Archive for January, 2008

salon des refusés: headlands edition

Wednesday, January 30th, 2008

The annual Headlands Center for the ArtsClose Calls” exhibition is a strange and special thing. While, yes, it’s an exhibition of works by artists who almost made it into the residency program, it is by no means, in any way shape or form, a show of the dregs. Far far from it. Close Calls does a nifty job of honoring the enormous pool of rock-star talent that applies for this tiny handful of residencies, and acknowledges that the work these candidates make still merits critical attention and exhibition. In a way, it also acknowledges the arbitrariness of selection: some of the people in this close calls exhibition have still won some of the most prestigious awards out there, which kind of leads things back to that “crapshoot” post I wrote a few months ago.

I’m excited by the work of a number of artists in the show, but I’ve got a special place in my heart for whatever April Banks, Renée Gertler, Amy Hicks, Amanda Hughen & Jennifer Starkweather, Helena Keeffe, Chris Sollars, and Weston Teruya will bring to the table in this exhibition. A ver.

The show opened on January 13, but the reception is this Sunday, Feb 3rd, from 2 to 5 pm.
Because who watches football, anyway?


From the Headlands press release:

Each year in January and February, while our Artist in Residence programs are in recess, we open our Project Spaces to host this exhibition as an effort to further support and showcase the great breadth of talent in our region.

Close Calls: 2008 provides another opportunity to highlight the extraordinary caliber of work being produced by Headlands applicants in the Bay Area, to build a community of peers among these artists and to engage them with Headlands’ audiences. This year’s exhibition is divided into two thematic groupings, dictated by trends apparent in the work of the selected artists. In the Eastwing Project Space, the works on view tend toward engagement with the artists’ physical environments, whether natural landscapes or manmade architectures. In the Westwing Project Space, the works engage with the artists’ social environments, which may include family, immediate community or the global network enabled by contemporary media. The forms these artworks take range from drawing, painting, sculpture, and photography to installation, film, video and interactive media.

January 13 to February 25
Opening Reception: Sunday Feb 3, 2-5 pm
Where: Headlands Center for the Arts
944 Fort Barry Sausalito, CA 94965

(And for you non-art-history-geeks out there, this post’s title refers to this.)


Tuesday, January 29th, 2008

Crazy busy. Crazy weather. I thought it was March that went in like a lion and out like a lamb. I don’t what people say about January, but if I were in charge of sayings, January would go in like a Liger, and out like a ManBearPig. (I’m cereal.) Because I’m all about hybridity, after all…


But back to the whirlwind. For all of the times I’ve claimed that I don’t go out to arts events that much, the past week of activities wouldn’t support that statement much. Monday’s holiday was a break from my fledgling Arts Education course at CCA, but Tuesday was day one of my Filipino American Arts course at USF, so there was much last-minute prep to attend to.


With enrollment at close to 30 students, I’m both delighted and daunted by the popularity of the class! (Historically, there have been around 10 students per term.) There’s a new course blog here for this semester’s incarnation: not much on it yet, but much more soon to come.

Wednesday, I finished my Emergency Biennale drawing, then went to the opening at Mills College for ‘We Interrupt This Program‘: as usual, the paradox of going to a highly social art event like an opening is that it’s next-to-impossible to actually see the art. I’ll be going back shortly to spend some proper time with it, but at a glance, it looked really sharp.

Thursday, taught at USF again, then promptly came home and passed out for a couple of hours. I was fighting some sort of bug off all week, to boot, so the usually-to-be-avoided-like-the-plague afternoon nap probably helped protect me from the plague. (Not a napper. Now you know. ) Mike and Reanne unexpectedly came up from LA and ended up staying at the house, which was delightful: I hadn’t seen Reanne since August, before she left for her residency at Civitella Ranieri. (Poor Reanne. Living in a castle in Italy, making art.)

