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SFAQ Pick: WHIRL, exhibition by Katsuhiro Saiki and Jennifer Williams at Gallery Ho, New York.

Katsuhiro Saiki and Jennifer Williams

WHIRL

Gallery Ho

547 West 27th Street #208, New York, NY 10001

Reception: October 2, 6-8 pm

October 2 – November 1, 2014

 

Thursday, October 2, Gallery Ho opens WHIRL, an exhibition of new photographic work by Katsuhiro Saiki and Jennifer Williams. In the works on view, Saiki and Williams manipulate photographic images to create new visual experiences of New York City. For a series titled Buildings For New York City, and a number of complementary sculptures, Saiki combines sections of towering architectural structures into unfamiliar sights, using photographic images as raw material in constructing alien space. Williams’ series of collages, The High Line Effect, departs from reality in a similar way; Williams playfully links views from the city’s elevated park, creating a dense and disjointed depiction of place that perhaps more closely represents the experience of the park than a straight-forward image ever could.

 

The gallery hosts an opening reception Thursday, October 2, from 6 – 8 pm.

 

Katsuhiro Saiki, Buildings For New York City #10. 2011-2014, C-print collaged on paper, 28 x 22 inches. Courtesy of Gallery Ho.

Katsuhiro Saiki, Buildings For New York City #10. 2011-2014, C-print collaged on paper, 28 x 22 inches. Courtesy of Gallery Ho.

 

Katsuhiro Saiki, Study For Metropolis #13, 2008, C-prints, paper board, wood, water color, 19 x 7 x 11 inches. Courtesy of Gallery Ho.

Katsuhiro Saiki, Study For Metropolis #13, 2008, C-prints, paper board, wood, water color, 19 x 7 x 11 inches. Courtesy of Gallery Ho.

 

Jennifer Williams The High Line Effect, Approaching Hudson Yards, 2013, Archival pigment print, 22 x 17 inches, Edition 3 of 10, © Robert Mann Gallery. Courtesy of Galley Ho.

Jennifer Williams, The High Line Effect, Approaching Hudson Yards, 2013, archival pigment print, 22 x 17 inches, Edition 3 of 10, © Robert Mann Gallery. Courtesy of Galley Ho.

 

The exhibition remains on view through November 1.

For more information, please visit the gallery’s website.

 

Recent SFAQ Picks:

-SFAQ Pick: Lecture by Katrín Sigurdardóttir at SFAI, San Francisco.

-SFAQ Pick: Elastic City, New York.

-SFAQ Pick: “Headspace: Conceptual Film and Video,” screening at 142 Dwinelle Hall, UC Berkeley Campus.

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SFAQ Pick: Lecture by Katrín Sigurdardóttir at SFAI, San Francisco.

Katrín Sigurdardóttir

San Francisco Art Institute, Lecture Hall

800 Chestnut Street, San Francisco, CA 94133

September 29, 7:30 pm

 

Monday, September 29, San Francisco Art Institute welcomes Katrín Sigurdardóttir as part of the school’s Visiting Artists and Scholars Lecture Series. Sigurdardóttir, an Icelandic artist working in New York, is known for her large scale sculpture and installation work. These experiments in the creation of space and place reference the objects and scenes of the everyday, maintaining architectural and other visual ties to reality while departing in distinctly otherworldly directions. Her interventions into existing spaces reconfigure, distort, and reinvigorate visual and spatial relationships in similarly magical ways.

 

The lecture begins Monday, September 29, at 7:30 pm.

 

Katrín Sigurdardóttir, Boiseries (Hôtel de Cabris) (detail), 2010, mixed media site-specific installation, Metropolitan Museum of Art, New York, NY, dimensions variable. Image courtesy of SFAI.

Boiseries (Hôtel de Cabris) (detail), 2010, mixed media site-specific installation at the Metropolitan Museum of Art, New York, NY, dimensions variable. Courtesy of SFAI.

 

For more information, please visit the SFAI website.

 

Recent SFAQ Picks:

-SFAQ Pick: Elastic City, New York.

-SFAQ Pick: “Headspace: Conceptual Film and Video,” screening at 142 Dwinelle Hall, UC Berkeley Campus.

-SFAQ Pick: Grand Opening of the Anderson Collection at Stanford University.

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SFAQ Pick: “Headspace: Conceptual Film and Video,” screening at 142 Dwinelle Hall, UC Berkeley Campus.

