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| Gallery Notes September-October 2008 |
News of the Visual Arts
San Francisco edition
Imagine yourself standing at the
edge of a swimming pool; it is
nighttime, and lights from
beneath the surface illuminate
the water, causing ripples and
small waves to dance in front of
you, teasing and taunting you. It
looks strangely inviting and
somewhat hypnotizing. You
inhale, take a deep breath, and
let go. As your body quickly cuts
through the surface, you feel as
though you have entered a
different world; there is a
edge of a swimming pool; it is
nighttime, and lights from
beneath the surface illuminate
the water, causing ripples and
small waves to dance in front of
you, teasing and taunting you. It
looks strangely inviting and
somewhat hypnotizing. You
inhale, take a deep breath, and
let go. As your body quickly cuts
through the surface, you feel as
though you have entered a
different world; there is a
Jägel's father was also an artist: one who
created jazz album covers for Blue Note,
just as Jägel has in turn,created album
covers for Madlib and MF DOOM. This love
of music and an exploration of visual
interaction with music centers this show's
themes and ideas.
The exhibition also serves as the book
release for Jägel's forthcoming
monograph, published by Electric Works,
73 Funshine. Weighing in at over 200 color
created jazz album covers for Blue Note,
just as Jägel has in turn,created album
covers for Madlib and MF DOOM. This love
of music and an exploration of visual
interaction with music centers this show's
themes and ideas.
The exhibition also serves as the book
release for Jägel's forthcoming
monograph, published by Electric Works,
73 Funshine. Weighing in at over 200 color
Fahamu Pecou: I'm Sittin' by The
Front Door
This artist's most recent paintings
dwell on the idea of revolution and
circumventing the politics of the fine
art world. Since the beginning of his
career, Pecou has been working on
subverting ideas of the black male
body in contemporary pop culture; he
does so by portraying himself on the
cover of art and fashion magazines in
his Neo-Pop large-scale acrylic
paintings. The series in the I'm Sittin'
By The Front Door goes deeper into
this realm, further challenging
politically correct notions of the
appropriateness of the presentation
of the black male figure in media, and
investigating how success is
determined for an artist. The title of
the show references both Sam
Greenlee's revolutionary 1969 novel,
Front Door
This artist's most recent paintings
dwell on the idea of revolution and
circumventing the politics of the fine
art world. Since the beginning of his
career, Pecou has been working on
subverting ideas of the black male
body in contemporary pop culture; he
does so by portraying himself on the
cover of art and fashion magazines in
his Neo-Pop large-scale acrylic
paintings. The series in the I'm Sittin'
By The Front Door goes deeper into
this realm, further challenging
politically correct notions of the
appropriateness of the presentation
of the black male figure in media, and
investigating how success is
determined for an artist. The title of
the show references both Sam
Greenlee's revolutionary 1969 novel,
Yvonne Lee Schultz, "Schoko Kids", 2006 - 2008, photography & video work
Fahamu Pecou, "Blak Is The Nu Blak",
2008, acrylic on canvas, 71 x 54 in.
2008, acrylic on canvas, 71 x 54 in.
A Search for Artistic Instability
In Jaq Chartier’s first solo exhibition at Haines Gallery this past summer, the artist
continued her longtime fascination with science and art. Using contemporary
materials, Chartier simultaneously shifted the focus back to a premanufacturing
era when artists made their own paint and ahead into her own scientific
experimentations. “I need the accidents to happen to keep me interested,” she
says. “For me, making the painting is finding the painting. I want to be surprised by
it.”
Chartier’s use of grid compositions in combination with blurred dots of color
began in 1994, when she discovered images of gel electrophoresis, the process
used to map DNA. In 1997, she started teaching workshops on product use for a
manufacturer of acrylic paints. Her tests of these products became her work when
she devised a process of combining water-soluble inks, dyes, and chemical
stains under layers of paint and resin. As the underlying stains migrate through
acrylic gels, gessos, and spray paints, they bleed through the layers, interacting
and changing over time. Chartier thrives on the traditional painters’ enemies of
instability, fading, and decay, notating her findings obtained and effects created,
often on the work itself. She says, “I’m interested in creating work that is real and
direct—not a picture about something, a piece that is the thing itself, a record of
what happened right there on the wood panel.”
In the earlier exhibition, Chartier placed her characteristic shapes in arrangements
reminiscent of experimental charts used by artists for centuries to work out color
relationships, thus adding another layer of art historical resonance to her glowing
work.
Image below: Chart w/21 Reds", 2008
In Jaq Chartier’s first solo exhibition at Haines Gallery this past summer, the artist
continued her longtime fascination with science and art. Using contemporary
materials, Chartier simultaneously shifted the focus back to a premanufacturing
era when artists made their own paint and ahead into her own scientific
experimentations. “I need the accidents to happen to keep me interested,” she
says. “For me, making the painting is finding the painting. I want to be surprised by
it.”
Chartier’s use of grid compositions in combination with blurred dots of color
began in 1994, when she discovered images of gel electrophoresis, the process
used to map DNA. In 1997, she started teaching workshops on product use for a
manufacturer of acrylic paints. Her tests of these products became her work when
she devised a process of combining water-soluble inks, dyes, and chemical
stains under layers of paint and resin. As the underlying stains migrate through
acrylic gels, gessos, and spray paints, they bleed through the layers, interacting
and changing over time. Chartier thrives on the traditional painters’ enemies of
instability, fading, and decay, notating her findings obtained and effects created,
often on the work itself. She says, “I’m interested in creating work that is real and
direct—not a picture about something, a piece that is the thing itself, a record of
what happened right there on the wood panel.”
In the earlier exhibition, Chartier placed her characteristic shapes in arrangements
reminiscent of experimental charts used by artists for centuries to work out color
relationships, thus adding another layer of art historical resonance to her glowing
work.
Image below: Chart w/21 Reds", 2008
Roy Thurston: New Work;
Anna Murch: Dissolving Landscapes
September 4 – October 25, 2008
Anna Murch: Dissolving Landscapes
September 4 – October 25, 2008
Sculpturesite Gallery Convention Plaza 201 Third Street, Suite
102
San Francisco, CA 94103
102
San Francisco, CA 94103
Artist-Xchange 3169 16th Street (between Guererro & Valencia),
San Francisco, CA 94103
San Francisco, CA 94103
Michael McConnell Featured Artist at Braunstein /
Quay Gallery
Quay Gallery
Chuck Drees Featured at Artist-Xchange
His expansive, moody, exterior vistas create the
opportunity for Drees to investigate the natural world
around him while simultaneously chronicling the
competing squalls inside of himself. Much of his work
records the shifting temperaments of a restless sky,
from the peaceful calm of the last light of day to the
gathering fury of a distant storm ..
opportunity for Drees to investigate the natural world
around him while simultaneously chronicling the
competing squalls inside of himself. Much of his work
records the shifting temperaments of a restless sky,
from the peaceful calm of the last light of day to the
gathering fury of a distant storm ..
Chuck Drees, Transitions Oil on canvas 31.5 x 49"
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Chuck Drees
Bruce Beasley, Disk Canta I, stainless steel, 50"x50"x39", 2008
Bay Area Artist Bruce Beasley is Featured Artist at
Sculpturesite
Sculpturesite
___________________________________
Michael McConnell, Tree Trappings (caught in the middle of
things), 2008 Watercolor and graphite on paper 22 x 30
inches
things), 2008 Watercolor and graphite on paper 22 x 30
inches
Karl Struss: Pictorial Modernist at Robert Tat Gallery
An exhibition of photographs made mostly in New York by Struss
during the period 1909-1929. The platinum contact prints featured
were printed in 1979 by Phil Davis under Struss’ supervision and are
individually signed by the artist.
An exhibition of photographs made mostly in New York by Struss
during the period 1909-1929. The platinum contact prints featured
were printed in 1979 by Phil Davis under Struss’ supervision and are
individually signed by the artist.
Karl Struss (1886-1981) studied photography with Clarence White from 1908
to 1912. His talent was soon discovered by legendary photographer Alfred
Stieglitz, who published eight photogravures by Struss in the April 1912 issue
of his journal of photography, Camera Work. That same year Struss became a
member of Stieglitz's Photo-Secession, and in 1916 he co-founded the
Pictorial Photographers of America. Struss became a successful commercial
photographer, with work appearing in Vogue, Vanity Fair and Harper's Bazaar.
After World War I he moved to Hollywood, where he had a second career as an
Academy Award winning cinematographer working for Cecil B. DeMille and
others.
Karl Struss worked in the pictorialist syle, characterized by its soft-focus,
dreamy prints. Popular in the early decades of the 20th Century, it is
considered by many to be the first fine art photography.
to 1912. His talent was soon discovered by legendary photographer Alfred
Stieglitz, who published eight photogravures by Struss in the April 1912 issue
of his journal of photography, Camera Work. That same year Struss became a
member of Stieglitz's Photo-Secession, and in 1916 he co-founded the
Pictorial Photographers of America. Struss became a successful commercial
photographer, with work appearing in Vogue, Vanity Fair and Harper's Bazaar.
After World War I he moved to Hollywood, where he had a second career as an
Academy Award winning cinematographer working for Cecil B. DeMille and
others.
