FROM CYBER SPACE TO STREET SCENE: WHITEHOT MAGAZINE OF CONTEMPORARY ART

FROM CYBER SPACE TO STREET SCENE: WHITEHOT MAGAZINE OF CONTEMPORARY ART
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Contact: Jan Van Woensel
janvanwoensel@gmail.com

973-901-8208

http://whitehotmagazine.com/

Noah Becker's
WHITEHOT MAGAZINE: FESTIVAL Curated by Jan Van Woensel & Tracy Candido


Print media is fast losing ground to up-to-the-second information on
the web and art magazines are no exception. Web based Whitehot
Magazine of Contemporary Art first came on line in March and was
embraced by a growing international community of artists who sought
immediacy for art news, reviews and informal dialogue.

Whitehot has attracted international writers, artists, curators and
college professors as contributors to review art and interview artists
and is hailed as one of the largest existing art communities covering
art from New York, Los Angeles, San Francisco, Montreal, Toronto,
Vancouver, London, Berlin, Paris, Amsterdam, Dublin, Zurich, and
Tokyo.

WHAT: After five successful months the monthly cyber mag is leaping
out of the click-n-scroll world to New York City's lower east side art
scene. Celebrating with live music performances, cinema and an office
on wheels, the event is tapped as the Whitehot Magazine Festival, a
three-days event coinciding with the season's opening of many art
galleries. Seven contemporary art galleries are participating in the
festival which will also include live interviews with artists, live
music, film, and printouts of selective editions of the magazine.

WHEN & WHERE? Thursday, September 6 to Saturday September 8, 2007.

Whitehot Trucks will be in two different locations on the Lower East
Side in New York: The corner of Eldridge and Stanton, and in front of
Envoy, 131 Chrystie St.

WHO: Whitehot staff will be interviewing the following artists:
Paul Laster, Carlo McCormick, Brent Green, Dana Schutz, Chico, Timothy
Greenfield-Sanders, Jim Powers, Noah Becker and Jan Van Woensel,
Robert C. Morgan.

Galleries that are involved are: Smith-Stewart, Envoy, Thierry
Goldberg, Little Cakes, Sunday, Rivington Arms, 31 Grand.

Music bands that are performing live and all acoustic are: The
Quavers, Brent Green, Huff This!, Forest Fire, Noah Becker Jazz
Ensemble & Guests, Cassanova Brown.

Whitehot Magazine Festival partners are: ArtKrush, Flavorpil, Club
Midway, Bushwick Film Festival, The Cascade High-school – Center for
Multimedia and Communications.

janvanwoensel@gmail.com>

Double Resonator: Silverman Gallery, September 7, 7-10pm

Silverman Gallery is very pleased to present Double Resonator an exhibition of work by Christopher Paul Badger, Robert Smithson and La Monte Young.

Opening reception to take place Friday September 7, 2007 7-10pm.

Double Resonator is part of Silverman Gallery's Original Version, dedicated to solo exhibitions. During which, the artist and Silverman Gallery collectively choose and exhibit a selection of figures influential to the artists practice. By doing so, Original Version constructs a framework of references that form a network between the artists and enhance the viewer's experience.

C.P. Badger is a Los Angeles based artist known for his collaborative work with the group of artists and experimental musicians known as Everlovely Lighteningheart. The group creates unique harmonic events that are never duplicated and will never repeat. Departing from the group dynamic Badger’s work for Double Resonator successfully displays a similar interest in subversion by blending technology and everyday objects in an effort to produce a distinctive interplay. Drawing from these collaborative, experimental roots, Badger merges language, sound, image and sculpture to draw the viewer into a unique and temporary journey.

In the main space Badger will install photographic and sculptural works including "Harmonic Field", a 3-piece sound sculpture made of steel, wood, chord and ebow, which is placed throughout the gallery so that the entire room is engulfed in the works subtle, moan produced by slight vibration. “Harmonic Field” calls attention to the singularity and ephemeral nature of sound as well as the piece itself. Eventually “Harmonic Field’s” continuous gesture falls into the subconscious only to be awakened by any slight shift.

