Silverman Gallery

Silverman Gallery http://silverman-gallery.com/ en Copyright 2010, Jessica Silverman Thu, 11 Mar 2010 08:31:01 -0500 Exhibition: Ginger Wolfe-Suarez: Theory of a Family <div class="exhibition-subtitle"></div> <div class="exhibition-dates">February 5 - March 13, 2010</div> <div class="exhibition-opening">Opens Friday, February 5, 7:00 PM - 10:00 PM</div> <br/> <a href="/exhibition/view/1845"><img border="0" src="http://silverman-gallery.com/static/dyn-images/31/31873.jpeg" alt="Installation view of "Theory of a family" by Ginger Wolfe-Suarez" height="666" width="500" /></a> <p><p>Installation view of "Theory of a family" by Ginger Wolfe-Suarez</p></p> <br /> <div class="exhibition-description"><p>Ginger Wolfe-Suarez: Theory of a Family<br /> February 5 - March 13, 2010<br /> Opening reception, February 5, 7-10pm.</p> <p>Silverman Gallery is pleased to present "Ginger Wolfe-Suarez: Theory of a Family," an exhibition of new sculpture and installations by Ginger Wolfe-Suarez on view from February 5 - March 13, 2010.</p> <p>The artist's first solo show in San Francisco features an array of disparate objects that negotiate shifting concepts of affect and memory. Using common house-hold items as well as rocks, wood, mirrors, transparencies and light, Wolfe-Suarez creates site specific installations that explore poetic metaphors of portraiture and figurations through line, mass, and geometry. These atmospheric and psychologically charged spaces draw from the language of minimalism and conceptual art, excavating the personal through a sustained meditation on object-hood. At once intimate and objective, her complex visual language resonates with the work of Robert Morris and Eva Hesse, weaving her own history into questions of process and material. </p> <p>Ginger Wolfe-Suarez received her <span class="caps">MFA </span>from <span class="caps">U.C.</span> Berkeley, and lives and works in the East Bay. She is currently teaching art theory at San Francisco Art Institute. On February 25th, she'll be speaking about her work as part of the <span class="caps">BIG</span> City Forum Lecture Series at <span class="caps">LAX</span>/ART in Los Angeles.</p></div> http://silverman-gallery.com/exhibition/view/1845 Exhibition: Conrad Ruiz: Cold, Hard and Wet <div class="exhibition-subtitle"></div> <div class="exhibition-dates">December 11, 2009 - January 30, 2010</div> <br/> <a href="/exhibition/view/1771"><img border="0" src="http://silverman-gallery.com/static/dyn-images/30/30225.jpeg" alt="Conrad Ruiz, Multiple Peaks, 80 x 80 Inches, Watercolor on canvas, 2009" height="490" width="492" /></a> <p><p>Conrad Ruiz, Multiple Peaks, 80 × 80 Inches, Watercolor on canvas, 2009</p></p> <br /> <div class="exhibition-description"><p><b>Please note: we are closed from December 23 - January 5, 2010</b></p> <p>Conrad Ruiz<br /> Cold, Hard and Wet<br /> December 11, 2009 - January 30, 2010<br /> Opening reception: December 11, 7-10pm</p> <p>Silverman Gallery is pleased to present "Conrad Ruiz: Cold, Hard and Wet," an exhibition of new paintings by Conrad Ruiz, on view from December 11 - January 30, 2010</p> <p>The artist's first solo show features large-scale watercolor paintings inspired by the epic scope of Hollywood cinema and history painting. Drawing from Gericault and Delacroix, as well as James Cameron, Ruiz's expansive canvases unfold as kinetic and often explosive compositions, which capture moments of collective euphoria. Through these fantastical, excessive and bizarre tableaux Ruiz explores the ever-changing permutations of class, masculinity and race as they circulate through the popular lexicons that shape our collective imaginary. At once whimsical and formally rigorous, his work unfolds as a visual historiography, which traces the processes through which the contemporary becomes codified as the historical.</p> <p>This particular body of work draws from the questing idioms of video games (such as Super Mario Brothers and Legend of Zelda) to produce winter-themed landscapes that engage recent historical ruptures, such as the stock market crash and the recent economic downturn.</p> <p>Conrad Ruiz lives and works in Los Angeles. His work is part of the Berkeley Art Museum/ Pacific Film Archive permanent collection and is currently on view in the Material Witness exhibition through December 20th.</p></div> http://silverman-gallery.com/exhibition/view/1771 Exhibition: Nada Art Fair, 2009 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">December 3 - December 6, 2009</div> <div class="exhibition-opening">Opens Thursday, December 3, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1805"><img border="0" src="http://silverman-gallery.com/static/dyn-images/29/29334.jpeg" alt="" height="328" width="299" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://silverman-gallery.com/exhibition/view/1805 Exhibition: Christina McPhee <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 23 - December 5, 2009</div> <br/> <a href="/exhibition/view/1770"><img border="0" src="http://silverman-gallery.com/static/dyn-images/29/29210.jpeg" alt="" height="496" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><B><span class="caps">PLEASE NOTE</span>: <span class="caps">SILVERMAN GALLERY WILL</span> BE <span class="caps">CLOSED FROM WEDNESDAY NOVEMBER</span> 25 - <span class="caps">FRIDAY NOVEMBER</span> 27. We will be open Saturday, November 28th.</B></p> <p>Silverman Gallery is pleased to present Tesserae of Venus, a new body of work by Christina McPhee, on view from October 23 - December 5, 2009. Opening reception: October 23, 7-10 <span class="caps">PM.</span></p> <p>Tesserae of Venus imagines a strange future through dynamic photomontages of energy-producing landscapes and related drawings.</p> <p>McPhee borrows from the tectonics of Venus-tesserae, or `complex ridged folds,' in order to structure her images of imagined future sites and present a spatial and political critique of our toxic, increasingly-carbon saturated environment. The photomontages are sourced on location in remote parts of California where biological systems clash with technological landscapes, such as natural gas installations in the Sacramento River Delta, geothermal plants in the Salton Sea, and the San Ardo oil fields in the Salinas River Valley. Rendered through her fractured images these sites become haunting, science-fictive visions of a possible future.</p> <p>As both futuristic fantasy and documentary reality, Tesserae of Venus proposes a disturbing and radical observation of contemporary and future landscapes in the transition from petroleum to alternative energy production. At the same time, McPhee's works constitute compelling studies of the mechanics of abstraction in the age of computer technology.</p> <p>Christina McPhee's artistic practice is centered in and around landscapes where human and natural assemblages meet and clash. McPhee works across a number of media, including time-based media, site-specific sound, networked media, drawing, painting, photomontage, and performance. A native of Los Angeles, she lives and works in California's central coast. After arts and literature studies at Scripps College Claremont, she studied painting at Kansas City Art Institute (BFA) and Boston University School for the Arts (MFA). Ongoing projects include "The Pharmakon Library," a series of graphic folios and "Carrizo Diaries," an exploration of earthquake terrains as seismic memory and "Flaming Debt," performance collages about debt. Her films have screened nationally and internationally and are currently being showed at Cinema by the Bay (San Francisco Film Society) and <span class="caps">VIBA</span> Buenos Aires. Solo exhibitions include Carrizo-Parkfield Diaries at American Unversity Museum, Washington <span class="caps">DC,</span> Cartes Center Espoo (FI) and Bildmuseet (SE). Her most recent film commission is "La Conchita mon amour" for Thresholds Artspace, Horsecross, Perth (SCT) and is a featured artists studio on Turbulence.org. She was a participating editor and artist in Documenta 12 Magazine Project (2007). Museum collections of her prints, paintings and drawings include Sheldon Memorial Art Gallery, University of Nebraska, Taylor Museum/Colorado Springs Fine Arts Center and Kemper Museum of Contemporary Art in Kansas City, Missouri. Her new media and video work has been commissioned for Thresholds, Scotland and Turbulence.org (NY) and is in the collections of the Experimental Television Center (NY); Rhizome Artbase at the New Museum, Whitney Museum Artport, and the Rose Goldsen Collection of New Media Art at Cornell University, New York.</p></div> http://silverman-gallery.com/exhibition/view/1770 Exhibition: Luke Butler <div class="exhibition-subtitle">Captain!</div> <div class="exhibition-dates">September 11 - October 17, 2009</div> <div class="exhibition-opening">Opens Friday, September 11, 7:00 PM - 10:00 PM</div> <br/> <a href="/exhibition/view/1678"><img border="0" src="http://silverman-gallery.com/static/dyn-images/27/27702.jpeg" alt="" height="417" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Silverman Gallery is pleased to present Captain!, an exhibition of new work by Luke Butler, on view September 11 through October 17, 2009.</p> <p>The artist's first solo show at the gallery brings together two distinct but thematically interrelated series: Enterprise and Leaders of Men. In these works, Butler appropriates and unravels images of heroic masculinity. The paintings in Enterprise cull popular icons from seventies television, such as Starsky & Hutch and Captain Kirk, and freezes them in unexpected, often vulnerable moments. The careful, almost tenderly rendered works uncover a surprising fragility and affective intensity in these familiar archetypes. In a similar vein, the collages in Leaders of Men create an emotive tension between an armored subjectivity and its soft underside by collaging images of presidents with vintage gay erotica. The resulting "nudes" offer an apt critique of lingering power structures which are encoded into constructions of gender.</p> <p>Luke Butler was born in New York City, and currently lives in San Francisco. His work has exhibited in numerous art spaces and galleries including Second Floor Projects, San Francisco; <span class="caps">ABC</span> No Rio, New York; Galerie Georg Kargl, Vienna, among others. Butler's work will be part of an upcoming online exhibition organized by Margaret Tedesco with Add-Art, a free FireFox add-on which replaces advertisements with art.</p></div> http://silverman-gallery.com/exhibition/view/1678 Exhibition: THE SHOP: Summer Blow Out <div class="exhibition-subtitle"></div> <div class="exhibition-dates">August 7 - August 29, 2009</div> <div class="exhibition-opening">Opens Friday, August 7, 6:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/1730"><img border="0" src="http://silverman-gallery.com/static/dyn-images/26/26383.