Karl Struss worked in the pictorialist syle, characterized by its soft-focus,
dreamy prints. Popular in the early decades of the 20th Century, it is
considered by many to be the first fine art photography.
Karl Struss, Vanishing Point II:
Brooklyn Bridge from New York Side,
platinum print, 1912/printed 1979
Brooklyn Bridge from New York Side,
platinum print, 1912/printed 1979
Karl Struss, Con Ed
Significantly, Struss was one of the first photographers to employ modernist
compositions in his pictorialist works, as the photographs being exhibited
here illustrate. Photographic modernism, with its emphasis on strong line
and abstract form, was to supercede pictorialism in the mid-1920s and
beyond. It has been called the first purely photographic form of the art.
John Harvith in his essay “Karl Struss: Man with a Camera” (published in the
catalogue of the 1976-77 exhibition by the same name) describes Struss’
modernist pictorial style: “His analytical eye ruthlessly lops off the
peripheral, slices away any remnants of gingerbread. What remains within
the frame are sometimes incongruous or anachronistic elements forced into
relationship with one another. Without the slightest degree of hedging or
wasted motion, these boldly assertive images challenge the viewer to come
to grips with their compositional import. Their formal—at times even
abstract—conciseness wedded to this juxtaposition of seemingly unrelated
elements yields a bracing modernity of vision remarkable in a young man
photographing in the decade prior to World War I.”
Karl Struss preferred to compose his final image on the ground glass of his
camera, rather than cropping the photograph later in the darkroom. This
convention, shared with the great photographer Edward Weston and many of
the other Photo-Secessionists, is evident in the photographs in the
exhibition. As John Harvith notes, for Struss making a photograph was not
about snapping pictures, but rather a careful exercise in preplanning and
space-filling.
Interestingly, his skill in previsualizing composition became indispensable
in Struss’ later career as a Hollywood cinematographer. In motion pictures
there could be no second thoughts once a scene had been captured on film.
No cropping, no retouching, no manipulation was possible with the
technology of the day.
September 4 – November 1, 2008
compositions in his pictorialist works, as the photographs being exhibited
here illustrate. Photographic modernism, with its emphasis on strong line
and abstract form, was to supercede pictorialism in the mid-1920s and
beyond. It has been called the first purely photographic form of the art.
John Harvith in his essay “Karl Struss: Man with a Camera” (published in the
catalogue of the 1976-77 exhibition by the same name) describes Struss’
modernist pictorial style: “His analytical eye ruthlessly lops off the
peripheral, slices away any remnants of gingerbread. What remains within
the frame are sometimes incongruous or anachronistic elements forced into
relationship with one another. Without the slightest degree of hedging or
wasted motion, these boldly assertive images challenge the viewer to come
to grips with their compositional import. Their formal—at times even
abstract—conciseness wedded to this juxtaposition of seemingly unrelated
elements yields a bracing modernity of vision remarkable in a young man
photographing in the decade prior to World War I.”
Karl Struss preferred to compose his final image on the ground glass of his
camera, rather than cropping the photograph later in the darkroom. This
convention, shared with the great photographer Edward Weston and many of
the other Photo-Secessionists, is evident in the photographs in the
exhibition. As John Harvith notes, for Struss making a photograph was not
about snapping pictures, but rather a careful exercise in preplanning and
space-filling.
Interestingly, his skill in previsualizing composition became indispensable
in Struss’ later career as a Hollywood cinematographer. In motion pictures
there could be no second thoughts once a scene had been captured on film.
No cropping, no retouching, no manipulation was possible with the
technology of the day.
September 4 – November 1, 2008
___________________________________
Robert Tat Gallery 49 Geary Street – Suite 211, San
Francisco, CA 94108
Francisco, CA 94108
Brian Gross Fine Art 49 Geary Street, 5th Floor San Francisco
___________________________________
___________________________________
Two provocative solo exhibitions Open at Cain
Schulte Gallery
The exhibits are Fahamu Pecou's I'm Sittin' by The Front Door, the newest
acrylic paintings from NEOPOP series, and 2sweet2kill, a multimedia project
by Berlin artist Yvonne Lee Schultz. Both exhibitions opened on August 28,
2008 and run through October 4, 2008.
Schulte Gallery
The exhibits are Fahamu Pecou's I'm Sittin' by The Front Door, the newest
acrylic paintings from NEOPOP series, and 2sweet2kill, a multimedia project
by Berlin artist Yvonne Lee Schultz. Both exhibitions opened on August 28,
2008 and run through October 4, 2008.
The Spook Who Sat by The Door, and the title of a hip hop song called I'm
Looking at the Front Door by the Main Source.
Also on display are two videos: Pecou's acclaimed mockumentary, "Instant
Celebrity: Just Add Water", and "Wannabe", the latest release, as well as
FAHAMENON, a catalogue of work designed like a high-end pop-culture
magazine, which features articles and "ads" along with color plates of Pecou's
NEOPOP series. FAHAMENON, like the paintings, videos and performances in
Pecou's NEOPOP series, is an examination of society, pop culture, the black
male body in media, hip-hop culture, and fine art insider politics. The
catalogue, which itself is a collectible work, references, critiques and
comments on all of the above while presenting insightful discussions of the
work in the NEOPOP series.
Released in a numbered, limited edition, FAHAMENON continues along
Pecou's unprecedented journey through the worlds of fine art and celebrity pop
culture while simultaneously documenting his place in art history.
Fahamu Pecou is an American painter based in Atlanta, Georgia. Since 2005
his work has been exhibited in several solo and group exhibitions in the US
and abroad.
Yvonne Lee Schultz: 2sweet2kill
The shiny surface reflects the light, the structure of the handle piece provides a
firm grip, and the fine logo of the Carl Walther Company is so accurately
engraved that the gun manufacturer licensed these exact replicas. 100%
chocolate as the main and only ingredient assure us that guns and kids are
"too sweet to kill".
The artist then gave these handcrafted pieces of art to children in Berlin's
parks and playgrounds with no directions, and watched them define whether
they are toys, sweet, or weapons. "Schoko kids", a series of photographs and
a 4-minute video, filmed by 4 cameramen simultaneously, document the
surprise effect.
Schultz is a very meticulous artist, and she spent a whole year seeking the
perfect consistency of the chocolate that would detach from the cast without
breaking. The result is not meant to glorify, belittle or kitschify weapons, but to
integrate the guns into idylls from everyday life that deceive and to evoke an
uncomfortable curiosity.
Yvonne Lee Schultz's smart and provocative conceptual work was exhibited in
solo and group shows in galleries and museums throughout Germany,
Norway, Hungary and the US. Her photo series "Schoko kids" was featured in
the exhibition stand.punkt in Kunsthalle Barmen, Wuppertal, in 2007.
Looking at the Front Door by the Main Source.
Also on display are two videos: Pecou's acclaimed mockumentary, "Instant
Celebrity: Just Add Water", and "Wannabe", the latest release, as well as
FAHAMENON, a catalogue of work designed like a high-end pop-culture
magazine, which features articles and "ads" along with color plates of Pecou's
NEOPOP series. FAHAMENON, like the paintings, videos and performances in
Pecou's NEOPOP series, is an examination of society, pop culture, the black
male body in media, hip-hop culture, and fine art insider politics. The
catalogue, which itself is a collectible work, references, critiques and
comments on all of the above while presenting insightful discussions of the
work in the NEOPOP series.
Released in a numbered, limited edition, FAHAMENON continues along
Pecou's unprecedented journey through the worlds of fine art and celebrity pop
culture while simultaneously documenting his place in art history.
Fahamu Pecou is an American painter based in Atlanta, Georgia. Since 2005
his work has been exhibited in several solo and group exhibitions in the US
and abroad.
Yvonne Lee Schultz: 2sweet2kill
The shiny surface reflects the light, the structure of the handle piece provides a
firm grip, and the fine logo of the Carl Walther Company is so accurately
engraved that the gun manufacturer licensed these exact replicas. 100%
chocolate as the main and only ingredient assure us that guns and kids are
"too sweet to kill".
The artist then gave these handcrafted pieces of art to children in Berlin's
parks and playgrounds with no directions, and watched them define whether
they are toys, sweet, or weapons. "Schoko kids", a series of photographs and
a 4-minute video, filmed by 4 cameramen simultaneously, document the
surprise effect.
Schultz is a very meticulous artist, and she spent a whole year seeking the
perfect consistency of the chocolate that would detach from the cast without
breaking. The result is not meant to glorify, belittle or kitschify weapons, but to
integrate the guns into idylls from everyday life that deceive and to evoke an
uncomfortable curiosity.
Yvonne Lee Schultz's smart and provocative conceptual work was exhibited in
solo and group shows in galleries and museums throughout Germany,
Norway, Hungary and the US. Her photo series "Schoko kids" was featured in
the exhibition stand.punkt in Kunsthalle Barmen, Wuppertal, in 2007.
Hespe Gallery 251 Post Street, Suite 420, San Francisco, CA 94108
If only there was a way to preserve that fleeting feeling of serenity and
transformation, that dreamlike state where your unconsciousness flows freely yet
you are awake.
