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Andy Buchwald has made art at the Victory Center in San Anselmo for many years. \;His expressive\, co lorful sticks wrapped with yarn\, fabric and beads have a life of their own . \;

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Andy is a resident of the&nb sp\;Cedars of Marin\, which encourages indepen dence and creativity for adults with developmental disabilities. The art pr ogram thrives with support throughout the community. \;

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Visit the Artist Within Gallery\, 603 San Anselmo Av e.\, San Anselmo\, to see more artists work.

DTEND:20140705 DTSTAMP:20140921T053735 DTSTART:20140613 GEO:37.9734453;-122.5317766 LOCATION:art works downtown\,1337 Fourth Street \nsan rafael\, CA 94901 SEQUENCE:0 SUMMARY:Talking Sticks\, Andy Buchwald UID:342306 END:VEVENT BEGIN:VEVENT DTEND:20140613T200000 DTSTAMP:20140921T053735 DTSTART:20140613T170000 GEO:37.9734453;-122.5317766 LOCATION:art works downtown\,1337 Fourth Street \nsan rafael\, CA 94901 SEQUENCE:0 SUMMARY:Talking Sticks\, Andy Buchwald UID:342307 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For the past few years\, Sue Weil has been exploring &ldquo\;family&rdqu o\; through a series of 18&rdquo\; x 24&rdquo\; tapestry studies by reincar nating castoff garments and personal effects from family members \;into separate woven panels. A photograph of the original garment is paired with each tapestry on display. \;

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In this exhibit\, Sue further explores the concept of &ldquo\;family&rdquo\; through broadening the scope to embr ace members of all dimensions of the Art Works Downtown community. The exhi bit features panels created from donated clothing and personal items from A WD residential and retail tenants\, studio artists\, staff and board member s. Through her selection of colors\, textures and shredded artifacts integr ated into each panel\, Sue hopes to portray the spirit of each AWD family m ember and their contribution to the project. \;

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Sue Weil lives and w eaves in Marin County\, California. To see a preview of Sue&rsquo\;s work\, please visit her website: \;www.sueweil.com

DTEND:20140705 DTSTAMP:20140921T053735 DTSTART:20140613 GEO:37.9734453;-122.5317766 LOCATION:art works downtown\,1337 Fourth Street \nsan rafael\, CA 94901 SEQUENCE:0 SUMMARY:Community Weavings: A Family Album\, Sue Weil UID:342308 END:VEVENT BEGIN:VEVENT DTEND:20140613T200000 DTSTAMP:20140921T053735 DTSTART:20140613T170000 GEO:37.9734453;-122.5317766 LOCATION:art works downtown\,1337 Fourth Street \nsan rafael\, CA 94901 SEQUENCE:0 SUMMARY:Community Weavings: A Family Album\, Sue Weil UID:342309 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This Rock Face series of photo graphs addresses a sense of presence and personality. Each mountain portrai t pictured here has its own unique characteristics. Just as with portraits of people\, the texture and surface of each rock face was produced over tim e by gradual\, intense experience.  \;

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Each of these faces are several hundred feet tall. Find the trees for scale. Their lifetimes are profoundly long. All of these photos were taken in Yosemite within miles of each other\, yet each place reacted differentl y to the same conditions. Each looks different as the light hits it through out the day and throughout the year. Each is a landmark.

DTEND:20140705 DTSTAMP:20140921T053735 DTSTART:20140613 GEO:37.9734453;-122.5317766 LOCATION:art works downtown\,1337 Fourth Street \nsan rafael\, CA 94901 SEQUENCE:0 SUMMARY:Rock Face\, Tom Rohrer UID:342310 END:VEVENT BEGIN:VEVENT DTEND:20140613T200000 DTSTAMP:20140921T053735 DTSTART:20140613T170000 GEO:37.9734453;-122.5317766 LOCATION:art works downtown\,1337 Fourth Street \nsan rafael\, CA 94901 SEQUENCE:0 SUMMARY:Rock Face\, Tom Rohrer UID:342311 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bernadette Jiyong Frank

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Sp aces in Between

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Jun e 5&ndash\;July 5\, 2014

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The lyrical geometry und ergirding Frank&rsquo\;s paintings is a means for expressing the Japanese c oncept of ma\, or the space between objects and events that is bot h empty and yet full of meaning. Ma maintains a constant presence throughout Japanese culture\; it can be found\, for example\, in the meanin gful pause at the bottom of a bow or the resonant silences between musical notes. Frank\, who is of Korean decent but grew up in Japan\, uses the inte rvals\, spaces\, and voids of geometric bodies to locate visual representat ions of ma. The geometric compositions are\, in turn\, informed by nature and light. As Frank explains:

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&ldquo\;Mathematic s is all around us. Nature reveals its beauty through geometry. You see it in the veins of leaves\, in the way trees grow\, in the patterns on the bac ks of insects and animals\, and in the shape of the landscape. I am also at tuned to light in nature. I observe how it shifts throughout the day and ho w it changes the color of the environment\, or how it refracts and casts sh adows that seem to dance against a wall. Personally\, as an artist\, it&rsq uo\;s impossible for me to ignore these things. \;

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Numerous overlapping planes of varyin g tonal values cover Frank&rsquo\;s perfectly square compositions. Each new rectilinear plane is turned slightly askew to allow patterns and forms to emerge\, giving the impression of\, among other phenomena\, light&rsquo\;s refractivity. Within this interplay of two- and three-dimensional space\, m ath\, measuring\, and precision are prioritized\, as is a concern for propo rtion. The works featuring corporal-like forms in The Spaces in Between series\, for example\, can be viewed as a modern-day interpretation o f Leonardo Da Vinci&rsquo\;s Vitruvian Man. \;

