Archive for the 'Art In Situ' Category

Terrific 1st Day of Open Studio!

June 11, 2009
View of the gallery before, and after, 85 people traipsed through.

View of the gallery before, and after, 85 people traipsed through.

Linda, Lisa, Wayne, and Corey's back

Linda, Lisa, Wayne, and Corey's back

A fun day! Lots of interested visitors, fun helpers, vodka shots. I even sold 5 pieces! Sharing my space with Jason Shirriff added to the rich experience.

More than 50 photos have been posted to my Flickr and Facebook pages.

NEXT EVENT: Saturday, June 13th!

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Friday the 13th! I Should Have Known!

March 16, 2009
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My work in the Jury Assembly Room and Hiro, Toshi, and Hayashi.

Toshi was back in the U.S. with two of his colleagues from Sapporo, Hiro and Hayashi. They’re studying the relationships between art and community, and I was their Oakland tour guide. It was Friday the 13th.

First stop: Manual E. Wiley Superior Courthouse, 3rd floor, where I have about 30 framed pieces on loan, courtesy of Judge McKibben. This is an example of art in a public space that could have been rented through a rental gallery.  

Some of my work in the 3rd floor hallway. Toshi (left) and Hayashi (center) with my Oil & Water monotypes.

Some of my work in the 3rd floor hallway. Toshi (left) and Hayashi (center) with my Oil & Water monotypes.

Next we headed off to Pro Arts, an exemplar of an artist supported non-profit arts organization. They were quite taken with April Banks’ installation on the politics of chocolate production.

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Hayaski, Toshi, Hiro and April Banks' chocolate production installation.

 

Next we headed off to 1300 Clay Street, at Andrea Voight’s suggestion. Too bad I locked the keys in the rental car! I called a cab because they only had one more hour before galleries closed. We headed off to Johansson Projects at 23rd and Telegraph. I spent the next 40 minutes on the phone with Dollar Rent-a-Car’s mobile assist while they chatted with owner Kimberly, who spent a good deal of time with them (and remembered me by name from way back when I bought a piece by Rock Paper Scissors across the street. I’d arranged for the cabbie to stay with us, just in case we had time to visit a few more galleries, which we didn’t. He got us back to the rental car in time to meet Knock-a-Lock, who used an air jack to get into the car!

45 minutes on the phone, 5 minutes at the car to extract the keys!

45 minutes on the phone, 5 minutes at the car to extract the keys!

Behind of Scenes of Art

January 11, 2009

 

This is not a bribe! Writing a check to have my work reviewed

Left: Vicky Chen holding my piece, "Fog". Right: This is not a bribe! Writing a check to have my work reviewed

1. Drive to Pro Arts, at their request, to retrieve 2 of my shaped pieces from the Emeryville series that they want to “de-accession”.
2. Write Pro Arts a check so their juror will review two more images of my work. The artist always pays…

My piece I take home to reframe

L: Andrea re-accessions my 2 returned pieces. R: My piece I take home to reframe

3. Drive to SF MOMA Artists Gallery at Fort Mason, at their request.
4. Return and re-accession/sign-in two pieces that needed to have their glass replaced with plexiglass.
5. De-accession/sign-out one piece that needs to be reframed.
6. Learn that art rentals and sales are down, down, down, like the rest of the economy. 

7. Drive home, grab dinner. Drive to Kala to meet some of the new artists in residence (AIRs) and hear Jackson Fahnestock, Whitney Vosburgh, and Patrick Rowe talk about their work.

 

Patrick Rowe talking about his art work

Patrick Rowe talking about his art work

 

What I learned about “Beautiful Bad” at Kala

December 13, 2008

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As I was talking to Nakano and Dennis about my piece, “Beautiful Bad #2” at the Kala Artists’ Annual exhibit last Thursday night, I heard myself say two interesting things that I hadn’t articulated or even thought before. We were talking about the process of how I transformed this government photography of the Ivy Mike hydrogen bomb detonation. That’s because Nakano commented that the piece doesn’t look like a digital print. So I explained the transformative steps and in the process realized how many, many steps there were! I didn’t plan this out in advance – it evolved.

download image from nuclear archive site -> print it out -> make enlarged photocopy -> cut image up -> make collage -> transfer collage onto art paper  using solvent and etching press -> photograph image -> photoshop digital file -> print out on large scale printer, like the Epson 9800 at Kala’s Electronic Media Center.

I also realized that this potent image of the first hydrogen bomb detonation is softened by the solvent transfer and transformed by its composition in strips, making the image simultaneously realistic and non-realistic, existing in its own nether realm.

imgp00861Here is Rebecca, whom I just met, back from England and the Miami art show, holding a copy of Relational Aesthetics by Nicolas Bourriaud. I think I’ll have to get a copy. She’s involved with HAM, the House of Art and Media in Berkeley. Smart. Going places.

Viewing “Syncopated Politics”

December 5, 2008

imgp0042Opening night at the Sanchez Art Center’s 2208 Bay Area Annual. I changed the title after the show from “Syncopated Prague” (where I made most of the collage) to “Syncopated Politics”, giving the piece a broader, more inclusive title.