Friday, caught up with M&R, caught up on course planning for Filipino American Arts, then had a phone meeting which resulted in a last-minute teaching gig at USF: it appears that I’ll be teaching Filipino Performance there, too, starting this week. Yahoo! Various other last-minute emailings and work things filled out the afternoon, and eventually, P and I rolled out in the evening’s pouring rain for the opening reception for Emergency Biennale.
The weather kept a few folks away, I think, but because of this, it was one of those receptions where you could actually look at the art, and visit with people! The PLAySPACE gallery is small, but intimate, and lent itself well to the chaotic, energetic nature of the works installed.
(Finq+Woff+background friends)
The show is really powerful, and only up for a short time: go catch it if you can.

Saturday was a great afternoon meal in Napa with the family, followed by the opening at the Di Rosa Preserve. The week’s lousy weather held itself more or less at bay during the afternoon so that various Woffords could appreciate the view at the Preserve, at least.
The other treat was that Rene Di Rosa was out and about that night! Michael Schwager, the curator,had suggested that RDR’s health might prevent him from being there, but happily, he was there, and bellowed out a great little welcome speech:
And then, of course, there were the Point of Departure paintings that I was exhibiting: I excerpted 19 from the original composition of 40 images. Having not seen the works ensemble since May, and having not exhibited them in this layout before, I can say I’m still pleased with the series.
This spring, I’ve got to to continue making more images for this project, as has always been the plan.

Sunday, brunch with Rosanna and John, then back to the house to straighten things up a bit before hosting the semi-monthly Creative Capital professional development meeting. About 30-ish Bay Area artists did a professional development workshop sponsored by Creative Capital way back in November 2006, and a number of us continue to meet every month or so to stay on our toes. The meetings are always so heartening and productive: they’ve more than kept me on track in terms of continuing to professionalize without being a dope about it.

Monday was more prep for my various classes: taught the Arts Education seminar again last night, which was dreamy. I love working with students who care, and are utterly engaged! And now it’s Tuesday morning, and I’ve got about a zillion things more to do, so it’s definitely time to cut this post off. Phew. I’m loving what’s been swirling around, but I’ll be happy when the winds die back down a bit…

emergency biennale drawings

Friday, January 25th, 2008

Still working out my metal detector fixation:
here are the two untitled drawings I made for the Emergency Biennale, which opens tonight. I spent some time on the EB website, and after looking over the amazing array of works contributed by other artists, it felt like I should really contribute some original drawings, made specifically for the shows. Metal detectors are such fraught objects: it seemed only appropriate to create images that contended with the nature of borders, security, restriction, passage, and flow.

Each drawing is an almost exact mirror of the other.
The “force” that flows between them meets at either edge of the paper, making a complete circuit.
The works can be installed either way, or individually.
The color is slightly off/pink-ish on these jpegs: they’re very simple black ink drawings (with a little bit of gray)
on plain white bristol paper. Each drawing is 14″ x 11″.
I’m unsure of whether they’re destined to be installed together or not:
in my mind, one functions as San Francisco (Oakland, really), and the other is Chechnya.
Emergency Biennale in Chechnya/World Tour:
Stop 10: San Francisco

On the occasion of the 2008 World Social Forum (WSF) , Emergency Biennale is sponsored by The Global Commons Foundation as one of the two public events organized in San Francisco. This will be the first presentation of the exhibit in the United States.

PLAYSPACE gallery, California College of the Arts
1111 Eighth Street, San Francisco, CA 94103
January 26 th – February 9 th , 2008
Opening reception: Friday January 25 th , 6-9pm

lydia’s funeral video

Thursday, January 24th, 2008

I’m posting this extravaganza a little earlier than I usually do since performances, as opposed to art openings, require actual time and advance planning to purchase tickets before they sell out. Some friends and I will definitely be catching this: Sam Chanse is wondrous. And ha ha ha: best teaser synopsis I’ve read in a while! Two thumbs up!

