tag:blogger.com,1999:blog-49017047527339226202024-02-19T01:19:03.688-08:00anderson kam newsanderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.comBlogger78125tag:blogger.com,1999:blog-4901704752733922620.post-40953065525126574652023-05-31T17:17:00.001-07:002023-05-31T17:20:33.604-07:00Exhibition at the Bedford Gallery, Walnut Creek, CA<h4 style="text-align: left;">The Bedford Gallery Walnut Creek Presents:</h4><h4 style="text-align: left;"><i>About Face</i><br /></h4><p>April 15 through June 25, 2023.<i> </i> <br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisOlHLT4zuBsfDyhln2Zt21ykmY5H62N2hqlCc_z-Yl-VNVQ6NAG0o0LubJibckkNwiit3PMSK0X3gjjGOLDNdyWiCLXzaZZ3JyApjtv9FXeHuQJLQTpTlFQu5JfLMJ_c_4eRSkHci5zjA-cUX0Ymp9ByuY1DtDwiheqmoMZNomdoRhXUATgSUQm8PUA/s1280/DSCF8346.JPEG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="818" data-original-width="1280" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisOlHLT4zuBsfDyhln2Zt21ykmY5H62N2hqlCc_z-Yl-VNVQ6NAG0o0LubJibckkNwiit3PMSK0X3gjjGOLDNdyWiCLXzaZZ3JyApjtv9FXeHuQJLQTpTlFQu5JfLMJ_c_4eRSkHci5zjA-cUX0Ymp9ByuY1DtDwiheqmoMZNomdoRhXUATgSUQm8PUA/s320/DSCF8346.JPEG" width="320" /></a></div><i>About Face</i>, an exhibition that explores
the tradition of portraiture through a contemporary lens. The show
features nearly 100 local, national and international artists and
examines how current societal values such as beauty, power, and cultural
significance may be perceived by future generations. <p></p><p>on view:<br /><i>dateline: (09-14) 4:28 MST Benson, AZ. (AP)— <br /></i>Donna Anderson Kam</p><p><i> </i><br />The artists in <i>About Face</i> challenge traditional portraiture with
current concepts, perspectives and media that reflect the individual.
Some, like Dennis Brown, focus on underrepresented BIPOC bodies, while
others, like Andy Warhol, use unconventional media, such as 4-minute
film portraits called <i>Screen Tests</i>. The artists also break compositional norms, as seen in Marbie's painting <i>Every Time</i>, which depicts the full human form using brightly colored shapes. Despite their different intentions, the artists in <i>About Face</i> share a common goal of reexamining the age-old tradition of portraiture in present-day contexts</p><p> <br /></p><br />anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-86500621790451312612022-10-17T15:45:00.002-07:002022-10-17T15:45:43.403-07:00dateline: (07-08) 07:13 CST Winona MN. (AP)-- Updated<p>A favorite piece is now refreshed, re-framed and<br />ready for delivery to Santa Monica, CA. It's <br />new home.</p><p>First exhibited in 2012 at the <em>Catharine Clark Gallery, <br />San Francisco's </em>in the<em> </em><em><em>Summer Group Exhibition:</em> <br />Alumni from The Artist in Residence Program at <br />Recology SF.<br /> <br /></em>It can be difficult to part with a special piece, <br />but in this case I couldn't be happier.<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivMj5cCYgVWKgcZGshSnf-RsDpzLkGzI7LmEbL_mDkLnaq-h6aOTZOU927PK8fx-txfCSwH2AaxFoWR-WKnqm7-MUHyszX5Lwx36bpkSIQgAdGrTa1xP0qEY95D0-Jhg9azxZm0qw0RTCWFp2XaCX5hcKT8_5IAQLzK2TnxghqfuL04he8PjwWpHTGEQ/s6470/corrected%20Winona%20NM%20tif%20copy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3668" data-original-width="6470" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivMj5cCYgVWKgcZGshSnf-RsDpzLkGzI7LmEbL_mDkLnaq-h6aOTZOU927PK8fx-txfCSwH2AaxFoWR-WKnqm7-MUHyszX5Lwx36bpkSIQgAdGrTa1xP0qEY95D0-Jhg9azxZm0qw0RTCWFp2XaCX5hcKT8_5IAQLzK2TnxghqfuL04he8PjwWpHTGEQ/w384-h217/corrected%20Winona%20NM%20tif%20copy.jpg" title="dateline: (07-08) 07:13 CST Winona MN. (AP)--" width="384" /></a></div>anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-88785914208119044112021-12-29T12:53:00.001-08:002021-12-29T13:19:21.557-08:00Curators as Game Changers, SF/Arts December 2021/January 2022 <p></p><p class="css-1lqyog3"></p><p><a href="https://www.sfarts.org/story/curators-as-game-changers-2Ah0RVECai4g0c4bBwax6X" target="_blank"><br /><i><br /></i></a><br /></p><p></p><p class="css-1lqyog3"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEilyTFu2tlI6gq7P_bTCxaqk7mUWm0KWNvw6cDya7pJMYdkTpzjhUJHjKqF7guOsr-XamDsBMZaWyh1P16Xhh0nTIAmFkBgxws93YMBXee3rSc9PPNkPAn-vOGGRc9UoB0e7kQsbIxGQSZ1E841OsiwyaC_LfYvSv3FrhHydlkmKYS_5wG2423LulkarA=s641" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="641" data-original-width="450" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEilyTFu2tlI6gq7P_bTCxaqk7mUWm0KWNvw6cDya7pJMYdkTpzjhUJHjKqF7guOsr-XamDsBMZaWyh1P16Xhh0nTIAmFkBgxws93YMBXee3rSc9PPNkPAn-vOGGRc9UoB0e7kQsbIxGQSZ1E841OsiwyaC_LfYvSv3FrhHydlkmKYS_5wG2423LulkarA=w281-h400" width="281" /></a></div> <p></p><p></p><br /><a href="https://www.famsf.org"></a><div class="separator" style="clear: both; text-align: center;"><a href="https://www.famsf.org"></a></div><p>Curator Furio Rinaldi<br />Fine Arts Museums of San Francisco, Curator of Drawings and Prints </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgfQUtOdECfuBQ5a9TsR0xnd4XfaV7urH5cvrCFfVaRW2m9H-Bdr9fYvCQLeHKAgAAYFwET740x7wWOtiXLoKNnQ2w3fUR1RTA885TxL_LEGNLinR_AKYNytcf8TZzoghrmjbIo6QfxF3XIhkXuHg97kauP-QlcwtQ_SfM7hXBiSir7AtKW32dGzMaXbw=s6284" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3420" data-original-width="6284" height="217" src="https://blogger.googleusercontent.com/img/a/AVvXsEgfQUtOdECfuBQ5a9TsR0xnd4XfaV7urH5cvrCFfVaRW2m9H-Bdr9fYvCQLeHKAgAAYFwET740x7wWOtiXLoKNnQ2w3fUR1RTA885TxL_LEGNLinR_AKYNytcf8TZzoghrmjbIo6QfxF3XIhkXuHg97kauP-QlcwtQ_SfM7hXBiSir7AtKW32dGzMaXbw=w400-h217" width="400" /></a></div><p> </p><p> </p><p> </p><p> </p><p> </p><p> </p><p> </p><p> </p><p>Donna Anderson Kam <br /><i>dateline: (08-07) 16:22 PDT Trona, CA (AP)--<br /></i>Fine Arts Museums of San Francisco<br />Museum Purchase, Achenbach Foundation for Graphic Arts Endowment Fund, <br />and the Achenbach Graphic Arts Council, 2020.51<br /> </p><p>Excerpt from article:<br /></p><p><a href="https://www.sfarts.org/story/curators-as-game-changers-2Ah0RVECai4g0c4bBwax6X" target="_blank">SF/ARTS Dec.2021/Jan. 2022 <br />Curators as Game Changers<i><br /></i></a><a href="https://www.sfarts.org/story/curators-as-game-changers-2Ah0RVECai4g0c4bBwax6X" target="_blank">by Dorthy Reed & Carol Goodman</a><br /><br />In May 2020, when Furio joined Fine Arts Museums of San Francisco (FAMSF) as Curator of Drawings and Prints, the museum was closed due to
Covid, but this time of less activity had a silver-lining in that he
had more time to discover the oftentimes hidden treasures of the
museum’s 90,000+ holdings of works of art on paper: drawings, prints and
artist books. The collection, the largest on the West Coast, spans the
15th through 21st centuries, and is housed within the museum’s Achenbach
Foundation for Graphic Arts.<br /><br />Raised in Italy with a Ph.D from
the University of Rome, Furio’s area of expertise is Italian drawings
from the 15th and 16th century, particularly the schools of the
Renaissance’s “greats” – Leonardo da Vinci, Raphael and Michelangelo.
