Teresa Philips Administration, Exhibitions and Front Desk Assistant Volunteer
Volunteered over 600 hours since 2010!
What is your favorite thing about volunteering at the Richmond Art Center?
“The opportunity to be around so many positive people!”
Teresa Philips is a familiar and welcoming face at the Richmond Art Center, having volunteered over 600 hours over the past four years working both at the front desk, and in the exhibitions office helping to organize the Center’s archives.
Born and raised in San Francisco, Teresa moved to the East Bay in 1995 and now lives in Richmond Annex. In addition to her role at the Richmond Art Center, she studies business computing at East Bay Works, and also plays tennis. She began volunteering at the Richmond Art Center at the suggestion of a friend. “I was looking for a way to occupy my spare time,” says Teresa, “and my friend told me to check out the Richmond Art Center. I’m really glad I did. There is just a very positive energy here.”
We are honored to have won Best Community Arts Center in the East Bay Express’ Best of the East Bay 2014. And we are amongst great company — congrats to our friends at Point Richmond Music Festival for winning Best Outdoor Music Series.
We’re thrilled that our exhibitions, on-site programs and traveling programs are being recognized with such a great award. As more people learn about and experience our work, we count ourselves lucky to have such passionate and creative instructors, dedicated volunteers and such engaged students and generous donors. Not to mention the talented artists whose work we have had the opportunity to showcase in our galleries. It takes a community of people to make the Richmond Art Center such a creative hub. THANK YOU community!
Eighteen teens from Richmond and San Pablo will unveil the two large murals they collaboratively designed and painted during a community celebration on Thursday, July 31 from 3:00 – 4:00 pm in the Marina Bay neighborhood of Richmond.
The murals are the culmination of a free eight-week summer class, part of the Richmond Art Center’s traveling Art in the Community programs, and sponsored by Topline, a business accelerator program which started in Richmond in June. The murals grace the entrance of its 40,000-square-foot building, which Topline’s founder, Allan Young, calls the biggest incubator co-working space in the East Bay.
“This mural project has been both a wonderful way to engage and build community and generate pride amongst the teens,” says Richard Ambrose, Richmond Art Center Executive Director. “The murals are a lasting piece of public art that the teens, the business community and the entire city can be proud of for years to come.”
Fall Exhibitions Highlight Artists of Bay Area Figurative Movement
(Richmond, CA) – The Richmond Art Center is pleased to announce its Fall Exhibitions program including, Closely Considered – Diebenkorn in Berkeley (September 14 – November 22, 2014), an important exhibition of works on paper by Richard Diebenkorn created during his Berkeley years (1953-1966). An opening reception will be held on Saturday, September 13, 2014, from 6:00 to 8:00 pm. The exhibition and opening events are free and open to the public.
The exhibition Closely Considered – Diebenkorn in Berkeley (September 14 – November 22, 2014) is celebration of the historic role that the Richmond Art Center played in supporting the artists of the Bay Area Figurative Movement, including Richard Diebenkorn, during their formative years. Diebenkorn, who spent most of his life in California, exhibited at the Art Center in the 1950s and held his first major exhibition of drawings here in 1968. This exhibition, guest curated by Jan Wurm, will include more than 42 intimate works by Diebenkorn and key artists of the Bay Area Figurative Movement, including David Park, Elmer Bischoff, Frank Lobdell, Nathan Oliveira and James Weeks — some of the artists closest to Diebenkorn.
Even before Ruth Braunstein opened her first art gallery in Tiburon in 1961, she was collecting pieces that made her happy and was drawn to works in clay.
A new exhibit of Braunstein’s private collection of ceramics that opens Saturday at the Richmond Art Center pays tribute to her advocacy of clay as a fine-art medium. Many of the pieces – by well-known artists including Peter Voulkos, Richard Shaw and Robert Arneson – have never been shown before.
“I love the exhibit on several different levels,” said Richmond Art Center curator and exhibitions director Anthony Torres. “It’s paying homage to Ruth’s life and work, but the collection is also a form of portraiture. It tells a great deal about who she is, and shows how she worked hard to democratize art.”
He added, “It’s diverse and beautiful, and there’s a whole myriad of objects.”