January 31 – February 16, 2008
The Dark Room Theatre
a new solo show
Written and performed by Samantha Chanse
Directed by Wilma Bonet

The not-so-distant future. An obsession with the apocalypse. A dream-invading embryo. And four weeks to shoot a video, do some standup comedy, and terminate a pregnancy.

Holy shit.


In the not-so-distant future, when abortions are legal only within twenty-eight days of conception and Paris Hilton has embarked on yet another reality show, apocalypse-obsessed Lydia Clark-Lin is doggedly pursuing a career in monetary units when a mysterious being claiming to be an hours-old embryo invades her dreams, announces that Lydia is both pregnant and dying, and commands her to create a video to be screened at her funeral before terminating the pregnancy. As the embryonic orders continue (“talk to the celebrity abortion doctor!” “interview your mother!” “do some standup comedy!”) and Lydia seems to be losing her job and her mind, a deadline fast approaches, the end of the world beckons, and hecklers loom on the San Francisco horizon.

: Lydia´s Funeral Video, a new solo show written and performed by Samantha Chanse, and directed by Wilma Bonet. Sound design by Kendall Li and set design by Mark Baugh-Sasaki.

DATE: Thurs- Sat, Jan 31 – Feb 16, 2008

TIME: Doors open 7pm; Show starts at 7.30pm

VENUE: The Dark Room Theatre, 2263 Mission Street, San Francisco

COST: $12 – 25, sliding scale.

TICKETS/RESERVATIONS/INFO: Advance and discount tickets available at
Reservations/info: or 510.290.1362

Samantha Chanse (Writer/Performer) is a playwright, actor, and standup comic who moved to San Francisco in 2001. As a playwright, her work includes an Asian American Theater Company and Bindlestiff Studio co-production of Sleeper (a chronicle of the return of the remarkable) (2005); Bindlestiff Studio´s production of Pipe Dreams and Paper Trails (2004), which she co-wrote with Dan Weil, and Frilly Crucifictions (2003); a Turnip Theatre and American Globe Theatre production of Havana Heartland (2007); and staged readings of her work, including Havana Heartland at the San Francisco PlayGround reading series at Berkeley Repertory Theatre (2007); subtext at Calaveras Repertory Theatre (2004); and Sleeper at the Magic Theatre (2005). She was a member of the San Francisco PlayGround writer’s pool for two years, a member playwright of Asian American Theater Company’s Incubator program, and has been a student of Octavio Solis, Philip Kan Gotanda, Jeannie Barroga, Tony Taccone, and Dijana Milosevic. In 2006, she was awarded an invidual artist commission from the San Francisco Arts Commission. As a comic, she’s performed at Bay Area venues including the San Francisco Punchline, Cobb´s, Purple Onion, Kimball’s East, and the San Jose Improv, and non-Bay Area venues including the Laugh Factory in New York and Hollywood. Sam was a cast member in Asian American Theater Company´s 2006 production of Jeannie Barroga´s Walls, and in Woman´s Will´s 2006 production of Twelfth Night, both directed by Wilma Bonet. She´s also worked with various Bay Area groups, including Intersection for the Arts, Writers With Drinks, Playwrights Foundation, AK Press, and San Francisco Women Against Rape. A native New Yorker with a knack for public humiliation, she was the artistic director of arts nonprofit Kearny Street Workshop for three years and co-director of another arts nonprofit Locus Arts for five years.

