Where is this hanging?

Joey Piziali's painting, originally uploaded by libbynicholaou.

I found this while taking a break from 6th Street, enjoying some Blue Bottle Coffee in the plaza alley area between 5th and 6th Streets. I think it's in a hotel...some building's entrance way. Anyone know?

Kunsole at Swiss Nex Friday

I missed Deric Carner's band Kunsole during the Mission Creek Music Festival but their playing tomorrow night and I highly recommend anyone interested coming out for this evening of entertainment. They're opening at the Swissnex for the Exploding, Plastic & Inevitable performance.

And so the website says...
"the opening part of the evening will be quietly infiltrated by San Francisco avant-pop sound + image + performance vehicle Kunsole, driven by Roddy Schrock and Deric Carner. A multimedia missive sent from a slightly different universe - and a fine way to let friendly ghosts creep into the machines early on.

Stefan Mueller Arisona and Steve Gibson’s take on Warhol’s circus makes full use of digital technology and the free-flowing, associative thinking of the techno age. Armed with multiple projectors, a barrage of laptop computers and additional data-churning devices, the pair have already performed in Zurich, Victoria, Chicago, Vancouver and Shanghai: they now take on swissnex San Francisco."

You got to RSVP (but no $ needed) to get in because there's delicious catering involved.

"FasTrack" opens at the LoBot

Exhibit: FasTrack
Opening Reception: Saturday, August 2, 2008 from 7pm-1am
Address: 1800 Campbell Street, W Oakland, CA

Saturday LoBot opens a killer group exhibit curated by Daniel Healy and Mary Anne Kluth. The two curators were invited back to the arts collective, after the success of their first exhibit in the space last year. Their line up of artists includes John Casey, Martha Sue Harris, Alexis Amann, Mark Edwards and many others.






The emphasis of the show has to do with the location. These two have “been working a lot this year, Daniel bringing the Oakland scene to the show and Mary Anne the San Francisco side." They said, "It’s kinda about that, bridging the two locations, not so much about any particular demographic. More importantly bringing all these people together and showing the diversity of the bay area artists.“



There are 25+ artists in the exhibit, who have created something entirely new for with this show in mind. It includs several large sculpture and installation pieces with the idea to change the environment of the LoBot. They want people to be overstimulated when they walk in and hope for a more visceral impact than last year.






There aren't any designated collaborative pieces in the show. But when I think about how all these artists are creating works specifically for the exhibit, it becomes a huge collaboration in of itself. With art works like...Mark Edwards' video piece, Liz Maher's 7 feet tall fabric & plastic trees, John Casey's life size human sculptures, and Colette Campbell Jones' photo enivornments, it's all new work shown to the public for the first time together.



For these two curators it's important to respect the history of the location and make an impact on the community. Which I think they've done already by getting these artists together.



“It really is just about the experience of the LoBot” Daniel



*Not all art work shown here will be in THIS exhibit.

Deth P. Sun, Ferris Plock, Jay Howell

Caught some mighty fine collaboration on Deth P. Sun's flickr stream. Check it out.

Interview with Kirk Stoller

I was fortunate to meet Kirk Stoller through another artist, Bill Samios, at a Lincart opening earlier this year. That was the first I'd hear of Kirk's sculptures and that I'd missed his recent exhibit at Ping Pong Gallery. Going with my respect for the curators at Ping Pong Gallery and the little but So, here's to catching up.



The exhibit you had at Ping Pong Gallery reminds me of portals through walls. As if I could stick my hand through and have my body follow to a magical world. How do you see those completed works?

I installed my Ping Pong show, as if the 7 works were relating to each other as one whole larger sculptural form. Each individual piece did have a transitory nature…either moving the eye of the viewer from the floor to the wall (and sometimes to the ceiling)…or from the sculptural plane to the illusionary realm of painting. I’m glad you got the feeling of being able to traverse through the wall. This was the ultimate idea in which I wanted the viewer to experience.
What was it like growing up in a family with six kids? I don't know many people who have families larger than three kids. I imagine you always had someone to hang out with.



There was enough age difference between my 2 older brothers and I, that it really was only my 2 sisters, my younger brother, and I doing most things together. This was especially the case as we four were all home schooled for 3 years. It wasn’t great for learning social skills, but it did allow my mother, the teacher, to gear my lessons towards my interests. I remember there being a lot of history.



While studying French did you know you were you also creating artwork? When did you begin to make large-scale sculptures?

I was always doing art from an early age…so in college while studying to get a degree in French language, I also took a lot of art classes. The French degree along with my participation in an exchange program to Lyon, France. My junior year took me touring Europe, visiting many many museums and galleries. I am sure the subsequent stone and steel sculpture I created my senior year were greatly influenced by what I saw. I didn’t really start creating very large sculpture pieces until going to Berkeley.




