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111 Minna Gallery&rsqu o\;s first art exhibition of 2014 with the dynamic\, street influenced artw ork by local greats D Young V\, Eddie Colla and Hugh Leeman. If you&rsquo\; re no stranger to the Bay Area you&rsquo\;ve probably seen the clever craft iness of these three prolific artists on more than one occasion throughout the Bay cities. No strangers to working together\, 111 Minna welcomes the t rio to what is set to be yet another intense and groundbreaking display of vivid\, graphic oriented imagery rooted in urban street culture.

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Adept at diverse collaborative installations wi th one another\, this will be their first major show with 111 Minna Gallery and due to the impressive nature of these artists work\, the show will be on display throughout February and March 2014.

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D Young V

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A San Francisco resident for the last decade\, D Young V has engaged in a variety of media both in the gallery and on the street\, depicting his vision of a new dystopian society. His characters\, symbols and people rep resent a smattering of different modern day cultures and languages mixed in to one. Though there is no linear narrative in place\, most of Young&rsquo\ ;s work is meant to engage the viewer and allow them to determine the roles of his characters and meanings of their symbols for themselves. Many of th ese viewer interpretations are then adapted into the progress of the work\, thus allowing the audience to take a greater role in the creation of the c oncept.  \;The face of his work is ever changing in style and media wit h every exhibition\, which range from simple pen drawings to massive colorf ul installations. This allows every show/project to take on its own individ ual identity and evolution.

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EddieColla \;American\, b. 1969

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Eddie attended the School of Visual Arts in New York and graduated from the California College of Arts with a BFA in photography/interdisciplinary fin e arts in 1991. He began his artistic career as a photographer\, working fi rst for the New York Times and later countless magazines\, record labels an d ad agencies. 15 years later he has morphed into one who counters the all- pervasive nature of commercialism in public spaces.

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Since 2005\, his whe at-pastes and stencils can be found throughout public spaces in the Bay Are a\, Los Angeles and Miami. \; Eddie&rsquo\;s work first began to garner national recognition when his street art began incorporating images of Bar ak Obama throughout the 2008 Presidential election.

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His growing populari ty landed him attention on internet blogs\, features in five published book s\, and participation in the &ldquo\;Manifest Hope Art Gallery&rdquo\; show s at the 2008 Democratic National Convention and at the Presidential Inaugu ration in Washington D.C. His designs have been transformed many times over \, from stickers\, album and magazine covers\, and even on t-shirts notably worn by star\, Spike Lee during a CNN interview.

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Of his work Eddie stat es\, &ldquo\;Some people view what I do as vandalism. I assume that their o bjection is that I alter the landscape without permission. Advertising perp etually alters our environment without the permission of its inhabitants. T he only difference is that advertisers pay for the privilege to do so and I don&rsquo\;t. So if you&rsquo\;re going to call me anything\, it is more a ccurate to call me a thief.&rdquo\;

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In 2013 his work was featured alongs ide Hush\, and Blek Le Rat in the Indoor Mural show at 941 Geary in San Fra ncisco and at the Arts Fund Expo at Art Basel Miami. In August of 2011\, Ed die completed an 80 ft mural in Little Saigon\, San Francisco chronicling t he Vietnamese Diaspora. His work has also been featured recently in the New York Times\, Los Angeles Times\, the Huffington Post and the Chicago Tribu ne.

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Hugh Leeman

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Hugh Leeman \;is a San Francisco based artist. His artwork has exhibited at The Museum of Mexico City\, The Contemporary Arts Center of Arlington\, Virginia\, and in Miami&rsquo\;s A rt Basel. His work has exhibited internationally In London\, Paris\, and Te l Aviv.

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DTEND:20140329 DTSTAMP:20140829T070902 DTSTART:20140207 GEO:37.7874591;-122.3994475 LOCATION:111 Minna Gallery\,111 Minna St. \nSan Francisco\, CA 94105 SEQUENCE:0 SUMMARY:New Work\, D Young V\, Eddie Colla\, Hugh Leeman UID:311729 END:VEVENT BEGIN:VEVENT DTEND:20140207T220000 DTSTAMP:20140829T070902 DTSTART:20140207T170000 GEO:37.7874591;-122.3994475 LOCATION:111 Minna Gallery\,111 Minna St. \nSan Francisco\, CA 94105 SEQUENCE:0 SUMMARY:New Work\, Eddie Colla\, Hugh Leeman\, D Young V UID:311730 END:VEVENT BEGIN:VEVENT DESCRIPTION:

1AM Gallery is pleased to pres ent\, &ldquo\;A Major Minority&rdquo\;\, opening on March 14th\, from 6:30 &ndash\; 9:30 PM. Curated by S an Francisco-based artist Poesia\, &ldquo\;A Major Minority&rdquo\; is a su rvey of Othercontemporary Urban Artists from over 18 countries consisting o f over a 100 artists. Expect to see an international sampling of art works that reveal the overall character of Urban Art and its relationship to the public as well as the contemporary art world.

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According to Poesia\, urban art has become an OtherContemporary ar t movement outside of the contemporary and critical art world. By taking a large sampling of the world&rsquo\;s most prevalent urban artists\, Poesia aims to reveal the true character of this art form as being born outside of theory and based on its interactions with the public as well as its urban landscape. &ldquo\;A Major Minority&rdquo\; is an attempt to illustrate the current progression of this art form as &ldquo\;traditional graffiti merge s with street art and becomes what the public has coined Urban Art.&rdquo\;