Braunstein, the founder of the San Francisco Art Dealers Association who closed her eponymous South of Market gallery in 2011, after 50 years, recently told Torres: “When I came to San Francisco and saw what people were doing with clay, I flipped out. This was before I knew there was a thing called craft and craftspeople. So when I opened my gallery in Tiburon, I showed clay.”
The exhibit at the Richmond Art Center includes a range of clay objects, from freestanding sculptures to utilitarian-style works, such as teapots, bottles and cups. There is a 3-foot-high vase by Voulkos and an assemblage of objects by Shaw. There are tiny sculptural forms that allude to modern dancer and choreographer Martha Graham (Braunstein was a professional dancer early in life), and a self-portrait by Arneson.
Braunstein, now 91, told Torres: “It has taken many years for people to accept clay as an art form. It has happened in Europe, Korea, Japan and places like that. It has been very hard for Americans to cotton to clay, for some reason or another, (but) Richard Shaw and Peter Voulkos have been recognized all over the world.”
Braunstein is expected to attend the opening-night reception on Saturday.
“Focus on Clay” is one of three new shows offered by the nonprofit Richmond Art Center, founded in 1936. The other exhibits include “Sculpture,” featuring mixed-media works by established and emerging sculptors, and “Slusky and Sullivan: Sculptures, Drawings, and Related Antics,” with works by noted University of California artists and professors Joseph Slusky and Chip Sullivan.
If you go:
Ruth Braunstein: Focus on Clay: Reception 5-7 p.m. Saturday. Through Aug. 22. 11 a.m.-5 p.m. Tuesday-Saturday. Richmond Art Center, 2540 Barrett Ave., Richmond. (510) 620-6772. www.therac.org.
The Richmond Art Center’s exhibition Ruth Braunstein: Focus on Clay, curated by Anthony Torres, honors and celebrates the life of Ruth Braunstein and her role in advancing the cultural history of art in the San Francisco Bay Area as a long-time gallerist, art advocate and collector.
“For nearly six decades, Ruth Braunstein has expanded and redefined the parameters of what may constitute legitimate ‘art’ forms,” says Anthony Torres, the Richmond Art Center’s Exhibitions Director and Curator of Art, “and she was thus instrumental in undermining long-standing hierarchies of art through her advocacy of the significance of clay as an artistic medium.”
Ruth Braunstein: Focus on Clay is anchored in the union of Braunstein’s personal life story with the histories represented through the objects on display, and the diverse interests, tastes, and values that informed her collection choices, all of which are integral to the history of San Francisco Bay Area art, its artists and galleries.
The Breakfast Group: Jive and Java at Richmond Art Center
March 22 to May 30, 2014 2540 Barrett Avenue Richmond, California, 510-620-6772
Jan Wurm, Nocturne: Camping, 2012. Triptych, oil on canvas, 48 x 108 inches. Courtesy of the Artist
We value connections to the past, and the Breakfast Group, a loose affiliation of Berkeley-based artists, sustains a conversation that extends back more than fifty years – a living connection to ancestral figures of the Bay Area movement. There’s a certain look to that art, exemplified most prominently by David Park, Elmer Bischoff, and Richard Diebenkorn, but its specific program is hard to define; perhaps that’s why the conversations have continued so long. This show brings together thirty-one artists currently affiliated with the group, and the works themselves, diverse as they are, engage in dialogue, suggesting that enough common ground persists to merit examination.
The Breakfast Group officially traces its origin to regular Friday lunches that painter Elmer Bischoff arranged with his Berkeley colleague Sid Gordin in the 1960s. These, however, merely extended the weekly drawing sessions and conversations that Bischoff held with Diebenkorn and others, before Diebenkorn left the area, when Fridays were a day off from teaching, and life centered around the campus and their nearby studios. When lunch took too much time out of the workday, meetings shifted to breakfast, at 7 am, and the group expanded to include William Theophilus Brown, Erle Loran, Hassel Smith and other artists teaching at Berkeley.
The group developed spontaneously, with no particular artistic agenda beyond a mutual interest in what people had to say. As it enlarged, eventually to include women, the group moved from one restaurant to another, as establishments closed or their proprietors grew impatient with people sitting so long over coffee.
