Oct 25 - Nov 17, 2008
Artist Reception: Oct 25, 6-9pm
First Friday Receptions: Nov. 7, 7-10pm
Kevin Chen, Jen Elia, Narangkar Glover, Pete Glover, Eleanor Harwood, Daniel Healey, Carrie Lederer, Michelle Mansour,Nicole Neditch, Margaret Tedesco
I hope you all go out there and check out the great spaces all of these amazing artists are involved with.
click here for a review in the EastBay Express by DeWitt Cheng
Created a series of drawings called The View From There. He creates fictional cities, inspired by the moments when we are able to step away from the hustle and bustle of urban life and look back at the dense fabric of the city skyline set against an infinite sky. From this distanced perspective we can take pause, reminding ourselves of our role in the world.
Kevin Chen is the Program Director of Visual Arts, Literary & Jazz at Intersection for the Arts.
Intersection for the Arts is San Francisco's oldest alternative non-profit art space (est. 1965) and has a long history of presenting new and experimental work in the fields of literature, theater, music and the visual arts.
work explores feelings of humorous discontent. Concerned with aspirations of success, my doubt has led me to a place of indifference and isolation. Instead of trying to escape my inevitable fate I have decided to explore a career as a "Cat Lady". That is, one that collects and consumes to fill a void as well as to have a sense of accomplishment. I have set out to find the bargains, explore the bingo halls and devour any beauty that lies there.
Jen is the owner of Fleetwing Gallery located in Lambertvillee, NJ. Fleetwing Gallery, housed in a former firehouse, is an artist-run contemporary art gallery featuring emerging artists from SF, LA, NYC, Philly, and beyond.
is combining themes from several of his recent bodies of work: The Junk Pirate collections and the illustrated “Time-Wasting” drawings. The work explores his personal connection with ideas of the creation of art through means of nostalgia, process & habit, color, and context.
Her O.R. series of paintings are based on her recent invitation to watch a total-hip-replacement. What she wanted to convey in these images is not simply the gruesome nature of invasive operations, but the experience of being a fly on the wall in an environment that takes years of adapting to. Her resulting paintings capture the bits and pieces of the memory, rather than the literal incident.
Pete and Narangkar Glover are the owners of Rowan Morrison gallery located in Oakland. a contemporary art gallery and artist's bookstore. Rowan Morrison specialize in fine art books, small edition prints, unique paper goods, and self-published zines. They also publish their own editions of art books, prints, and original paper goods.
Rowan Morrison Gallery and Artist's Bookstore
330 40th Street
Oakland, Ca 94609
is the owner of the Eleanor Harwood Gallery. The gallery's programming focuses on represented artists as well as hosting shows and/or events for less established artists, musicians and writers to take risks in a professional gallery setting.
Daniel has co-curated two Bay Area survey shows at the LoBot, highlighting emerging and nationally established artists. In 2007, Co-founded Satellite Gallery in Oakland with David Vickers, hosting 6 multidisciplinary exhibitions. He has also put together art and music shows in San Francisco, Berkeley, Oakland, and Alameda; assisting at the Red Ink Studios, Resurrection Theatre, Autobody Fine Art, Mission Creek, the Starry Plough, and Riffs Sound studios. Daniel is currently a volunteer at The Lab and the Oakland Art Gallery and will open the doors of an artist-run contemporary art gallery in downtown Oakland, early 2009.
314 15th St Gallery will cater to traditional and experimental artists local to the Bay Area and abroad. It is our mission to allow artists and curators to approach the space as a fertile ground to express individual visions as well as universal truths within cultural cross-boundaries. We aim to host engaging contemporary approaches in music, performance, video/film, and site-specific installation.
Carrie Lederer’s recent paintings and sculpture depict turbulent gardens informed by nature’s riotous beauty, or the deep space of our universe filled with a Byzantine intricacy of stars, snowflakes, and snowmen. The work conveys the order beneath the confusion found in both the garden and universe.
The science of fractals and patterns of chaos are particularly important to the work, and Lederer is drawn to nature’s intrinsic capacity to create and reproduce pattern—as both a source of imagery and working process for my her art.
About her work Lederer states “Fractals basically tell the story of the wild transformations in nature that take place on a daily basis, and they give order to a chaotic world of energy and change. My paintings, sculpture and installations are a response to these natural wonderments. My daily, up-close encounter with nature is the fifty-foot journey through our family garden, from home to the studio. I am continually captured by nature’s sheer lunatic exuberance—a spectacle of complexity—beautiful, simple, and seemingly haphazard.”
Carrie Lederer has curated informative and provocative exhibitions at the Bedford Gallery since 1993. During her tenure, she has curated more than 60 exhibitions, establishing the gallery’s mission to educate, intrigue, and involve the diverse audiences of Contra Costa County. Ms. Lederer’s curatorial focus is to create a contextual framework for individual works of art, whether historical, contemporary, or community focused. She has constructed a program that is a living weave of exhibitions, many stretching beyond conventional definitions and constraints. Under Ms. Lederer’s leadership, Bedford exhibitions offer broad perspectives on the definitions of art. In addition to more traditional media such as painting and sculpture, Bedford exhibitions have highlighted kinetic contraptions, inflatable structures, digital media, Native American baskets, and racing motorcycles. The work of local, national, and international artists has been featured in Bedford shows, along with art by Contra Costa youth and California artists aged 55 and older. Thematically, Ms. Lederer has explored the fine line between craft and art, the intersection of art and design, definitions of beauty in art, and media such as weaving and needle art, which are often overlooked in contemporary exhibition spaces.
