Spectrum

Star Ship Explorers

spectrum — Tue, 18 Oct 2011 22:15:36 +0000

10" x 10" oil on board The past is my playground. I find historical remnants and give them a new life in our contemporary world. I go to estate sales and move through rooms that one family occupied for decades, searching through piles of photographs of people I have never met. Walking the San Francisco city streets I see old theaters and buildings that glow under the residue of ever changing ads and construction. I am interested in how one place possesses many moods and the unseen gritty elements of the familiar imagery of life. Time manipulates a place and in turn makes it richer, painting these places and figures are my way of time travel.

Untitled

spectrum — Fri, 14 Oct 2011 20:39:48 +0000

Oil Pastel

le calme apres la tempete

spectrum — Fri, 14 Oct 2011 20:37:28 +0000

8"h x 13"w x 2 1/2"d mixed media - gesso, plaster, paint, resin on canvas Play. my work is a form of communication. it is like talking to someone without dialogue, until they ask. my work is playful on all sides. i usually use the front, sides, and back of the canvas. there is always something hidden. i see whimsical tilts in sometimes serious topics. Pushing. no rules, no guidelines, no boundaries, free thought. i try to have structure within the non- existing structure. organized chaos. i work with concepts and hyperextend them without laws and rules - no governing of the mind. ideas that are not institutionalized but rather free form with control, driven by intuition. Imperfection. i like the beauty in imperfection. i like to capture that moment with resin - freezing it in this deteriorating state. i am a perfectionist and to create imperfection is the work. making flaws and then accepting when there is imperfection within the imperfection. my art is a reflection of the world, ever changing and imperfect.

Yellow Waves

spectrum — Thu, 13 Oct 2011 23:08:09 +0000

30" x 22" oil on birch panel Making art, whether painting, collaging, or printing allows me to express, find, and represent myself and my worldview. I work primarily as an abstract oil painter--a slow and deliberate process--and as a printmaker making monotypes--a spontaneous and surprising activity. In both cases, I am making “something out of nothing” and in the process I explore my inner world and make it visible. In the studio, I become absorbed in the interaction of colors, the physical feel and look of paint. As I apply the oily colors, make strokes, clarify areas, an internalized landscape surfaces and I work with that, going back and forth between the immediate physicality of the process and the tumbling archive of my personal place-memory. I bring out the world of the subconscious; it is at once a world I am making and one I am revisiting. The challenge is to get thinking out of the way so that the intuitive creative process can move on and make its discoveries.

Untitled

spectrum — Thu, 13 Oct 2011 23:04:21 +0000

16" x 20" Digital Print I am twenty-two years old and have lived in San Francisco my whole life. I can’t say that I like it, but it’s very different and crazy in its own weird way and I wouldn’t change it for anything! I started doing photography at Fostering Art when I was fourteen years old. When I first started it was really hard and I didn’t have any patience at all. I didn’t think that I would enjoy taking pictures of all the things in the world, but I did. Now I’ve been doing photography for eight years and every year I get better and find out something different about myself. My goal in life is to further my knowledge of photography and pursue a side career with it. Fostering Art has made me who I am today.

Untitled

spectrum — Thu, 13 Oct 2011 22:30:18 +0000

16x20 Digital print Jessie Peterson is 20 years old and from Ventura, California. She moved to San Francisco in 2009 for college. She’s a student at San Francisco State University, majoring in Psychology and Criminal Justice. She has always been intrigued by art, especially painting, but when she joined Fostering Art in December 2009, she discovered a new love for photography. She enjoys taking pictures of people in moments where they are busy in their everyday lives – not posed or with knowledge that they are being photographed. She also enjoys adventure and finding new places in the world to photograph. Fostering Art has allowed her to express herself and explore new parts of herself through her photography. In the future, she hopes to continue with photography, graduate from SF State and continue on to law or graduate school.

Venus 6

spectrum — Tue, 11 Oct 2011 21:31:48 +0000

30" x 22.5 " pigment, india ink and gel pen on paper Christina McPhee’s artistic practice is centered in and around landscapes where human and natural assemblages meet and clash. McPhee works across a number of media, including time-based media, site-specific sound, networked media, drawing, painting, photomontage, and performance. A native of Los Angeles, she lives and works in California’s central coast. After arts and literature studies at Scripps College Claremont, she studied painting at Kansas City Art Institute (BFA) and Boston University School for the Arts (MFA). Ongoing projects include “The Pharmakon Library,” a series of graphic folios and “Carrizo Diaries,” an exploration of earthquake terrains as seismic memory and “Flaming Debt,” performance collages about debt. Her films have screened nationally and internationally and are currently being showed at Cinema by the Bay (San Francisco Film Society) and VIBA Buenos Aires. Solo exhibitions include Carrizo-Parkfield Diaries at American Unversity Museum, Washington DC, Cartes Center Espoo (FI) and Bildmuseet (SE). Her most recent film commission is "La Conchita mon amour" for Thresholds Artspace, Horsecross, Perth (SCT) and is a featured artists studio on Turbulence.org. She was a participating editor and artist in Documenta 12 Magazine Project (2007). Museum collections of her prints, paintings and drawings include Sheldon Memorial Art Gallery, University of Nebraska, Taylor Museum/Colorado Springs Fine Arts Center and Kemper Museum of Contemporary Art in Kansas City, Missouri. Her new media and video work has been commissioned for Thresholds, Scotland and Turbulence.org (NY) and is in the collections of the Experimental Television Center (NY); Rhizome Artbase at the New Museum, Whitney Museum Artport, and the Rose Goldsen Collection of New Media Art at Cornell University, New York.

Untitled

spectrum — Tue, 11 Oct 2011 18:33:16 +0000

I find it tragic to live in a culture where scientific imagination is applauded and artistic imagination is suspect, for they derive from the same search. Philosophically and politically, it is my opinion that one of the major tasks of the arts in the 21st Century is to relink culture and nature. Intellectually I reject puritanism, dogmas of any description, hegemonies and systems which suppress independent thought or dictate mass response and mass behavior. Intuitively, I feel too much has been discussed and written about painting in this century. There are those of us who need to paint and those of us who need to see paint and those of us who don't care one way or another. The need to paint is in me, a life-force; a metabolic result of my being. It is an essential vent for the intensity of the awe (beauty) and terror (horror) of being alive. It is also, an ordering process whereby I might gift back to others, if I am true, a shared experience of the ecstasy of seeing. What drives my vision seems to be the need to locate a particular orientation, a 'genetically felt' space in which a simultaneous multiplicity of disparate realities coexist. And if I write that I am in search of an unknown - the deep feminine - I hope I will not be misunderstood. I feel my work may grow closer to silence and become more contemplative as I further mature. Ciel's work is featured in 11 major museums, including the Metropolitan in New York City.

Untitled

spectrum — Tue, 11 Oct 2011 18:02:39 +0000

11" x 13.5" Colored Pencil on Paper Rebekah’s work explores the tension between painting and the decorative nature of abstraction. Her paintings evolve from her photographs and drawings of textiles and patterns, depicting a personal negotiation between the intimate and ambiguous. Rebekah grew up in San Jose , California . She received a BA in painting from Sarah Lawrence College in 2004 and has lived and exhibited her work in New York , Tel Aviv, Chicago , and San Francisco . Rebekah is currently pursuing an MFA at California College of the Arts.

