******This will be the LAST EVER S.H.E.D. Projects show! As such, we are thrilled to be able to announce “Glue and Screw”, featuring the work of Bay Area collective, “Bonanza”…..!!!!*********
Bonanza is the collective practice of Conrad Guevara, Lindsay Tully and Lana Williams. Poised at an illusive intersection between sculpture, film making, and painting, Bonanza’s work focuses on abstraction, identity, and issues of authorship, challenging the idea of the heroic artist. They have exhibited at n/a, The Old Mint, Artists’ Television Access, and The Swell Gallery.
At S.H.E.D. Projects, the trio will create the space for the gallery’s final Oakland exhibition. Provisional and expedient, Bonanza will frame this finale with a One Night Only event featuring an installation inside and outside with lights, partitions…and jams…(Bonanza, Christopher Fullemann, and Brandon Drew Holmes will be in the building playing tunes!)
Let’s celebrate and send S.H.E.D. Projects up to Graceland!
We are playing with shadows from bumper to bumper. Sweeping pinecones with a broom. Granola by the fistful and the dampness of day-old coals. An easy escape with the right gear, like making babies when you’re pushing thirty three. Sliding jet-puffed confection along the business end of a dowsing rod. Still searching but proudly found in the back of a Subaru with bumper stickers that say: I’d rather be car camping.
Jonah Susskind and Emmy Moore, the co-founders of S.H.E.D. Projects show new work of their own for this second to last exhibition in the space before the two move to Massachusetts via cross-country road trip.
Please join us on Saturday November 16 for “We’ll Make It Somewhere, Somewhere” – a collective channeling of wonder and admiration for the human species.
Born from a desire to combat the overwhelming sense of doom found in the wake of industrialization, this evening of performances and collective offerings aims to generate a communally charged ball of magnanimous reverence for that which industrialized peoples, do, have done, and will do to establish, enrich, and beautify meaningful bonds between one another and the universe.
With Oakland based performance artist Scotty Slade at the helm, this event will look to offer insight through collaborative and experimental manipulation of psycho-spiritual notions pertaining to “the enrichment of human life.”
For the first hour of the performance, attendees will be encouraged to participate in the collective building of a shrine to humanity by presenting offerings. Attendees are welcome to bring a material something to place in/on this altar or just their thoughts and feelings.
We hope you will join us for this one night only performance event. Please note, if you are planning to bring an offering, Scotty recommends choosing anything you think/feel will charge this physical space and increase the magnitude of the waves, which we will be collectively sending deep into the homosphere.
put the it back in some bodies, and our platonic costumes….put the it back in I
IT A BOY is an on-going video project by Wilder Alison, with music made in collaboration with Monroe Street. These music videos and projection works are born of texts, which typically precede and provoke A/V elaborations and deal with human and non-human object fixations, dream renderings, and shifty androgynies. Moving through painterly landscapes that evoke a provisional kind of nature, the figures in these works play with the trope of the mask and the impossible task of mimesis, playfully donning and discarding various fictive identities as they engage in acts of impersonal intimacy.
Wilder Alison is an interdisciplinary artist based in Brooklyn, NY, and sometimes Vermont. She completed her undergraduate work at Bard College and the Yale Norfolk Summer School of Art, and she is currently an MFA candidate in Painting at Bard College. Alison is a former artist-in-residence at Real Time & Space in Oakland. Monroe Street is a musician, writer, and analysand-in-formation currently studying psychoanalysis and the humanities in NYC and Burlington, VT.
An Attempted Partial Taxonomy of Rocks… is an ongoing examination of geologic process through the lenses of history, mythology and personal narrative. Begun in the fall of 2011 while in residence at The Wassaic Project, in Wassaic, NY, the work was published as a folio of photographs and found images accompanied by text. An Attempted Partial Taxonomy of Rocks… has been subsequently reworked for presentation at S.H.E.D. Projects as a site-specific lecture / reading exploring the relationships between geologic time scales, geometry, power, death and sex. It’s sort of about rocks, and it’s sort of about everything else.