Wilma Bonet (Director)- recently directed Jeannie Barroga’s Walls for Asian American Theater Company, Shakespeare’s Twelfth Night for Women’s Will, and Milcha Sanchez Scott’s Evening Star/Doglady and Eduardo Machado’s The Cook for Teatro Vision. In the past at Teatro Vision, she has also directed Roy Conboy’s Drive My Coche, La Posada Magica, and Vieques (West coast premiere). Ms. Bonet’s other directing credits include: The Wonderful Ice Cream Suit for Mixed Blood Theatre in Minneapolis, Fronteras Americanas for TheaterFIRST in Oakland, and Miriam’s Flowers for Cal State University Sacramento. She has also directed for TheatreWorks in Palo Alto and Latina Theatre Lab at the Yerba Buena Center in San Francisco. Born and raised in New York City of Puerto Rican heritage, Ms. Bonet came to the west coast and began performing with guerrilla street theater company Los Topos. A few years later she became a member of the Tony Award winning San Francisco Mime Troupe for seven years, during which time the group toured Europe, Canada and the United States. After SFMT, she toured nationally with El Teatro Campesino for two years. As a professional actress, Ms. Bonet recently appeared at the Mark Taper Forum in Luis Alfaro’s Electricidad and at the Denver Center Theatre Company in Jose Cruz Gonzalez’s September Shoes for which she was nominated for outstanding performance. Her one-person play Good Grief Lolita that toured the Bay Area, is published in Puro Teatro: A Latina Anthology. She has also appeared on the stages of the American Conservatory Theatre, Campo Santo, California Shakespeare Theatre, Thick Description, Marin Theatre Company, the Old Globe, Dallas Theatre Center and all major theater companies in the San Francisco-San Jose-Bay Area. Her television and film credits include What Dreams May Come, 8MM, Underwraps, Jack, Radio Flyer, and Nash Bridges. Awards: Marion Ross Award for Good Grief Lolita, Bay Area Theatre Critics Award, Los Angeles Drama-Logue Award, and Goodman Award for Outstanding Performance.

IMPORTANT NOTE TO HELP YOU AVOID UNNECESSARY DISAPPOINTMENT: Although the title may imply otherwise, the producers of LYDIA’S FUNERAL VIDEO wish to emphasize that LFV is NOT a film. Rather, it is a piece of live theater written & performed by an individual on a stage of sorts. So it’s not a film. Okay, I think we’ve now made that clear. Yay live theater! A new performance every night!

a study in contrasts

Tuesday, January 22nd, 2008

OK. This weekend’s gigs.
It’s a little odd being in two back-to-back shows that are so wildly different from one another in scope, but I’m not complaining.
Still: one’s situated by a lovely lake in the Napa Valley, and one’s situated in a suitcase in frickin’ CHECHNYA.


The Emergency Biennale project is one that I posted about months ago when Evelyne Jouanno lectured about it at Berkeley. I never expected, but was totally honored, to be recently invited to participate. The project bears some explanation, so please read the text below, or better yet, go to the website to get the full picture. (The MFA show at the Di Rosa Preserve is also genuinely awesome to be part of, but since it’s much more of a straightforward “emerging artists” show, there’s less to explain.)

January 25-Feb 9:
Emergency Biennale in Chechnya
Playspace Gallery, California College of the Arts
1111 Eighth Street, San Francisco, CA 94103
Opening Reception: 6-9 pm Jan 25
On the occasion of the 2008 World Social Forum (WSF), The Global Commons Foundation announces two public events in San Francisco: Emergency Biennale at CCA January 25, and World Social Forum at New College of California January 26.

The Emergency Biennale in Chechnya was conceived and organized in 2005 by independent Paris and San Francisco-based curator Evelyne Jouanno as an echo to the 1st Moscow Biennial and as a reaction to the destruction of a people and culture.

Drawing attention to the plight of Chechnya and more broadly to human and social emergencies in the context of “ambivalent globalization” while also questioning the phenomenon and proliferation of international Biennials, the Emergency Biennale in Chechnya opened on February 23rd, 2005 in different clandestine locations in the city of Grozny, and simultaneously in Paris, at the Palais de Tokyo.

After Paris, the touring part of the exhibit moved on to Brussels, Bolzano, Milan, Riga, Tallinn, Vancouver, Puebla, Istanbul, and now to San Francisco. In each location new artists are invited, conferences organized, and additional suitcases readied to be sent to Chechnya, where the artworks will join their twins and the collection will become the foundation for a museum.