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But for Frank\, mathematics and geometry are not ends-in-themselves but rather conduits for something deeper. Like Agnes Martin&rsquo\;s grid pain tings and Naum Gabo&rsquo\;s kinetic sculptures\, Frank&rsquo\;s paintings encourage us to transcend the visual limitations of everyday reality to com mune with the rich\, empyreal contours of our worlds and ourselves. Her hea vy use of ponderous\, Rothkoesque colors\, such as midnight blue\, deep pur ple\, and dark grey\, further facilitate this inward turn. These colors in conjunction with the scale of her panels also help recreate the solitary an d disorienting experience of diving deep into a body of water\, a situation Frank repeatedly put herself in while on a year-long sailing trip through the South Pacific during her late twenties.

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During this adventure\, Frank explains how she became acutely aware of the passage of t ime\, or lack thereof: &ldquo\;the underwater experience [gives] me the sen sation of floating in timeless space where the interconnection of self to t he world was lost.&rdquo\; And because life on the boat was so simple\, min utes felt like hours. This formative experience with time is directly recal led in Frank&rsquo\;s painting process. After applying white gesso to the p anel\, the artist spends the next several days laying down five to ten laye rs of acrylic paints. Once she achieves the right depth and tonality\, she then moves on to oil paints. Due to the medium&rsquo\;s drying time\, Frank is only able to paint one layer a day: &ldquo\;It can be painful and pains taking. But I learn to deal with this pain in a meditative way. I enjoy the process of going slow but digging deeper and deeper and adding another lay er.&rdquo\; \;

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Frank&rsquo\;s current works largely adhere to three different visual motifs\, each of which captures the vitali ty of ma in a unique way. In half of the Spaces in Between works\, an hourglass shape rendered through compact\, fan-like layering e mits a central\, explosive energy. In the second half of this series\, ener gy is more diffuse as billowing\, veil-like patterns encourage the viewer t o weave in and out of space. Finally\, in the Void/ Emergence pain tings\, the planes form a kaleidoscopic opening that allows an invisible fo rce to burst through and into the viewer&rsquo\;s consciousness. \;

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All of the works present a snapshot of the flow of time as a pattern\; said another way\, each reveals &ldquo\;the texture that time h as left.&rdquo\; By corralling viewers to experience time&rsquo\;s unique a nd often incommunicable dimensionality\, Frank hopes that they will be able to grasp &ldquo\;that void that exists in time and space as a place of con templation\, rejuvenation\, and change.&rdquo\; \;

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Bernandette Jiyong Frank was born int o a Korean family in Tokyo\, Japan. She moved to the San Francisco Bay Area at the age of thirteen and\, following high school\, moved to Los Angeles where she later studied at the Otis Art Institute of Parson School of Desig n and the nearby Art Center College of Design in Pasadena. Her work has exh ibited across the United States\, including at the famed Southern Exposure Gallery in San Francisco and the Florida State Museum of Fine Arts in Talla hassee\, and has been acquired into the permanent collection of the Crocker Art Museum\, Sacramento. Her work has also been featured in New American P aintings. This is her first exhibition at the Dolby Chadwick Gallery.

DTEND:20140705 DTSTAMP:20140921T053735 DTSTART:20140605 GEO:37.7887091;-122.405531 LOCATION:Dolby Chadwick Gallery\,210 Post Street Suite 205 \nSan Francisco\ , CA 94108 SEQUENCE:0 SUMMARY:Spaces in Between\, Bernadette Jiyong Frank UID:338627 END:VEVENT BEGIN:VEVENT DTEND:20140605T193000 DTSTAMP:20140921T053735 DTSTART:20140605T173000 GEO:37.7887091;-122.405531 LOCATION:Dolby Chadwick Gallery\,210 Post Street Suite 205 \nSan Francisco\ , CA 94108 SEQUENCE:0 SUMMARY:Spaces in Between\, Bernadette Jiyong Frank UID:338628 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;malen wir&rdquo\;

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New painti ngs by Rudi Molacek

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Opening reception for the artis t\, Friday May 23rd\, \;6 to 8pm

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Show will be on vie w through July 5th\, 2014

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Originally fro m Vienna\, Austria\, artist Rudi Molacek embodies the spirit of a true roma ntic. He approaches his luminous oil paintings with unencumbered confidence \, employing bold and gestural brush strokes buoyed by a dash of whimsy. Hi s life long love of gardens is channeled into paint\, translating his appre ciation of nature onto the canvas. The paintings radiate with the timeless virtues of color\, of light and the simple yet essential joy of a flower in bloom. \; \;

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On view will be a new suite o f large works on canvas fresh from Rudi&rsquo\;s studio in Berlin.

