Tag: Related Tactics

To Do List: March

Feb 23, 2024 In: To Do List Tags: Adrienne Pao, Ahree Lee, Altman Siegel Gallery, Anina Major, Barbara Kruger, Bruce Yonemoto, Cantor Arts Center, Catherine Clark Gallery, Christine Wong Yap, Christy Chan, deYoung Museum, Eliza O. Barrios, Howardena Pindell, ICA San José, Jay Lynn Gomez, Jenifer K. Wofford, Jim Campbell, Julia Scher, Larry Bell, Lee Mingwei, M. Scott Johnson, Mail Order Brides, Margaret Kilgallen, Mark Bradford, Michele Carlson, MoAD, Morel Doucet, Myrlande Constant, Nadine Natalie Hall, Nafis M. White, Namita Paul, Narsiso Martinez, Nate Watson, Oluseye, Phung Huynh, Ranu Mukherjee, Reanne Estrada, Related Tactics, Robin Lasser, Ruth Laskey, Sandy Rodriguez, SFMOMA, Stephanie Syjuco, Tishan Hsu, Valerie Soe, Vanessa German, Wanxin Zhang, Weston Teruya, Winfred Rembert, Zanele Muholi By: Kerri Hurtado, Curator

Zanele Muholi, “Faniswa, Seapoint, Cape Town”, from the series “Somnyama Ngonyama (Hail the Dark Lioness)”, 2016, black and white photograph. Image courtesy of SFMOMA.

Ongoing to August 11 — Zanele Muholi: Eye Me at SFMOMA: A self-described visual activist, Zanele Muholi uses the camera to explore issues of gender identity, representation, and race within their own body and members of their LGBTQ+ community in South Africa. This first major exhibition of Muholi’s work on the West Coast provides the opportunity for Bay Area audiences to delve into the artist’s expansive activism project highlighting Blackness, gender expression, and resilience. SFMOMA is located at 151 3rd St in San Francisco.

Lee Mingwei, “Guernica in Sand”, 2006-present, mixed media interactive installation, sand, wooden island, and lighting. Image courtesy of deYoung Museum.

Ongoing to July 7 — Lee Mingwei: Rituals of Care at deYoung Museum: Considering how art can encourage social connection and healing in a time of extensive trauma and loss, Lee Mingwei’s Rituals of Care features projects made between 1995 and 2024 that place the visitor at the center of radical acts of generosity and care. Interactive installations and performances include The Letter Writing Project (1998–present), The Mending Project (2009–present), Sonic Blossom (2013–present), Guernica in Sand (2006–present), Peaceable Kingdom (2020–present), and Chaque souffle une danse (Each Breath a Dance, 2024). deYoung Museum is located at 50 Hagiwara Tea Garden Dr in San Francisco.

Mark Bradford, “20 minutes from any bus stop”, 2002, acrylic, end papers, and Xerox collage on canvas. Julia Scher, “Security by Julia uniform (detail)”, 1998, pink shirt with “Security by Julia” embroidery. Images courtesy of Cantor Arts Center.

March 6 to July 21 — Day Jobs at Cantor Arts Center: Success for artists is often measured by their ability to quit a day job and focus full time on their practice. Yet, these jobs can often spur creative growth by providing artists with new materials and methods, hands-on knowledge, or structure that enables unpredictable ideas. Day Jobs features works by California-based artists such as Margaret Kilgallen, Jay Lynn Gomez, Barbara Kruger, Ahree Lee, Jim Campbell, Narsiso Martinez, and Sandy Rodriguez, and is comprised of more than 90 works by 36 artists based in the United States. This exhibition is accompanied by a catalogue with commissioned essays and interviews from 24 pioneering artists such as Larry Bell, Mark Bradford, Tishan Hsu, Howardena Pindell, and Julia Scher. Cantor Arts Center is located at 328 Lomita Dr in Stanford.

Ruth Laskey, “Twill Series (Loops 5)”, 2023, hand-woven and hand-dyed linen. Image courtesy of Altman Siegel Gallery.

March 7 to April 20 — Loops & Circles at Altman Siegel Gallery: Evocative of gesture and movement, Ruth Laskey’s minimalist, abstract weavings are characterized by precise geometry and the colorful flow of curving lines within gridded patterns. In this debut exhibition, Laskey reveals the process of creating tactile, intentional work with quiet elegance. Altman Siegel Gallery is located at 1150 25th St in San Francisco.

