The century of collage that began with George Braque and Pablo Picasso taking wallpaper or newspaper directly to drawing or painting opened a floodgate of exploration and expression making use of diverse materials in concert. Of today’s moment, the seven artists in The Cutting Edge exhibition sharpen their vision employing scissors and wit, glue and gumption. John Hundt, David Jones, Diana Krevsky, Sherry Parker, Kim Smith, Livia Stein, and Shayna Yasuhara each pursue a different vein of inquiry to touch upon the dream, the dreaded, the seductive, and the puzzling. Riotous color, cool text, and fanciful imaginings all call for visual discovery.
Heir to this lineage, John Hundt makes use of vintage printed images to reconfigure the erotic body, to relocate the physical landscape, and to disorient the conventional thought. In the hands of Sherry Parker, the diverse elements seek to coalesce in a bitter-sweet scene of poignancy. And with yet another inflection, one tinged with nostalgia as well as irony, Kim Smith glues and writes to ask directly what is missing, what is lost, and how do we manage to make things whole again.
It is with the bits and pieces from her own drawings and paintings that Diana Krevsky re-imagines psychological landscapes. This transcends a recycling of materials and images to a discovery of new voices in the re-assembled. The taking of an element from previous work to propel a new vision is also common to Livia Stein as seen in etchings re-incorporated in larger compositions.
Livia Stein opens her work to the culture of India where she has had artist’s residencies: the intensity of color, the sensuality of cloth, and the impulse of ornamentation all propel these complex compositions into an abundance of energy and movement. Similarly, Shayna Yasuhara takes on a visual language of a specific culture – but here it is popular culture: the visual language of animé, the sensibility of cute, and the flat, close values of a palette orchestrated in a muted register.
The specificity of palette, the convention of drawing style, and the open expansiveness of space also figure in the work of David Jones. Lending a sense of nostalgia to the found images that are interrupted by the mixing of puzzles, the inconsistent visual narratives themselves take on a dreamlike disorientation so that even in a seemingly completed construction – the scene, the story, the meaning – remain puzzling.
The Art of Living Black, now in its 22nd year, speaks to a long history of social struggles, cultural affirmation, and art making as a transformative practice. As a preview exhibition and self-guided open studio art tour that recognizes Bay Area artists of African American descent, the exhibition contains a vast range of artistic endeavors, styles and media that references forgotten cultural histories, struggles and personal identity. Here, it is the artists’ ability to construct meaning for themselves and others that defines the significance of the work.
This year also recognizes the creative talents of Kelvin Curry and Damon Powell, who were awarded the 22nd Annual Spotlight Artists Award.
The Richmond Art Center would like to express it gratitude and appreciation to the supporters of The Art of Living Black and Steven Hopkins and Henri Schuyers, whose efforts have contributed to the success of the annual Art of Living Black exhibition and the Artists’ Open Studios.
Invented during the birth of the industrial revolution, photography continues to be a critical element of our cultural lifestyle. Its ability to capture time, construct history, and illustrate or manipulate truth and identity helped it climb the ladder of importance in the art world. The evolution of photography is indeed as interesting as the evolution of art itself; with its exciting discoveries and technical progress coinciding with and reinforcing current artistic streams, and social, economic, technological and political events in society.
In the current age of digital manipulation, photography’s once sole aim to represent reality as truth has become optional and even immaterial. It once required technical expertise, specialized equipment and time to create an image. Now it takes less than a second with a mobile phone.
The juried exhibition In Focus on display, provides a diverse selection of 37 insightful and at times emotional images created by California-based artists, reflecting today’s ever-changing society. The selections were made by nationally known Bay Area photographer Judy Dater, who will have a major solo exhibition of her work, titled Only Human, at the DeYoung Museum from April 7 through September 16, 2018.
Juror’s Statement: Judy Dater
Everyone who has ever judged a contest is always faced with his or her own personal taste and biases. Mine range from being more interested in emotionally charged photographs as opposed to abstraction. I also prefer “straight” photography to “manipulated” pictures. This accounts to some degree for the choices I have made. I respond to photographs that speak to me on a visceral level. In the end, I tried to pick images that would represent the best of what was submitted, and that hopefully would make an interesting exhibition. No two people would make the same choices.
In Focus: Current Photography (En Foco: Fotografía Actual)
Galería: South Gallery
Fechas de la Exposición: 16 de Enero – 19 de Mayo de 2018
Inauguración: 3 de Febrero de 2018
Inventado durante el nacimiento de la revolución industrial, la fotografía continúa siendo un elemento crítico de nuestro estilo de vida cultural. Su capacidad de capturar el tiempo, construir historia e ilustrar o manipular la verdad y la identidad le ayudó a aumentar su importancia en el mundo del arte. La evolución de la fotografía es tan interesante como la evolución del proprio arte; con sus descubrimientos emocionantes y progreso técnico coincidiendo y reforzando corrientes artísticas actuales, y eventos sociales, económicos, tecnológicos y políticos en la sociedad.
En la era actual de la manipulación digital, el único objetivo de la fotografía de representar la realidad como verdad se ha convertido en algo opcional e incluso inmaterial. En un determinado momento, se requirió experiencia técnica, equipo especializado y tiempo para crear una imagen. En contrapartida, actualmente se lo lleva menos de un segundo con un teléfono móvil.
