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 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.