If there is such a way, San Francisco based artist Eric Zener’s new acrylic resin
pieces are certainly the answer. Through his choice of medium, Zener literally and
symbolically adds a profound depth to his new work. He masterfully explores a
mixing of medias of paint, ink, photography, drawing, metallic leafing and many
more which creates a depth in his pieces that you can see and feel, giving the
viewer the sensation that they could walk into the piece themselves.
Symbolically, the literal layers of Zener’s work reflect multi-layers of our lives;
above the surface, we may seem composed or unaltered, but beneath,
surrounded by the privacy of the water, our many layers are revealed, and we are
constantly transforming. Resonating with their own, inner light, Zener’s acrylic
resin works successfully capture what seems unattainable; that fleeting, instant
relationship we share with water, and the sensation that beneath the surface we
have reached a state of renewal, refuge and perhaps even enlightenment.
September 2 - September 27, 2008.
transformation, that dreamlike state where your unconsciousness flows freely yet
you are awake.
If there is such a way, San Francisco based artist Eric Zener’s new acrylic resin
pieces are certainly the answer. Through his choice of medium, Zener literally and
symbolically adds a profound depth to his new work. He masterfully explores a
mixing of medias of paint, ink, photography, drawing, metallic leafing and many
more which creates a depth in his pieces that you can see and feel, giving the
viewer the sensation that they could walk into the piece themselves.
Symbolically, the literal layers of Zener’s work reflect multi-layers of our lives;
above the surface, we may seem composed or unaltered, but beneath,
surrounded by the privacy of the water, our many layers are revealed, and we are
constantly transforming. Resonating with their own, inner light, Zener’s acrylic
resin works successfully capture what seems unattainable; that fleeting, instant
relationship we share with water, and the sensation that beneath the surface we
have reached a state of renewal, refuge and perhaps even enlightenment.
September 2 - September 27, 2008.
Eric Zener - Between the Layers
A New Series of Acrylic Resin Pieces
A New Series of Acrylic Resin Pieces
silence that surrounds you, but a power and serenity in your own thoughts. You
move easily and gracefully, as if the weight and worries of everyday life have lifted
from you, and you are in a constant state of transformation. Finally, you must
surface for air, and the responsibilities of reality are with you again.
move easily and gracefully, as if the weight and worries of everyday life have lifted
from you, and you are in a constant state of transformation. Finally, you must
surface for air, and the responsibilities of reality are with you again.
Eric Zener, Gathering
Like Father, Like Son: Jason Jägel and Album Covers
Electric Works is hosting this solo show by Bay Area resident
Jason Jägel. Jägel takes over the entire gallery with a show featuring new
paintings, installations, sculpture and prints hung on a background of
artist-created murals.
Jason Jägel. Jägel takes over the entire gallery with a show featuring new
paintings, installations, sculpture and prints hung on a background of
artist-created murals.
pages, this book further records and examines Jägel's career spanning over
12 years of his artmaking practice.
September 12 - October 17 2008. Reception on Friday, September 12 from
6- 8 PM.
12 years of his artmaking practice.
September 12 - October 17 2008. Reception on Friday, September 12 from
6- 8 PM.
Reading Writing Owl, detail
Electric Works 130 8th Street, San Francisco, CA 94103.
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Stig Persson: The Big Silence, Works 2003-2008
September 2 - November 2, 2008 Artist Reception: Friday,
September 19.
Micaëla Gallery 333 Hayes Street San Francisco, CA 94102
September 2 - November 2, 2008 Artist Reception: Friday,
September 19.
Micaëla Gallery 333 Hayes Street San Francisco, CA 94102
___________________________________
Art of Democracy: War and Empire
Curated by Anne Trueblood Brodzky, DeWitt Cheng, and Art
Hazelwood; Special consultation by Peter Selz
Art and politics are intersecting in ways that haven’t been seen since the
1930s, when artists organized and formed the coalition Artists Against War
and Fascism, and 1960s with art and actions against the war in Vietnam. In the
spirit of these times San Francisco’s Meridian Gallery will host the most
comprehensive show in the Bay Area from September 4 – November 4 called
the Art of Democracy: War and Empire.
Curated by Anne Trueblood Brodzky, DeWitt Cheng, and Art
Hazelwood; Special consultation by Peter Selz
Art and politics are intersecting in ways that haven’t been seen since the
1930s, when artists organized and formed the coalition Artists Against War
and Fascism, and 1960s with art and actions against the war in Vietnam. In the
spirit of these times San Francisco’s Meridian Gallery will host the most
comprehensive show in the Bay Area from September 4 – November 4 called
the Art of Democracy: War and Empire.
(c) Fernando Botero, Abu Ghraib 72, 2005
oil on canvas, 37 x 30 cm Collection of
American University Museum,
Washington, DC
oil on canvas, 37 x 30 cm Collection of
American University Museum,
Washington, DC
___________________________________
The novelist Richard Flanagan, writing
in the summer issue of Bookforum,
speaks of the role of the artist in times
of crisis. He says, “There are so many
forces in the world that divide us deeply
and murderously. In recent times, we
have lived through not so much a crisis
of politics as a collapse of that most
human attribute, empathy, a collapse so
catastrophic it sometimes appears to
be a crisis of love….”
Other important shows in the Bay Area
will function in parallel with Meridian’s
exhibition.
For example, the Center for the Book in
San Francisco will be working with the
theme of censorship in
their show called “Banned and
Recovered Books.” Across the country
there are now some 30 Art of
Democracy exhibitions with a
proliferation of other smaller sites’
participation.
in the summer issue of Bookforum,
speaks of the role of the artist in times
of crisis. He says, “There are so many
forces in the world that divide us deeply
and murderously. In recent times, we
have lived through not so much a crisis
of politics as a collapse of that most
human attribute, empathy, a collapse so
catastrophic it sometimes appears to
be a crisis of love….”
Other important shows in the Bay Area
will function in parallel with Meridian’s
exhibition.
For example, the Center for the Book in
San Francisco will be working with the
theme of censorship in
their show called “Banned and
Recovered Books.” Across the country
there are now some 30 Art of
Democracy exhibitions with a
proliferation of other smaller sites’
participation.
September 4 - November 4, 2008
Opening reception: Thursday, September 4, 6:00 - 9:00 PM
Meridian Gallery 535 Powell Street San Francisco, CA 94108
Opening reception: Thursday, September 4, 6:00 - 9:00 PM
Meridian Gallery 535 Powell Street San Francisco, CA 94108
Depravities of War at the Meridian
Work by some 40 artists will fill the Meridian Gallery’s three-story, turn of the
century building from early September through early November. Work will range
in size, diversity and medium from a ten foot tall woodcut, Trouble For Uncle
Sam in The Green Zone (2005) by Art Hazelwood, to six large drawings by LA
printmaker Sandow Birk, which form the basis for his Depravities of War (2007)
woodcut series. The drawings are based on the work of 17th century artist
Jacques Callot, who dealt with the atrocities during the Thirty Years’ War. Two
of the highly controversial oil on canvas paintings from Fernando Botero’s Abu
Ghraib torture series will be on loan from American University.
Work by some 40 artists will fill the Meridian Gallery’s three-story, turn of the
century building from early September through early November. Work will range
in size, diversity and medium from a ten foot tall woodcut, Trouble For Uncle
Sam in The Green Zone (2005) by Art Hazelwood, to six large drawings by LA
printmaker Sandow Birk, which form the basis for his Depravities of War (2007)
woodcut series. The drawings are based on the work of 17th century artist
Jacques Callot, who dealt with the atrocities during the Thirty Years’ War. Two
of the highly controversial oil on canvas paintings from Fernando Botero’s Abu
Ghraib torture series will be on loan from American University.
Birk, Depravities of War Preparation
Bay Area artist William T. Wiley will contribute a trenchant assemblage and
related watercolor entitled The Furor Over the Truth (2005) and a new
painting called Blood in the Water. The exhibition’s focused theme of War and
Empire will be tellingly embodied in Enrique Chagoya’s codex-like
7-foot long print, The Ghost of Liberty (2004), and Bella Feldman’s elegant
and threatening sculptures from her ongoing War Toys series. A Hung Liu
painting inspired by women and the terrors of war will hang in the show with a
large linoleum cut of victimized women and children by San Francisco
printmaker Juan Fuentes.
An abundant, often passionate, sometimes ironic, frequently comic spirit
invests the cartoons of Pat Oliphant, three of whose drawings will be shown
together with the diversity of work by Bay Area graphic artists, painters, poster
makers, and street artists. Oliphant will travel from Arizona to do a book
signing of his new book, Leadership: Cartoons and Sculpture from the Bush
Years, on Friday September 12th at the gallery.
Meridian Gallery 535 Powell Street San Francisco, CA 94108
Bay Area artist William T. Wiley will contribute a trenchant assemblage and
related watercolor entitled The Furor Over the Truth (2005) and a new
painting called Blood in the Water. The exhibition’s focused theme of War and
Empire will be tellingly embodied in Enrique Chagoya’s codex-like
7-foot long print, The Ghost of Liberty (2004), and Bella Feldman’s elegant
and threatening sculptures from her ongoing War Toys series. A Hung Liu
painting inspired by women and the terrors of war will hang in the show with a
large linoleum cut of victimized women and children by San Francisco
printmaker Juan Fuentes.