This will be the first presentation of the exhibit in the United States. Artists invited on the occasion of the 10th stop in San Francisco: Lindsay Benedict, Dalida Maria Benfield, Rose Khor, Tony Labat, Julio Morales, Allan de Souza, Sergio de la Torre, Trinh T. Minh-ha, Jenifer Wofford.

And now!
On a totally different note!

January 26-March 15:
MFA Selections: A Salute to Bay Area Emerging Artists
DiRosa Preserve, Napa
5200 Carneros Highway 121, Napa, CA 94559
Opening Reception: 6-8 pm Jan 26
The MFA exhibition showcases the work of eight artists who recently completed their MFA degrees at Bay Area art schools and universities. Artists include Chris Bell and Kamau Patton from Stanford University; Ali Dadgar and Jenifer Wofford from UC Berkeley; Joshua Eggleton and Dan Lydersen from the San Francisco Art Institute; and Renee Gertler and Elizabeth Mooney from the California College of the Arts. Artists were selected by jury process.

I dunno. I’m happy to be participating in both of these, but I just can’t seem to wrap my head around resolving the gi-normous physical and conceptual distance between the raisons-d’etres for each of these exhibitions, given their proximity on my calendar, anyway. Anyhow. If anyone has any good ideas on how to marry the two, I’m all ears…


Monday, January 21st, 2008

It’s a hectic week ahead, mes amis. All good things, but definitely things that will keep me on my toes in the days to come. Blogging should be about #237 on the priority list of things to do, which is of course why I’m doing it first, in front of other tasks.

My Art Education seminar class at CCA started last week: we’re off today due to the holiday, but I’ve got a great deal of prep to do before we meet again next week. Between that and the Filipino Arts course I start teaching at USF this week, it’s kind of a dreamy set-up for subject matter I love working with. Can’t wait to see how both courses progress.

I was also supposed to be teaching a Drawing/Painting class at DVC this semester, but sadly, it got taken from me at the last minute (a full time professor’s course didn’t build, so she was forced to take over my same time-slot class instead). It’s unfortunate, since they/I had been looking forward to my working there, but I’ll likely teach there some other semester. Welcome to the perils of adjunct teaching!

While it’s something of a relief to suddenly have more free time to work on some upcoming shows I’ve got, the immediate drama that the loss of this gig has created is financial. Since I was counting on the DVC course to create a little financial stability at long last, I’m back at square one regarding some bill-paying. If you’ve got lecturing/subbing/design/illustration gigs for me, please let me know.

Also, my studio sale is ongoing, which I think some people were unaware of: email me if you’d like an updated pricelist. Sorry I can’t just publish my prices online: it would make things easier, but it’s dicey to do this in a year where I intend to find commercial representation. Basically, I can price my work lower since I’m selling it directly (no gallery commission), but I can’t afford to publicly undervalue it. Since I’m pricing stuff well below market value for original drawings, I have to contend with this awkward conundrum.

Anyway. Back to the work at hand that I’m avoiding so well thus far. Today I’m off to touch up my SoEx installation and to finish working on my Emergency Biennale contribution (more on that in my next post), tomorrow and Thursday I teach at USF. In between, I’m revising my CCA syllabus, and continuing to scan numerous texts for the Filipino Arts reader. Friday’s the Emergency Biennale reception, and Saturday’s the reception for MFA Selections at the Di Rosa Preserve in Napa. And to think that Kelsey and I were conspiring about our new club called the No-Work Club just yesterday!

Saturday, I was out at the Di Rosa Preserve, installing an excerpt from Point of Departure.


About 19-20 of the original 40 paintings will be exhibited. Since I’d unframed them and stashed them away after the BAM show closed in June, it’s been nice to reconsider the piece with fresh eyes, and rearrange the narrative composition a bit for this show.