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Come check out works by world renown ed artists108\, 2501\, O.Two\, ABCDEF\, Alex Kuznetsov\, Alex One\, Alexand er Becherer\, Alexey Luka\, Amandalynn\, Antistatik\,  \;Arnaud TRBDSGN Liard\, Askew\, Basik\, Bezt\, Blaqk\, Blo\, Boe\, Bom.k\, Borondo\, Cain Caser\, Christopher Derek Bruno\, Clams Rockefeller\, Col\, Collin Van Der Sluijs\, Corn79\, Dame\, Dana Woulfe\, Deams\, Debens\, Defer\, Dem189\, De msky\, Dime\, Djae\, Does\, Drew Tyndell\, Drew Young\, Duncan Passmore\, E KG\, Estria\, Etnik\, Evgeniy Dikson\, Faust\, Felipe Pantone\, Franco Jaz Fasoli\, Gilbert1\, Graphic Surgery\, Hellbent\, INO\, Jay Paavonpera\, Jaw \, Jerry Inscoe\, Jurne\, Kan\, Karlos Carcamo\, Katre\, Kema\, Ken Davis\, Kidghe\, Kwest\, Legz\, LX One\, Mac1\, Mags\, Martina Merlini\, Matt W. M oore\, Max Rippon\, Mes\, Mike Bam\, Moneyless\, Morik\, Nawer\, Nelio\, Ni bor Reiluos\, Nmph\, Pener\, Petro\,Poesia\, Proembrion\, Rafael Sliks\, Ro mi\, Rubin\, Sainer\, Samuel Rodriguez\, SatOne\, Scott La Rockwell\, See O ne\, Seikon\, Sepe\, Silvio Magaglio\, Slicer\, Slick\, Sowat\, Spé\; \, Stendec\, Stephen Holding\, Swiz\, Thiago Toes\, Thomas Bestvina\, Thoma s Canto\, Tobe\, Todd Mazer\, V3rbo\, Vesod\, Vincent Abadie Hafez Zepha\, Wais\, Wane\, and Xuan Alyfe.

DTEND:20140412 DTSTAMP:20140829T070902 DTSTART:20140314 GEO:37.779704;-122.407597 LOCATION:1AM Gallery\,1000 Howard Street \nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:A Major Minority\, Djae\, Dime\, Demsky\, Dem189\, Defer\, Debens\, Deams\, Dana Woulfe\, Evgeniy Dikson\, Etnik\, Estria\, EKG\, Duncan Passm ore\, Drew Young\, Drew Tyndell\, Does\, DAME\, 108\, 2501\, Amandalynn\, A lexey Luka\, Alexander Becherer\, Alex One\, Alex Kuznetsov\, ABCDEF\, O.Tw o\, Boe\, Blo\, Blaqk\, Bezt\, Basik\, ASKEW\, Arnaud TRBDSGN Liard\, Antis tatik\, Corn79\, COLLIN VAN DER SLUIJS\, COL\, Clams Rockefeller\, Christop her Derek Bruno\, Cain Caser\, Borondo\, Bom.K\, FAUST\, Felipe Pantone\, F ranco Jaz Fasoli\, Gilbert1\, Graphic Surgery\, Hellbent\, INO\, Jay Paavon pera\, Jaw\, Jerry Inscoe\, Jurne\, Kan\, Karlos Carcamo\, Katre\, Kema\, K en Davis\, Kidghe\, Kwest\, Legz\, LX One\, Mac1\, Mags\, Martina Merlini\, Matt W. Moore\, Max Rippon\, Mes\, Mike Bam\, Moneyless\, Morik\, Nawer\, Nelio\, Nibor Reiluos\, Nmph\, Pener\, Petro\, Poesia\, Proembrion\, Rafael Sliks\, Romi\, Rubin\, Sainer\, Samuel Rodriguez\, Satone\, Scott La Rockw ell\, See One\, Seikon\, Sepe\, Silvio Magaglio\, Slicer\, Slick\, Sowat\, Spé\, Stendec\, Stephen Holding\, SWIZ\, Thiago Toes\, Thomas Bestvina\, Th omas Canto\, Tobe\, Todd Mazer\, V3rbo\, Vesod\, Vincent Abadie Hafez Zepha \, Wais\, Wane\, Xuan Alyfe UID:319792 END:VEVENT BEGIN:VEVENT DTEND:20140314T213000 DTSTAMP:20140829T070902 DTSTART:20140314T183000 GEO:37.779704;-122.407597 LOCATION:1AM Gallery\,1000 Howard Street \nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:A Major Minority\, 108\, 2501\, ABCDEF\, Xuan Alyfe\, Amandalynn\, Antistatik\, ASKEW\, Mike Bam\, Basik\, Alexander Becherer\, Thomas Bestvin a\, Bezt\, Blaqk\, Blo\, Boe\, Bom.K\, Borondo\, Christopher Derek Bruno\, Thomas Canto\, Karlos Carcamo\, Cain Caser\, COL\, Corn79\, DAME\, Ken Davi s\, Deams\, Debens\, Defer\, Dem189\, Demsky\, Evgeniy Dikson\, Dime\, Djae \, Does\, EKG\, Estria\, Etnik\, Franco Jaz Fasoli\, FAUST\, Gilbert1\, Hel lbent\, Stephen Holding\, INO\, Jerry Inscoe\, Jaw\, Jurne\, Kan\, Katre\, Kema\, Kidghe\, Alex Kuznetsov\, Kwest\, Legz\, Arnaud TRBDSGN Liard\, Alex ey Luka\, Mac1\, Silvio Magaglio\, Mags\, Todd Mazer\, Martina Merlini\, Me s\, Moneyless\, Matt W. Moore\, Morik\, Nawer\, Nelio\, Nmph\, O.Two\, Alex One\, LX One\, See One\, Jay Paavonpera\, Felipe Pantone\, Duncan Passmore \, Pener\, Petro\, Poesia\, Proembrion\, Nibor Reiluos\, Max Rippon\, Clams Rockefeller\, Scott La Rockwell\, Samuel Rodriguez\, Romi\, Rubin\, Sainer \, Satone\, Seikon\, Sepe\, Slicer\, Slick\, Rafael Sliks\, COLLIN VAN DER SLUIJS\, Sowat\, Spé\, Stendec\, Graphic Surgery\, SWIZ\, Tobe\, Thiago Toe s\, Drew Tyndell\, V3rbo\, Vesod\, Wais\, Wane\, Dana Woulfe\, Drew Young\, Vincent Abadie Hafez Zepha UID:319793 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sonoma\, CA &ndash\; A New Leaf Gallery | Sculpturesite at Corn erstone Sonoma is pleased to announce the exhibition IN BRONZE\, on view from January 12 to March 30\, 2014. An opening reception wi ll be held at the gallery on Sunday\, January 12 from 2-4pm.