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For more information or images contact \;holly@fouladiprojects.com

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Fo uladi Projects \;

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1803 Market St. San Francisco\, CA 94103

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415-621-2535  \; \; www.fouladiprojects.com

DTEND:20140705 DTSTAMP:20140921T053735 DTSTART:20140523 GEO:37.7719101;-122.4232744 LOCATION:fouladi projects\,1803 Market St. \nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:“malen wir”\, Rudi Molacek UID:333130 END:VEVENT BEGIN:VEVENT DTEND:20140523T200000 DTSTAMP:20140921T053735 DTSTART:20140523T180000 GEO:37.7719101;-122.4232744 LOCATION:fouladi projects\,1803 Market St. \nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:“malen wir”\, Rudi Molacek UID:333131 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Shooting Gallery is pleased to present the new work of Charmaine Olivia in her third solo exhibition with the gallery titled\, Bloom. The opening reception will be Saturda y\, June 14\, 2014 from 7 pm to 11 pm. The exhibit will be on display throu gh July 5\, 2014 and is free and open to the public.

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Charmaine Olivia\, the renowned oil painter\, has become an icon both locally and globally for her art and style. The self taught arti st is best known for her oil paintings of beautifully rendered women that a re almost too beautiful to be real. Their luminous and starryeyed qualities paired with vivid hues and visible brush strokes that seem to flicker befo re our eyes emphasize the both unattainable and inspiring beauty unique to Olivia&rsquo\;s idyllic muses. With a Klimt-like decorative quality\, her p aintings redefine what it means to be beautiful.

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In her new body of work\, Bloom\, Olivia revisits many of these past muses. However\, in a different light. Her perspective is no stalgic\, while also seeming to grow and evolve\, just as her title suggest s. While maintaining her signature style in terms of color and content\, bu t experimenting with the abstract\, Olivia explores new realms in Bloom by creating a dreamlike springtime.

DTEND:20140705 DTSTAMP:20140921T053735 DTSTART:20140614 GEO:37.7862859;-122.4177545 LOCATION:Shooting Gallery\,886 Geary Street \nSan Francisco\, CA 94109 SEQUENCE:0 SUMMARY:Bloom\, Charmaine Olivia UID:338751 END:VEVENT BEGIN:VEVENT DTEND:20140614T230000 DTSTAMP:20140921T053735 DTSTART:20140614T190000 GEO:37.7862859;-122.4177545 LOCATION:Shooting Gallery\,886 Geary Street \nSan Francisco\, CA 94109 SEQUENCE:0 SUMMARY:Bloom\, Charmaine Olivia UID:338752 END:VEVENT BEGIN:VEVENT DESCRIPTION:

White Walls is pleased to pres ent GODDAMN\, the latest solo show by Minneapolis-based artist Gre g Gossel. The opening reception will be held on June 14 from 7 pm to 11 pm. The exhibition will be on view through July 5\, 2014 and is free and open to the public.

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GODDAMN featu res over 50 new original works on canvas and wood panel\, is the most paint erly show by the artist to date\, and utilizes a variety of mediums and tec hniques including silkscreen printing\, handpainted acrylic and enamel\, an d expressive spray paint marking. In GODDAMN Gossel continues to p ush his signature mixed-media approach with layer upon layer of iconic nati ve american and civil rights imagery juxtaposed with a series of whimsical pop imagery referencing children's cartoons and coloring books. The end res ult is an exhibition that is both dynamic and colorful\, offering a fragmen ted commentary on race\, power\, social injustice\, and a loss of innocence .

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With a background in design\, Gosse l's work is an expressive interplay of many diverse words\, images\, and ge stures\, and his multilayered compositions illustrate a visual history of c hange and process.

DTEND:20140705 DTSTAMP:20140921T053735 DTSTART:20140614 GEO:37.7862859;-122.4177545 LOCATION:White Walls Gallery\,886 Geary \nSan Francisco\, CA 94109 SEQUENCE:0 SUMMARY:GODDAMN\, Greg Gossel UID:336668 END:VEVENT BEGIN:VEVENT DTEND:20140614T230000 DTSTAMP:20140921T053735 DTSTART:20140614T190000 GEO:37.7862859;-122.4177545 LOCATION:White Walls Gallery\,886 Geary \nSan Francisco\, CA 94109 SEQUENCE:0 SUMMARY:GODDAMN\, Greg Gossel UID:341211 END:VEVENT BEGIN:VEVENT DESCRIPTION:

White Walls Project Space is p leased to present the new work of Justin Kerson in his solo exhibition titl ed\, &ldquo\;Blood &\; Ink.&rdquo\; The opening reception for Blood and Ink will be Saturday\, June 14\, 2014 from 7pm to 11pm. The exhibit will be on display through July 5\, 2014 and is free and open to the public.

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Created with the belief that art is all a round us\, Justin Kerson&rsquo\;s latest twisted and morbid series of work titled &ldquo\;Blood &\; Ink&rdquo\; uses cotton and linen to capture th e blood and ink of freshly done tattoos. Kerson&rsquo\;s process in Blood & amp\; Ink creates an imprint of the tattoo as seen on the client&rsquo\;s s kin\, making the tattoo an even more tangible as an archivable piece of art to be shared long beyond the life of the client.

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Interested in tattooing as an evolving art form that has unde rgone several transformations in societal connotations\, Kerson seeks to tr ansform the art of tattooing for the fine art world. As opposed to paint wi ll last for hundreds of years and sculptures that will last for thousands\, tattoo art only lasts the duration of a single lifetime. Through the work of Blood &\; Ink\, Justin has found a way for the tattoo itself to be ar chivable and tangible\; to be bought\, traded\, inherited and sold.

