anderson kam news

SF Recology Artist in Residence Art Gallery

2012-02-02T13:11:00.000-08:00

"Beginning at the End" Recology San Francisco Gallery, January, 2012

2012-02-01T14:20:00.000-08:00

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The Daily Californian | A&E, Monday, January 23, 2012

2012-01-23T08:51:00.000-08:00

Second Chances: San Francisco recycling center hosts sustainable art exhibit

Carli Baker/Staff

By Deanne Chen

Sunday, January 22, 2012 at 8:24 pm
Updated Sunday, January 22, 2012 at 8:42 pm

A garbage facility may sound like a terribly unattractive place to visit — let alone as a subject of artistic scrutiny. Yet this past Friday at a recycling and disposal center, Recology San Francisco, the unique Artist in Residence exhibition turned the notion of waste as useless or ugly on its head. Like the circular movement of the recycling services at Recology SF, local artists the program supports are given priority to sift through the vast piles of junk and reclaim trash into works of art.
The exhibitions of artwork by Donna Anderson Kam, Terry Berlier and student artist Ethan Estess were a diverse range from the surreal (Estess’s mannequin with a backpack overflowing with coffee lid tentacles) to the delicately beautiful (Kam’s rainbow pastel drawings). Overall, the exhibitions were thought-provoking examinations on the environmental impact of waste from a microcosmic level.

While dialogue on green sustainability is nothing new — we all hear from scientists and news op-eds on how reckless human consumption ravages Earth’s ecosystems — what’s striking about the Recology SF art exhibit is its intimate approach to garbage. Formed by everyday knick-knacks, the art highlights the disposable nature of all that we own. The result is a rare feat of connecting individual actions to larger social responsibility without feeling forced — an aesthetic reminder that the mountains of trash in dumps are simply made of objects left by each and every one of us.

The hidden (or ignored) reality of material excess ties the ideals of Recology SF together. “All the artists that come through our program have different experiences, but there’s an underlying theme of surprise and overwhelming unbelief at the amount of materials that we buy and don’t use,” commented Deborah Munk, the director of the Artist in Residence Program. Munk then pointed out that napkins alongside the night’s refreshments were from unopened boxes dumped in 2003.

To look through the peephole in Terry Berlier’s piece “Event Horizon” is to understand the bizarre overload of disposed objects at places like Recology. With scavenged IKEA slats, Berlier constructed layers of wooden octagons that jut out of the wall, with a lamp swinging above. When one peers inside, a mirror reflects the viewer’s eye and the surrounding tunnel into infinite angles, with rings of light traveling across the continuum. The piece is a graceful expression of the surreal, endless excess Berlier witnessed during her residence.

“The first month or two you’re completely overwhelmed, seeing the amount of garbage we create as a society,” recounted Berlier. An assistant professor of sculpture at Stanford, Berlier connected her experience to theories like an event horizon (the point at which light can no longer escape a black hole): “I felt like I was the point of no return. The artists here (at Recology) are like the last moment of scavenging these materials.”

Evident from Berlier’s account, constant exposure to the dump alters an artist’s perspective on how society disposes materials. In “Homespun,” Berlier weaves wooden bedposts into a large chain that snakes in and out of the wall before spiraling across the floor. In effect, the junk left by our domestic lives is projected as an absurd buildup of trash over time.

But if Berlier appears pessimistic about the future of waste, her most interactive piece is uplifting: a circle of playable ivory keys (from an upright piano) wired to a Dell microcontroller and a Mac. Berlier titled the piece “The Beginning and the End Meet,” as it seemed poignant amongst the wasteland of ruined objects. “This whole place for me was about the end, where all these materials end up here,” related Berlier, “But it’s not the end — it has an impact.” With the right mindset, even discarded technology can meld into future designs.

While Recology’s assorted junk is a virtual playground for sculptors like Berlier, it’s a challenge for artists like Donna Anderson Kam. Kam usually creates large-scale pastel drawings, but basic materials like paper were hard to come by as tractors compact piles at the dump. However, she remained enthusiastic towards reusing what others consider garbage. “Everything comes to an end here, and it’s really wonderful to experience that and try to make something new and fresh from it,” said Kam.

Indeed, Kam experimented with collages of advertisements in her process. Typically, Kam photographs young actors performing scenes, then sketches the images. In one piece from Kam’s “Little Hollywood, CA” series, a large canvas portrays disaffected youth rendered with a stunning spectrum of colors, with wild grass cut from a Budweiser ad. The details seem both real and artificial, reflecting a cultural environment where rampant consumerism becomes as natural as fields and trees.
In the end, hope for the future of ecology came from young artists like Ethan Estess. A grad student of interdisciplinary environmental science at Stanford, Estess has a passion for bridging marine ecology and sculpture. “Science writing is structured to be devoid of emotion,” said Estess, “but you can’t make decisions without emotions. Every choice we make comes from our conscious.”

“Hopefully, with my artwork, I can foster that environmental consciousness,” he concluded. And by showcasing the secret life of things we throw away, artists like Estess do just that: They bring matters of conservation science closer to the heart.

2012-01-22T14:52:00.000-08:00

'Trash' exhibit to open at Recology art gallery

Thursday, January 19, 2012

Don Sanchez

SAN FRANCISCO (KGO) -- Don't call it trash! It's art (but it was trash once.)

There's an art gallery at Recology, the disposal center near Candlestick Park, and an exhibition is opening there Friday.
A circular keyboard from an old upright piano, controlled by a discarded laptop... Vinyl sign material that becomes part of an environmental drawing... You can find this stuff in the studios of the two current artists-in-residence.
Their resource is the place where people drop off their trash.
Hundreds of artists have gone through the Recology residence program in 21 years. Some of their works are displayed in a 3-acre sculpture garden. They give tours by appointment and they hope the works might be inspirational.

http://abclocal.go.com/kgo/story?section=news%2Fentertainment&id=8511891

"Beginning at the End" and Even the Windmills are Weakening" at Recology SF's Art Studio Gallery, Friday January 20th

2012-01-22T12:32:00.000-08:00

KQED Arts, January 20, 2012

2012-01-21T11:02:00.000-08:00

Recology San Francisco Enables Artists to 'Make Art, Not Landfill'

By Christian L. Frock | Jan 20, 2012

Recology San Francisco is the only garbage dump in the country that hosts a rotating artist-in-residence program. Artists are granted studio space for four months, along with a stipend and free access to items dropped off in the Public Disposal and Recycling (PDR) area. It is essentially the penultimate dumpster diving experience: anything and everything, from old electronics to musical instruments and every other possible art material under the sun, appears at some point, free for the unlimited taking. Resident artists must use only that which they salvage from the PDR to make new work while in residence. Founded in 1990 by artist Jo Hanson, by the end of this year the Recology San Francisco A. I. R. program will have served 99 artists, including the likes of Val Britton, Packard Jennings, Christine Lee, and Scott Oliver. Current resident artists Terry Berlier and Donna Anderson Kam present the fruits of their labor in a two-day reception in the on-site studio this weekend.