He considers drawings “the father of art.” “After all," he says,
"painting, sculpture and architecture generally start with drawings.”<br /><br />Within
less than two years, Furio curated "Color into Line: Pastels from the
Renaissance to the Present." In the process of setting up the
exhibition, two important re-attributions, based on his scholarship,
were made. Two key acquisitions were also made: an 18th century pastel
landscape by Elisabeth Louise Vigée-LeBrun and a 21st century pastel
depicting a homeless encampment by Donna Anderson Kam.<br /><br />Each
gallery contains works by male and female artists including three women
artists – starting with the 18th century Venetian artist Rosalba
Carriera, whose pastel portraits were widely acclaimed. Works by
Impressionist artists Berthe Morisot, Mary Cassatt and Eva Gonzalès are
highlights of the exhibition.<br /><br />Going forward, both the museum and
Rinaldi have bold plans to showcase the Achenbach’s collection with an
ambitious program of exhibits. <br /></p><p></p><p></p><div style="margin-left: 40px; text-align: left;"><br /></div><br /><br />anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-79088213406939782902021-11-24T15:52:00.000-08:002021-11-24T15:52:07.249-08:00SARTLE. Rogue Art History, Exhibition Review: Color into Line at the Legion of Honor<p> </p><div class="col-lg-9 col-md-9 col-sm-12 col-xs-12">
<div class="row">
<h1 class="page-header col-lg-11 col-md-11 col-sm-11 col-xs-12">Color into Line: Pastels from the Renaissance to the Present at the Legion of Honor</h1></div></div><div class="content">
<div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><p><img class="image-blog" data-entity-type="file" data-entity-uuid="insert-blog-6a4f2eaa-6300-49e2-a8fc-9394ca44f7b1" height="375" src="https://www.sartle.com/sites/default/files/styles/blog/public/images/blog/color-into-line_0.jpg?itok=4evmcuYR" width="500" /></p>
<p>Pastels just might be the most underrated medium in all of art
history. You rarely see them on exhibit at all, let alone as the star of
the show. So, it’s particularly special that San Francisco’s <a href="https://www.sartle.com/place/legion-of-honor">Legion of Honor</a> has brought these works front and center in their current exhibit “<em>Color into Line: Pastels from the Renaissance to the Present.</em>” </p>
<p> </p>
<h2>Why Pastels?</h2>
<p>There are three things that make pastels so incredibly interesting:</p>
<p>1. The medium itself hasn’t changed significantly in the past 500
years. It’s just pigment, filler, and binder. Therefore, when viewing
the work as it changes from exhibit room to room across the centuries,
we get the chance to see how the exact same materials are used so
uniquely depending on the artist and the era.</p>
<p><img class="image-blog" data-entity-type="file" data-entity-uuid="insert-blog-6796e81e-3bac-474a-a192-9d800f3af64c" height="375" src="https://www.sartle.com/sites/default/files/styles/blog/public/images/blog/pastels_0.jpg?itok=7u8xCJ5y" width="500" /></p>
<p>2. Pastel is the only medium that lets you draw a line and color the
line at the exact same time. As we see throughout the the exhibition,
you can vary this considerably depending on the pressure you use, the
form of the pastel (a pencil vs. a chalk block, for example), the
combination with different materials, etc. The artist’s choices range
from very dreamy <a href="https://www.sartle.com/blog/post/art-history-reader-impressionism">Impressionist works</a>,
to hyperrealistic, almost photographic, contemporary pieces.
Regardless, though, the medium lends itself really well to speed,
spontaneity, and immediacy. This, along with its portability and
affordability, makes pastels unique from other mediums.</p>
<p>3. Both female and male artists have long been recognized for their
work with pastels. The first room exhibiting pastel arts in “Color Into
Line” features work from women artists dating back five centuries. Women
weren’t exactly welcomed as artists at that time; they were banned from
the salons and classrooms where men studied. But pastels were
considered more of a pastime than a fine art, so women were allowed to
indulge. And they ended up, naturally, creating great works of art.
There are at least two, and often more, women artists featured in each
room of the exhibit.</p>
<h2>Who Paints In Pastels?</h2>
<p><img class="image-blog" data-entity-type="file" data-entity-uuid="insert-blog-80fb9091-aed0-4dd4-82e7-8af8969d54f0" height="379" src="https://www.sartle.com/sites/default/files/styles/blog/public/images/blog/thiebaud_variouspastels_ars_online_0.jpg?itok=VI3OggAc" width="500" /></p>
<p>Wayne Thiebaud, <em>Pastel Scatter</em>, 1972. Pastel. Thiebaud Family Collection. © Wayne Thiebaud/Licensed by VAGA, New York, NY.</p>
<p>There’s something really interesting about this gender thing in
pastels, though. On the one hand, women were “allowed” to enjoy pastels,
yet pastels weren’t taken as seriously as other art forms. On the other
hand, very famous male artists also used pastels. Dating as far back as
the medium’s beginning and continuing through each room of the exhibit,
you’ll discover names that perhaps you never even associated with
pastel art. Did you know that <span class="sartle-artist"><a href="https://www.sartle.com/artist/leonardo-da-vinci">Leonardo da Vinci</a></span>
created a recipe for pastels and even invented a machine for pressing
it into sticks, though you won’t find any da Vinci works created in
pastel. However, his students did pick up the art form.</p>
<p>One of the women whose works you’ll find in the first room of the exhibit is <span class="sartle-artist"><a href="https://www.sartle.com/artist/rosalba-carriera">Rosalba Carriera</a></span>.
At the time, the Academie Royale in Paris did not admit female
students. And yet, they made an exception for her, and that exception
was based on her pastel art skills.</p>
<p>Throughout the rest of the rooms, some of the famous artists you might not know used pastels include: <span class="sartle-artist"><a href="https://www.sartle.com/artist/salvador-dali">Salvador Dalí</a></span>, <span class="sartle-artist"><a href="https://www.sartle.com/artist/edgar-degas">Edgar Degas</a></span>, <span class="sartle-artist"><a href="https://www.sartle.com/artist/wayne-thiebaud">Wayne Thiebaud</a></span>,<span class="sartle-artist"><a href="https://www.sartle.com/artist/jean-francois-millet">Jean-François Millet</a></span>, <span class="sartle-artist"><a href="https://www.sartle.com/artist/edouard-manet">Édouard Manet</a></span>, <span class="sartle-artist"><a href="https://www.sartle.com/artist/richard-diebenkorn">Richard Diebenkorn</a></span>, and <span class="sartle-artist"><a href="https://www.sartle.com/artist/diego-rivera">Diego Rivera</a></span>. A few of the female standout artists that you don’t want to miss include <span class="sartle-artist"><a href="https://www.sartle.com/artist/berthe-morisot">Berthe Morisot</a></span>, <span class="sartle-artist"><a href="https://www.sartle.com/artist/mary-cassatt">Mary Cassatt</a></span>, and <span class="sartle-artist"><a href="https://www.sartle.com/artist/eva-gonzales">Eva Gonzalès</a></span>. They were not simply outstanding artists but specifically did amazing work with pastels.</p>
<p> </p>
<h2>Why Are Pastels So Underrated?</h2>
<p>Most people don’t think of pastels as deserving of a full exhibition.
Why is this? Well, it certainly doesn’t help that it was associated
with women's work. We haven’t historically valued women equally to men,
and therefore haven’t valued this art as equal to oil paintings and
other mediums.</p>
<p>Additionally, the affordability of the medium has made it accessible
to such a diverse range of artists. And in the often-snobby art world,
this means that people have given the artwork created with pastels less
value.</p>
<p>However, it’s not all about society looking down its nose at pastels.
A lot of it actually has to do with the fragility of the medium.
Pastels simply don’t hold up well over time. They can’t sit under museum
lights every single day for years without damage. As a result, we
simply rarely see pastels exhibited. With less exposure to them, we
aren’t educated in appreciation of them, which is what makes this
exhibition so special. The museum worked hard to combine the works in
their archives (which make up about two-thirds of the exhibit) with
borrowed works to offer us the chance to fully understand and explore
the history of the pastel medium. More than that, additional info on
signage and via QR codes gives you lots of extra knowledge about pastels
as a medium and a technique. If you’re interested in developing your
pastel art lexicon, this is the place to do it. </p>
<p> </p>
<h2>The Rooms of The Exhibit</h2>
<p>The rooms of the exhibit are laid out in such a way that we get the
chance to truly see the development of pastels across time. The medium
hasn’t changed much, but we do see the subtle changes. For example, the
first room is filled with portraiture. The kind of old portraiture that
you think of when you think of people “sitting for a portrait.” Then,
room number 2 is all landscapes. Go back to room number one and you’ll
notice that there’s no green in that work. Return to that second room
and green flourishes. That’s because in the beginning, no artist could
figure out how to create green pigment. Oddly, it’s not a color that
exists in nature in a form that works for pastels. But then they figured
it out and green abounded and pastels were used to render beautiful
green landscapes.</p>
<p><img class="image-blog" data-entity-type="file" data-entity-uuid="insert-blog-7cc3d183-fcce-4c01-878b-961c749bad75" height="667" src="https://www.sartle.com/sites/default/files/styles/blog/public/images/blog/sara-with-dog_0.jpg?itok=76erwgM7" width="500" /></p>
<p>Mary Cassatt. <em>Sara in a Large Flowered Hat Looking Right Holding Her Dog, </em>ca. 1902.</p>
<p>In the third room, we have Impressionism. Many of these works are
portraits as well, but of course, there’s a significant stylistic
difference between the earlier pieces. Compare, for example,
Jean-Etienne Liotard’s 18th-century <em>Portrait of a Man and His Dog</em> with Mary Cassatt’s 19th century <em>Sara in a Large Flowered Hat, Holding Her Dog.</em>
Both are of a single person with a dog, but Liotard is all lines; the
texture of his clothing is exquisitely done thanks to detailed precision
with the pastels. Both man and dog sit, posed for a formal painting.
Sara, on the other hand, squeezes her little dog with joy, as if unaware
that she’s the subject of a painting. Cassatt’s hand appears to move
quickly, giving us the impression of the scene without defined lines.