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Silverman Gallery is pleased to present <span class="caps">THE SHOP</span>: Summer Blow Out, a curated exhibition/ pop up shop featuring artist editions, prints and other ephemera. In the spirit of Fluxus, <span class="caps">DIY </span>and punk, <span class="caps">THE SHOP </span>explores the ongoing dialogue between printed culture and artistic production, tracing the ways in which self-produced multiples blur the divide between art and commerce. The featured works--alongside limited edition publications, records, CD's and specially produced zines--question the nature of aesthetic access and dissemination, while expanding the practice of "collecting." The exhibition will coincide with the launch of The Shop, the gallery's new online store committed to the support and distribution of artist produced ephemera and rare publications.</p> <p>Featured works, editions and artists books by Terence Koh, Ari Marcopolous, Bozidar Brazda, John Baldessari, Dash Snow, Matt Keegan, Kathryn Garcia & Richard Lidinsky, Ryan Foerster, Matt Furie, Joseph Akel, Malik Gaines & Alexandro Segade, <span class="caps">BLAND,</span> Christina McPhee, Job Piston, Arnold J. Kemp, Hanni El Khatib, Tammy Rae Carland, Aaron Krach, Luke Fishbeck, Marc Arthur, Neil Ledoux, Susan Silton, Yuval Pudik and many more!</p> <p>August 7 - 22<br /> Opening Reception August 7th, 7 - 10pm<br /> www.silverman-theshop.com<br /> www.silverman-gallery.com</p></div> http://silverman-gallery.com/exhibition/view/1730 Exhibition: PINUPS ISSUE 9 LAUNCH <div class="exhibition-subtitle">One night only</div> <div class="exhibition-dates">June 20 - June 20, 2009</div> <div class="exhibition-opening">Opens Saturday, June 20, 7:00 PM - 10:00 PM</div> <br/> <a href="/exhibition/view/1704"><img border="0" src="http://silverman-gallery.com/static/dyn-images/25/25443.jpeg" alt="" height="625" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://silverman-gallery.com/exhibition/view/1704 Exhibition: Enduring Patiently <div class="exhibition-subtitle">New work by Yuval Pudik</div> <div class="exhibition-dates">June 5 - July 30, 2009</div> <div class="exhibition-opening">Opens Friday, June 5, 7:00 PM - 10:00 PM</div> <br/> <a href="/exhibition/view/1677"><img border="0" src="http://silverman-gallery.com/static/dyn-images/25/25956.jpeg" alt="Installation, "Enduring Patiently" by Yuval Pudik" height="318" width="500" /></a> <p><p>Installation, "Enduring Patiently" by Yuval Pudik</p></p> <br /> <div class="exhibition-description"><p>Yuval Pudik<br /> "Enduring Patiently"<br /> June 5 - July 30, 2009<br /> Opening reception June 5, 7-10pm</p> <p>Silverman Gallery is pleased to announce "Enduring Patiently," an exhibition of new work by Yuval Pudik. The artist's second solo show at Silverman gallery features his lucidly rendered graphite on paper drawings, as well as a series of limited edition prints.</p> <p>A reference to the Book of Revelations, "Enduring Patiently" speaks to the Judeo-Christian tradition of suffering and martyrdom, an idea Pudik utilizes to interrogate archetypes of masculine authority. This body of work draws from the rich pageantry of European courtly dress, developing the artist's meditation on the body, social costuming, and the shifting of identity. Delving into a darker topography, Pudik engages questions of confinement and restriction through his detailed renderings of monarchs--male figures laden with historically charged accoutrements of mastery. Armor, lavish capes, furs, and gauntlets are meshed with jet engines, megaphones and guns to create fantastical bodily assemblages that are as radiant as they are grotesque. Through these almost obscenely excessive figures, Pudik creates a visual archeology that ultimately exposes the ways in which power ossifies into the momentous, yet fragile surfaces that constitute the social realm.</p> <p>As with previous work, "Enduring Patiently" brings together an encyclopedic range of source material, from Jacobean portraiture to the garish images of fashion glossies. Through his proficient draftsmanship, Pudik fuses these disparate sources, juxtaposing found objects, animals, and lush flora with elements of graphic design, architectural ornamentation, airplanes, and other snippets of traditional male iconography. Blurring the divide between still life and portrait, some of these images have also been hand-cut to create autonomous objects; pseudo-monuments that offer a complex and dazzling excavation of historical imagery.</p> <p>Yuval Pudik has held solo exhibitions in San Francisco, West Palm Beach and Los Angeles. His work has been included in numerous group shows, including Dilettantes, Dandies and Divas at Gavlak Projects, West Palm Beach and A Trip Down (False) Memory Lane at the Lexington Club, San Francisco. Pudik has been featured in Sang Bleu Magazine and has produced "Better Becoming", a catalog on Pudik's work with Cederteg Press. He currently lives and works in Los Angeles.</p> <p>For more information please contact the gallery at (415) 255-9508 or info@silverman-gallery.com</p></div> http://silverman-gallery.com/exhibition/view/1677 Exhibition: Reborn <div class="exhibition-subtitle">New work by Desiree Holman</div> <div class="exhibition-dates">April 17 - May 30, 2009</div> <div class="exhibition-opening">Opens Friday, April 17, 7:00 PM - 10:00 PM</div> <br/> <a href="/exhibition/view/1676"><img border="0" src="http://silverman-gallery.com/static/dyn-images/24/24745.jpeg" alt="Photo credit: Kalissa Conlon" height="333" width="500" /></a> <p><p>Photo credit: Kalissa Conlon</p></p> <br /> <div class="exhibition-description"><p>Silverman Gallery is pleased to present "Reborn", new work by Desiree Holman, on view from April 17 - May 30, 2009</p> <p>Opening reception: April 17, 7-10 <span class="caps">PM.</span><br /> Conversation between Desirée Holman and Alison Gas: May 21, 7pm</p> <p>Desirée Holman begins most of her projects with a multitude of research. Her newest project, "Reborn" consists of a new single channel video and a series of drawings. "Reborn" is interested in questioning the idea of 'maternal instincts' by using life-like baby dolls hand crafted by the artist as surrogate infants in fantasy tableaux depicting caretaker/child relationships. The dolls were produced out of a dedicated yearlong process, which included hand rooting each individual hair and modeling their skin tones. The project appropriates recent trends towards hyperrealism in the female centric baby doll making & collecting communities. This style of doll is known as a 'reborn'. Grounded in fantasy, the vernacular surrounding these dolls often addresses them as living babies. For this project, Holman is interested in capitalizing on the inherent fantasy play potential of these objects. </p> <p>Desirée Holman is a 2008 recipient of <span class="caps">SFMOMA</span>'s <span class="caps">SECA</span> Art Award, which features an exhibition that runs concurrently with this exhibition at the San Francisco Museum of Modern Art. In 1999, after completing her <span class="caps">BFA </span>in sculpture at California College of the Arts, Desirée attended the Skowhegan School of Painting and Sculpture. She graduated with her <span class="caps">MFA </span>from UC Berkeley in 2002. While at <span class="caps">UCB, </span>she received Eisner awards in both video and photography. Her work has generated critical acclaim in multiple reviews and exhibition catalogues. New York, Sao Paulo, Toronto and Los Angeles are among the cities where her work has been exhibited. Her 2005 work "Troglodyte" is currently on view at Marc Selwyn Gallery, Los Angeles. Holman lives and works in Oakland, <span class="caps">CA.</span></p></div> http://silverman-gallery.com/exhibition/view/1676 Exhibition: Twice Upon A Time <div class="exhibition-subtitle">Twice Upon A Time</div> <div class="exhibition-dates">March 5 - April 11, 2009</div> <div class="exhibition-opening">Opens Thursday, March 5, 7:00 PM - 10:00 PM</div> <br/> <a href="/exhibition/view/1652"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23736.jpeg" alt="Twice Upon A Time" height="375" width="500" /></a> <p><p>Twice Upon A Time</p></p> <br /> <div class="exhibition-description"><p>Twice upon a time</p> <p>Artists include: Carla Åhlander, Kaucyila Brooke, Tammy Rae Carland, Carola Dertnig, Desiree Holman, Judith Hopf, Christina McPhee and Susanne Winterling with window installation by Ginger Wolfe-Suarez.</p> <p>twice upon a time is a group exhibition organized by Galerie Andreas Huber, Vienna and Silverman Gallery, San Francisco. The two met in Berlin in 2006 and realized they both worked with artists whose practices engaged with conceptual, feminist, political and gender issues. Curating a collaborative show highlights the commonality between the programs of Huber and Silverman. The show first opens in Vienna on November 22, 2008 and then travels to San Francisco in March, 2009. twice upon a time is also a moment for each gallery to interrupt their solo show format, to provide a new context and use the gallery as a hub for a larger network.</p> <p>The title underscores the fact that the exhibition will happen twice and is also a reference to the history of the fairy tale. Historically women fairy tale writers, also called conteuses, a term given to 17th century French women, were silenced and relegated to a more domestic literary sphere. However the conteuses saw their tales as amusements for sophisticated adults in the salon and not for children. Like the conteuses, the artists in twice upon a time challenge gender expectations, engage with playful techniques, collect and urge us to rethink our conception of storytelling and its history. </p> <p>Desiree Holman's playful video, I would do almost anything you asked me to do documents the artist wearing flesh-like suites that allow her to enact the role of male character's by stepping into new "skin". By wearing the skin of the male character Holman investigates the dynamics of romantic relationships as well as the male gaze. Like Holman Judith Hopf's practice defies authorial positioning and investigates both behavior and identity. Romantic relationships often start at seedy bars, clubs and lesbian parties which is the starting point for Kaucyila Brooke's ongoing body of work titled "The Boy Mechanic" (various media, 1996 ongoing). In this excerpt from "The Boy Mechanic/San Francisco"(2007-200?) she shows drawings (ink on paper) of lesbian bar names from San Francisco's past and present reorganized into her own idiosyncratic and fantasy narrative categories . Tammy Rae Carland's Photoback works document the back of the photograph. Now the trace; who it was for, when, where, why it was taken and how it has lived its life is the focus rather than the initial image. Carland, like Brooke's work documents memories produced in public identity and social spaces and allows the viewer to insert his/her own memories like a make up your own story. Through these personal and public memories and narratives twice upon a time explores looking for, the trace and the re-invention of ones self. </p> <p>Carla Åhlander (born 1966 in Sweden) lives in Berlin. She portrays in her photographs a state of permanent difference of individuals in relation to their particular social environment. </p> <p>Kaucyila Brooke lives and works in <span class="caps">LA,</span> California. The Boy Mecanic recollects in photography and drawings the hidden "queer" cultural history of several cities through presenting deserted places and possible memories. </p> <p>Tammy Rae Carland lives and works in Oakland, <span class="caps">CA. </span> Photobacks is an ongoing photographic series of found personal photographs from the 1910's to the 1970's <br /> <br /> </p> <p>Carola Dertnig's slideshow and live performance "Dance Report - LA Report" 80 slides are projected on to the wall. Comin in rapid secession they go on to form a sentence, a poem in reference to the Judson church dance group. Through montage, sequences and repetition the work focuses on performative tendencies of language seen through the graphic arrangement of a text or a poem read aloud. Between recording, recollection and stage setting the work explores a documental and referential system. Carola Dertnig lives and works in Vienna. </p> <p>Desiree Holman lives and works in Oakland, <span class="caps">CA.