Terry Berlier
The Beginning and the End Meet
Photo: Micah Gibson The residency program is an exercise in resourcefulness and a resounding statement about the surplus generated by consumer culture. Upon arrival, Berlier wondered about the possibility of procuring a piano. Within two days a perfectly suitable upright was brought to the dump and snagged for deconstruction in her studio. A fully functioning MacBook computer dropped off for electronics recycling is among other plethora implemented in the construction of the artist's sculptural new media installations. An assistant professor of sculpture at Stanford University, Berlier took a sabbatical to work in her dump studio. She notes that "the residency has blown up my practice" through the wealth of raw materials available daily as people arrive hourly with carloads of stuff cleared out of their homes, offices and storage spaces. For someone like Berlier, who previously worked with found objects, the residency can be an overwhelming abundance of raw materials for art-making. The anticipated challenge of finding supplies for artists who have more narrowly focused practices can be nerve wracking. But the experience can also lead to new discoveries, such as for Anderson Kam, whose practice prior to the residency focused on drawing on conventional paper. During the residency, she has begun experimenting with new materials, such as the cast-off perforated vinyl advertising skins from transit buses. Oversized cardboard spools have spurred her development of continuous narratives drawn on their circular surfaces.

Donna Anderson Kam
(08-12-2011) 4:47 PDT Little Hollywood, Ca.
Photo: Micah Gibson Beyond the art program, this dump is a surprisingly fascinating place. Despite whatever expectations one might have about messiness, it is very orderly and clean. Even the seagulls are kept in line by a professional Falconer named Indigo who patrols regularly with three exquisite falcons, steering the gulls away from the organic waste and out to the Bay. The facility itself is a model for creative reuse -- a private sculpture garden on site offers sound buffering between the dump and the nearby residential neighborhood known as Little Hollywood. Designed by Susan Leibovitz Steinman (sister to photographer Annie Leibovitz) in 1992, the garden features concrete salvaged from the collapsed Embarcadero Freeway damaged in the 1989 Loma Prieta Earthquake. Resident artists are encouraged to create work for the garden -- to date it houses more than 35 sculptures scattered throughout the three-acre space.

Ethan Estess
Last Dive at the Farallones: 100,000 Marine Mammals Killed Per Year
Photo: Micah Gibson Recycling is, of course, the highest order of Recology San Francisco, followed closely by educational efforts to encourage recycling. Every pound of waste that goes into a landfill has a cost attached to it and, as a for-profit employee-owned company, Recology San Francisco is incentivized to educate the public about recycling efficiently. The artist-in-residence program is an internally funded community-based endeavor that combines actual recycling with public outreach. Other efforts include participation in street parades -- a spotless garage houses an extensive collection of antique garbage trucks -- and more than 150 public tours for adults and children annually. Beyond the work it does locally, Recology San Francisco endeavors to provide a model for other waste management programs by making its business model available as an open source set of guidelines. "Make Art, Not Landfill" reads a stamp on the Recology San Francisco materials, designed to look like a stenciled graffiti tag. The message that we need to recycle for the betterment of the planet is writing on the wall, as it were -- that recycling can also support artists gives new life to an old idea.

Recology Sculpture Garden
Garden designed by Susan Leibowitz-Steinman
Conehead Chairs by Norma Yorba The Artist in Residence Program at Recology San Francisco will host an exhibition and reception for current artists-in-residence Terry Berlier, Donna Anderson Kam and Ethan Estess on Friday, January 20, 2012 from 5-9pm and Saturday, January 21, from 1-5pm. For more information vist sunsetscavenger.com/AIR.

Opening Reception "Beginning at the End" at Recology San Francisco.

2012-01-15T11:03:00.000-08:00

"Beginning at the End"

The past 4 months have been an experience like none other; informative, transformative
and fantastic in the true sense of the word. Now it's time for the show! Please join me at San Francisco's Recology Studio for the exhibition of Donna Anderson Kam Friday, Jan. 20, 5-9 pm. and Saturday, Jan. 21, 1-5 pm.Recology San Francisco is located at 501 Tunnel ave.San Francisco, CA. 94134 415-330-1415 See you there!

http://www.artsourceinc.com/2012/01/

2012-01-04T18:21:00.000-08:00

To Do List: January

Posted on Tuesday January 3, 2012 by Kerri

This month we are highlighting exhibits where artists create work
from discarded or everyday and industrial materials. Then, if you’re
feeling inspired we’ve listed a couple ways you can get creative too.
January 20 & 21st San Francisco Dump, 503 Tunnel Ave, Artist in Residence
Exhibition opening.
Did you know that the SF Dump has an art program? The Artist in Residence Program
at Recology SF is a one-of-a-kind program where artists work for four months in studio
space on site, use materials recovered from the Public Disposal and Recycling Area,
and speak to students and the general public. The program at Recology SF will host
an exhibition and reception for current artists-in-residence Terry Berlier,
Donna Anderson Kam, and Ethan Estess on Friday, January 20, from 5-9pm and
Saturday, January 21, from 1-5pm.

top: Terry Berlier's work and studio bottom: Donna Anderson Kam's studio and

work at the Recology Artist in Residence Program

more than half way, sneak peek!

2011-11-29T21:02:00.000-08:00

found,

sneak peek,

lots of fun, lots of work, lots of "your" amazing junk!!

Week 5!! recology residency, that went fast!

2011-11-04T19:57:00.000-07:00

been spending a lot of time right here....more to come, cozy?

end of week 2, things are filling up!

2011-10-15T16:52:00.000-07:00

4 months to do.....something ?&[^/;* great!

2011-10-06T18:36:00.000-07:00

first week at Recology residency! SO ready!

the clock is ticking, but NO PRESSURE.

visited "California!" at the Berkely Art Center, today: thanks to BAC for a great show.

2011-10-02T16:10:00.000-07:00

SOCAP11 Art Space, Herbst Pavilion, Fort Mason, San Francisco.

2011-09-07T14:12:00.000-07:00

http://socialcapitalmarkets.net/

ART SPACE SOCAP11

This year SOCAP is experimenting with a new approach to knowledge sharing using visual and kinetic learning. We hypothesize that we can share more and move further with our ideas if our minds are stimulated and encouraged on multiple plains of consciousness simultaneously. To test our hypothesis, we have set off two initiatives: we invited artists to share their interpretation of Money + Meaning = ? and we are introducing Show Me Stations which are actions spots for model making available throughout the conference.