Bischoff and Loran were cosmopolitan, commenting on art in New York and Europe, but also discussing teaching, new art materials or local politics. Boundaries were fluid – artists like Sid Gordin made both painting and sculpture; gestural forms coexisted with Cubist geometry, along with an undercurrent of Surrealist improvisation. Distinctions between abstraction and representation, while vigorously debated, were not enforced with the same theoretical rigor that Clement Greenberg established back East, and Bischoff’s own work moved from the figure into abstraction during the 1970s.
For Bischoff, breakfast discussions didn’t extend to studio visits; he encouraged debate but kept a more general focus. When group exhibitions inevitably took place – most notably at the Weigand Gallery in Belmont (1987) and at Holy Names College in Oakland (1991) – they offered a chance to celebrate the group’s diversity, and to examine the networks of artistic affiliations that emerged, like the submerged root system of a tree. So it is with the current show: more diverse than ever, the group can consider how it’s grown and how its present configuration reflects the passage of time. Members seem mildly surprised at how big it’s become and how long it’s been going, fueled simply by interest in one another’s conversation; aware of the history of artists’ groups in Paris cafes and New York automats, they wonder if something significant may have transpired.
Shows have also become reminders of artists no longer with the group – the 1990s were marked by Bischoff’s death in 1991 and Loran’s in 1999, and Jerry Carlin, the member with longest standing in the current group, passed away shortly before this exhibition was installed. Appropriately enough, his two works from the 1980s featured here are transcriptions in oils of old family photographs, which he endows with touches of color and personal inflections that bring their subjects back to life. They exemplify the mixing of media and interest in painterly depiction that inspired both the Bay Area Figurative Movement and other Bay Area artists such as Jess.
For many members, affiliation with the Breakfast Group involves allegiance to the Bay Area tradition that mixes figuration and abstraction. Terry St. John, now perhaps the senior member of the group, continues to create densely worked landscapes and figures, extending the legacy of Bischoff and Diebenkorn. His somber landscapes here suggest the depth of experience that informs his immediate response to a site. Lin Fischer goes further in her response to underlying impulses in her landscape-based abstractions, while Donna Fenstermaker creates more succinct plein-air studies that focus on shadows and reflections.
Interchanges with Europe and New York are integral to Bay Area art, dating back to Erle Loran’s inviting Hans Hofmann to teach at Berkeley in the 1930s. The German artist subsequently settled in New York, where his fusion of color with Cubism informed the rise of Abstract Expressionism. His visits to Berkeley, followed by a donation of money and paintings in the 1960s, enhanced ongoing interactions with New York. Here, Tom Schultz’s restlessly shifting rectangles evoke Hofmann’s grid-like compositions, while Arthur Monroe, another New York transplant, brings the gestural energy of Kline and de Kooning to his overall abstractions. A similar tension animates the drawing of Katie Hawkinson’s tightly compressed ellipses.
Abstract Expressionist impulses also emerge in sculpture, in the bronzes and stacked stones of Patricia Bengston-Jones. Her hand-worked slabs with their markings and suggestions of archaic structures hark back to an era before Minimalism and the “death of the object” upstaged such traditional forms. Joe Slusky’s animated armatures of painted steel and the assemblages of Stan Huncilman also exude a playful, improvisatory energy. Kati Casida abstracts gestural forces into origami-like shapes of aluminum, and that expressionist energy carries over into Marvin Lipovsky’s free-flowing sculptures in seductively colored glass.
Dialogues with New York can be complicated; Sandy Walker’s hybrids of figure and landscape, spare and edgy, speak directly to Bay Area art but originate in his exposure to Hans Hofmann’s legacy at the Studio School in New York. And Foad Satterfield owes the inspiration for his dense, overall landscapes, which amplify the scale and ambition of his Bay Area predecessors’, to his study in Louisiana with New York painter Paul Georges; Georges rejected Abstract Expressionism in favor of work from nature, but instilled in students the energy and ambition of the New York School.
Some women in the group have developed more individualized approaches. Nancy Genn and Edythe Bresnahan, who absorbed Berkeley’s varied influences as students, take them in more contemplative directions, composing with architectural structures on richly layered material surfaces. They share a concern for planar luminosity with Carol Ladewig’s color calendars, whose gridded panels chart the phases of the moon, and with Carl Worth’s hard-edge abstractions.