\n< p style="text-align: justify\;" dir="ltr">Kerson lives and works in San Fra ncisco and is motivated to making fine art accessible to all people. In 201 2\, artist and CEO of ToTT Global\, Kerson worked as Executive Producer on a street art documentary titled\, &ldquo\;The Detroit Project\,&rdquo\; whi ch starred Popoganda artist\, Ron English\, and debuted at the New York MoM A. In 2013\, Kerson curated his 3rd pop-up gallery at Art Basel\, which rec eived acclaim from Rolling Stone Magazine and the Huffington Post. In addit ion\, Kerson has collaborated with notable contemporary artists Anthony Aus gang\, Mark Bode\, Jeremy Fish\, Sam Flores\, Mike Giant and many more. Dri ven by the evolving nature of art and the idea that fine art can be a mediu m shared across multiple people and platforms\, each new project Justin app roaches is conceptually different from the last.

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DTEND:20140705 DTSTAMP:20140921T053735 DTSTART:20140614 GEO:37.7862859;-122.4177545 LOCATION:White Walls Gallery\,886 Geary \nSan Francisco\, CA 94109 SEQUENCE:0 SUMMARY:Blood & Ink\, Justin Kerson UID:340892 END:VEVENT BEGIN:VEVENT DTEND:20140614T230000 DTSTAMP:20140921T053735 DTSTART:20140614T190000 GEO:37.7862859;-122.4177545 LOCATION:White Walls Gallery\,886 Geary \nSan Francisco\, CA 94109 SEQUENCE:0 SUMMARY:Blood & Ink\, Justin Kerson UID:340893 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Professor Alexander Nemerov designed this exhibition to illuminate his c oncurrent course on American photographs. The 14 works on display range&nbs p\;from a Civil War era photograph by Timothy O&rsquo\;Sulllivan\, to stree t photography by Robert Frank and Garry Winogrand\, to work by Diane Arbus from the 1960s and Helen Levitt from the 1970s. Other artists include Lewis Wickes Hine\, Alvin Langdon Coburn\, Marion Post Wolcott\, and W. Eugene S mith.

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Lynn Krywick Gibbons Gallery

DTEND:20140706 DTSTAMP:20140921T053735 DTSTART:20140312 GEO:37.4329645;-122.1705594 LOCATION:Cantor Arts Center\,Stanford University 328 Lomita Dr.\nStanford\, CA 94305-5060 SEQUENCE:0 SUMMARY:American Photographs: A Cultural History\, Helen Levitt\, Diane Arb us\, Garry Winogrand\, Robert Frank\, W. Eugene Smith\, Marion Post Wolcott \, Alvin Langdon Coburn\, Lewis Wickes Hine\, Timothy O'Sullivan UID:325329 END:VEVENT BEGIN:VEVENT DTEND:20140312T170000 DTSTAMP:20140921T053735 DTSTART:20140312T110000 GEO:37.4329645;-122.1705594 LOCATION:Cantor Arts Center\,Stanford University 328 Lomita Dr.\nStanford\, CA 94305-5060 SEQUENCE:0 SUMMARY:American Photographs: A Cultural History\, Diane Arbus\, Alvin Lang don Coburn\, Robert Frank\, Lewis Wickes Hine\, Helen Levitt\, Timothy O'Su llivan\, W. Eugene Smith\, Garry Winogrand\, Marion Post Wolcott UID:325330 END:VEVENT BEGIN:VEVENT DESCRIPTION:

While the word "performative" has become art jargon\, misuse d to romanticize works which vaguely invoke \;performance\, recent work s by \;David Bayus and Ben Bigelow have succesfully combined aspects of performance with painting\, sculpture\, and video installation. "The stage \," in various incarnations\, is inherent to each work.

Both art ists use \;hybrid art practices and \;complex digital processes to create \;tenuous \;pictorial spaces\, existing somewhere between th e real and hyperreal. The \;aesthetics may be sleek\, but verisimilitud e \;and technical prowess serve more to agitate than they do to impress . And most importantly\, they are funny\, imbued with a humor wholly unexpe cted from \;such works.

Ben Bigelow has made a new suite of work influenced by pies\, politics\, and Franklin Delano Roosevelt's 1941 S tate of the Union Address. In a new \;video\, Bigelow performs as a ne' er-do-well \;politican and schizophrenic deviant\, \;bombarded with pies hurled \;by an unseen attacker. Bigelow's projected image is life -sized\, intentionally filmed to look as if he is performing \;within a n extension of the gallery itself. \;Accompanying the video are related works involving \;photography\, sculpture\, and 8 gallons of maraschin o cherries.

David Bayus\, inspired by Paul Klee's description of drawing as "taking a line for a walk\," relates the drawn \;line to a verbal line from a staged performance. \;Sculpting various anthropomorp hic forms \;by hand\, Bayus then photographs \;these arrangements w ith backdrop papers\, colored gels\, and studio \;lighting before \ ;digitally stitching \;hundreds of composite photographs \;together . Similar compositions are made entirely within \;3D modeling programs.  \;Bayus will also debut new ceramics made by "Dina J. Blazer\," a pseu donym for a collaboration with Bay Area scultor Brynda Glazier.