La exhibición jurada In Focus (En Foco) presentada, ofrece una selección diversa de 37 imágenes perspicaces y en ocasiones emocionales creadas por artistas basados en California, que reflejan la sociedad actual que está en constante cambio. Las selecciones fueron hechas por la fotógrafa de la Bay Area nacionalmente conocida, Judy Dater, que tendrá una gran exposición individual de su obra, titulada Only Human (Solamente Humano), en el Museo DeYoung desde el 7 de abril hasta el 16 de septiembre de 2018.
DECLARACIÓN DEL JURADO: JURY DATER
Todos los que alguna vez han juzgado un concurso siempre se enfrentan a sus propios gustos y prejuicios personales. Los míos oscilan entre mi interés por las fotografías que tienen una carga más emocional en vez de las fotografías abstractas. También prefiero a la fotografía “directa” a las imágenes “manipuladas”. Esto explica en cierta medida las elecciones que hice. Respondo a las fotografías que me hablan a nivel visceral. Al final, traté de elegir imágenes que representaran lo mejor de lo que se me fue enviado, y así espero haber creado una exposición interesante. No hay dos personas que tomarían las mismas decisiones.
An exhibition of works on paper, Joan Brown : In Living Color, reflects the bold originality and the continued impact Brown has had on artists, educators, and collectors in the Bay Area and beyond. Joan Brown’s deep determination and humanistic commitment catalyzed artists in the San Francisco Bay Area to forge a path against the grain of formalism in upholding the narrative. The core of Joan Brown’s life and experiences became the subject of her art.
Joan Brown : In Living Color reveals the intimate and personal in the renderings of an artist who never stopped drawing. Any piece of paper could be taken in hand for notation of child, cat, dream, or view of oneself. Many of these works come from the artist’s estate and have never been exhibited publicly.
We are deeply grateful to the following individuals and organizations who have generously sponsored this exhibition:
Susan and Steve Chamberlin
Jacobs & CO
Jay DeFeo Foundation
James Curtis III
City of Richmond
Susan and Thomas Newmeyer
Elizabeth D. Moyer and Michael C. Powanda
Model with Foot on Table
Acrylic, graphite, and ink on paper
36 x 24 in.
Estate of Joan Brown courtesy Anglim Gilbert Gallery, San Francisco
In conjunction with Joan Brown: In Living Color, the Richmond Art Center is presenting a companion exhibition, Earth, Wind, and Fire.
In Earth, Wind, and Fire, the Richmond Art Center looks to artists working across multiple media to investigate, reflect, and assert a vision of the environment, nature, and human nature as played out in an ecology of imminent concern.
Oil on linen
74 x 84 in.
Complementing Pogo Park’s 10th Anniversary, the exhibition Pogo Park: A New Model for Community Transformation showcases the vision, concept and design, models, stories, and voices of the people involved in transforming little-used city park (Elm Playlot and Harbour-8 Park) into safe and vibrant place that sparks children’s imagination and initiative.
Pogo Park is about much more than playgrounds. Its unique approach combines two distinct but interrelated strategies: child development and community development.
Pressing On—Contemporary Printmaking offers the opportunity to see the most contemporary explorations in contemporary printmaking. In a time when things happen with the push of a button, the hands-onmixing materials and process – the transformation from plate to print—is still magical. We invite the private view, the personal voice, and the public position: all current trends in printmaking as artists keep Pressing On.
The juror for Pressing On is Karin Breuer, Curator in Charge of the Achenbach Graphic Arts Foundation of the Fine Arts Museums of San Francisco. In a career spanning decades, Karin Breuer has mounted exhibitions ranging from the scholarly depths of Japanese woodblock prints and their influence onWestern art to the archives of local art presses and a flowering of California printmaking and reveling most recently in the idiosyncratic, humor-infused screen prints of Ed Ruscha.
Glass Currents is a national exhibition showcasing talent from emerging and established glass artists, with a connection to California by birth, residency, or a degree from an accredited institution. This regional focus is meant to celebrate the significant role of California artists, and the Bay Area, in the early roots of the Studio Glass Movement. It also provides a contemporary survey of glass art, showcasing a diverse range of techniques that exemplifies where glass has evolved to today.
Our annual open non-juried showing of our member artists takes place every summer. This year our Spotlight Artists are Marisa Burman, Katie Hawkinson, Jan Langdon, and Gordon Morris.
Spotlight Artists’ Talk: Saturday, June 17 @ 2:00 pm
Richmond Creates: The 5th Annual Art in the Community Show brings a portion of the work created this year in our off-site satellite classes here to the Richmond Art Center. The artists shown here range from ages 5 to 85 and were all participants in 6-10 week art classes held at local school and community centers. This exhibition showcases work made in a variety of media – printmaking, sculpture, metals, book arts, public art, weaving, painting, ceramics and mixed media. The talented teaching artists facilitating these classes are dedicated to sharing the joy and power of the creative process in service to learning and well-being.
This year, AIC offered a total of 38 classes and one school-wide residency, engaging over 1500 students. In collaboration with the WCCUSD office of expanded learning, we provided after-school art classes in 6 elementary schools, one middle and one high school. In its third year, our school-wide spring residency at Washington elementary focused on printmaking, ceramics and book arts. Half of our partnerships occur in non-traditional learning spaces which include local non profits, City of Richmond community centers, the E.M. Downer YMCA, and housing-affiliated community centers. This year Art Center staff and teaching artists shared strategies for artmaking with 45 elementary school teachers and 20 after school group leaders through the Bring Art to Your Classroom professional development workshop series.