Untitled

spectrum — Mon, 10 Oct 2011 16:53:46 +0000

12" x 14" Watercolor Born in South Africa, my first art education was at the Bill Ainslie school in Johannesburg. While in Medical School in Johannesburg I continue to study drawing in the Fine Arts Department at the University of Witwatersrand. After immigrating to Boston I continued working with Paul Stopforth and Ron Rizzi , both local artists who teach at the Museum School in Boston. My paintings and the creative process in making them, function in parallel to my work as an analyst. I am always looking for the unintended " spontaneous gesture" of mark making which may reveal images not yet seen along the lines of Bollas's notion of a thought not yet known. This form of what I call, graphic free association informs me in a self- analytic manner and becomes part of an ongoing working through and remembering in ways that parallel the lifting of repression which is so often part of the analytic process. Of course, the painting is always created with the intention of being viewed so that this is not an isolated process but one that closely involves the imagined or known viewer. Images appear so long as the spontaneity of the work is maintained and the technical limitation of the materials are respected. The watercolors tend to be filled with images and especially figures reminiscent of SAfrica where I grew up. The prayer paintings captured the visual aspect of the memory of the orthodox Jewish day school I attended. These paintings hung in the Hebrew College in Boston and were part of a symposium on understanding the visual element of Hebrew text. Sounds and calligraphy being essential to my memory of Judiasm which was imprinted on my mind through daily prayer before classes.

Forestville, Utensils – Untitled

spectrum — Fri, 07 Oct 2011 22:26:25 +0000

13" x 19" Archival Ink Jet Print John Sappington is an artist/photographer working primarily in digital photography and digital media. He graduated with a BFA from Kansas City Art Institute and an MFA from the San Francisco Art Institute - both in photography. His art work draws from a range of influences, particularly street photography of the late 60s' and 70s' (Robert Frank, Gary Winogrand), as well as conceptual strategies and post-structuralist theory (Roland Barthes, Hollis Frampton ). Sappington teaches Digital Photography on a recurrent basis at the Santa Rosa Junior College and sporadically at the San Francisco Art Institute. Additionally he works as a technology consultant to arts non-profits, artists and small businesses.

Traveler #7

spectrum — Fri, 07 Oct 2011 22:12:44 +0000

66" x 35" Drawing, ink and collage on paper I make large scale, very physical oil paintings. The images in my work emerge from a process which begins with small-scale artist' books in which I combine painted, invented images with ones that I lift through digital scanning . The images in my work are from old 1920's cartoons, of a universal character, "the company-man". I use these images and very gestural painting as metaphors for psychological states of mind. Attachment, questions of being an "individual" within "the group",assimilation and role-playing interest me. I use a frankenstein-like approach to piece together figures/images and use multiple broken-up canvases to further the fragmentation of those images. This first came up in the heavy collage work of my drawings which I allowed to change the way that I approach my painting. My approach to painting also has been influenced by early films of Charlie Chaplin and Buster Keaton that I arrived at by way of Twyla Tharp and Samuel Beckett. I approach a show as a "staged" experience, and my job as that of choreographer of the work.

Pin Wheel

spectrum — Fri, 07 Oct 2011 22:06:35 +0000

22" x 22" (framed) wire, book covers, trace, glue Emily Payne grew up in Mill Valley, California and Amherst, Massachusetts. She received her B.A. from Oberlin College and her M.F.A. in Printmaking and Book Arts from San Francisco State University in 1999. She currently lives and works in Berkeley, California. Payne uses gouache paint, ink, rag paper, pins, wire and parts of used books to produce two- and three-dimensional work. This sculpture is part of a series of pinwheels made out of wire, tracing paper, book covers and glue. Like a sculptural coloring book, the wire acts as a dimensional drawn line and the paper is used to color in the shapes and spaces in between the lines.

untitled (from the series “Precariousness”)

spectrum — Fri, 07 Oct 2011 17:49:53 +0000

Digital Print 16" x 20" These two images were made in the early 1980’s. One at Candlestick Park and the other in Malibu. The process for me was always like a quiet meditative hunt. Relying on my intuitive response to something that would later become understood. Looking back, I now think I might have been flirting with “evenly hovering”. The purpose: to build a grouping of images that created a language using components that upon subsequent reflection supplied an affective experience that was sought and realized; to use the concrete world as a visual metaphor for my subjective reality.

Tree of Life

spectrum — Thu, 29 Sep 2011 22:35:54 +0000

Oil on Canvas 40” x 30” Raised on a dairy farm in Minnesota, Tousignant started painting at the age of five. The unique spirit and energy of every scene he paints captures the subtleties of color and light. Daniel's work never fails to bring delight and wonder to its viewers. "I love recalling collective memories of peaceful landscapes, creating environments with open, expansive, clear horizons - an old tree, a vista of pastureland, and the distant billowing clouds of my lazy youth." His Botanicals refract light so beautifully that they become a natural medium for the luminous way that he sees and portrays his subjects. The pure, pigmented colors are layered and blended on custom-made black lacquered wood panels. In a review, Barcelona's Metropolitan Magazine described Tousignant's art as follows: "Looking at the work of San Francisco artist Daniel Tousignant is like staring at a freeze frame of the best dream you've ever had, and the effect is a sudden wash of chest-clutching happiness. The beauty evoked by his landscape is so intense that it elevates them into the realm of abstraction, even though on the surface they're utterly representative. There is some living depth, all the more fascinating for its hiddenness, breathing behind every leafy branch. The artist says that trees reflect the beauty and vulnerability of all living things. Maybe this vulnerability is what we see just under the surface of his canvasses, and what elicits such a visceral reaction to his work."

Bearing Witness

spectrum — Thu, 29 Sep 2011 22:26:36 +0000

ink, charcoal and bleach on paper Marcelle was born and raised in Cape Town, South Africa immigrating to the United States when she was 18. Finding her feet in San Francisco, she graduated with a BFA in Painting from the San Francisco Art Institute in 2010. Her most recent works are inspired by generational transmissions of memories, those imagined and those permanently malleable. Marcelle currently lives and works in San Francisco.

Allston Footbridge Reclamation Project

spectrum — Thu, 29 Sep 2011 22:23:43 +0000

Phototransfer, Oil on Canvas 11x17 Jared Leake is an artist originally from Connecticut where he studied the arts in Boston, Massachusetts. His work focuses on current events in the world and personal happenings on a daily basis. Jared’s interactions and discussions with new people inspire his work as he seeks to find meaning in the course of every day life. How these interactions get interpreted on canvas are what drives the artist’s curiosity to create new and innovative works of art. Jared’s mixed media paintings incorporate the use of phototransfer techniques, multiple layers of oil paint and a variety of textures including acetate, tracing paper and tissue paper. His current work focuses on his recent move to San Francisco, California.

Intent

spectrum — Thu, 29 Sep 2011 22:16:12 +0000

Acrylic Poured on Panel 36" x 12" Kristina Quinones’ paintings are an exploration of control and uncertainty. Quinones believes that in her work, just as in life, there exists a relationship between beings. While the initial control is necessary for the relationship to begin taking it’s form, it is the surrendering of control and the acceptance of uncertainty that indicates that a meaningful interaction has taken place. Kristina Quinones received her bachelor’s degree in Printmaking from the University of Connecticut in 2001 then moved to California. In 2005 she received her Masters of Fine Arts in Printmaking from the San Francisco Art Institute. Recently she received the Affiliate Award from the Headlands Center for the Arts, in Sausalito and currently has her studio there. Quinones has exhibited in group shows throughout the United States and is working on a new series called “interactions.”