It’s a testament to the changing style of art over the decades, as well
as to the way that pastels can be used uniquely depending on the hands
that hold them.</p>
<p><img class="image-blog" data-entity-type="file" data-entity-uuid="insert-blog-9b9b5ec8-3151-4b64-86e7-bdcff95194c1" height="672" src="https://www.sartle.com/sites/default/files/styles/blog/public/images/blog/a066494_cropped_0.jpg?itok=e2MglRrK" width="500" /></p>
<p>Jean-Étienne Liotard. <em>Portrait of a Man and His Dog, possibly Philippe Basset de la Marelle (1709-1779), </em>ca. 1746–1750.</p>
<p><em>Fun Fact: This piece by Liotard is on display in this exhibit for the first time ever since its creation hundreds of years ago.</em></p>
<p>The other rooms bring us up to the 20th and 21st centuries. We get
the chance to see that some artists used pastels in sketches for
eventual works done in other mediums, whereas other artists made
large-scale art directly in pastels. Most of the pastels are done on
paper or canvas, but where it gets interesting is when we look at the
way in which artists mixed pastels with different mediums. Pay attention
and you’ll see pastel combined with graphite, charcoal, and chalk as
well as with watercolor and oil.</p>
<p> </p>
<h2>5 Pieces Not To Miss</h2>
<p>Hopefully, you’ll have the opportunity to wander leisurely through
the entire exhibit. Look at the sides of the paintings where the artists
sometimes tested colors before applying them; you’ll see this in
Diebenkorn’s work. Pay attention to how the different papers (blue,
brown, gray, pink, smooth, woven) impact the appearance of the pastels
atop them. In an ideal world, you'll have lots of time to go slow and
notice all these details. If you don’t, then here are the five pieces
not to miss:</p>
<p> </p>
<h3>1. <em>A Hilly Landscape With a River</em> by <span class="sartle-artist"><a href="https://www.sartle.com/artist/elisabeth-louise-vigee-lebrun">Elisabeth Louise Vigée-LeBrun</a></span></h3>
<p><img src="https://www.sartle.com/sites/default/files/images/blog/hillylandscape_a415688.jpg" />ca.
1820. Pastel on paper, 9 1/16 x 10 13/16 in. (23 x 27.5 cm.). Fine Arts
Museums of San Francisco, Museum purchase, Achenbach Foundation for
Graphic Arts.</p>
<p>She might be the world’s first known pastel landscape artist.
According to her diaries, she created more than 200 pastel landscapes,
of which only about 15 have survived. This is one of the only ones ever
shown in the United States.</p>
<h3>2. <em>Prosper, The Artist’s Nephew in Bed </em>by Albert Bartholome (1882)</h3>
<p><img class="image-blog" data-entity-type="file" data-entity-uuid="insert-blog-9e79a175-3f6a-4545-a983-a587abac1f35" height="410" src="https://www.sartle.com/sites/default/files/styles/blog/public/images/blog/bartholome_prosper_5_0.jpg?itok=O_K-VBBj" width="500" /></p>
<p>This portrait should dispel any misgivings that you have about
pastels as a legitimate medium for portraiture. The depth of emotion
captured in the eyes that stare out of the center of the image draw you
in.</p>
<h3>3. <em>Union Square, San Francisco</em> by William Larkins (ca. 1930)</h3>
<p><img class="image-blog" data-entity-type="file" data-entity-uuid="insert-blog-a9eb8afd-9fff-452f-914f-b81d2a357ef8" height="375" src="https://www.sartle.com/sites/default/files/styles/blog/public/images/blog/union-square_0.jpg?itok=o7Stiq05" width="500" /></p>
<p>The artist used the long side of the pastel chalk in a technique
called sidestroke to quickly fill in the blocks of color that make up
the tall buildings in the city square. Combined with an unusually thin
paper choice, this piece showcases the gestural fluidity and energetic
immediacy that is unique to pastel art.</p>
<h3>4. <em>Central Park #1 and #2</em> by Joseph DiGiorgio (1984)</h3>
<p><img class="image-blog" data-entity-type="file" data-entity-uuid="insert-blog-29a2f0d8-a208-4ef1-9e66-3b97a8523942" height="638" src="https://www.sartle.com/sites/default/files/styles/blog/public/images/blog/central-park_0.jpg?itok=K4A49PIa" width="500" /></p>
<p>Other than the introduction of the color green, the only other major
change to the medium over the years came during the twentieth century.
Advances in petroleum technology made it possible to create oil pastels.
This added new depth of color, the ability to add up layers, and
opportunities for different techniques such as “scratching.” DiGiorgio’s
paintings are excellent examples of these features and techniques.</p>
<h3>5. <em>Dateline: (08-07) 16:22 PDT Trona, CA (AP) </em>by Donna Anderson Kam (2020)</h3>
<p><img class="image-blog" data-entity-type="file" data-entity-uuid="insert-blog-a993fb8a-0c02-482e-941d-735369ee0d99" height="286" src="https://www.sartle.com/sites/default/files/styles/blog/public/images/blog/7536_v1_5_crop_0.jpg?itok=ZmEgPMrY" width="500" /></p>
<p>There’s no mistaking that this is a contemporary piece of art, since
the artist has depicted one of the people in the photo wearing a mask
and another gazing at the screen of a cell phone. It’s a portrait of
three young people in a homeless encampment. The image is rich in color,
has impressive detail in the texture of clothing and hair, and shows
off what artists are doing with pastels today.</p>
<p><br /></p>
<p>Honestly, we could easily list another dozen must-see artworks in the
exhibit. There’s a Salvador Dali piece that you won’t believe is worked
in pastel. Morris Broderson’s eerie <em>Lizzie Borden </em>(1966), shown above, boldly combines pastel and watercolor. Rupert Garcia’s <em>Calavera Cristobal</em> (1990) cuts directly to the power of line, with a skeleton superimposed over a sketch of Christopher Columbus. Claudio Bravo’s <em>Mystic Package</em> (1967)
looks so realistic that you want to reach into the frame and untie the
twine to find out what’s inside. And, of course, Wayne Thiebaud’s <em>Pastel Scatter,</em> which is a pastel artwork depicting pastel chalks, is a quintessential piece for this exhibit.</p>
<p>“<em>Color into Line: Pastels from the Renaissance to the Present</em>” is showing at <a href="https://legionofhonor.famsf.org/exhibitions/pastels">Legion of Honor</a> through February 13, 2022.</p></div>
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</section>anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-5103355065863471332021-11-02T17:01:00.003-07:002021-11-08T17:00:21.211-08:00Legion of Honor Museum, San Francisco<h2 style="text-align: left;">Color into Line: Pastels From The Renaissance to the Present<br />October 9, 2021-February 13, 2022<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="467" src="https://www.youtube.com/embed/uUsnRGcIyMo" width="561" youtube-src-id="uUsnRGcIyMo"></iframe></div><br /><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCRhuhkPP-2X3cy_2B7TDklwwuqORcMZw6PZMfIG44fjTPz1SHQNLzCdaBrQCeRUIiplc8hhs_Jgqh66m0lpDq79BE0SHZIGk-RexyedQN6XQ-Q7vXqg0H3X2pLT7DaAozi7GXH8gHVJ3k/s1264/2U4A0992-2+copy.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="682" data-original-width="1264" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCRhuhkPP-2X3cy_2B7TDklwwuqORcMZw6PZMfIG44fjTPz1SHQNLzCdaBrQCeRUIiplc8hhs_Jgqh66m0lpDq79BE0SHZIGk-RexyedQN6XQ-Q7vXqg0H3X2pLT7DaAozi7GXH8gHVJ3k/w555-h300/2U4A0992-2+copy.jpg" width="555" /></a> <span style="font-size: small;"><span style="font-weight: normal;"> </span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: small;"><span style="font-weight: normal;">Donna Anderson Kam, <i>dateline: (08-07) 16:22 PDT Trona, CA (AP)--,</i> 2020. Pastel on paper, 50x90in. Fine Arts Museums of San Francisco, Museum purchase, Achenbach Foundation for the Graphic Arts Endowment Fund and gift of the Achenbach Graphic Arts Council, 2020.51</span></span><br /></div></h2>anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-82920494448297115352021-10-19T15:20:00.005-07:002021-10-19T16:18:42.307-07:00Fine Arts / Fall 2021 Collections Connections: Donna Anderson Kam, (08-07) 16:22 PDT Trona, CA (AP)—, 2020 <div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx5mk3UTVlgkw4lF9NDh-0YQqezjckQzkhgL_UqvDaScICQ5mbcPFIU0MamjlctZRmgNLyORclHrDZ8d_ng8SFZz2f7toGUOIyMccevHXd0W9Be6sbCrf39Jm4R78c8WDvSeH8zEghcVar/s2048/IMG_5792+copy.jpg" style="display: block; margin-left: 1em; margin-right: 1em; padding: 1em 0px; text-align: center;"></a><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx5mk3UTVlgkw4lF9NDh-0YQqezjckQzkhgL_UqvDaScICQ5mbcPFIU0MamjlctZRmgNLyORclHrDZ8d_ng8SFZz2f7toGUOIyMccevHXd0W9Be6sbCrf39Jm4R78c8WDvSeH8zEghcVar/s2048/IMG_5792+copy.jpg" style="display: block; margin-left: 1em; margin-right: 1em; padding: 1em 0px; text-align: center;">
</a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2w2c6KtqO2AEwFCpxuomFXOplH67mYPJdzc3dRSrf3j4BnWZegKPERcsNkrwjMLG0LUesallrAiynDvSi0i3Xu5KIFRyP9SLUlufwHiEdJlZFmGlphr_WHyHLzobKdvsnCIA4QQTkOsIB/s2048/IMG_5796.jpg" style="display: block; margin-left: 1em; margin-right: 1em; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="2048" data-original-width="2048" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2w2c6KtqO2AEwFCpxuomFXOplH67mYPJdzc3dRSrf3j4BnWZegKPERcsNkrwjMLG0LUesallrAiynDvSi0i3Xu5KIFRyP9SLUlufwHiEdJlZFmGlphr_WHyHLzobKdvsnCIA4QQTkOsIB/w438-h438/IMG_5796.jpg" width="438" /></a></div><img alt="" border="0" data-original-height="1458" data-original-width="2048" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx5mk3UTVlgkw4lF9NDh-0YQqezjckQzkhgL_UqvDaScICQ5mbcPFIU0MamjlctZRmgNLyORclHrDZ8d_ng8SFZz2f7toGUOIyMccevHXd0W9Be6sbCrf39Jm4R78c8WDvSeH8zEghcVar/w551-h393/IMG_5792+copy.jpg" width="551" /></div>
<p>
<br />
Donna Anderson Kam currently lives and works in San Francisco. She received her
BFA in art history from the University of Colorado, Boulder, and her BFA in
design from the ArtCenter College of Design in Pasadena, California. She has
exhibited widely including in 2012 when she was artist in residence at Recology
San Francisco. Two of her works were selected for the 2020 exhibition
<i>The deYoung Open</i>, including
<i>(08-07) 16:22 PDT Trona, CA (AP)--,</i> which is featured in the exhibition