INTRODUCING TRACK CURATOR: MAURA DILLEY

My name is Maura Dilley and I’m an Organizational Learning Consultant who relies on the creative arts to engage and teach.
I am in constant pursuit of the “Ah-ha” moment; I believe that peer-to-peer collaboration and sharing are strategic cultural shifts towards a sustainable society. Since 2009, I have been experimenting with collaboration techniques that enable groups to co-learn and co-teach. My approach is iterative and determined by questions such as: Why do we do what we do and if our social-systems functioned differently, would we enjoy superior outcomes?
I design group-learning experiences that capture and leverage collective intelligence for social innovation such as the Show Me Stations you’ll see on the floor at SOCAP11. I look forward to learning with you in September.

Skip Cullen
Painter
www.skip83.com

This body of work attempts to literally and visually map the causes of the 2008 recession. It is an attempt to understand the complexity of the financial system, its interrelated parts, and how recessions occur. I enjoy the audacity of knowing that the act of mapping it is futile but is done anyway. Everyone can relate to being a part of a larger system out of their control. This imagery is also juxtaposed against explosions, weather patterns, and abstract expressionist references. The size of the painting is also quite large which along with the history of abstract expressionism is a reference to the “macho” and manhood in contemporary culture.

I am a conceptual artist who was trained as a painter. Every body of work has different materials and processes which help its meaning. I was born and raised in Cincinnati, Ohio until relocating to San Francisco two years ago. My B.F.A. is from Ohio University and received my M.F.A. from the University of Cincinnati in 2008. The Bay Area is now my home and I currently balance making work and teaching foundations at the Art Institute of Sunnyvale, CA.

Stephen Katsaros
Designer, Inventor, Social Entrepreneur
“NoKero Solar Lamps”
www.nokero.com

From his earliest days, Stephen Katsaros has lived a life filled with innovation. A mechanical engineer with a penchant for competitive ski racing, Steve began his colorful career with the invention of several commercial products for the ski industry. His first brush with “impact inventing” came in 2002 with RevoPower, a motorized wheel for bicycles. In early 2010, he came up with another bright idea – a simple, portable solar light bulb with the potential to revolutionize life for the 1.4 billion people in the world who live without access to electricity. Five months after his first sketch, Steve launched Nokero, a for-profit company that designs affordable solar technology solutions expressly for poor, off-grid communities around the world. He currently holds the title of Chief Inventor and CEO of Nokero International. Stephen has a BS in Mechanical Engineering (BSME) from Purdue University, is a patent agent registered with the US Patent and Trademark Office, and was a non-degree seeking student at the Bard Center of Entrepreneurship at the University of Colorado from 1998-1999. He received the B.F. Goodrich Collegiate Inventors Award in 1995.
Nokero (short for No Kerosene) was formed in June 2010 with a mission to develop safe and environmentally-friendly solar products that eliminate the need for harmful and polluting fuels used for light around the world, and most importantly, are affordable to the communities that need them. Nokero is built on an enterprise model. Wherever possible, Nokero works to partner with local entrepreneurs to provide a compelling small business opportunity, spur local enterprise and reduce poverty, while at the same improving health, greening the environment and empowering communities.

Donna Anderson Kam
Visual Artist
donnaandersonkam.com

I am concerned with the experience of “self” in contemporary society as a political condition; something that society controls or overshadows. In this regard, my drawings reflect the realities of sustaining our culture.

The images in my recent series entitled, datelines, represent the restlessness and ambiguity of modern life
exacerbated by messages from the media. I have chosen to focus this work on the media within the culture of consumption. In these images we see figures drifting through the world as if they are experiencing amnesia. They consume the information without absorbing it. With the potential to represent several realities at once–information and communication–media requires us to suspend personal identity and choice. The confusing, and often contradictory, experience of witnessing and taking in such realities has shaped our culture into one that is concerned with economic prosperity in spite of the consequences. The fragmentary experience of contemporary media has resulted in information overload and a cultural identity crisis.
My intent has always been to make a drawing with photography as a point of departure. I cast young actors to retell stories of recent news events taken from print and online media. I choreograph situations in the studio to photograph. The captured images are edited, with information erased or activated and combined with photographs taken of the detritus from neighborhood streets. Each element is chosen carefully, each a piece in the narrative puzzle. The resulting collages become studies for life size drawings in pastel, some as large as 52 x 96 inches. These drawings exist as biographies of the modern social experience.

Karrie Hovey
Multi-Media Artist
www.karriehovey.com
info@karriehovey.com
Karrie Hovey re-creates natural landscapes with the bi-products generated from our “Buy-Product” retail obsession.

The brand-name goods we recognize and covet emerge as the source materials used to create the works. The waste-stream produced from our consumer culture is immense and is expanding with the release of each passing season’s wears. Although the seasons change and the newness fades, the plastics will be with us forever. Our insatiable desire to purchase “beauty” and to obtain the “new” has removed us from the natural system of organic renewal and replaced it with a continuous cycle of consumption and waste. This system measures “Growth” in financial gains and units moved. Growth is no longer defined in terms of nature or evolution or biology.
The Garden Grows is a series of site specific installations made primarily from discarded and single use plastic, paper, foam, and cardboard.
The artist is available for commissioned works.

Jonathan Wiesblatt
Multi-Media Artist
www.onselfportrait.com

What kind of world shall we create together?
How are we sharing our unique gifts with our people?
These are questions I ask in my life, the answers to which I call our Self-Portrait, which has, at times, had various addresses on the planet as formal public exhibitions.
At this juncture in history, the notion of Self in any healthy culture’s necessarily vital relationship with its art must include the entire web of life, which means a long overdue acknowledgment and integration of all our relations, the wisdom of the indigenous and spiritual traditions–especially by the participants in our planet’s imbalanced culture of technology and domination.
This Self-Portrait Project asserts the inclusion of everything into our expression of the self as responsible participant in the constant conscious creative project we call Life. What happens when this man’s Self-Portrait looks like a tree leaf and a colorful altar of recyclable refuse or an olive pit and a group of people? Who am I in this world?
Please join us in clearing our mental and physical spaces of the pollution distracting us from a life lived in ecological balance. In this laboratory space we will continue to explore ways to transform ourselves and our culture into a more effective support -structure for realizing our visions for a sustainable, integrated Body of Work.

Maura Dilley
Organizational Learning Consultant
www.showmestations.com
Show-Me Stations are walk up distribution kiosks for modeling materials such as clay, paper, glue, pipe cleaners, gizmos, dodads and whatchamacallits. The materials are used to create illustrative examples of newborn ideas. Show Me Stations are found in places where people are thinking such as conferences, workshops and group discussions; they are portals through which people can pull ideas into the physical world. Show Me Stations are a relief point for fatigued verbal descriptions that need density and shape to be understood, shared and enhanced.
The Show Me Stations can take many physical forms, at SOCAP11, they will made of tables, wheels, baskets, hooks and bins. Show-Me Stations were inspired the design thinking framework coined by Stanford’s dschool. They are a place to embrace experimentation, have a bias towards action and to show, instead of tell.

from the SOCAP11's website: http://socialcapitalmarkets.net/money-meaning-impact/

Money + Meaning = ? Exhibition at SOCAP 11, San Francisco

2011-08-31T11:05:00.000-07:00

Two of my large works will be in an exhibition curated by Maura Dilley
titled; Money + Meaning = ? at SOCAP 11, Fort Mason, San Francisco, CA September 7-9
Artists exhibiting include, Skip Cullen, Stephen Katsaros, Karrie Hovey, Jonathan Wiesblatt and myself.