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In this exh ibition of bronzes by three internationally recognized sculptors\, we explo re three very distinctive approaches for creating striking abstract forms o f enduring grace.

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Clement Meadmore (1929-2005) create d his diminutive models in resin\, which he would meditatively cut and asse mble in endless configurations\, to be expertly fabricated by a foundry int o bronze (or aluminum for his monumental works) at the scale that he felt w ould work best.

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Richard Erdman (b. 1952) most often b egins with carving an impossibly delicate and elegant stone sculpture at on e of his studios in Vermont or Carrara\, Italy. His most successful works a re turned into a cast bronze edition. He is known for exploring a particula rly eloquent form at various scales\, in both bronze and stone.

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Hans Van de Bovenkamp (b. 1938) creates one-of-a-kind sculptures from sheet metal\, coaxing the rigid material into carefully composed orga nic forms that meld his background in architecture and his life-long intere st in the spiritual\, sacred sites of the world.

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Australian b orn Clement Meadmore moved to New York in 1963\, attracted to a city where the new world of modern sculpture was exploding. Meadmore was at times described as a minimalist\, but he resisted that identificatio n. By the late sixties\, his process was one of laborious research\, combin ing two basic geometric shapes into endless possibilities and then deciding when he had accomplished that transcendence of geometry that he pursued: t he fluid form of seemingly effortless grace that his sculptures all exhibit \, from his maquettes just a few inches tall to his imposing monumental wor ks.

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This exhibition features six of Meadmore&rsquo\;s &ldquo\;maquette s ized&rdquo\; works\, spanning five decades of his career.

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&ldquo\;Wave\, &rdquo\; 1968\, one of the earliest bronzes\, is pure fluidity at only 5&rd quo\; x 11&rdquo\; x 5&rdquo\;\, while &ldquo\;Outspread\,&rdquo\; 1991\, i s more playful &ndash\; an almost figurative\, expansive form with great po ise. One of Meadmore&rsquo\;s last works\, &ldquo\;Us\,&rdquo\; 2002\, in h is signature gray patina\, reaches out in two directions. Three larger &ldq uo\;indoor sized&rdquo\; works are also on display: &ldquo\;Tantamount\,&rd quo\; 2004\, packs a powerful impact at 25&rdquo\; x 35&rdquo\; x 22&rdquo\ ;\; &ldquo\;Frolic\,&rdquo\; 1997\, 17&rdquo\; x 24&rdquo\; x 20&rdquo\;\, is all curves\; and &ldquo\;Lowdown\,&rdquo\; 1983\, defies gravity. Two of Meadmore&rsquo\;s outdoor sculptures in painted aluminum are also on view during this exhibition.

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Although Meadmore&rsquo\;s accomplishments as a sculptor are often touted as far-reaching and crucially influential for an entire generation of sculptors\, and his sculptures have brought in signifi cant prices on the secondary market both in Australia and in the US\, his w orks are still extremely collectable as they continue to be sold in galleri es worldwide at prices set by the Estate.

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Richard Erdman was born and raised in Vermont with forests\, mountains and stone quarrie s as his playground. He became an avid skier (twice an All-American Champio n while studying at the University of Vermont) and the experience of exhila rating risk-taking that so attracted him to slalom skiing still informs his sensuous\, fluid works. After graduating\, he apprenticed with master carv ers in Carrara\, Italy\, where he established a studio and embarked on a li felong conversation with marble and other stone material. He realized early in his career the limits of production for an artist dedicated to stone ca rving\, and so began to create bronze editions. He also maintains a studio in Vermont.

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Erdman&rsquo\;s works can be found in museum\, private and p ublic collections in more than 40 countries\, and have been included in ove r 150 solo and group exhibitions. This group of eight bronze sculptures inc ludes &ldquo\;Global\,&rdquo\; 30&rdquo\; x 20&rdquo\; x 18&rdquo\;\, &ldqu o\;Calypso&rdquo\; and &ldquo\;Confluence\,&rdquo\; all three perfect illus trations of what art critic Peter Frank describes as Erdman&rsquo\;s focus on the &ldquo\;positive-negative interplay\, an innovation attributed to (H enry) Moore\, a defining characteristic of Erdman&rsquo\;s sculpture&hellip \; That &lsquo\;positive embracing negative&rsquo\; formula also echoes Isa mu Noguchi&rsquo\;s approach to marble carving.&rdquo\; The work &ldquo\;Si tu&rdquo\; may be most closely related to the more abstracted of Moore&rsqu o\;s reclining figures\, while &ldquo\;Vela\,&rdquo\; the smallest of the g roup\, is rather complex for its diminutive 7&rdquo\; height\, and quite a brilliant shadow caster! Originally created as a maquette for a monumental piece\, &ldquo\;Consuela&rdquo\; is composed of two elements that appear to be dancing on a circular base\, with a lovely patina blending from a rich brown to an elegantly mottled green.

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Hans Van de Bovenkamp emigrated from Holland with his family in 1957. He graduated from the U niversity of Michigan with a Bachelor of Science and Design\, and moved to New York City in 1961 to pursue his dream of &ldquo\;becoming an artist&rdq uo\;. In the next few years\, Van de Bovenkamp earned several awards for hi s sculptures\, including the Emily Lowe award\, was featured in newspaper a rticles and television programs\, and was commissioned\, with his brother G eritt\, to create several major public commissions.