<i>Color into Line: Pastels from the Renaissance to the Present</i>. </p><p>Kam’s
artistic practice is centered on the pastel medium, primarily dry pastel (also
called chalk pastel), She finds it rewarding to work with the large chunky
sticks for the luminous qualities they impart when applied to a white sheet of
paper. Kam also enjoys the challenging feature that dry pastels can not be mixed
on a palette like oil paints, and consequently must be layered to show
variations in color. </p><p>In 2008 Kam began working on large-scale pastels, and the
following year she began the “<i>dateline</i>” series in which she utilized
images taken from news sources. She created her own narratives for the images
and restaged the stories with actors. Photographs taken at those reenactments
are then referenced in the resulting drawings. According to Kam, this multistep
method distances her final work from it’s original source, creating works that
are ambiguous and open. </p><p>In the example acquired by the Museums, the COVID-19
face coverings worn by the three women identify the scene as from 2020, and
other accessories (including a smartphone and earphones) and detritus
surrounding them (a blue tarp, a computer keyboard, and an empty potato-chip
bag) also indicate contemporary times. </p><p>Kam sees her commitment to pastel as her
contribution to it’s continuity as an artistic practice since the sixteenth
century. This timeline is explored in
<i>Color into Line: Pastels from the Renaissance to the Present</i>, on view at
the Legion of Honor from October 9, 2021, through February 13, 2022.</p><p> Karin
Breuer, Curator in Charge, Achenbach Foundation for Graphic Arts</p><p><span style="font-size: x-small;">Donna Anderson Kam, <i>(08-07) 16:22 PDT Trona, CA (AP)--</i> , 2020. Pastel and colored pencil on paper, 50 x 90 in. (132.1 x 243.8 cm). Fine Arts Museums of San Francisco, Museum purchase, Achenbach Foundation for the Graphic Arts Endowment Fund and gift of the Achenbach Graphic Arts Council, 2020.51</span><br /></p>anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-61772762331329777632021-10-19T12:44:00.005-07:002021-10-19T16:00:33.571-07:00Exhibition Catalog: Color Into Line, Pastels From The Renaissance To The Present, By Furio Rinaldi <div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8wbqGDmLaoqenxfuVlnK4bvFw2V785X0XLYDi5tMSi5k5uEznnWO-9VakqCqx7Hz6KIbvmA6aTMvzUdjTM-H6aP4w8avSwLSG83WctwhLW3agjSPPKtP8P_YujlhaqY82T-vfoQcafcjz/s1652/IMG_5733.jpg" style="display: block; padding: 1em 0px; text-align: center;"><span style="font-size: small;">Forward By Thomas P. Campbell, Director Fine Arts Museums of San Francisco </span><img alt="" border="0" data-original-height="1652" data-original-width="1451" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8wbqGDmLaoqenxfuVlnK4bvFw2V785X0XLYDi5tMSi5k5uEznnWO-9VakqCqx7Hz6KIbvmA6aTMvzUdjTM-H6aP4w8avSwLSG83WctwhLW3agjSPPKtP8P_YujlhaqY82T-vfoQcafcjz/w404-h460/IMG_5733.jpg" width="404" /></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW-kCvWq-qDqkypwLP_OSX-2035PLlHInahRCHvjW1YmXy4tr29nS3Npsh_UcPfTIxEI4fqnx8-K9tLtzvq2L9UY51lxUYqPED0K3SrJxll2-f1Q0JTFuNfU2zEbpMzrSc1_Ts04XpBB9T/s1900/IMG_5768.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1218" data-original-width="1900" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW-kCvWq-qDqkypwLP_OSX-2035PLlHInahRCHvjW1YmXy4tr29nS3Npsh_UcPfTIxEI4fqnx8-K9tLtzvq2L9UY51lxUYqPED0K3SrJxll2-f1Q0JTFuNfU2zEbpMzrSc1_Ts04XpBB9T/w490-h314/IMG_5768.jpg" width="490" /></a></div>
<a href="https://shop.famsf.org/products/color-into-line-pastels-from-the-renaissance-to-the-present" target="_blank"></a>anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-16504553696952340672021-09-21T12:17:00.002-07:002021-10-20T13:14:36.421-07:00Donna Anderson Kam’s dateline: (08-07) 16:22 PDT Trona, CA (AP) (2020)—joins works in the exhibition COLOR INTO LINE: PASTELS FROM THE RENAISSANCE TO THE PRESENT at the Legion of Honor / October 9, 2021–February 13, 2022<p> <br /></p><h5 style="color: #aaaaaa; font-style: italic; text-align: left;">Donna Anderson Kam dateline: (08-07) 16:22 PDT Trona, CA (AP) <br /></h5><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtfYlXPHYsJPfjBMZrk-Au1sR2xXh9ISkbF4MkBKap6X10DjLXT-p5LJhO2kV8jxKI8Ir2PL7gO6vxabDSfuQEv6t5PU6nmC3gp7eg_ZsV_dalbm9EA2xl-Sn7FAY0pAmbJPDZr_plmMFF/s1264/2U4A0992-2.tif" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="682" data-original-width="1264" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtfYlXPHYsJPfjBMZrk-Au1sR2xXh9ISkbF4MkBKap6X10DjLXT-p5LJhO2kV8jxKI8Ir2PL7gO6vxabDSfuQEv6t5PU6nmC3gp7eg_ZsV_dalbm9EA2xl-Sn7FAY0pAmbJPDZr_plmMFF/w400-h216/2U4A0992-2.tif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><p></p><p><b><i><span style="font-size: 18px;"><b><i> </i></b></span></i></b></p><p><b><i><span style="font-size: 18px;"><b><i> </i></b></span></i></b></p><p><b><i><span style="font-size: 18px;"><b><i> </i></b></span></i></b></p><p><b><i><span style="font-size: 18px;"><b><i> </i></b></span></i></b></p><p><b><i><span style="font-size: 18px;"><b><i> </i></b></span></i></b></p><p><b><i><span style="font-size: 18px;"><b><i> </i></b></span></i></b></p><p><b><i><span style="font-size: 18px;"><b><i> </i></b></span></i></b></p><p><b><i><span style="font-size: 18px;"><b><i>Color into Line: Pastels from the Renaissance to the Present </i></b></span></i></b><br /><b><span style="font-size: 18px;"><b>Legion of Honor / October 9, 2021–February 13, 2022</b></span></b></p><div class="field field-name-field-press-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" style="text-align: left;"><img alt="" height="400" src="https://www.famsf.org/sites/default/files/styles/bio_535x400/public/press/screen_shot_2021-01-29_at_3.21.36_pm.png?itok=bI6I1PPW" width="339" /></div></div></div>
<h5 style="color: #aaaaaa; font-style: italic; text-align: left;">Edgar
Degas (French, 1834–1917), Femme s’essuyant (Seated Bather Drying Her
Neck), ca. 1905–1910. Signed with the artist’s stamp (L. 658). Charcoal
and pastel on two joined sheets of tracing paper, laid down on board, 27
1/16 x 22 7/8 in. (68.7 x 58.1 cm). Fine Arts Museums of San Francisco,
Achenbach Foundation for Graphic Arts, Gift of Mrs. John Jay Ide,
1995.62</h5><p style="text-align: left;"><br /><br /><b>SAN FRANCISCO </b>– The Fine Arts Museums of San Francisco (the “Museums”) are proud to present <i>Color into Line: Pastels from the Renaissance to the Present</i>,
a celebration of the artistry of pastel through rarely seen holdings
from the Museums’ Achenbach Foundation for Graphic Arts, as well as
prominent collections from Northern California. Through eighty
masterworks, the exhibition traces the technical evolution of pastel,
from its introduction in 16th-century Europe to works created as
recently as 2020. Highlighting the creative process behind the works,
the exhibition emphasizes pastel’s versatility over five centuries of
human creativity, through drawings by Rosalba Carriera, Jean-Baptiste
Perronneau, Edgar Degas, Mary Cassatt, Eva Gonzalès, Diego Rivera, Wayne
Thiebaud, Richard Diebenkorn, John Altoon, Rupert García, and Joan
Mitchell. </p><p style="text-align: left;">“<i>Color into Line</i>
celebrates the exquisite art of pastel and the way that artists, from
the Renaissance to the present day, have explored its delicate and
unique effects,” states Thomas P. Campbell, Director and CEO of the Fine
Arts Museums of San Francisco. “Drawing heavily on the riches of our
Achenbach Collection for Graphic Arts, the exhibition brings fresh light
and scholarship to a medium that is often overlooked because such works
are so fragile and rarely lent and displayed.”</p><p style="text-align: left;">One of the most
long-standing media in art history, pastel has maintained a formulation
almost unchanged since its emergence in the Renaissance. Composed of
finely ground pigments, a dry filler (kaolin or chalk), and a binder
(traditionally a vegetable gum), pastels are still used today in much
the same way as when they first appeared. Examining the technical
process of creation, the exhibition pays specific attention to the
medium’s materiality, looking at techniques shared by artists across
centuries. </p><p style="text-align: left;">“In a singular combination,
pastels convey the immediacy of a drawing, the appearance of a
painting, and the matte finish of a fresco,” states Furio Rinaldi,
Curator of Drawings and Prints at the Fine Arts Museums of San
Francisco. “<i>Color into Line</i> shows some of the greatest hits
from our collection while unearthing hidden gems from our neighboring
institutions, like the Cantor Arts Center at Stanford University, the
Crocker Art Museum in Sacramento, and SFMOMA, revealing to audiences the
incredible richness of our local graphic holdings.”</p><p style="text-align: left;">Laid out in chronological order, and accompanied by an exhibition catalogue, <i>Color into Line: Pastels from the Renaissance to the Present</i>
provides visitors with the rare opportunity to savor various
masterpieces from public and private collections across Northern
California, many on view for the first time. One such work, the nearly
life-size <i>Portrait of a Man and His Dog</i> (possibly Philippe
Basset de la Marelle, 1709–1779) (ca. 1746–1750), has been newly
attributed to Jean-Étienne Liotard, one of the masters of pastels in the
18th century, due to new technical and stylistic evidence unearthed
during research for this exhibition. It is on view for the first time
since its acquisition in 1965. </p><p style="text-align: left;"><i>Color into Line: Pastels from the Renaissance to the Present</i>
is the first exhibition organized by Furio Rinaldi, the Museums’ newly
appointed curator of drawings and prints. It is on view at the Legion of
Honor from October 9, 2021, through February 13, 2022.</p><p style="text-align: left;"><b>In Detail</b></p><p style="text-align: left;">The
emergence of pastel dates to the early 16th century, when our
exhibition begins. An early drawing by a follower of Leonardo da Vinci,
Bernardino Lanino, (<i>Head of a Veiled Woman, Looking Dow</i>n, ca.