Daniel J Glendeningis an artist, writer and inter-disciplinary researcher based in Portland, OR. He holds an MFA in Visual Studies from Pacific Northwest College of Art and a dual BA in Art Studio and English/Creative Writing from the University of California at Davis. Glendening has published work with “Panhandler,” “Drain,” and Social Malpractice Publishing, among others. He has exhibited locally and nationally including exhibitions at Appendix Project Space and Disjecta, Portland, OR; FiveMyles, Brooklyn, NY; and The LAB, San Francisco, CA. He is currently working towards upcoming projects with High Desert Test Sites, Joshua Tree, CA and Eights, Portland, OR. He collects books and mystical shit.
S.H.E.D. Projects presents a new site-specific installation by Oakland and SoCal based artist, Kara Joslyn a.k.a. “Kara Vaggio.”
Kara Joslyn received her BFA from CCA in 2008. Her work has been exhibited extensively in San Francisco, Oakland, Chicago, Los Angeles, and NYC. Joslyn currently lives, and works in Oakland and will be returning to her native San Diego in the fall where she will attend the MFA program at UC San Diego.
Kara Vaggio Does Sol Lewitt
For this exhibition, Joslyn, has taken on the task of re-purposing a specific body of work by the late minimalist artist, Sol Lewitt under her alter ego Kara Vaggio. Joslyn sites Lewitt, whose work engages with interpretation, rationality and optical effects of chiaroscuro (light emerging from dark), as one of her biggest influences. The cool, rational control found in Lewitt’s highly coordinated and (often) visually stoic wall drawings have been championed as an iconic example of Minimalist strategy.
Minimalism itself has been criticized by the contemporary art world as excessively male-dominated both in thought and in practice. Joslyn’s project is to address this criticism by posing questions about what works would become if made by a female artist.
This is the first time the S.H.E.D. Projects exhibition space will be utilized as a singular large-scale sculptural work.
The Opening of Kara Vaggio Does Sol Lewitt will be from 7-10 Saturday August 3.
There will be a preview with Q&A with the artist during the day on Saturday August 3 from 1-5.
August 10 at 7 pm, singer/songwriter, Joel Robinow will perform a live re-creation of John Baldessari’s 1970’s film “Baldessari sings Sol Lewitt.”
WHITE RUSSIANS UNDER THE FLOWER MOON, BETWEEN TWO PILLARS
SARDINES AND ORBS THAT ARE CHANGING
BALLOON-TWISTERS AND MUSICAL SCORES
SCOTTY AS SHEILA
PAULETTE AS HERSELF
WET CLAY WITH CANDLES
THE MOON IS A FUCKING YIN-YANG!
TREADMILLS, TIME, AND WOMEN
A one-night project by Bailey Hikawa and Erin Jane Nelson
Friday, May 24th from 7pm-10pm.
Performance at 9pm
Bailey Hikawa (b. Los Angeles, CA) lives and works in Oakland, California. She received her B.F.A. from The California College of the Arts in 2012. She is a member of Real Time and Space studios and recently had a show at Important Projects (Oakland), Emperor! Emperor! Emperor!
Erin Jane Nelson is an artist and writer living in Oakland, California. She studied at The Cooper Union School of Art in New York, Malmö Art Academy in Sweden, and the Ox-bow School of Art in Michigan. Recent projects include Love’s Labor’s 1 at Important Projects (Oakland), On The Line Making Time at Vessel & Page (Pontiac, MI), Summer School at Project Space (Vancouver), and Broon published by Gottlund Verlag (Los Angeles).
detail from: Approximation of Sun Through Closed Eyelids, 2013
S.H.E.D. Projects is pleased to present Mother Tongue, an exhibition of new photographic and sculptural works by Kristine Eudey. Eudey’s work often finds itself straddling the margins between image and object, as she strategically engages the overlaps and dissonances between, sight, physical experience, and representation.
Mother Tongue explores this phenomenological space in conversation with the specificity of S.H.E.D.’s architecture by exposing the threshold between the site’s interior and exterior realms. Eudey’s recent work, much of it inspired by the way we see and comprehend the daily light cycle, is made complete as the sun tracks through and past the exhibition space, connecting her work to those routine experiences that remain intractably unrepresentable.
Kristine Eudey lives and works in Oakland, California. She is currently an MFA candidate at California College of the Arts and, hailing from the Midwest, earned BFA degrees in photography and sculpture from University of Illinois in 2009. Mother Tongue is her first solo exhibition.
