, California 95814 SEQUENCE:0 SUMMARY:Super Bowls: The Art of Turned Wood\, Matt Moulthrop UID:258023 END:VEVENT BEGIN:VEVENT DTEND:20130310T170000 DTSTAMP:20141228T220450 DTSTART:20130310T100000 GEO:38.577094;-121.505959 LOCATION:Crocker Art Museum\,216 O Street \nSacramento\, California 95814 SEQUENCE:0 SUMMARY:Super Bowls: The Art of Turned Wood\, Matt Moulthrop UID:258024 END:VEVENT BEGIN:VEVENT DESCRIPTION:

As electronic networks have grown to bridge ever-greater distances at in creasing speeds\, artists have shown an unflinching interest in mapping the ir worlds—both physical and metaphysical. Drawn primarily from the Anderson Graphic Arts Collection at the Fine Arts Museums\, this exhibition surveys some of the strategies that printmakers have employed in their representat ions of space and place over the last 45 years.

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The most familiar mode o f depicting space in Western culture—linear perspective—is just one of many available strategies. Alternative approaches include the conceptual linear formations of Julie Mehretu and the manipulated geographies of Richard Die benkorn\, David Hockney\, and Wayne Thiebaud. Ed Ruscha takes mapping a ste p further\, incorporating the physicality of the Mixografia technique to de scribe topographical variations in the area surrounding Los Angeles.

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Med iating landscapes\, seascapes\, and skyscapes\, the works in this exhibitio n challenge viewers to consider alternative modes of seeing and understandi ng spaces that are themselves subject to continual reformation. By blurring abstract\, undefined spaces with definitive places\, Mapping the Conte mporary Print demonstrates how artists best represent the world they e xperience.

DTEND:20130707 DTSTAMP:20141228T220450 DTSTART:20130223 GEO:37.7709335;-122.4688276 LOCATION:de Young Museum\,Golden Gate Park 50 Hagiwara Tea Garden Drive\nSa n Francisco\, CA 94118 SEQUENCE:0 SUMMARY:Mapping the Contemporary Print: Selections from the Anderson Collec tion\, Richard Diebenkorn\, David Hockney\, Wayne Thiebaud\, Edward Ruscha UID:265865 END:VEVENT BEGIN:VEVENT DESCRIPTION:

“What [Shih Chieh Huang] generates in all of his work is a genuine s ense of technology as life form”

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—Sally Butler\, artlink.com
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Shih Chieh Huang creates a s culptural ecosystem using found and collected objects — including toys\, pl astic bags\, electrical devices\, and sensors — into beautiful\, ethereal i nstallations that seem unexpectedly organic and life-like. For his exhibiti on at YBCA\, he will create a work that reflects on the Bay Area’s rich leg acy in both the machine performance movement and the countercultural aesthe tics of psychedelia.

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Shih Chieh Huang received his MFA from the School of Visual Arts in New York City. He has exhibited his sculptures and installations at the Smithsonian Museum of Natural History\, Busan Biennial\, Aichi Trienni al\, 52nd Venice Biennale\, Biennial Zero1 San Jose\, Biennial Cuvée in Aus tria\, the New Museum of Contemporary Art in New York\, and Museum of Conte mporary Art Shanghai. He has had solo exhibitions at the Rhode Island Schoo l of Design Museum of Art\, Beall Center for Art and Technology\, and Museu m of Contemporary Art Taipei. Huang’s awards include an Artist Research Fel lowship from the Smithsonian Institution\, a Rockefeller Foundation New Med ia Arts Fellowship\, a Joan Mitchell Foundation Sculpture Award\, two New Y ork Foundation for the Arts Fellowships\, and residencies at Art Omi\, Skow hegan\, and The Marie Walsh Sharpe Art Foundation.
www.messymix.com\n

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DTEND:20130707 DTSTAMP:20141228T220450 DTSTART:20130301 GEO:37.7857943;-122.4024208 LOCATION:Yerba Buena Center for the Arts\,701 Mission St. \nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:Pause: Practice & Exchange: Synthetic Seduction\, Shih Chieh Huang UID:257895 END:VEVENT BEGIN:VEVENT DTEND:20130301T200000 DTSTAMP:20141228T220450 DTSTART:20130301T120000 GEO:37.7857943;-122.4024208 LOCATION:Yerba Buena Center for the Arts\,701 Mission St. \nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:Pause: Practice & Exchange: Synthetic Seduction\, Shih Chieh Huang UID:257896 END:VEVENT END:VCALENDAR