Other contributions to Double Resonator are by artists Robert Smithson and La Monte Young. The works included have been purposely chosen and consist of scores, collages and instructions that emphasis the artists thinking process and the idea of how to execute a work, as well as documentation of that thinking process. Included are a series of letters from Robert Smithson to curator/critic, Jan van der Marck describing a film project and Composition #10 where Young composes 29 identical instructions, "Draw a straight line and follow it". Although Smithson's drawings were not intended for aesthetic pleasure and Young’s compositions not necessarily of a musical nature, they were, as the viewer will come to see, both aids to the imagination.

Double Resonator investigates the relationships between found objects, language and the imagery they produce. The exhibition embraces a broad range of approaches and methodologies, including photography, sculpture, and sound. Double Resonator brings together an inter-generational group of artists whose work explores our perception of the ever-shifting landscape. As viewers we are not merely beholders but participants in our reality: mediating, representing, and filtering experience though our assumptions and pasts.

In conjunction with the exhibition, a limited edition print by C.P. Badger will be produced by Silverman Gallery.

Double Resonator will be on view September 7, 2007 until October 5, 2007.

Four Projected Movements

Anthony McCall, Four Projected Movements at New Langton Arts.

Friday and Saturday, 14 Sep 2007 to 15 Sep 2007 Friday, 7-9pm Film “Performance” (75min) Followed by a reception with the artist. Saturday, 12-5pm Ongoing projection.

Anthony McCall has been creating film installations and performances for over 30 years. Four Projected Movements was produced in 1975 as a further exploration of his previous work Long Film for Four Projectors, and it has rarely been shown in the US. It is the last piece of his series of “solid light” films that used projector and film. For McCall Four Projected Movements is a succinct rendering of the structural principal of Long Film for Four Projectors. It uses one of the light wedges from Long Film for Four Projectors and explores the seeming gravitational pull that his solid light forms are famous for.

Placing one of the wedges into the corner of the gallery, parallel to the wall, a single fifteen-minute reel of film is run through the projector in four different ways: head-to-tail, tail-to-head, head-to-tail back-to-front, and tail-to-head back-to-front. This produces four different sweeps through space: wall to corner, ceiling to corner, corner to floor and ceiling to wall. The moving wedge interacts with the actual architectural frame. The plane of light transitions vertically and horizontally, confronting the viewer with a question of spatial orientation and movement.

Anthony McCall works in film, video, and installation. Over the past few years he has exhibited at Tate Britain, London; the Mead Gallery at the University of Warwick, Warwick; the 2004 Whitney Biennial, New York; Centre Georges Pompidou / La Maison Rouge, Paris; Galerie Martine Aboucaya, Paris; Galerie Thomas Zander, Cologne; Gagosian Gallery, London; MACBA, Barcelona; Museum für Moderne Kunst, Frankfurt; and Nationalgalerie Hamburger Bahnhof, Berlin.

Events taking place at SFMOMA* Artist Talk: Anthony McCall September 13, 2007, 6:30pm Followed by Crime in Choir performance at 9pm*for details and ticketing information visit www.sfmoma.org/exhibitions

Anne Colvin in "it can't happen here"

(front of card)

I wanted to let you know about a group show I am in up in Portland opening on Friday September 7th. it can't happen here! takes its title from a Lewis Sinclair novel about bad politics and authoritarian regimes. The premise of the show is somewhat anarchic and open to interpretation as to what constitutes "it", " happen" and "here". This is an inaugural show in a great new space, Worksound - Anne/TART

Rail Action:ARTWALK:Friday, September 7

A Rail Action
ARTWALK
FRIDAY, SEPTEMBER 7TH, 2007
DOGPATCH, SAN FRANCISCO

ampersand, Pingpong and Jessica Silverman galleries
of the Rail alliance :
are happy to announce a Rail Artwalk :
3 coordinated openings on Friday, September 7th
--see details for hours below--
--click on Map for directions--

These Rail’s project spaces and galleries are located in the path of the new MUNI T train that connects the Third Street, DogPatch, South Beach and Mission Bay neighborhoods.

The current line up for this September shows of Rail ACTION is as follows:
TART's opening on 14th as Anne Colvin is included in show It can't happen here, Worksound, Portland.

ampersand international arts: September 7th - 24th, 2007 (R3)
Opening Reception:
Friday, September 7th, 6-8.30pm
David Fought: "3 (5)wires and 5 (3)sides", Sculptures, Wall Installation,
James Sansing :"Seeing Darkly", Mixed Media Paintings
Gallery Hours:
Thursday & Friday : noon-5pm and appointment.