1540,) on loan from the Santa Barbara Museum of Art), attests the use of
natural colored chalks in Renaissance Italy. By the 17th century, the
fabricated pastel stick had become a popular choice for independent
works of art, particularly portraits. Prominently displayed at the
center of this room is the large portrait newly attributed to
Jean-Étienne Liotard, with evidence substantiating the attribution. In
the early 18th century, the Venetian artist Rosalba Carriera (<i>Portrait of a Lady as Diana</i>,
ca. 1720) brought the medium to unprecedented popularity, and her
pastel portraits achieved great critical and commercial success across
Europe. In notable exception of its statute against admitting women, the
Académie Royal in Paris accepted Carriera as a member in 1720.</p><p style="text-align: left;">Moving
on to the next gallery, the exhibition looks at landscapes and still
lifes from 1800 to 1900. The challenge with the expansion of pastel use
in genres outside of portraiture lay simply in obtaining a stable color
of green. When such a green was finally introduced in the late 18th
century, a new range of artistic possibilities opened. Key works in this
gallery include Albert Bartholome’s portrait of his nephew, <i>Prosper</i>, (1882); the monumental panel by Edmond-François Aman-Jean’s <i>Les Confidences</i> (ca. 1898); and Jean-François Millet’s <i>The Sewing Lesson</i>
(ca. 1860), on rare loan from the Crocker Art Museum. Millet was a key
figure in transforming the medium of pastel by applying its intimate
scale to a variety of domestic and rural subjects.</p><p style="text-align: left;">The era of
Impressionism marked a powerful resurgence of pastel across Europe and
the United States, especially in the hands of Edgar Degas, represented
by two late masterpieces, <i>Femme s’essuyant </i>(<i>Seated Bather Drying Her Neck</i>) (ca. 1905–1910) and <i>Dancers </i>(<i>Danseuses</i>)
(ca. 1895). More portable and suited to work en plein air, pastels
could be executed far more quickly than oil painting, reducing the time
required for posing—allowing Impressionists to capture elusive qualities
of their subjects. Diverging radically from the painterly style of the
Impressionists, these artists preferred a looser, sketch-like appearance
that infused the work with vibrant, lifelike qualities. A crowning
moment of this section is a striking array of pastels by Eva Gonzalès (<i>La Femme en rose</i> [<i>Jeanne Gonzales</i>], 1849), Mary Cassatt (<i>Sarah in a Large Flowered Hat, Holding Her Dog</i>, ca. 1901), and Berthe Morisot (<i>Toilette</i>, 1873). </p><p style="text-align: left;">Due
to its dual nature of drawing and painting, pastel became a favorite
medium of artists of the 20th century, like Salvador Dalí (<i>Oedipus Complex</i>, 1930) and Odilon Redon (<i>Orpheus</i>,
1905), who pushed the medium to a new realm of possibility by
experimenting with unprecedented gestural and chromatic freedom. Artists
embraced pastel at every step of the creative and design process, as
seen in Richard Diebenkorn’s blocking of early ideas in sketchbooks (<i>Page 73 from Sketchbook #8</i>, 1943–1993); Ernst Ludwig Kirchner’s use in preparatory studies (<i>Woman in the Studio</i>, ca. 1913); full-scale cartoons by Diego Rivera (<i>Untitled</i> [<i>Head of the figure Music]</i>, ca. 1922); and finished works by Joan Mitchell (<i>Pastel</i>, 1991).</p><p style="text-align: left;">Focusing
next on the impact of pastels on California artists, the exhibition
concludes with a look at the influence of the medium on postwar and
contemporary local artists. In these final galleries, visitors are
greeted by a monumental drawing by Enrique Chagoya (<i>Thesis/Antithesis</i>, 1989) and a selection of four works by Wayne Thiebaud. A trompe l’oeil by Claudio Bravo (<i>Package,</i> 1967) and a recent acquisition from <i><a href="https://www.famsf.org/press-room/fine-arts-museums-san-francisco-announce-de-young-open-open-submission-exhibition">The de Young Open</a></i>—<b>Donna Anderson Kam’s large scale<i> dateline: (08-07) 16:22 PDT Trona, CA (AP)</i> (2020), showcasing a homeless youth encampment—joins these works in the final gallery. </b></p><p style="text-align: left;"><b><a href="https://twitter.com/legionofhonor?lang=de">@legionofhonor</a> \ <a href="https://www.instagram.com/explore/tags/earlyrubens/"> legionofhonor.org</a></b></p><b></b>anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-76809632608351713532021-01-26T16:36:00.003-08:002021-09-22T18:58:58.451-07:00ACQUISITION ANNOUNCMENT<p> <br /></p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ1G1VbqJkp-r9TqOCCti7sT6aJTIZKd0tlCto7eBhysJ27WBd4V4v7Xk6TV_CTja8F36oQqOslGAzHyW8dG6alhP3yM02SMW1voU7USGHXgnZGPO5EKPYfUXFzc1qQNh65AIcvUB03ciC/s1268/2U4A0992-2+w+black+line+for+annou.tiff" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="682" data-original-width="1268" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ1G1VbqJkp-r9TqOCCti7sT6aJTIZKd0tlCto7eBhysJ27WBd4V4v7Xk6TV_CTja8F36oQqOslGAzHyW8dG6alhP3yM02SMW1voU7USGHXgnZGPO5EKPYfUXFzc1qQNh65AIcvUB03ciC/w512-h276/2U4A0992-2+w+black+line+for+annou.tiff" width="512" /></a></div><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p> </p><p><span style="font-size: large;">I'm delighted to announce the acquisition of my recent drawing, <i>dateline: (08-07) 16:22 PDT Trona, CA (AP)-</i> by the <b>Fine Arts Museums of San Francisco's Achenbach Foundation for the Arts.</b> This piece as well as a second artwork were chosen to be exhibited in, <b><i>the de Young Open</i></b> October 10- January 3, 2021</span></p><span style="font-size: large;">Thank you to all my supporters. There is nothing better than recognition from curators, fellow artists, friends and patrons.<br /></span>anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-18925678184553550862020-11-17T15:55:00.006-08:002020-11-17T16:16:34.170-08:00The de Young Open<p> </p><h1 class="h1">The de Young Open</h1><h5><div class="view view-exhibition-dates-field view-id-exhibition_dates_field view-display-id-entity_view_1 view-dom-id-9f3ed0c150db27e6030f6c40aa189a28">
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<div class="views-field views-field-views-conditional"><h2><span class="field-content"><h5 class="h5" style="text-align: left;"><span class="date-display-start">October 10, 2020</span> – <span class="date-display-end">January 3, 2021</span></h5></span></h2><h2><span class="field-content"><h5 class="h5" style="text-align: left;"><span class="date-display-end">De Young Museum, San Francisco, California </span></h5></span></h2> </div> </div>
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</div></h5><div style="text-align: left;"><h4 style="text-align: left;">In celebration of the de Young museum’s 125th anniversary, the Fine Arts Museums of San Francisco are hosting <i>The de Young Open</i>. <i>The de Young Open</i> continues the museum’s long-standing tradition of engaging the local community and showcasing the talent of Bay Area artists. </h4></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnhNIhjX4NZ1gYfnQ2baB646vPvesF0xmyWY2ojX3evuQZEbIGYQrkkmCmNYz_07coZjyg3oAAb9ByKS1A2_yPtp16jgiHO7OwIC2l4IWmfXBCiKWszCI94RcbbAeL_Fhkd6H3fsUDRVqc/s2048/%252808_07%252910_08Tronacolor.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1098" data-original-width="2048" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnhNIhjX4NZ1gYfnQ2baB646vPvesF0xmyWY2ojX3evuQZEbIGYQrkkmCmNYz_07coZjyg3oAAb9ByKS1A2_yPtp16jgiHO7OwIC2l4IWmfXBCiKWszCI94RcbbAeL_Fhkd6H3fsUDRVqc/w548-h294/%252808_07%252910_08Tronacolor.jpg" width="548" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">dateline: (08-07) 10:08 PDT Trona, CA (AP)- </td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOOjCt37zlWv0A4MIEm9202WnCBolwiShsDdFB6ox3WFlfgvT0rZa70E6qKwZp0Wadbp3JbIkiIOYQH9xTkcl4TYPwkCO_qoFAgeBXebmHosrlNj1spwhEESDH4W8wehUh_6UAXon5kvPz/s2048/%252808_07%252916_22Trona_colorB.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1115" data-original-width="2048" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOOjCt37zlWv0A4MIEm9202WnCBolwiShsDdFB6ox3WFlfgvT0rZa70E6qKwZp0Wadbp3JbIkiIOYQH9xTkcl4TYPwkCO_qoFAgeBXebmHosrlNj1spwhEESDH4W8wehUh_6UAXon5kvPz/w545-h295/%252808_07%252916_22Trona_colorB.jpg" width="545" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">dateline: (08-07) 10:08 PDT Trona, CA (AP)- <br /></td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDZw85XxwXckHgiAYyAxTZtqGUoJ2hjbdPsPntURB9EHRH0dYGYvxyLzQVG79zixjv06jhQpG4Svts1bYDhgIJJGCPgmYEfkBtKq70AjnwBO7Hn0jOCGZavZ-Lh59izYqBUXzHVDIXYFhO/s1920/+Donna+Anderson+Kam_deYoung+Open_%252301_%25C2%25A9Henrik+Kam+2020.