I like your new series of owner-assembled pieces for sale on Red Cake. How is it working on a smaller scale? These are self supporting while most installation pieces of yours are supported by a wall. Do you want to comment on that difference?

My Red Cake pieces are more about material than anything else. The owner-assembled idea sprung from my brain’s inability to understand the word / picture instructions that accompany store bought unassembled furniture…combined with the joy I felt when I completed my first paint-by-numbers picture(a wood scene with a deer).

I like working small as it gives me the opportunity to experiment without always struggling to lift and move my life size sculpture stacks. Of course, since they are so small, having them include the wall as something on which to lean is problematic. A couple of them have done so, but not too many people will display such small work on the floor for fear of stepping on them…or having their cat eat them. Because the wall is not there in the small work, they touch less upon my interest in transitory spaces and instead rest more in familiar formal issues of traditional sculpture.



You are traveling in Seattle this week to see the newer sculpture park. How is it? What parts of other artwork do you first recognize?

I was more excited by the park itself than in individual pieces it contained.
Don’t get me wrong…the Serra, Openheimer, Oldenberg, and di Suvero were nice, but it was the way the park design allowed one to zig-zag over a highway and a railroad track, without really noticing you were doing so, that really piqued my interest. The one sculpture, I thought came closest to what my own work strives for was “Love & Loss” by Roy McMakin. He spelled out the title using various types of materials including neon, a tree, and stone tables. I liked how the relationship of the disparate pieces along with the functionality of the pieces brought the sculpture back into the everyday life of the viewer…from which the idea, no doubt, originated.



When I view work done by others, I'm first drawn to the combination or use of material. If the artist combines soft sculptural forms with hard…or graphite with say…plastic, I’m intrigued. Of course attention to formal issues need to accompany this exploration of material. Another thing I look for is how the artist can succinctly say what he or she wants without over stating the issue(s).

You can check out Kirk's site here.

Hip Opening

Location: 66 Sixth Street, San Francisco, CA 94103

Last night we had Fanee's opening at Gallery Three, with a mini lul in the middle, there was a solid group of people in the gallery. If you get a chance for the next month the gallery will be open from 11 a.m.-6 p.m. I'll be around, so come check out the art.

Mary Anne Kluth

Artist: Mary Anne Kluth
Gallery: Public Barber Salon
Opening Reception: Saturday, July 19, 2008 from 6:30 to 9 p.m.
Exhibition Dates: July 10- August 7, 2008
Address: 571 Geary Street

Erik Otto at Shooting Gallery

Artist: Erik Otto
Gallery: Shooting Gallery
Opening Reception: Saturday, July 19, 2008 from 7-11 p.m.
Exhibition Dates: July 19- August
Address: 839 Larkin Street (at Geary)

This exhibit has more impact than in the past, as he refreshes your contextual placement of familiar images and inserts more abstractions. He's building boats from of recycled wood and they'll be emerging from the wall. I already saw a piece I want!


ARTIST STATEMENT:

One of the few consistent things in life is change. Nothing is for certain and everything that surrounds us is always changing; from friends moving away, family members passing on, new generations coming into maturity, or major events that shifts our global perspective.



I used to think when something terrible happened, it was just that, terrible. These days, I look at change as something neither good nor bad, rather something necessary for eventual growth. Often times when something is removed, we appreciate its value. On the contrary when something is added, we begin to look at ourselves in a new light. Through the most unpredictable and sometimes overwhelming changes, we question the importance of our most basic ideologies. It is during this time of uncertainty where our worst fears battle our greatest discoveries in a game of survival.



The Sea of Change is the sequel to my previous show, which was representative of the calm and almost eerie feeling that coincidentally occurs before a major life-changing event. The intent of this show is to capture the moment succeeding. Through the artwork and installation featuring video projection, my goal is to invariably depict the critical point between struggle and resolution.

Studio Visit with Adam5100

This spring I first saw Adam's work at Stussy SF. The opening reception packed people in the store and out past the sidewalk. Since then Adam's been crazy busy with a recent exhibit at Rowan Morrison and a show opening this Saturday at White Walls. After talking about NPR podcasts on topics like the civil war to shows like "This American Life," we got chatting about his artistic background.





Adam has made stencils, since forever. Talking about his graffiti on streets and sidewalks, he put an emphasis on being respectful with placement. Saying it's just not cool to tag Planned Parenthood, they offer decent services for the community and you never know when you or a friend are going to be there next.

During my visit, he pulled out one of many boxes filled with stencils, thick from coats of paint. Here are some I picked out.