Ping Pong Gallery: September 7th - October 12th, 2007 (R4)
Opening Reception:
Friday, September 7th, 6-9pm.
Amanda Curreri: "Make New Friends" Multi-media Installation.
Gallery Hours:
Tuesday 6 -9pm, Thursday 6-9pm and Friday 11-5pm and appointment.


Silverman Gallery: September 7th - October 6th , 2007 (R2)
Opening reception:
September 7th 7-10pm.
Christopher Badger with Robert Smithson and La MonteYoung, Static Equilibrium.
a two part Exhibition:
Part I Silverman Gallery, San Francisco
Gallery Hours:
Thursday and Friday : noon - 5 pm and by appointment
(Part II Silverman Gallery,Los Angeles, September 7 - October 6, 2017)

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"No self-respecting art community is ever complete without a small,informal gallery run by the artists themselves and dedicated to emerging talents and experimental ideas. These galleries seldom last forever but the idea behind them never dies. Many of the things they display are half baked and scarcely survive their initial exposure; on the other hand, some of the most important people in the history of art have been introduced to the public by ventures of this kind"
Alfred Frankenstein, San Francisco
Chronicle, November 17, 1954.

Mr. Frankenstein's statement couldn't be more true today as it was then.
With the upcoming art season upon us, galleries are preparing to present to the public their latest and greatest.
Here in San Francisco, the focus tends to turn toward the downtown art scene, home of the "dentist-like-office-gallery-towers." While these spaces offer a spectrum of intriguing work, the other end of the City is bursting at the seams with a revival of innovative and exciting new gallery spaces far from the Geary "epicenter."

One such scene is Rail. Rail is an innovative alliance of San Francisco based project spaces and galleries located in the path of the new MUNI T train that connects the Third Street, DogPatch, South Beach and Mission Bay neighborhoods.
These project spaces and galleries include: ampersand international arts, Ping Pong Gallery, Silverman Gallery and TART. The Rail's galleries are diverse in their programming, but share an understanding of what constitutes an art experience, informed by the intimate nature of their spaces. Through their collective experiences, Rail spaces ensure the growing arts presence on Third Street.

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geojedi

We're having a farewell party/performance in the mission on saturday the 25th at warehouse 1310 in. It would be a pleasure to have you there. Dance the light fantastic and kiss those blues away with the shivering shake of futured shockt.

http://www.geojedi.org/summer2007/party.html

luv, johnny & shalo p
WESTSIDE!

Internship/Assistant Opportunity @ Silverman Gallery

Silverman Gallery, San Francisco

What we are looking for:
You are interested in working in an art gallery environment. You possess strong communication skills (both in person and on the phone), and excellent organizational and computer habits. You are willing to commit 2-3 days a week and are able to attend openings (discussion of participation in art fairs to be discussed).

Responsibilities:
1. Administrative assistance:
• Answer phone, receive/open mail, ensure messages and correspondence are distributed
• Assist with database maintenance, prepare paperwork for installations, assist with mailings, and run errands;
• Help set up for art openings, hosting special events

2. Preparatory assistance:
• Assist curators install and de-install exhibitions, including patching and painting, hanging and lighting;
• Handling art, pack and unpack artwork;

3. The fun part:
• Work with curator on projects involving research and compiling relevant information that requires direct communication with artists and collaborators.

Qualifications:
• Personable, outgoing, not afraid to ask questions;
• Ability to take direction and work independently;
• Able to perform detail-oriented tasks w/ minimal supervision;
• Strong multi-tasking and organizational skills;
• Excellent phone and interpersonal skills;
• Knowledge of contemporary/modern art or the willingness to learn about it.

About us:
Silverman Gallery's internship program is structured to coordinate applicants' interest, backgrounds and schedules with the galleries rigorous exhibition program. While the internship begins as unpaid, there is opportunity for incentives. The internship is sure to offer a behind the scenes experience in a culturally enriched neighborhood at a dynamic young gallery with a chance to work with artists and arts professionals, in exchange for the valuable time and talent of our interns. For interns currently enrolled in school programs, we are happy to assist with fulfilling credit requirements.

Compensation: This is not a paid position (interns may qualify for paid positions, based on performance and as available).