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDZw85XxwXckHgiAYyAxTZtqGUoJ2hjbdPsPntURB9EHRH0dYGYvxyLzQVG79zixjv06jhQpG4Svts1bYDhgIJJGCPgmYEfkBtKq70AjnwBO7Hn0jOCGZavZ-Lh59izYqBUXzHVDIXYFhO/w529-h352/+Donna+Anderson+Kam_deYoung+Open_%252301_%25C2%25A9Henrik+Kam+2020.jpg" width="529" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpqDpy6f1d9v-YKOiXPOl0Dr41e1Htey6F8Z3bdhMkShWspEHi8neOw3IdRWRv5ISVHCYTxEhtq0DLvd8BmuvnghmC2fHEi0bNXtoNKzA-cZCOL02nXKKVWaPG_Nhn6mTDJQvbXmdLZ6FV/s1920/+Donna+Anderson+Kam_deYoung+Open_%252310_%25C2%25A9Henrik+Kam+2020.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1920" data-original-width="1221" height="829" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpqDpy6f1d9v-YKOiXPOl0Dr41e1Htey6F8Z3bdhMkShWspEHi8neOw3IdRWRv5ISVHCYTxEhtq0DLvd8BmuvnghmC2fHEi0bNXtoNKzA-cZCOL02nXKKVWaPG_Nhn6mTDJQvbXmdLZ6FV/w529-h829/+Donna+Anderson+Kam_deYoung+Open_%252310_%25C2%25A9Henrik+Kam+2020.jpg" width="529" /></a></div><br /><br /><h3 style="text-align: left;"><br /> <div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjchV7HrKY0XX9BqfEbI2OIs1Le503LEwC6sPVdX_O1vDAHR3R9x87K24EqsdlYbzRhvEyU-9vW5ktyI7Km0ejcuneixR23oEauNuCPv9WVz1LUPFw0hI8iE5cEzupk0XoX7XBcUraKhnrm/s1920/+Donna+Anderson+Kam_deYoung+Open_%252308_%25C2%25A9Henrik+Kam+2020.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1920" data-original-width="1215" height="865" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjchV7HrKY0XX9BqfEbI2OIs1Le503LEwC6sPVdX_O1vDAHR3R9x87K24EqsdlYbzRhvEyU-9vW5ktyI7Km0ejcuneixR23oEauNuCPv9WVz1LUPFw0hI8iE5cEzupk0XoX7XBcUraKhnrm/w547-h865/+Donna+Anderson+Kam_deYoung+Open_%252308_%25C2%25A9Henrik+Kam+2020.jpg" width="547" /></a></div><br /></div></h3><h3 style="text-align: left;"></h3><p></p><p></p> <p></p><h5 style="text-align: left;"></h5>anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-64889602179741555722020-01-27T18:49:00.000-08:002020-03-23T18:52:08.767-07:00The Beginning of Everything : An Exhibition of Drawings <div dir="ltr" style="text-align: left;" trbidi="on">
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<b>The Beginning of Everything : An Exhibition of Drawings</b></div>
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<b></b>Katherine E. Nash Gallery at the University of Minnesota<br />
Regis Center for Art, January 21 - March 28, 2020<br />
Public Reception and Program : January 25, 6 - 10pm</div>
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<i>When I see a white piece of paper, I feel I’ve got to draw. And drawing, for me, is the beginning of everything.</i> - Ellsworth Kelly</div>
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<tr><td class="tr-caption" style="text-align: center;">dateline: (07-08) 11:28 CST Winona, MN. (AP)--</td></tr>
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Drawing is, in many ways,
the most versatile of all artistic mediums. It can serve as the
beginning of an idea, the beginning of a more ambitious project, or the
beginning of a completed artwork unto itself. Because drawing is so
elemental, so direct, such a primary means of expression, it is
cherished by artists and audiences for its immediate and intimate access
to the possibilities of creative expression.<br />
Howard Oransky, Director, Katherine E. Nash Gallery <span style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"></span><br />
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Katherine E. Nash Gallery
at the University of Minnesota presents <i>The Beginning of Everything: An Exhibition of Drawings</i>,
January 21 – March 28, 2020. This group exhibition surveys a broad
range of approaches to drawing, and includes works from a wide variety
of geographies, time periods, and esthetic perspectives.
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The exhibition includes
works by Francis Alÿs, Edgar Arceneaux, Wendy Artin, Deborah Aschheim,
Melanie Baker, Leslie Barlow, Will Barnet, Circle of Federico Barocci,
Harriet Bart, Frank Big Bear, Robert Bechtle, Kim Beck, Paula
Modersohn-Becker, Hazel Belvo, Melissa Cooke Benson, Judith Bernstein,
Judith Braun, Rachel Breen, James Boyd Brent, Andrea Carlson, Paula
Champagne, Leona Christie, Christo, Rebecca Clark, Sean Connaughty,
Patricia Coonrod, Robert Cottingham, Bryan Cotton, J.M. Culver,
Stephanie DeArmond, Jim Denomie, Amy DiGennaro, Emily Donovan, Jean
Dubuffet, Mary Esch, David Feinberg, Carole Fisher, Tia-Simone Gardner,
Alice Gauthier, Sheila Ghidini, Mauro Giaconi, Justin Gibbens, Michela
Griffo, William Gropper, Karen Gustafson, Maiya Lea Hartman, Annie
Hejny, Carmen Herrera, Jenny Herrick, Jim Hittinger, Katsushika Hokusai,
Nick Howard, Larassa Kabel, Brad Kahlhamer, Donna Anderson Kam, Shana
Kaplow, Michael Kareken, Caitlin Karolczak, Käthe Kollwitz, Wanbli
Koyake (Francis Yellow), Fay Ku, Alexis Kuhr, Anne Lindberg, Kristen
Lowe, Joyce Lyon, Kevin Martin, Henri Matisse, Lynda Monick-Isenberg,
Clarence Morgan, Nyeema Morgan, George Morrison, Reuben Negron, Stuart
Nielsen, Gwen Partin, Max Pechstein, Alex Petersen, Lamar Peterson,
Sonja Peterson, Giovanni Battista Piranesi, Dave Reed, Diego Rivera,
Nancy Friedemann-Sánchez, Kristen Sanders, Megan Scheffer, John
Schuerman, Lauren Seiden, Amy Sillman, Joe Sinness, Laura Stack, Emily
Swanberg, Priya Thoreson, Jonathan Thunder, Tonja Torgerson, Amanda
Valdez, Aaron Van Dyke, Paolo Veronese, Megan Vossler, Russ White, Dyani
White Hawk, Cosmo Whyte, Jody Williams, Diane Willow, Judith Yourman,
Mathew Zefeldt.<br />
<b>GALLERY HOURS</b><br />
Gallery hours are 11:00 AM - 7:00 PM | Tuesday - Saturday</div>
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anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-33919345768423737072019-02-12T13:21:00.001-08:002019-03-07T15:29:45.731-08:00 “Fall-out Shelter” Gallery 60six annex <div dir="ltr" style="text-align: left;" trbidi="on">
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This 60SIX group show of paintings, drawing, sculpture, photography and video, features work around the theme of art as “fall-out shelter”... A place to contain or release energy. The exhibition takes place in an actual yoga studio housed in a historic artist live/work space. Notable musicians and artists have lived and worked in 455A Valencia, such as 60SIX artist and composer, Peter Whitehead, violinist, singer, Carla Kihlstedt and performer, comedian Whoopi Goldberg. <br />
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In Leigh Barbier’s drawing, “The Watcher” a cyclops-like woman observes the room, a quiet but powerful presence. She is exposed but modest. Both victim and heroine, she has balls…for hands. Suppression of power, containment of power, forces reaching in to steal or heal are illustrated in Barbier’s surrealistic work. Sally Smith’s drawings contain cathartic alchemy. In the large drawing “Golden Shower” she concocts the charcoal by burning pages from Trump’s “Art of the Deal”and Playboy magazine, mixed with urine, and uses a template of a drain cover to create a rhythmic vibrating field. <b>Donna Anderson Kam’s</b> drawings juxtapose her subjects’(young girls) delicacy and innocence with a graphic toxicity, speaking to our living with a large level of daily denial. Oliver DiCicco’s kinetic sculptures are styled in a purist modernist form, which contrasts with the unpredictable randomness of their sound and motion. German artist Jürgen Trautwein’s video piece called “gif me a break” gives a nod to philosopher Jean Baudrillard’s ideas, questioning (among other things) whether humans will eventually become machines. Brent Willson presents a large abstract painting, “Entropica,” reminiscent of the painter Albert Oehlen’s energetic, automatic painting style.<br />
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Other artists include Heike Liss, Isabelle Maynard, Steve Molnar, Anne and Laina Terpstra, Dave King and Peter Whitehead.<br />
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Gwen Terpetra, gallery owner <br />
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anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-9714263645897738542017-11-26T15:21:00.000-08:002017-11-26T15:21:04.143-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
16th Annual Art Auction, Root Division, <br />
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(07-08) 03:07 CST Winona, MN. (AP)--<br />
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October 26, 2017 San Francisco<br />
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anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-9607448558172676232016-11-19T11:48:00.002-08:002016-11-19T11:53:29.356-08:00Commision Completed!<div dir="ltr" style="text-align: left;" trbidi="on">