S.H.E.D. Projects is pleased to present Above/Below, a ONE NIGHT ONLY light installation by Rebecca Najdowski.
Using only rudimentary overhead projectors and aluminum foil, Najdowski will transform S.H.E.D. Projects into a homespun planetarium that shifts and moves with the presence of an audience.
Above/Below not only references the intensity of the night sky that our urban location restricts, but also harkens to a prehistoric picture of stars as punctures in the mythological fabric of a night sky. The result is a phenomenological experience of light and shadow that reveals a latent capacity for the makeshift and the frivolous. Najdowski’s economical use of materials and strategies is in formal contrast to the astral quality of her installation, exposing a well understood relationship between potential failure and potential magic.
Rebecca Najdowski is a visual artist based in the Bay Area. She received her MFA from California College of the Arts in 2010 and was awarded a Fulbright Fellowship to Brazil in 2011 to produce a visual and social art project. Among her numerous exhibitions and screenings, she has shown at The Lab and Queens Nails Projects in San Francisco, Kala Art Gallery in Berkeley, the Athens Video Art Festival in Greece, and performed at Oi Futuro in Belo Horizonte, Brazil. In 2010-2011 Rebecca was an artist-in-residence at CAPACETE in Rio de Janeiro and in 2012 at Signal Fire in Oregon, she has an upcoming residency at the Institute for Electronic Arts at the University of Alfred, New York.
Emotional Trash is Keith Boadwee’s Conceptual Drawing class on visual parade at S.H.E.D. Projects FOR ONE NIGHT ONLY!
THURSDAY 11/29, 7pm – 10pm
FEATURING WORK BY:
ian van hammersveld
& daniel gonzales
“All masquerade is a dress rehearsal for the fatal moment.” – Gary Indiana
Haunt No, Hell Yeah is an installation of new work by Amy MacKay. For this exhibition, MacKay has gathered a cohort of collaborators to transform S.H.E.D. Projects into a backyard home haunt. Drawing from the complex cultural history of haunted house attractions, the project aims to celebrate and question the varying functions of haunted houses today.
With origins in ghost myths, carnival paganism, and 19th century freak shows, the modern haunted house now comprises a variety of disparate sub-cultures ranging from Bill Tracy’s reinvention of dark ride attractions to the home haunts gestating in and among American suburbia. Despite the differences in scale, structure and financing, these attractions all share an interest in using an assortment of spectacles, illusions and artifice with the exclusive purpose of scaring others. In doing so, haunted house attractions allow us to comfortably participate in a theater of abjection. They create a rare site for us to celebrate, enact, and explore our greatest fears and most sordid desires.
Amy Mackay is a San Francisco based artist and teacher. She was recently a resident artist at the Vermont Studio Center and is a faculty member at the Oxbow School in Napa, CA. She earned her BFA from Bard College (class of 07) where she studied painting.
Recently, cities across the U.S. including the Bay Area have seen a proliferation of non-commercial, often artist-run exhibition spaces. Whether in the form of a vacant storefront, garage, or cubicle, or a more domestic setting – a living room, attic, or hallway – this major emergence of small, DIY exhibition spaces has come to establish a palpable alternative to the commercially driven galleries which have, until recently, dominated our culture’s access to critical art works.
In response to this current emergence of “live-in galleries”, S.H.E.D. Projects will be hosting a two-week exhibition in a house in West Oakland. The building will become the site for 9 concurrent micro-exhibitions organized by 11 artists and curators, all under one roof. Each of these micro-exhibitions will feature site-specific work that either responds directly to the house itself by using materials found within it, or strategically frames itself within the domestic architecture to underscore specific themes.
The house will be occupied by tenants throughout the duration of the show. This is often the case in regards to the aforementioned residential gallery spaces. These tenants and the things they live with will provide a domestic backdrop for the work, challenging both the artists and the viewers to assess the social architecture that conventionally surrounds contemporary art.
Organizers for this project include Jason Benson, Joel Dean, Aaron Harbour, Sarah Hotchkiss, Jackie Im, Carey Lin, Emmy Moore, Steve Shada, Emma Spertus, Jonah Susskind, and Zoe Taleporos, each of whom has worked within the Bay Area generating non-traditional forums for art exhibition strategically located outside of the white box.