New technology has filtered into some works, but they remain grounded in individual sensibility. Jeanette Bokhour’s digital prints transform and enhance photos of Marvin Lipovsky’s colored glass sculptures, while those of P.G. Meier dissect and reconfigure everyday objects like pens or forks. Kim Thoman goes a step further by digitally “applying” her abstract paintings onto virtual vessels; she presents them here as large prints, although she is prepared to build them with a 3d printer. In more traditional engagements with high-resolution images, John Friedman photographs Nevada’s arid wastes in the manner of New Topographics, while British artist Anthony Holdsworth paints landscapes on site with a detailed realism reminiscent of his countryman, Rackstraw Downes.
Other works take a post-modern stance, but with personal inflections. Byron Spicer links older Bay Area art to the contemporary media era with his appropriated photos of Arnold Schwarzenegger, rendered in dense mosaics of one-inch square paintings. Genn Toffey’s portraits of historic women overlaid with transparent candy wrappers share in the subtle luminosity of Loren Rehbock’s delicate watercolor renderings of models on patterned backgrounds, which reflect his experience in poster design. The cut metal sculptures of Bruce Chaban recall Frank Stella’s compositions, albeit on a more intimate and playful scale, while Guillermo Pulido’s mixed-media constructions with chairs combine playful formal composition with graphic images of political conflict, reminding us of this important component of Berkeley’s culture.
Organization of this show was spearheaded by Jan Wurm, whose paintings blend Bay Area figuration with simplified renderings of men and women against flat backgrounds, which highlight social interactions, with details of clothing and mannerisms that lend them an ethnographic dimension. Difficult to categorize, they exemplify the combination of high sophistication and improvisatory play that characterizes the Bay Area scene, as do Robert Simons’ hand-painted prints, evocative of George Herriman’s Krazy Kat, or Barbara Hazard’s idiosyncratic self-portraits from a mirror cube, which feature animals and multiple self-images in a contemporary version of folk art.
Such is a snapshot of the Breakfast Group today – or Groups, since it is currently split in a dispute between members who prefer Cafe Leila and those faithful to the Vault, a longstanding hang-out, where they maintain an earlier meeting time. The value of conversation and shared information still sustains the expanded group, even as other forces conspire against it. Cuts in education and higher rents have fostered dispersion (Terry St. John offered me comments via Skype from Thailand, where he now maintains a studio for much of the year); artists now commute to teach all over the Bay Area, and few can afford studios close to Berkeley. This has made it more difficult to recruit younger members. A sense of changing demographics and new trends in art lends this event a particularly retrospective and reflective character.
Given the richness of the show, there’s a sense that the gallery system should offer more opportunities for these artists to exhibit; there too, however, rising rents and the invasion of high-tech corporations have created an unfavorable climate. At least for now, weekly breakfasts continue, enacting a cultural form that can be transported and recreated in new locations. Celebration of the Breakfast Group at the Richmond Art Center continues through May, featuring weekly spotlights on selected members accompanied by potluck breakfasts, artist’s talks and workshops.
Top image: Terry St. John, China Camp, 2002. Oil on canvas, 24 x 24 inches. Courtesy of the Artist/ Dolby Chadwick Gallery
Victor Cartagena likens the act of remembering to that of crossing a bridge. In his artist’s talk at the Richmond Art Center, he described how he was forced to leave his home country of El Salvador in 1985 due to civil war, and sought refuge in California. Since being displaced, he has relied on this imagined bridge as recourse to a sense of identity and belonging. But it has been decades since he left his home, and much of what he wishes to return to no longer exists. Such tensions around identity and politics are the subject of the Bay Area artist’s installation Sites/Sights of Intervention, which is now on view at the Richmond Art Center.
The installation consists of various pieces that are meant to be experienced as a visual and spatial dialogue within which the viewer is centered. The gallery is dimly lit, and entering it is like wandering into Cartagena’s memory — a negative space of placelessness. “I heard the other day that memory is such a place that those who have memory leave the present …. and that makes me feel that I am not alone because being part of this group of immigrants, who live all over the world, we don’t belong anywhere,” said Cartagena. “We have our own territory, our own country — the immigrant country.”
Victor Cartagena’s “Bang, Bang Toy Gun.”