An abundant, often passionate, sometimes ironic, frequently comic spirit
invests the cartoons of Pat Oliphant, three of whose drawings will be shown
together with the diversity of work by Bay Area graphic artists, painters, poster
makers, and street artists. Oliphant will travel from Arizona to do a book
signing of his new book, Leadership: Cartoons and Sculpture from the Bush
Years, on Friday September 12th at the gallery.
Meridian Gallery 535 Powell Street San Francisco, CA 94108
The artist says: "I intend my paintings
to operate as tools for perceptual
recalibration. In them conditions exist
for the viewer to process several
different spatial systems at once.
Patterns and diagrams found within
the sciences, nature, and architecture
form the basis of my imagery. The
internal structure and logic of this
imagery unfolds over time and
through successive layers of a
painting. The interweaving and
cross-communication of dissimilar
patterns forms a moiré effect on the
mind, a state where serenity
intertwines with super-saturation."
Sarah Walker received her BFA from
California College of the Arts and an
MFA from University of North
Carolina, Chapel Hill. Recent
exhibitions include Collidescape, her
second solo show at Pierogi, as well
as the following group exhibitions:
Midnight Full of Stars at the Visual Art
Center of New Jersey, Big Bang!
Abstract Painting for the 21st Century
at the DeCordova Museum in Lincoln,
MA. Future Tense: Reshaping the
Landscape at the Neuberger
to operate as tools for perceptual
recalibration. In them conditions exist
for the viewer to process several
different spatial systems at once.
Patterns and diagrams found within
the sciences, nature, and architecture
form the basis of my imagery. The
internal structure and logic of this
imagery unfolds over time and
through successive layers of a
painting. The interweaving and
cross-communication of dissimilar
patterns forms a moiré effect on the
mind, a state where serenity
intertwines with super-saturation."
Sarah Walker received her BFA from
California College of the Arts and an
MFA from University of North
Carolina, Chapel Hill. Recent
exhibitions include Collidescape, her
second solo show at Pierogi, as well
as the following group exhibitions:
Midnight Full of Stars at the Visual Art
Center of New Jersey, Big Bang!
Abstract Painting for the 21st Century
at the DeCordova Museum in Lincoln,
MA. Future Tense: Reshaping the
Landscape at the Neuberger
Sarah Walker, Wire Frame Agent I
Sarah Walker, Wire Frame Agent I
___________________________________
Museum, Purchase, NY, Horror Vacui at McKenzie Fine Art in New York and Pierogi
and Friends at Daniel Weinberg Gallery in Los Angeles. Collections include:
Museum of Modern Art, Milwaukee Art Museum, Neuberger Museum and the
DeCordova Museum. She lives and works in Brooklyn, New York.
and Friends at Daniel Weinberg Gallery in Los Angeles. Collections include:
Museum of Modern Art, Milwaukee Art Museum, Neuberger Museum and the
DeCordova Museum. She lives and works in Brooklyn, New York.
Sarah Walker: Beacons, Floaters and Lost Objects
Sarah Walker layers complex systems that overlay, intersect, see through, and
seemingly engage each other. Her lattice-like structures suggest blood vessels or
crystals, also microchips with nodal connection points or perhaps the neurons of
the brain. Constellations of objects are moving through and encountering these
networks, like objects in a futuristic structure floating in dark space.
Sarah Walker layers complex systems that overlay, intersect, see through, and
seemingly engage each other. Her lattice-like structures suggest blood vessels or
crystals, also microchips with nodal connection points or perhaps the neurons of
the brain. Constellations of objects are moving through and encountering these
networks, like objects in a futuristic structure floating in dark space.
Gregory Lind Gallery 49 Geary street, San Francisco, CA 94108
BODY LANGUAGE II
Three artists are featured in this
exhibit of a collection of figurative
sculpture: Dierdra De Franceau,
John Denning, Christin Nelson.
Deirdre de Franceau’s life-size
inflatable kinetic figures made of
nylon hosiery and latex rubber
evoke human emotions through
their intense gestural
references. Here longing and
rejection in both hetero- and
homosexual relationships are
observed in this site-specific
installation.
John Denning is fascinated with
the passage of time and how the
human body constantly
reinvents itself through physical
Three artists are featured in this
exhibit of a collection of figurative
sculpture: Dierdra De Franceau,
John Denning, Christin Nelson.
Deirdre de Franceau’s life-size
inflatable kinetic figures made of
nylon hosiery and latex rubber
evoke human emotions through
their intense gestural
references. Here longing and
rejection in both hetero- and
homosexual relationships are
observed in this site-specific
installation.
John Denning is fascinated with
the passage of time and how the
human body constantly
reinvents itself through physical
___________________________________
and emotional experiences. He will show standing and suspended human
figures and relating animals in bronze, fiberglass and epoxy and water-based
resins.
Christin Nelson explores the expressiveness of the human body through its
individual parts, as she separates them, then reassembles them in surreal
ways to create imaginary human creatures of surprising sweetness and
elegance.
September 11 - November 06, 2008
Opening Reception September 11th, 5:30-7:30pm
Sculpturesite Gallery Convention Center Plaza 201 Third
Street, Suite 102 San Francisco, CA 94103
figures and relating animals in bronze, fiberglass and epoxy and water-based
resins.
Christin Nelson explores the expressiveness of the human body through its
individual parts, as she separates them, then reassembles them in surreal
ways to create imaginary human creatures of surprising sweetness and
elegance.
September 11 - November 06, 2008
Opening Reception September 11th, 5:30-7:30pm
Sculpturesite Gallery Convention Center Plaza 201 Third
Street, Suite 102 San Francisco, CA 94103
September 4 through October 11, 2008 Artist: Matthias Hoch -
new photographs; Joseph Park – Leave it on the
Dance Floor (new paintings)
October 16 through November 29, 2008 Vik Muniz – “Paper
Trails” (new photographs)
Rena Bransten Gallery 77 Geary St., San Francisco , CA 94108
new photographs; Joseph Park – Leave it on the
Dance Floor (new paintings)
October 16 through November 29, 2008 Vik Muniz – “Paper
Trails” (new photographs)
Rena Bransten Gallery 77 Geary St., San Francisco , CA 94108
___________________________________
Stephanie Weber: New Paintings - September 02-30, 2008
Brian Rutenberg: Star and Tide - October 01-31, 2008
at Toomey Tourell Fine Art
Brian Rutenberg: Star and Tide - October 01-31, 2008
at Toomey Tourell Fine Art
Stephanie Weber - Convergences X, 2007 mixed media on
aluminum, 33 7/8 x 50 1/2 inches p.o.r.
aluminum, 33 7/8 x 50 1/2 inches p.o.r.
___________________________________
Brian Rutenberg - Pine Lakes 8, 2008 oil on linen , 36 x 55 inches p.o.r.
Toomey Tourell Fine Art 49 Geary Street San Francisco, CA
94108
94108
Shen Shaomin: Experimental Studio at Frey Norris
This is an exhibition featuring three projects by Shen Shaomin—a self-
taught artist working at the vanguard of a new generation of project
oriented artists in China.
This is an exhibition featuring three projects by Shen Shaomin—a self-
taught artist working at the vanguard of a new generation of project
oriented artists in China.
___________________________________
The gallery Gallery will present the
Thousand Hand Guanyin Bodhisattva,
Bonsai and Oil Gaming Machine
projects in San Francisco, altering each
as appropriate to the space and the
artist’s evolving vision. Both projects
illuminate a frightening and ambivalent
relationship between three competing
polarities; human industrial and
technological development, society’s
thirst for religious or philosophical
meaning and the fragile and resilient
forces of growth and reproduction in the
natural world.
"Thousand Hand Guanyin Bodhisattva
was created after I made a series of
monstrous creatures. In that piece of
work, human skulls were used.
Normally, people find it hard to accept
the use of human skulls in artworks.
This tabooed material was used in order
to wake people from the ‘sleep of
rationality’ resulting from blind religious
Thousand Hand Guanyin Bodhisattva,
Bonsai and Oil Gaming Machine
projects in San Francisco, altering each
as appropriate to the space and the
artist’s evolving vision. Both projects
illuminate a frightening and ambivalent
relationship between three competing
polarities; human industrial and
technological development, society’s
thirst for religious or philosophical
meaning and the fragile and resilient
forces of growth and reproduction in the
natural world.
"Thousand Hand Guanyin Bodhisattva
was created after I made a series of
monstrous creatures. In that piece of
work, human skulls were used.
Normally, people find it hard to accept
the use of human skulls in artworks.
This tabooed material was used in order
to wake people from the ‘sleep of
rationality’ resulting from blind religious
shen shaomin, bonsai41
Frey Norris Gallery 456 Geary Street San Francisco, CA 94102
beliefs. In fact, my creative process cannot be separated from science or
religion."
New owners are invited to free the tree, continue the process of its distortion or
allow it to die, inevitably revealing a “frozen sculpture” still bound by the
instruments of its own torture.
