Tracy Krumm, Taper (Anchor), crocheted and fabricated metal, found objects - 108 x 10 inches
Mathematics has been a profound source of inspiration for artists across time and cultures. In Seeing Math, contemporary artist, Tracy Krumm along with six others, address a number of mathematical concepts, including infinity, algorithms, geometry, and the fourth dimension.
Friday, November 10, 2017, 5–7 p.m., Remarks 5:30 p.m.
Flaten Art Museum, Center for Art and Dance
Runs from November 10, 2017 – January 15, 2018
The two artists whose pieces receive the most votes will move on to the finale at SCOPE Miami Beach for a chance to be named the Artisan Series grand prize winner.
Vote now through November 7, 2017 at: https://www.bombayartisan.com/
Recommendation by DeWitt Cheng
Continuing through August 31, 2017
The San Francisco satirist Ambrose Bierce defined painting as “the art of protecting flat surface from the weather and exposing them to the critic.” San Franciscan Chad Hasegawa, known for his mural work, has created a body of abstract paintings on canvas that focuses on the issues of working outside (although, curiously, there is no mention of exposure to sidewalk critics): i.e., dealing with “wind, dust, and all angles of direct sunlight of all hours of the day.” Hasegawa aims for long-term survival “as if [the works] were outside in heavy conditions” — as well as for the immediate visual impact necessary for the street.
These large latex (“bucket paint”) and acrylic works, with their geometric shapes, eccentric and sometimes complex, suggesting three dimensions; their taped edges; and their textured paint, are monumental, in accordance with the artist’s admiration for the abstract expressionists Franz Kline, Phillip Guston, Joan Mitchell and Robert Motherwell; yet they’re also personal, befitting their inspiration in the traditional quilts of the artist’s native Hawaii, where these handmade objects are regarded as serious artifacts (as some of us continue to regard paintings). Hasegawa’s palette derives from the “royalty colors” of Hawaiian kings and queens, as do his high-contrast graphic compositions, which derive not from the natural world, as do traditional quilts, but today’s cultural world, and personal associations. Four small paintings, “Kahuku,” “Waianae,” “Haleiwa” and “Kapo Lei,” aligned vertically, constitute a symbolic map of four districts of Honolulu. The large works from the "Lean On & Against" series exemplify Hasegawa’s aesthetic of harmony through contrast, of painterly intuition layered into dynamic equipoise.
Gugger Petter debuts September 10th at the Denver Art Museum
'“Stampede” is a major exhibition in every sense of the word, drawing from all the collections across the museum’s nine curatorial departments. Its breadth is meant to give visitors a sense animal’s ubiquitous presence across time and culture by highlighting how much we take for granted our dependence on them for not only work and food, but companionship, emotional stability and symbolic meaning, whether cultural or political.'
An International Show of Cute
June 22 – August 27, 2017
Sweet’n Low will feature artwork from ASG's Gwen Manfrin in a part invitational and part juried exhibition.
Thursday, June 22, 6:00–8:00pm
Inside the Lesher Center for the Arts
1601 Civic Drive, Walnut Creek
Tuesday through Sunday,
Noon to 5:00 pm; and 6:00 – 8:00 pm when there are theater productions in the LCA.
Presenting the fifth solo exhibition by Gugger Petter entitled Tabletops & Portraits.
"My execution of each piece emphasizes the textured surface and the newspaper material. This creates a visual tension between texture and image, while also presenting a blurring between representation and abstraction". - Gugger Petter.
This is what SF/Arts curator Christian L. Frock had to say about Gugger Petter: Tabletops & Portraits:
Gugger Petter’s work is based on manipulations of newspaper that reference both sculpture and textiles, with an element of the conceptual as well. Given that Petter works from time-stamped documents, each reflecting the social issues and concerns of their time, the resulting constructions offer an abstracted diary of sorts, reflecting both larger world events and a moment in the life of the artist.