One of the most affecting pieces in the show is the series “Tattoos of Memory,” for which Cartagena superimposed faces onto diagrams from American-made manuals describing how to torture El Salvadorian prisoners. Although he was never tortured, Cartagena speaks of this historical episode as a tattoo upon his cultural memory. In his artist’s talk, he related these tattoos of memory to the actual tattoos on El Salvadorians who were born to refugee parents in the US and then deported back to El Salvador after the war. These people often became homeless and, as a result, got involved in violent gangs, whose members covered their bodies in tattoos. “We all have las maras [gang tattoos], because we’re immigrants,” said Cartagena. “I have my own tattoos on me and I call them tattoos of memory, and they’re all over my face, and I can’t erase those tattoos.”
Cartagena’s immersive and almost surrealist installation also incorporates passport photos from the Eighties that he collected from the photographer who took his own passport photo when he emigrated from El Salvador. Although he doesn’t know for sure whether the subjects emigrated, he knows at least that they hoped to.
While many of the symbols Cartagena works with are pulled from personal experience, they speak to broader issues of violence, alienation, and ignorance. In this way the artist opens up both collective and personal wounds with the understanding that the first step in healing is acknowledgement.
Sites/Sights of Intervention runs through May 30 at Richmond Art Center (2540 Barrett Ave., Richmond). 510-620-6772 or TheRAC.org
The more topical political art gets, the sooner it starts to look dated. Victor Cartagena has averted this risk by not tying his “Sites/Sights of Intervention” at the Richmond Art Center too closely to events in his native El Salvador.
Works in his complex ensemble evoke the tragedy of Latin American elites’ corruption, civil war and American anticommunist imperialism, but not too specifically.
In this context, an ostensibly simple object such as “Ante-Ojos/Anti-Eyes” (2014) – a framed pair of crushed glasses – summons thoughts of violent reprisal, the punishment of conscientious witness and the blindness of media complicity.
The work even suggests itself as a distant, underprivileged relation of Jasper Johns‘ satirical relief sculpture of lensless glasses, “The Critic Sees” (1961), in which mouths stand in for eyes, and as symbolic windows to a disfigured soul.
Cartagena’s “La Silla y Identidad Rota/The Chair and Broken Identity” (2014) consists of an overturned, busted-up wooden chair spotlighted on the floor, surrounded with tiny torn photographs of nameless people.
An American flag binds what remains of the chair seat and its unbroken leg, suggestive of both a bandanna and a tourniquet. Cartagena’s background and the work’s bilingual title link it to the use of torture in Central American conflicts and imperialist interventions. The moral nosedive in American interrogation practice and foreign policy since Sept. 11, 2001, gives Cartagena’s piece even wider relevance.
Similarly, revelations about targeted assassinations and “extraordinary rendition” in the so-called war on terror have expanded the reference of Cartagena’s “Materia Prima” and “Transparencias/Transparencies” (2004/2012).
The former consists of a light table crowded with jars of tinted fluid, each holding a small photo portrait. A projection of larger, fainter human images washes over the wall-mounted light box. The box’s form recalls – perhaps derisively – elements of Donald Judd‘s studiedly nonreferential “stack” wall sculptures.
Cartagena’s “Transparencias” and his other uses of anonymous portrait photos may borrow from French artist Christian Boltanski, who has long used such images to evoke the nameless, unnumbered casualties of war and the Holocaust.
Cartagena’s “Sights/Sites” surprises by its emotionally stirring quality. It taps into our sense of guilty fecklessness as citizens of an empire that has reacted with vicious interventions for decades out of panic at losing its grip on world power.
Victor Cartagena: Sites/Sights of Intervention: Mixed media installation works. Through May 30. Richmond Art Center, 2540 Barrett Ave. (510) 620-6772. www.therac.org.
This Saturday’s Upcycle event is featured in the SF Chronicle’s 96 Hours section. We sure hope to see you for an afternoon of making, upcycling and music!
Landfills will be a little emptier this weekend, thanks to a fun, kid-friendly program at the Richmond Art Center.
The program, the second annual Upcycle, is a maker festival where families can create, see and learn about the art of “upcycling,” creatively reusing materials otherwise headed for the garbage.
Over the course of the day, visitors will be able to sew bags and quilts from old pieces of clothing, weave small rugs from old T-shirts, use broken plates and tiles to create a colorful mosaic trash can, turn use bicycle inner tubes into jewelry, and experience the magic of fire and metal to fold-form 3-D objects. In many cases, participating families will be able to engage in these activities with the help of local artists, too, taking direction from creative minds who work with upcycled materials every day.