</span> I would do almost anything you asked me to do is part of an installation-based project call "Breath Holes" which incorporates video, sculpture and large format photography. </p> <p>Judith Hopf lives and works in Berlin. Hopf has worked in a wide range of media, offering an absurdist--and ultimately utopian--exploration of artistic forms and everyday conventions. Her silkscreen print was inspired by the work of Bridget Riley, whose style is here unexpectedly used to depict a nose. Judith Hopf is based in Berlin. </p> <p>Christina McPhee lives and works in Atascadero, <span class="caps">CA. </span> 47 Reds is a series of drawings where the artist presses black paper onto colored pigment left on the floor and draws over them. The drawings on top of the pigment are reminiscent of an illustrator adding imagery to a book that already existed. </p> <p>Susanne Winterling lives in Berlin, Germany. Winterling applies a method of working that weaves ideas and visual structures, both personal and collective, past and future. Like in lovemindmiddleheart, which layers an image of actress Tilda Swinton and a library in a castle close to Prague in an attempt to capture sensuality, memory and dreams. <br /> <br /> Ginger Wolfe-Suarez lives and works in CA and is an emerging artist, writer, teacher, and a kind of organizer. Her exhibitions include `AS <span class="caps">LONG</span> AS <span class="caps">YOU LIVE</span> I <span class="caps">WILL LIVE</span>' a solo show at Mills College Art Museum, `Bad Moon Rising' at <span class="caps">BOOTS</span> Contemporary Art Space, `Bay Area Now' at Yerba Buena Center for the Arts, `Boundries Without Given Confines' with Primitivo Suarez at High Desert Test Sites (curated by Andrea Zittel), as well as a number of more independent or public spaces. In 2007 she participated in The Performing Archive-Restricted Access, an exhibition by Suzanne Lacy and Leslie Labowitz. A former assistant to Sol Lewitt, she co-founded a small publication on conceptual art entitled InterReview Journal and served as its' editor from 2002 until 2008. A full archive of InterReview Journal can currently be found at Harvard Fine Arts Library, and the Library of the Columbia University, New York. Wolfe-Suarez co-authored and edited a book on emerging art criticism entitled Writing Is Action (with Cara Baldwin) forthcoming Spring 2009. She has regularly contributed essays and criticism to a number of publications, and her written artist project `A Trilogy in Form' was recently published by N. Paradoxa (London). </p> <p>The Exhibition is supported by Austrian Cultural Forum / <span class="caps">NYC.</span></p></div> http://silverman-gallery.com/exhibition/view/1652 Exhibition: The Fountain Of Giant Teardrops <div class="exhibition-subtitle">The Fountain Of Giant Teardrops: Neil Ledoux</div> <div class="exhibition-dates">January 23 - February 28, 2009</div> <div class="exhibition-opening">Opens Friday, January 23, 7:00 PM - 10:00 PM</div> <br/> <a href="/exhibition/view/1653"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23244.jpeg" alt="Installation view of "The fountain of giant teardrops"New work by Neil Ledoux. Photo courtesy of Kelly Puleio" height="648" width="434" /></a> <p><p>Installation view of "The fountain of giant teardrops"New work by Neil Ledoux.<br /> Photo courtesy of Kelly Puleio</p></p> <br /> <div class="exhibition-description"><p>Silverman Gallery is pleased to present "The fountain of giant teardrops", new work by Neil Ledoux, on view from January 23 until February 28, 2009<br /> Opening reception: January 23, 7-10 <span class="caps">PM.</span><br /> Conversation between Larry Rinder and Neil Ledoux: February 12, 7PM</p> <p>For "The fountain of giant teardrops" Neil LeDoux will present new paintings and drawings that continue exploration into the artist's past experiences, recounting memories and historical guides that help us piece the puzzle back together. The series is based on a hallucinatory memory LeDoux imagined during his childhood. He recounted the story of seeing a fountain in the thick Louisiana forests. Its beauty was so astonishing that he immediately wanted to share it with his friends and family, but when he took them back to see the fountain it was nowhere to be found.</p> <p>Sometimes even the fuzziest of memories haunt us and in this case, for LeDoux it's this vagueness that inspired him to research images throughout history that could help trigger what he remembered: "I knew it looked like a loose pyramid; organic and man-made at the same time. There was an atmospheric quality to the fountain. The water flowed from the top center and this gave it a waterfall-like quality."</p> <p>LeDoux surfaces are as dry as parchment and worked to the bone reminding us of New York based painter Bill Jensen. The work is reminiscent of HR Geiger in its attention to detail and Arthur Dove in the way LeDoux is comfortable leaving areas worked but without detail. Often working in sculpture, LeDoux transitions this way of working to painting as he gently layers the canvas and builds up an environment.</p> <p>LeDoux searched for fountains that reminded him of the one he saw years ago. He came upon Duchamp, Tibetan wall reliefs, Jan van Eyck and more. With these more universal iconographies, LeDoux attempted to reconstruct and capture a memory that now seems more mystical than actual experience. The paintings use history and various techniques as a way to create something that may or may not have happened. It is this space between the real and imagined that LeDoux and the work are best viewed.</p> <p>Neil LeDoux was born in 1976 in Louisiana. He is currently a <span class="caps">BFA </span>candidate at the California College of the Arts. His work has been included in group exhibitions at the California College of the Arts, in San Francisco and Whitney Museum of American Art, New York. This is his first solo exhibition with Silverman Gallery.</p></div> http://silverman-gallery.com/exhibition/view/1653 Exhibition: This Is A Myth <div class="exhibition-subtitle">This Is A Myth: Ben Shaffer</div> <div class="exhibition-dates">December 12, 2008 - January 17, 2009</div> <br/> <a href="/exhibition/view/1674"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23672.jpeg" alt=""THIS IS A MYTH" by Ben Shaffer" height="687" width="500" /></a> <p><p>"THIS IS A <span class="caps">MYTH</span>" by Ben Shaffer</p></p> <br /> <div class="exhibition-description"><p>Silverman Gallery is pleased to announce the opening of an exhibition of new sculpture and wall-mounted works by Ben Shaffer on view from December 12 - January 17, 2008 with an opening on December 12, 7-10pm. "THIS IS A <span class="caps">MYTH</span>" is Shaffer's second one-person exhibition at the gallery and is themed around the space between chaos and order or rather an attempt to order chaos. "THIS IS A <span class="caps">MYTH</span>" embodies Shaffer's interest in posing questions related to notions of truth, myth, survival and consciousness. </p> <p>The work produced for "THIS IS A <span class="caps">MYTH</span>" contains the artist's hand perhaps more than ever. Working with concrete, Shaffer sculpts pillar like totems that watch over the room and ouroboros, or serpents swallowing its own tail and forming a circle. Shaffer's totems are made to live indoor or outdoor and should be treated as sacred, meditative and protective objects. The ouroboros symbolize the cyclic nature of the universe: creation out of destruction, life out of death. The ouroboros has been important in religious and mythological symbolism, alchemical illustrations, and is often associated with Gnosticism and Hermeticism. For "THIS IS A <span class="caps">MYTH</span>" the metaphor of the self-sustaining ouroboros foregrounds Shaffer's interest in renewal and mythology.</p> <p>"Mother Beard" is one of Shaffer's concrete sculptures, covered in colorful triangles and shaped like an upward pointing pyramid which represents the monumental, the ancient and powerful, the spiritual and meditative. Associated with the number three, triangles and pyramids have very complex meanings. For instance, a pyramid pointing upwards can symbolize fire and male power while pointing down; it can symbolize water and female sexuality. Throughout "THIS IS A <span class="caps">MYTH</span>", Shaffer highlights the dichotomy inherent in the subtle gesture of turning a shape upside down to change its meaning.</p> <p>"THIS IS A <span class="caps">MYTH</span>" is also the culmination of a monthly email that Shaffer has sent out to a select group of friends. The emails started on December 31, 2007 with this first thought "Written with rainbows all along the bottom a horizon line is now there and the words float above we're looking all at the same time. This is a Myth." A collection of all these texts will be available alongside Shaffer's visual imagery. Spirits made by Shaffer will also be available at the opening. </p> <p>Ben Shaffer lives and works in Los Angeles. He recently curated the group exhibition "Joy and Misery" in Los Angeles at <span class="caps">FIVE THIRTY THREE</span> Gallery.</p></div> http://silverman-gallery.com/exhibition/view/1674 Exhibition: Other Than History <div class="exhibition-subtitle">Other Than History: Torreya Cummings, Patricia Esquivias and Airyka Rockefeller</div> <div class="exhibition-dates">October 17 - November 22, 2008</div> <br/> <a href="/exhibition/view/1672"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23744.jpeg" alt="Other Than History" height="375" width="500" /></a> <p><p>Other Than History</p></p> <br /> <div class="exhibition-description"><p>Silverman Gallery presents Other Than History featuring new work by Torreya Cummings, Patricia Esquivias and Airyka Rockefeller that will be on view from October 17 - November 22, 2008. Other Than History deals with issues of representation and appropriation that exist in anthropology, art and documentation. Themes of fictionalization that come from sourcing from real and imagined artifacts, people and places will be presented through a variety of media. Each artist evokes the material residues of history in order to suggest how fictions and fantasies emerge out of actual artifacts, archives and collections. </p> <p>Torreya Cummings, lives and works in San Francisco. Cummings will present new sculptural works, which include "Mail Order Tumbleweeds"and "Bearsuit". Given that a tumbleweeds job is to travel, Cummings has ordered these from an online website and they travel to her but not in the way one might expect. Tumbleweeds move through the landscape, a path that is dictated solely by the weather and therefore have no clear destination or history. "Bearsuit" is a mythical creature from the West that never existed. For Cummings it is part of her desire to propose a queer takeover of what is known as the Wild West. For Other Than History it also functions as a kind of relic that invites the viewer into the new West, filled with fur, costuming, glitter and fantasy. </p> <p>Patricia Esquivias, lives and works in Spain. Esquivias will present a new video work, "Measures two" that investigates measures of time and a sculptural work titled "Measures two". "Measures two" is a sign with Spanish sayings 'Entre pecho y espalda' and 'Entre la espada y la pared' which translate to 'Between the sword and the wall' and 'Between the chest and the back' that describe the same space but very different situations. In these works Esquivias describes intimate spaces in a detached and utterly convincing manner.