February 4 - March 4, 2017
Exhibition Statement
Death of a Clown was inspired by the spooky, surreal quality of abandoned
amusement parks such as the Six Flags New Orleans. Are these places truly abandoned? If not, who and what remains? In this exhibition, a diverse group of artists in the graphic arts community will explore the concept of abandonment. In works large and small, they will create abandoned places and populate them. The printmakers’ works will be linked by Jason Bayani’s spoken word, laid out in text form on the gallery walls and performed live at the opening and closing receptions. The exhibition is a metaphorical examination of a world that is increasingly divided into those who are present and those who have been erased; those we identify as “us” and those we identify as “other”. This is the new reality of “haves” and “have nots” – and it is more than economic. Michael Yochum, Curator
Catalog designed by Michael Yochum Cover Image by Eric Rewitzer Arc Gallery © 2017
Participating Printmakers David Avery Jonathan Barcan Art Hazelwood Golbanou Moghaddas Patrick Piazza Eric Rewitzer Jenny Robinson Patricia Rodriquez Spoken Word Poetry Jason Bayani
OPENING RECEPTION: Saturday, February 4th, 7-9pm ARTIST TALK & BRUNCH CLOSING RECEPTION: Saturday, March 4th, 12-3pm
David Avery
As a practitioner of traditional black and white etching in San Francisco for over 30 years, I have been drawn to the works and techniques of the master etchers and engravers of the past 400 years, and often find in them inspiration or a point of departure for my own work—a bridge, if you will between past thought and contemporary issues, one that sheds light in a unique way on such concerns. My pursuit of detail is not for the purpose of technical display for its own sake, but is rather an attempt to increase the expressive qualities an image is capable of conveying. In this respect, you will find that my work is unique, both in its unusual style and intricate technique, and in the vision it attempts to shed light on.
585 Prentiss St. San Francisco, CA 94110 (415)-550-8299
email: da@davidavery.net website: www.davidavery.net/ extensive resume available on request
RECENT EXHIBITIONS 2016 Abstracting the Quintessence; solo exhibition, Sarratt Gallery, Vanderbilt University, Nashville, TN Ink, Press, Repeat: National Juried Printmaking and Book Arts Exhibition;University Galleries, William Patterson University, Wayne, NJ The Printed Image 6; Alice B. Sabatini Gallery, Topeka, KS 2015 2015 Selections (Artspan); Somarts Gallery, San Francisco, CA Boston Printmakers Exhibition at Childs Gallery; Childs Gallery, Boston, MA The Future: Los Angeles Printmaking Society International Exchange Exhibition; Scuola Internazionale di Grafica, Venice, Italy. The Mysterious Conspiracy of Existence—Etchings by David Avery; solo exhibition, New Grounds Gallery, Albuquerque, NM Ethereal Visions; Three Person Exhibit, Sandra Lee Gallery, San Francisco, CA 35th Bradley International Print and Drawing Exhibition; Bradley University Galleries, Peoria, IL 2014 New Prints 2014/Winter, International Print Center New York, New York, NY 27th Annual McNeese Works on Paper Exhibition, Abercrombie Gallery, McNeese State University, Lake Charles, LA The Boston Printmakers Selects: a Distillation from the 2013 North American Print Biennial; SGCI 2014, Cannery Gallery, San Francisco, CA New Prints 2014; Christie’s Rockefeller Center Galleries, New York, NY Print Facets: Five Centuries of Printmaking; The Curator Gallery, New York, NY 2013 Boston Printmakers 2013 North American Print Biennial; 808 Gallery, Boston University, Boston, MA 34th Bradley International Print and Drawing Exhibition, Bradley University Galleries, Peoria, IL 26th Annual McNeese National Works on Paper Exhibition; Ambercrombie Gallery, Lake Charles, LA 3rd National Exhibition of Intaglio Prints; New York Society of Etchers, National Arts Club, New York, NY RECENT AWARDS AND ACKNOWLEDGEMENTS: 2016 Purchase Award and Juror’s Award, Sixty Square Inches 18th North American Small Print Exhibition; Purdue University Galleries, West Lafayette, IN Lindquist Purchase Award, 2016 Delta National Small Prints Exhibition; Bradbury Art Museum, Arkansas State University, Jonesboro, AR Grand Prize (solo exhibit), National Small Works 2016; Washington Printmakers Gallery, Washington DC Juror’s Choice Purchase Award (x2) and President’s Choice Honorable Mention, Ink & Clay 42; Kellogg University Art Gallery, Pomona, CA 2015 Purchase Award, 24th Parkside National Small Print Exhibition; University of Wisconsin-Parkside Galleries, Kenosha, WI Third Place Award, The Fine Arts Exhibition, Decatur Arts Festival; Dalton Gallery, Agnes Scott College, Decatur, GA Juror’s Award, Ink& Clay 41; Kellogg University Gallery, Pomona, CA Third Place Award, International Miniature Print Exhibition; Manhattan Graphics Center, New York, NY Honorable Mention, 18th Annual National Small Works Exhibition; Washington Printmakers Gallery, Washington, DC Honorable Mention, PLU National Print Exhibition; University Gallery, Tacoma, WA MUSEUM AND LIBRARY COLLECTIONS:
Library of Congress, Wasdhington DC The Achenbach Foundation for Graphic Arts St. Mary’s College The Folger Shakespeare Library Lakeview Museum Permanent Collection Arkansas State University Permanent Collection
Daivid Avery