DTEND:20140706 DTSTAMP:20140921T053735 DTSTART:20140606 GEO:37.7982777;-122.2793021 LOCATION:City Limits\,300 Jefferson St. \nOakland\, CA 94612 SEQUENCE:0 SUMMARY:Sights and Sounds of Stage and Screen\, David Bayus\, Ben Bigelow UID:340927 END:VEVENT BEGIN:VEVENT DTEND:20140606T230000 DTSTAMP:20140921T053735 DTSTART:20140606T190000 GEO:37.7982777;-122.2793021 LOCATION:City Limits\,300 Jefferson St. \nOakland\, CA 94612 SEQUENCE:0 SUMMARY:Sights and Sounds of Stage and Screen\, David Bayus\, Ben Bigelow UID:340928 END:VEVENT BEGIN:VEVENT DESCRIPTION:

FOR IMMEDIATE RELEASE

Contact: J ennifer Draughon

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Andrea Schwartz Gallery

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545 4th Street\, 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.as gallery.com

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 \; \; \; \; \; \; \; \ ; \; \; \;  \; \; \; \; \; \; \;&nb sp\; \; \; \;  \; \; \; \; \; \; \;  \; \; \; \;  \; \; \; \; \; \;&nbs p\; \; \; \; \;  \; \; \; \; \; \;& nbsp\; \; \; \; \;  \; \; \; \; \;  \; \; \; \; \; \;  \; \; \; \; \;&n bsp\; \; \; \; \; \;  \; \; \; \; \ ; \; \; \; \; \; \;

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John Bonick and Tim Yankosky

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June 4 &ndash\; July 11\, 2014

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Opening Reception: Wednes day\, June 4\, 5:30 - 7:30 PM

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Andrea Schwartz Gallery is pleased to announce a two-person exhibition fe aturing new work by John Bonick and Tim Yankosky opening Wednesday\, June 4 \, 2014.

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&ldquo\;In my work\, any one element of a painting becomes entangle with every other element and ev ery other choice.&rdquo\;  \; \; \; \; \; \; \;  \; \; \; \;  \; \; \; \; \; \;&nbs p\; \; \; \; \;  \; \; \; \; \; \;& nbsp\; \; \; \; \;  \; \; \; \; \;  \; \; \; \; \; \;  \; \; \; \; \;&n bsp\; \; \; \; \; \;  \; \; \; \; \ ; \; \; \; \; \; \; &ndash\;John Bonick

\n< p style="text-align: justify\;">In this body of work\, John Bonick examines natural uncertainty and entanglement. \; Drawing from his knowledge on quantum reality\, Bonick explores the idea that elementary particles do no t have pure states\, but rather have only probabilities of various states.& nbsp\; This leads to uncertainty and entanglement\, in which individual par ts cannot be described independently. \; Bonick expresses this through the overlapping lines\, which entwine with every other element in the compo sition. \;

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&ldquo\;My materia ls are the driving force and inspiration behind the work I create&rdquo\; < /em>

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 \; \; \; \;  \; \; \; \; \; \; \;  \; \; \;&nbs p\; \; \; \; \; \; \; \;  \; \; \;& nbsp\; \; \; \; \; \; \; \;  \; \;  \; \; \; \; \; \; \; \; \;  \; \;&n bsp\; \; \; \; \; \; \; \; \;  \; \ ; \; \; \; \; \; \; \; \; \;  \;&nb sp\; \; \; \; \; \; \; \; \; \;  \;  \; \; \; \; \; \; \; \; \; \; &nbs p\; \; \; \; \; \; \; \; \; \; \; < /em>&ndash\;Tim Yankosky

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Tim Yankosky was initially inspired to work with vintage metal rulers as a way of commu nicating his feelings of being socially judged and measured. \; Now\, a s he continues working with this medium\, Yankosky has become &ldquo\;obses sed&rdquo\; with the process and materials. \; He enjoys the repurposin g of old into new\, contemporary forms that are visually pleasing to the ey e and to see how far he can push the material from it&rsquo\;s original pur pose. \; The resulting works represent both content and construction.&n bsp\;

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Andrea Schwartz Gallery was est ablished in 1982 and is located in the South of Market district of San Fran cisco in our new gallery space located at 545 &ndash\; 4th Stree t. ASG exhibits contemporary work of mid-career artists from the Bay Area a nd across the country. \; ASG is a member of SFADA. \; Gallery Hour s are Monday - Friday 9 - 5\, Saturday by appointment. The gallery will be closed 7/4. For further information and materials please contact Jennifer D raughon at 415-495-2090 or jennifer@asgallery.com. \; Additional inform ation may also be found on our website\, www.asgallery.com. Thank you!

DTEND:20140711 DTSTAMP:20140921T053735 DTSTART:20140604 GEO:37.7790823;-122.397524 LOCATION:Andrea Schwartz Gallery\,545 4th Street \nSan Francisco\, CA 94107 SEQUENCE:0 SUMMARY:Bonick and Yankosky\, John Bonick\, Tim Yankosky UID:340048 END:VEVENT BEGIN:VEVENT DTEND:20140604T193000 DTSTAMP:20140921T053735 DTSTART:20140604T173000 GEO:37.7790823;-122.397524 LOCATION:Andrea Schwartz Gallery\,545 4th Street \nSan Francisco\, CA 94107 SEQUENCE:0 SUMMARY:Bonick and Yankosky\, John Bonick\, Tim Yankosky UID:340049 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Many Places at Once i s an exhibition curated by the graduating class of the Graduate Program in Curatorial Practice at California College of the Arts with the support of t he Wattis Institute for Contemporary Arts.

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Decades after the "post-studio" turn announced by Minimalism and Conc eptual art in the 1960s\, Many Places at Once reconsiders the plac e of artistic production in our era of creative industries and flexible lab or. Featuring new commissions and existing works by seven international art ists\, the exhibition presents artworks that call attention to the nuanced circumstances that characterize the economic\, social\, and technological c onditions in which artists work today.

