NOMA GALLERY is proud to present its first solo show by TPG #3 artist Christine Kesler. “in a world where you are possible” features an installation where the artist intersects and collides paintings, drawings and sculptures as well as a new video piece.  TONIGHT there is a closing reception (though the show has been extended a week so you can still see it!) and it should be a good time.

An evening of Sounds and Words:

Drawing on the influence of poetry in Christine’s work the gallery put together an evening of readings and music. Kevin Killian will read from his new book ‘Impossible Princess’ (City Lights), Christine Choi will be reading portions from her work ‘Swollen Animals Dream: Fifteen Love Letters’ accompanied by projections and a hacked “lyre”, Christine Kesler will be reading some recent poetry and there will be a music performance by James Devane.

DOMESTIC DISTURBANCE

The parameters of work are changing rapidly in our time. The boundary between professional and personal time is no longer clear. Increasingly connected by ubiquitous technology, we are on the clock 24 hours a day and 7 days a week.  For artists, these distinctions have long been blurred. Lived experience has been among the chief concerns of art in the late 20th century. This maxim of art-as-life takes on new dimensions when considered in light of the new telecommuter economy.

Each of the artists in Domestic Disturbance employs these strategies in a unique way, applying psychology, performance and humor to work that comments succinctly on the way we live today.

DOMESTIC DISTURBANCE – October 7 – 31, 2009

Reception: Wednesday, October 7, 5-8 pm

Artists: Abigail Feldman, Emily McLeod, Kara Hearn, Sonya Rapoport, Desirée Holman, Stephanie Syjuco, Jennifer & Kevin McCoy

Worth Ryder Gallery
University of California, Berkeley
116 Kroeber Hall
Berkeley, CA 94720

Gallery Hours: Tuesday-Saturday, 12-5 pm

Photo credit: Jennifer & Kevin McCoy, I’ll Replace You, 2008. Video. 16:40. Courtesy of Postmasters Gallery, New York.

*the gallery is also accepting curatorial proposals: Spring exhibit deadline is October 15th!

At the home of Stephanie Hanson and Tom Damassa

Our very own TPG #3 artist is graduating with a brilliant MFA show from CCA and it will be open for all to see starting this Thursday, May 7th.

Here are the details:

May 7-16
San Francisco campus: 1111 Eighth Street
10 a.m. – 6 p.m.
Opening reception: May 7, 6-9 p.m.
415.551.9214

Check out the website to preview works from all the graduates this year.

We’re starting in Old Oakland. Where?

465 9th street (9th & Broadway), Oakland. September 5th, 2008, 5-10PM. We’ll be showing TPG7 as well as an (almost) two year Present Group Retrospective. Here’s some more info.

posted: August 29, 2008

We also weren’t staying too long as my parents were with us and described the feeling as similar to the theme of No Country for Old Men.

At the very end of the hallway, there was an artist named Elisheva Biernoff who was taking photos in her Arctic photo booth. I don’t know if the point was to show how much people love getting their picture taken, or to have some sort of situation where there is a setup for a formalized transaction between artmaker and art “consumer,” or it is to memorialize glaciers, or if she uses the arctic scene for some other project, but it seemed fun. I do especially love all sorts of dioramas- though it really flattens out in the photo. Oliver and I look like two big cartoon mountains rising from the horizon.

You are also welcome to start a discussion relating to the work in any way.