I MUST say, it feels very good to tell you all "it's finished"!<br />
all 45"x90" <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHuPV0X0D9Uw4HnW1Z_g9xhR1mmeEMn2_eO19BPRvA_7jndhsKsswIQifoY-EN_t_U6osdt5SyqasywIZC8_f_bJs8HRn1y4yBehZl_EN7bEz8B6KX8uLV8KXJEnxZV1qYLFvT2GHe96n7/s1600/Annemarie+123+copy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHuPV0X0D9Uw4HnW1Z_g9xhR1mmeEMn2_eO19BPRvA_7jndhsKsswIQifoY-EN_t_U6osdt5SyqasywIZC8_f_bJs8HRn1y4yBehZl_EN7bEz8B6KX8uLV8KXJEnxZV1qYLFvT2GHe96n7/s400/Annemarie+123+copy.jpg" width="400" /></a></div>
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Now..."back to work"</div>
anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-56017623398909023242016-10-24T17:12:00.000-07:002016-10-24T17:22:45.593-07:00American Institute of Architecture, San Francisco (AIASF) Exhibition<div dir="ltr" style="text-align: left;" trbidi="on">
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During the annual "Architecture and the City" Festival at the AIASF offices San Francisco, An exhibition curated from the Recology San Francisco Residency Collection will be installed and open to visitors. The exhibition focuses on the issues of sustainability.</div>
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The Offices are located at 130 Sutter Street, Ste. 600. The show will be up until November 18.</div>
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For a full list of artist's and their work: </div>
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https://www.flickr.com/photos/artatthedump/sets/72157654798162723 </div>
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anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-56278806551905203462016-02-28T14:50:00.000-08:002016-02-28T15:19:59.962-08:002016 Archive Project / MFA NEVER<div dir="ltr" style="text-align: left;" trbidi="on">
Root Division San Francisco, Publication: "MFA NEVER, 2016 Archive Project"<br />
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anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-29324509955053994612016-02-07T17:26:00.003-08:002016-03-09T16:57:08.142-08:00MFA NEVER at Root Division, San Francisco <div dir="ltr" style="text-align: left;" trbidi="on">
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MFA <i>Never</i></h3>
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<span style="font-weight: normal;">Root </span><i>Division, San Francisco, Feb. 10-27</i></div>
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<i><i>Review: </i>Sarah Hotchkiss<i>, KQED Arts:</i></i><br />
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<i><i> </i>MFA NOW, </i>an annual juried exhibition of work by current Bay Area MFA candidates, has been a staple of Root Division's program for the past four years. But in the "age of $120,000 art degrees, what about those who opt out of the academic machine? Juried by Rhiannon Evans MacFadyen, Donna Napper and Brion Nuda Rosch. <i>MFA Never </i>includes artists who's names might surprise some, considering how established they are within the Bay Area art scene. But then that's the whole point - an MFA is not a sure path towards success, or even a sign of artistic accomplishment. Bravo to Root Division for entering this ongoing and vital conversation.</div>
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<b><span class="fsl"><span class="text_exposed_show">2nd Sat Reception: </span></span></b></div>
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<b><span class="fsl"><span class="text_exposed_show"> Saturday, February 13, 2016 - 7:00pm to 10:00pm</span></span></b></div>
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<b><span class="fsl"><span class="text_exposed_show"> Exhibition Dates: </span></span></b></div>
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<b><span class="fsl"><span class="text_exposed_show"> Feb 10, 2016 to Feb 27, 2016</span></span></b></div>
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<b><span class="fsl"><span class="text_exposed_show"> Gallery Hours (or by appointment): </span></span></b></div>
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<b><span class="fsl"><span class="text_exposed_show"> Wednesday-Saturday, 2-6pm</span></span></b></div>
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<span class="fsl"><span class="text_exposed_show"><span class="fsl"><span class="text_exposed_show"><span class="fsl"><span class="text_exposed_show"><br /> Jizell Albright<br /> Donna Anderson Kam<br /> Melissa Bolger<br /> George-Ann Bowers<br /> Michelle Brandemuehl<br /> Craig Calderwood<br /> Randy Colosky<br /> Kerri Conlon<br /> Art for a Democratic Society<br /> Lauren DiCioccio<br /> Lisa Espenmiller<br /> Georgia Hodges<br /> Michael Ifland<br /> Rudy Lemcke<br /> Stephanie Metz<br /> Midori<br /> Jeff Morris<br /> Joel Daniel Phillips<br /> Alice Raymond<br /> Roz Ritter<br /> D.B. Ryan<br /> Ron Moultrie Saunders<br /> Andy Vogt<br /> Ven Voisey<br /> Aaron Wojack</span></span> </span></span></span></span></div>
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<span class="fsl"><span class="text_exposed_show"><span class="fsl"><span class="text_exposed_show">MFA Never was
conceptualized by Rhiannon Evans MacFadyen, to create opportunity for
underrepresented artists, those who are unaffiliated with alumni
networks, and may have not had the debut opportunity offered by the MFA
Thesis exhibition. MacFadyen is the founder of A Simple Collective, a
contemporary arts organization dedicated to, "access, equality,
ingenuity, creativity, and independence."<br /> <br /> Every artist who
submitted to MFA NEVER will be featured in the MFA NEVER archive
catalogue. The book includes information about each contributing artist
and a compilation of essays by Root Division staff, and the panel of
exhibition jurors, serving to unpack some of the issues surrounding
decisions to not pursue higher education.</span></span></span></span><br />
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anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-65499143654885643642015-10-04T11:46:00.000-07:002016-03-09T17:43:52.982-08:00"HERE" Exhibition, THE MUDROOM AT OCEAN BEACH, San Francisco<div dir="ltr" style="text-align: left;" trbidi="on">
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<b>Curated by Georgia Hodges & Leigh Barbier </b></h3>
<h4 style="text-align: left;">
<b>Here is an exhibition featuring 20 Bay Area artists celebrating place and process in an unconventional setting. </b></h4>
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1379-1381 43<sup>rd</sup> Ave @ Judah, Outer Sunset
District, SF</div>
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Friday, October 2 – Sunday, October 24<sup>th</sup>.</div>
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CERAMIC SCULPTURE & FUNCTIONAL WARES</div>
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PAINTINGS</div>
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INSTALLATIONS</div>
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PERFORMANCE</div>
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ART HAPPENINGS:</div>
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(Rough Schedule of Events)</div>
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OPENING PARTY:<span style="mso-spacerun: yes;">
</span>FRIDAY EVENING, October 2<sup>nd</sup> 6-9pm</div>
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MUSIC:<span style="mso-spacerun: yes;"> </span>FRIDAY
EVENING, October 9<sup>th</sup>, 7-9pm</div>
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SPOKEN WORD/READINGS:<span style="mso-spacerun: yes;">
</span>THURSDAY EVENING, October 15<sup>th</sup> 7-9pm</div>
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CLOSING PARTY:<span style="mso-spacerun: yes;">
</span>SUNDAY AFTERNOON, October 24<sup>th</sup><span style="mso-spacerun: yes;"> </span>2-5pm</div>
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Visitation/Tour Hours:<span style="mso-spacerun: yes;">
</span>Tuesdays, Thursdays and Saturdays 11am-6pm</div>
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And by appointment.<br />
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http://www.artbusiness.com/1open/100315.html<br />
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<b>The Mudroom at Ocean Beach: Here</b><br />
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<b>Artists:</b> Donna Anderson Kam, Leigh Barbier, Leo
Bersamina, Milan Blackwell, Charlie Callahan, Julie Cloutier, Frances
England, Homer Flynn, Alicia Guckenheimer-Harrell, Georgia Hodges, Doug
Jacuzzi, Henrik Kam, Elizabeth Medrano, Michael Nicholas, Johanna St.