Annie

spectrum — Fri, 23 Sep 2011 17:34:31 +0000

Watercolor and Acrylic on paper stretched over panel Ivan Bridges is an artist currently living and working in San Francisco, he has recently graduated with a BFA from the San Francisco Art Institute and studied abroad at the Chelsea College of Art in London. I love walking around at night thinking to myself as I look up at all the lights on inside the rooms I pass, maybe south of market or on Polk street, thinking to myself as I see the high ceilings and shadows cast what possibilities all these spaces have. I keep imagining different lives I’d live in each one of these open windows I pass in China town, the clothes hanging out the window, I imagine a room with a subject, a painting, a camera, a typewriter, I see it all.

Untraceable

spectrum — Fri, 23 Sep 2011 16:52:37 +0000

12" x 12" Watercolor on paper Linda Geary's recent solo exhibitions are New Paintings in 2011 at 101 California in San Francisco, Inside Out in 2010 at Rena Bransten Gallery , and 13 Watercolors in 2009 Rose Burlingham in New York City. A catalog accompanied her show Inside Out, with an essay by Leigh Markopoulos, and it was also reviewed in the SF Chronicle by Kenneth Baker and Squarecylinder.com by David M. Roth. She was a resident at Art Omi International artists residency in Omi, New York in 2007, and the recipient of the Elizabeth Foundation Grant and the Pollock-Krasner Award. She is currently Associate Professor and Assistant Chair of Painting at California College of the Arts in San Francisco.

Average Mr. Fox

spectrum — Fri, 23 Sep 2011 16:40:42 +0000

11" x 9" Acrylic on wood Michael McConnell was born in Michigan, where he used to watch squirrels from the front window. He studied art at the Columbus College of Art and Design, focusing in printmaking. After graduating from CCAD he packed up a U-Haul and drove across country to the Bay Area, where he currently lives in San Francisco. In the past 12 years he hasn’t found a good reason to leave. Making art is how Michael makes sense of the world and his forgotten childhood. Observing his own anxieties and awkwardness he creates visual narratives that examine loneliness, responsibility, and choice. In his work the innocence and vulnerability of children and animals is constrained. The stories unfold in the space between memory and nostalgia, and focus on the tension between youth and maturity. Michael is represented by Braunstein/Quay Gallery in San Francisco, and has shown nationally in Nashville, Santa Fe and New York City to name a few. He just returned from a magical residency in Noyers, France.

there was a time

spectrum — Thu, 22 Sep 2011 16:33:17 +0000

13.5" x 19 " acrylic on panel Whether obviously or invisibly, my work contains the time of its making. Each piece is a concentration of many “paintings” (a series of consecutively painted actions). My process combines systems of accrual with a personal, broad-based exploration of color as a means of exploring how our experiences and memories literally pile up. I allow and encourage the build-up of paint to act in a three dimensional manner, at times doing away with the support altogether. Many of my sculptures consist entirely of thin sheets of acrylic paint, poured out into trays from which they are peeled after drying. Stacked, the edges of these delicate yet flexible sheets of paint take on the appearance of the pages of old books curled with water or heat. The material defines the form of the piece. In my two dimensional works, layers of paint function as a way of visually marking the passage of time, suggesting a calendar or journal as they simultaneously assert the medium’s inherent materiality. As each successive color covers all but a band of the previous one, slight irregularities of application become amplified. A painting, in a painting, in a painting. More is concealed than revealed. Incremental layers of paint are applied as part of my daily routine: as I go to or return from work, or in the moments between making dinner and eating it, or before going to bed. I select colors based on personal systems, sometimes referring to the text of a book that I am reading or the lyrics of a song, reflecting shared meals, or bits of conversations overheard. In a way, what I make coincides with my conception of existence-- that we are made up of concretions and layers of experiences: sorrows, joys, pains, loves, fears, hopes. In my work, all of these come together, in a record of highly personal experience that is intended for all to share even as much of it remains hidden from view, sealed within the process of its own making.

Urban Towers #4

spectrum — Thu, 22 Sep 2011 16:06:03 +0000

36"X36" Acrylic with thickener applied with knives on canvas Originally from Toronto, Vagn Petersen has lived in the United States since 1993, shifting from Texas to Vermont and finally settling in San Francisco in 1999. Enchanted by the ever changing urban landscape of the City, Petersen’s passion for painting was renewed by the sentiment and imagery of Bay Area landmarks. Exploring art with an impressionist lens, he thickens and layers acrylic paint with palette knives- sculpting the canvas into a textured shock of color, perspective and movement. Petersen has shown at Perch in San Francisco, Convert in Berkeley and has enjoyed two successful single artist shows (both in San Francisco). In addition, he has been an invited contributor to auctions for several local Bay Area charities including the AIDS Legal Referral Panel (ALRP), SF AIDS Foundation (AIDS Lifecycle). Petersen has long credited his 3rd grade teacher with his first real introduction to art; remembering her role in his life, Vagn volunteers as a painting instructor for local second grade students.

Complicated

spectrum — Thu, 22 Sep 2011 15:55:54 +0000

I rob from the graveyard of pop culture and splice together new creations (screen prints, sculptures, videos and collages) that feed off the history of cherished objects. I excavate, reuse and reanimate pop artifacts in service of a personal narrative. Set inside an increasingly virtual, digital universe cluttered with the remains of material culture, my work explores how possessions can also possess.

Fort Mason

spectrum — Thu, 22 Sep 2011 15:50:32 +0000

Vase with flowers

spectrum — Fri, 16 Sep 2011 16:04:14 +0000

8"x10" oil, spray paint and graphite powder on canvas Through painting, drawing and sculpture, Sarah Thibault combines her interests in the spectacle of commerce, ideas surrounding the aesthetics of power and the hedonism of being a painter. Through a representation of French motifs and styles, she investigates the boundaries of novelty, individuality and commercial appeal within the tradition of painting. Born1980, Minneapolis, MN. Sarah graduated with her MFA from the California College of the Arts in spring of 2011. She has participated in group shows at galleries in Miami, Minneapolis, New York, Paris and San Francisco. In 2011, she has exhibited at As Is Gallery, Unspeakable Projects, Mark Wolfe Contemporary and Root Division’s Introductions 2011 exhibition. She is also showing work at Jack Hanley in New York. This fall she will be attending a month-long residency at the Vermont Studio Center. Sarah currently lives and works in San Francisco, CA.

Boys Can Fly

spectrum — Thu, 15 Sep 2011 17:03:07 +0000

30" x 40" Ink Jet Print Stephanie Jane Halmos was born and raised in Fort Lauderdale, FL. Her New York based art practice incorporates photography, video, performance and installation. Halmos has a BFA from Miami University (2006), and is currently an MFA candidate at the California College of the Arts (2012). Her work has been exhibited internationally, including Homesick at the Carnegie Museum of Art (Oxnard, CA), Hemispheres at the Lana Santorelli Gallery (New York, NY), The Magnificent Seven at the Wattis Institute of Art (San Francisco, CA) Strange Beauty at The Center for Fine Art Photography (Denver, CO) and the publication and exhibition for The Collector’s Guide to New Art Photography at the Chelsea Art Museum (New York, NY), among many others.

Sisters

spectrum — Tue, 13 Sep 2011 23:40:51 +0000

30"x40" Oil on Canvas Nomi was born in Israel on a farm and grew up on a Kibbutz. As a young teen, she learned machine design, and served in the Israeli army as a technical machine design in the Artillery. She studied oil painting at Bezalel Academy of Art & Design in Jerusalem. Window design sculpture. In 1977 Nomi moved with her family to New York City, where she was awarded the Merit scholarship at the famed Art Students League and exhibited her work extensively in Soho galleries. She studies ceramic, casting and molding at Parson School and design. In 1987, Nomi moved to San Diego, California. She worked out of her studio in Mexico. Her work showcased in galleries across San Diego, Los Angeles, and Rosarito, Mexico. During that time she crafted the largest, ‘life-sized’ chess sets for commercial public space installations and gardens. Currently Nomi lives in the San Francisco Richmond district where she transformed a 1913 bungalow to a lofty structure that includes an art studio.