SOCAP is a multi-platform organization dedicated to the flow of capital towards social good. The SOCAP 11 event series connects leading global innovators – investors, foundations, institutions and social entrepreneurs – to build a market at the intersection of money and meaning.

If you are planning on attending this years SOCAP Confrence you already know what a terrific organization they are and if not, you really should check out the amazing lineup of speakers.

learn more about SOCAP 11: http://socialcapitalmarkets.net/

Slected Artist for: CALIFORNIA!

2011-07-28T15:02:00.000-07:00

Berkeley Art Center's Annual Juried Exhibition.
August 20 – October 2, 2011
Opening Reception: Saturday, August 20, 5-8pm

Jurors Chandra Cerrito, Chandra Cerrito Contemporary, and Svea Lin Soll, Swarm Gallery, chose 33 artists from a pool of nearly 300 entries for Berkeley Art Center's annual juried exhibition in all media. The exhibition offers an edgy assortment of contemporary work that represents current issues and present-day artistic practice in our home state.

hybrid fusion

2011-06-03T16:51:00.000-07:00

Intersection for the Arts Presents: Hybrid Fusion

(07-08) 07:30 CST Winona, MN. (AP)--

For less than the price of dinner, you and your friends will taste from a selection of over 50 handmade wines from top California vintners; sample delicious savory offerings from 5 lauded Chefs from noted Bay Area restaurants; enjoy unique desserts and local music; and have the opportunity to take home original art by celebrated Bay Area Artists through an art auction of stunning original artwork organized by Intersection's renowned curator Kevin B. Chen

Mingle and meet the celebrated artists in Chico & Chang, a group exhibition that looks at the impact of Latino and Asian cultures on California's visual landscape through new sculpture, video, and painting: Pablo Cristi, Sergio De La Torre, Takehito Etani, Ana Teresa Fernandez, Mike Lai, Angelica Muro and Juan Luna-Avin, Favianna Rodriguez, Lordy Rodriguez, Tracey Snelling and Charlene Tan.

Plus! the opportunity to bid on a Donna Anderson Kam origional...
sounds good, see you there!

Almost forgot, Sat, Jun 11 | 6pm - 9pm | $50 Early Bird Tickets!

Location

Intersection for the Arts
925 Mission Street at 5th Street in the iconic San Francisco Chronicle Building
San Francisco, CA 94103

http://www.theintersection.org/calendar/index.php?op=view&id=3898

studiovisit volume 13, 2011

2011-04-18T11:05:00.000-07:00

my work can be seen in the newest volume of studio visit magazine published by The Open Studios press and viewable at studiovisit magazine.com Selections for volume (13) were made by Beth Venn, Curator of Modern and Contemporary Art and Senior Curator of the Department of American Art at The Newark Museum.

2011-01-11T14:48:00.000-08:00

I am pleased to announce my 2011 Residency at
Recology San Francisco.

The Artistin Residence Program at Recology San Francisco
is a one-of-a-kind initiative started in 1990 to support Bay
Area artists while teaching children and adults about
recycling and resource conservation. Artists work for four
months in a studio space on site and use materials recovered
from the Public Disposal Area. Over eighty professional Bay
Area artists have completed residencies. The six selected
artists are Scott Kildall, Lauren DiCioccio, Abel Rodriguez,
Donna Anderson Kam, Terry Berlier, and Karrie Hovey.
Alex Nichols is the recipient of the 2011 graduate student
artist residency.

My Residency will start in October 2011 and run through
January2012. I will be sharing the studio with sculpture
Terry Berlier.

awarded a residency:

2010-11-09T16:03:00.000-08:00

It's true! and official. Monday I found out that I was awarded a residency at Recology’s Artist in Residence Program, San Francisco, fall 2011. I'm delighted, excited! Tetanus shots are recommended!
seriously, this is so great!

news:

2010-09-28T13:36:00.001-07:00

happy to find out today that I'll be in the spring 2011 edition of Studio Visit Magazine!

new work:

2010-09-24T09:55:00.000-07:00

(08-07) 10:18 PDT Trona, CA. (AP)-- (version #2)
72" x 50"
pastel on paper

(09-14) 4:28 MST Benson, AZ. (AP) --
72" x 50"
pastel on paper

"Because 64 Crayons Made in the USA." at SUPERFROG Gallery

2010-07-06T11:07:00.000-07:00

At the Opening of "Because 64 Crayons Made in the USA."
Taiwanese artist Yu-Cheng Chou's exhibition at San Francisco's SUPERFROG Gallery curated by Cydney Payton, that opened Saturday 6/26.
Brilliant!

http://www.newpeopleworld.com/arts/yu-cheng-chou-exhibit/

featured on the ARThood home page!

2010-06-30T10:42:00.000-07:00

(09-o4) 6:48 PDT Antioch, CA. (NBC)-- is featured on ARThood

www.arthood.com

ARThood is a new social networking website created by artists for artists, and is open to the creative community. ARThood fosters connections between artists, art students, collectors, curators, creative professionals, educators and enthusiasts. ARThood members can showcase their work online and seek critical feedback by creating their own custom portfolios. ARThood welcomes anyone who creates and everyone who is inspired by art, design, fashion, illustration, performance, photography and video. ARThood collaborates with a host of insiders giving members access to underground blogs and cutting-edge ideas. Join ARThood today and connect with the creative community!

new work

2010-06-03T20:08:00.000-07:00

The Lab: San Francisco, ART SALE AND LIVE AUCTION

2010-03-09T11:27:00.000-08:00

Over 200 original works by some of the most sought-after emerging and established local and international artists, will be on view.

Starting with a free preview :
Thursday March 18 and Friday, March 19,
1:00-6:00 pm

Then the Live Auction:
Saturday, March 20, 2010
6:00-10:00 pm

(08-07) 10:17 PDT Trona, CA (AP)--
18"x 26"
Donna Anderson Kam

2010 Richard C. Diebenkorn Teaching Fellowship Nominee

2010-01-22T10:56:00.000-08:00

NEWS FLASH:
( 01-22 ) 11:04 PDT San Francisco, CA -- Donna Anderson Kam is among a group of eight nominated finalists who are being considered for receipt of the Fall 2010 Richard C. Diebenkorn teaching fellowship in painting at the San Francisco Art Institute.

and she thinks: "that's so cool"

Artists/Curators represented in "In Bed Together" at Royal/T

2010-01-07T12:49:00.000-08:00

In Bed Together is a collaborative show with approximately 50 works by 50 artists submitted by 50 invited art professionals. Artworks include painting, drawing, mixed media, sculpture, video, photography, and performance. Artists with works on view and the full circle of art professional submitters add up to a collaboration of 100 - all receiving equal billing. The point of the exhibition being that each specific role in the art world is critically dependent upon and supportive of the other. Presented together with personal texts, the selections will tell a compelling story of the contemporary art world today.

