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Fouladi Projects is pleased to present our Springtime Group Show. On view will be select works from our program: Lauren Ari\, Karen Bar bour\, Omar Chacon\, Sean Cheetham\, Pip Culbert\, Bill Culbert\, Yuichi Hi rako\, Darija Jelincic\, Liam Jones\, Jemima Kirke\, Rudi Molacek\, Laurina Paperina\, Marcus Payzant\, Lisa Solomon\, Gail Tarantino\, Russell Tyler\ , and Anne Veraldi.  \;Also on view in our store front windows is a whi msical grouping of playful ceramic sculptures by Lauren Ari. Please stop in to say hello and to enjoy a satisfying survey of the diverse and wonderful artists in our gallery. \;

DTEND:20150424 DTSTAMP:20150327T035741 DTSTART:20150326 GEO:37.7719101;-122.4232744 LOCATION:fouladi projects\,1803 Market St. \nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:Spring Group Show\, Rudi Molacek\, Jemima Kirke\, Liam Jones\, Dari ja Jelincic\, Bill Culbert\, Pip Culbert\, Sean Cheetham\, Omar Chacon\, Ka ren Barbour\, Lauren Ari\, Russell Tyler and Anne Veraldi\, Gail Tarantino\ , Lisa Solomon\, Marcus Payzant\, Laurina Paperina UID:378533 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

DTEND:20150418T123000 DTSTAMP:20150327T035741 DTSTART:20150418T093000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Teacher Workshop: Seduction and The Printer's Eye UID:378527 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

DTEND:20150423T200000 DTSTAMP:20150327T035741 DTSTART:20150423T190000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Seductive Idea: A Kabuki Tour of the Yoshiwara UID:378526 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

DTEND:20150417T161500 DTSTAMP:20150327T035741 DTSTART:20150417T153000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:In-Gallery Talk with the Curator UID:378525 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

DTEND:20150416T200000 DTSTAMP:20150327T035741 DTSTART:20150416T183000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Chinese Minority Textiles–Exploring Techniques and Sources With Pam Najdowski UID:378522 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

DTEND:20150402T210000 DTSTAMP:20150327T035741 DTSTART:20150402T180000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:First Thursday Asian Americans and the New Racial Justice Movement UID:378519 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Dolby Chadwick Gallery is ple ased to announce lost light\, featuring the work of Phoenix-based artist Ma yme Kratz\, on view from June 4&mdash\;July 3\, 2015. Kratz will present wa ll-mounted works in resin on panel\, as well as freestanding resin sculptur e\, in her first exhibition with the gallery. The title is drawn from Rebec ca Solnit's book\, A Field Guide to Getting Lost\, poetic thoughts about th e evocative potential of disassociation from the familiar. Solnit writes\, "The world is blue at its edges and in its depths. This blue is the light t hat got lost." Kratz finds inspiration in the parched and desolate expanses of the Arizona desert\, in lonely stretches of sand and the kind of hardy vegetation and animal life that can thrive there\, &ldquo\;cactus and creos ote bush...scruffy and wild&rdquo\; says the artist. Her regular wanderings yield artifacts that she notices and collects along the way&mdash\; seeds\ , bits of plants\, deer bones&mdash\;or even a snake that met an untimely e ncounter with a car. Overlooked\, and certainly left\, by most\, for Kratz these hold the key to an intimate world of the ephemeral components of life .

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

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

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

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

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

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

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

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DTEND:20150703 DTSTAMP:20150327T035741 DTSTART:20150604 GEO:37.7887091;-122.405531 LOCATION:Dolby Chadwick Gallery\,210 Post Street Suite 205 \nSan Francisco\ , CA 94108 SEQUENCE:0 SUMMARY:lost light\, Mayme Kratz UID:378517 END:VEVENT BEGIN:VEVENT DTEND:20150604T190000 DTSTAMP:20150327T035741 DTSTART:20150604T170000 GEO:37.7887091;-122.405531 LOCATION:Dolby Chadwick Gallery\,210 Post Street Suite 205 \nSan Francisco\ , CA 94108 SEQUENCE:0 SUMMARY:lost light\, Mayme Kratz UID:378518 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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 \; About the artists