The Art of Travel – Alain de Botton’s The Art of Travel is not a guide to travelling but an exploration of the role of travel, broadly understood, in the lives and work of some eminent artists and writers. He writes “the most effective means of pursuing this conscious understanding [of beauty] was by attempting to describe beautiful places through art, by writing about or drawing them, irrespective of whether one happened to have any talent for doing so.”Mostly focuses on 19th century artists. Buy from Amazon The book was also made into a Television series

Non-Places of Travel in Visual Art – art created with “non-places” as a site for work especially when dealing with themes of lost identity/travel/anonynimity. ” These artists choose them as subjects because, despite their initial bleakness, these non-places have something to say to us. Although a non-place, a lack of place, may signify a loss of identity, it simultaneously creates its own unique experience of new and previously unexpected identities.” by Edita Marelic

Space is the Place – an exhibit in scottsdale, Az that gathers together artists interested in the ulitmate frontier: space travel

Franz Ackermann – “His work frequently deals with the double side of tourism- the glamour, speed and consumption of international travel but also the detritus, architectural scarring and garbage that it leaves behind, and his installations often take on the appearance of strange advertisements for a global tourism industry run amok.”

Angela Bulloch- a review of this Young British Artist’s show where she played a videotape, shot first from inside an airplane then from inside a car, recording the entire journey made by the artist to arrive at the gallery.

William Kentridge - William Kentridge uses drawing as a means for story-telling, often dealing with city life, and propelled by his conscience. He is “interested in…an art of ambiguity, contradiction, uncompleted gestures and uncertain endings.”
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Christine’s Links:

Christine’s photos from the trip.

The Drawing Center in New York City continues to be one of the foremost institutions in the world to promote experimentation and innovation in the medium of drawing.

On The Road Twelve years ago, this book saw the birth of my wanderlust. Kerouac blessed me with his visions of “the raw body of America itself.”

Nicola Lopez A New York artist who confronts the chaos of urban/human-built landscape, travel and mobility, and information over-saturation. Her experiential mapping resonates with my own work.

An essay on William Least Heat Moon’s novel that led me right up to this trip.

Gordon Matta Clark was a seminal multi-media artist who confronted his own mortality in making enormous marks in the landscape and cityscape around him. Specifically, in cutting open warehouses left abandoned by the city of New York and empty suburban homes; in graceful drawings and photographs that brought to light a bleak reality of the socio-economic scene in America’s 1970s; and in performances- his training and his point of departure was architecture, but his use of materials elevated, reduced, and transformed the very concept of “building.”
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Works of art on paper include drawings (in any media), collages and other paper-based methods, but not prints (prints are made by drawing a stone or metal surface, not on paper or canvas, from which an image is printed a number of times).

Works on paper are delicate and can be easily damaged, so proper care is a must. When unframed, works on paper must be handled using cotton gloves to protect the paper’s ph-balance from the natural oils in your skin. Poor framing and exposure to strong light are also issues. The paper should be framed using acid-free materials because the acid from regular paper or cardboard will eat into the paper and stain it. You can choose between museum-quality, UV retardant glass or Plexiglas to reduce fading. Cleaning agents should never be used on the glass or Plexiglas because it removes the UV protection and the paper should never be in direct contact with glass; use a spacer. Once framed, a work on paper should not be hung in very humid areas which will cause fungus to grow, this is known as foxing (small brown spots). Also environments that are too dry or cold will cause the paper to become brittle and crack and dust and pollution are also variables that can damage all works of art.

In regards to lighting, if at all possible one should avoid halogen and florescent lights and use tungsten light instead. Works on paper should never be rolled in tubes for mailing or rolled for extended periods of storage. They should be stored flat, between acid-free tissue paper or glassine.

If properly taken care of, works on paper should retain their value and can potentially increase the integrity and synchronicity of a collection overall.

Lauren Gentile, Assistant Director and Director of Sales at Irvine Contemporary is a 2007 graduate of the Sotheby’s Institute in London. She specializes in the economics in the international art market, with expertise in valuation, art advisory services and art collection management. Ms. Gentile holds a Master’s in Art Business degree from SIA London, where she wrote her thesis on fine art as an alternative asset class and fine art investing; the work focused on the recent phenomena of fine art funds. She also has a thorough background in art history, and holds two B.A. degrees in art history and international studies from DePaul University in Chicago. She has studied art history, Italian and German at The School of the Art Institute in Chicago, the Goethe Institute, and the University of Florence.