Stephanie Syjuco, “RAIDERS”, 2011, digital archival photo prints mounted onto lasercut wood, hardware, and crates. Image courtesy of Catherine Clark Gallery.

March 9 to May 4 — Stephanie Syjuco: Dodge + Burn at Catherine Clark Gallery: This dynamic survey exhibition reveals over 20 years of work by the acclaimed cross-disciplinary artist. Working in photography, sculpture, and installation, Stephanie Syjuco moves from handmade and craft-inspired mediums to digital editing and archive excavations to investigate issues of economies and empire. For the first time, projects such as Dodge and Burn (Visible Storage) (2019) and Double Vision (2021) are being presented on the West Coast. Catherine Clark Gallery is located at 248 Utah St in San Francisco.

Ranu Mukherjee, “Passage”, 2020, pigment, cristalina, UV inkjet, silk, and cotton sari fabric on linen. Image courtesy of ICA San José.

March 23 to August 11 — P L A C E: Reckonings by Asian American Artists at ICA San José: The ICA San José and Montalvo Arts Center jointly present this exhibition intending to honor and uplift the diverse voices of contemporary artists of East Asian, Southeast Asian, South Asian, and Pacific Islander ancestries. In three thematic parts, artists consider their complex relationship and their own agency and belonging in association with the spaces that they have inhabited, embedded with histories of exclusion or violence. Showcased artists include Adrienne Pao, Robin Lasser, Phung Huynh, Ranu Mukherjee, Wanxin Zhang, Mail Order Brides/M.O.B. (Eliza O. Barrios, Reanne Estrada, and Jenifer K. Wofford), Namita Paul, Related Tactics (Michele Carlson, Weston Teruya, and Nate Watson), Bruce Yonemoto, Stephanie Syjuco, Valerie Soe, Christy Chan, and Christine Wong Yap. ICA San José is located at 560 S 1st St in San José.

Morel Doucet, “Black Maiden in Veil of Midnight”, 2022, slip-casted white earthenware. Image courtesy of MoAD.

March 27 to September 1 — Unruly Navigations at MoAD: Unruly Navigations testifies to the urgent, disorderly, rebellious, and nonlinear movements of people, cultures, ideas, religions, and aesthetics that define diaspora. This exhibition’s more than 40 artworks and 4 site-specific installations capture multidimensional trajectories through time, across geographies, and through complex spiritual landscapes to reevaluate conventional accounts of diasporic experience. These artworks rewrite the historically misrepresented, mischaracterized, and misplaced stories from the perspective of the enslaved, the forcibly displaced, or otherwise disenfranchised. Showcased artists include Nafis M. White, Nadine Natalie Hall, M. Scott Johnson, Winfred Rembert, Myrlande Constant, Vanessa German, Morel Doucet, Oluseye, and Anina Major. MoAD is located at 685 Mission St in San Francisco.

November To Do List

Oct 31, 2020 In: To Do List Tags: Jay DeFeo, Jeffrey Gibson, Njideka Akunyili Crosby, Related Tactics, Ryan Mrozowski, Sarah Amos, The Wattis Institute, Thelma Golden, Tony Marsh, Troy Chew, UC Davis By: Kerri Hurtado, Curator

Ryan Mrozowski, “Untitled (Orange) B, acrylic on canvas. Image courtesy of Ratio 3.

November 6 to December 18 – Without Stopping, group exhibition at Ratio 3: Without Stopping brings together paintings by artists whose practices reflect an ever-evolving discipline. Though styles, subject matter, techniques, and materials continuously lose, and regain the favor of artists and their audiences, the dialogues in painting proliferate and endure. Featuring Amy Feldman, Nobuya Hoki, Ulala Imai, Matthew Metzger, Ryan Mrozowski, Kyoko Murase, Noam Rappaport, and Yui Yaegashi. Ratio 3 is open Fridays and Saturdays by appointment. Please schedule a visit here.

Njideka Akunyili Crosby and Thelma Golden. Image courtesy of Stanford Arts.