</p> <p>Airyka Rockefeller, lives and works in San Francisco and central and eastern Europe. For Other Than History Rockefeller will present two new bodies of work. "Honza's Diary (Skazka/Legend)" is a series of re-photographed photographs from the Czech Republic, whose quietly monumental self-portraits ask what a personal archive conveys once removed from its original context and catapulted into the realm of skazka/legends or skanzens/museums. "The Castle That Started It All" investigates the ongoing transformation of castles, from the functional to the vestigial, and from the mythical to symbols of contemporary kitsch. In both bodies of work, recontextualization brings the viewer's attention not to fact or history, but to the gaps between experience and representation, a story and it's storyteller, between reportage and memory.</p> <p>All three artists relate to certain geographical places, making work, which emerges out of their own experiences in particular landscapes. Other Than History questions how we look at our collections, chronologies and archives, and how through sorting and re-presenting we often speak more to our hopes and longings than to the actual histories they are derived from.</p></div> http://silverman-gallery.com/exhibition/view/1672 Exhibition: Pattern Recognition of a Collar to Idealism (dedication to a woman yet unknown) <div class="exhibition-subtitle">Pattern Recognition of a Collar to Idealism (dedication to a woman yet unknown): Susanne M. Winterling</div> <div class="exhibition-dates">September 1 - October 11, 2008</div> <br/> <a href="/exhibition/view/1671"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23559.jpeg" alt="Pattern Recognition of a Collar to Idealism" height="440" width="500" /></a> <p><p>Pattern Recognition of a Collar to Idealism</p></p> <br /> <div class="exhibition-description"><p>For her first solo exhibition at Silverman Gallery "Pattern Recognition of a Collar to Idealism (dedication to a woman yet unknown)" presents new photographs, sculptures and video works by Susanne M. Winterling. On view from September 4 - October 11, 2008 "Pattern Recognition of a Collar to Idealism (dedication to a woman yet unknown)" deals with the gallery's space as an architectural framework that gathers a collection of stories and cultural images dealing with idealistic women who have a history in San Francisco.</p> <p>Winterling applies a method of working that weaves ideas and visual structures, both personal and collective, past and future. Taking fragments of memories and portions of biographies, she pays tribute to friends, artists and in particular to the dancer Isadora Duncan. Depicted in the photocollage "Menschheit" are Isadora Duncan and her students. For Duncan, who found calamity, extravagant idealism and defiant artistic experiments to be an integral part of her life, she like Winterling reaches out to the viewer, inviting them to construct their own ideas. </p> <p>It is this openness that permits readings to be made which agree more or less with a viewer's prior knowledge and experiences. In her 6 part series "Dear Little Sista (Chère Petite Soeur <span class="caps">M.B.</span>)", Winterling illustrates how one can interpret information when it is paired, titled, framed and displayed. Taking its title from a 1974 work by Marcel Broodthaers that appropriates a found postcard of a boat in a storm Winterling's installation similarly employs what she calls "re-recognition of imagery". </p> <p>"Dear Little Sista (Chère Petite Soeur <span class="caps">M.B.</span>)" borrows images from the 1977 film Julia that partially takes place in the Bay Area and follows the friendship of two women during the World War <span class="caps">II. </span> Both female protagonists fought equally important political battles. While one was heavily involved with and fighting in the Resistance movement the other struggled with becoming a playwright. Winterling chooses images that reflect the social relationships, both on a personal and political level and makes reference to the cinematic nature of Julia as it comes purely from a woman's point of view.</p> <p>What might seem like a topic too often memorialized, idealism is also a concept that applies to many amazing women in this century. As we continue to fight against stereotypes and rigid structures, Winterling makes note of the women whose sensuality, conviction and depth persist. Like William Gibson's book "Pattern Recognition", which Winterling borrows for part of her title, Gibson tells the story of one woman's natural human desire to search for meaning. Like Gibson, Winterling's characters, including her audience debate whether moments and fragments are part of a complete narrative or a work in process. In this way, Winterling's work for "Pattern Recognition of a Collar to Idealism (dedication to a woman yet unknown)" is just the beginning to a story that has no definitive end.</p> <p>In 2008, Winterling participated, amongst other things, in the Berlin Biennale, had a booth called "All Tomorrow's Parites" at Art Basel Statements and has work currently has work in Dominic Eichler's project space in Berlin. Running concurrently is a solo exhibition of Winterling's work at Parotta Contemporary Art in Stuttgart titled "Isadoras Scarf", a group show titled "Pollen" at Neue Alte Bruecke in Frankfurt and a project curated by Winterling titles, "A Member of the Wedding" at Daniel Reich Gallery, New York. Winterling lives and works in Berlin.</p></div> http://silverman-gallery.com/exhibition/view/1671 Exhibition: Mini Market <div class="exhibition-subtitle">Mini Market: Bringing the art of shopping and shopping for art under one roof.</div> <div class="exhibition-dates">August 7 - August 30, 2008</div> <br/> <a href="/exhibition/view/1670"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23546.jpeg" alt="Mini Market" height="477" width="500" /></a> <p><p>Mini Market</p></p> <br /> <div class="exhibition-description"><p><span class="caps">MINI MARKET </span>is a boutique and exhibition, which will premier in San Francisco from August 7 - 30, 2008 at Silverman Gallery and Look Boutique. Inspired by Look Boutique's merchandise which is always a conversation-starter <span class="caps">MINI MARKET </span>will also complement the curatorial point-of-view of Silverman Gallery. Representing a new model in our distribution and collaboration philosophies <span class="caps">MINI MARKET </span>will host a series of events during the month that will include: local chef, Keiko Takano enlightening your senses with raw foods and Tanya Wischerath, former star of "Beauty Bar" who will paint mini works of art on your fingernail.</p> <p>By inviting local and international designers, collectors, retailers and artists to sell and display their work, <span class="caps">MINI MARKET </span>will offer vintage collections as well as new lines, limited editions and specialty services.</p> <p>Operating on a calendar similar to art galleries, Look Boutique changes its display for each exhibition at Silverman Gallery. This will be the first time that the two identities merge as one. During the month of August, <span class="caps">MINI MARKET </span>will be filled to the brim with hanging racks, artwork, accessories and local vendors. Specialty events and services will include: Styling by Carolina Amaris, lessons on the influence of Punk in contemporary art and culture from Julio Morales and film screenings.</p> <p>Although the inspiration for <span class="caps">MINI MARKET </span>ranges from history to department stores, artist projects to flea markets, it is uniquely its own. <span class="caps">MINI MARKET </span>is inspired by projects such as Willem de Ridder's European Mail-Order Warehouse/Fluxshop, Gavin Brown's booth at Frieze, 2007 and Martha Rosler's Garage Sale first staged in 1973. Willem de Ridder's Fluxshop underlines our alternative system of distribution central to <span class="caps">MINI MARKET. </span> At Frieze, artist Rob Pruitt turned a corner of the fair into stalls flocked by artists selling and bartering flea-inspired multiples as well as local vendors with vintage Westwood. <span class="caps">MINI MARKET </span>will also take its cue form Garage Sale who advertised as a sale in local newspapers but also as an art event within the art community by posting on telephone poles in local neighborhoods and with art publications.</p> <p><span class="caps">MINI MARKET </span>will be in San Francisco for a month, therefore, it is possible that items will become sold out during this time. This gives <span class="caps">MINI MARKET </span>the opportunity to rearrange, restock or leave empty certain areas as a testament to its presence, popularity and disappearance. <span class="caps">MINI MARKET </span>is a concept shop, an exhibition and ongoing project, ready to travel to your gallery or boutique. Scale, product and design are subject to change.<br /> Artists and Collaborators: Selima et Benjamin, Los Angeles, Luke Butler, San Francisco, Alexandra Cassaniti, Los Angeles, Susan Cianciolo, New York, <span class="caps">CITIZEN</span>:CITIZEN, San Francisco, Junior, Bi-Coastal, Alexander Kroll, Los Angeles, Ari Marcopoulos, Sonoma, Jessica Miller, San Francisco, Nasty Gal Vintage, San Francisco, Starstyling, Berlin, General Idea and punk posters from stevenleiberbasement, San Francisco, Chris Rubino, New York, Keiko Takano, San Francisco, Tanya Wischerath, San Francisco, Miller Updegraff, Los Angeles and more!