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The exhibition departs from the performance entitled At Work 1983 by the Vancouver-based artist Ian Wallace (b. 1943\, Shoreham\, England)\ , in which the artist presented himself in the window of the artist-run Or Gallery in Vancouver\, late at night\, seated behind a simple desk\, engage d in reading\, thinking\, and drawing. Staging himself before the city&rsqu o\;s nightlife as an intellectual worker rather than a paint-spattered bohe mian\, Wallace embraced the new nature of art as thought over making\, whil e reflecting on his new identity with tongue firmly in cheek. Many Plac es at Once includes a video of his original performance and large-scal e drawings he produced during his tenure in the gallery window. New photogr aphs in Ian Wallace&rsquo\;s Hotel series (1986&ndash\;ongoing)\, made for this exhibition\, marry photography and painting\, and show the te mporary &ldquo\;studios&rdquo\; that are the hotel rooms he occupies as he travels.

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Alongside Wallace are recent works by other artists that embody different notions of the place of artis tic production. Cinthia Marcelle (b. 1974\, Belo Horizonte\, Brazil) produc es drawings while attending art events such as artists&rsquo\; talks. Marti n Soto Climent (b. 1977\, Mexico City) makes the pages of his journals and notebooks his site of production. Rana Hamadeh (b. 1983\, Beirut\, Lebanon) creates sculptural cabinets and vitrines where her archives are displayed\ , which she animates through performances. William Powhida (b. 1976\, New Y ork) generates diagrammatic drawings that reflect critically on the art wor ld and the network it represents. Through videos and performances\, Li Ran (b. 1986\, Hubei\, China) uses mimicry\, satire\, and irony to challenge th e representation of artists' identity and work. In dialogue with the above\ , the shared studios of Oakland-based Real Time and Space (established in 2 011) evidence a continuation of the artist&rsquo\;s studio as a physical lo cation\, with the added dimension of group self-organization.

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Taken individually\, each contemporary work presen ts a site: a hotel\, a notebook\, an archive\, a network\, an event\, or a theatrical stage. Together they constitute the &ldquo\;many places&rdquo\;& mdash\;physical and conceptual&mdash\;that &ldquo\;at once&rdquo\; constitu te a reimagined artist&rsquo\;s studio.

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An accompanying publication will provide an opportunity for further enga gement with each featured practice through interviews with the artists\, fo cusing on their processes and places of production.

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The exhibition&rsquo\;s programming will engage the Bay Area arts and education communities to develop dialogues on the pressing issues facing artists and creative professionals\, with several conversations and public roundtables. Many Places at Once will also feature perform ances or events by Rana Hamadeh\, Li Ran\, and members of Real Time and Spa ce. For a schedule of these programs\, please visit the our calendar.

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About CCA&rsquo\;s Graduate Program in Curatoria l Practice
Founded in 2003\, CCA&rsquo\;s Graduate Program i n Curatorial Practice offers an expanded perspective on curating contempora ry art and culture. Alongside traditional forms of exhibition making\, this two-year master&rsquo\;s degree program emphasizes the momentous impact ov er the last half-century of artist-led initiatives\, public art projects\, site-specific commissions\, and other experimental endeavors that take plac e beyond the confines of established venues. It is distinguished by an inte rnational\, interdisciplinary perspective\, and it reflects San Francisco&r squo\;s unique location and cultural history by placing a particular import ance on the study of curatorial and artistic practices in Asia and Latin Am erica. For more information\, visit cca.edu/curatorial-practice.

DTEND:20140712 DTSTAMP:20140921T053735 DTSTART:20140417 GEO:37.7647373;-122.4035493 LOCATION:CCA Wattis Institute\,Kent and Vicki Logan Galleries 360 Kansas St reet (between 16th and 17th streets)\nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:Many Places at Once\, Martin Soto Climent\, Rana Hamadeh\, Cinthia Marcelle\, William Powhida\, Li Ran\, Ian Wallace\, Real Time and Space UID:327254 END:VEVENT BEGIN:VEVENT DTEND:20140417T203000 DTSTAMP:20140921T053735 DTSTART:20140417T183000 GEO:37.7647373;-122.4035493 LOCATION:CCA Wattis Institute\,Kent and Vicki Logan Galleries 360 Kansas St reet (between 16th and 17th streets)\nSan Francisco\, CA 94103 SEQUENCE:0 SUMMARY:Many Places at Once\, Martin Soto Climent\, Rana Hamadeh\, Cinthia Marcelle\, William Powhida\, Li Ran\, Real Time and Space\, Ian Wallace UID:327255 END:VEVENT BEGIN:VEVENT DESCRIPTION:

San Francisco artist Claire Colette continues working with h er chosen medium\, graphite on paper\, in small moves in strange rooms< /em>\, using her tight line work and geometric shapes to explore the impact of space from a concrete and interpretive perspective. Relating her method ical line work to wavelengths of sound\, she establishes parameters for the drawings\, building them out through the repetition of lines that resonate like an echo.

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This idea is carried over in Speaking softly tow ards an intimate immensity\, a collaborative audio and visual installa tion between Claire Colette and Sean Smith. The piece will rely on the part icipation of the audience in the room\, recording and creating generative s ounds within the space. An extension to the drawings presented in the main space\, the work explores the experience of intimate places\, both external ly and internally.