The Preserve itself is idyllic: I’m looking forward to seeing more of the property this weekend. Hopefully, some of you make an excuse to take a day’s holiday out to the Napa Valley, and swing by the opening in the evening.
The Gatehouse Gallery at the Di Rosa is where our show is: the approach to the gallery offers a truly lovely view of the lake and the preserve. 52 acres of this loveliness, apparently.
The Gatehouse Gallery is situated right on the lake, with glass windows offering an insane view (you can see Renee Gertler’s amazing sculpture silhouetted in the shot above). Renee, Ali Dadgar, Chris Bell and I were all out there on Saturday, installing our work with curator Michael Schwager. Three cheers for relaxing installs in gorgeous surroundings!

OK. Have to get back to less gorgeous obligations and realities. More shortly. Short morely.

more great things

Monday, January 21st, 2008

Oh snap! There’s more! This article by Reyhan Harmanci just appeared in the SF Chronicle yesterday about the ‘Small Things End, Great Things Endure’ show at New Langton Arts .

ns_andreabowers.jpg(Jill Dawsey, the co-curator) notes that the unease around the language of feminism exists in the liberal Bay Area as much as any other place. “A lot of people aren’t interested in gender today – it’s seen as a kind of closed question,” she says. “There’s a sense of well, that’s over.”

The problem, she says, is it’s not really over. Her show suggests that it would be a shame to consign feminism to a tidy historical dustbin; the issues being raised a century ago, as Bowers’ piece shows, still seem ripped from the news. “Feminism has been around for a long time, but I don’t think we even know what it looks like now. I hope there are new conclusions to be drawn. Things haven’t changed,” she pauses, “that much.

One more show to catch!

Small Things End, Great Things Endure
New Langton Arts

1246 Folsom Street (between 8th and 9th)
San Francisco, CA
January 17 to March 15


Andrea Bowers’ “Vows,” based on a 100-year-old
essay on marriage and love by Emma Goldman.

where my ladies at/art?

Saturday, January 19th, 2008

So it’s been about damn time that some fierce women’s art shows came down the pipeline. There are the two shows I just posted about at Traywick and QNA, but that’s just the beginning! It seems like the West Coast hell-raising was kicked off last year by the various spring 2007 exhibitions and events down in Lo-Cal (WACK! at MOCA in LA’s Little Tokyo, Exquisite Acts and Everyday Rebellions at CalArts, Shared Women at LACE, Multiple Vantage Points at the LA Municipal Art Gallery), and are reverberating up to us here in No-Cal even as we speak.

Not to suggest that No-Cal follows Lo-Cal: gawd forbid! (Maybe we’re just more fashionably late.) But what’s with the timing? What did I miss? I mean, it’s not as if a new generation of women artists have suddenly come out of the woodwork here, or as if feminism is suddenly de moda again. Maybe I’m just noticing it because I’ve been thinking about it more lately? Perhaps a number of people, both women and men, have realized that we’ve been getting pretty complacent about what equality and shared responsibility look like, and whether progressive change is still occurring, and perhaps that’s renewing some conversations that were never resolved to begin with. Well, one can hope.

On the fabulous Praba Pilar’s site, she posted the stats below which I’ve often referred to for a reality check, especially when I’ve looked around a supposedly progressive, liberal art world and have still seen the distribution of opportunities/gender roles still looking suspiciously old-school.

67% of Bachelors in Fine Arts go to women.
59% of trained artists and art historians are women.
66.5% of PhD.s in Art History go to women.
60% of the MFAs in Fine Arts go to women
5% of works in museums are by women.
17% of works in galleries are by women.
26% of artists reviewed in art periodicals are women.
Women artists’ income is 30% that of male artists.
* These statistics are from Women’s Action Coalition Book WAC STATS and apply to the U.S.A.