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In t he seventies\, Van de Bovenkamp made a series of trips to North Africa\, La tin America and Asia\, where he found inspiration in spiritual and sacred p laces\, from Hindu and Nepalese temples to Mayan pyramids. &ldquo\;My journ eys into Hindu cultures\, where sculpture and mythology are wed\, influence d me greatly and were the beginning of my incorporating mythological themes in my work.&rdquo\; In 2001\, Van de Bovenkamp began the Menhirs series\, which elicited the following comments by art critic Donald Kuspit\, &ldquo\ ;All of Van de Bovenkamp&rsquo\;s sculptures are modernist in their use of the fragment\, but each fragment has a life of its own\, subliminally attun ed to the life of every other fragment.&rdquo\; Later in the essay he wrote for the monograph published in 2004\, Kuspit states\, &ldquo\;It is as tho ugh each of Van de Bovenkamp&rsquo\;s sculptures embodies what Abraham Masl ow calls &lsquo\;peak experience\,&rsquo\; more particularly a peak experie nce of creativity itself.&rdquo\;

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The six bronze works included in the e xhibition include &ldquo\;Herma\,&rdquo\; a tree-like composition in a deli cate patina\, very free and more buoyant that most of the artist&rsquo\;s w orks in the series\; &ldquo\;Who Are You to Tell?&rdquo\;\, a bulkier work in a rich\, almost black patina that surprises the viewer as its elements s eem to fly away from certain angles\; &ldquo\;Curly\,&rdquo\; a playful scu lpture where solid shapes are juxtaposed with open forms and sinuous curlic ues\; and &ldquo\;Lady Godiva\,&rdquo\; one of Van de Bovenkamp&rsquo\;s mo st figurative works in a rich\, dark brown patina.

DTEND:20140330 DTSTAMP:20140829T070902 DTSTART:20140112 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:In Bronze\, Clement Meadmore\, Richard Erdman\, Hans Van de Bovenka mp UID:314640 END:VEVENT BEGIN:VEVENT DTEND:20140112T160000 DTSTAMP:20140829T070902 DTSTART:20140112T140000 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:In Bronze\, Hans Van de Bovenkamp\, Richard Erdman\, Clement Meadmo re UID:314641 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140329 DTSTAMP:20140829T070902 DTSTART:20140308 GEO:37.7635592;-122.2441396 LOCATION:Alameda Museum\,2324 Alameda Avenue \nAlameda\, CA 94501 SEQUENCE:0 SUMMARY:San Lorenzo Art Group UID:316230 END:VEVENT BEGIN:VEVENT DTEND:20140308T150000 DTSTAMP:20140829T070902 DTSTART:20140308T130000 GEO:37.7635592;-122.2441396 LOCATION:Alameda Museum\,2324 Alameda Avenue \nAlameda\, CA 94501 SEQUENCE:0 SUMMARY:San Lorenzo Art Group UID:316231 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Altman Siegel proudly presents the second solo show at the gallery of Tokyo based painter Shinpei Kusanagi. \ ; The exhibition will feature the artist's abstract paintings paired with h is illustration work\, which is being shown for the first time outside of J apan. \;

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Shinpei Kusanagi's landscapes are both dynamic and understated. \; Leaving much of the can vas raw\, his minimal strokes of acrylic create figures\, space and movemen t. \; Using simple geometric shapes Kusanagi subtly implies the windows and architectural planes that create the familiar geography of urban lands capes. Efficient marks imply the curve of a sidewalk\, while a single brush of green evokes a tree. The broadly applied atmospheric washes of color le ave the landscapes devoid of specific detail\, as they seem to evoke the me mory of a place rather than the place itself. \;

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In contrast to the more abstracted landscapes\, the ex hibition will also include representational paintings that show the depth a nd range of Kusanagi's skill as a painter. Though stylistically quite diffe rent\, these illustrations are a key element in Kusanagi's practice\, and h e considers them conceptually similar to the more abstract works. \;

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For five years\, Kusanagi publishe d drawings to accompany each installment of Teru Miyamoto's novel \;Mizu no katachi[the shape of water]\, which was serialized in the mon thly magazine \;é\;clat \;(published by Shueisha). T hese original works as well as Kusanagi's own writings were subsequently in cluded in Kusanagi's first book \;Kiyosumi kaiwai \;[Kiyo sumi and its Environs] \;published in 2013. For this exhibition\, K usanagi used the representational paintings as a point of departure\, drawi ng on the motifs from these works to ground the abstractions.  \; \;

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Shinpei Kusanagi lives and wor ks in Tokyo. His recent exhibitions include\, "where the water comes togeth er with other water\," Taka Ishii\, Kyoto\, 2013\; "Fuyu no Tabi\," Shane C ampbell\, Chicago\, 2012\; "project N 45 KUSANAGI Shinpei\," Tokyo Opera Ci ty Art Gallery\, Tokyo\, 2011\; "VOCA"\, The Ueno Royal Museum\, Tokyo\, 20 11.  \;  \;  \;  \;  \;  \;  \;  \;< /p>\n

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Book Title: \;Kiyosumi kaiwai \;[Kiyosumi and its Environs] \;Author: Shinpei Kusanagi \;

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Published by Kyuryud o \;http://www.kyu ryudo.co.jp/

DTEND:20140419 DTSTAMP:20140829T070902 DTSTART:20140306 GEO:37.7878527;-122.4043529 LOCATION:Altman Siegel Gallery\,49 Geary St. \nSan Francisco\, CA 94108 SEQUENCE:0 SUMMARY:so far so close\, Shinpei Kusanagi UID:321857 END:VEVENT BEGIN:VEVENT DTEND:20140306T193000 DTSTAMP:20140829T070902 DTSTART:20140306T173000 GEO:37.7878527;-122.4043529 LOCATION:Altman Siegel Gallery\,49 Geary St. \nSan Francisco\, CA 94108 SEQUENCE:0 SUMMARY:so far so close\, Shinpei Kusanagi UID:321858 END:VEVENT BEGIN:VEVENT DESCRIPTION:

FOR IMMEDIATE RELEASE

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Contact: Jenn ifer Draughon

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Andrea Schwartz Gallery

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545 4th St reet\, San Francisco\, CA 94107

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415.495.2090 &ndash\; Phone

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415.495.2094 &ndash\; Fax

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jennifer@asgallery.com

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www.asgal lery.com

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Jamie Brunson and Barbara Kronlins