Voyage

spectrum — Tue, 13 Sep 2011 23:33:05 +0000

29” x 33” Monoprint (edition of 3) Physically my work is about the layering of paint. The subject matter swings between a desire to tell stories using the figure and/or other data as a metaphor to give a somewhat ambiguous meaning to the paintings. There is a lexicon of imagery, collage and the on-going process of revealing history, a sort of peeling away of information. I use a combination of elements…words, painted details, the figure, in some sort of relationship to the various symbols that usually are located around the figure and placed in a theatrical backdrop. These elements do not necessarily stand on their “ground”…they often “float’ in precarious positions…like tight-rope walkers. I find these metaphors can often reflect our own sometimes precarious and unsettled lives. I use paint as a way of telling my “stories’. As an artist, I have the ultimate freedom to make choices, to create new anecdotes...a visual raconteur. The flip side to that is how to visually make clear this narrative without loading it with too much information. It is best that viewer be able to find his or her own connections. This can be a bridging of space between what is and what might be. I use collage as a way of “diving into the box of materials” and sorting out what works in the context of the work in a visual and narrative way. The choices go between the sometimes sentimental to a possible darker side of the story. I cull from historical aspects of life’s events. I am the organizer, mixing and choosing what to put down on the surface. Since I am my own “history”, I can choose at will what to paint. One of the central themes in my current work is from a Russian photograph that I saw of a General holding a doll in his arms. That seemed such a dichotomy to the roll of a military type and very confusing. When someone asks me to describe my work, the simplest answer is sort of “magic realism”.

Untitled #4

spectrum — Tue, 13 Sep 2011 18:28:41 +0000

19.5" x 16" Ink on Paper Michael Russell is from Southern California, and a fourth year Fine Art major at UCLA. His current practice revolves around minimalist drawings, and mixed media sculptural work which both investigate ideas surrounding spirituality, and the concept of faith more generally. In all of his work, he sets out to explore how lengthy sessions of concentration, focused on developing patterns through repetition and controlled mark making, leads to a retreat from the physical world into more of a spiritual realm, and suggest a harmony between his past and current belief systems.

Film Stills from “The Shape of the Gaze”

spectrum — Fri, 09 Sep 2011 21:07:44 +0000

8.5"x11" C Print Maïa Cybelle Carpenter is a moving-image artist and curator from NY and France, currently residing in San Francisco. She has a BA from Barnard College, Columbia University (1997) and an MFA from the School of the Art Institute of Chicago (2001). She is currently the President of the Board of Directors of Canyon Cinema (http://canyoncinema.com/) and on the Advisory Board of Lunafest (http://www.lunafest.org/), whose proceeds go towards the Breast Cancer Fund. Her films and videos have been exhibited internationally including, Ars Electronica Linz, Rotterdam International Film Festival, Pacific Film Archives, Ontario Cinematheque, Anthology Film Archives, Exit Art Gallery NY, Directors Guild of America, The British Film Institute, The Berlinale, The Taiwan Cinematheque, and PBS Television. Her films are included in several private collections in North America and her work is distributed by Canyon Cinema (USA), Collectif Jeune Cinéma (France) and Canadian Filmmakers Distribution Centre (Canada). Artist Statement: I position my work against the narrative expectations of moving-image media. Through explorations of the material specificity of film and video, I seek to produce new dialogues with philosophical and current cultural approaches to visual form. Taking identity politics beyond overt polemics, my work engages its audience in multi-layered examinations of identity through spatial experiences. As an artist, the practice of curating allows me to build a body of research around theoretical problems that I consider in my own work and to mobilize a community of other artists who also wrestle with these questions.

Galina & Youri

spectrum — Fri, 09 Sep 2011 17:51:51 +0000

9.5" x 12" Silkscreen on vintage book page Tamar Cohen is a New York-born and-based artist whose collages reside at the intersection of high and low culture. She is inspired equally by the sublime and the banal; by Kurt Schwitters and Fred Flintstone; by polka dots and all shades of the color green. An obsessive collector of paper ephemera, Cohen loves candy packaging from around the world, Indian fireworks labels, vintage children's textbooks, dictionaries and comics from the 1960s. Cohen uses them to create silk-screened abstractions that according to the New York Times "Stand out for their color and beauty". Her work has been shown at the Pavel Zoubok Gallery, the Islip Museum of Art, Kris Graves Projects, and the flat files at Pierogi 2000.

Reverberation

spectrum — Fri, 09 Sep 2011 17:40:22 +0000

40.5'' x 28.5'' Pigment print with hand coloring on Innova 310gsm DARREN WATERSTON was born in California in 1965 and received his BFA at the Otis Art Institute in Los Angeles. He continued his training in Germany studying painting at the Academie der Kunst in Berlin and the Fachhochschule fur Kunst in Munster. He has previously been the recipient of the Richard C. Diebenkorn Teaching Fellowship at the San Francisco Art Institute, and the Civitella Ranieri Foundation Fellowship in Umbertide, Italy, where he was an artist in residence in 2005. Waterston lives and works in New York City. Waterston's paintings, watercolors and murals have been exhibited internationally and are included in many permanent collections, such as the Los Angeles County Museum of Art, the Museum of Contemporary Art in San Diego, CA, the Oakland Museum of California, the Fine Arts Museums of San Francisco, the Crocker Art Museum in Sacramento, CA, the Seattle Art Museum, WA, and the Portland Art Museum, OR.

Hunger

spectrum — Fri, 09 Sep 2011 17:30:30 +0000

18.5" x 17.5" Archival ink jet print, collage, acrylic, and vinyl on paper Bean Gilsdorf’s work explores American identity through images culled from mass-market history books. By appropriating readily available pictures and translating them into sculpture, collage, or video, she explores the boundary between the archived public narrative and one that is wholly imagined. Her work has been exhibited across the United States and in England, Italy, China, and South Africa. Gilsdorf holds a B.A. in literature from Simon’s Rock College, an M.A. in Linguistics from the University of Colorado, and an M.F.A. from the California College of the Arts, where she was awarded a Full Merit Scholarship. She is currently a 2011-2012 Graduate Fellow at the Headlands Center for the Arts in Sausalito.

Three of a Different Kind

spectrum — Fri, 09 Sep 2011 17:00:21 +0000

22.5 x 10.75 Spray Paint & Found Wood For the past ten years, Jeremy Novy has utilized stenciled street art to explore social and political issues. Novy has an associate’s degree in graphic design and a BFA in photography from Pecks School of the Arts, Milwaukee, Wisconsin. Novy has two intentions for his stencils: first, he creates public works that make his city a better place to live by bringing a bit of the arts to everyone, regardless of income or background. Seeing problems such as abandoned telephone booths and boarded up buildings, he creates artful solutions by overlaying stenciled posters onto the disused objects giving them new life. His second intention is to bring gay imagery into the homophobic subculture of street artists by covering hateful and distasteful graffiti in our communities. Novy wants the gay street artist community to flourish and not be bullied or afraid to express themselves with their artwork. Novy states that "street art itself is a dominantly male heterosexual community; being out of the closet is not accepted. Gay street artists have been assaulted, their art supplies stolen or damaged, and their works covered up." He would like to see everyone's artwork—not just the heterosexual males who dominates the street art subculture—have an opportunity to be seen and appreciated. His unique stencils of legendary drag queens, gay pulp and local talent and Coi fish have been spotted all over town and were responsible for netting him a showcase at Yerba Buena Center for the Arts. He was also flown to Milwaukee to stencil the Pabst Blue Ribbon Beer mansion. Jeremy’s stencils have benefited non-profit foundations, advocacy organizations, and community service programs, and have been featured in books, magazines, newspapers, museums, private collections and in film.

