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Linda Fleming (CCA Faculty) in solo exhibition @ Brian Gross Fine Art

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Linda Fleming (CCA Faculty) in solo exhibition Aerious 

Brian Gross Fine Art, 248 Utah Street, San Francisco

March 4 – April 29, 2017

In her newest body of work, Linda Fleming has continued her exploration of sculptural forms that simultaneously define an interior space and an exterior topography.  Fleming’s multicolored powder-coated steel sculptures are comprised of a lacework of flowing linear patterns cut into the steel.  This patterning reveals the dynamic inner spaces of the forms and creates a heightened sense of light and shadow within and around the works.  Fleming’s sculptures are meditations on the metaphysics of geometric forms. In them, she combines layers of color with the latticework cutouts to create optical effects in the viewer’s eye that change as the sculpture is viewed from different vantage points. 
On view will be Dusk, Apogee, and First Light, all recent monumental works whose complex geometries and architectures allow them to defy the weight of their materials.  Also on display will be Fleming’s polychrome dimensional wall reliefs, which continue her exploration of color and shadow through precisely spaced layered panels that project off the wall to activate the space around them, and one of her signature chrome-plated wall reliefs.

Additional works in the exhibition include large pastel drawings that explore linear forms and a group of three maquettes for full-scale works, which Fleming has editioned for the first time.  Made of laser cut plywood, the maquettes invite the viewer into the artist’s process for creating her larger free-standing sculptures. 

CCA Graduate Program in Curatorial Practice Class of 2017 present Black Light

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CCA Graduate Program in Curatorial Practice Class of 2017 present Black Light

CCA Wattis Institute, 360 Kansas Street, San Francisco

March 16 – May 14, 2017

Black Light converts the gallery space into a forum for conversation and exchange, taking form as a series of events that address the relationship between cultural institutions and black artists. Presented in a purpose–built amphitheater, invited participants draw on their experiences as artists, art historians, and founders of institutions. Lectures, screenings and workshops are introduced and moderated by the graduating students of the CCA Graduate Program in Curatorial Practice. Key participants in these events include:

Karon Davis (The Underground Museum, Los Angeles),Dale Brockman Davis (Brockman Gallery, Los Angeles),Duane Deterville (art historian and author, Oakland),Jacqueline Francis (art historian, San Francisco), Robyn Hillman–Harrigan (Black Women Artists for Black Lives Matter, New York), Marc Bamuthi Joseph (Chief of Program and Pedagogy at YBCA, San Francisco), and Rasheedah Phillips (Community Futures Lab, Philadelphia).

 

CCA Students at MFA NOW 2017

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Marrisa Geoffroy (MFA 17), Laura Gillmore (MFA 18), Piper Grosswendt (MFA 17), Dionne Lee (MFA 17), Kate Moore (MFA 17), Kate Moore & Lucy Sweeney (MFA 17), Richard-Jonathan Nelson (MFA 17), Prima Sakuntabhai (MFA 17) in MFA NOW 2017

Root Division, 1131 Mission Street, San Francisco

March 1 – 25, 2017

Root Division is proud to present MFA Now 2017, our biennial juried exhibition and archive publication featuring the works of MFA candidates at 9 of the top Bay Area institutions.

Now in it’s fifth iteration, the MFA Now project provides a platform for looking at Bay Area artists and institutions in order to promote dialogue between programs and to archive current art-making practices and models.

This year’s exhibition includes the work of twenty five artists selected by juror Natalia Mount (Executive Director, ProArts Oakland). Selected from over 153 submissions based on a single image and artist statement, the works included in this exhibition display a quality of content and execution that is indicative of the rigor of advanced art degree programs. Ranging in media from large scale installation, to video, sculpture, photography and painting, the exhibition is a rare glimpse into the developing practices of candidates prior to their thesis presentations.

Root Division is honored to expand the scope of this project to include two additional programs in our 2017 presentation: University of California, Davis, and Santa Cruz. These students’ work will be documented alongside their peers from California College of the Arts, Mills College, San Francisco Art Institute, San Francisco State University, San Jose State University, Stanford University, and University of California, Berkeley in our archive publication.

Victoria Jang (MFA 2014) in solo exhibition @ Patricia Sweetow Gallery

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Victoria Jang (MFA 14) in solo exhibition Flushings Flora

Patricia Sweetow Gallery, 480 23rd Street, Oakland

February 11 – March 18, 2017

Victoria Jang’s ceramic sculptures embody the complex hybridization of American-Korean culture. First generation Korean American, Victoria Jang grew up in the eastern border of Bergen County, New Jersey, one of the major hubs of the Korean’s in North America. The U.S. Immigration and Nationality Act of 1965 led most Chinese, Taiwanese and Koreans to surround the Hudson River.  Jang’s parents owned a small grocery store in Manhattan and frequented Flushing, a neighborhood in the NYC boroughs of Queens which became one of the epicenters of Korean communities.  Her experience navigating a multi-cultural environment prompted her to embark on an exploration of the multiplicity of Americanness.