States that the tensions between the scientific & the spiritual, the corporeal & the ethereal are what drive the work. Her process includes layering translucent washes of color and building up a system of marks. As amorphous shapes bloom through the application of fluid pigment to wet surfaces, the marked ground references a stained biology slide. She proceeds by applying tiny marks and patterns to create an ethereal space where particles gather and disperse in an endless cycle. In some areas these particles accumulate, and in the case of the works on panel, layers of silicone begin to grow, emerge, and cluster on the surface, mimicking how cells coalesce into tissues, cysts, and tumors. The result is the juxtaposition of the beautiful and the grotesque, surfaces that both attract and repulse. While the initial impetus for these recent compositions is symmetrical, the mutability of the materials often disrupts a perfect equilibrium. Fluctuating between organic fluidity and manipulated surfaces, she use's this combination of techniques to speak about the tension between what we can and cannot control in our own physiology. While the subject matter suggests the seemingly inevitable possibility of illness and disease, the paintings serve as meditations on the exquisite and delicate balance of the natural world.
Her interest in this work stems from growing up in a family of science & health practitioners, and my focus intensified when her mother was diagnosed with cancer six years ago. These recent paintings investigate a parallel between the feelings of defeat in losing her mother to this battle and contemplating the relationship between spirit and matter. The process of repeating layer upon layer, mark upon mark, becomes a devotional practice. Strands of cells appear as tissue-like prayer beads – a tactile element for counting countless meditations.
Michelle is the Executive Director of Root Division, an organization of Bay Area artists working for a livable existence in an arts and arts education community.
Root Division's mission is to improve appreciation and access to the visual arts by connecting personal inspiration and community participation. We provide subsidized studio space to working artists in exchange for their service in creating shared learning opportunities for the community. Artists develop creatively and professionally by teaching art to under served youth, leading adult education classes, and producing exhibitions that showcase local emerging artwork. By combining multiple opportunities for creative exchange, Root Division cultivates an artistic ecosystem that enriches life throughout the Bay Area.
Nicole's artwork draws from her design sensibility. Composition, white space and stark color pallets are very prominent in her work. While her newest work is a far cry away from the photographic processes that she once studied, printmaking has remained her favorite form of art-making. Her fairytale illustrations are photocopied and then transferred back down onto paper. To her this creates a feeling of stories left behind.
Nicole Neditch is the Co-Director of the Oakland Art Gallery. Before that she was the owner of the Mama Buzz Cafe and Gallery, and Creative Director for Kitchen Sink Magazine. She has been a consultant for many emerging and professional artists, designing and implementing marketing plans, and pointing artists in the right direction to launch their careers. She has been acknowledged as a curator for such shows as Curate This (Richmond Art Center, 2004), Nikki: A Study of Narcissism in Art (Lobot Gallery, 2005), Sampling Oakland and East Side Story (Yerba Buena Center for the Arts, 2006), and curated 5 years worth of exhibitions featuring over 100 Bay Area based artists for Buzz Gallery. She is the Vice-Chair for Oakland's Cultural Affairs Commission and has been a founder of several city wide arts marketing initiatives.
Oakland Art Gallery
199 Kahn's Alley (in City Hall Plaza)
Oakland, CA 94612
Margaret Tedesco's work includes performance, installation, photography, sculpture, and video. Selected exhibitions and performance work includes: Bay Area Now 4, Yerba Buena Center for the Arts; New Langton Arts; Walter and McBean Galleries at SFAI; SFMoMA; The Luggage Store; SF Arts Commission Gallery and the Market Street Art in Transit Program (24 kiosks, two projects); SF Camerawork; SF Cinematheque; The LAB; Southern Exposure; 667Shotwell; Eleanor Harwood Gallery; Right Window (ATA); Blackbird Space; TART; and Small Press Traffic at CCA, and RADAR Reading Series, in San Francisco; Oakland Art Gallery; Spiral Gallery; CrazySpace; and Oaks Lodge/Cal Arts, in Los Angeles; Disjecta, Portland, OR; White Columns, NY; Saarländisches Künstlerhaus, Germany; 11th Nippon Performance Festival, Japan; PIPAF Performance Festival, Philippines; Performance Festival Odense, Denmark; and in Leipzig, Paris/Marseille, Italy, and Czech Republic. She received the Bay Area Award for Performance from New Langton Arts, San Francisco in 1999.
Selected publications include: “SKANK BLOC BOLOGNA, number two” curated by Anne Colvin (TART, SF); "Good Times: Bad Trips" companion publication for Scott Hewicker and Cliff Hengst Gallery 16 exhibition; “THING new penis art from america” artist edition curated by Darin Klein; Mirage #4 Period(ical) #91 : edited by Kevin Killian and Dodie Bellamy, 2000; Plazm Magazine #16: Anyone Can Color insert, drawings by Zoey Kroll, text by Margaret Tedesco 1997, among others. Tedesco has been an independent curator and teacher since the mid-80s.
is the owner of [ 2nd floor projects ] an artist-run project space, open since April 2007, the project received Southern Exposure's Alternative Exposure Award in 2007.
[ 2nd floor projects ]