Theresa Hak Kyung Cha, Stephen Laub, Jim Melchert, and Mark Thompson

“Headspace: Conceptual Film and Video”

142 Dwinelle Hall, UC Berkeley Campus

Screening: September 23, 7:30-9 pm

 

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Tuesday, September 23, the Department of Art Practice and Department of Film & Media Studies hosts “Headspace: Conceptual Film and Video,” a screening in conjunction with the recently opened exhibition at the Worth Ryder Art Gallery, “Scores for a Room: David Haxton and Jim Melchert.” The exhibition, curated by SFMOMA’s Tanya Zimbardo, pairs Haxton and Melchert in a revisitation of their conceptual film and video works in the ’70s. Melchert, a professor at UC Berkeley in 1970, created a number of site-specific slide presentations, projecting images of spaces and bodies occupying these spaces over the original locations of the actions. Haxton, faculty at San Diego State in 1970, began his first explorations of film at this time, creating various illusions without editing in a series of silent 16mm films. The screening on September 23 includes selections from Jim Melchert, as well as selected former students Theresa Hak Kyung Cha, Stephen Laub, and Mark Thompson. Artists Jim Melchert and Mark Thompson, and curator Tanya Zimbardo will be present at the screening for a brief discussion.

 

The screening takes place September 23, from 7:30 – 9 pm at 142 Dwinelle Hall.

 

Jim Melchert, Location Project #3, (slide detail), 1970; Powerhouse Gallery, University of California, Berkeley, November 1970; Sequence of 80 35mm slides projected on wall; Participants: Robert Armstrong, Carl Dern, Jim Pomeroy; Photography: Alexander Yuill-Thornton II; Courtesy the artist and Worth Ryder Art Gallery; © Jim Melchert.

Jim Melchert, Location Project #3, (slide detail), 1970; Powerhouse Gallery, University of California, Berkeley, November 1970; Sequence of 80 35mm slides projected on wall; Participants: Robert Armstrong, Carl Dern, Jim Pomeroy; Photography: Alexander Yuill-Thornton II; Courtesy the artist and the Worth Ryder Art Gallery; © Jim Melchert.

 

David Haxton, White, Red, and Green Lights, (film still) 1978, 16mm transferred to HD video, b&w and color, silent, 10 min.; Courtesy the artist, Gavlak, Palm Beach - Los Angeles, and the Worth Ryder Art Gallery; © David Haxton.

David Haxton, White, Red, and Green Lights, (film still) 1978, 16mm transferred to HD video, b&w and color, silent, 10 min.; Courtesy the artist, Gavlak, Palm Beach – Los Angeles, and the Worth Ryder Art Gallery; © David Haxton.

 

Mark Thompson, “Immersion” (still), 1973–76; 16mm film transferred to video, color, 5.1 Dolby surround sound, 30 min.; Courtesy the artist and the Worth Ryder Art Gallery; © Mark Thompson.

Mark Thompson, “Immersion” (still), 1973–76; 16mm film transferred to video, color, 5.1 Dolby surround sound, 30 min.; Courtesy the artist and the Worth Ryder Art Gallery; © Mark Thompson.

 

The exhibition remains on view through October 17.

For more information, please visit the gallery’s website.

 

Recent SFAQ Picks:

-SFAQ Pick: Grand Opening of the Anderson Collection at Stanford University.

-SFAQ Pick: Gallery Weekend Mexico, Mexico City.

-SFAQ Pick: “Fashionfashion, 2002-2006,” solo exhibition by K8 Hardy at Higher Pictures, New York.

 

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SFAQ Pick: Grand Opening of the Anderson Collection at Stanford University.

Grand Opening of the Anderson Collection

Anderson Collection At Stanford University

314 Lomita Drive, Stanford, CA 94305

Members Opening: September 20, 10am-8pm

Public Opening: September 21, 10am-8pm

 

Sunday, September 21, the Anderson Collection at Stanford University opens to the public, preceded by a Members Opening the day before. The collection, a gift of Harry W. and Mary Margaret Anderson and Mary Patricia Anderson Pence, brings 121 works of contemporary and modern art to the campus. Well represented in the collection are Bay Area painting and sculpture, including works by Jay DeFeo, Sam Francis, Richard Diebenkorn, Robert Arneson, David Park, and Manuel Neri. Some particularly exciting inclusions are Martin Puryear’s Dumb Luck, Lynda Benglis’ Plum, Charles Arnoldi’s Untitled I, and H. C. Westermann’s Marina 2, not to mention works by Mark Rothko, Agnes Martin, and Jackson Pollock.