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

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 \;Bobbi Jene Smith has danced with the Batsheva Dance Company based in Te l Aviv\, Israel since 2006\, and is authorized by Ohad Naharin to teach his Gaga movement language and set his choreography. Her early dance training took place at the Royal Winnipeg Ballet School\, North Carolina School of t he Arts and The Juilliard School\, under the direction of Lawrence Rhodes.< /p> DTEND:20150416T210000 DTSTAMP:20150327T035741 DTSTART:20150416T183000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Crossing Threshold with Sanaz Mazinani and Bobbi Jene Smith \, Sana z Mazinani\, Bobbi Jene Smith UID:378514 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

DTEND:20150411T150000 DTSTAMP:20150327T035741 DTSTART:20150411T130000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:20 Years of GenRyu Arts Anniversary Performance UID:378511 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

DTEND:20150409T203000 DTSTAMP:20150327T035741 DTSTART:20150409T190000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Gen: Legacies in Transformation Collision of Tradition and the Ava nt-Garde UID:378509 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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

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

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Organized by the Asian Art Muse um.

DTEND:20151101 DTSTAMP:20150327T035741 DTSTART:20150326 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Woven Luxuries: Indian\, Persian\, and Turkish Textiles from the In dictor Collection UID:378507 END:VEVENT BEGIN:VEVENT DTEND:20150326T170000 DTSTAMP:20150327T035741 DTSTART:20150326T100000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Woven Luxuries: Indian\, Persian\, and Turkish Textiles from the In dictor Collection UID:378508 END:VEVENT BEGIN:VEVENT DESCRIPTION:

 \;The Asian Art Museum presents 20 masterpieces of Chin ese paintings from 14th to 18th centuries\, representing the Yuan\, Ming an d Qing dynasties. The exhibition features several extremely rare works by t he great masters of Chinese painting including Ni Zan (1301&ndash\;1374). B road in subject\, style and geographical representation\, the artworks show variations of themes such as landscape\, bird-and-flower\, country life an d historical stories.

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Organized by the Asian Ar t Museum.

DTEND:20151101 DTSTAMP:20150327T035741 DTSTART:20150302 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Exquisite Nature: 20 Masterpieces of Chinese Paintings (14th–18th c .) UID:378505 END:VEVENT BEGIN:VEVENT DTEND:20150302T170000 DTSTAMP:20150327T035741 DTSTART:20150302T100000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Exquisite Nature: 20 Masterpieces of Chinese Paintings (14th–18th c .) UID:378506 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sanaz Mazinani: Threshold features a new site-speci fic installation by the dynamic San Francisco artist\, whose work&mdash\;pr imarily photography\, video and large-scale installation&mdash\;explores th e conceptual and formal frames of photography\, especially as they relate t o digital culture and the interplay of perception and representation.

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 \;Threshold is an ambitious project comprising a video set within constructed architectural space. The video abstracts explosive sequ ences from Hollywood action movies by coupling\, mirroring\, and multiplyin g them. Kaleidoscopic Islamic geometries of color\, pattern and movement\, inspired by the artist&rsquo\;s trips to her birthplace of Iran\, are refle cted in the mirrored space\, offering an array of architectural designs and moving images&mdash\;prompting a new perspective on the meanings and exper ience of media.

DTEND:20150503 DTSTAMP:20150327T035741 DTSTART:20150327 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Sanaz Mazinani: Threshold UID:378503 END:VEVENT BEGIN:VEVENT DTEND:20150327T170000 DTSTAMP:20150327T035741 DTSTART:20150327T100000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Sanaz Mazinani: Threshold UID:378504 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Barbara Vaughn

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On the Surface

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May 7 - 30\, 2015

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Dolby Chadwick Gallery is pleased to a nnounce On the Surface\, an exhibition of new photographs by Barba ra Vaughn. Over the past several years\, Vaughn has travelled the world\, d eftly capturing the surface reflections on different bodies of water and\, in the process\, exploring the parameters of vision and cognition. By zoomi ng in on her subject matter\, Vaughn excises any contextualizing visual inf ormation that might allow viewers to easily identify the imagery. This deci sion to root her abstract photographs in the natural world&mdash\;an ostens ibly solid\, familiar\, even immutable realm&mdash\;allows the artist to cl everly transform reality\, exposing its chimerical possibilities and unexpe cted underpinnings. Vaughn&rsquo\;s approach also allows her to freely expe riment with and tune into pattern and shape\, and color and hue\, which shi ft dramatically depending on the waters&rsquo\; relative movement and form the heart of her photographs.