Artists whose work will be featured in the show include Facundo Argañaraz, Jason Benson, Sarah Bernat, Kate Bonner, The Center For Tactical Magic, Dylan Chittenden, Roxanne Crocker, Craig Dermody, Matthew Draving, Ian Dolton-Thornton, Aaron Finnis, Emily Gable, Baylee Hikawa, Mark Inglis Taylor, Grant Lavalley, Cybele Lyle, Pete Nelson, Zachary Royer Scholz, Hannah Tarr, Hillary Wiedemann, and Calder Yates.
I’m a bit frazzled– and running ten minutes late– when I emerge from the gloom of the graffiti-covered stairwell into the gorgeous rooftop of Daniel Sullivan’s Brooklyn-based castle. Both of them are already there– Daniel in mirror aviators and his iconic Prada cowboy boots (with spurs), Dorian in his usual ensemble: red jeans and red Che Tshirt turned inside out so the revolutionary’s face is touching his chest. “It’s like he’s kissing me” he says, by way of a hello, and offers me a smoke. “Are these Cuban?” I say, bringing the long, delicate cigar up to my nose and sniffing it.
We are doing our worst to establish delay. Like love (also illegal) it is needed to go on. Among other things, the Law is spit on and then ignited inside of this pocket.
PASSION FRUIT and It’s hard to run with the weight of gold are exhibitions of new work by NYC-based artists Dorian McKaie (b.9/12/1984) and Daniel Sullivan (b.9/11/1984).
S.H.E.D. Projects is excited to announce “I get excited, You get excited”, New Works by Christopher Füllemann. The show will mark the Swiss artist’s first American solo exhibition. Füllemann, one of this year’s MFA recipients at The San Francisco Art Institute, has been living and working in the Bay Area since 2010. Durring this time, he has amassed a prolific array of multimedia sculpture.
Easily anthropomorphized through gesture and scale, his work is at once both meticulously formal and yet irresistibly playful. Aesthetically, these pieces seem to strategically position themselves on a fence between the brightly colored, high-gloss glamour of an 80’s L.A. beach party, and the more sensitive, almost austere irony of a Duchampian assemblage. Assimilating forms from the everyday such as seats, handles, and hooks, his work invites his audience to consider a possible participatory activation while at the same time, the often comedic allusions to pedestals take the work back into the realm of the precious, and push back against the viewer, holding itself at an uncanny arm’s length. The unmonumentality of these pieces serves as a careful eyewink to classical sculpture and cultivates a subtle vibration between other figurative modalities like painting, performance art, and dance.
For this exhibition, S.H.E.D. Projects will be exhibiting new works primarily made up of mixed media sculpture on caster wheels, a formally precarious anchor that has recently begun to serve as a signature for Füllemann’s work. While this sort of whimsical gesture has served the artist before as a clue, exposing his pervasive desire to activate his work through movement and dance, he will go even further this time by performing live as a D.J., playing a set of electronic dance music and inviting viewers to dance with and amongst his rolling sculpture. Having performed frequently in Switzwerland as a D.J. with his collaborative partner Elise Lammer under the stage name “Lavaux”, this will be the first time Füllemann has combined his two crafts under a single roof.
S.H.E.D. Projects is pleased to present: New Works by Eliza Fernand
Since 2010, Eliza Fernand has been traveling throughout the United States collecting donated fabric (often old clothing), and stitching together her unique brand of stylized quilt-like tapestries. In addition, she has turned one such tapestry into a mobile habitat, compiled an extensive collection of field recorded interviews, taught workshops, written songs, filmed her own music videos, and created site-specific commissions. In fact, the scope and breath of Fernand’s project has continued to find so many outlets along the way that it is hard to characterize it all as a single self-contained work. Her practice is one that blends art with life in a way that is at once, both intuitively candid and carefully deliberate.
For the past couple of months, Fernad has been the artist in residence at Real Time and Space, an artist run studio residency in Oakland’s Chinatown. During her residency there, she has started a new series of site-specific works, stitching together “patchworks” based on linear compositions found in and around her temporary Chinatown studio.
These patchworks will be on view for her exhibition at S.H.E.D. Projects alongside photographs, sculptures, and ephemera made and collected by the artist. Fernand will also perform live, some of the songs she has written using lyrics, culled from her interviews with people along her journey. These songs have been made as her quilts have, by cutting things up and reorganizing them to create a recognizable, yet somehow mystical, narrative poetry that functions through pattern, tonality, and playfulness.