 

Reserve free timed tickets to the public reception on Sunday, September 21, on the Anderson Collection at Stanford University website.

 

The Anderson Collection, Gallery Interior. Photo © Tim Griffith, courtesy of the Anderson Collection.

The Anderson Collection, Gallery interior. Photo © Tim Griffith, courtesy of the Anderson Collection.

 

The Anderson Collection, Gallery Interior. Photo © Henrik Kam, courtesy of the Anderson Collection.

The Anderson Collection, Gallery interior. Photo © Henrik Kam, courtesy of the Anderson Collection.

 

Recent SFAQ Picks:

-SFAQ Pick: Gallery Weekend Mexico, Mexico City.

-SFAQ Pick: “Fashionfashion, 2002-2006,” solo exhibition by K8 Hardy at Higher Pictures, New York.

-SFAQ Pick: “tl;dr,” solo exhibition by Cory Arcangel at team (bungalow), Los Angeles.

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SFAQ Pick: Gallery Weekend Mexico, Mexico City.

Gallery Weekend Mexico

Various locations, Mexico City

Reception: September 19th, 6 pm (at all participating galleries)

September 19 – 21, 2014

 

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Friday, September 19, marks the beginning of the second annual Gallery Weekend Mexico, a platform developed by Codigo magazine to concentrate artistic activity and engagement in the thriving creative environment that is Mexico City. A free shuttle service provides easy transportation for visitors between participating galleries, which range from relatively traditional exhibition spaces to experimental project spaces. Special projects developed for the event include a bilingual reading of poems by Frank O’Hara at Lulu, and an exhibition inspired by the tricks and traps of the movie Home Alone at Bikini Wax.

 

A sampling of exhibitions on view includes:

Pryce Lee at Anonymous Gallery

Mauro Piva at Galeria Enrique Guerrero

A group exhibition of Korean artists at Galeria Ethra

Roman Ondak at Kurimanzutto

Ernesto Mallard and Pedro Reyes at LABOR

Arturo Hernandez Alcazar at MINI Art Gallery

A group exhibition at Patricia Conde Galeria

Alberto Baraya at Proyecto Paralelo

Rodolfo Diaz Cervantes at talcual

 

Friday, September 19, participating galleries host cocktail receptions beginning at 6 pm.

 

 

For a full list of participating artists and galleries and more information, please visit the Gallery Weekend Mexico website.

 

Recent SFAQ Picks:

-SFAQ Pick: “Fashionfashion, 2002-2006,” solo exhibition by K8 Hardy at Higher Pictures, New York.

-SFAQ Pick: “tl;dr,” solo exhibition by Cory Arcangel at team (bungalow), Los Angeles.

-SFAQ Pick: “Satan Ceramics,” group exhibition at Salon 94 Freemans, New York.

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SFAQ Pick: “Fashionfashion, 2002-2006,” solo exhibition by K8 Hardy at Higher Pictures, New York.

K8 Hardy

“Fashionfashion, 2002-2006″

Higher Pictures

980 Madison Avenue, New York, NY 10075

Reception: September 17, 6-8pm

September 17 – October 11, 2014

 

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For a new exhibition at Higher Pictures, K8 Hardy has produced “Fashionfashion, 2002-2006,” a presentation of oversized zines. In creating these zines, titled Fashionfashion individually and as a series, Hardy explored visual tropes of fashion/lifestyle magazine images, recreating these kinds of highly constructed and photogenic spaces with herself as fashion model and with more casual, grittier scenes as backdrop. Hardy, having previously worked as a stylist’s assistant, is well equipped to manipulate these invented spaces, disturbing common markers of glamour, luxury, and beauty with various forms of exaggeration and ironic juxtaposition.

 

The gallery hosts an opening reception Wednesday, September 17, from 6 – 8 pm.

 

Excerpt from Fashionfashion zines, 2002-2006. Courtesy of Higher Pictures.

Selection from Fashionfashion zines, 2002-2006. Courtesy of Higher Pictures.

 

These zines are a precursor to Hardy’s later works, like her “Untitled Runway Show” presented at the 2012 Whitney Biennial, where the artist’s deconstructive stylistic interventions occupied a similar aesthetic and spatial arrangement to a conventional runway presentation.

 

 

The exhibition remains on view through October 11.

For more information please visit the gallery’s website.

 

Recent SFAQ Picks:

-SFAQ Pick: “tl;dr,” solo exhibition by Cory Arcangel at team (bungalow), Los Angeles.

-SFAQ Pick: “Satan Ceramics,” group exhibition at Salon 94 Freemans, New York.