</p></div> http://silverman-gallery.com/exhibition/view/1670 Exhibition: An Archive Of Feelings <div class="exhibition-subtitle">An Archive Of Feelings: Tammy Rae Carland</div> <div class="exhibition-dates">June 20 - July 26, 2008</div> <br/> <a href="/exhibition/view/1669"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23534.jpeg" alt="An Archive Of Feelings: Tammy Rae Carland" height="381" width="500" /></a> <p><p>An Archive Of Feelings: Tammy Rae Carland</p></p> <br /> <div class="exhibition-description"><p>For her first solo exhibition at Silverman Gallery An Archive of Feelings selects new photographs and video works by Tammy Rae Carland that are themed around holding on to or at least remembering the things that are hard to let go of. On view from June 20 - July 27, 2008 An Archive of Feelings embodies Carland's personal experiences and relationships to family, friends and ex-lovers. Borrowing its title and sensibility from Ann Cvetkovich's book by the same name, An Archive of Feelings reaches out to the viewer without being overly sentimental.</p> <p>Grief can often be so monumental that we resort to erecting monuments in it's honor; things and places bigger than us, that tower over the delicacies of our experience, rendering our feelings inefficient and inept. But what of all the little things we save, or purge, the things that are supposed to survive when bodies, moments and love do not? What becomes of all the personal hand held monuments that can electrify memory and experience? They become photographs because for Carland, a photograph is literally a trace, a sign, a symbol or evidence of something that was, something that existed somewhere - however fleeting that existence might have been. </p> <p>Depicted in An Archive of Feelings are what serve us when the love object goes missing and we attach ourselves to the thing, the fetish, the photograph, in order to fill the void, in order to mend the gap and not sit empty with ourselves, with our feelings. My Inheritance, the largest work in the exhibition is comprised of all the objects Carland took from her mothers house after her passing. These are not the objects left to Carland but rather the items that triggered an emotional reaction, a memory or a moment. The work is in that sense an homage or an archive, and leaves the viewer with an intense, sincere and uncomfortably emotional impression.</p> <p>Of the 21 objects in My Inheritance most of them show wear or seem to have been used in everyday life. There is a beat up map of San Francisco, perhaps when Carland's mother would visit, a crossword puzzle yet to be finished, a burnt crochet coaster and a box full of scraps. While My Inheritance is perhaps more embedded in the context of loss, One Love Leads To Another, is more closely related to the issue of time, personal taste and gifting. The personal mixtape is in many ways an art form and carefully selecting and ordering the tracks a mixtape can create an artistic statement that is greater than the sum of its individual songs. For One Love Leads To Another cassettes, cassette covers hand painted by friends and personal playslists lineup like an army. In this work, the songs, chosen by friends and lovers give us insight into some of Carland's most personal relationships and at the same time acts as a gathering of distinct artistic practices. </p> <p>What emanates from bodies, relationship and experience imprints itself in our memory via things and sensation, the thing itself holding and transmitting the sensation. An Archive of Feelings is an attempt to archive the impossible, the nebulous, the disappeared and the intangible - an incoherent archive of feelings.</p></div> http://silverman-gallery.com/exhibition/view/1669 Exhibition: Starship <div class="exhibition-subtitle">Starship: Hans-Christian Dany, Martin Ebner, Ariane Müller presents "Written on spiders"</div> <div class="exhibition-dates">May 15 - June 14, 2008</div> <br/> <a href="/exhibition/view/1673"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23576.jpeg" alt="Starship" height="375" width="500" /></a> <p><p>Starship</p></p> <br /> <div class="exhibition-description"><p>Silverman Gallery is pleased to announce the opening of an exhibition of film, sculpture and wall-mounted works by Starship: Hans-Christian Dany, Martin Ebner, Ariane Müller, on view from May 15 - June 14, 2008. Titled "Written on spiders" this, their first West Coast exhibition, also marks their inaugural exhibition at Silverman Gallery.</p> <p>Starship Magazine was established in Berlin in 1998 and is to be produced for the final one hundred years of mankind, with the last issue expected in 2098. The rules and regulations of Starship Magazine subject its contributors to refrain from alcohol, cigarettes and drugs in order to meet this timeline. Starship is also responsible for presentations, exhibitions, a gallery space, a cinema, a concert hall and publishing houses in Berlin, Hamburg, London, Paris, Cairo, New York. They are currently working on an Arab issue.</p> <p>For Silverman Gallery, Starship artists Hans-Christian Dany, Martin Ebner and Ariane Müller have produced new works as well as a site-specific installation with multiple projections. In the space and around San Francisco, Starship will install a series of posters under the title "Seinesgleichen geschieht/The like of it now happens," a visual research project on excess and sustainability. Other artists included are: Simone Gilges, Judith Hopf, Daniel Pflumm, Bless, Nils Norman, Stefan Dillemuth, Christof Schaefer, Nina Rhode, Sebastian Lütgert, Henrik Olesen, 4000, Michaela Eichwald, Can Altay, Gunter Reski, Klaus Weber, Deborah Schamoni, Ariane Müller, Martin Ebner and Hans-Christian Dany.</p></div> http://silverman-gallery.com/exhibition/view/1673 Exhibition: The Hypnotic Show <div class="exhibition-subtitle">The Hypnotic Show: Group Exhibition and Performance Curated by Raimundas Malasauskas</div> <div class="exhibition-dates">April 22 - April 22, 2008</div> <br/> <a href="/exhibition/view/1668"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23522.jpeg" alt="The Hypnotic Show" height="320" width="230" /></a> <p><p>The Hypnotic Show</p></p> <br /> <div class="exhibition-description"><p><span class="caps">HYPNOTIC SHOW FAQ</span>:</p> <p>Q: What is Hypnotic Show?<br /> A: A temporary social structure of engaging into creative cognitive acts<br /> through shared practices of art and hypnosis.</p> <p>Q: What is the relationship between art and hypnosis?<br /> A: Hypnotic power of artwork has always been a favorite trope of people<br /> looking for transformative potential of art. However instead of seeing<br /> ³hypnotic power² as a rhetorical figure Hypnotic Show aims at reducing art<br /> practice to the method of pure hypnosis. According to biometrics It connects<br /> with brain faster.</p> <p>Q: Why brain?<br /> A: It is the ultimate destination of social neuro-engineering and<br /> advertising placing an ad directly into your cells as well subjectivities of<br /> yet-to-be-invented. From the perspective of ceaseless production and total<br /> transparency* brain is seen as a final frontier to be colonised, from the<br /> perspective of individual subjectivity - as a last resort of things<br /> not-to-be-known. Hypnotic Show positions itself at both ends of the<br /> perspective.</p> <p>Q: How does Hypnotic Show work?<br /> A: When all spaces get gentrified and you think that your very inner<br /> subjectivity will remain a space of a strictly personal order your<br /> brain-waves are being measured against you.</p> <p>Q: No, no, but how does it work technically?<br /> A: A number of invited artists have submitted proposals for Marcos Lutyens<br /> to be worked out with audience through a seance of hypnosis.</p> <p>Q: Can my girlfriend attend the seance?<br /> A: Of course, please tell her to <span class="caps">RSVP </span>to sign up for a seance that will take<br /> place 8 pm Tuesday, April 22, at Silverman Gallery. Only first 30<br /> signed up people will attend.</p> <p>Q: Is it true that hypnosis can convince in a value of certain artwork<br /> against my will?<br /> A: Multiple techniques are used in promoting arts value, hypnosis is just<br /> one of them.</p> <p>Q: What remains after this show?<br /> A: Reconfiguration of principles about workings or art and mind implied by<br /> artists proposal.</p> <p>Q: Where can I find artists¹proposals?<br /> A: They will be available at www.rye.tw on - please feel free to download<br /> it.</p> <p>Q: What is the relation of Hypnotic Show to The Man Who Taught Blake to<br /> Paint in His Dreams drawing by William Blake?<br /> A: It is not clear in this painting whether the man was teaching painting in<br /> his dreams and Blake had access to that knowledge telematically or whether<br /> Blake was taught how to make paintings in his dreams. Or both.</p> <p>Q: Is it about instrumentalisation of hypnosis?<br /> A: It is about instrumentalisation of not only of hypnosis, but also art.</p> <p>Q: Will there be any works of artists made under the influence of Hypnosis?<br /> A: No, Hypnotic Show is aimed at induce trance rather than show its static<br /> records.</p> <p>Q: Is it an empty show?<br /> A: A show in your head will never be empty. There will be also an upgraded<br /> version of dream-machine of Brian Gysin installed in the gallery.</p> <p>Q: What does it have to do with art as an idea?<br /> A: The idea of Hypnotic Show definitely has to do with art.</p> <p>Q: Is it a single-medium-based exhibition?<br /> A: It seems like.</p> <p>Q: Is it a coincidence that this show takes place in San Francisco?<br /> A: No, it¹s not a coincidence: San Francisco is deeply invested into mental<br /> experimenting and trance-like states (Gold rush, 60s, Dot Com boom).<br /> Hypnotic Show taps into that culture.</p> <p>Q: What are the inspirations of Hypnotic Show?<br /> A: Works of many artists including Graham Gussin, Matt Mullican, Ann<br /> Lislegaard, Pedro Reyes, Warren Neidich, Cerith Wyn Evans; conversations<br /> with Fernando Delmar, Pascal Rousseau as well as work of all the artists<br /> participating in Hypnotic Show with proposals.</p> <p>Q: Is Hypnotic Show about collaboration?<br /> A: Not really, but the relationship between hypnotist and the patron could<br /> be described as collaboration.</p> <p>Q: Can I buy I a hypnotic artwork?<br /> A: Not at this moment. However soon you will be able not only to buy, but<br /> commission a hypnotic artwork created especially for you or to be able to<br /> induce your own hypnotic artwork on your friend out of pure love. Or both.<br /> *(even when you sleep the power of your brain can be utilised. Wake up now)</p></div> http://silverman-gallery.com/exhibition/view/1668 Exhibition: Symptom Of The Universe <div class="exhibition-subtitle">Symptom Of The Universe: Mary Elizabeth Yarbrough</div> <div class="exhibition-dates">March 14 - April 20, 2008</div> <br/> <a href="/exhibition/view/1666"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23524.jpeg" alt="" height="342" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Silverman Gallery is pleased to announce the opening of an exhibition of new sculpture and wall-mounted works by Mary Elizabeth Yarbrough, on view from March 14 - April 20, 2008. Titled "Symptom of the Universe" this, her first one-person exhibition at the gallery, also marks the inaugural exhibition of Silverman Gallery's new space at 804 Sutter Street in downtown San Francisco.