I don’t know what year these stats are from (Praba? When?), but my own informal, subjective poll suggests that it’s still pretty accurate. I remember reading this Jerry Saltz piece last year about the dearth of representation for women artists in galleries and museums, which he backed up with similar stats. What was really interesting was another follow-up piece he wrote where he discussed the incredible hostility and denials he received in response to his article! This aligns pretty closely with the some of the responses I’ve received in conversations regarding the relative homogeneity (in relation to race/class/gender roles) of the US art world. Folks get aggravated/highly defensive when confronted by discomfiting news they don’t want to have to contend with, apparently. (Yes, yes, things are better than they’ve been. No, no, they’re not good enough, not by a long shot.)

So here’s the steese: there are some awesome-looking shows showcasing women artists this spring. You don’t even need to be female to see ‘em! (And please don’t go to that “oh, feminist/identity art is so passe” place in your brain. It’s stale, condescending, and such a cop-out.) Anyway. Check out Mills next week, check out YBCA in March. Check out the two aforementioned shows at Traywick and at Queen’s Nails Annex. The mix of artists in these shows is excellent, the curators are formidable, and they’re all opening up some new conversations that are long overdue.


Mills College Art Museum, Oakland
January 16 – March 16, 2008
Opening reception: Wednesday, January 23, 5:30 – 7:30pm
curated by Marcia Tanner

Continuing its commitment to the work of women artists and curators, The Mills College Art Museum presents ‘We Interrupt Your Program‘: a group exhibition of video and new media works by fourteen emerging and mid-career female artists: Maria Antelman, Maja Bajevic, Maria Friburg, Nina Katchadourian, Marisa Olson, Julia Page, Shannon Plumb, Jean Shin, Renetta Sitoy, Julianne Swartz, Stephanie Syjuco, Claudia X Valdes, Anne Walsh, Gail Wight with Retort.

The works in ”˜We Interrupt Your Program’ intervene in, reconfigure, augment, and/or re-contextualize dominant narratives of war, power, science, technology, and gender from what are arguably distinctively female and feminist perspectives. Spanning a range of media and aesthetic strategies, the exhibition includes computer-manipulated video, digital animation, video installation, interactive sculpture, and photography. All of the artists in ”˜We Interrupt . . .’ respond to contemporary mainstream media””including network television, mass market feature films, instructional science videos, and online communication platforms such as email and chat rooms””interrogating them as restrictive vocabularies and structures that routinely exclude the female voice and point of view.
“THE WAY THAT WE RHYME: Women, Art & Politics”
Yerba Buena Center for the Arts, San Francisco
Opens March 28, 2008 and runs through June 29, 2008
curated by Berin Golonu

Organized by YBCA, this exhibition showcases the politically charged work of a new generation of women who use creativity as a form of empowerment and a means for making social change. Emphasizing performativity, collaboration and coalition building, the artworks spotlight the daring of women who unapologetically assert themselves, and project their identities out into the world to address a range of issues from the personal to the global. While the works are influenced by the feminist ideologies and activist movements of the past, including the anti-war, pro-choice and environmental movements of the 60s and 70s; the gendered, multi-cultural identity politics of the 80s; and the rebellious Riot Grrrl punk music movement of the 90s; they also speak loudly and clearly to the issues facing women right now.

Artists include: Lisa Anne Auerbach, Andrea Bowers, Nao Bustamante, Tammy Rae Carland, Vaginal Davis, Eve Fowler, Deborah Grant, MK Guth, Taraneh Hemami, Miranda July and Shauna McGarry, LTTR, Leslie Labowitz and Suzanne Lacy, Aleksandra Mir, Laurel Nakadate, Shinique Smith, subRosa, SWOON and Tennessee Jane Watson, The Counterfeit Crochet Project organized by Stephanie Syjuco, The Toxic Titties, Jessica Tully, and RiotGrrl zines from the Independent Publishing Resource Center, Portland.

conduits of labor

Friday, January 18th, 2008

See what I mean? So much fly stuff happening: sadly, I won’t be able to make tonight’s opening, but this is def gonna be a hot show. Catch it:

Queen’s Nails Annex is pleased to present Conduits of Labor, an exhibition that will explore the aesthetic of the laborious body, and the emotions, contradictions, and futilities that can ensue. The exhibition will feature works by Ana Teresa Fernandez, Rebecca Goldfarb, and Suzanne Lacy.