His talent and interest in stencils led him to take this interest more seriously by going to art school. CCA deepened his understanding of his capabilities as a painter and a multi-media artist. In his recent exhibits, you see a greater depth in the work and an expansion on content variety.





Currently, more people in the bay area are starting to ask him for murals. He painted on on the side of Rowan Morrison for his opening and they are planning to leave it up. A country club has him working on one as well as a location in the north bay. So, busy is what he's been from the earlier part of this year till now, creating new bodies of work for each exhibit and more.


(photograph c/o Marci and Deth)

Check out Adam's site here.
See his artwork in photos tagged with Adam5100 on Flickr.
His MySpace page.

Downy Bird Art Kingdom

Just found this publication, put out by bay area artists that rock. Here's how they describe it:

Downy Bird Art Kingdom is an art book that showcases 21 emerging and established contemporary west coast artists. The collection reveals a distinct visual departure from the pop surrealism, neo graff and mission school that dominated the 1990’s and early 2000’s. A new, quieter indie-tone with ample negative space and mystical themes has emerged as a common stylistic denominator. DBAK is a snapshot of this excitingly fresh visual era.

Artists included are:

Monica Canilao
Deth P. Sun
Ogi
Ferris Plock
Sham Saenz
Chris Fitzpatrick
Derrick Snodgrass
Kottie Paloma
Katy Zaugg
Jeana Sohn
Zefrey Throwell
Serena Cole
Tracy Timmins
Hilary Pecis
Catherine Ryan
Daniel Duford
Mike McGovern
Stephen Slappe
Gavin Potenza
Tim Janchar
Matthew Bowers

You can buy it on their site for $20/issue.
Issue two is in the making.

Eungkang Koh at Varnish Fine Art

The recent exhibit at Varnish took me by surprise, wonderfully. Magical creatures crawling through labyrinth type mazes and color, lots of bright striking colors highlighted by black ink drawings. You can find more of Eunkang Koh's art here.

Interview with Hilary Pecis

I've been admiring Hilary's work for a while and finally got to have an email chat with her about what's going on inside her head. She's been in the bay area for a decent amount of time and received her undergrad and graduate degrees from CCA. Lately, her work has been in group auction and benefit shows at places like Mollusk Surf Shop and Fecal Face Dot Gallery. Her work will take you to another world.







I've been seeing a lot of collage work lately and really am fascinated with the unique approaches artists are taking. What prompted you to work in collage?

I like using materials, in a way in which they were not originally intended. Collage allows me to reassemble existing information into surrogate images. I attempt to confuse shards from magazine advertisements in an organized manner, however lacking the original signifier designated to evoke the intended response.
Also, some of my favorite artists a few years back were based in collage like Fred Tomaselli, David Thorpe, and Chris Ofili.




What is your approach to using color in your work?

I typically like bright and shiny. Thinking about the way advertisements have a totally unreal approach to lighting, color, and sentiment; I imagine that the future (in cyberspace) looks like this as well.




You are part of the Thin Ice Collective. For how long? What is the idea behind the collective?

Tracy Timmins, Serena Cole, and I were doing our undergraduate work together at CCA. As our graduation approached, Tracy wanted to put together a group that could bounce ideas, collectively propose exhibitions, and act as a stronger entity than just one artist. Together we could form like voltron and take over the world... not really.



We've been together a little over two years and have had the opportunity to exhibit both domestically and internationally. Tracy handpicked individuals who she felt were reliable and strong in their individual practices. She’s a great organizer and quite a painter as well.





What unique or random events in your life have brought you where you are today?

Hmmm... well, as far as drawing goes, there was a TV show on PBS in the mid eighties called The Secret City Adventures with Commander Mark. He wore a space suit and bullet holder with crayons in it and taught kids to draw 3D space ships, cars and robots. It was pretty influential, giving me a leg up on drawing when I was young.




The rest of my life's events are probably pretty normal. I feel lucky to have very few obligations, which allows me to devote all of my time to drawing and painting.





Given any artist (of any medium) who would you like to collaborate with right now?

Recently my boyfriend, Andrew Schoultz, and I collaborated on a few paintings. That was a blast to make. Although the content of our work differs greatly, our mark making complements each other's and the pieces were really awesome.




Also, I’ll be collaborating with Tara Lisa Foley and Andrew Schoultz on a mural for Noise Pop this fall. They are both really amazing folk and I look forward the project. Actually, the bay area is full of rad artists who I would love to collaborate with, if time would ever permit it.





Where do you buy groceries in San Francisco or the general bay area?

I am a terrible cook, and therefore eat most meals out. I shop here and there, try to eat organic, but don't have a preferred store. Oh, but I must add, I do love burgers!!! and would like to give a shout out to the Slow Club in SF for their amazing burgers, which in my opinion are the best in the bay.