The gallery is open Thursday - Saturday from 11-6 please visit our website: http://www.silverman-gallery.com

To apply, email your cover letter and resume to jess@jessicasilverman.com or call 310.428.8932.

Hope to hear from you soon!

Jessica Silverman

Marketability.

Always a mainstay of the art world, private collectors have been especially active of late, and engaged in a riveting game of one-upmanship, subconscious though it may be.

The husband-and-wife founders of Gap recently revealed plans to open a museum in San Francisco for their modern art collection.

The French mogul François Pinault continues to steamroll his way toward turning Venice’s Punta della Dogana (the city’s old customs house) into a contemporary museum all his own. He plans to open the museum in time to complement, or more likely compete with, the 2009 Venice Biennale.
In Washington, D.C. another private collector has landed a show at the prestigious National Gallery of Art devoted solely to his photography collection.

Yet whenever contemporary private collections like these come up in conversation, I can’t help but hearken back to the quirky progenitors of all modern-day collections—the cabinet of curiosities. In vogue during the 16th and 17th centuries, these wunderkammen (wonder rooms) housed strange specimens of flora and fauna, religious relics and artifacts from far off lands, as well as paintings and sculpture. Many such collections became the cornerstones of some truly outstanding museums—the British Museum in London and the Teylers Museum in the Netherlands, to name a couple.

But more than prestige, the impetus for these collections was the wonder of the object, no matter how humble or extraordinary, and the excitement of holding something rare or exotic in one’s hands.

Nowadays collecting is often devoid of such spirit. Financial gain and status seem to steer acquisitions. The reward of a collection is inextricably linked to marketability and making a name for oneself—and there’s the folly. A collector might stipulate how his or her cache of goodies should be handled, but there is no guarantee that such guidelines will be followed forever, as the ongoing upheaval at the Barnes Foundation in Philadelphia, a sterling example of modern collecting, shows.

Better to savor a collection for the pleasure evoked by the objects themselves. It’s the only certain payoff.

Jeans, are and more art!

Doris and Donald Fisher, founders of the estimated $16 billion-per-year retail giant the Gap, announced last week a proposal to fund the design and construction of a contemporary art museum in San Francisco to house their extensive collection of 20th and 21st century art.

The Fishers, who have made ARTnews’s top ten list of world art collectors in 1993 and 2003, have a collection of more than 1,000 works by Andy Warhol, Roy Lichtenstein, Alexander Calder, Cy Twombly and other greats, with enough pieces by some artists to show changes over the course of their careers.
The 100,000-square-foot museum with 55,000 square feet of gallery space would be built in what is now a seven-acre parking lot in the Presidio, a former U.S. military facility turned national park with views of the Golden Gate Bridge. However, it’s not a done deal. The Presidio’s seven-member board, which is accepting other proposals for the spot, has final say.

Having explored other options, such as building a new wing on the San Francisco Museum of Modern Art, Donald Fisher decided to build his own museum so that he could have the space and control to ensure that the public could view all his works. Fisher has essentially been acting as curator of his collection all along, displaying many in the Gap’s San Francisco headquarters.

The Fishers have chosen Gluckman Mayner Architects of New York City, who worked on the Whitney Museum of American Art, the Museum of Contemporary Art San Diego and others, for the design of the proposed Contemporary Art Museum at the Presidio (CAMP). If accepted, the tentative completion stands at 2010.

Farley's TART Performance included in Red Without Blue DVD

Mark Oliver Farley's performance at TART will be included as an extra on the Red Without Blue DVD, to be released on October 2nd, 2007. For a special Pre-order offer click here

Red Without Blue will also soon be on Netflix. We will keep you updated

Body Double, Los Angeles

Performance Z-A

ANNOUNCING A SEASON OF SPECIAL EVENTS TO CELEBRATE STOREFRONT'S 25TH ANNIVERSARY 21 SEPTEMBER - 16 OCTOBER: PERFORMANCE Z-A

Twenty-five years ago, in September 1982, Storefront's first public event got underway in its original Prince Street location. Performance A-Z, organized by the gallery's founders Kyong Park and R L Seltman, and artist Arlene Schloss, was a 26-day sequence of performances by New York-based artists. Each of the 26 performers was allocated one evening slot. The event became a manifesto for the gallery's future programming: as Kyong Park wrote in his introduction, "Storefront supports the idea that art and design have the potential and responsibility to affect public policies which influence the quality of life and the future of all cities."