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March 12 &ndash\; April 18\, 2014

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Opening Reception: Wednesday\, March 12\, 5:30 - 7:30 PM

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Andrea Schwartz Gallery is pleased to announce a two-person exhibition featuring new work b y Jamie Brunson and Barbara Kronlins opening Wednesday\, March 12\, 2014.\n

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&ldquo\;For me\, the success of my paintings rel ies on their capacity to evoke analogous sensations of expansion and connec tion in the people who see them.&rdquo\; --Jamie Brunson

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Jamie Brunson works with a mix of oil paint\, alkyd medium and r efined beeswax to build up layered\, shimmering surfaces that extend beyond the canvas. Brunson uses veil and lattice forms to evoke meditative experi ences and employs the physical qualities of paint to mimic the kind of perc eptual sensory phenomena that arise in meditation&mdash\;blurring\, overlap ping\, dissolving edges\, and radiance. Brunson received her BFA from the C alifornia College of the Arts and her MFA from Mills College.

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&ldquo\;I was delighted with the images\, colors\, stories a nd memories they brought back. \; Who didn&rsquo\;t love &lsquo\;Archie \,&rsquo\; &lsquo\;Blondie\,&rsquo\; and &lsquo\;Felix the Cat.&rsquo\;&rdq uo\; --Barbara Kronlins

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Barbara Kronlins has always used vinta ge matchbooks\, coloring books\, and other vintage ephemera to create her g raphic\, multi-layered collages. \; However\, after receiving a box of old comics found in the attic of her childhood home\, Kronlins began incorp orating these past and familiar images into her collages. \; The new ma terials recalled old memories\, including a past interest in Pop Art\, whic h pushed her to work with new shapes and sizes.

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Andrea Schwartz Gal lery was established in 1982 and is located in the South of Market district of San Francisco in our new gallery space located at 545 &ndash\; 4th Street. ASG exhibits contemporary work of mid-career artists from th e Bay Area and across the country. \; ASG is a member of SFADA. \; Gallery Hours are Monday - Friday 9 - 5\, Saturday by appointment. For furt her information and materials please contact Jennifer Draughon at 415-495-2 090 or jennifer@asgallery.com. \; Additional information may also be fo und on our website\, www.asgallery.com. Thank you!

DTEND:20140418 DTSTAMP:20140829T070902 DTSTART:20140312 GEO:37.7790823;-122.397524 LOCATION:Andrea Schwartz Gallery\,545 4th Street \nSan Francisco\, CA 94107 SEQUENCE:0 SUMMARY:Jamie Brunson and Barbara Kronlins\, Jamie Brunson\, Barbara Kronli ns UID:324732 END:VEVENT BEGIN:VEVENT DTEND:20140312T193000 DTSTAMP:20140829T070902 DTSTART:20140312T173000 GEO:37.7790823;-122.397524 LOCATION:Andrea Schwartz Gallery\,545 4th Street \nSan Francisco\, CA 94107 SEQUENCE:0 SUMMARY:Jamie Brunson and Barbara Kronlins\, Jamie Brunson\, Barbara Kronli ns UID:324733 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Anno Domini is pleased to welcome the return of Jeremiah Maddock to the gallery with his third solo exhibition since 2009 A.D. A hyper prolific art ist\, Jeremiah continues his intensely patterned drawings as well as his un ique figurative themes. In 2011\, Jeremiah came to San Jose for his opening reception from New York City....deciding shortly afterward he wasn't going back. Since then\, he's been living in a house\, near a river in the Pacif ic Northwest\, with the fish\, otters\, deer and bald eagles.

\n< p style="text-align: justify\;">"This work \, like most of my work\, is an ongoing process of exploration.

"Through the process of creating I find part of my brain and spirit that\, so far I can only access through ho urs and hours of creating and building my visual language. To me it feels l ike meditation\, or at least\, what I understand meditation to be. It is a feeling that I am addicted to and so I keep on searching all the time&sbquo \;Ä\;ì\;I can&sbquo\;Ä\;ô\;t go out and buy it anywhere. With this feeling comes warmth and peace\, love and angst\, and a freedom of knowing that there is no right way to be an artist...it&sbquo\;Ä\;&o circ\;s a great freedom...it connects me\, I feel\, to something other worl dly or maybe just worldly...I wouldn&sbquo\;Ä\;ô\;t know. While I am working\, the pieces look amazing to me...like it has a pulse or electri cal current weaving through it...when I wake up the next day\, it seems to be gone and it looks like just another drawing. It is through the process o f making that I find the images and concepts&sbquo\;Ä\;ì\;if ther e are any to be found. Barely ever do I have preconceived ideas when I sit down to work (which should explain somewhat this vague paragraph.) Though I have been making things for a very long time\, I feel I have barely scratc hed the surface of what can be\, so I will keep going through this maze unt il I find that flood gate. There is a lot for me to look forward to."

~Jeremiah Maddock

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DTEND:20140510 DTSTAMP:20140829T070902 DTSTART:20140307 GEO:37.3305872;-121.8862658 LOCATION:Anno Domini\,366 South First St. \nSan Jose\, CA 95113 SEQUENCE:0 SUMMARY:We's Gone Be Fine\, Jeremiah Maddock UID:319529 END:VEVENT BEGIN:VEVENT DTEND:20140307T230000 DTSTAMP:20140829T070902 DTSTART:20140307T190000 GEO:37.3305872;-121.8862658 LOCATION:Anno Domini\,366 South First St. \nSan Jose\, CA 95113 SEQUENCE:0 SUMMARY:We's Gone Be Fine\, Jeremiah Maddock UID:325281 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Anthony Meier Fine Arts is ple ased to present an exhibition of new works by New York-based artist Jim Hod ges. \; In his third solo presentation at the gallery\, Hodges debuts a series of five colored mosaic mirrors on panel. \;