-SFAQ Picks: First of Fall – San Francisco (Part 2 of 2).

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SFAQ Pick: “tl;dr,” solo exhibition by Cory Arcangel at team (bungalow), Los Angeles.

Cory Arcangel

“tl;dr”

team (bungalow)

306 Windward Avenue, Venice, CA 90291

Reception: September 14, 4 pm

September 14 – November 9, 2014

 

Sunday, September 14, Team Gallery launches team (bungalow), a new project space in Los Angeles, with “tl;dr,” a solo exhibition of work by New York-based artist Cory Arcangel. Currently on view at the gallery’s New York (47 Wooster Street) location, another exhibition by Arcangel with the same name hosts “Lakes,” a series of flat-screen televisions displaying images drawn from pop culture. To these images, Arcangel has applied the Java applet “Lake,” a visual effect that once ran rampant on personal websites, causing glimmering distortions to images. Today, to those familiar with their history, these kinds of effects are as easily dated as some clothing or music.  This awareness of certain technological devices and aesthetics as relics leads us to contemplation of the TV screens themselves, now reasonable hosts for Arcangel’s work but ultimately devices destined for a similar retirement. This relationship between present and past technologies helps one get to what is perhaps the heart of the matter; for the most part, our cultural understanding of artworks employing technological conduits and containers is tenuous and unresolved as yet.

 

Installation view, “tl:dr,” 2014, Team Gallery, New York. Courtesy of Team Gallery.

Installation view, “tl;dr,” 2014, Team Gallery, New York. Courtesy of Team Gallery.

For the exhibition opening Sunday at team (bungalow), Arcangel presents some of his early video game works on inexpensive tablets, cell phones, and PDAs. These works, video games Arcangel has hacked to harness particular visual elements, will be accessible to visitors for interaction. Also on view are a number of Arcangel’s zines, titled “The Source,” which detail and document his creative projects, as well as a retail-style presentation of Arcangel’s new line of merchandise, “Arcangel Surfware.”

 

The project space hosts an opening reception September 14, beginning at 4 pm.

 

Installation view, “tl:dr,” 2014, team (bungalow), Los Angeles. Courtesy of Team Gallery.

Installation view, “tl;dr,” 2014, team (bungalow), Los Angeles. Courtesy of Team Gallery.

 

The exhibition at team (bungalow) remains on view through November 9.

The exhibition at the gallery’s New York location remains on view through October 26.

For more information, please visit the gallery’s website.

 

Recent SFAQ Picks:

-SFAQ Pick: “Satan Ceramics,” group exhibition at Salon 94 Freemans, New York.

-SFAQ Picks: First of Fall – San Francisco (Part 2 of 2).

-SFAQ Picks: First of Fall – San Francisco (Part 1 of 2).

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SFAQ Pick: “Satan Ceramics,” group exhibition at Salon 94 Freemans, New York.

Mary Frey, Pat McCarthy, JJ PEET and Tom Sachs
“Satan Ceramics”
Salon 94 Freemans
1 Freeman Alley, New York, NY 10002
September 7 – October 25, 2014

 

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Now on view at Salon 94 Freemans, a group exhibition titled “Satan Ceramics” features new ceramic work from New York-based artists Mary Frey, Pat McCarthy, JJ PEET and Tom Sachs. The artists meet weekly at the 92nd Street Y and create ceramic sculpture together under the instruction of appointed group leader JJ PEET. Even without an overt statement that the group shares any particular set of philosophies, motivations, or intentions, their communal practice and their experimentation with fundamental forms (vessels, tools, tablets, etc.) is enough to inspire curiosity and speculation.

 

Installation View, "Satan Ceramics," 2014, Salon 94 Freemans, New York. Courtesy of Salon 94.

Installation View, “Satan Ceramics,” 2014, Salon 94 Freemans, New York. Courtesy of Salon 94.

Many works in the show are united by attempts to push contemporary practices and priorities into physical structures typically associated with traditional, even ritual uses. Tom Sachs’ tea bowls bear the marks of creation by hand, while their carefully painted letters form NASA’s original logo. Contemporary imagery spills onto Mary Frey’s otherwise timeless forms; characters from The Simpsons ornament a rectangular form that presents itself as something between ceremonial treasure and TV tray. Pat McCarthy’s pigeon-keeping accoutrements (perches and nesting bowls) take their inspiration from a centuries-old practice, and their aesthetic from a contemporary understanding of system and arrangement. Located at various points along a spectrum of irony and sincerity, the sculptural works of “Satan Ceramics” employ time-tested forms and aesthetic codes to represent the particularities of the present.