Clair, Dan Stingle, Gwen Terpstra, Linda Trunzo, Emilie Valentine, Peter
Whitehead.<br />
<br />
<b>Comment by AB:</b> You wouldn't think a place like
this could still exist in San Francisco-- a completely bombed-out house,
the facade looking like something out of a grade B horror film. But
it's really kinda kicky inside, existing for the time being as some kind
of an "art compound" complete with chickens in the backyard. The
atmosphere is warm and convivial with artistic oddities on display
everywhere.<br />
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anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-25094464493759096122015-06-14T18:50:00.001-07:002015-07-10T16:58:07.598-07:00New 25th Anniversary Exhibition and Publication of "Art at the Dump; The Artist in Residence Program and Learning Center at Recology" <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://www.blurb.com/b/6240341-art-at-the-dump" target="_blank"><img alt=""Art at the Dump"" border="0" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja57DzVGuz7COCh8fAkAum_9ZHFj9j9hHr37jF8LAybGZqUAlrKpw59mAuqUQ9kQPgjfZK13rReJXwDpNLks9GQNRxOGMEj6xA6i2Dk6t_5uCRJdx1HGABTpPzwR9FUdKbWRhKlrnhJMWB/s320/Art+at+The+Dump+2015.jpg" width="320" /></a></div>
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<br />
Introduction: Deborah Munk<br />
Editor: Sharon Spain<br />
Publication design: Micah Gibson<br />
<br />
Exhibition: Make Art, Not Landfill, Thoreau Center for Sustainability, San Francisco, CA<br />
June 8 - September 10, 2015 <br />
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anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-66191546715872200412015-03-13T09:57:00.001-07:002015-03-13T09:57:13.090-07:00The Art of Recology March 9-20, 2015 Voila! Gallery, Los Angeles, CA<div dir="ltr" style="text-align: left;" trbidi="on">
My work in a group show: <i>The Art of Recology </i> March 9-20, 2015 Voila! Gallery, 518 N. La Brea Ave. (near Melrose), Los Angeles, CA<br />
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Hours: Tues-Sat 9am-5:30pm. By appt Sun and Mon.<br />Closing reception Friday, March 20, 7-10pm <br />
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anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-26048697653115237702014-12-07T17:31:00.001-08:002014-12-07T17:35:31.238-08:00Opening at A.I.R. New York, Thursday Dec. 4<div dir="ltr" style="text-align: left;" trbidi="on">
Thank you Bernadette and Leigh for going to the opening,<br />
wish I had joined you!<br />
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<br />
Making and Taking: “Pictures” Reconsidered<br />
A.I.R. Gallery’s 11th Biennial Exhibition<br />
<br />
December 4, 2014 - January 3, 2015<br />
<br />
Opening Reception: Thursday, December 4, 6-9pm<br />
<br />
<a href="http://airgallery.org/#0_1" target="_blank">A.I.R. Gallery</a>, 111 Front Street #228 Brooklyn, NY<br />
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<b>Making and Taking: “Pictures” Reconsidered</b>, curated by Nancy<br />
Princenthal, is an exhibition of thirty–three artists of diverse<br />
backgrounds, from the United States, Canada, and Israel. <br />
Nancy Princenthal writes: This biennial results from an open<br />
invitation to female artists “investigating the intersection of hand<br />
produced and photographic pictures.” <br />
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<b>Artists: </b>Temme Barkin - Leeds, Kristi Beisecker, Susan Carnahan,<br />
Sophia Chai, Melissa Cowper-Smith, Erin Kyle Danna, Torrie Fox,<br />
Margery Freeman Appelbaum, Rose Frisenda, Kristin Furbeck,<br />
Karine Giboulo, Shohreh GolAzad, Susan Hambleton, Jasmine Higbee,<br />
Monica Hopenwasser, Donna Anderson Kam, Kharis Kennedy,<br />
Jessica Ma ia, Erika Mahr, Kate McCammon, Ali Miller, Yasaman Moussavi,<br />
Josefa Mulaire, Ilona Pachler, Caroline Parks, Rebecca Shavulsky,<br />
Amy Swartele, Sarah West, Amanda Wild, Jeanne Wilkinson, Suly Wol ,<br />
Greta Young, Mary Zompetti</div>
anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-54567752504996749432014-11-16T16:43:00.000-08:002014-11-16T16:43:15.522-08:00Chosen for: A.I.R. Gallery’s 11th Biennial Exhibition! Brooklyn, NY<div dir="ltr" style="text-align: left;" trbidi="on">
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A.I.R. Gallery’s 11th Biennial Exhibition!</h1>
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<abbr class="date time published" title="2014-10-11T14:00:02-0500">October 11, 2014</abbr> <span class="categories"><a href="http://airgallery.org/category/news/" title="View all items in News">News</a></span> </div>
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<img alt="Bluebells, 2012, Organic materials exposed with electricity on photosensitive paper, 18in x 24in" class="alignnone wp-image-5185" height="422" src="http://airgallery.org/wp-content/uploads/2014/10/Bluebells-2012-Organic-materials-exposed-with-electricity-on-photosensitive-paper-18in-x-24in-524x760.jpg" width="291" /><br />
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Congratulations to all of the artists who were selected for the 11th Biennial Exhibition!<br />
A.I.R. Gallery is excited to work with Curator Nancy Princenthal in this exhibition!<br />
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Nancy Princenthal is a New York-based critic and former Senior Editor
of Art in America, for which she continues to write regularly; other
publications to which she has contributed include Artforum, Parkett, the
Village Voice, and the New York Times. Her monograph on Hannah Wilke
was published by Prestel in 2010; she has also written essays for
monographs on Michelle Stuart, Shirin Neshat, Doris Salcedo, Robert
Mangold and Alfredo Jaar, among others. She is a co-author of two recent
books on leading women artists, including The Reckoning: Women Artists
of the New Millennium (Prestel, fall 2013). At present, Princenthal is
writing a book about Agnes Martin. She has taught at the Center for
Curatorial Studies, Bard College; Princeton University;Yale University,
RISD, Montclair State University and she is currently on the faculty of
the School of Visual Arts<br />
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The competition was filled with many creative and outstanding artists
and artwork. Out of a total of 785 applications, 43 different artworks
have been selected, resulting in an exhibition of 32 artists. There will
be a variety of photographs, paintings, mixed media, as well as videos.<br />
We look forward to seeing everyone enjoy this exciting collaboration!<br />
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The 11th Biennial Exhibition will have an opening reception on Thursday, December 4th, 2014 from 6-9pm<br />
The show will run from December 4th, 2014 – January 3rd, 2015</div>
anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-65143455963657753762014-11-10T12:12:00.000-08:002015-08-17T14:14:42.012-07:00PUNCH Gallery Exhibition, Seattle Washington<div dir="ltr" style="text-align: left;" trbidi="on">
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Sellected by SuttonBeresCullen, for PUNCH GALLERY :</h2>
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<b>Opening Reception and Awards: 5-8pm</b><br />
<b>First Thursday, November 6, 2014</b><br />
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<b>Exhibition runs through December 20, 2014</b><br />
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<span class="head2">Hours:</span> <br />
Noon-5pm Thurs-Sat, or by appointment. <br />
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PUNCH GALLERY<br />
119 Prefontaine Place South<br />
Seattle, Washington 98104<br />
<b>http://www.punchgallery.org/index.html</b><br />
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<b>Juror's Choice Award</b>:
<span class="title1ar"> </span></h3>
<span class="title1ar">(09-14) 04:28 MST Benson, AZ. (AP) --</span><br />
By: <b>Donna Anderson Kam</b><br />
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<tr><td class="body" valign="top"><span class="head">2014 Juried Exhibition</span><br />
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<b>November 6 - December 20, 2014</b><br />
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<b>Opening Reception and Awards:</b> 5-8pm<br />
First Thursday, November 6, 2014<br />
Awards at 7pm <br />
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<span class="head1">Jurors</span><br />
<b>SuttonBeresCuller</b><br />
John Sutton, Ben Beres and Zac Culler are a trio of artists<br />
from Seattle
who have worked collaboratively since 2000,<br />
when they met as students
at Cornish College of the Arts.<br />
Together they create ways to engage
viewers through<br />
mobile sculptures, street actions, and temporary<br />
site-specific installations. In addition to an extensive<br />
list of
international exhibitions, they are also recipients<br />
of numerous awards,
grants and residencies, and their<br />
work is featured in several prominent
collections. <br />
<a href="http://suttonberesculler.com/bio/" target="_blank">More Info</a><br />
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<span class="head2">Awards</span><br />
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<b>Juror's Choice Award</b><br />
Donna Anderson Kam<br />
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Donna Anderson Kam is a San Francisco based<br />
artist who's work is
exhibited in San Francisco,<br />
Oakland, Los Angeles and New York. Donna
creates<br />
large-scale drawings using photo based imagery to<br />
explore
social issues. Kam sees our culture as one<br />
that is concerned with
economic prosperity in spite<br />
of the consequences. Through media’s
relentless<br />
messaging, we are encouraged to consume as a way<br />
of defining
ourselves, while the environment<br />
becomes filled with waste. Inspired
by stories<br />
gleaned from news articles often relaying tragic<br />
current
events, Kam’s “Datelines” series represents<br />
the psychological tension
and potential dangers<br />
of contemporary life amidst a backdrop of
material<br />
consumption.<br />
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<span class="head2"><b>About the Show</b></span><br />
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PUNCH enthusiastically presents our sixth Juried<br />
Exhibition. A total of <b>520 artists</b> submitted <b>1,902 </b><br />
<b>entries</b> from all corners of the globe. <b>Trophies and </b><br />
<b>awards</b>
will be announced at the opening reception<br />
on November 6 at 7 p.m. And
remember to cast your<br />
vote for the people's choice award when you visit
the show.<br />
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<b>Paul Baughman</b> : Seattle, WA <br />
<b>Gary Beeber</b> : Water Mill, NY <br />
<b>Christer Berg</b> : Raleigh, NC <br />
<b>Phillip Carpenter</b> : Seattle, WA <br />
<b>Krista Cibis</b> : Portland, OR <br />
<b>James Connors</b> : Los Angeles, CA <br />
<b>Jacci Delaney</b> : Columbus, OH<br />
<b>Anna Gianfrate</b> : New York City, NY <br />
<b>Jeffrey Glossip</b> : Shoreline, WA <br />
<b>Sarah Hollingsworth</b> : Seattle, WA<br />
<b>John Holmgren & Nick Conbere</b> : Ellensburg, WA <br />
<b>Donna Anderson Kam</b> : San Francisco, CA<br />
<b>Judith Klausner</b> : Somerville, MA <br />
<b>Dario Santacroce</b> : Venezia, Italy <br />
<b>Gary Schmitt </b>: Indianapolis, IN <br />
<b>Ryann Slauson</b> : Mount Vernon, NY <br />
<b>Allison Stewart</b><b> </b>: Los Angeles, CA <br />
<b>Jennifer Zwick</b> : Seattle, WA<br />
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anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0tag:blogger.com,1999:blog-4901704752733922620.post-52820446450259059512014-06-22T18:15:00.000-07:002014-11-10T16:33:10.589-08:00 "Make Art, Not Landfill" Mills Building, San Francisco<div dir="ltr" style="text-align: left;" trbidi="on">
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<i> Make Art, Not Landfill, </i>an exhibition at the Mills Building, 220 Montgomery Street, San Francisco </h2>
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A selection of my work is included in an exhibition about the Recology Artist in
Residence Program, at the Mills Building, 220 Montgomery Street, San
Francisco.<br />
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The exhibition feature 48 pieces from the programs collection and runs through September 13th 2014</div>
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anderson kam newshttp://www.blogger.com/profile/08969506138172202671noreply@blogger.com0