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Colette often works at this intersection of phen omenological and personal experience. That is\, the physical embodiment of space&ndash\;its textures\, shapes and colors&ndash\;as well as the psychic impressions that accumulate as attachments and associations when dwelling in a space\, giving a place its sense of character.

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The show&rsquo\ ;s title\, small moves in strange rooms\, evokes the artist&rsquo\ ;s practice\, a solitary and meditative experience\, directly linked to its place of creation by way of the time spent\, and impressions accumulated\, during the process of her drawing. \;

DTEND:20140712 DTSTAMP:20140921T053736 DTSTART:20140531 GEO:37.7511397;-122.4108113 LOCATION:Eleanor Harwood Gallery\,1295 Alabama Street \nSan Francisco\, CA 94110 SEQUENCE:0 SUMMARY:Claire Colette "small moves in strange rooms"\, Claire Colette UID:336750 END:VEVENT BEGIN:VEVENT DTEND:20140531T190000 DTSTAMP:20140921T053736 DTSTART:20140531T160000 GEO:37.7511397;-122.4108113 LOCATION:Eleanor Harwood Gallery\,1295 Alabama Street \nSan Francisco\, CA 94110 SEQUENCE:0 SUMMARY:Claire Colette "small moves in strange rooms"\, Claire Colette UID:336751 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Using a minimal palette of black\, white \, and gray\, punctuated by the occasional primary color\, Susan Grossman's drawings recall classic film n oir. She finds compelling subjects and locations by crisscrossing the city and taking numerous photographs. Once in the studio\, Grossman\, like Willi am Kentridge\, begins to draw and then obsessively shifts her narrative wor ld away from her sources. She re-positions buildings and vehicles while add ing and subtracting characters to achieve the final cut. The physicality of her process is crucial to achieve the "just happened"feel of her work.

Grossman's expansive land scapes combine billowy Turner-like clouds and twisting roadways with Hopper -esque solitude. As art critic Phyllis Braff has said about Grossman's work \, "like many effective metaphors\, the work invites multiple readings. Its intentional ambiguity is underscored by faceless\, generalized figures and by an open\, non-specific narrative. Much implied\, yet nothing is resolve d\, lending a compelling sense of edginess.'

Susan Grossman graduated from Bennington College and received he MFA from Brooklyn College. Ms Grossman has taught at Wesleyan University\, the City College of New York\, and the National Academy of Des ign School\, and mantains a studio in Brooklyn. Her work can be found in nu merous private and public collections throughout the United States\, includ ing the Mint Mueseum in North Carolina\, the New York Historical Society\, and numerous one-person exhibitions in New York City and around the United States.

DTEND:20140712 DTSTAMP:20140921T053736 DTSTART:20140605 GEO:37.7877888;-122.40434 LOCATION:Elins Eagles Smith Gallery\,49 Geary St Suite 520\nSan Francisco\, CA 94108 SEQUENCE:0 SUMMARY:Urbanscapes\, Susan Grossman UID:341918 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140712 DTSTAMP:20140921T053736 DTSTART:20140607 GEO:37.7655109;-122.407177 LOCATION:Jack Fischer Gallery\,311 Potrero Avenue \nSan Francisco\, CA 9410 3 SEQUENCE:0 SUMMARY:For Love and Glory\, Sarah Ratchye\, Natalya N. Burd UID:340751 END:VEVENT BEGIN:VEVENT DTEND:20140607T190000 DTSTAMP:20140921T053736 DTSTART:20140607T160000 GEO:37.7655109;-122.407177 LOCATION:Jack Fischer Gallery\,311 Potrero Avenue \nSan Francisco\, CA 9410 3 SEQUENCE:0 SUMMARY:For Love and Glory\, Natalya N. Burd\, Sarah Ratchye UID:340752 END:VEVENT BEGIN:VEVENT DESCRIPTION:

There's "us"--"all of us." And then there's "us"--"us\, not them." This show explores human beings negotiating life between modes of inclusion and exclusion.

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"It's lonely being at the top of the food chai n\, dominating the earth." All her life\, \;Iris Polos  \;has been re-establishing the links between human beings and the rest of nature\, reconnecting to the animal world\, and exploring those connect ions in her work. She was born in Oakland\, the younger daughter of parents who were artists. Her mother attended the California College of Arts and C rafts in Oakland. Her father\, Theodore Polos (1902 - 1976)\, came to the U S from Mytilene\, Greece\, in 1916. Polos remembers him confessing what he missed most about Greece: the beautiful little donkey that lived with his f amily and that\, to protect her from the evil eye\, he would adorn with bri ght blue beads (donkey beads are still common throughout the Aegean and Mid dle East).

He arrived in the Bay Area in 1922\, where he worked in the Federal Arts Project of the WPA and achieved national acclaim as a painter. "I grew up on his easel\," says Polos. &ldquo\;He let me make little marks on his paintings.&rdquo\; S he was doing her own work as well\; art wasn&rsquo\;t a choice\, it was wha t she had to do. She drew animals\; she drew unicorns. She acquired an ever -changing menagerie: skunks\, foxes\, owls. Once she had a duckling that sh e liked to read to. From a very young age she knew with certainty that ther e were only two paths she would take through life: art or lion-taming. She scoured the pet stores in search of a lion\, and one day in a store in East Oakland she found herself standing next to her father and face to face wit h a lion for sale. Her father was able to persuade her to return home with a domesticated short hair.  \;