In late September 2007, Storefront will celebrate its 25th anniversary with a new edition of its first event. Entitled Performance Z-A, this 26-day celebration will be hosted in Petrosino Park, adjacent to Storefront, in a specially built pavilion designed by Korean architect Minsuk Cho. Organized by the three directors who have led Storefront over the past 25 years (Kyong Park, Sarah Herda and Joseph Grima), Performance Z-A will be an inclusive event involving not only performance artists but also representatives of all the disciplines that have participated in Storefront's program in the past decades: architects, artists, writers, researchers, filmmakers, photographers, musicians and more. For 26 days, from September 21 to October 16, 2007, the protagonists of Storefront's past, present and future will host 26 evening events including performances, concerts, open discussions, film screenings and interviews.

Participants will include Stalker Lab, Bjarke Ingels/BIG, Vito Acconci, Florian Boehm and Luca Pizzaroni, Stefano Boeri, Eyal Weizman, Anselm Franke, Minsuk Cho, Pedro Reyes, Akiko Miyake, Barbara Held, Dan Graham, Arlene Schloss, Armin Linke, Ruben Ochoa, Frederic Tuten, robbinschilds, Center for Urban Pedagogy, Jill Majid, DJ N-Ron, Academie Schloss Solitude, Tomas Saraceno, Forum for Urban Design and many more.

A detailed program of the event will be published shortly on Storefront's website at http://www.storefrontnews.org/. Performance Z-A will be part of a city-wide celebration of the 40th anniversary of art programming in New York City's parks, during which public parks around the city will host installations by a wide range of artists, both emergent and well-known.

Assignment: JUMP THE SANDWICH

The Urban Dictionary defines the term Jump the Shark as:

To reach the point where the popularity of a show, movie, musician, or any other pop culture icon declines in popularity. Original meaning was the point when a television series shows it has run out of ideas and must resort to stunts to retain viewer interest (refers to an episode of The 1960’s TV show, “Happy Days” where Fonz jumps over a shark while water skiing, see also Jump the Couch).

After last week’s Flickr fireworks, I might just be ready to make the leap. But for the next couple of weeks I’m going to be teaching at the San Francisco Art Institute. Since I won’t have much time for the blog, I thought I’d hand out an assignment. I’m going to give the same assignment to my students in SFAI:

Assignment: JUMP THE SANDWICH

One of the fascinating things about Flickr is the phenomenon of Flickr groups. A couple of my favorites are Girls Eating Sandwiches and Bed Jumpers:

photos by A.R.E. (left) and Mirandala (right)

Your assignment, if you choose to accept it:

1) Photograph a woman* eating a sandwich** while jumping*** onto a bed.
2) Post the picture**** here: http://flickr.com/groups/alecsoth/
3) I will award a prize to my favorite assignment.

*I will consider men with long hair, men wearing high heels or men who wear panties and lingerie
**Extra points will be given for grilled cheese sandwiches and/or UK sandwiches
*** I will consider this activity as an alternative to jumping
****Diptychs will be considered

Space for rent

My landlady has a space for rent on Clyde which is an alley at the back of our building (Lusk). Here are the details:

38 Clyde is about 1150 sf, just one loft mezzanine at the rear, kitchen, bathroom, closet, asking $2750.

Contact me, Anne/TART if interested -

415 203 5865 info@tartsf.com

Next New

Hi, I'm in a Show!!! I will be showing my new video "ghost?" along with 2 other videos from 2007. Next New at ICA. Featuring the work of MFA graduates throughout California. Friday August 10th from 6-8. It's in San Jose!!!! So I know you will all be there. I've attached the show announcement for more information and the other 10 Artists.

also: Keturrah Cummings is in another show at ICA Nightmoves August 24-November 2. Her new animation will be projected in the window of the Gallery, you can see it at any time (and it is amazing.) I hope to see you there, it will be a good show, Amy Sampson.

Amy participated in Affair at TART last year - Anne.