A Collaborative Exhibition Curated by Jane Glassman

Exhibiting Artists/Curators

Price Latimer Agah, Lee Lynch, Nick Agid, Nathan Mabry, Laurent Ajina, Peter Mays, Lita Albuquerque, Lisa Melandri, Francis Alys, Caroline Messensee, Mecca Vazie Andrews, Kimberli Meyer, Alexandre Arrechea, Daniel Milhaud, Molly Barnes, Marilyn Minter, Linda Besemer, Julie Miyoshi, Suzanne Deal Booth, MOCA, Simmons & Burke, Yasmine Mohseni, JoAnn Busuttil, Lorraine Molina, Kendell Carter, Jim Morphesis, Marie Chambers, Andy Moses, Michal Chelbin, Shirin Aliabadi & Farhad Moshiri, Rosson Crow, Sandeep Mukherjee, Roman de Salvo, Takashi Murakami, Martin Denker . Luke Dubois, Steven Neu, Richard Ehrlich, Thao Nguyen, Fouad Elkoury, Jennifer Nocon, Andrea Feldman Falcione, JoAnne Northrup, Cao Fei, Elizabeth Orleans, Veronica Fernandez, Marc Pally, Danny First, Patricia Parinejad, Lauri Firstenberg, Tom Peters, Andrea Fiuczynski, William Pope, Peter Frank, Amanda, Ross-Ho, Yvette Gellis, Leslie Rubinoff, Dorothy Goldeen, Sterling Ruby, Edward Goldman, Mark Ryden, Homeira Goldstein, Bruce Samuels, Bobbie Greenfield, Amy Sarkisian, Sue Hancock, Cindy Schwartz, Heather Harmon, Eric Shiner, Sandra Vasquez De La Horra, Robyn Siegel, Salomon Huerta, Richard David Sigmund, Deborah Irmas, Stefan Simchowitz, Alex Israel, Mukesh Singh, Donna Anderson Kam, Jennifer Steinkamp, Brooke Kanter, Louis Stern, Marina Kappos, Joel Tauber, Trek Kelly, James Thegerstrom, Robert Kingston, Samantha Thomas, Yumi Kiyose, Roy Thurston, Bettina Korek, Marika Krissman Tsircou, Ilene Kurtz-Kretzschmar, William Tunberg, LACMA, Elinor Turner, Hye Rim Lee, Aya Uekawa, Helen Lewis, Koen Vanmechelen, Kai Loebach, Nicola Vruwink, Justin Lowe, Julie Weitz, Rosa Lowinger, Pae White, Shana Lutker, Miriam Wosk.

In Bed Together Opening

2009-11-30T09:25:00.000-08:00

Royal/T Opening November 20th

2009-11-21T13:28:00.000-08:00

Seldom have I seen contemporary work by an artist working in pastel - - it seems like an oxymoron! The medium is fiendishly difficult but the results have such a fresh intensity. Kam works with live models and the poses she selects are ambiguous and slightly disturbing: I think of artists ranging from Eric Fischl to Philip Pearlstein as reference points. However, Kam's work has a certain "Mean Girls" quality that differentiates it. In a time when so many artists are working with a provisional aesthetic, it's refreshing to see work by a contemporary artist who has mastered the craft of art-making.
JoAnne Northrup: Katie and Drew Gibson Chief Curator, San Jose Museum of Art

"IN BED TOGETHER" at ROYAL/T, Culver City, CA.

2009-11-15T17:18:00.000-08:00

I'm excited to report that, JoAnne Northrup, Chief Curator at The San Jose Museum of Art, has chosen to exhibit my piece: (09-08) 6:47 PDT Antioch, CA (NBC)-- in the upcoming exhibition: In Bed Together, at Royal/T Art Space, Culver City, CA.

If you can make the opening, it sounds like you will be in for a great time!

cheers!
-Donna

What's Next at Royal/T?

On November 20, 2009, Royal/T will debut In Bed Together, a new exhibition curated by Jane Glassman that will showcase the full circle of professionals that comprise the 21st Century arts community.

In Bed Together is the realization of Curator Jane Glassmans vision for a collaborative event featuring 50 works by 50 different artists that have been selected by 50 invited art professionals. The exhibit features a full circle of professionals from within the interconnected arts community including collectors, auction house specialists, educators, curators, museum directors, advisors, critics, journalists, gallerists, and nonprofit leaders, each submitting one piece, presented with thoughtful personal texts and insight as to the purpose of their selection. By bringing together all these key characters in the arts community, In Bed Together will highlight each specific role within the art world that is critically dependent on and supportive of each other. Showcasing an array of art forms, exhibited pieces include paintings, drawings, mixed media, sculptures, videos, photography, and performance art by artists such as Aya Uekawa, Linda Besemer, Cao Fei, and Marilyn Minter. Exploring the symbiotic relationship between all the participants, In Bed Together provides an opportunity to let the art, and the professionals who love it, each tell a compelling story of the vibrant international contemporary art scene today.

The concept for In Bed Together is the brainchild of Jane Glassman, founder of ARTeamLA, a consulting company that provides resources to the art world. Over the past 20 years, Glassman has worked in and around the various art world vocations represented in the show, including artist, collector, journalist, advisor, curator, dealer, gallerist, board member, and director of various non-profit art organizations.

http://www.royal-t.org/

Bay Area Annual 2009 at Sanchez Art Center, Pacifica Center for the Arts

2009-10-20T13:47:00.000-07:00

2009-09-15T10:26:00.000-07:00

The 29th Annual Fall Art Auction at the San Jose Institute of Contemporary Art Exhibition: October 2 – 24; Auction: Saturday, October 24

Online Auction Gallery Now On View

Septmber 2009, SAN JOSE, CA – The Institute of Contemporary Art (ICA) in San Jose is proud to present its signature Annual Fall Art Exhibition and Auction. Now in its 29 th year, this comprehensive exhibition of more than 100 art works by some of the hottest artists in the Bay Area opens with a special member‐only exhibition preview from 5pm to 6pm on Friday, October 2 nd. A public reception is scheduled from 6pm to late during the popular South First Friday Gallery Walk in downtown San Jose’s SoFA arts and entertainment district.

The exhibition culminates with a live auction of spirited bidding on Saturday, October 24 th; doors open at 6pm and auction bidding begins promptly at 7pm. An image gallery of the artwork is now available online at www.sjica.org.