Thursday, March 22nd
Doors open at 6:00
Performance at 8:00
Eliza Fernand earned her BFA in Sculpture from Pacific Northwest College of Art, Portland, OR in 2006. She has been living and working in Oakland, CA as the artist in residence at Real Time and Space. Before that, she has worked in studios and residencies in Montreal, New Mexico, Minneapolis, Greensboro, New York, and New Jersey. She is currently working on a catalogue book project meant to serve as a record of her traveling quilt project since it began in 2010.
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Join us Saturday, February, 25th for Interpanel Relationships: A Spatial Discussion, brought to you by Nightmare City, moderated by Tony Discenza, featuring panelists, Aaron Harbour, Joel Dean, Nick Lally, Jakie Im, Emmy Moore, Jonah Susskind.
S.H.E.D. Projects is pleased to present Wingdings, an exhibition of artists who look to the lowest common denominators of linguistic and visual culture as tools for erasing lines of distinction between the narrative and the simply semiotic. Often through injecting a confluence of asinine tropes into the formal rubrics of long since canonized high-art practices, the works in Wingdings seek to create a new set of ideograms, prompting a convergence of written and visual language that calls into question any previous separation of the two. The exhibition will include works on paper, sculpture, video, and performance by artists Dan Olsen, Harry Crofton, and Matt Gualco.
Dan Olsen’s video work, like his works on paper, carefully straddles the fence between the iconic and the absurd. He uses a hand-held video camera to film VHS era movies played on a television monitor. His edits are surgical and straightforward. Using simple loops of decontextualized cinematic events, Olsen reestablishes these innocuous excerpts as resonant, gestural, anti-narrative psychedelia. His work is at once both a bootleg reduction and an imaginative reinvention of established entertainment industry techniques. http://www.danzodanzo.com/index.php
Matt Gualco is a student in the New Genres MFA program at San Francisco Art Institute. His work forms an illusive hybrid between drawing and literature. He injects his subject matter; the layman language of tabloid headlines and celebrity gossip, starkly into the traditional literary formats of screenplay, prose, and poetry. The Wingdings characters interspersed throughout Gualco’s writings act as both decoys and stage directions and compel the viewer/reader to determine for themselves whether these dashes, arrows and symbols serve a particular semiotic purpose or whether they may simply be placeholders, abstract glyphs alluding to some modern day Rosetta Stone. http://thecollagedepartment.blogspot.com/
Harry Crofton has been living and working in San Francisco since earning his BFA at Pratt Institute in 2007 and participating in the Yale Norfolk program in 2006. His practice spans a deep spectrum of modes and materials ranging from performance art to satirical poetry and is often attributed to his alter-ego persona, “Frankie America.” Crofton’s work is rooted in choosing conflict over resolution as a mode through which he conjures a volatile platform for audience participation/instigation and provocative foolishness. http://www.youtube.com/watch?v=jf3u7Vcetp0
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S.H.E.D. projects is pleased to present the first solo exhibition of San Francisco based artist Ben Fash with an installation of photographs entitled Adaptations.
Through this series of large color photographs, Fash plays with some of the integral dichotomies of the everyday, forming poignant connections between vast/intimate, inside/outside, occupied/ vacant, settled/ unsettled, convergent/ divergent, visceral/intellectual. His prints are paired together to evoke a looming sense of mystery as they explore the feedback loop in which people and their environments transform one another.
Adaptations brings together Fash’s work from his time living and shooting in Honduras, India, Europe, Connecticut, and California to collectively comment on the universal human quest for permanence and pleasure. Casting off the conventional preciousness of wall-mounted photography, Fash galvanizes the outdoor exhibition space with large, unprotected prints suspended from the ceiling, becoming sheets in the wind, rain, and dust. The exhibition is a ceremony that embraces the ephemeral, mirroring the space’s evolving West Oakland environment.
Since studying art at San Francisco Art Institute and earning his BA in Studio Art from Wesleyan University in 2007, Fash has maintained a dedicated studio practice, collaborated with Bay Area artists on photo and video projects, and exhibited nationally. www.BenFash.com
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