Oil Gaming Machine depicts a scaled down version of the aforementioned
Kowtow Pump project that involved life sized oil pumps. Viewers, once again,
are invited to engage directly with the art by playing with these limited-edition
woodened sculpture toys.
September 4 - September 28 2008.
religion."
New owners are invited to free the tree, continue the process of its distortion or
allow it to die, inevitably revealing a “frozen sculpture” still bound by the
instruments of its own torture.
Oil Gaming Machine depicts a scaled down version of the aforementioned
Kowtow Pump project that involved life sized oil pumps. Viewers, once again,
are invited to engage directly with the art by playing with these limited-edition
woodened sculpture toys.
September 4 - September 28 2008.
Brian Gross Fine Art 49 Geary Street, 5th Floor San Francisco,
CA 94108
CA 94108
Roy Thurston: New Work; Anna Murch: Dissolving
September 4 – October 25, 2008.
September 4 – October 25, 2008.
___________________________________
Emilio Lobato, Tomando Medida (Taking Measure)
“The fact that such simple forms still have intrigue and meaning to each one of
us speaks volumes about how we each strive to uncover meaning and order in
our lives.” - Emilio Lobato III
Andrea Schwartz Gallery is pleased to announce a solo exhibition for Emilio
Lobato III, opening Wednesday, September 3, 2008. Tomando Medida (Taking
Measure) refers not only to the process of producing the geometry of Lobato’s
newest work but more specifically it describes the constant self examination
integral to the creative act. His work has been inspired by both his rural
upbringing and current urban existence. The combination of growing up on a
family farm in Colorado, and secluding himself daily in his studio have helped
him realize how his stark surroundings helps him focus his attention on the
power of imagination and creation.
“The fact that such simple forms still have intrigue and meaning to each one of
us speaks volumes about how we each strive to uncover meaning and order in
our lives.” - Emilio Lobato III
Andrea Schwartz Gallery is pleased to announce a solo exhibition for Emilio
Lobato III, opening Wednesday, September 3, 2008. Tomando Medida (Taking
Measure) refers not only to the process of producing the geometry of Lobato’s
newest work but more specifically it describes the constant self examination
integral to the creative act. His work has been inspired by both his rural
upbringing and current urban existence. The combination of growing up on a
family farm in Colorado, and secluding himself daily in his studio have helped
him realize how his stark surroundings helps him focus his attention on the
power of imagination and creation.
September 3 - October 3, 2008
Opening Reception: Wednesday, September 3, 5:30pm - 7:30pm
Andrea Schwartz Gallery, 525 2nd Street, San Francisco, CA
94107
Opening Reception: Wednesday, September 3, 5:30pm - 7:30pm
Andrea Schwartz Gallery, 525 2nd Street, San Francisco, CA
94107
“My newest paintings are heavily
influenced by early Hispano and Native
American textiles.
I have spent much time thinking about the
work of my two great-grandfathers who
were both weavers. I think often about their
choice of colors and arrangements.
I am interested in the mathematical as
well as the seemingly mystical repetition
of horizontal lines on a surface. The act of
building a composition one element, one
thread at a time.”
influenced by early Hispano and Native
American textiles.
I have spent much time thinking about the
work of my two great-grandfathers who
were both weavers. I think often about their
choice of colors and arrangements.
I am interested in the mathematical as
well as the seemingly mystical repetition
of horizontal lines on a surface. The act of
building a composition one element, one
thread at a time.”
Emilio Lobato, Tomando Medida 2,
mixed media on panel, 66" x 66"
mixed media on panel, 66" x 66"
Emilio Lobato received a BA in Studio Art from Colorado College, Colorado
Springs (1982). He was presented with the “Fra Angelico Artist of the Year” in
2001 by the Dominican Vocation Foundation, Denver, CO. Lobato has had solo
exhibitions at the University of Wyoming Art Museum, Laramie, WY; the
Colorado Springs Fine Arts Center; the Arvada Center for the Performing and
Visual Arts, Arvada, CO; and the Nicolaysen Art Museum, Casper, WY as well
as galleries including Nuart Gallery, Santa Fe, NM; William Havu Gallery,
Denver CO; and Costello Childs Gallery, Phoenix, AZ. This is Lobato’s third
exhibition at Andrea Schwartz Gallery.
Springs (1982). He was presented with the “Fra Angelico Artist of the Year” in
2001 by the Dominican Vocation Foundation, Denver, CO. Lobato has had solo
exhibitions at the University of Wyoming Art Museum, Laramie, WY; the
Colorado Springs Fine Arts Center; the Arvada Center for the Performing and
Visual Arts, Arvada, CO; and the Nicolaysen Art Museum, Casper, WY as well
as galleries including Nuart Gallery, Santa Fe, NM; William Havu Gallery,
Denver CO; and Costello Childs Gallery, Phoenix, AZ. This is Lobato’s third
exhibition at Andrea Schwartz Gallery.
Graciela Rodo Boulanger:
Recent Works at Gallery 444
This is a one woman exhibition featuring
the recent works of Graciela Rodo
Boulanger. These are paintings from the
artist’s “Encuentros” collection.
This special collection was recently
hanging in the National Museum of Arts in
La Paz.
The gallery will also celebrate the release
of her first bronze sculpture created in 20
years.
This is her first trip back to San Francisco
since hosted her 50 year
retrospective in 2006. We will be featuring
her original paintings as well as etchings,
lithographs and sculpture.
Recent Works at Gallery 444
This is a one woman exhibition featuring
the recent works of Graciela Rodo
Boulanger. These are paintings from the
artist’s “Encuentros” collection.
This special collection was recently
hanging in the National Museum of Arts in
La Paz.
The gallery will also celebrate the release
of her first bronze sculpture created in 20
years.
This is her first trip back to San Francisco
since hosted her 50 year
retrospective in 2006. We will be featuring
her original paintings as well as etchings,
lithographs and sculpture.
Gallery 444 444 Post Street San Francisco CA 94102
Graciela Rodo Boulanger
___________________________________
___________________________________
Eight Australian Jewelers Present
Velvet da Vinci Gallery in San Francisco presents “Flip side: Jewelry from
JamFactory” a show featuring eight jewelers from Adelaide, Australia. This
exhibition opens Wednesday, September 10, with an artist reception on Friday,
September 12 from 6-8 pm.
Sue Lorraine, Creative Director of the Metals Design Studio and curator of Flip
side, explains that the intention of this exhibition was to push these artists into a
new dimension of their work. However, instead of creating drastically new pieces
for the exhibition, Lorraine found that their mature and assured practice has
allowed them to push the boundaries of their everyday work.
Velvet da Vinci Gallery in San Francisco presents “Flip side: Jewelry from
JamFactory” a show featuring eight jewelers from Adelaide, Australia. This
exhibition opens Wednesday, September 10, with an artist reception on Friday,
September 12 from 6-8 pm.
Sue Lorraine, Creative Director of the Metals Design Studio and curator of Flip
side, explains that the intention of this exhibition was to push these artists into a
new dimension of their work. However, instead of creating drastically new pieces
for the exhibition, Lorraine found that their mature and assured practice has
allowed them to push the boundaries of their everyday work.
Bracelet by Tassia Joannides
Velvet da Vinci Gallery 2015 Polk Street San Francisco CA
94109
94109
___________________________________
Catherine Clark Gallery 150 Minna Street, San
Francisco 94105.
Francisco 94105.
Heffernan, Self Portrait as Big House
Katchadourian, Fugitive installation view
Solo Exhibition: Julie Heffernan: Broken Homes
August 30 – September 27, 2008
Ray Beldner, Nina Katchadourian: Concurrent Solo
Exhibitions
October 4 – November 15, 2008
August 30 – September 27, 2008
Ray Beldner, Nina Katchadourian: Concurrent Solo
Exhibitions
October 4 – November 15, 2008
___________________________________
Johnny Davis Founder, Director ARTworkSF, says this:
"As sad as I am about the closure of the gallery, it is with
great pleasure that I can announce that Matt McKinley has
taken over our portfolio of artists and a selection of the
neighborhood exhibit venues. He plans to expand the
corporate sales and rental programs. In the last 8 years
with ARTworkSF, Matt has developed an unparalleled
knowledge of what local artists have to offer you! "Johnny
has been a great mentor for me while I developed my
curatorial 'chops' and while I move forward with McKinley
Art Solutions, Johnny and I will continue to collaborate on
"As sad as I am about the closure of the gallery, it is with
great pleasure that I can announce that Matt McKinley has
taken over our portfolio of artists and a selection of the
neighborhood exhibit venues. He plans to expand the
corporate sales and rental programs. In the last 8 years
with ARTworkSF, Matt has developed an unparalleled
knowledge of what local artists have to offer you! "Johnny
has been a great mentor for me while I developed my
curatorial 'chops' and while I move forward with McKinley
Art Solutions, Johnny and I will continue to collaborate on
ARTworkSF Shutters, Matt McKinley Takes Over
Portfolios
On July 1, 2008, after 16 years serving the art needs of its clients, ARTworkSF
closed its doors at 49 Geary.
Portfolios
On July 1, 2008, after 16 years serving the art needs of its clients, ARTworkSF
closed its doors at 49 Geary.
ideas, projects and mutually beneficial opportunities," says Matt.
