Lots of strong works on view in (Im)Material, a smart exhibition exploring the visible and the invisible. Curated by Kevin B. Chen, it is on view at the Headlands Center for the Arts in Fort Barry, Marin through February 22. I loved seeing new developments by Bay Area artists alongside many artists new to me.
The 2015 Headlands Center for the Arts’ Artists in Residence program National Visual discipline received 265 applications this year for 10 residencies awarded.
or 1:26.5, or 3.7%
See all Art Competition Odds.
Go see this show; it’s tightly curated with some great artists.
Lots of work across different media are included. Personally, I think fauna realism has its day, but I loved:
The poetics of Sandra Osborne’s two works: a series of monogrammed spoons spelling out “the sea” and a mound of shells.
Aaron Hughes’ Tea Project is not a woo-woo social dialogue; rooted in experiences in Iraq and Guantanamo Bay it is urgent and grave.
Rob Carter’s stop-motion photographic animations—always a pleasure.
Laura Fischer’s inventive, tiny weavings on rocks and concrete. I loved looking at the disparate materials, sensibilities, and scales.
Curated by Brian Karl
Headlands Center for the Arts
The Headlands’ Center for the Arts’ Alumni New Works Award received 74 applications from Headlands Alumni for 6 awards.
Award recipients comprise about 1:12.3, or 8.1% of applicants.
See all Art Competition Odds.
The Headlands Center for the Arts’ Artists in Residence program received 862 applications this year for 40 residencies awarded.
or 1:21.5, or 4.6%
See all Art Competition Odds.
Being an Affiliate Artist at the Headlands Center for the Arts (2007–2009) was of my formative art community experiences. I’m happy to help support their programming by donating a work to their forthcoming auction.
Wednesday, June 1, 2011
Headlands Center for the Arts’ 2011 Benefit Art Auction
Exhibition Hall in the Presidio
385 Moraga Avenue, San Francisco, CA 94129
5:30 pm Preview Reception
6:30 General Admission
Open Studios is a chance to talk to artists, peek at studios and works in progress, and think about methods and materials. I enjoyed this very much in my visit to the Elizabeth Foundation for the Arts Open Studios last night. The EFA Open Studios continues today and Saturday.
The EFA has a building in midtown Manhattan with six floors of studios rented by established and emerging artists. There’s also a project space, as well as a print shop. The whole building was a hive of activity for Open Studios; it reminded me of being an Affiliate Artist at the Headlands Center for the Arts in Sausalito, CA, where I opened my studio to the public many times (Visit the Headlands’ Fall Open House this Sunday, October 17). EFA had a similar cross-section: a few big names; many interesting, under-recognized artists; and a cadre of East Asian artists with crafty or pop/anime sensibilities. There were lots of painters and few video artists; meticulous, feminine papercuts (by Amina Amed and Jaq Belcher); and a few very commercial enterprises balanced by a few wacky conceptualists and performance artists. I was surprised to see that some artists had large etching presses or Vandercook letterpresses in their studios. (You see how important elevators become when your studio is 5 or 6 or 9 floors up.) I was most excited about these artists:
Saya Woolfalk, 2008, Cartography of No Place, Gouache on paper, 30" x 40". Image source: Artist’s website.
Saya Wookfalk makes paintings, installations, performances and videos in Hello Kitty hues. She works with cognitive scientists and dancers, and teaches herself theater lighting. Need I say more?
Kristian Kozul makes kinda bad-ass sculpture. In his studio, he’s working on fantastic militaristic busts dripping in rosettes and covered in a glossly black resin.
David Greg Harth, World News Tonight, 2010. Image source: davidgregharth.com.
David Greg Harth’s immensity can’t be captured here, but I’ll try: weird, painful, simple, public interventions, like collecting autographs in a Bible, tumbling down public steps, and opening a kiosk that only sells newspapers with horrible, 300-pt. headlines. Provocative, hilarious and wince-worthy. I liked that the artist was complicit in his projects about human folly: his willingness to humiliate and hurt himself was in plentiful evidence.
Dane Patterson, 2009, The Wedding, Graphite on Paper, 22 x 30". Image source: danepatterson.com
Dane Patterson can draw like crazy; but many steps—performance, sculpture, and photography—lead up to it.
Of the painters, I was attracted to Patty Catuera’s and Gary Petersen‘s work. Both make hard-edge, brightly colored, super flat abstractions. If you said that these paintings appeal to my design sensibilities, you’d probably be right, and I see nothing wrong with that. Patty’s work seems especially vibrant and sweet in its simplicity. The imagery originates in landscapes, and with the large expanses of flat, abstract space, there is room to push and pull the volumes and imagine a narrative unfolding.
I also liked David Storey’s mildly figurative mid-mod abstractions. They’re cheeky. They make me think of Mad Men interiors and knowing smiles.
Hong Seon Jang, 2010, Forest, tape on black chalkboard, 25×19 inches. Image source: hongseonjang.com.
Hong Seon Jang, 2009, Geographic wave (in process) National Geographic magazines, binder clips, push pins, 140×80 inches (variable). Image source: hongseonjang.com.
Hong Seon Jang had some terrific lichens cut from National Geographics, and forest scenes made out of cellophane tape. Nice!