Learning to love you more

Learning to love you more

August 24 - September 10, 2007

A project by Harrell Fletcher & Miranda July
Curated by the second year students of the MA Curatorial Practice Program at the California College of the Arts, San Francisco


MU
Emmasingel 20
5611 AZ Eindhoven
Netherlands


Five years ago, the artists Miranda July and Harrell Fletcher initiated www.learningtoloveyoumore.com. On this website, the two artists formulate creative assignments that can be carried out by anyone and then sent back to the artists as reports. Examples of assignments are: #1 make a child's outfit in an adult size, #16 make a paper replica of your bed, #27 take a picture of the sun, #32 draw a scene from a movie that made you cry, #48 make the saddest song, or #58 record the sound that is keeping you awake at night.

All the reports (of which there are now more than five thousand) that are sent in are posted on the website. This makes learningtoloveyoumore.com an extensive archive of various artistic views and solutions to propositions from people of all ages and many places in the world. Some of the results are vulnerable and private, while others are flamboyant and indicate participants' desires to make their ideas public. Many are moving and unexpectedly associative in nature and virtually every one of the reports that touches on an instinct to visualize shared interests.

The exhibition at MU will be the most extensive presentation of works and projects to come out of the assignments. It has been curated by second year students in the Curatorial Practice Program at CCA, who were given the task of organizing the show as an assignment by Harrell Fletcher and Miranda July in January 2007.
There will also be a book published by Prestel to coincide with the exhibition.

For more information and/or visual material, please call + 40 296 1663 and ask for Angelique Spaninks. You can also send an email to mu@mu.nl. For general information about MU, go to www.mu.nl

For more information on the Curatorial Practice Program at CCA, go to http://sites.cca.edu/curatingarchive/

Silverman Gallery Artist: Susanne M. Winterling in NYC!

Susanne M. Winterling, i'll be your mirror, but i will dissolve
Daniel Reich Gallery
Chelsea
537 West 23rd Street, 212-924-4949
August 13 - September 7, 2007
Opening: Monday, August 13, 6:00PM - 8:00PM


"Winterling seems to be focused on the fragmentary, and, more precisely, on the single frame as it, being the smallest filmic unit, contains a complete world in itself while remaining indivisible. The result is a kind of beating of wings, in which are own eyes become an integral part." -- Joseph Strau

Daniel Reich Gallery is very pleased to present a debut exhibition of work by film and video artist Susanne Winterling "i'll be your mirror, but i will dissolve."

Winterling's work gives viewer the material for constructing a portrait, an imagined identity distilled/manifested through specific images and references presented devoid of hierarchy or chronology. Though this identity remains elusive, the audience is able to form a multitude of hypotheses but with no affirmation of a knowable conclusion.

What the artist describes as "an impossible auto-biography" generates the "modes of transport for the narratives and their sensibilities." Hence, the viewer experiences a malleable landscape. This effect circumvents both film and photography¹s documentary aspect. The image remains temporal and the subject elusive as the work negotiates this nostalgic esoteric terrain.

"Play Winterling", a video piece, observes two women performing a mundanely choreographed transposition. A raincoat is exchanged repeatedly. One removes the garment from herself to dress up the other, a moment later the action is reciprocated by the other. As the activity continues the nature of each character is constantly reassessed. As the gesture repeats the persona of each character alters as though reflecting the continuing change in costume.
Through isolation the mannerism of each character is amplified, one of few signifiers in the relationship between these two women.

The elusive nature of Winterling's work involves an ambiguity which possibly the subject itself pointing to both the specific autobiographies of the women she depicts (fragments of Winterling's composite sensibility) and to the experience of an audience intuitively absorbing a subject in terms of their own subjective frame of references. In this way, Winterling's work
subtly blends method and content making subtle yet infinitely reflecting connections.

Commodified Culture

Dear friends,
I thought you might be interested in this panel coming up on Sunday at Headlands. Dinner afterwards with the panelists is filling up, so please make your reservations here:
http://www.headlands.org/article.asp?key=21
Dinner is a bargain at just $15 per person, completely fresh and organic, family-style gourmet. Reservations for dinner are required three days prior to the event.

Hope to see you Sunday!
Best wishes,
Anu

Commodified Culture: Zittel, Tomb, Kuniavsky and Fortescue
Date: 8/5/2007 (Sunday)
Time: 4:00 PM
Location: Headlands Center for the Arts, Eastwing, Building 944
Ticket Info: $10 General Admission, FREE for Headlands Members

Join us for a conversation on cultural imperatives and market forces with four trendsetting design and art practitioners. 2007 Headlands Artist in Residence Andrea Zittel's practice explores the intersection where sculpture, design, architecture, craft and technology meet. She is concerned with how art might positively impact daily living, incorporating furniture and clothing into installations that address sustenance and habitation in contemporary society. Appropriating a corporate model, she investigates how work and commerce infiltrate private life and vice versa through her designs for living.