"Check out the whole auction on line, including work by people you know...Henrik Kam, Luis Delgado, and me! All surprisingly affordable, and for a great cause."

-Donna
http://www.flickr.com/photos/sjica/sets/72157622040800832/

"Contemporary Voices in Visual Narrative"

2009-09-03T16:09:00.000-07:00

Utah State University Department of Art Exhibition:
"Contemporary Voices in Visual Narrative"
in the Chase Fine Arts Center's new Studio 102

Aug 31-Sept 26, 2009

“‘Contemporary Voices in Visual Narrative,’ curated by assistant professor Eileen Doktorski, brings together seven artists who are innovative in the realm of narrative art,” said exhibition coordinator Scott Foster. “Their diverse works convey messages that are both timely and personal. Collectively, these works share themes of captivity and isolation. They invite viewers to consider the images and modes of presentation. Visitors who bring thought and imagination to the process of deciphering each work will be rewarded by the content revealed.”

The 2009-2010 Tanner Project “Crossing Boundaries” is a year-long series of art exhibits, theater performances and national and international artists and scholars in presentations at USU.

“Contemporary Voices in Visual Narrative” is a hosted by the Caine School of the Arts and is supported by the Tanner Foundation, the Utah Arts Council and the Utah Humanities Council. Artists with work in the exhibition include Donna Anderson Kam, drawing, San Francisco, Calif.; John Feodorov, sculptural installation and painting, Seattle, Wash.; Joan Fitzsimmons, photography/collage, Hamden, Conn.; Jacek Malinowski, video, Warsaw, Poland; Wendy Red Star, photography, Portland, Ore.; Shawn Richards, painting, Raleigh, N.C.; and Jose Torres-Tama, performance, New Orleans, La.

Art that matters

"The Chalkboard" Salt Lake Tribune, 9,03,09

Utah State's art school is sure to turn heads with its ambititious year-long Crossing Boundaries, an indisiciplinary arts project featuring 50 artists, both visiting and faculty, presenting work that celebrates cultural diversity and sometimes takes critical looks at the inequities in American society.

It kicked off Monday with Jose Torres Tama's pyrotechnic performance piece "Cone of Uncertainty: New Orleans after Katrina," staged in the Morgan Theatre.

Video clips of Torres Tama's work are hanging through Sept. 26 in the Chase Fine Arts Center's new Studio 102 as part of a seven-artist exhibition. "Contemporary Voices in Visual Narrative" uses sculpture, painting and video to reflect on themes of isolation and captivity.

"There's some really challenging work in that studio," said Carolyn Cardenas, USU's art department chairwoman and chief organizer behind Crossing Boundaries.

That’s one way of saying viewer discretion is advised. Take Jacek Malinowski’s video installation HalfAWoman, for example, about a legless woman starring in a shoe commercial.

Check the Tribune's Sept. 13 arts section to read more about this provocative program that will feature three or four public functions, such as roundtables, performances, openings and lectures, a week through the end of the school year. Studio 102 serves at Crossing Boundaries' headquarters with rotating exhibitions.

--Brian Maffly

2, pieces exhibited by Donna Anderson Kam include: "non-potable 2" (shown here) and "toxic" from the "paranoia 1 project".

Art Review: Examiner, San Francisco

2009-07-26T12:42:00.000-07:00

Bay Area Currents 2009, Pro Arts, Oakland

July 22, 7:19 pm

Photo courtesy of Pro Arts

The works by the 11 artists selected for this year’s Bay Area Currents Exhibition at Pro Arts reveal remarkable similarities in subject matter and the visual and structural elements governing their compositions.

Many of the pieces are derived from detritus and trash, amply presented in the images, including Palingenesis: Cherynobyl’s Rebirth (2008) by Adam Friedman, which presents an hourglass shape with the chaos of the ruins of Chernobyl at the bottom funneling upwards to become an ordered pseudo-paradise with palm trees at the top, and Elegy to Trash! Confidence Wanes, by Daniel Healey. Two large pastel works by Donna Anderson Kam depict young contemporary street smart women struggling against political oppression in the midst of gutter garbage and trash.

Although the curator of this exhibit, Kevin Chen, Program Director at Intersection for the Arts, states that these works illustrate a movement away from written text, in truth many of the pieces rely heavily on verbal text and symbols, for example South East Asia (2008) by John Patrick McKenzie, who covers old maps with repetitive graffiti-like tags, and Creamed Chicken and Olives by Anne Vought, a wall piece of colorful cutouts of words and phrases arranged vertically, like “last of,” “teeth,” “sweet,” and “pleas have” (sic).

Other works on view include felted wool sculptures by Stephanie Metz, photographs by Joan Osato and Elizabeth Pedinotti, and an impressive sound sculpture, Resonance, that actually works, by Alex Potts.

Exhibition at Pro Arts at Oakland Arts Gallery
150 Frank H. Ogawa Plaza
Oakland, CA
Show runs from June 23 – July 24

Author: Frank Cebulski

Frank Cebulski is an Examiner from San Francisco.

ART REVIEW: New Times, San Luis Obispo.

2009-07-26T12:27:00.000-07:00

Shades of nude

Figures at the Art Center express the beauty, pathos of the human condition

BY ASHLEY SCHWELLENBACH

PHOTO BY STEVE E. MILLER

The five artists on display in the SLO Art Center’s exhibit “Corpora in Extremis” fulfill the show’s stated purpose of pushing the body to the limits, and they do so in a mad hodgepodge of materials: bronze, acrylics, powdered pigment, oils, glass, synskin. The question is what the figures—portraits painted on glass, silhouettes dangling from the ceiling, tormented faces captured in the act of screaming, summoned to life by men and women whose paths have never crossed—could possibly have in common. The answer is readily evident, even if a Wikipedia summation of the works’ meaning is not.

Curator Gordon Fuglie’s purpose in organizing the show was “just to open the public’s mind about how artists use the figure.” The intention might sound simple if not for the fact that minds, like cans of tuna, are rarely ever opened without a great deal of prying and clatter. As a defensive measure, Assistant Director Muara Johnston designed a pamphlet addressing the question, “What is the difference between nude and naked?” In a censorial gesture that neither the Met, MoMA, the Louvre, the Guggenheim, nor the Getty would ever contemplate, the Art Center conceals select paintings behind a room divider during children’s art classes. Besides smacking of pandering to small minds in small towns, the room dividers generate mixed messages about nudity in art; on the one hand, Fuglie is proud of the exhibit, which features five undeniably skilled and deliberate artists. But someone—Puritan or prude perhaps—deemed the images objectionable content for youthful eyes. You have to wonder if Sandro Botticelli’s “Birth of Venus” or Leonardo da Vinci’s “Vitruvian Man” once upon a time received similar treatment.