Hilary's website here!
View more of Hilary's work on Sketchypad's flickr photostream.

Interview with Reuben Lorch Miller

I was fortunate to meet Reuben Lorch Miller at Catherine Clark this past spring. He talked extensively about the theories and history behind his work, which are fascinating. The simplicity in his compositions extend much further into their complexity of meaning and the experience they provide.



What was it like growing up in Washington?

I moved there from upstate NY when I was 13 and spent a lot of time feeling like an outsider. I lived in the country/small town areas where there are a lot of trees there and if you want to make something happen, you had to do it yourself. A lot of time was spent hanging out with friends, in cars and later at cheap rental houses. The winter is 4 months of wet darkness. A good climate to do projects indoors and keep yourself & friends entertained. It used to be more of an isolated place than it is now. I suppose there was also the typical drug use.





What got you into conceptual art?
I don't really separate out the distinction of "conceptual" art. As opposed to what? I like belief systems and formalism. I also like perceptual phenomena. Nothing really got me into it. It is how I approach art making.




What is at the core of your work?
Curiosity.

From this spring to the present, you were just in two exhibits (at least) in the bay area. How did these come to be?
I have shown with Catharine Clark 4 or 5 times before and so that was my latest show.
"The Beast in Me" was curated by some friends I made, while working at the SFMOMA as an art handler.




Is there any difference for you exhibiting on the west coast than the east coast?
I haven't shown here enough to get a definitive sense of a difference. In regards to showing in NYC, there is a lot more going on by sheer quantity, which is both positive and negative. The only thing that I have really dealt with, are the factors of having a show in a location where I don't live. There is a strange disconnect with those shows. In this past exhibit, I left SF the day after the opening, which can make it feel like it is not really happening.




In the statement on your website, you say "I attempt to create situations where experience can sometimes supersede understanding." Why is this important to you? How do you think you make this happen?

I think it is important to recognize the condition of the the experience in looking at art, rather than trying to define a complete understanding. This also deals with the limitations of language to define a perceptual experience. Understanding is often defined through linguistic or text based systems. I make visual art, it can exist outside of language. I have found that there is a tendency to try to define artworks in understood terms. Trying to sum it up in a narrative or definitive way. A "this is this" kind of equation.



I like a degree of mystery and unknown in work. I think of this as space for the viewer to create their own relationships to the art work. Also I often don't completely understand a lot of my projects. My relationship to them evolve during their making as well as after. A lot of my understanding is in hindsight. I try to be more attuned to the the experience and trust it.




I often try to break up a linear form of display, focusing on a more tangental and cyclical form. Pieces have multiple directions. I always try to leave at least one element open ended. This also is about trying to make the viewer into a participant rather than a spectator. I try to make work that is demonstrative rather than illustrative. I tried to get people to sit on the floor in my Clark show.




Through this action they would become part of the sculpture. In Memphis I made a sculpture that had a set of stairs to climb. The general idea was to try to change your perspective and see things in a different way. Often the physical has to come before the intellectual. A lot of this is related to the fact that I am heavily influenced by music and think about how music is experienced.




It does not have to be understood from a theoretical or intellectual point of view to be appreciated. I have only dabbled in making music, so I don't have a real foundation in understanding it from the stand point of a practitioner but I know when it moves me.

It has to do with looking at art work from an approach that seems closer to a real experience of life.




Text is often present in your work. Where does that come from?

A lot of the text comes from phrases I have collected. They are often song lyrics. Sometimes I come up with them myself, sometimes from books.
Where does it fit in with your other work?
They are often truncated, incomplete sentences. pointed yet open ended at the same time. Taken out of context or contextualized with my other work, they take on other levels of meaning. I also like the words and fonts as formal structures. They became almost captions or suggestive phrases that pushed the direction of the other work.




I am less interested in working with text these days, but I still love words and writing is often the starting point of a lot of projects. I am also becoming more comfortable with titling pieces where while I was doing work with text everything was untitled. Maybe this means something?

Who do you like to collaborate with?
Friends. We have to be friends first to collaborate. I have had great experiences collaborating, but a solid friendship was already in place. It can be a fragile negotiation.




What do you see as a possible next project?
After a period of high production I always enter the phase where I feel like I have barely a clue as to what I will do next. This is a time for a lot of experiments and half baked projects. I used to get really anxious about this time but it is healthy for fields to lay fallow for a time. I am doing some photocopying and monochrome paintings. I am also thinking a lot about different modes production and distribution of artwork. The "studio to gallery" method has its advantages and disadvantages. We'll see in a few months. I always surprise myself.




Check out Reuben's press page on his website for more.