Zittel will be joined by Donald Fortescue, Mike Kuniavsky, and Bruce Tomb: three artist/designers who share her interest in modes of production, both of objects and of ideas, and who similarly operate across categories of occupation to think more broadly about what it means to make objects and products in a contemporary cultural context.


--
Anuradha Vikram
Program Director
Headlands Center for the Arts
944 Fort Barry
Sausalito, CA 94965
415 331-2787 x 30
415 331-3857 FAX

DOGPATCH: not so patchy anymore.

The SF Chronicle reports that the Slow Club will be taking over 2495 Third St., the space formally housing the Third Street Cafe.

Owner Erin Rooney got the keys to the space — it formerly housed the Third Street Cafe — just last week. She’s hoping for a Sept. 1 opening.

Slow Club chef Chris Kronner, a 2007 Chronicle Rising Star chef, will oversee the menu at the new location.

“It will be the same Slow Club style,'’ says Rooney. That means stylish California/American comfort food on a daily changing menu, with ingredients sourced directly from local ranches and farmers.

In the meantime, she says, there’s some remodeling to do. Eric Heid, who designed Range, Spork and Citizen Cake, is in charge of creating a look that takes advantage of the 18-foot ceilings and exposed brick walls. When the remodel is complete, the restaurant — which is still unnamed — will have 50 seats, about the same as Slow Club.

“We’ve been looking in Dogpatch for two years,'’ Rooney says. “It’s a very comfortable move for us because the neighborhood feels similar to the Slow Club neighborhood'’ — with a mix of artists’ and designers’ lofts, light industry and some residential buildings.

The folks at Tablehopper are also reporting that:

The A16 folks are currently incubating a concept that they hope to launch next year in the Esprit Park complex, a project from developer Build Inc. at 900 Minnesota. The concept is still quite up in the air (like which region they even want to focus on—I cast my vote for Calabria) and they are working out preliminary permitting matters, so stand by for more later.

Kate Fowle is off to Beijing!

After five years establishing and Chairing the MA Program in Curatorial Practice at CCA, I have accepted a new position as International Curator for the Ullens Center for Contemporary Art in Beijing, China. I will start my new role as of the September 1 and will be working between San Francisco and Beijing, before relocating to New York in the New Year. I will continue to Chair the Curatorial Practice Program for the Fall semester.














For more info checkout: Ullens Center for Contemporary Art


NY TIMES ARTICLE, JULY 2007
A Belgian Couple Will Give Beijing a New Home for Contemporary Art
By RANDY KENNEDY

If you wanted to illustrate the increasingly global nature of the money and influence driving the art world these days, you might invent a wealthy Belgian couple who live in, say, Switzerland, and plan to use the money they made selling a collection of English masterworks (Turner watercolors) to establish a center for contemporary art in Beijing, where one early show will probably feature a well-known German artist.

In a telephone interview this week, Baron Guy Ullens, who, with his wife, Myriam, perfectly fits that description — they sold their Turners, the biggest group to come on the market in more than a century, for $21 million this month at Sotheby’s — hastened to add that he was educated mostly in the United States. And that he is also using his money to set up philanthropic programs for children in Nepal.

Baron Ullens, 72, is to be in New York today to announce details of his plans for one of the largest contemporary art spaces in China, now nearing completion in a former munitions complex in the booming Dashanzi warehouse arts district in Beijing. The center, scheduled to open on Nov. 2, will transform two large factory buildings and a collection of smaller ones into as much as 26,000 square feet of exhibition space, with an auditorium and library.

Baron Ullens, who had business interests in China for many years, has collected contemporary and classical Chinese art with his wife for two decades. The goal of the center, he said, is to provide an exhibition space for artists from around the world but particularly for those from China who are less commercially oriented, at a time when the market for Chinese contemporary art is roaring. He said the couple’s plans for the center evolved as their collection grew and as they began to see the Chinese government’s growing receptiveness to contemporary art.