But within the work it is astonishing to discover the degree of expressiveness in a simple silhouette or the curve of a back.

“To survive, we as human beings have learned how to read body language,” Joanne Ruggles, painter and Cal Poly emeritus professor, pointed out. While Ruggles has engaged such diverse genres as landscape and still life, the human figure remains at the heart of her work. The handful of paintings that comprise Ruggles’ contribution to the exhibit bespeak sorrow in several manifestations, including resigned grief and disbelieving despair.

“The Sorrow of Man” depicts a hulking male figure, hands drawn to his face, genitals uncaringly exposed. His face is not visible—Ruggles rarely gifts her figures with faces, fearing that they will deprive the image of its universality—but it is impossible to deny the unchecked grief of his pose. She painted her screaming faces in response to September 11, to a world that she believed had gone mad. But her figures’ grief, their hollow eyes, could just as easily express the pain of being diagnosed with a terminal illness or the death of a loved one. Collectively, they could also serve as illustrations for the five stages of grief, most clearly denial, anger, and depression, but also—in one gracefully wrought image of a figure with fingers woven in front of her face, titled “Implorante VII”—bargaining.

“I’ve been able to use the figure to address my fears, my joys, my interests. I would say that every artist in the show is doing the same thing. If you look at the majority of the show, darn little of it is about beauty,” said Ruggles. “If you’ve lived you have exactly what you need to come to these paintings and interact with them.”

While the process of painting is intensely personal for Ruggles, she makes a point of avoiding portraits of particular individuals. Her models, she insists, must express the human condition rather than their own individual story. She draws from a palette almost completely absent of flesh tones, her thighs patches of green or bands of red and blue, creating a figure without any racial identification. In fact, her people might most closely resemble a band of Frankenstein’s monsters, physically distinctive but endowed with an inestimable emotional capacity. Another benefit to her unlikely palette is that the colors tend to de-sexualize the figure, making it easier for viewers to approach the nude form without embarrassment.

PHOTO BY STEVE E. MILLER

Ruggles starts each of her canvases with a wilder, abstract version of the circus of color present within her finished pieces. Chaos, she argues, is easier to negotiate than the terror of a blank canvas. Eventually, she will notice a hand or shoulder slowly emerging from the patchwork, and after this playful interlude she begins to focus her attention on the as-yet unknown human.

“Why the human figure? The human figure is us,” concluded Ruggles. “And there is no better vessel to hold our story. It allows us to tell every story that ever existed.”

Fellow painter Guy Kinnear recalls a passage from Jack London’s White Fang, in which a miner about to be devoured by wolves suddenly realizes what an incredible thing a hand is. The miner’s epiphany is no less beautiful because the hand’s existence has become abbreviated; in fact, it is this duality of beauty and pain that fascinates Kinnear.

“A body is a pretty universal object,” he explained. “We all have one. We all have problems with it. We all care for it deeply. It’s both a frustration and a joy to be in a body.”

The human form has always been central to Kinnear’s work, and he has explored his subject in sculpture (both minimalist and conceptual) and in various drawing and painting styles, though he now favors a neoclassical painting style.

Each of Kinnear’s paintings begins with an issue he intends to explore or address, often from Judeo-Christian script. Then, he begins the task of locating a model interested in that particular story; he is critical of what he regards as the art world’s tendency to view models dispassionately as artistic tools or pieces of furniture and, for this reason, he does not use professional models. Linking his own voice with the model’s perspective is an integral aspect of his process, and he makes a point of engaging his models in dialogue throughout the process. Sometimes, his collaborator will draw from experiences or interests they don’t necessarily share, but which enhance their interpretation of the theme. These interests can be as wildly divergent as superhero comic books, war movies, or a third-century martyr.

The purpose of Kinnear’s artistic explorations is not to reach some sort of happy ending, or even an answer to the questions with which he grapples.

“Things change very quickly. A lot of foundational beliefs are gone,” he said. “We’re trying to discover new traditions, new tribes, new beliefs. How do we live and move through these circumstances and still make the most of things?”

Kinnear’s color palette is austere, and many of the men in his work wear nothing but a loincloth, backs to the viewer. Often, there are strong religious undertones, even when it’s difficult to link a particular image with a specific parable or figure. In the Gray Room series, physical disfigurement becomes a central theme within the work, with one piece depicting a figure in mid-leap, three truncated limbs expressing suffering, absence, and loss. At the time he created the series, both Kinnear and his model were struggling with personal injury, though the leaping figure is not autobiographical.

But Donna Anderson Kam’s seven pastel paintings featuring a single model in various hunched and crouching poses are autobiographical, what she calls psychological renderings of her own fears and anxieties. The paintings are all part of a series titled “paranoia part I,” a post-9/11 response to a national atmosphere charged with fear and uncertainty. Anderson Kam’s nude figure repeatedly exposes her vulnerability, as well as fear.

PHOTO BY STEVE E. MILLER

“It’s sort of that feeling of being in a dream state where you’re caught somewhere and you have something that you’re told will keep you safe, but it won’t,” she explained.

Against an overwhelming expanse of white space, her brunette figure crouches in a primitive, protective stance, sometimes wearing surgical gloves or masks, clutching a cell phone or headphones to her ears, or a headlight strapped to her forehead. The objects become symbols for the futile things that people cling to for security—the technology that can’t save them from terrorist attacks, the masks that afford no protection from the swine flu, the gloves that can’t shield a human from a toxic planet of their own making.

Of the five artists in the show, Anderson Kam’s figures are the most realistically rendered, in flesh tones and with very little abstraction. While the San Francisco-based artist does sometimes turn to other subjects—moving water and tree trunks being of particular interest to her—expressing the human condition is her primary concern, an interest that she believes she shares with the other artists who painted and sculpted the human figure to its extremes.

“Everybody has an immediate response to the figure—in photography, in art,” she explained. “I wanted to do more art that was part of a dialogue with other people, not just for myself.”

Perhaps the exhibit’s most distinctive pieces, material-wise, are the glass portraits and synskin silhouettes produced by Los Angeles-based Peter Liashkov. Unlike the other artists, who expressed a sense of solidarity with their fellow Corpora contributors, Liashkov denies the existence of common ground between his own work and theirs.

“I don’t think it fits at all,” he said, of his work. “I don’t find any affinity with the other artists in the show.”

The painter first began to work with synskin, a translucent fiberglass material, while taking a course in plastics at a trade school in Los Angeles during the late ’70s. He blankets this material in acrylics, iron glimmer, red powdered pigment, glue, charcoal, and earth, fashioning a human form. Around the same time he also began to paint on glass the faces of people he found interesting, and sometimes commissioned visages, producing an estimated 60 such pieces in the last 30 or so years. Three of these portraits are featured in Corpora, their gazes directly confronting the viewer.