Dancing Ladders, Vietnam

spectrum — Fri, 09 Sep 2011 16:48:04 +0000

16" X 20" Toned Gelatin Silver Print REID SAMUEL YALOM is a Northern California photographer, whose work has been widely published and exhibited. He began taking pictures as a teenager. He studied photography at both Bowdoin College and then at Stanford University under the direction of Leo Holub, where he graduated with a degree in Philosophy in 1978. He continued his education with a degree in Inter-national Relations at the Monterey Institute in 1983. In 1989, Reid Studied large format photography at University of California with noted photographer Mark Citret. Reid became Mark Citret’s photo assistant for the next 5 years and with his tutelage honed his fine art, black and white printing skills. The trajectory of my career demonstrates my commitment to the use of photography as an expressive artistic medium. During the past 20 years, as I continuously created artistic images, I have tried my hand at many fields within the photographic world, including architectural, product, corporate, editorial, portraiture, and even weddings. I have enjoyed them all and assimilated something from each of them. Additionally, in the past 10 years, I have been able to incorporate both the philosophical and cultural issues of my academic within my work.

untitled

spectrum — Fri, 09 Sep 2011 16:32:05 +0000

11x15 ink on paper Donald Mitchell’s early work consisted primarily of obsessively crosshatched fields of lines that covered the page and hid any trace of an underlying image. Several years ago, Donald Mitchell started to reveal the faces and forms that he had buried on the page. Mitchell’s prolific work is now filled with figures in motion and repose, and his trademark has become a tightly composed, graphically sophisticated page of crowded figures. Donald Mitchell is the subject of an artist’s monograph, edited by Cheryl Rivers and published by Creative Growth in October 2004, with contributions by Tom diMaria, Lucienne Piery, Frank Maresca and Lyle Rexer, and Colin Rhodes. Donald exhibited his work in 2007 at Gavin Brown’s enterprise, New York, and ABCD, Paris.

Hold On

spectrum — Fri, 09 Sep 2011 16:21:56 +0000

14 x 28 x 2 inches (diptych) Resin mixed media Bartleson’s canvases are said to be “records of the meditative act of painting, meditations for the viewer to contemplate and engage.” For the Artist, creating art is a means to express emotion – to gather the chaos in the world and channel it into a tranquil work that challenges (commands) the viewer to be patient and attentive. The work is intended to influence the viewer’s frame of mind – the soothing aspect of the work then becomes contagious. She uses a reductive vocabulary of form and color to create work that infused with light. The nuanced surfaces of her paintings are at once intense and calming, moving and still. The paintings offer the viewer a space to shed the soot of their surrounding and experience a realm of purity.

Tamed Wild Man

spectrum — Fri, 09 Sep 2011 16:05:55 +0000

16 1/8" x 9" lithographic monoprint with hand coloring Timothy Cummings was raised in Albuquerque, NM and moved to the San Francisco Bay Area in 1993. A self-taught painter, Cummings renders exquisitely crafted narrative and portrait paintings on panel that defy his lack of formal training. The subjects in his work are often children and adolescents trapped in adult worlds and struggling with issues of sexuality and sexual orientation. Cummings’ work has been included in exhibitions throughout the United States, including the Laguna Art Museum, Laguna Beach, CA; Hunterdon Museum of Art, Clinton, NJ; San Francisco State University, CA; The Art Museum, Florida International University, Miami, FL; Yerba Buena Center for the Arts, San Francisco, CA; LACE Gallery, Los Angeles, CA; and Southern Exposure, San Francisco, CA. His work is represented in the public collections of the Fine Arts Museums of San Francisco, CA; the di Rosa Collection, Napa, CA; and 21c Museum, Louisville, KT. Exhibitions of it have been reviewed in Artweek, Art Papers, Flash Art, and Details. In New York his career is represented by Nancy Hoffman Gallery, and in San Francisco since 1994, by Catharine Clark Gallery.

Lyceum

spectrum — Fri, 09 Sep 2011 15:48:34 +0000

24" x 18" Acrylic on canvas Betty Brown, Ph.D. and Art Critic writes: "Julie Montgomery creates elegant images of trees and sky and sea that seem to shimmer beneath her meditative gaze. Then she inscribes gentle, elusive texts over them, whispered phrases of human presence responding to the landscape. Beneath the erased, obscured, and evocative texts, Montgomery’s ethereal forms emerge as diffused veils of jewel-like color. Adumbral jade green, lusty garnet red, or regal jasper brown, they recall the treasures hidden deep within the planet’s core and seem to imply that what we see here above the horizon is merely an emanation of the earth’s interior light." Julie B. Montgomery lives and works as a fine artist in Carpinteria, California. Her pieces can be found in private collections worldwide, national television, films, magazines and corporate collections. In the past year she has received first place from juror, Charles Hespe, and has been featured in Santa Barbara Magazine, Santa Barbara News Press, Venata Magazine, and Re-Nest. Her abstract, earth toned paintings have a peaceful, contemplative quality, while suggesting landscapes, water and figures.

New Angle K

spectrum — Thu, 08 Sep 2011 03:31:09 +0000

29 "x 36" acrylic and oil on aluminum panel My paintings are an exploration of emotion and logic. I explore texture and color as they are delimited by the blocks and bands that form each painting. I produce a logical, linear structure while I simultaneously seek to strike an emotional chord with texture, light and color. I’m intrigued with the tension developed between the concrete and the intangible - what you can touch and what you can imagine. The aluminum panels I work with impose an interesting challenge. They add possibilities of light and shimmer. I experience an ongoing dialogue between the sensuousness of painting, the cool industrial feel of the metal and intellectual decisions that present themselves. I see color as an agent of transformation. The interaction of space, movement, and color within the geometric form is key for me. My desire as a painter is to hold the tension and balance between structure, reason, and intuition – the architect in me and the dancer in me – and to give form to what I cannot name. With paint and substance, I’m trying to build a place where unexpected associations and resonance can occur. The essence of life, its richness, beauty and chaos informs my painting, inspiring me to express the vitality of nature and the rich chaos of the urban.

2012

spectrum — Thu, 08 Sep 2011 03:26:55 +0000

14.5"x18.25" gouache on paper My recent work has been a playful, introspective journey inspired by my spiritual practice. I have been exploring power of symbols (particularly mayan-influenced) and weaving a mystical landscape into colorful works on paper.

Brooklyn Bridge Fog

spectrum — Thu, 08 Sep 2011 03:19:19 +0000

20X24 Photo/Photo Rag Baryta Henri Silberman was born in Paris, grew up in Brooklyn and has been photographing cities and nature since he was in high school. "I bought my first camera when I was 16. It was a Mamiya Sekor 1000 TL 35 mm. I paid $225 for it and didn't have the change to get home on the subway. I haven’t stopped shooting since. Now, I work in medium and large format." Cities with all their contradictions have been a stimulus for Silberman’s visual representation of the urban landscape. "Wherever I am, it's the crowd, a gesture, the pace, the culture and the architecture. What keeps me going as a photographer? I work every day; shooting, editing and re-shooting; learning as I go; ideally creating photos that surprise me, that have an emotional resonance." Silberman's photographs have been exhibited and published internationally. His work is represented in corporate collections and has been used in movies and television productions. His book Stone Bench in an Empty Park was published by Orchard Books in 2000.