 

Tom Sachs, "Cyclops," Porcelain, stereo components, bamboo, and Sharpie markers, 2014, 16.5 × 26 × 8 inches.  Courtesy of Salon 94.

Tom Sachs, “Cyclops,” Porcelain, stereo components, bamboo, and Sharpie markers, 2014, 16.5 × 26 × 8 inches.
Courtesy of Salon 94.

 

Mary Frey, "Catcher," stoneware/underglaze/carbon fiber, 2014, 5 × 5 × 4.5 inches. Courtesy of Salon 94.

Mary Frey, “Catcher,” stoneware/underglaze/carbon fiber, 2014, 5 × 5 × 4.5 inches. Courtesy of Salon 94.

 

Pat McCarthy, "Issue 59, Pages 26-27," Tonal reduction fired on porcelain, 2014, 8.5 × 11 × 0.5 inches.v Courtesy of Salon 94.

Pat McCarthy, “Issue 59, Pages 26-27,” Tonal reduction fired on porcelain, 2014, 8.5 × 11 × 0.5 inches. Courtesy of Salon 94.

 

Installation view (work by Pat McCarthy), “Satan Ceramics,” 2014, Salon 94 Freemans, New York. Courtesy of Salon 94.

Installation view (work by Pat McCarthy), “Satan Ceramics,” 2014, Salon 94 Freemans, New York. Courtesy of Salon 94.

 

 

The exhibition remains on view through October 25.

For more information, please visit the gallery’s website.

 

Recent SFAQ Picks:

-SFAQ Picks: First of Fall – San Francisco (Part 2 of 2).

-SFAQ Picks: First of Fall – San Francisco (Part 1 of 2).

-SFAQ Pick: “Visualizing Consciousness – Hybrids, Fractals, and Ritual,” Saya Woolfalk in Conversation with Jeff Durham at UC Berkeley.

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SFAQ Picks: First of Fall – San Francisco (Part 2 of 2).

The next few days are full of openings at San Francisco galleries.

Here is the second part of our list of selections; find the first part here.

 

 

Hugh Scott-Douglas, "Untitled," UV curable ink on wood panel, 80 x 53 inches, 2014. Courtesy of Jessica Silverman Gallery.

Hugh Scott-Douglas, “Untitled,” UV curable ink on wood panel, 80 x 53 inches, 2014. Courtesy of Jessica Silverman Gallery.

Jessica Silverman Gallery

Hugh Scott-Douglas

“Promises to Pay in Solid Substance”

488 Ellis Street, San Francisco, CA 94102

Reception: September 5, 6-8 pm

September 5 – November 1, 2014

 

Jessica Silverman begins the fall season with “Promises to Pay in Solid Substance,” an exhibition by New York-based artist Hugh Scott-Douglas. Scott-Douglas presents three new bodies of work, as well as “Screentones,” a series first shown in Takashi Murakami’s Tokyo exhibition space. The “Screentones” are scanned images of an adhesive Letraset paper applied to collect dust and debris from a surface, enlarged and printed on wood panels with UV-curable ink. The resultant objects present themselves like paintings, but with the particular and undeniable effects of photography. Scott-Douglas’ new bodies of work share this curious exploration of the physicality of imagery; decommissioned billboards rest as abstract masses around the space in the artist’s “Heavy Images” series, and the series “Amazon.com” and “Economist” present visualizations of various contemporary distribution networks.

 

 

 

Guy Overfelt (left) and Ever Gold Gallery owner Andrew McClintock during the installation of "Free Bird: The Never Ending Joy Ride, 1998-2014."

Guy Overfelt (left) and Ever Gold Gallery owner Andrew McClintock during the installation of “Free Bird: The Never Ending Joy Ride, 1998-2014.” Courtesy of Paul Chinn and the San Francisco Chronicle.

Ever Gold Gallery

Guy Overfelt

“Free Bird: The Never Ending Joy Ride, 1998-2014”

441 O’Farrell, San Francisco, CA, 94102

Reception: September 5, 7-10 pm

September 5 – October 4, 2014

 

Ever Gold Gallery opens a presentation of Guy Overfelt’s ongoing conceptual project “Free Bird: The Never Ending Joy Ride, 1998-2014.” In the gallery, Overfelt has installed his 1977 Pontiac Trans Am, to rest on a white four post car lift. The car, a central part of Overfelt’s conceptual exploration of American culture, is presented here in a partially unfinished state; the Trans Am is almost entirely custom, recreated piece by piece in high-performance materials over time by the artist. The gallery space is just large enough to accommodate the car and its lift, intensifying spatial relationships between the car, its containing space, and viewers. Truly a spectacle, this installation of Overfelt’s project is not to be missed.