The synskin body portraits are something else altogether. The most visible is “Old Man 4,” a salmon silhouette tinted with gray and veined with text from a poem by Michelangelo Buonarroti. The stance is one of resignation, a single hand on the hip a gesture of challenge or acknowledgement of exhaustion. Liashkov began the piece as an investigation into old age, lamenting the fact that the older man’s capacity for feeling matches that of his younger counterpart, even as the vessel weakens.

“The body is cold, but the soul is hot,” describes Liashkov, who is approaching 70. “I’ve watched myself grow from a young man to middle age to old age.” The piece “Unmythic #3” is almost a postscript to the old man piece. A figure has been released from the twisting synskin and drops heedlessly toward the floor, remaining attached to its mooring by the barest of margins. It’s a sad and hapless form, conveying as much vulnerability as Anderson Kam’s surgical mask-clad woman and the pathos of Ruggles’ screaming figures.

PHOTO BY STEVE E. MILLER

The final, but no less significant, contributor to the battery of figures, faces, and silhouettes is Bay Area painter and sculptor Trevor Southey. Corpora primarily features his cast bronze statues, including “Race’s End,” featuring a male torso leaning into an implicit finish line, “Sleep and Sleep,” two figures curled in identical poses of repose though one is blanketed, “Brother’s Keeper,” and “Venus,” which captures the beauty of the female figure.

Comparing the sculptures to the other Corpora work, the dual sleeping forms most embody the themes broadly engaged by the other artists. Curled into a fetal position, the women convey a defenseless quality that many of the other figures in the gallery seem to share. The blanketed form elicits a question mark; is the figure beneath the covering in the clutches of a more final sleep, merely escaping an unfriendly and painful reality, or something else altogether?

For anyone seeking a more complex exploration of the human condition than that offered by Internet status icons—with their near infinite array of happy, confused, flirty, sad, annoyed, or excited faces—Corpora in Extremis is the perfect destination. Provided, of course, you can find your way around the partitions.

Arts Editor Ashley Schwellenbach is a never-nude. Send cut-offs and blue paint to aschwellenbach@newtimesslo.com.

San Luis Obispo Art Center Opening, July 3rd

2009-07-07T11:38:00.000-07:00

Corpora in Extremis (bodies to the limits) featuring artists who have different strategies for the human figure. Curated by Gordon Fuglie, Curator of Exhibitions & Collections
San Luis Obispo Art Center.

Bay Area Currents 2009 Opening

2009-06-26T16:50:00.000-07:00

Bay Area Currents 2009: Artist Announcment

2009-06-09T16:35:00.000-07:00

Dear Artist,

Thank you for applying to Bay Area Currents 2009, a collaboration between Pro Arts and Oakland Art Gallery. We congratulate each of you for what has been an exceptionally strong pool of entries. We would like to share a message from Juror, Kevin Chen:

Selected Artists for Bay Area Currents 2009:

Bert Bergen
Adam Friedman
Daniel Healey
Donna Anderson Kam
John Patrick McKenzie
Stephanie Metz
Billy O'Callaghan
Joan Osato
Elizabeth Pedinotti
Alex Potts
Annie Vought

Bay Area Currents 2009 runs June 23 – July 24. This exhibition marks the beginning of an ongoing collaboration between Pro Arts and Oakland Art Gallery. Beginning with Bay Area Currents 2009, Pro Arts relocates its programming and operations to the Oakland Art Gallery, 150 Frank H. Ogawa Plaza, Oakland (Entrance on Kahn's Alley). We are very excited about the upcoming transition and welcome you to come celebrate with us at the Artists’ Reception, Thursday, June 25, 5 - 8pm. Thank you again for all your support, David --
David Huff
Exhibitions and Programs Coordinator / Curator

Corpora in Extremis, "Bodies at the Limits"

2009-06-09T11:08:00.000-07:00

Grey Wing Gallery, San Luis Obispo Art Center

1010 Broad Street at Monterey
San Luis Obispo, CA. 93401

June 2, - August 2, 2009

Opening in the Grey Wing Gallery on June 2. Corpora in Extremis, features five artists who take figurative drawing and painting in new directions. The exhibition is curated by Gordon L. Fuglie and grows out of his interest in the resurgence of figurative art since 1990. While working at the Loyola Marymount University art gallery in Southern California, Mr. Fugile became aware of a number of artists who using the human figure in new ways. This trend has continued, he says, growing in strength, despite initial resistance to it in the contemporary art world. Corpora in Extremis, Latin for "Bodies at the Limits," is a slice of that trend.

The exhibition features recent work by Joanne Beaule Ruggles, a painter and Emeritus professor of Art, Cal Poly San Luis Obispo; Guy Kinnear, a painter and professor of art at Azusa Pacific University; Peter Liashkov. a mixed media artist from Los Angeles and Donna Anderson Kam a painter from San Francisco; and Trevor Southey, a sculptor from Oakland.

The work in Corpora in Exremis, departs from traditional figurative studies that typically emphasize anatomical adherence. Instead the five artists open up new ways of treating the figure in historical, psychological, spiritual and gendered settings.

Meet the artists at Art After Dark on Friday, July 3, 6-8 pm The exhibit ends on August 2, 2009

The Drawing Center, New York, NY

2009-05-17T17:06:00.001-07:00

anderson kam news

SF Recology Artist in Residence Art Gallery

"Beginning at the End" Recology San Francisco Gallery, January, 2012

The Daily Californian | A&E, Monday, January 23, 2012

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Week 5!! recology residency, that went fast!

end of week 2, things are filling up!

4 months to do.....something ?&[^/;* great!

visited "California!" at the Berkely Art Center, today: thanks to BAC for a great show.

SOCAP11 Art Space, Herbst Pavilion, Fort Mason, San Francisco.

http://socialcapitalmarkets.net/

Money + Meaning = ? Exhibition at SOCAP 11, San Francisco

Slected Artist for: CALIFORNIA!

hybrid fusion

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featured on the ARThood home page!

(09-o4) 6:48 PDT Antioch, CA. (NBC)-- is featured on ARThood

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2010 Richard C. Diebenkorn Teaching Fellowship Nominee

Artists/Curators represented in "In Bed Together" at Royal/T

In Bed Together Opening

Royal/T Opening November 20th

"IN BED TOGETHER" at ROYAL/T, Culver City, CA.

Bay Area Annual 2009 at Sanchez Art Center, Pacifica Center for the Arts

"Contemporary Voices in Visual Narrative"

Art that matters

Art Review: Examiner, San Francisco

Bay Area Currents 2009, Pro Arts, Oakland

ART REVIEW: New Times, San Luis Obispo.

Shades of nude

BY ASHLEY SCHWELLENBACH

San Luis Obispo Art Center Opening, July 3rd

Bay Area Currents 2009 Opening

Bay Area Currents 2009: Artist Announcment

Corpora in Extremis, "Bodies at the Limits"

The Drawing Center, New York, NY