Harvey Milk, circa 1977

spectrum — Thu, 08 Sep 2011 03:10:04 +0000

Photograph My career as a San Francisco based freelance photographer began in 1975 as an intern to Crawford Barton, who was then the staff photographer for Advocate Magazine. I also worked in Harvey Milk's camera store in the heart of the burgeoning lesbian gay bisexual transgender mecca in the Castro district and I was also involved in Milk's victorious election to public office as one of the first openly gay elected officials in the world. Crawford and Harvey and many others along the way instilled in me a great love of photography as a tool for recording history in the making. My photographic work maps my enduring romance with San Francisco and its's people, especially the lesbian, gay, bisexual, and transgender communities. After I opened my studio in 1990, I began a series of portraits of acquaintances and celebrities from the LGBT community. The studio became a vibrant crossroads for the community during the ten years my doors were open. During those years my emphasis on portraiture took root. I became intrigued by what occurs when the sitter's environment is minimized in a studio context where collaborators simply rely upon what the sitter is wearing and the nuances of expression and body language to distill a mutual sense of purpose. It is a privilege and a joy to be the conduit for those moments when a sitter's soul reveals itself for all to see in a photograph.

Weave

spectrum — Thu, 08 Sep 2011 03:07:22 +0000

14" x 12" oil, acrylic on wood I consider myself an abstract painter but there is a definite reference to microbiology in my work. It reflects my interest in science. Initially, I used the question of genetic influences on human behavior as a theme and I explored this with imagery based on cell structure and chromosomes. As my ideas have evolved, a personal iconic motif has developed. The forms have changed from a series of blobs and dots to resemble severed human heads and skulls that float, mask-like in the landscape. While I see them as ambiguous and open-ended, it is obvious that a response to the atrocities of war has seeped into my work. Painting, for me, is about asking basic life questions such as identity and purpose. Although sometime the problems of the world are so overwhelming that I feel powerless to do anything but go to my studio and paint.

Acrystal 5

spectrum — Thu, 08 Sep 2011 03:00:08 +0000

9 1/4" x 8 1/2" acrylic and transfer on acrylite Maria Park's work, which ranges from serially-based paintings to site-specific installations that combine studio-produced and manufactured objects, explores the cultural and political implications of natural and artificial presence within the ordinations of a technologically driven society. She has exhibited both nationally and internationally at venues such as the Kemper Museum of Contemporary Art and the Seoul National University Museum of Art, and is the recipient of awards including the MFA Grant Award from the Joan Mitchell Foundation and the Korea Arts Foundation of America Award. Currently, she resides in Ithaca, NY where she is an assistant professor in the College of Architecture, Art, and Planning at Cornell University. She is represented by Margaret Thatcher Projects in New York and Toomey Tourell Fine Art in San Francisco.

Out on a Limb

spectrum — Wed, 07 Sep 2011 21:46:37 +0000

29" x 23" Limited Edition Print I was born and grew up in a London neighborhood lit only by gaslight and still damaged by the WWII bombings. Looking back, growing up without electricity played a significant role in my development as an artist. With no radio or television, we sat around the fire listening to stories of war-time experiences told by my mother and I imagined the characters as they went about their daily lives. In beginning the painting, I choose each subject carefully, weaving the past into various dimensions of the present. I let the characters fade into the scene as I build up the images with several washes, erasing and adding as I come to terms with specific ideas, memories or stories. In some pieces, I celebrate unity and protection, in others courage and style. I take my images from historical and family photographs, isolating a fragment of the whole, then adding new objects to complete the narrative. In essence, my paintings are about timeless hope, courage, and friendship. My aim is to make the viewer wonder what is going on, look beyond the paint and add his or her own emotional or intellectual texture.

Thom in Bed, 2011

spectrum — Wed, 07 Sep 2011 21:41:31 +0000

16x24 Digital C-Print Jason Hanasik has an MFA from California College of the Arts in San Francisco, CA and a BFA Summa Cum Laude from the State University of New York at Purchase. He advises students in the graduate program in Fine Arts at California College of the Arts, is an instructor at the ASUC Art Studio at the University of California at Berkeley and has served as a representative for SUNY-Purchase College at the West Coast National Portfolio Day. Hanasik's work has been exhibited widely and published in various journals and publications. As a lecturer, Hanasik has delivered talks on his work and/or other artist's artistic practice at SFMoMA, various colleges and universities nationwide, and during the Society for Photographic Education’s West Conference in 2008. In 2011, the Magenta Foundation selected him as one of the US winners for their Flash Forward Emerging Artist Exchange. The photograph in the auction is apart of an ongoing project called "His past was always waiting for him in the future."

Door in Threes

spectrum — Wed, 07 Sep 2011 21:36:54 +0000

33" x 46" pen, ink and acrylic paint on paper Elesby's work was recently featured in Art Practical. Her work is included in the collections of The Whitney Museum of American Art, The Tucson Museum of Art, and Creative Artists Association in Beverly Hill, CA. Elesby lives and works in Oakland, CA. She has shown in national and inernational venues including the Whitney Museum of American Art; the Smart Museum in Chicago; and at Steirischer Herbst in Graz, Austria. She has had solo exhibitions at Weatherspoon Museum of Art at the University of North Carolina, Greensboro; INOVA at the University of Wisconsin, Milwaukee; Suzanne Vielmetter Los Angeles Projects; and Caren Golden Gallery in New York.

Last Words (Paul McCartney’s Last Words to Linda McCartney)

spectrum — Tue, 30 Aug 2011 22:11:46 +0000

22" X 30" screenprint on paper The internet is playing a giant game of Telephone; information is copied, distorted, and reproduced. The data that you located on Monday, seems to have vanished by Tuesday. So much material is floating around the digital world with no physical form – they are ghosts. I scour the internet for hours; looking for that one perfect tid-bit that haunts me. I collect information concerning Whirling Dervishes, the Rosetta Stone, famous last words, Ouija boards.... Through the digital world I am collecting evidence of those things nearly invisible and through sculpture, printmaking, photography I stabilize them with a physicality. Much of my work is processed through language, as language is the primary construction we use that has one foot in the tangible world and one in the ineffable. Each work transforms and translates pre-existing facts. By reconfiguring information present in our daily lives I hope to highlight simple, hidden magic.

All American Faggots (Menis)

spectrum — Tue, 30 Aug 2011 21:28:13 +0000

Metalic C-print Using the elemental materials of clay, water, metals, wood, and fire, Daniel Dallabrida invokes ancient rituals, ruins and myth. His sculpture, installations and photography exist simultaneously on a continuum of process, performance and artifact. A neo-medievalist, Dallabrida employs the classical past to illustrate the tenacious permanence of the human condition. With the resurrection of memory, personal and cultural, his art builds a thin bridge over annihilation—his own and ours. Born in 1956 ,Dallabrida lives and works in San Francisco and Florence, Italy. This spring, he received an MFA in Visual Arts at California College of the Arts. In 2008, he received a Post-Bacc Certificate in Sculpture from Studio Art Centers International in Florence. Dallabrida has exhibited in California and throughout Italy, including Wattis Institute for Contemporary Arts in San Francisco, Casellio Ovest di Porta Venezia in Milan and Palazzo delle Esposizioni in Rome.