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The new body of work continues a dialogue first begun in 1996 with the smashing of a reflective glass support to create shatter str eaks on a mirrored surface. \; Since that time\, Hodges&rsquo\;s mirror works have evolved into a finely-tuned tessellate process in which he mani pulates the shift and sway of light and reflection. \;

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Introducing color to his mirrors for the first time\, Hodges&rsquo\;s new exhibition features works flush on the wall as well as angled works that fit into corners. These corner pieces juxtapose two colo rs\, reflecting into one another. \; The surfaces are electric\; orange \, pink\, blue and yellow create a spectrum of light in their interplay. Th eir scale is substantial and immersive: the largest work\, \;Untitl ed (Grey Ellipse)\, stands nearly 12 feet tall. \;

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A comprehensive survey exhibition of Hodges&rsquo\; work\, \;Give More Than You Take\, curated by Jeffery Grove an d Olga Viso\, debuted at the Dallas Museum of Art in October 2013. \; C urrently installed at the Walker Art Center\, Minneapolis\, through 11 May the show continues to the Institute of Contemporary Art\, Boston (5 June th rough 1 September) and the UCLA Hammer Museum\, Los Angeles (5 October thro ugh 17 January 2015).

DTEND:20140425 DTSTAMP:20140829T070902 DTSTART:20140321 GEO:37.7897063;-122.4267796 LOCATION:Anthony Meier Fine Arts\,1969 California Street \nSan Francisco\, CA 94109 SEQUENCE:0 SUMMARY:Solo Exhibition\, Jim Hodges UID:311118 END:VEVENT BEGIN:VEVENT DTEND:20140320T200000 DTSTAMP:20140829T070902 DTSTART:20140320T180000 GEO:37.7897063;-122.4267796 LOCATION:Anthony Meier Fine Arts\,1969 California Street \nSan Francisco\, CA 94109 SEQUENCE:0 SUMMARY:Solo Exhibition\, Jim Hodges UID:325771 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Longtime AWD Associate Artist Arthur Comings has opened a small galler y\, The Art of Assemblage\, in Studio 32\, just down from the main gallery. He will be showing the finest examples of assemblage that he can find. If you peek in you can see how the first show is shaping up.
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Anyone interested in showing assemblage in Arthur's gallery can send i mages or website link to \;arthurcomings@gmail.com. \;Learn more here
DTEND:20140627 DTSTAMP:20140829T070902 DTSTART:20140214 GEO:37.9734453;-122.5317766 LOCATION:art works downtown\,1337 Fourth Street \nsan rafael\, CA 94901 SEQUENCE:0 SUMMARY:Studio 32: Special Exhibition: The Art of Assemblage\, Paul Moshamm er\, Reddy Lieb\, Gene Erickson\, Mirto Golino UID:331294 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Receptions: \;March 14&nbs p\;+ \;April 11 \;&bull\; \;5&ndash\;8pm \; \;
Art ist Talk: \;March 29 \;&bull\; \;11am

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The art of Mike Shine and friends with special music guest\, B eso Negro.

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Featuring Helen Bayly\, Jo e Bender\, John Butler\, Ben Clarke\, Colin Day\, Blair Tom\, and Calvin Wo ng

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Including Mike Bennett\, Jake Cortez\, Spencer Cunningham\, Kim Dittrich\, Jonah Elias\, Leonardo Ferlinghetti\, Maxx Moore\, Kyla Neugeba uer\, Cooper Shine\, Riley Shine\, Sawyer Shine\, and Oliver Whitcroft

DTEND:20140418 DTSTAMP:20140829T070902 DTSTART:20140307 GEO:37.9734453;-122.5317766 LOCATION:art works downtown\,1337 Fourth Street \nsan rafael\, CA 94901 SEQUENCE:0 SUMMARY:The Hell Brewers: A Peek into the Weird World of Dr. Flotsam and Hi s Carny Clan\, Mike Bennett\, Jake Cortez\, Spencer Cunningham\, Kim Dittri ch\, Jonah Elias\, Leonardo Ferlinghetti\, Maxx Moore\, Kyla Neugebauer\, C ooper Shine\, Riley Shine\, Sawyer Shine\, Oliver Whitcroft\, Helen Bayly\, Joe Bender\, John Butler\, Ben Clarke\, Colin Day\, Blair Tom\, Calvin Won g\, Mike Shine UID:326459 END:VEVENT BEGIN:VEVENT DTEND:20140411T200000 DTSTAMP:20140829T070902 DTSTART:20140411T170000 GEO:37.9734453;-122.5317766 LOCATION:art works downtown\,1337 Fourth Street \nsan rafael\, CA 94901 SEQUENCE:0 SUMMARY:The Hell Brewers: A Peek into the Weird World of Dr. Flotsam and Hi s Carny Clan\, Helen Bayly\, Joe Bender\, Mike Bennett\, John Butler\, Ben Clarke\, Jake Cortez\, Spencer Cunningham\, Colin Day\, Kim Dittrich\, Jona h Elias\, Leonardo Ferlinghetti\, Maxx Moore\, Kyla Neugebauer\, Cooper Shi ne\, Mike Shine\, Riley Shine\, Sawyer Shine\, Blair Tom\, Oliver Whitcroft \, Calvin Wong UID:326460 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Our bodies are moving canvases \; the orna­\;ments we wear are seen from different angles\, in bright s un and evening shadows\, at simple gatherings and fancy events. While jewel ry often proclaims the wealth and status of its owner\, each object can als o tell other stories. These are stories of the cycle of life&mdash\;engagem ents\, weddings\, births\, deaths. Jewelry can function as a talisman\, enc apsulating our wishes for protection or hopes for prosperity.

On view in gallery 11 of the Southeast Asian galleries (October 20\, 2012&nda sh\;August 3\, 2014) is a remarkable selection of jewelry from the James an d Elaine Connell Collection. After donating their collection of Thai cerami cs to the Asian Art Museum in 1989\, the Connells began collect­\;ing je welry\, selecting rare objects from a wide range of Southeast Asian culture s. The forty-one pieces of jewelry on display\, which were recently donated to the museum\, come primarily from Indonesia but also include examples fr om the Philippines\, Malaysia\, and Burma.