</p> <p>Titled after the Black Sabbath song "Symptom of the Universe" explores the notion of a void, which is both massive in grandeur and scale but is visually imperceptible to man. Constructed by hand, using the media of duct tape and contact paper, she transforms found imagery into complex and photorealistic illustrations that investigate the mysterious unknown and man's universally deep emotional responses to it. Although her fragile 2-D constructions are physically still, their diverse surfaces seem to visually fall apart as the viewer comes into closer view.</p> <p>"Thunder", Yarbrough's tactile sound sculpture of a black void emanates bellowing claps of thunder through low-frequency sound waves producing an intimate experience in which the person interacting with the sculpture can corporeally perceive the thunder within his/her body. Without physical interaction the piece cannot be felt.</p> <p>Another recurring theme in Yarbrough's practice are deep voids and ethers, things one may only experience physically, emotionally or psychically. From her personal perspective, Yarbrough approaches the concept of voids with the notion that they can contain a multitude of attributes. Inspired by images that contain crowds of people whose attention is on a single focal point Yarbrough removes the original source of focus and introduces either a void or ether. What we don't know keeps us invested in where we are now, waiting patiently to find out what it is we have yet to conquer or understand.</p> <p>Mary Elizabeth Yarbrough lives and works in San Francisco. Her work has been included in many San Francisco and international exhibitions.</p></div> http://silverman-gallery.com/exhibition/view/1666 Exhibition: Bad Moon Rising <div class="exhibition-subtitle">Bad Moon Rising: Group Exhibition Curated by Jan Van Woensel</div> <div class="exhibition-dates">January 25 - February 27, 2008</div> <br/> <a href="/exhibition/view/1665"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23505.jpeg" alt="Bad Moon Rising" height="333" width="500" /></a> <p><p>Bad Moon Rising</p></p> <br /> <div class="exhibition-description"><p>Curated by Jan Van Woensel, `Bad Moon Rising' compiles an eclectic and forceful range of artists and artifacts that share an apocalyptic vision of the current predicament of the <span class="caps">US.</span> According to the press release, the works cast `a dark shadow' over America's `promised ideologies of freedom and prosperity...with no space for mercy'. As a Belgian recently relocated to the <span class="caps">US,</span> Van Woensel presents the exhibition (`about the Americans, for the Americans') from the shocked ethnographic viewpoint of an outsider, happily pointing fingers at domestic social atrocities. While his accusations are undeniably valid and pressing, the sweet smell of schadenfreude seems to linger in the air at Silverman Gallery.</p> <p>The exhibition's most compelling aspect is that many of the disturbing facets of American society depicted are, at the same time, attempts to revolt against, disturb, and circumvent the system of capitalist competitiveness and conformity. Materials taken from popular culture - an Atari game called Custer's Revenge (1982), a mounted copy of the Houston Chronicle (from October 17, 1991) reporting on George Hennard and the Luby massacre in Texas, and a quote from Tariq Ali blown up on a vinyl banner - are scattered among the art works in the show, while Rage Against the Machine's song `Testify' plays in the bathroom.</p> <p>Vanessa Albury and Marthe Fortun's Primal Scream (2007) is an outcry that has neither a clear target nor a hope for change - it simply marks the current state of affairs. The work is presented as an audio piece as well as a muted double projection that maps the sites of several interventions on 28 February 2007, when Albury and Fortun performed a single loud scream at a selection of random public spaces within the city of New York. This was a disruption fully conscious of its futility, but nevertheless an act that expresses an underlying and suppressed sensation that seems omnipresent within contemporary society</p> <p>Philippe Vandenberg's semi-abstract paintings like L'important c'est le Kamikaze (2004) and Mama Swastika Revisited (1994-2004) reflect upon the banality of evil. Through the playful repetition of provocative signs in rainbow colours they comment on the absurd and the emptied-out state of signs and phrases in popular media.</p> <p>In the back corner of the space Yoji Sakate's play The Attic (2005) lies on the floor. Sakate meditates on the phenomenon of hikikomori, a term describing a social withdrawal syndrome prevalent in Japanese youths. Pondering the need to retreat suspended between healthy alone time and the most extreme forms of isolation, Sakate's play introduces a mysterious internet company that offers tiny `attics' to people who wish to withdraw from society completely.</p> <p>Ragnar Kjartansson's video Sorrow Conquers Happiness (2006) provides the score for the exhibition. The work shows the artist in a suit and tie, accompanied by a jazz trio repeatedly singing `Sorrow conquers happiness' until the words become detached from their meaning - melting into a mantra for suffering. Within all this devastation the visitor is lucky that Van Woensel keeps Ben Vautier's Flux Suicide Kit (1966) handy, a small plastic box containing a fishing hook, a piece of glass, a razor, matches, and an electrical plug, to offer the possibility of ending the ordeal right here and now.</p> <p>`Bad Mood Rising' is a show that maintains a safe distance; through isolating the positions at hand, each seems threatening but at the same time controlled. It is precisely through this distance that a pattern can be recognized that, if stretched, can be made to fit most other nations just as well as the <span class="caps">US.</span> The overlapping sing-song of complaint seems to cancel itself out. Too many voices are moaning at the same time, leaving the visitor with the feeling that there's a bad moon on the rise - or maybe just a bathroom on the right.</p> <p>Anna Gritz</p></div> http://silverman-gallery.com/exhibition/view/1665 Exhibition: The Distance That Keeps You <div class="exhibition-subtitle">The Distance That Keeps You: Vanessa Albury</div> <div class="exhibition-dates">December 18, 2007 - January 20, 2008</div> <br/> <a href="/exhibition/view/1663"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23485.jpeg" alt="The Distance That Keeps You: Vanessa Albury" height="354" width="500" /></a> <p><p>The Distance That Keeps You: Vanessa Albury</p></p> <br /> <div class="exhibition-description"><p>"The Distance That Keeps You" selects photographs, videos, installations and sculptural objects themed around emotional and physical distance. Embodied in the works displayed, Albury's personal experiences of remoteness from family, ex-partners, and the self are presented in a universal concept of the intrinsically difficult nature in dealing with loss, release, and trauma. The Distance that Keeps You is a dark, intimate, and poetic exhibition about the psychological effects of creating, opposing, and accepting boundaries between people. </p> <p>Hidden in the title of the exhibition, time and space are essential aspects in the work of Vanessa Albury. Time and space are fundamental elements that determine our being. We are forced to construct our lives within these parameters. Less rooted in physical theories, time and space have also inspired philosophers to debate the human condition from a more abstract point of view. Albury's artworks often elaborate on the discrepancies between metaphysical and symbolical interpretations of time, space and the experience of them versus how they are measured in society. In the installation titled The Weather Project, the artist consistently registers the weather forecast of Brooklyn, <span class="caps">NY, </span>where she lives, and Nashville, <span class="caps">TN, </span>where her father lives. Doing this for a period of 102 days, she additionally takes two pictures of the air everyday. The daily climatic differences between Brooklyn and Nashville are adopted to symbolize the physical distance between the artist and her family. The Weather Project combines clear-cut meteorological facts, adopting the lingo traditionally used to forecast the weather, with the romantic act of taking pictures of the air moving between the two cities. While The Weather Project is perhaps more embedded in the context of spatial distance, the video 12/17/05 to 6/5/06, 11/23/06 (Text Messages from Mark) is more closely related to the issue of time. In this work, the artist records herself reading, and consequently deleting old text messages sent to her from an ex-partner. As she recites the messages, her mood rapidly shifts from serious, to laughter, to crying while revisiting passed times with a beloved person that eventually led to a break up. Besides the personal communication between the two lovers, Text Messages from Mark uncomfortably exposes the deeply, emotionally-affected self, which initiates a performative aspect to the work. </p> <p>Albury's work originally stems from a conceptual and psychological concept of photography. Time, space and movement freeze in the photograph, capturing and isolating a single moment of life. The black and white photographic projection titled Funeral (Projection) has significant symbolic meaning. This covertly taken picture of the artist's deceased grandma at her funerary service is strongly embedded in the (infamous) photography of death scenes in 19th Century America. The original purpose of these "Memento Mori's" is to remind the viewer that death is an unavoidable part of life, something to be prepared for at all times. </p> <p>The Distance that Keeps You leaves an intense, sincere and sometimes uncomfortably emotional impression on the viewer. Blending performance, photography, video and installation, the pieces shown in this exhibition relate to different forms of personal and communal distances between people. Time and space, past and present, life and death are all integral parts of our human condition. In The Distance that Keeps You, Vanessa Albury doesn't offer any solutions, but exposes the slowly healing wounds caused by heartbreak, death, and rejection.</p> <p>Written by Jan Van Woensel for The Distance that Keeps You, Silverman Gallery, 2007</p></div> http://silverman-gallery.com/exhibition/view/1663 Exhibition: Nothing Moments <div class="exhibition-subtitle"></div> <div class="exhibition-dates">November 1 - December 1, 2007</div> <br/> <a href="/exhibition/view/1664"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23496.jpeg" alt="Nothing Moments" height="190" width="148" /></a> <p><p>Nothing Moments</p></p> <br /> <div class="exhibition-description"><p>Nothing Moments is the newest project of Steven Hull, who has teamed up with Tami Demaree, Annie Buckley, and Jon Sueda for this most ambitious of Hull's projects to date. With nearly one hundred participating writers, artists, and designers, Nothing Moments embraces the disparate fields of visual art, literature, and design.