"I am also glad to announce that Rachel Steinbeisser of Steinbeisser Exhibits
Services will also curate select group exhibits in businesses that sponsor
local artists' shows and offer original artwork for sale or rent. "
"I am also glad to announce that Rachel Steinbeisser of Steinbeisser Exhibits
Services will also curate select group exhibits in businesses that sponsor
local artists' shows and offer original artwork for sale or rent. "
___________________________________
Cone’s strong attention to, and mastery of,
form and composition call to mind the
painting conventions of old Renaissance
masters, yet with a strong modern twist;
instead of having the compositional elements
dominate and dictate the entire composition,
she manipulates and builds on these
traditional forms in a way that heightens the
intrigue and mystery of her figures. She uses
controlled cropping and seemingly
indefinable geometric boxes and forms to
frame her sensual figures, that at the same
time evoke an “untold story” in which hidden
emotions, thoughts, fears and desires are
unintentionally revealed, despite attempts to
hide them.
Image on right: Evasion
form and composition call to mind the
painting conventions of old Renaissance
masters, yet with a strong modern twist;
instead of having the compositional elements
dominate and dictate the entire composition,
she manipulates and builds on these
traditional forms in a way that heightens the
intrigue and mystery of her figures. She uses
controlled cropping and seemingly
indefinable geometric boxes and forms to
frame her sensual figures, that at the same
time evoke an “untold story” in which hidden
emotions, thoughts, fears and desires are
unintentionally revealed, despite attempts to
hide them.
Image on right: Evasion
___________________________________
ERIN CONE- RECENT PAINTINGS at Hespe Gallery
September 30, 2008 - November 1 A reception for the artist will be
held Thursday, October 2, from 5:30-7:30 p.m.
September 30, 2008 - November 1 A reception for the artist will be
held Thursday, October 2, from 5:30-7:30 p.m.
Image above: Consequence
Her careful, abstract, placement and arrangement of these geometric forms
seem to literally and figuratively fall into the background, dominated instead by
dramatic and captivating female figures that are contorted in intriguing and
stimulating positions. The deep, rich, folds of a white collared shirt; the soft,
velvety curves of a pair of jeans; and strong, directional lighting accentuating a
woman’s neck or cheekbones are the images that dominate Cone’s latest
series.
Erin Cone was born in Lubbock Texas in 1976. She received her BFA in 1998
from the University of Texas in Austin.
Her careful, abstract, placement and arrangement of these geometric forms
seem to literally and figuratively fall into the background, dominated instead by
dramatic and captivating female figures that are contorted in intriguing and
stimulating positions. The deep, rich, folds of a white collared shirt; the soft,
velvety curves of a pair of jeans; and strong, directional lighting accentuating a
woman’s neck or cheekbones are the images that dominate Cone’s latest
series.
Erin Cone was born in Lubbock Texas in 1976. She received her BFA in 1998
from the University of Texas in Austin.
Hespe Gallery 251 Post Street, Suite 420, San Francisco, CA
94108
94108
Warnock Fine Arts 49 Geary, Suite 211, San Francisco, CA
94108
94108
Fantasy and satire have always provided
fertile territory for artists depicting the
foibles of human behavior.
From whimsy to scathing social criticism,
from Romantic idealizations to mocking
grotesqueries - prints have provided a
powerful lens for observing the human
spectacle throughout history and across all
cultural divides.
From France, the exhibit highlights artists
who draw inspiration from the fantastic
imaginary architecture of Piranesi, and
darker fantasies in the tradition of Bosch
fertile territory for artists depicting the
foibles of human behavior.
From whimsy to scathing social criticism,
from Romantic idealizations to mocking
grotesqueries - prints have provided a
powerful lens for observing the human
spectacle throughout history and across all
cultural divides.
From France, the exhibit highlights artists
who draw inspiration from the fantastic
imaginary architecture of Piranesi, and
darker fantasies in the tradition of Bosch
Le Petite Controverse by Erik
Desmazieres
Desmazieres
and Goya. A powerful nostalgia permeates these works. Among the most
well known of this French school to be shown are Erik Desmazieres,
Francois Houtin, Philippe Mohlitz and Gerard Trignac.
In the United States, political and social satire are more pointed in the work of
Art Hazelwood who uses a broad brush to take swipes at those in power.
David Avery's meaningfully macabre sensibility is seen in prints based on the
Brothers Grimm and other re-visioned children's fairy tales. Also featured is
Peter Milton's large-scale intensely detailed romantic idealism, given full
range in his etching Les Belles et La Bete I: Before the Hunt.
During the cold war Eastern European artists often focused on small
etchings of deceptively whimsical content. Created in an atmosphere of
political oppression, they used fantastic images that only partially masked
their political and individual dissent. Today many artists continue this
tradition. Works by Julian Jordanov, Oldrich Kulhanek, Konstantin Kalinovich
and others are seen in the exhibition.
OCTOBER EXHIBITION: Art in All the Wrong Places
October 2 - November 1, 2008
As part of a series of exhibitions nationally under the umbrella of 'Art of
Democracy' that will all take place in the fall of 2008. Other venues will be in
New York, Chicago, Seattle, St. Louis, and Puerto Rico. Warnock Fine Arts
will exhibit works giving voice to artists who seldom have a venue for artistic
express. These will include work done by inmates at San Quention, rebel
artists from Oaxaca, Mexico and others.
well known of this French school to be shown are Erik Desmazieres,
Francois Houtin, Philippe Mohlitz and Gerard Trignac.
In the United States, political and social satire are more pointed in the work of
Art Hazelwood who uses a broad brush to take swipes at those in power.
David Avery's meaningfully macabre sensibility is seen in prints based on the
Brothers Grimm and other re-visioned children's fairy tales. Also featured is
Peter Milton's large-scale intensely detailed romantic idealism, given full
range in his etching Les Belles et La Bete I: Before the Hunt.
During the cold war Eastern European artists often focused on small
etchings of deceptively whimsical content. Created in an atmosphere of
political oppression, they used fantastic images that only partially masked
their political and individual dissent. Today many artists continue this
tradition. Works by Julian Jordanov, Oldrich Kulhanek, Konstantin Kalinovich
and others are seen in the exhibition.
OCTOBER EXHIBITION: Art in All the Wrong Places
October 2 - November 1, 2008
As part of a series of exhibitions nationally under the umbrella of 'Art of
Democracy' that will all take place in the fall of 2008. Other venues will be in
New York, Chicago, Seattle, St. Louis, and Puerto Rico. Warnock Fine Arts
will exhibit works giving voice to artists who seldom have a venue for artistic
express. These will include work done by inmates at San Quention, rebel
artists from Oaxaca, Mexico and others.
___________________________________
___________________________________
Time Being, a 15-year retrospective of Linda
Karshan's drawings and prints
October 9 to November 15, 2008.
Artist reception:Friday, October 9, 2008, from 5:30 to 7:30 pm
This exhibition, the first major U.S. retrospective of the renowned artist's work,
aims to provide an overview of Linda Karshan's oeuvre while focusing on the
development of the grid-like form, a theme that Karshan found and refined
intuitively over the course of the past 15 years. The selection includes over 40
works on paper from 1993 to 2008.
The earliest drawing in the exhibition, from 1983, is like an apocalyptic storm.
But in 1994 she began to adopt a simple procedure of rhythmic repetition,
creating grids, rows and stacks, drawn with her 'wrong' hand. Minimal in their
means and abstract in appearance, they are charged with an intuitive energy
and directly reflect her bodily engagement with the work.
In a performance-based process, Linda Karshan uses timed breathing and
rhythmic coordinates to draw vertical and horizontal dashes that form square-,
rectangle-, and grid-like jottings. Hovering over the paper on the table "listening
to those internal numbers and rhythms that guide my moves" Karshan works
her way around the page, turning it counter-clockwise on the stroke of 2,4,6 or 8
before starting again. The drawings are the result of the dance, and each line
is the product of daily practice, rituals strictly observed, exercises performed as
ceremonies, which she defines as "drawing my being."
Karshan's drawings and prints
October 9 to November 15, 2008.
Artist reception:Friday, October 9, 2008, from 5:30 to 7:30 pm
This exhibition, the first major U.S. retrospective of the renowned artist's work,
aims to provide an overview of Linda Karshan's oeuvre while focusing on the
development of the grid-like form, a theme that Karshan found and refined
intuitively over the course of the past 15 years. The selection includes over 40
works on paper from 1993 to 2008.
The earliest drawing in the exhibition, from 1983, is like an apocalyptic storm.
But in 1994 she began to adopt a simple procedure of rhythmic repetition,
creating grids, rows and stacks, drawn with her 'wrong' hand. Minimal in their
means and abstract in appearance, they are charged with an intuitive energy
and directly reflect her bodily engagement with the work.
In a performance-based process, Linda Karshan uses timed breathing and
rhythmic coordinates to draw vertical and horizontal dashes that form square-,
rectangle-, and grid-like jottings. Hovering over the paper on the table "listening
to those internal numbers and rhythms that guide my moves" Karshan works
her way around the page, turning it counter-clockwise on the stroke of 2,4,6 or 8
before starting again. The drawings are the result of the dance, and each line
is the product of daily practice, rituals strictly observed, exercises performed as
ceremonies, which she defines as "drawing my being."