Displaced I and II

spectrum — Tue, 30 Aug 2011 21:17:35 +0000

24 x 36 Digital Photographs War, a subject that consumes history, has been a focus of my practice for almost three years. The United States is now entering its 10th year of conflict in Afghanistan, making this war the longest war in American history. Yet, despite its sheer length, this war continues to have abstract qualities in terms of both awareness and ignorance in the public eye. The majority of the public has some knowledge of our current war but rarely considers what really is happening on the other side of the world. Day after day, both soldiers and civilians, including men and women, have perished with only the slightest recognition from the American public. My work is a result of my own reflections of war. I started to reconsider my thoughts of this issue after viewing photographs taken by a friend who served as a medic in both Iraq and Afghanistan. My goal is to create a moment during which my work generates questions and prompts self-reflection regarding issues of war. As an abstract condition in contemporary life, war lends itself to be viewed in multiple ways, because everyone looks at this issue differently. I believe that wars, past and present, have a strange rippling effect that continues to be felt for decades, and sometime centuries, to follow. Born in the Philippines, Miss Camacho immigrated in Los Angeles when she was 12 years old. She received her Bachelor’s of Fine Arts in 2005 from California State University at Long Beach and her Masters of Fine Arts in 2011 from California College of the Arts.

Seasons 1

spectrum — Tue, 30 Aug 2011 21:10:41 +0000

1 meter x 1 meter oil on canvas I love intellectual constructs: ideas, mathematical formulas, scientific concepts and new ways of thinking. These are my sources of inspiration. I first begin by exploring and developing a conceptual idea and then I decide on how to best translate and incorporate elements of the idea into a new painting or series of paintings. This serves as the framework and driving force behind the new work. Even if not readily apparent at first glance, the underlying concept is always present to add another layer of depth to the finished piece. Ed Calhoun was born in California but grew up mostly in Arkansas. He received his Bachelor of Arts degree in Economics from Hendrix College in Conway, Arkansas. Initially making his career in the construction industry, Calhoun turned to art full time in 2000 upon moving to Paris and studying under Nina Kovacheva for 3 years. He has been residing full time in San Francisco for the last 7 years and has exhibited both in Europe and the United States.

Comfort Zone

spectrum — Tue, 30 Aug 2011 20:51:31 +0000

30" x 22" gouache, charcoal and metallic pigment on paper Observing people is a practice that has fascinated me since childhood. As an immigrant child displaced from Iraq and freshly immersed into a new culture, I was naturally curious about the people around me and often trying to find ways to relate. Sharing interests and conversations, mimicry, playing games were all my early methods of interaction. And we were always moving. Every few years my family and I would relocate and acclimate ourselves to our new surroundings. This was not the easiest task considering we were an Arab-Muslim family trying to fit into a predominantly Southern-Christian environment. Nevertheless, I made friends, and that’s who I paint. I paint my friends exactly with the same curiosity I had as a child trying to fit in. Through shared conversations, mimicry and the naturally evolved intellectual play. I see and relate to myself when making other peoples’ portraits, while simultaneously providing a way for the sitters to relate to themselves and to me. These paintings are an exploration of genuine interactions happening in real life over extended periods of actual time. As I develop the image, the subject is invited to watch and respond to my progress hence a feedback loop occurs between us. Their image unfolds before them. This creates a vulnerable and enchanting state for the sitter and often is a difficult place to be. My art practice is shaped by a full collaboration between the sitter and myself to create a tangible, intimate and visceral experience. Zina Al-Shukri is an artist who was born in Baghdad, Iraq. She received her B.F.A. in painting and drawing from the University of Arkansas at Little Rock in 2006 and an M.F.A. in painting and drawing from the California College of the Arts in 2009. Al-Shukri currently lives and works in San Francisco.

Untitled

spectrum — Tue, 30 Aug 2011 20:46:52 +0000

11 x 15 prismacolor on paper Luis Aguilera’s vibrant drawings of figures and animals are multi-layered, personal narratives that include icons of popular culture, buses and trains, fantasy creatures, musical instruments, and portraits of his friends from the Creative Growth studio. His saturated color palette and dramatic representations of figures and objects demonstrate a consistent vision complemented by his fusion of line, form, and color that energize and, often, abstract his imagery. Aguilera’s work has been featured in exhibitions both nationally and internationally, including most recently at Rena Bransten Gallery in San Francisco.

Release, Capture, Release

spectrum — Fri, 19 Aug 2011 23:46:41 +0000

11" x 9" Acrylic on Canvas Melissa Dickenson lives and works in San Francisco. Past exhibitions include 'Exploration' at Youkobo Art Space, Tokyo Japan, ‘Uncertainty’ at Athens Institute for Contemporary Art in Athens, Georgia and ‘Hybrids of Tutela’, a solo exhibition in at the Mclean Project for the Arts in Virginia. Dickenson’s work is part of the permanent collection of the Embassy of Sudan, Khartoum, Sudan. This Spring Melissa’s paintings were part of Hammarby!, an exhibit at the Wattis Institute for Contemporary Arts in San Francisco, CA. Most recently Dickenson’s paintings and installations were featured in the exhibition Tarnow: 100 Years of Modernity, at the Moscicki Museum Cultural Center Tarnow, Poland, August 2011. “I see my current painting practice as resembling the fluidity and constantly evolving forces of life. The work seeks to evoke life's processes of germination, growth and mutation as well as the destructive forces of contamination and decay. I am interested in the edge of instability and uncertainty balanced between the forces of control and chaos.”

Untitled, from the Anthotype Dress Project

spectrum — Fri, 19 Aug 2011 23:38:14 +0000

16 x 20 inches pigmented inkjet print Christine Elfman is an artist based in San Francisco whose work combines photography, painting, and textiles to explore ideas of transience. The Anthotype Dress project shows the process of making a dress within a series of photographs. The inner lining of the dress is a fugitive photograph, made by Anthotypy, defined in the Focal Encyclopedia of Photography as “A process suggested by Sir John Herschel in 1842 that used the colored extracts and tinctures of flowers and vegetables to sensitize paper. Objects such as leaves, lace, and other thin materials were placed in contact with the sensitized paper and exposed to sunlight. Anthotypes were not fixed or stabilized, making them impossible to display except in night albums, for evening viewing.” The Anthotype is impractical, yet describes the desire to hold on to things that fade, and is an example of something that is made out of its own disappearance. From the Philadelphia area, Elfman received her BFA in Painting from Cornell University, and then lived in Rochester, NY while using 19th century photographic processes. Elfman has been awarded The San Francisco Foundation Murphy and Cadogan Fellowship, the Center for Emerging Visual Artists Career Development Fellowship, Graduate Merit Scholarship at CCA, artist residency at the Constance Saltonstall Foundation for the Arts in Ithaca, NY; 1st place prize for the Made in New York Exhibition at the Schweinfurth Memorial Art Center; and the Faculty Medal of Art from the Cornell Art Department. Her work has been exhibited nationally. She is currently a graduate student in fine arts at California College of the Arts.