</p> <p>Nothing Moments consists of twenty-three limited edition books and more than four hundred original drawings. The project expands on the relay-inspired process Hull has explored in previous projects, whereby the work of one artist is responded to and expanded on by another. In Nothing Moments, each book begins with a fiction text authored by a contributing writer. This text is then passed to a contributing artist who makes drawings in response to the story. Finally, the text and art are given to a designer who creates a unique design. The resulting books emphasize a fusion of writing, visual art, and design, inverting the traditional foregrounding of text over art in the book format. </p> <p>Nothing Moments offers an intriguing cross-pollination of the populist sensibility of a book fair with the rarified atmosphere of contemporary art. In celebrating the blurring of boundaries between disciplines, the project brings an exciting, collaborative energy to the gallery and offers thought-provoking questions to contemporary critical discourse. </p> <p>Nothing Moments will debut in October 2007 in Los Angeles with an exhibition at Steve Turner Contemporary and a book launch at <span class="caps">MOCA </span>at the Pacific Design Center. The full exhibition, including books and drawings, will then travel to venues in San Francisco, Dallas, and Chicago with additional venues to be announced.</p></div> http://silverman-gallery.com/exhibition/view/1664 Exhibition: TV Honey <div class="exhibition-subtitle">TV Honey: Desiree Holman with Lynda Benglis and Joan Jonas. Curated by Larry Rinder.</div> <div class="exhibition-dates">October 11 - November 10, 2007</div> <br/> <br /> <div class="exhibition-description"><p>TV Honey brings together three artists whose work explores the hypnotic allure of the spectacle as it is embodied in performance, narrative, and, media representations. The exhibition also builds a bridge between two generations of artists, featuring two videos from the 1970s--Lynda Benglis' "The Amazing Bow Wow" (1976) and Joan Jonas' "Vertical Roll" (1972)--along with Desirée Holman's recently completed project, "The Magic Window."</p> <p>Holman's "The Magic Window" (2006-2007) consists of a three-channel video projection as well as a group of related drawings. The projection juxtaposes two living-room scenes using characters loosely based on well-known sitcom families-- the Connors from Roseanne and the Huxtables from The Cosby Show. Holman's actors wear poorly fitting masks devised by the artist that foreground the wearers' crude inhabitation of these imaginary characters. By emphasizing the artifice of the narrative, Holman forestalls our inclination to identify with media avatars and loose ourselves in the absorptive power of the spectacle. The characters themselves, however, succumb to the TV's potent allure as they gather on their family couches to stare into the televised abyss. In a hopeful twist, however, Holman has both families join in a psychedelic Bollywood-style dance number incorporating music by Soft Pink Truth.</p> <p>Holman's meticulous colored pencil drawings focus on the television set and masks, both used as props in the video. Isolated from the narrative, the fetish-like nature of these objects--their role as "conduits of fantasy"--becomes apparent.</p> <p>Holman describes her work as "[weaving] back and forth stylistically between an American sitcom television production and a <span class="caps">D.I.Y. </span>(Do It Yourself) video art sensibility." The <span class="caps">DIY </span>video art sensibility is well-represented by the two early works of Lynda Benglis and Jonas Jonas. Both of these pieces, like Holman's "The Magic Window," are concerned with identity and absorption, though Benglis explores this subject primarily through narrative and Jonas primarily through imagery and form.</p> <p>Lynda Benglis' "The Amazing Bow Wow" (1974)--an exceedingly eccentric piece of 1970s video art--relates the story of a human-sized hermaphroditic dog that becomes the centerpiece of a traveling freak show. The alluring spectacle of the dog's peculiar sexuality attracts customers but its owners come into conflict when they discover that the creature is also extremely intelligent. While one of the owners, Rexina (played by Benglis herself), becomes more and more drawn to the dog, her partner and lover, Babu, becomes jealously enraged. Babu's anger culminates in a horrific scene where, believing he is castrating the dog, he mistakenly cuts off its tongue. Benglis' video humorously twists the Oedipal narrative while metaphorically challenging our gawking absorption in the spectacle of art itself.</p> <p>Joan Jonas' "Vertical Roll" (1972) is simultaneously absorbing and disturbing. Jonas herself appears as a masked woman and belly dancer, whose presence is compromised by the constant and unnerving "vertical roll" of the video frame. The repetitive stuttering of the video image has a hypnotic effect, echoed by the image and sound of a swinging spoon striking a hard surface. Jonas' character's sexuality is also harnessed to maintain the viewers' attention; however, the fragmented form of the video medium ultimately functions like the masks in Holman's work, distancing us from the object of our projected desire. Like both "The Magic Window" and "The Amazing Bow Wow," "Vertical Roll" is enlivened by a momentary dance scene.</p> <p>Desirée Holman is an interdisciplinary artist who lives and works in Oakland, <span class="caps">CA.</span> Her work explores human relationships & group dynamics (primarily families) through the use of fantasy play with figurative props such as mannequins and full-body wearable sculptures. In 1999, directly after completing her <span class="caps">BFA </span>in sculpture at California College of the Arts, Desirée attended the Skowhegan School of Painting and Sculpture. She graduated with her <span class="caps">MFA </span>from UC Berkeley in 2002. While at <span class="caps">UCB, </span>she received Eisner awards in both video and photography. Her work has generated critical acclaim in multiple reviews and exhibition catalogues.</p> <p>In 2004, she was a Santa Fe Center for Photography's Vision Project Competition Winner. In recent years, her work has been the focus of solo exhibitions at <span class="caps">YYZ</span> Artist's Outlet in Toronto, Canada, Chicago' Lisa Boyle Gallery, San Francisco's Queens Nails Annex and the San Francisco Arts Commission Gallery. Her work has been exhibited at the <span class="caps">L.A.</span> County Museum of Art, San Francisco's Yerba Buena Center for the Arts & New Langton Arts; the Berkeley Art Museum; UC Davis' Nelson Gallery & Fine Arts Collection, The Hudson Valley Center for Contemporary Art, Syracuse University, Los Angeles' Loyola Marymount University; Milan, Italy's BnD Studios and Toronto, Ontario's The Drake. Holman is also an arts educator and has taught at California College of the Arts, Maine College of Art, UC Berkeley, St. Mary's College of California and Diablo Valley College.</p> <p>Joan Jonas is a pioneer of video/performance art. Her experiments and productions in the late 1960s and early 1970s were essential to the formulation of the genre. Her influence was crucial to the development of contemporary art in many genres--from performance and video to conceptual art and theater. During the past decade, Jonas has collaborated with composers such as Alvin Lucier to develop collaborative video-performance works, and has performed and toured with The Wooster Group. Her most recent work continues to explore the relationship of new digital media to performance. Jonas's recent installation piece, The Shape, the Scent, the Feel of Things (2004-2005) will be presented at the Berkeley Art Museum and Pacific Film Archive from October 13, 2007 to July 31, 2008.</p> <p>Jonas has been awarded fellowships and grants for choreography, video, and visual arts from the National Endowment for the Arts, the Rockefeller Foundation, the <span class="caps">CAT</span> Fund, the Artist TV Lab at <span class="caps">WNET</span>/13 (New York City), the Television Workshop at <span class="caps">WXX1 </span>(Rochester), and the Deutsche Akademischer Austauschdienst (DAAD) in Germany. Jonas has received the Hyogo Prefecture Museum of Modern Art Prize at the Tokyo International Video Art Festival, the Polaroid Award for Video, and the American Film Institute Maya Deren Award for Video. In 1994, Jonas was honored with a major retrospective exhibition at the Stedelijk Museum, Amsterdam, in which she transformed six performance works into installations for the museum. She has recently had solo exhibitions at Rosamund Felsen in Los Angeles and the Pat Hearn Gallery in New York City.</p> <p>An important sculptor for more than three decades, Lynda Benglis also produced a pioneering body of feminist video in the 1970s. Immediate and visceral, Benglis' performance-based video work confronts issues raised by feminist theory, including the representation of women, the role of the spectator, and female sexuality. Benglis also engaged the emergent practice of video in an incisive discourse on the production of the moving image. Experimentation and humor also characterize Benglis' works; her manipulation of early video's intrinsic qualities suggests a playful yet critical approach to the emergent technology, imparting a deliberate sense of amorphousness and a willful lack of narrative logic.</p> <p>Lynda Benglis was born in 1941. She received a <span class="caps">B.F.A. </span>from Newcomb College. Her work has been shown at the Whitney Museum of American Art, New York; Walker Art Center, Minneapolis, MN; Solomon R. Guggenheim Museum, New York; The Museum of Modern Art, New York; Philadelphia Museum of Art; National Gallery of Art, Washington, <span class="caps">D.C., </span>and the Venice Bieniale, among many other venues. She has been awarded two grants from the National Endowment for the Arts, as well as a Guggenheim Fellowship and an Australian Art Council Award. She has taught at the School of Visual Arts, the University of Arizona, Yale University, Princeton University and the California Institute of the Arts, among other schools. Benglis lives in New York City.</p> <p>Lawrence R. Rinder is the Dean of the College at the California College of the Arts in San Francisco. Previously, he was the Anne and Joel Ehrenkranz Curator of Contemporary Art at the Whitney Museum of American Art where he organized exhibitions including "The American Effect," "BitStreams," the "2002 Biennial," and "Tim Hawkinson," which was given the 2005 award for best monographic exhibition in a New York museum by the United States chapter of the International Association of Art Critics. Prior to the Whitney, Rinder was founding director of the <span class="caps">CCA</span> Wattis Institute for Contemporary Arts, in San Francisco, and served as Assistant Director and Curator for Twentieth-Century Art at the Berkeley Art Museum and Pacific Film Archive. Among the many exhibitions he organized at these institutions are "Searchlight: Consciousness at the Millennium" (1999), "Knowledge of Higher Worlds: Rudolf Steiner's Blackboard Drawings" (1997), "Louise Bourgeois: Drawings" (1996), "In a Different Light" (1995) ""Felix Gonzalez-Torres" (1994), and "Where There Is Where There: The Prints of John Cage" (1989).