“I think it’s part of their desire to have world-class cities with lots of services,” he said, adding that, especially with the Olympic Games coming to Beijing in 2008, “I think they’re suddenly very proud of many of their artists.”

But the freedom and flexibility of Western art institutions has still not fully arrived. Last year several galleries in the arts district were ordered by government officials to remove paintings, apparently because they dealt with touchy political themes.

Baron Ullens also explained that he and his wife, known as Mimi, would have to operate the center technically as a commercial space, even though they wanted to run it as a nonprofit. Under the Chinese bureaucracy a nonprofit space would have been more closely overseen by the government. Yet in practice, he said, the center — to be called the Ullens Center for Contemporary Art — will be noncommercial.

Asked whether pieces from his own collection would be exhibited — exposure that could help to increase the market value of the pieces, should the couple decide to sell any — Baron Ullens said yes, adding that a show from the collection is planned during the Olympics, to be held Aug. 8 to 24 next year. But he added that the center’s director and curators would be given great latitude to program the space as they see fit and to choose only the pieces they want from his collection.

“We’re going to try to have as little influence as we can,” he said, adding dryly: “Nobody thinks were doing this for the love or the passion. They think we’re doing it for the money.”

“The key question for us is how do you organize it in such a way that is clean and transparent for everyone — that is what we are doing right now,” he said. He added that while he and his wife, who live outside Geneva, were the only backers for the center now, they planned to seek sponsorships and other financial help later. “It’s painful now,” he said, laughing loudly. “It’s just me and Mimi.”

The center is planning a large opening exhibition that will examine the emergence of a new wave in Chinese contemporary art that emerged in the mid-1980s. It is also planning a show with the German artist Rebecca Horn, and Baron Ullens mentioned interest in an exhibition involving Gilbert and George, the irreverent British pair.

Baron Ullens, whose father was a diplomat in China before his son was born, grew up with a deep love of the country instilled in him by his family, which made its fortune in sugar and other food-related companies, including Weight Watchers. When he had a hand in the family’s firm in the 1980s and early ’90s, he traveled constantly to Asia, where he was trying to expand the business.

“We were not too successful,” he said. “In a way that was my weak spot in business. But I started meeting young artists and traveling with them on weekends. It was a golden time really.”

“They were very professional but not at all commercial at that time,” he said. “Some might have been producing 10 pieces a year. There was no market, no Sotheby’s or Christie’s in this field then.”

Now, he said, even with his wealth he can no longer afford some of the most sought-after pieces coming onto the market, from artists like Wang Guangyi and Zhang Xiaogang. And even having a huge, sleek space in Beijing is no guarantee that he will be able to attract those artists and others to take part in shows. “There’s a lot of competition,” he said. “We’re learning, learning every day.”

“The key problem is going to be to keep the quality of the art very high,” he added. “Are we going to be good enough to survive? I don’t know.”

Tapas y Palabras : a Rail reunion

we just finished our Rail meeting _t'was hosted by Ann @ Tart
( si!_Anne you still have the Barcelona touch: deliciosas tapas! )

we plotted together our next Rail action evening ( Friday September 7th ) (more later)
and dreamt out loud of our big April ( 2008 ) collaboration...

feel very fortunate that serendipity and "low" rent have put us all in the same hood :
talent and enthusiasm and generosity are indeed inspiring .

hasta pronto!

D FOUGHT & J SANSING @ ampersand !!

We are getting ready for the next shows @ ampersand...
sanding and painting and having fun ( well_i am...'-)

The 2 solo shows of new work by the brilliant Bay Area artists :

DAVID FOUGHT

and

JAMES SANSING

will be opening with a reception on
Friday, September 7th (6.00pm - 8.30pm).
Both artists will be in attendance.
These exhibitions will continue until September 24th .

AND Writer/Poet Stephanie Baker and Art Collector Jeff Lane will contribute text inspired by these artists' work.

AND Rail Action will be that very Friday September 7th as well !
more info later

AND we'll see You there!

#

Artist: David Fought
Title of Exhibit: " 3 (5)wires and 5 (3)sides "
Dates of Exhibit: September 7th - 24th
Media: sculptures, wall installation

&

Artist: James Sansing
Title of Exhibit: “ Seeing Darkly "
Dates of Exhibit: September 7th - 24th
Media: mixed media paintings


THX
bruno