___________________________________
Cain Schulte Gallery 101 Townsend Street, Suite 207 • San
Francisco, CA 94107
Francisco, CA 94107
Pasquale Iannetti Art Galleries, 565 Sutter Street, San
Francisco, CA. 94102
Francisco, CA. 94102
Helen Frankenthaler Paintings at Pasquale Iannetti
Helen Frankenthaler is an Abstract Expressionist artist born in 1928 in New
York City. She attended the Dalton School in New York where she studied with
the Mexican painter Rufino Tamayo and attended Bennington College in
Vermont, where she studied under abstract painter Paul Feeley. Frakenthaler
became recognized in the New York art scene after befriending art and literary
critic Clement Greenberg. It was Greenberg who introduced Frankenthaler to
the action paintings of the Abstract Expressionist, Jackson Pollock. She soon
established her own style of work through her “color field” painting, in which
large areas of color are blocked out using oil paint heavily diluted with
turpentine or kerosene, ultimately creating a halo effect around each area of
color.
Helen Frankenthaler is an Abstract Expressionist artist born in 1928 in New
York City. She attended the Dalton School in New York where she studied with
the Mexican painter Rufino Tamayo and attended Bennington College in
Vermont, where she studied under abstract painter Paul Feeley. Frakenthaler
became recognized in the New York art scene after befriending art and literary
critic Clement Greenberg. It was Greenberg who introduced Frankenthaler to
the action paintings of the Abstract Expressionist, Jackson Pollock. She soon
established her own style of work through her “color field” painting, in which
large areas of color are blocked out using oil paint heavily diluted with
turpentine or kerosene, ultimately creating a halo effect around each area of
color.
___________________________________
Cain Schulte Gallery 101 Townsend Street, Suite 207 • San
Francisco, CA 94107
Francisco, CA 94107
A Deeper Reality - Fantasy and Satire in
Contemporary Printmaking at Warnock Fine Arts
September 2 - September 28 2008
Contemporary Printmaking at Warnock Fine Arts
September 2 - September 28 2008
Jeremy Mora: New Sculptures September 4 – October 30,
2008
2008
When Holy Were the Haunted Forest Boughs: New
Work by Christine Shields
August 28 - September 28, 2008
Opening Reception: Friday, August 29th, 7-10pm
Work by Christine Shields
August 28 - September 28, 2008
Opening Reception: Friday, August 29th, 7-10pm
For Shields's first solo show at
Triple Base, she has created an
eerie environment for the viewer
to explore the theme of psychic
homelessness. Through a
mythological narrative, Shields
ponders the impermanence of life
and the human need to wander.
The installation highlights
Shields's signature illustrative
drawings and paintings of
ghosts, orphans, animals and
spirits.
Triple Base, she has created an
eerie environment for the viewer
to explore the theme of psychic
homelessness. Through a
mythological narrative, Shields
ponders the impermanence of life
and the human need to wander.
The installation highlights
Shields's signature illustrative
drawings and paintings of
ghosts, orphans, animals and
spirits.
Christine Shields has a BFA in Painting from the San Francisco Art Institute.
She was a featured artist in Bay Area Now 4 (2005) at Yerba Buena Center for
the Arts, San Francisco and has had solo shows at S.F. Center for the Book,
San Francisco (2005); City Hall, San Francisco (2003) and Adobe Books, San
Francisco (2002).
Selected group shows include White Columns, NY (2006); Eleanor Harwood
Gallery, San Francisco (2006); UNLV's Donna Beam Fine Art Gallery, Las
Vegas, NV (2006); Aidan Savoy Galley, NYC (2006) and The Front Room
Gallery, Brooklyn, NY (2006). Shields was the creator of comic series "Blue
Hole" and recently published the book "The Lonely Bear" with Booklyn, New
York.
She will be releasing her first album "Treasure Gone Feral" on Evangeline
Records in November.
She was a featured artist in Bay Area Now 4 (2005) at Yerba Buena Center for
the Arts, San Francisco and has had solo shows at S.F. Center for the Book,
San Francisco (2005); City Hall, San Francisco (2003) and Adobe Books, San
Francisco (2002).
Selected group shows include White Columns, NY (2006); Eleanor Harwood
Gallery, San Francisco (2006); UNLV's Donna Beam Fine Art Gallery, Las
Vegas, NV (2006); Aidan Savoy Galley, NYC (2006) and The Front Room
Gallery, Brooklyn, NY (2006). Shields was the creator of comic series "Blue
Hole" and recently published the book "The Lonely Bear" with Booklyn, New
York.
She will be releasing her first album "Treasure Gone Feral" on Evangeline
Records in November.
When Holy Were the Haunted Forest Boughs
New Work by Christine Shields
New Work by Christine Shields
___________________________________
Triple Base 3041 24th Street at Treat San Francisco, CA 94110
Mark Wolfe Contemporary Art 49 Geary Street, 2nd
Floor, San Francisco, CA 94108
Floor, San Francisco, CA 94108
Created from humble materials – balsa
wood, cement, found debris – Mora’s semi-
abstract dioramas present dystopian riffs on
the relationship between man and nature,
begging the question of how big, or small, is
our role in the universe. Situated far from the
idea of the miniature as an idealized utopia,
Mora’s work offers a visual parable -- or a
subtle prediction of what may be to come.
Based in Los Angeles, Mora graduated from
the School of the Art Institute of Chicago in
2004. He has staged solo exhibitions at
Richard Heller Gallery in Santa Monica as
well as at Wolfe Contemporary, and has
shown at PULSE, Bridge, and Red Dot Art
Fairs in Miami, New York, and Chicago.
Recently, he participated in group exhibitions
at the Sonoma State University Art Gallery
and the Bedford Gallery in Walnut Creek.
wood, cement, found debris – Mora’s semi-
abstract dioramas present dystopian riffs on
the relationship between man and nature,
begging the question of how big, or small, is
our role in the universe. Situated far from the
idea of the miniature as an idealized utopia,
Mora’s work offers a visual parable -- or a
subtle prediction of what may be to come.
Based in Los Angeles, Mora graduated from
the School of the Art Institute of Chicago in
2004. He has staged solo exhibitions at
Richard Heller Gallery in Santa Monica as
well as at Wolfe Contemporary, and has
shown at PULSE, Bridge, and Red Dot Art
Fairs in Miami, New York, and Chicago.
Recently, he participated in group exhibitions
at the Sonoma State University Art Gallery
and the Bedford Gallery in Walnut Creek.
Land Mass,2008 (detail) Various
media 34 x 14 x 8"
media 34 x 14 x 8"
___________________________________
An exhibition of photographs by Joel Meyerowitz will be on view from September 4
through November 1, 2008. Meyerowitz’s seminal early color photographs will be
shown alongside a new series of large-scale photographs and video work. Joel
Meyerowitz is regarded as one of the earliest advocates and successful
practitioners of color photography, setting a precedent for contemporary artists
who readily acknowledge his influence.
Bernd and Hilla Becher added his innovative work to their collection in the early
1970s and used it to teach their students about the effective qualities of color
photography. Meyerowitz is among a select few who have been instrumental in
changing an attitude of resistance regarding the making and collecting of color
photography to one of nearly universal acceptance.
The early photographs on view date from the late 1970s when Meyerowitz had
already established himself as a pioneer of the genre. In 1976, Meyerowitz
transitioned from shooting exclusively with a 35mm camera (from his earlier street
photography days) to an 8x10 view camera. The switch compelled him to alter his
attitude on photography and to embrace a slower, more deliberate approach in
making each image.
These photographs describe a languid American landscape imbued with
evocative radiance---a meeting place of the banal and the mystical. They show the
twenty-first century viewer how truly innovative and significant Meyerowitz’s
dedication and contributions have been to the medium.
The genesis of Meyerowitz’s newest series, The Elements: ir/Water, Part 1, was
sparked while directing a video of Olympic divers from an underwater viewing
room. With the repeating dives, and at each entry into the pool, an enormous
plume of bubbles encased the diver. As the diver swam away, the bubbles
coalesced into the cloud that rose to the surface and returned to the atmosphere.
This small observation led Meyerowitz to consider the transition of elements into
one another, as well as the individual qualities of their physical relationships. He
responded immediately with a study of the Elements and a commitment to
observe how these essential facts of life would look in video and photographs.
Although related to earlier projects, The Elements represents a conceptual
departure from Meyerowitz’s groundbreaking work in color photography.
through November 1, 2008. Meyerowitz’s seminal early color photographs will be
shown alongside a new series of large-scale photographs and video work. Joel
Meyerowitz is regarded as one of the earliest advocates and successful
practitioners of color photography, setting a precedent for contemporary artists
who readily acknowledge his influence.
Bernd and Hilla Becher added his innovative work to their collection in the early
1970s and used it to teach their students about the effective qualities of color
photography. Meyerowitz is among a select few who have been instrumental in
changing an attitude of resistance regarding the making and collecting of color
photography to one of nearly universal acceptance.