A Personal Paradise

spectrum — Mon, 08 Aug 2011 22:45:34 +0000

43" x 24" oil and ink paper transfers on poplar wood Peter Max Lawrence is a maker of things. Born in Topeka; adopted soon there after and raised in Kansas City, Kansas. Over the course of his life, he has created a large and diverse body of work, exploring a wide variety of approaches, media and techniques. Lawrence’s visual art, performances and videos have been presented internationally in venues ranging from major museums to basement bathrooms. Among his recent works of note are the critically acclaimed QUEER in KANSAS, Warholics and the experimental short de Young which was created while working as an artist-in-residence at the museum and later was featured on KQED's Truly California. He has also directed music videos for Carletta Sue Kay, Krystle Warren and troops. Currently he is the curator for The One and Art Thieves as well as developing various collaborations with other musicians, artists and writers. He lives and works in San Francisco, California

Goldfish

spectrum — Mon, 08 Aug 2011 22:36:50 +0000

Botany, Homo Sapiens, Canis (vessel structures) for symbiosis state

spectrum — Mon, 08 Aug 2011 22:29:21 +0000

11" x 26" inkjet,vellum paint, black bevelled plate, paper STATEMENT I work with ideas within artistic research. Through formal mediums of painting and drawing, my work is project based and involves interdisciplinary investigations within artistic production. What is symbiosis? I connect this question to my current project on symbiosis state. I started it in 2009. It is a project exploring and investigating how I embody the idea of symbiosis through an intensive drawing relationship interconnecting evolutionary biology, consciousness, philosophy of mind, and the imagination. By combining experiential and rational knowledge systems together within drawings, I appropriate from visual taxonomies to create conversations between local knowledge systems of the human body and scientific classification structures. BIO Stucke was born in Chicago Heights, Illinois and has been living in the Bay Area since 2004. She received her BFA in 2002 from Barat College (Lake Forest, IL), and her MFA in 2011 from the California College of the Arts (San Francisco, CA). She has had additional studies at Goldsmith’s College in London, UK and The School of the Art Institute of Chicago in Chicago, IL. Stucke has had solo shows in Chicago and San Francisco and has had group exhibitions in Chicago, New York, San Francisco, Seattle, Berkeley and Albuquerque. She received a CCA Scholarship Award in 2009, has been nominated in 2008 for the San Francisco Museum of Modern Art SECA Art Award and has also been nominated twice for the Visions from the New California Award through the Alliance of Artists Communities. Stucke lives & works in Berkeley, CA.

16E

spectrum — Mon, 08 Aug 2011 21:56:51 +0000

29" x 29" watercolor, walnut ink, china maker, collage on paper Brad Brown is an artist working primarily on drawings and works on paper. His drawing projects tend to be large, open-ended series that can remain unfinished for years. This drawing is from the SERIALS project, which was exhibited at Hosfelt Gallery in San Francisco last year. Brown has exhibited his work nationally and internationally. He has had recent solo exhibitions at Hosfelt Gallery, San Francisco (2010), Larissa Goldston Gallery, NY (2007), Lemberg Gallery, Detroit (2007), The Museum of Contemporary Art in Denver (2006), and the Jundt Museum of Art in Washington (2006). His work is in the permanent collection of MoMA (NY), SFMoMA (SF, CA), Palace of Legion of Honor,(SF, CA), the National Gallery (Washington, DC), Arkansas Museum of Art (Littlerock, AK), Boise Art Museum (Boise, ID), and the Whitney Museum of American Art (NY), among others. He currently lives and works in San Francisco, CA.

liminal, ex05

spectrum — Thu, 30 Jun 2011 17:23:16 +0000

36" x 48" acrylic paint and resin on birch panel Andrzej draws his ideas from philosophy of Buddhism and works with an intention of equanimity where it is neither a thought nor an emotion. He creates works of art where the painting expresses immeasurable mood suggested through use of color and composition. In his development, Andrzej’s painting technique is alike processes of weathering, where wood panel, paint and water meet and dissolve into each other imitating nature and it’s material. He lets thin layers of paint and water wash over each other and meet in its liquid form thereby creating their own magical chemistry. Andrzej’s work does not exhibit separateness of colors but the merging and integration of each. The overlaying hues and tones form a mystic marriage where new qualities are created with their own unique essence. Andrzej’s current painting works explore aspects of color, texture and forms of natural world. Andrzej sees painting as a visual language between form and composition, color and emotion. His artwork, uncomplicated and soothing, creates feeling of a larger elegant space, an outdoor surrounding. “Andrzej’s earthy birch panels challenge the calculated detachment of minimalism. They recapture fundamental quality of pictorial fields and intrinsically overcome limitations of flatness and implied depth”, (Flavorpill, February 2008).

underneath

spectrum — Thu, 30 Jun 2011 17:17:45 +0000

25" x 20" x 2" mixed media/wood cut, archival fram, non glare glas Aximillion Helga Duson lives and works as a full time artist in Antwerp, Belgium. She studied Free Arts at Sint Lucas in Antwerp, Belgium and specialized in silk screen printing, woodcuts, etching, lithography, and photography. Her work is like a book with fragments of her life, constantly filled with new images. She tries to connect the intimacy of daily life with thoughts about culture, identity, sexuality. Like taking a look into an inner world of images, multiplying but without an end… Every moment in life is a cliche but at the same time it is a unique moment.

The Blue Miracle, ED. 1/10

spectrum — Thu, 30 Jun 2011 17:15:52 +0000

25" x 25" chromagenic print I was born in 1974, but it was my parents generation which has always brought on a special nostalgia. Images from the 1930's up until the late 1970's, have left a deep imprint upon my creative sensibility. Photographs from this era were always proof of America’s greatness, in a time of great world historical importance. There was something about the way things looked back then which had the weight and importance of an era that said both innocence and distinction. When I go out shooting, I look for settings which include remnants from this time period that remind me of this unique era. My intention behind shooting vintage cars, suburban homes and uncomplicated and open portraits, stems from my wish to preserve the hope imbedded in these things, and make them the focus of the present once again, so that their meaning is brought back to life.

last night I dreamt of my dead father

spectrum — Thu, 30 Jun 2011 17:13:29 +0000

36" x 48" oils and varnish Tali Barr is a psychologist in private practice in Berkeley having recently returned from spending a year’s sabbatical in Paris studying art. Before becoming a psychotherapist, she received advanced degrees in painting, photography and philosophy in Israel (Bezalel Academy of Art and Hebrew University). She has also studied at the San Francisco Art Institute and has published articles in both psychology and art journals. She has had her art exhibited in galleries in both Jerusalem and Tel Aviv. In addition her work was included in the well known collection: “Hot City – Tel Aviv in Photographs 1908-1988″ by Ronit Shany. With respect to art and the creative process she believes that art, just like psychoanalysis, helps shed layers of artifice on the way to the true self. Over the last year she has been contemplating time, age, and how past events shape the present. The painting “Last night I dreamt of my dead father” is a reflection of these meditations.

Bridge – Orange Blue Green Rust, 2006

spectrum — Wed, 29 Jun 2011 21:50:18 +0000

29 1/8" x 18 3/4" graphite transfer on screen Print Kate Shepherd (born 1961 in New York City) is an American painter. Kate Shepherd is an American minimalist painter known for her original use of intense color, scale and a delicate yet descriptive painted line, Shepherd's work has references to architecture, gesture and portraiture. In her painting, she often superimposes a matrix of delicate lines on vibrant fields of color to depict the planar structure of interior or exterior spaces. The paintings are pared-down and bold in composition, but betray an emotional, humanist sensibility. Shepherd's pieces are built on spatial complexity with simple and clean surfaces. The surfaces of the works are flat with an implied depth. The occupied spaces are recognizable and familiar. Shepherd's uses of perspective bring a three-dimensional vision to a two-dimensional plane. Shepherd's paintings typically consist of a combination of different panels to comprise a whole. Each panel is coated in seamless, high-gloss paint. The color relationships of the panels are tuned to create a unified light. Delicate lines are then painted on the grouping of panels, creating a space - interior or exterior. Repeated, linear patterns in perspective move over the painted surfaces to often connote water, steps, wallpaper, etc.