Ancient Indian texts describe a region called \;Suvarnadvipa \;(&ldquo\;Golden Island&rdquo\; or &ldquo\;Golden Peninsula&rdquo\;)\, a term thought by man y to des­\;ignate the Indonesian islands\, particularly Sumatra. Sumatra is rich in gold deposits that were exported throughout the archipelago. Go ld has long been treasured for its luster\, malleabil­\;ity\, and resist ance to corrosion. In many of these island cultures\, gold was associated w ith the sun and with the ancestral deities.

While many of the ob jects on display are gold\, other materials were also used for ornamentatio n. Bells\, beads\, bones\, beaks&mdash\;Southeast Asians made jewelry from a vast array of materials\, both imported and local. Traditions of jewelry making are especially rich among the peoples of Mindanao Island and the Luz on highlands of the Philippines and a case in the display exhibits objects from these regions.

The jewelry of neighboring regions (or even within an area) can be dramatically varied\, including both strikingly bold forms and objects finely crafted with intricate detail. Certain shapes\, l ike the omega-shape &Omega\;\, spread across thousands of miles and are lin ked to notions of female fertility. Other forms\, like the huge plate-shape d gold chest ornaments called \;piring mas \;(gold plates) \, are found only in a small number of eastern Indonesian islands.

Most of the objects on display most likely date from 1800-1900\, but it is possible some are much older. Jewelry of these types is no longer made i n many of these regions\, although heirlooms are still kept\, treasured\, a nd worn on ceremonial occasions. As a group these objects illustrate the gr eat diversity of techniques\, materials and functions of jewelry made by so me of the many distinct cultural societies of Southeast Asia.

DTEND:20140803 DTSTAMP:20140829T070902 DTSTART:20121020 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Art of Adornment: Southeast Asian Jewelry from the Jamea and Elaine Connell Collection UID:308760 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Carved Brush showcases works by acclaimed Chinese artist Qi Baish. Born into a poor farming family and coming of age during China&rsqu o\;s century of civil strife\, Baishi became the most widely recognized Chi nese artist of his time. His distinctly modern art broke through class and cultural barriers through use of expressive &ldquo\;carved&rdquo\; brushwor k. Qi Baishi&rsquo\;s art is the ideal gateway through which art lovers of any class or culture can learn about the millennia-old tradition of Chinese brush painting.

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Born into a poor farming family and coming of age dur ing China&rsquo\;s century of civil strife\, Qi Baishi rose to become one o f the most widely recognized Chinese artists of his time. His distinctly mo dern art broke through class and cultural barriers through use of expressiv e &ldquo\;carved&rdquo\; brushwork\, juxtaposition of vibrant colors agains t deep and rich ink tones\, economy in form and composition\, and selection of emotionally resonant subject matter. He is credited with transforming t he brush art of China&rsquo\;s educated elite into a more universal art for m\, appreciated by people of all social backgrounds. Qi Baishi&rsquo\;s pai ntings featured rugged\, expressive brushwork based on his practice of the related arts of brush-written calligraphy and seal carving&mdash\;the art o f carving characters in stone. Can you spot the relation between his callig raphy and seal carving\, and the &ldquo\;carved&rdquo\; brushwork in his pa intings?

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Much as a poet strives to communicate deep meanin g with few words\, Qi Baishi simplified his rendering of his subjects to a minimum number of brush touches. In this way\, he integrated representation al elements with abstraction in an attempt to capture the spiritual essence of his subjects.

DTEND:20140713 DTSTAMP:20140829T070902 DTSTART:20131029 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:The Carved Brush: Calligraphy\, Painting\, and Seal Carving by Qi B aishi (1863-1957)\, Qi Baishi UID:307638 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Breathe deeply\, and get ready for the world&rsquo\;s first major art exhibition about yoga.
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Millions of peo ple around the world practice yoga to find spiritual insight and improved h ealth. While many are aware of yoga&rsquo\;s origins in India\, few may kno w about its philosophical underpinnings or its fascinating history over tho usands of years. Yoga: The Art of Transformation goes beyond postu res and delves into how yoga has evolved into a global phenomenon through a n exploration of its visual history. Borrowed from 25 museums and private c ollections in Europe\, the U.S. and India\, the artworks featured in the ex hibition date from the 2nd to the 20th centuries. Images ranging from benev olent deities and gurus to Tantric goddesses and sinister yogis reveal how yoga practices&mdash\;and perceptions of them&mdash\;have transformed over time and across communities. Exhibition highlights include stunning masterp ieces of Indian sculpture and painting\; pages from the first illustrated b ook of yoga postures (asanas)\; and a Thomas Edison film\, Hindoo Fakir (1902)\, the first American \;movie ever produced about India. &n bsp\;

The Asian Art Mus eum is the only U.S. West Coast venue for this exhibition. \;\n
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Yoga: The Art of Transformation was o rganized by the Arthur M. Sackler Gallery\, Smithsonian Institution with su pport from the Friends of the Freer and Sackler Galleries\, the Art Mentor Foundation Lucerne and the Ebrahimi Family Foundation.

\n< div>Presentation at the Asian Art Museum is made possible with the generous support of The Bernard Osher Foundation\, Helen and Rajnikant Desai\, E. R hodes and Leona B. Carpenter Foundation\, Kumar and Vijaya Malavalli\, Soci ety for Asian Art\, and Walter &\; Elise Haas Fund.
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We&rsquo\;re celebrating t he opening of Yoga: The Art of Transformation with two amazing kic koff events:

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Yoga Opening Night Party \;

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Friday\, Feb 21\, 7&ndash\;11 pm \;
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Take a deep bre ath and dance the night away with MC Yogi\, DJ Drez and DJ Sol Rising. Not your speed? Stretch out in a yoga class earlier in the evening led by MC Yo gi or spend some time in our galleries. Either way\, be the first to see th e exhibition that The New York Times called &ldquo\;immensely pleasurable.& rdquo\; AcroYogis\, Non Stop Bhangra with Dholrhythyms\, gallery tours\, st orytelling\, complimentary sips by Laughing Glass Cocktails\, and cash bars make this a feel-good party for the body and soul. View the full schedule.
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Yoga Festival \;