The early photographs on view date from the late 1970s when Meyerowitz had
already established himself as a pioneer of the genre. In 1976, Meyerowitz
transitioned from shooting exclusively with a 35mm camera (from his earlier street
photography days) to an 8x10 view camera. The switch compelled him to alter his
attitude on photography and to embrace a slower, more deliberate approach in
making each image.
These photographs describe a languid American landscape imbued with
evocative radiance---a meeting place of the banal and the mystical. They show the
twenty-first century viewer how truly innovative and significant Meyerowitz’s
dedication and contributions have been to the medium.
The genesis of Meyerowitz’s newest series, The Elements: ir/Water, Part 1, was
sparked while directing a video of Olympic divers from an underwater viewing
room. With the repeating dives, and at each entry into the pool, an enormous
plume of bubbles encased the diver. As the diver swam away, the bubbles
coalesced into the cloud that rose to the surface and returned to the atmosphere.
This small observation led Meyerowitz to consider the transition of elements into
one another, as well as the individual qualities of their physical relationships. He
responded immediately with a study of the Elements and a commitment to
observe how these essential facts of life would look in video and photographs.
Although related to earlier projects, The Elements represents a conceptual
departure from Meyerowitz’s groundbreaking work in color photography.
Robert Koch Gallery 49 Geary Street, 5th Floor, San Francisco,
CA 94108.
CA 94108.
| Image left: The Elements, Air/Water Part 1, #6 by Joel Meyerowitz. © Joel Meyerowitz, Courtesy Robert Koch Gallery, San Francisco Image right: Dusk, Provincetown 1978 Chromogenic Print. © Joel Meyerowitz, Courtesy Robert Koch Gallery, San Francisco |
Joel Meyerowitz at Robert Koch Gallery
MIJU: A Spontaneous Process
August 23- September 27 2008
Miju is a collaboration between San
Francisco Bay Area based artists Michele
Muennig and Juan Carlos Quintana.
Working together since 2006, the artists see
the act of collaboration as a spontaneous
process. They rely on chance, and maintain
complete liberty to add or subtract at will.
Each artist’s personal style dissolves and
morphs into a third entity creating what the
artists call "an idiosyncratic parody teetering
on a thin line between the absurdly real and
the arbitrarily absurd".
August 23- September 27 2008
Miju is a collaboration between San
Francisco Bay Area based artists Michele
Muennig and Juan Carlos Quintana.
Working together since 2006, the artists see
the act of collaboration as a spontaneous
process. They rely on chance, and maintain
complete liberty to add or subtract at will.
Each artist’s personal style dissolves and
morphs into a third entity creating what the
artists call "an idiosyncratic parody teetering
on a thin line between the absurdly real and
the arbitrarily absurd".
Bombaster, Acrylic on wood panel,
36" x 24" 2008
36" x 24" 2008
Jack Fischer Gallery 49 Geary, Ste 440 San Francisco CA
94108
94108
The works in Effigies and Demagogues are embedded with twisted ironies.
Effigies are used as a reference point to shed light on the bombastic rhetoric
that flows through demagogues. Images are imbued with a comic tragedy,
such as a monument to the 21st century being pulled off of a cliff, or an
unfortunate soul falling down an icy hole, while an effigy chorus sings a
German Lament, representing the demise of mankind. Miju creates paintings
that are both simultaneously uneasy and beautiful.
Effigies are used as a reference point to shed light on the bombastic rhetoric
that flows through demagogues. Images are imbued with a comic tragedy,
such as a monument to the 21st century being pulled off of a cliff, or an
unfortunate soul falling down an icy hole, while an effigy chorus sings a
German Lament, representing the demise of mankind. Miju creates paintings
that are both simultaneously uneasy and beautiful.
Vocabularies of Metaphor: More Stories September 6 – October 18, 2008 Reception: Saturday, September 6, 4-6 pm
This is an exhibition of works on paper by fifteen international artists exploring narrative through symbolic vernacular. The visual language of each artist is highly
personal and lyrical. The stories, which are also original to the artists, are coded and may be interpreted in many ways. The artists’ (and curator’s) choice of exploring
the intimacy of drawing/painting on paper gives the viewer a voyeuristic glimpse into private moments. And the presentation of a series of works by each artist enables
the viewer to observe mutating idioms and to decipher the lexicons of personal expression.
This is an exhibition of works on paper by fifteen international artists exploring narrative through symbolic vernacular. The visual language of each artist is highly
personal and lyrical. The stories, which are also original to the artists, are coded and may be interpreted in many ways. The artists’ (and curator’s) choice of exploring
the intimacy of drawing/painting on paper gives the viewer a voyeuristic glimpse into private moments. And the presentation of a series of works by each artist enables
the viewer to observe mutating idioms and to decipher the lexicons of personal expression.
________________________________________________________________________________________________________________________________________
Left image: Henry Darger, Untitled (At Jennie Richee, Vivian Girls Carrying Guns...), mid 20th century, 2008, mixed media on paper, painted on both sides, 22 x 81 inches
Right image: Yelena Yemchuk, Husband, 2007, mixed media on paper, 30 x 90 inches
Right image: Yelena Yemchuk, Husband, 2007, mixed media on paper, 30 x 90 inches
Hosfelt Gallery 430 Clementina Street, San Francisco, CA 94103
___________________________________
Braunstein/Quay Gallery at 430 Clementina.
___________________________________
________________________________________________________________________________________________________________________________________
Olympic Artist Seeks to Regenerate Historic San
Francisco Neighborhood With “HARD BOP”
Commission
As one of 25 artists selected from among more than 2600 applicants worldwide,
John Atkin is exhibiting at Bejing’s Olympic Park. He is in consideration for the
exhibition’s “Outstanding Award”; his recent stateside commissioned work,
“Hard Bop”, explores the Jazz History of San Francisco’s legendary Fillmore
District. The piece will be located in the southwest corner of Fillmore and
O'Farrell streets.
“Strange Meeting” is currently on view at Olympic Park, Beijing; “Hard Bop”
unveils in mid-October in San Francisco’s Fillmore Plaza.
Hard Bop – a stainless steel sculpture which celebrates and explores the jazz
history of San Francisco’s legendary Fillmore District - is to be unveiled in mid-
October in the city district’s Fillmore Plaza.
With these commissions, Atkin produces vital, new work in two regions of truly
global interest—San Francisco, a high-tech capital, international tourist
destination and major Pacific Rim outpost, and Beijing, the Chinese capital and
host of the 2008 Summer Games.
Clearly, these two works speak strongly of a dynamical element in Atkin's work
that will propel him to even greater heights. But having work displayed in two
world class cities is not bad for starters.
The artist was schooled in the UK where he is a resident..
Francisco Neighborhood With “HARD BOP”
Commission
As one of 25 artists selected from among more than 2600 applicants worldwide,
John Atkin is exhibiting at Bejing’s Olympic Park. He is in consideration for the
exhibition’s “Outstanding Award”; his recent stateside commissioned work,
“Hard Bop”, explores the Jazz History of San Francisco’s legendary Fillmore
District. The piece will be located in the southwest corner of Fillmore and
O'Farrell streets.
“Strange Meeting” is currently on view at Olympic Park, Beijing; “Hard Bop”
unveils in mid-October in San Francisco’s Fillmore Plaza.
Hard Bop – a stainless steel sculpture which celebrates and explores the jazz
history of San Francisco’s legendary Fillmore District - is to be unveiled in mid-
October in the city district’s Fillmore Plaza.
With these commissions, Atkin produces vital, new work in two regions of truly
global interest—San Francisco, a high-tech capital, international tourist
destination and major Pacific Rim outpost, and Beijing, the Chinese capital and
host of the 2008 Summer Games.
Clearly, these two works speak strongly of a dynamical element in Atkin's work
that will propel him to even greater heights. But having work displayed in two
world class cities is not bad for starters.
The artist was schooled in the UK where he is a resident..
Riffing off the rich jazz history of its San Francisco
site, the Fillmore Plaza-situated “Hard Bop” aims to
thematically re-connect the surrounding community
with its sense of history and place. During WWII, the
Fillmore District was the capital of West Coast jazz—
legendary performers like Ella Fitzgerald and Louis
Armstrong regularly graced neighborhood jazz
clubs—but fell into hard times soon after.
As part of the Fillmore Plaza development, currently
under construction and set to unveil in mid-October
2008, “Hard Bop” references the Fillmore’s rich
cultural history, and aims to imbue the regenerating
neighborhood with a renewed sense of its vibrancy.
site, the Fillmore Plaza-situated “Hard Bop” aims to
thematically re-connect the surrounding community
with its sense of history and place. During WWII, the
Fillmore District was the capital of West Coast jazz—
legendary performers like Ella Fitzgerald and Louis
Armstrong regularly graced neighborhood jazz
clubs—but fell into hard times soon after.
As part of the Fillmore Plaza development, currently
under construction and set to unveil in mid-October
2008, “Hard Bop” references the Fillmore’s rich
cultural history, and aims to imbue the regenerating
neighborhood with a renewed sense of its vibrancy.
Hard Bop – Fillmore Plaza, San Francisco
Strange Meeting