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She graduated from CCAC in 1972. She came of age as an artist during the Sixties and took part in the glory days of the Berkeley Free Speech Movement\, LSD\, the Cockettes. She hung out w ith somebody who was known to be a perfect bodhisattva. In 1974\, she had h er first solo show at Upper Market Street\, titled &ldquo\;Iris in a Tiger& rsquo\;s Eye.&rdquo\; It featured what she calls a &ldquo\;sort of Jesus fi gure&rdquo\; on a cross six feet tall and painted blue. No loincloth. The i nfluence of those iconoclastic times endures in her work and in her passion for social and environmental justice. \;

She has exhibited at Lawson Galleries with director D on Lawson\; Catharine Clark Gallery\, San Francisco (
http://cclarkgallery.com/)\; and Bert Gre en Fine Art\, Los Angeles (ht tp://www.bgfa.us/). In 1997 she was part of "Hunger: A Juried Exhibitio n" curated by Judy Chicago. She has been exhibiting at Vessel since 2012.

In 2012\, Polos suffered an injury to her right hand when walking her rescue greyhound\, Zoo (so nam ed because "he had the look of every animal\," says Polos). In order to kee p working she had to learn how to draw with her left hand--or rather\, she had to revive that skill: when she was a student\, she was so adept at draw ing that her teachers required her to draw with her non-dominant left hand. Unsurprisingly\, this focus on hands has found its way into her recent wor k and into her thinking about our connection to the rest of the primates.

In her work\, Polos tries to knit together the fabric of life that others have studiously tried to u nravel: animal to animal\; person to person\; personal to universal\; abstr action to realism\; life to death. One of the talismans of her life is the poem "The Tyger" by William Blake\, who also wrote\, in his "Auguries of In nocence\,"

"A Robin Red breast in a Cage
Puts all Heav en in a Rage....
A dog starv'd at his Master's Gate
Predicts the Ruin of the State...."

And this as well:

"T he wild deer\, wand'ring here &\; there\,
Keeps the Human Soul from Care...."

Iris Polos lives in the Bay Area. Her son is the writer Apollo Papafrangou. Visit her \;Facebook \;site. Hear her sp eak about her art and her passionate commitment to the preservation of spec ies on \;Youtube.  \;

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< span style="font-size: small\;">Gordon Glasgow was born in London and as a child grew interested in design and forms.

His uncle taught him to measure and cut trousers\, havin g learned in turn from his father\, a tailor. Gordon&rsquo\;s parents insti lled self reliance and an open mind to learn new things.

He left London for New York City\; while b ecoming a citizen he also encountered a range of art\, and cultures of artf ul living. A journey west propelled him to Berkeley California\, where he w orked in Antique restoration\, model-making\, and museum installations.

This work drew him in to fu rther explore design and forms\, and to learn the properties of various mat erials. \; Meanwhile\, in his own studio he has sketched and prototyped handbags\, jewelry\, furniture\, lamps\, ceramics\, and sculpture.< br />
"My recent work has developed t hrough an appreciation of the animal world\, through the structures they cr eate and their anatomy. I was inspired by daily encounters\, and stories of animal exploits. These events also motivated me to use natural materials i n creating tableaus which chronicle my concerns within our ever changing wo rld.
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 \; Much of my process in creating these pi eces developed by the use of dissimilar elements. These elements over time began\, like magnets in a box\, to attract and repel each other before they began to fit together like a puzzle . My process gathered clarity and mean ing as time moved along. Through the movement of time these pieces have all owed me to understand my connection in forming a balance between man and an imal." \;&mdash\; Gordon Glasgow


"Sculptor Gordon Glasgow and a rtist Iris Polos pose questions that allow us to reflect on what our mind's eye sees\, and on deep social cultural concerns affecting our humanity. No t for the faint of heart\, these artists take viewers to a place others dar e not. \; We're very proud to present provocative show \;Us&nbs p\;- a show that hopefully will be etched in the minds of visitors as one of Vessel's most profound. Moreover\, if this show can serve to motivat e and inspire us towards living kinder\, gentler\, and more caring lives th en the power of art serves us well. \; \; \;Us \;p aves the way for a transcendent visual journey\, and asks "what will become of us?" \; &mdash\; \;Lonnie Lee\, c urator

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JUNE 19\, \;6-8PM \;C ELEBRATION \;Coinciding with 3rd Thursday Art Walk on 25th Str eet
7:00 PM \;Eco Friendly Sustainable Fashion Show directed by Tiffany Stewart of Underground Runway
7:30PM \;Musical Performa nce by The Haydn Enthusiasts

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< span style="font-size: small\;">OPENING \;Friday\, June 6\, 6-9PM
8PM \;Musical performance by Go spel Flats\, celebrating their new self-titled album release "Gospel Flats"

DTEND:20140712 DTSTAMP:20140921T053736 DTSTART:20140527 GEO:37.814399;-122.2671459 LOCATION:Vessel Gallery\,471 25th Street \nOakland\, CA 94612 SEQUENCE:0 SUMMARY:Us\, Gordon Glasgow\, Iris Polos UID:335365 END:VEVENT BEGIN:VEVENT DTEND:20140609T210000 DTSTAMP:20140921T053736 DTSTART:20140609T180000 GEO:37.814399;-122.2671459 LOCATION:Vessel Gallery\,471 25th Street \nOakland\, CA 94612 SEQUENCE:0 SUMMARY:Us\, Gordon Glasgow\, Iris Polos UID:335366 END:VEVENT END:VCALENDAR