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Much of Vaughn&rsquo\ ;s earlier photographs of water emphasize sinuous\, curving lines\, recalli ng the biomorphism of Henry Moore and Jean Arp. Though this body of work fo cuses on such forms to a lesser degree\, they nevertheless remain present a s an important subject of inquiry. Vaughn\, who maintains a longtime admira tion for Henri Matisse&rsquo\;s Cut-Outs\, notes that Apokopes 1 a nd Apokopes 2 are both influenced by the French postmodernist&rsqu o\;s recent landmark exhibition at the Museum of Modern Art in New York Cit y. Both works mix Vaughn&rsquo\;s interest in voluptuous forms with the Cut -Outs&rsquo\; minimal\, graphic quality\, fluid lines\, and organic shapes\ , such as those found in Matisse&rsquo\;s Snow Flowers (Fleurs de neige ) (1951).

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As suggested by their Greek titles\, the Apokopes works were captured in Greece\, on the Cycladic isla nd of Paros. Other locations explored in On the Surface include de stinations as disparate as the Northern European canaled cities of Bruges a nd Amsterdam\, Martha&rsquo\;s Vineyard\, Los Angeles\, and Las Vegas. Amon g all of these places\, Las Vegas proved to be the most unexpected: &ldquo\ ;I discovered an entirely new palette of reflections generated by brightly lit hotel marquees in the man-made water features around the city.&rdquo\; These busy\, boldly colorful photographs serve as a striking foil to the mo re graphic\, black-and-white qualities embodied in the Apokopes wo rks. The two lynchpins of the exhibition are Ampeli and Kyvism os\, a pair of Cubist-inflected photographs that call to mind painting s by Fernand Lé\;ger and Pablo Picasso&mdash\;such as The Tugboat (1918) and Three Musicians (1921)\, respectively&mdash\;with their hallmark fracturing and reunification of form. \;

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Barbara Vaughn was born in Philadelphia\, PA. She earned her BA f rom Princeton University and studied fine art photography at the Internatio nal Center of Photography in New York City. A former portrait photographer\ , Vaughn has photographed many luminaries in entertainment\, business\, and the arts. Her work has been published in numerous books as well as publica tions such as \;The New York Times\, Time\, Vanity Fair\, Vogue\,&n bsp\;and \;Art in America. Her fine art has been exhibite d in galleries in New York City\; Sun Valley\, ID\; St. Barth&rsquo\;s\; Qu ogue\, NY\; San Francisco\; and Sonoma County\, CA. This will be her second solo exhibition with the Dolby Chadwick Gallery.

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DTEND:20150530 DTSTAMP:20150327T035741 DTSTART:20150507 GEO:37.7887091;-122.405531 LOCATION:Dolby Chadwick Gallery\,210 Post Street Suite 205 \nSan Francisco\ , CA 94108 SEQUENCE:0 SUMMARY:On the Surface\, Barbara Vaughn UID:378493 END:VEVENT BEGIN:VEVENT DTEND:20150507T190000 DTSTAMP:20150327T035741 DTSTART:20150507T170000 GEO:37.7887091;-122.405531 LOCATION:Dolby Chadwick Gallery\,210 Post Street Suite 205 \nSan Francisco\ , CA 94108 SEQUENCE:0 SUMMARY:On the Surface\, Barbara Vaughn UID:378494 END:VEVENT BEGIN:VEVENT DESCRIPTION:

1AM is pleased to present\, &ldquo\;A Majo r Minority&rdquo\;\, opening on April 2nd\, from 6:30 &ndash\; 9:30 PM. Curated by San Francisco-based artist Poesia\, &ldquo\;A Major Minority&rdquo\; is a survey o f 20 Othercontemporary Urban Artists. Prepare to ex perience an international sampling of artworks that reveal the overall char acter of urban art and its relationship to the public as well as the contem porary art world.

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According to Poesia\, urban art has bec ome an OtherContemporary art movement outside of the contemporary and criti cal art world. By taking a large sampling of the world&rsquo\;s most preval ent urban artists\, Poesia aims to reveal the true character of this artfor m. He believes it is being born outside of art theory and that it is based on the way art interacts with the public and urban landscapes. &ldquo\;A Ma jor Minority&rdquo\; is an attempt to illustrate the current progression of this style as &ldquo\;traditional graffiti merges with street art and beco mes what the public has coined Urban Art.&rdquo\;

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Exhibit ing artists include: Okuda San Miguel\, Thierry Furger\, William Barras\, P roembrion\, Autone\, Poesia\, Zmogk\, Aske\, Dime\, CT\, Does\, Ino\, Basik \, Etnik\, Pener\, Seikon\, Hellbent\, Col Wallnuts\, Thomas Bestvina\, and Collin van der Sluijs.