Mexican born artist Ana Teresa Fernandez is well known for her performance based paintings, which satirically convey the futilities and horrors of domestic labor. For Conduits of Labor, Fernandez will be showing her first-ever video work “Ron Coca y Limon”, a three-channel video that will utilized Fernandez repeated use of the eroticized housewife outfit in conjunction with her physical interaction with large black latex balloons. Fernandez received her MFA from SFAI in 2006, and has exhibited her work at the Centro Cultural Tijuana in Mexico, and Braunstein/Quay Gallery and Galeria de la Raza in San Francisco. She was the recipient of the 2007 Headlands Center for the Arts Tournesol Award, and will be included in upcoming exhibitions at the Brooklyn Art Gallery, in New York, and the Smithsonian Museum, in Alameda, California.

Artist Rebecca Goldfarb will be presenting a portion of her collecting practice that reflects her interests in the obscurity of information. Goldfarb will exhibit her collection of soaps, which range in age from the Victorian era until recent times. Goldfarb received her MFA in new genres from SFAI in 2004, and most recently her Graduate Bartender degree from the Society of Independent Artists in 2007. While Goldfarb has exhibited extensively throughout the bay area, this will be her first exhibition at Queens Nails Annex.

In addition to the work of Fernandez and Goldfarb, QNA is proud to exhibit never-before-seen works from Suzanne Lacy’s “Monster series” from the 1970s. Most recently Lacy has been received as a seminal addition to the acclaimed exhibition WACK! Art and the Feminist Revolution. Lacy is currently the chair of Fine Arts at the Otis College of Art and Design in Los Angeles, Ca.

Conduits of Labor
1/18/08 – 2/24/08 (opening reception 1/18/08)
gallery hours: Fri, Sat and Sun 12 to 6PM or by appt
3191 Mission Street
San Francisco, CA 94110
415 648 4564

where we are now: activism today

Friday, January 18th, 2008

Dang. 2008 is off to a bangin’ start. There are so many interesting events coming up in the next week or two, I don’t think I can even hit’em all!

The Activist Imagination project is heating up: the next of their panel discussions is this Tuesday evening. The blog for the project is especially insightful. I’ll prolly roll on over to the Jan 22 panel discussion after my first day of class at USF (I’m teaching Filipino Arts again there), assuming I’m not totally shattered. Maybe even if I am shattered. I’m pretty disappointed that I missed the first panel, as it is…would be sad to miss others.
Join Kearny Street Workshop and a panel of activists, artists, and organizers for a discussion about the present state of activism, the arts and community.
The panel features San Francisco School Board member Eric Mar, National Network for Immigrant and Refugee Rights Program Director Diana Pei Wu, artist-activist and founding member of Eastside Arts Alliance Favianna Rodriguez, and activist and co-founder of Liberation Ink Le Tim Ly, and is moderated by community artist Robynn Takayama, and will examine, explore, and challenge the state of activism today.

Where We Are Now: Activism Today, is the second in a series of discussions that is part of KSW’s Activist Imagination program exploring the past, present, and future of arts and activism. Activist Imagination also features an exhibition of new work developed by three lead artists, Bob Hsiang, Donna Keiko Ozawa, and Christine Wong Yap, responding to and exploring the themes raised in the program. The visual exhibition opens Friday, February 29th, 2008, at KSW’s space180.

Where We Are Now: Activism Today
Tuesday, January 22, 2008; 7pm
Kearny Street Workshop’s space180
180 Capp Street, 3rd Floor, @ 17th Street, San Francisco
Free and open to the public.