Monday, November 16, 5pm – Njideka Akunyili Crosby and Thelma Golden in conversation, live on Stanford YouTube: Akunyili Crosby was born in Enugu, Nigeria in 1983 and currently lives and works in Los Angeles. Her work negotiates the cultural terrain between her adopted home in America and her native Nigeria, creating collage and photo transfer-based paintings that expose the challenges of occupying these two worlds. Thelma Golden is the Director and Chief Curator of The Studio Museum in Harlem, NYC. Register for the live YouTube conversation here.

Tony Marsh “Cauldron” fired 6 times, assorted clay and glaze material, Sarah Amos “Lift Off” collagraph, thread, yarn on felt. Image courtesy of Patricia Sweetow Gallery.

November 7 to December 26 – Sarah Amos & Tony Marsh at Patricia Sweetow Gallery: This exhibition presents Tony Marsh, ceramic sculpture and Sarah Amos, mixed media fiber ‘paintings.’ The two artists are innovators in their respective practices, each applying material, media and process to expand boundaries and break expectations. Tony Marsh has contributed to the practice of contemporary ceramics as an artist, educator and innovator for over 40 years. In this exhibition Marsh presents Crucibles and Cauldrons, aptly named after instruments forged with fire. Sarah Amos will present three mixed media fiber works from her Chalk Lines series and nine paintings on paper from the Night Hive series. Patricia Sweetow Gallery is open Wed – Sat, 11:00 am to 5:30 pm. To visit, book your appointment here.

Jay DeFeo, Untitled, 1973, gelatin silver print. Image courtesy of The Wattis Institute.

November 18 at 5:00 pm – Online panel discussion Catching Ideas in Process: Jay DeFeo’s Photography: The Wattis Institute presents an online panel discussion with Corey Keller, Paul Mpagi Sepuya and Rayyane Tabet, moderated by Emily Markert. Jay DeFeo (1929–1989) was a key member of the Bay Area arts community during her four–decade career. Though best known for her painting The Rose, 1958–66, she worked across a variety of media, including drawing, collage, and photography, often creating works that defy singular categorization. Photography in particular enabled DeFeo to experiment with themes and forms she continually returned to in her practice. She also used the camera to capture her own process, resulting in a body of images that blur the line between documentation and art. Register for the panel discussion here.

Jeffrey Gibson “Nothing is Eternal” video still. Image Courtesy of the Wattis Institute.

Ongoing to December 12 – Jeffrey Gibson: Nothing is Eternal online film and select off-site viewings: The Wattis Institute and Jeffrey Gibson present Nothing is Eternal, a newly commissioned video with musical composition. Conceived during this pandemic era, the immersive video work depicts the American flag in unsettling stillness, as a marker of territory, and projected onto bodies, while set to a heartrending soundtrack. At once melancholic and beautiful, Gibson renders the iconic image of the flag as both elastic and unyielding. The slow transformation through time, color, and form reflects both a distillation of our social collapse and the reinvention of self and community, referencing the movement and change that is so desired for this nation. For online and off-site film screening information, visit here.

Wardell Milan, “The Parade” 2020, charcoal, graphite, oil pastel, pastel, cut and pasted paper on hand-dyed paper. Image courtesy of Fraenkel Gallery.

Ongoing to December 22 – Wardell Milan at Fraenkel Gallery: The exhibition features Milan’s ongoing series “Death, Wine, Revolt,” which combines photography, drawing, painting, collage, and sculpture to explore themes of over-indulgence, destruction, and revolution. While earlier series such as “Parisian Landscapes” looked inward, to personal questions of freedom and desire, Milan made the works on view in response to the turmoil of the global moment. Fraenkel Gallery is open Tuesday – Thursday from 11 am to 3pm. Please schedule a visit here.

Troy Chew, “Ball Street Journal”, oil on canvas. Image courtesy of Cult Exhibitions.

Ongoing to December 5 – Troy Chew: Yadadamean at Cult Exhibitions: Chocolate cake, vanilla ice cream and Coca Cola presented together on a tabletop easily recalls a setup for celebration. Troy Chew’s portrayal of this assortment of delicacies however, is a coded play on the lexicon of Hip Hop, slang terminology and Bay Area culture. Chew arranges the objects akin to scenes in Flemish still life paintings. By repurposing everyday items from the African Diaspora into fine art compositions, Chew’s paintings embody a smooth detachment from European painting traditions. Cult Exhibitions is open by appointment only, please schedule a visit here.