Still from a video by Noah Kersfield. Image source: http://www.noahklersfeld.com.
Noah Klersfeld’s videos were weirdly mesmerizing, partly from the sheer technical prowess, like stained glass come to life from pedestrian, single-camera shots.
Jihyun Park‘s large punched-paper and burned-paper works are really beautiful. I’m not especially compelled by the imagery, but the craftsmanship and perceptual experience are fantastic.
I admired Yuken Teruya’s paper sculptures in graduate school. I also love the graphic quality of batik, so it was a special treat to visit Teruya’s studio and see his most recent dye-resist paintings.
Hank Willis Thomas’ work is clean and super provocative; if, like me, you were most familiar with his advertisement-based work, he’s been busy with lots of text-based signs and lenticulars as well. I’ll leave it at that, since I’ve been helping out my fellow CCA alum.
Brian Whitney set up four mirrors to successfully merge two images into a 3D image; he’s also figured out a way to print photographic images on mylar. Jealous!
I also really enjoyed talking to Jimbo Blachy and his guest, who I assume to be his collaborator, Lytle Shaw. They had the skeleton of a boat set up in their studio, a whole lot of boating and Brit-ish ephemera, and they were wearing matching striped sailor shirts. That is, until you looked closer and realized that one of the shirts was actually a white t-shirt with stripes painted on it. That kind of geniality and jokiness immediately appealed to me. Later, I passed by their studio again, and saw the two of them alone, busy cracking each other up.
A coincidence of food, art, and coordination in Sausalito, California and Manchester, UK:
Organized by Chez Panisse chef and artist Jerome Waag and curator Joseph del Pesco, The Feral Share is an evening of gastronomic philanthropy. The cost of a meal, paid into the coffer by each dinner guest, will be transformed into funding for artists’ projects. In addition to serving as micro-funder, each dinner guest doubles as a member of the selection jury and will be asked to cast a vote for two artists from a group of twelve. The evening includes a menu drawing from wild and surplus sources, brief artist presentations, and a debate about issues ranging from food to politics. Featured debaters include Sunny Taylor and Nicolette Niman; Robert Jones moderates.
What is surplus and how do we use it? If we have more than enough (food, money, energy) doesn’t it make sense to share it in productive and creative ways? Why does it feel different to share surplus as compared to resources we have to work/pay for? What’s intellectual surplus and how does it relate to art? How is surplus (activities, materials, ideas) valued and how does it shape our culture?
From Georges Bataille’s The Accursed Share (“La Part Maudite”)
“On the whole a society always produced more than is necessary for its survival; it has surplus at its disposal. It is precisely the use it makes of this surplus that determines it: The surplus is the cause of agitation, of the structural changes and of the entire history of society.”
From Lars Bang Larsen & Kate Fowle’s essay “Lunch Hour”
“To ‘waste’ significantly, as in the pagan-influenced festival or a ritualistic slaughtering of sheep, can be seen as a metaphysical and ideological process of collective renewal and stimulation. But, while surplus remains a fact of society, its definition and use have changed. This in turn has affected the way that art production and acts of generosity are related.”
From Clay Shirky’s talk “Gin, Television, and Social Surplus”
“Because if people knew what to do with a surplus with reference to the existing social institutions, then it wouldn’t be a surplus, would it? It’s precisely when no one has any idea how to deploy something that people have to start experimenting with it, in order for the surplus to get integrated, and the course of that integration can transform society.”
Castlefield Gallery is pleased to present Kate Rich and her project Feral Trade Café to Manchester. Feral Trade is a grocery import-export business, trading food and drink sourced through a range of social networks. For 6 weeks, the Feral Trade Café at Castlefield Gallery will serve up an array of ‘ferally’ traded drinks and snacks along with delivery documentation collected by the artist.
The term ‘feral’ describes a process that is wilfully wild (as in pigeon) as opposed to romantically or nature-wild (wolf). Feral Trade concentrates on small-scale releases of migrant groceries, sourced direct from their suppliers and circulated in the excess baggage space of existing journeys, primarily using other artists, curators, friends and relations as mules. Feral Trade proposes that this underground freight network is at least as reliable as DHL.
Coinciding with Feral Trade Café, Castlefield Gallery will host Summer House, multiple staggered projects/exhibitions for artists groups based within a 100 mile radius of Manchester. The main gallery will become a quasi ‘2nd home’ / ‘urban retreat’ / public exhibition space to test collaborative or curatorial methods.
More on the artist:
Kate Rich (b. Australia) is an artist and trader. In the 1990s she moved to California to work with the Bureau of Inverse Technology (BIT), an international agency producing critical information products including economic and ecologic indices, event-triggered webcam networks, and animal operated emergency broadcast devices. The Bureau’s work has been exhibited in academic, scientific and museum contexts. Restless at the turn of the century, she headed further east to take up the post of Bar Manager at the Cube Microplex, Bristol UK where she launched Feral Trade, a public experiment trading goods over social networks since 2003. Feral Trade forges new ‘wild’ trade routes across hybrid territories of business, art and social interaction. She is currently moving deeper into the infrastructure of cultural economy, developing protocols to define and manage amenities of hospitality, catering, sports and survival in the cultural realm.