 

 

 

Rob Putnam, "Foundlings," ink on paper, 9 7/8 x 7 1/4 inches (each), 2014. Image credit: John Janca. Courtesy of Rena Bransten Gallery.

Robb Putnam, “Foundlings,” ink on paper, 9 7/8 x 7 1/4 inches (each), 2014. Image credit: John Janca. Courtesy of Rena Bransten Gallery.

Rena Bransten Gallery

Robb Putnam

“Foundlings”

1639 Market Street, San Francisco, CA

September 6 – October 25, 2014

Reception: September 6, 1-5 pm

 

At Rena Bransten Gallery, Robb Putnam fills the project space with playful sculptural forms, constructed from found and collected materials. In a series titled “Pelts,” Putnam assembles leather, plastic bags, scrap textiles, and other detritus into abstract forms with some of the characteristics of animals or childhood dolls. These works are complimented by some equally bizarre ink and watercolor drawings; clearly from the same alternate reality as Putnam’s sculptural constructions, these depictions share a complex and childlike balance of humor and fear.

 

 

 

Taha Belal, "untitled (pictures backwards)", detail, newspaper ink transfer on inkjet photo paper, 11.5 x 8.5 inches, 2014. Courtesy of Haines Gallery.

Taha Belal, “untitled (pictures backwards)”, detail, newspaper ink transfer on inkjet photo paper, 11.5 x 8.5 inches, 2014. Courtesy of Haines Gallery.

Haines Gallery

Taha Belal, Kota Ezawa, Jeanne Friscia, Alfredo Jaar, Todd Lavine, and Dinh Q. Le

“Political Fictions”

49 Geary Street, Suite 540, San Francisco, CA 94102

September 4, 2014 – November 1, 2014
Reception: September 4, 5:30-7:30 pm

 

“Political Fictions,” the new exhibition at Haines Gallery, brings together an impressive roster of artists whose practices address reportage and the presentation of current events. Engaging with different channels of distribution and associated content, these artists expose and manipulate trends, tropes, and more in this familiar yet treacherous terrain of media culture. Works on view include Kota Ezawa’s iconic animated video “The Simpson Verdict,” newspaper images treated to a very manual reproduction process by Taha Belal, a mesmerizing and monumental image-turned-sculpture by Dinh Q. Le, and more.

 

 

 

More new exhibitions:

Jason Roberts Dobrin at Adobe Books Backroom Gallery

Reception: September 5, 7-10 pm

Ruth Pastine at Brian Gross Fine Art

Reception: September 13, 4-6 pm

Chris Doyle at Catharine Clark Gallery

Reception: September 13, 4-6 pm

Markus Schinwald at CCA Wattis Institute

Reception: September 9, 7-9 pm

Jered Sprecher at Gallery 16

Reception: September 5, 6-9 pm

Nigel Poor at Haines Gallery 

Reception: September 4, 5:30-7:30 pm

David Johnson at Harvey Milk Photo Center

Reception: September 6, 1-4 pm

Joel Daniel Phillips at Hashimoto Contemporary

Reception: September 6, 6-10 pm

Rob and Nick Carter at Jenkins Johnson Gallery

Reception: September 4, 5:30-7:30 pm

David Park, Richard Diebenkorn, Nathan Oliveira, and Manuel Neri at John Berggruen Gallery

Reception: September 4, 5:30-7:30 pm

Judith Marshall and Bryan Boutwell at McLoughlin Gallery
Reception: September 4, 6-8 pm

Kirk Crippens at Rayko Photo Center

Reception: September 10, 6-8 pm

Josh Begley, Douglas Coupland, Doug Rickard, Joachim Schmid, Penelope Umbrico, and Michael Wolf at Robert Koch Gallery

Reception: September 11, 5:30-7:30 pm

 

 

Recent SFAQ Picks:

-SFAQ Picks: First of Fall – San Francisco (Part 1 of 2).

-SFAQ Pick: “Visualizing Consciousness – Hybrids, Fractals, and Ritual,” Saya Woolfalk in Conversation with Jeff Durham at UC Berkeley.

-SFAQ Pick: “No Person is Without a Shadow,” group exhibition at Interface Gallery, Oakland.

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