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Saturday\, Feb 22\, 10:30 am&nd ash\;4pm
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Practice yoga in the museum&rsquo\ ;s beautiful Samsung Hall with your choice of one of three 90-minute classe s taught by top notch teachers: the Art of Attention with Erica Jago\; Acro Yoga with Jenny Sauer-Klein and Adam Rinder\; and Vinyasa Flow with Stephan ie Snyder. Open your mind and chill out in our collection galleries and yog a exhibition. Got kids? Bring &lsquo\;em! Yoga for the little ones\, art ma king activities\, storytelling sessions\, curatorial-led gallery talks\, to urs\, and the Yogi Tea Lounge round out this family-friendly event. View the full schedul e.
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\n DTEND:20140525 DTSTAMP:20140829T070902 DTSTART:20140221 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Yoga: The Art of Transformation UID:316232 END:VEVENT BEGIN:VEVENT DTEND:20140221T230000 DTSTAMP:20140829T070902 DTSTART:20140221T190000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Yoga: The Art of Transformation UID:316233 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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\nMandalas are maps of Buddhist visionary worlds.
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Minutely detailed and saturated with philosophical meaning\, these works ( most often paintings or sculptures) are a feast for the eyes and the mind&m dash\;nested squares and circles are arrayed to represent the center of the cosmos and the four cardinal directions. For Buddhist practitioners\, howe ver\, mandalas are not just images to view\, but worlds to enter&mdash\;aft er recreating the image in their mind&rsquo\;s eye\, meditators imaginative ly enter its realm.

But is it possible to have this experience without years of meditative discipli ne?  \;
Enter the Mandala
says yes. In this exh ibition\, 14th-century paintings align a gallery with the cardinal directio ns\, transforming open space into an architectural mandala&mdash\;a chance to experience the images in three dimensions\, to dwell in the midst of the cosmic symbols and be transported to another world. Visitors can literally &ldquo\;enter the mandala\,&rdquo\; exploring places in the cosmos&mdash\; and perhaps themselves&mdash\;that might otherwise remain invisible. \;
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\n DTEND:20141026 DTSTAMP:20140829T070902 DTSTART:20140314 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Enter the Mandala:Mental Maps and Cosmic Centers of Himalayan Buddh ism UID:316234 END:VEVENT BEGIN:VEVENT DTEND:20140314T170000 DTSTAMP:20140829T070902 DTSTART:20140314T100000 GEO:37.7802622;-122.4160294 LOCATION:Asian Art Museum\,200 Larkin St. \nSan Francisco\, CA 94102 SEQUENCE:0 SUMMARY:Enter the Mandala:Mental Maps and Cosmic Centers of Himalayan Buddh ism UID:316235 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The importance of capturing on film the deci sive and transient moments of an archaeological expedition was not lost on William F. Badè\;\, the director of excavations at the ancient site o f Tell en-Nasbeh from 1926 to 1936. Each season the team went into the fiel d with an assortment of cutting-edge photographic equipment best suited for such grueling terrain. While excavations progressed\, Dr. Badè\; was sure to have all aspects of the dig visually documented\, from the discove ry of important objects in situ\, to the transient stages of unearthing com plex structures such as tombs. The shifting appearance of the site&rsquo\;s architectural remains was also recorded through a series of general views taken from an elevated viewpoint\, as demonstrated in the image above. By t he end of each season the team had amassed an unfathomable number of 5 x 7 inch negatives and their black-and-white photograph counterparts\, 3¼ \; x 4¼\; inch negatives that were later used to produce lantern slid es\, and a record-book documenting each photograph taken that season. Photo graph numbers were also included on basket tags and in the main object regi stry book\, which now permits cross-referencing of this vast collection of materials.

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Owing to Dr. Badè\;&rsquo\;s forwa rd-thinking and organized scientific approach\, the Badè\; Museum now has a very rare and uniquely insightful digital library for the excavation s at Tell en-Nasbeh. Such a collection of photographs permits us to see the remains of this ancient city through the eyes of the excavators\, to exper ience what they must have experienced when they first laid eyes upon an obj ect in situ that had not been seen for close to 2700 years. Thanks to Dr. B adè\; we can better understand the experience of &ldquo\;recover[ing] from the earth the still fragmentary story of man&rsquo\;s past.&rdquo\; ( Badè\;\, A Manual of Excavation in the Near East\, 1934).

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Tell en-Nasbeh Photographers:
George P. Hedley (1927\, 1929)\; Wesley A. Havermale (1932)\; Robert Branstead (1935)

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DTEND:20140404 DTSTAMP:20140829T070902 DTSTART:20130830 GEO:37.8796524;-122.2668066 LOCATION:Badè Museum\,Pacific School of Religion 1798 Scenic Avenue\nBerkel ey\, CA 94709 SEQUENCE:0 SUMMARY:The Part Which the Camera Plays\, George P. Hedley\, Wesley A. Have rmale\, Robert Branstead UID:298073 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140419 DTSTAMP:20140829T070902 DTSTART:20140321 GEO:37.7818704;-122.4140571 LOCATION:Bash Contemporary\,210 Golden Gate Avenue \nSan Francisco\, CA 941 02 SEQUENCE:0 SUMMARY:Unearthly Delights\, Jeff Christensen\, Julianna Menna\, Paolo Petr angeli UID:326749 END:VEVENT BEGIN:VEVENT DTEND:20140322T210000 DTSTAMP:20140829T070902 DTSTART:20140322T180000 GEO:37.7818704;-122.4140571 LOCATION:Bash Contemporary\,210 Golden Gate Avenue \nSan Francisco\, CA 941 02 SEQUENCE:0 SUMMARY:Unearthly Delights\, Jeff Christensen\, Julianna Menna\, Paolo Petr angeli UID:326750 END:VEVENT END:VCALENDAR