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These artists showcase the idea o f OtherContemporary art through a variety of methods. The mediums used in t his show include acrylics\, spray paints\, oils\, papers\, glass\, and foun d objects. The elements that build up each piece express the complexity of ideas that emerge from OtherContemporary art. Expect to see everything from abstract shapes and bright colors to quilted patterns and glass paintings.

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For art catalog or media requests\, please e mail ANU@1amsf.com

DTEND:20150422 DTSTAMP:20150327T035741 DTSTART:20150402 GEO:37.779704;-122.407597 LOCATION:1AM Gallery\,1000 Howard Street \nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:A Major Minority 2015\, Okuda San Miguel\, Thierry Furger\, William Barras\, Proembrion\, Autone\, Poesia\, Zmogk\, Aske\, Dime\, CT\, Does\, INO\, Basik\, Etnik\, Pener\, Seikon\, Hellbent\, Col Wallnuts\, Thomas Bes tvina\, Shie Moreno\, Collin van der Sluijs UID:378411 END:VEVENT BEGIN:VEVENT DTEND:20150402T213000 DTSTAMP:20150327T035741 DTSTART:20150402T183000 GEO:37.779704;-122.407597 LOCATION:1AM Gallery\,1000 Howard Street \nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:A Major Minority 2015\, Aske\, Autone\, William Barras\, Basik\, Th omas Bestvina\, CT\, Dime\, Does\, Etnik\, Thierry Furger\, Hellbent\, INO\ , Okuda San Miguel\, Shie Moreno\, Pener\, Poesia\, Proembrion\, Seikon\, C ollin van der Sluijs\, Col Wallnuts\, Zmogk UID:378412 END:VEVENT BEGIN:VEVENT DESCRIPTION:

directions given &ndash\; directions taken \;invites 24 people to design instructions or par ameters for the creation of new artworks. Each participant writes a prompt and receives a prompt\, to be interpreted and enacted at one of six evening performances. The series creates a daisy chain of directions given and dir ections taken\, with the first person to issue instructions returning on th e final evening to read or perform those of another participant\, thereby c losing the circle.

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directions giv en &ndash\; directions taken \;is instigated by Michael Swaine. Ba sed on Jim Melchert&rsquo\;s techniques for generating work and inspired by a Bay Area community of makers and thinkers\, the project follows a lineag e of instructional artwork from artists like Alan Kaprow\, Yoko Ono and Sol LeWitt. All the directions will be published online and in a printed volum e at the end of the cycle.

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Participan ts include Binta Ayofemi\, Paul Benney\, Sita Bhaumik\, Brandon Brown\, Kev in Chen\, Ishan Clemenco\, Brett Cook\, Sofí\;a Có\;rdova\, Ste phanie Ellis\, Arash Fayez\, Bean Gilsdorf\, Vernon Keeve\, Jim Melchert\, Christian Nagler\, Yasi Pereira\, Kate Rhoades\, Mike Shoun\, Laetitia Sona mi\, Heather Smith\, Anne Walsh\, Jenifer Wofford\, Sherri Lynn Wood and ar tists from Southern Exposure's Mentorship Program.

DTEND:20150513T210000 DTSTAMP:20150327T035741 DTSTART:20150513T190000 GEO:37.759224;-122.4110334 LOCATION:Southern Exposure\,3030 20th Street \nSan Francisco\, CA 94110 SEQUENCE:0 SUMMARY:directions given – directions taken #2\, Binta Ayofemi\, Paul Benne y\, Sita Bhaumik\, Brandon Brown\, Kevin Chen\, Ishan Clemenco\, Brett Cook \, Sofia Córdova\, Stephanie Ellis\, Arash Fayez\, Bean Gilsdorf\, Vernon K eeve\, Jim Melchert\, Christian Nagler\, Yasi Pereira\, Kate Rhoades\, Mike Shoun\, LAETITIA SONAMI\, Heather Smith\, Anne Walsh\, Jenifer Wofford\, S herri Lynn Wood UID:378388 END:VEVENT END:VCALENDAR