Kate Bonner (MFA 2012) solo exhibition @ et al. etc.

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Kate Bonner (MFA 12) in solo exhibition Much more than we know

et al. etc., 1275 Minnesota Street, San Francisco

January 28 – March 4, 2017

As I watch the CNC router
begin to cut, I argue with its machine mind choices: they don’t seem entirely
logical, but they aren’t intuitive either. It skips sections that I’m worried
it will forget, and I hold them in my mind with anxiety. I programmed the machine
but it decides on the sequence of cuts, sometimes choosing beauty over
efficiency? A spinning, finger-shaped router-blade draws an abstract line into
my wood panel, beginning with the longest interior path, waiting until the end
to find the outline.

The depth and weight of my Photoshop layers are difficult to
measure – because they are digital they seem shallow, but in mass they clog my
computer. This 1200 dpi, two-gigabyte file is too heavy to move — dropped in
the transfer from my computer to another via Wi-Fi. I flatten twenty layers
into one, permanently erasing hidden images, a loss that stings, and now the
digital file is nearly weightless: a light spray of acrylic ink onto the top of
wood panels.

The swipe of my finger on my track pad is like the swing of
my arm with spray paint, but the printer reduces my gestures to thin,
unimaginative recurring rows.

Bean Gilsdorf (MFA 2011) solo exhibition at Museum of Contemporary Art Santa Barbara

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Bean Gilsdorf (MFA 16) in solo exhibition Soft Actor

Museum of Contemporary Art Santa Barbara, 653 Paseo Nuevo, Santa Barbara

January 22 – April 30, 2017

In collaboration with Art Practical, an online art publication based in San Francisco, CA, MCASB presents a solo exhibition by artist and writer, Bean Gilsdorf. For the past decade Gilsdorf has worked in a range of mediums to explore relationships between historical accounts, emblems of authority, and media representations that influence our perception of current events. At MCASB she expands on a recent series of work that focuses on a history of U.S. celebrity political figures, specifically those with a Hollywood past. The exhibition will feature a new commission of sculptural textile wall works that consider the making of political symbols and myth through the image of former President Ronald Reagan. Gilsdorf is interested in the ways in which the media and show business continue to infiltrate the realm of politics. She brings attention to the image-making industry’s transmission of certain symbols of power and fame. In Gilsdorf’s accumulation of source material she investigates the meanings behind certain motifs and idiosyncrasies—for example, in a hairdo, or a handshake—and highlights these visual details in her work, using varying textures and contortions. The artist’s deconstruction of popular images of our nation’s history—circulated on news and entertainment channels and in mass-market history books—offers a lens of criticality to how we mythologize presidential history, and, extensively, to the electoral events leading up to this exhibition.

Amy Balkin (CCA Faculty) in group show at Hood Museum of Art

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Amy Balkin (CCA Faculty) in group exhibition Mining Big Data

Hood Museum of Art, Dartmouth College, 6 E Wheelock St, Hanover, NH

February 24 – April 30, 2017

Art encompasses all things, so it is not surprising that artists have embraced big data as both a tool and subject of their work. In very different ways, Amy Balkin and Luis Delgado-Qualtrough use data-driven research to grapple visually with such topics as climate change, the demands on global natural resources, carbon emissions, solar energy, and the effects of various human activities on a global scale. Amy Balkin’s poster titled The Atmosphere: A Guide explores the influence of history and politics on the Earth’s atmosphere. Luis Delgado-Qualtrough tackles the problem of carbon accumulation with 10 Carbon Conundrums, a word-and-image essay that recombines historical events, dates, and GPS coordinates.  

Amy Balkin (CCA Faculty) in group show @ Fridman Gallery

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Amy Balkin (CCA Faculty) in group exhibition Evidentiary Realism

Fridman Gallery, 287 Spring Street, New York

February 28 – March 31, 2017

Evidentiary Realism features artists engaged in investigative, forensic, and documentary work.

The exhibition aims to articulate a particular form of realism in art that portrays and reveals evidence from complex social systems. The truth-seeking artworks featured explore the notion of evidence and its modes of representation.

Artists: Nora Al-Badri & Jan Nikolai Nelles, Amy Balkin, Josh Begley, James Bridle, Ingrid Burrington, Harun Farocki, Hans Haacke, Thomas Keenan & Eyal Weizman, Navine G. Khan-Dossos, Mark Lombardi, Kirsten Stolle, Suzanne Treister.

Curated by Paolo Cirio

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