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.
Category Past, Uncategorized | Tags: | Comments Off on New Works by Eliza Fernand Thursday 3/22/12 6pm
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
Category Past | Tags: | Comments Off on Wingdings 12/2/2011
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
Category Past | Tags: | Comments Off on Ben Fash: Adaptations, October 15 – 29, 2011