<br /> Rinder received a <span class="caps">B.A. </span>in art from Reed College and an <span class="caps">M.A. </span>in art history from Hunter College. He has held teaching positions at UC Berkeley, Columbia University, and Deep Springs College. He has published poetry, fiction, and art criticism in Zyzzyva, Fresh Men 2: New Voices in Gay Fiction, Flash Art, Artforum, nest, The Village Voice, Fillip, and Parkett. Art Life: Selected Writings, 1991-2005, published by Gregory R. Miller and Company in Spring 2006, is his first book of essays. His first play, "The Wishing Well," co-authored with Kevin Killian, premiered in 2006. In 2003, Rinder was inducted into the National Register of Peer Professionals of the <span class="caps">U.S.</span> General Services Administration, and in 2005, he was appointed to the San Francisco Arts Commission by Mayor Gavin Newsom.</p></div> http://silverman-gallery.com/exhibition/view/1662 Exhibition: Double Resonator <div class="exhibition-subtitle">Double Resonator: Christopher Badger, Robert Smithson and La Monte Young</div> <div class="exhibition-dates">September 7 - October 5, 2007</div> <br/> <a href="/exhibition/view/1661"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23470.jpeg" alt="Double Resonator" height="409" width="500" /></a> <p><p>Double Resonator</p></p> <br /> <div class="exhibition-description"><p>Silverman Gallery is very pleased to present Double Resonator an exhibition of work by Christopher Paul Badger, Robert Smithson and La Monte Young.</p> <p>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.</p> <p><span class="caps">C.P</span> 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. </p> <p>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. </p> <p>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.</p> <p>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.</p> <p>In conjunction with the exhibition, a limited edition print by <span class="caps">C.P.</span> Badger will be produced by Silverman Gallery.</p></div> http://silverman-gallery.com/exhibition/view/1661 Exhibition: With Signs Following <div class="exhibition-subtitle">With Signs Following: Ben Shaffer</div> <div class="exhibition-dates">April 20 - June 1, 2007</div> <br/> <a href="/exhibition/view/1660"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23463.jpeg" alt="With Signs Following: Ben Shaffer" height="683" width="500" /></a> <p><p>With Signs Following: Ben Shaffer</p></p> <br /> <div class="exhibition-description"><p>Silverman Gallery is very pleased to present the first solo exhibition of Ben Shaffer entitled With signs following. Shaffer will present new sculpturally mystical works, music and a new series of works on paper. The exhibition opens on Friday, April 20 from 7 to 10 pm and ends on Saturday May 26, 2007. </p> <p> "Behold, I give unto you power to tread on serpents and scorpions, and over all the power of the enemy: and nothing shall by any means hurt you. Luke 10:19</p> <p>What is the future of this humanity? The unknown quality surrounding the elements of actions goes unsaid and cared for. The death of continents, color of the sky is bluer. Stepping into another reality while the footprints left behind reverse the lives of those standing ahead</p> <p>Why do you feel helpless while the world ends around you?</p> <p>You have the tools to discover the powers hidden within everything. You can turn back the tide of destruction. You face choices where fate is a silly line floating in the air before your vision.</p> <p>Lies of the creators and myth givers are mirrors covered in light obscured by the smoke from your breath. You believe in not being and having a secret to give. When you awoke to your destiny did it take long to collapse into the weight of the world?"</p> <p>Ben Shaffer received his <span class="caps">B.S. </span>from James Madison University in Harrisonburg, Virginia and recently received his <span class="caps">M.F.A </span>from Claremont Graduate University in 2006.</p></div> http://silverman-gallery.com/exhibition/view/1660 Exhibition: An unsung rhythm in a colonnade of stars <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 10 - April 13, 2007</div> <br/> <a href="/exhibition/view/1654"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23261.jpeg" alt="Installation view of "An unsung rhythm in a colonnade of stars". New work by Job Piston." height="333" width="500" /></a> <p><p>Installation view of "An unsung rhythm in a colonnade of stars". New work by Job Piston.</p></p> <br /> <div class="exhibition-description"><p>Silverman Gallery is pleased to present Job Piston "An unsung rhythm in a colonnade of stars"</p> <p>March 10 - April 13, 2007</p> <p>The Silverman Gallery in San Francisco pleased to present Job Piston's solo exhibition, An unsung rhythm in a colonnade of stars, opening Saturday, March 10, 2007. Featuring new photographic works, Piston delves gracefully into themes of burgeoning sexuality, voyeurism, and intimacy in public spaces. His use of commonplace lighting lends each piece a warmth and richness of color that invites the viewer to join him in a journey reminiscent of adolescent discovery.</p> <p>The title of the exhibition derives from Piston's desire to honor the pillars of artistic ingenuity that guide him along his way, while humbly finding his own voice and place in the world. Drawing from influences that vary from documentary-style photography and its ability to gain access to the theatrics and decadence of Renaissance painting, Piston's work explores the idea of searching for something that is desired, often times featuring the artist himself as the object of desire. For example, Beloved of the Valley illustrates such ideas by placing the artist as subject as well as object. It is unclear in this image as it is in many others if he gazes from the photograph at the viewer, the camera, or perhaps an unseen observer. Leave of Absence on the other hand, turns the viewer into uninvited voyeur looking in on a scene of private introspection on a lake dock. Such images walk a finely crafted line of inclusion and an uncomfortable feeling that we have crossed personal boundaries. The evolution of Piston's imagery promises a future of cinematic remembrances imbued with an understanding and celebration of life's dichotomies.</p></div> http://silverman-gallery.com/exhibition/view/1654 Exhibition: A Predators Mohawk <div class="exhibition-subtitle">A Predators Mohawk: Yuval Pudik</div> <div class="exhibition-dates">January 27 - March 1, 2007</div> <br/> <a href="/exhibition/view/1659"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23457.jpeg" alt="A Predators Mohawk: Yuval Pudik" height="333" width="500" /></a> <p><p>A Predators Mohawk: Yuval Pudik</p></p> <br /> <div class="exhibition-description"><p>Silverman Gallery is very pleased to present Yuval Pudik's first solo exhibition, "A Predator's Mohawk" comprised of thirteen drawings on paper. Here the artist's interest in manhood merges the meticulousness of Ernst Haeckel with the likes of Joel-Peter Witkin and Claude Cahun who similarly produced provoking self-portraits often using costumes or masks as a way of exploring their own identity.</p> <p>The title of this exhibition comes from the thrill of the hunt and the hunt in this instance, as celebration. For Pudik the A Predator's Mohawk is a barbarian, an animal who is depicted through the artist's self-portraiture in the midst of transformation. Haute Couture embodies the romance, expense, and excess that is fashion and has since its initial conception been a symbol of privilege. In work such as Found Them To Be False, a delicate pencil composition of leather, ruffles and botany linger between gracefully poised and on the verge of conquest. The figure and its many parts threaten eachother equally and yet the subject is the initiator of the feud.</p> <p>Charmed by the often-fetishized American muscle car A Predator's Mohawk merges El Camino cars into the dress and body of each figure. This vehicle, which is considered half car and half truck, is Pudik's Silver and his subject a modern day lone ranger. </p> <p>Yuval Pudik was born in 1978 in Israel. He currently lives and works in Los Angeles and Israel</p></div> http://silverman-gallery.com/exhibition/view/1659 Exhibition: Me and My Rhythm Box <div class="exhibition-subtitle">Me and My Rhythm Box</div> <div class="exhibition-dates">October 1 - November 1, 2006</div> <br/> <a href="/exhibition/view/1656"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23295.jpeg" alt="Me and My Rhythm Box" height="375" width="500" /></a> <p><p>Me and My Rhythm Box</p></p> <br /> <div class="exhibition-description"><p>Silverman, a new gallery featuring work by young artists, is opening on 2295 Third with a group show that includes photography, collage, installation, drawing, video and performance.<br /> Dedicated to making unexpected juxtapositions and undermining our expectations Me and My Rhythm Box establishes a precedent for all future shows to come. Liquid Sky, the<br /> film that inspired the title is an illusion of both character and fantasy, making it difficult to decipher an absolute truth. Collaboratively choosing the title, Me and My Rhythm Box,<br /> the artists and Silverman want to come out of the darkness into the light exposing their worlds. In this exhibition we are taking Me and My Rhythm Box as a reference to explore<br /> how artists create relationships with the world in order to redefine their place in it and to better inhabit it.</p></div> http://silverman-gallery.com/exhibition/view/1656 Exhibition: Photo Miami <div class="exhibition-subtitle">Photo Miami: Job Piston, Ben Shaffer, Hague Yang and Peter Lujte</div> <div class="exhibition-dates">May 1 - July 1, 2006</div> <br/> <a href="/exhibition/view/1655"><img border="0" src="http://silverman-gallery.com/static/dyn-images/23/23287.jpeg" alt="Photo Miami: Job Piston and Jessica Silverman" height="375" width="500" /></a> <p><p>Photo Miami: Job Piston and Jessica Silverman</p></p> <br /> <div class="exhibition-description"><p>Photo Miami</p></div> http://silverman-gallery.com/exhibition/view/1655 News: Christina McPhee | Directors Lounge, Berlin <p>Christina McPhee's film "Seven after Eleven" will screen at Directors Lounge.</p> <p>http://berlinlounge.tumblr.com/tagged/18th%20Feb%202010</p> http://silverman-gallery.com/news/view/1248 Press: Matt Lipps | LA Weekly <p><a href="http://silverman-gallery.com//static/dyn-files/3/3179.png">download file</a></p> http://silverman-gallery.com/static/dyn-files/3/3179.png Press: Ginger Wolfe-Suarez | Art Practical | Elyse Mallouk <p><a href="http://www.artpractical.com/index.php?/review/theory_of_a_family/">link</a></p> http://www.artpractical.com/index.php?/review/theory_of_a_family/ Press: Ginger Wolfe-Suarez | Artslant Review | Julia Hamilton <p><a href="http://www.artslant.com/sf/articles/show/14672">link</a></p> http://www.artslant.com/sf/articles/show/14672 Press: Jessica Silverman | Interview Sarvia Jasso | GLU Magazine <p><a href="http://silverman-gallery.com//static/dyn-files/3/3156.pdf">download file</a></p> http://silverman-gallery.com/static/dyn-files/3/3156.pdf Press: Jessica Silverman | Female FYI <p><a href="http://www.nxtbook.com/nxtbooks/femalefyi/20100203/index.php#/18">link</a></p> http://www.nxtbook.com/nxtbooks/femalefyi/20100203/index.php#/18