The Fogg Museum of Fine Arts Stanford University Library, Special Collections The Turner Print Gallery, California State University, Chico New York Public Library San Francisco Public Library, Book Arts & Special Collections Center Purdue University Galleries
David Avery
Feeling a bit Lightheaded etching on Hahnemuhle Goethe white paper 6 3/4" x 3 3/4" print size 14 1/2" x 10" paper size $470 framed | edition size 30
The Cheese Stands Alone etching on Zerkall laid cover cream paper 5 3/8" x 3 3/4" print size 12 3/4" x 9 3/8" paper size $470 framed | edition size 40
David Avery
Nonsense on Stilts etching on Zerkall laid lt green paper 10 3/4" x 4 3/8" print size 18" x 9 1/2" paper size $650 framed | edition size 40
Awaiting a Time Like the Present etching on Zerkall laid cover white paper 12 5/8" x 4" print size 18 7/8" x 9" paper size $650 framed | edition size 35
Jonathan Barcan
I am interested where the human condition intersects with human interaction, and how our engagement with media and technology affects those two states. In this light, the words of Nathan Oliveira resonate, “Given all the technology that we’re in the middle of, I would be so pleased if someone would look at one of these prints and say, ‘You know, I feel like that.” Interacting with people today is a complex system of trying to synthesize enormous amounts of information from a constant engagement with our bodies and new technologies. We try to process the value and the difference between actual and virtual space, and we negotiate instinctual human needs with the consumptive needs of digital mediation. With the increasing velocity and constancy of information, it can be hard to keep up with exactly what is going on. Sometimes I think to myself, it is as if without conscience, in the same way that a rock knows nothing of the hillside it slides down, our collective culture moves with a forward momentum that exists without memory.
https://www.behance.net/jonathanbarcan
EDUCATION 2009-11 MFA Visual Studies, SUNY Buffalo, Buffalo, NY 2004-07 BA Visual Arts, Art History, SFSU, San Francisco, CA SELECTED GROUP EXHIBITIONS 2016 2015 2014 2013 2012 2011
Palimpsest Culture, SGCI Portland, Soltesz Fine Art Gallery, Portland, OR Inspired, CSU Stanislaus Downtown Gallery, Turlock, , CA Prints: CA, LA, and Beyond Part II, Gray Loft Gallery, Oakland, , CA OKTP, Modern Eden Gallery, San Francisco, CA Emergent 3d Visions: Tech Shop SF Artist Residency, Asterisk SF Gallery, San Francisco. CA Art Clash, New Florence Biennale, Florence, Italy Les Petite Prints, Asterisk Gallery, San Francisco, CA California Society of Printmakers National Competition, (Juried) CSU Riverside, , CA PSBN Printmaking Biennial,(Juried) University of Hawaii at Hilo, Hi Fibre Arts Center, Palo Alto, CA Asterisk Magazine, Top 20 SF Artists, Asterisk Gallery, San Francisco, CA In Print, The Warehouse Gallery, Oakland, CA (Juried) Consequences, Arc Studios, San Francisco, CA (Juried) Mission Artist United Directory Show, (Juried) Workspace Lmt., San Francisco, CA Translation, The Today Museum Printmaking Center, Beijing, China The Guerilla Show, Arc Studios, San Francisco, CA Translation, SUNY Buffalo, Buffalo, NY
SOLO EXHIBITIONS 2013 2011
Future Tense, Crown Nine, Oakland, CA Things Fragment, Things Merge, Anderson Gallery, Buffalo, NY Supervenience, The Western New York Book Arts Center, Buffalo, NY
SELECTED AWARDS AND RESIDENCIES 2016 2015 2014 2011
Zea Mays Printmaking Institution, North Hampton, Massachusetts Druckwerk Printmaking Residency, Basel, Switzerland Commissioned Print, California Society of Printmakers Tech Shop SF, Artist Residency 5th place, Works on Paper, Florence Biennial Central A, Academy of Fine Art, Beijing, China, Collaborative Project Residency
Jonathan Barcan
Jonathan Barcan
Living Mode # 8 etching 20" x 16" framed $600 framed | $300 unframed edition varie of 2
Living Mode # 6 aquatint, line etching, drypoint, salt ground 36" x 34.5" framed $1500 framed | $900 unframed edition of 7
Living Mode # 7 etching 19" x 15" print size 20" x 16" framed $600 framed | $300 unframed edition of 2
Living Mode # 11 aquatint, line etching, drypoint 20" x 16" framed $900 framed | $500 unframed edition of 3
Jonathan Barcan
Jason Bayani I find it funny that many of the tools I have to deal with my anxiety revolve around pronouncing location, space, and identification: "Where are you right now?", "What's your name?". If I can grasp those things, it will help to settle any unease, and yet, those are the questions I am always grappling with, regardless of my current emotional state. To me, understanding location and space is understanding identity and the more I can find a greater sense of the spaces I've inhabited the clearer the picture becomes. The few stories I've been able to accumulate from my parents and older relatives about their lives in the Philippines seem to employ a sense of magic or the fantastic within them. There's a casual acceptance of things that aren't grounded in reality. I wanted this retelling of my parent's immigration story to use a bit of magical realism and counter it with harsh, sobering reflection. What interests me most about exploring our existence in this country as Filipino immigrants are the things that don't get talked about. Culturally we tend to gloss over or are discouraged from exploring what is hurtful and harmful. To adhere to that is a kind of erasure. I don't just want the agency to tell my story, but to also scrutinize and interrogate it.
email: jason@kearnystreet.org website: http://jasonbayani.com/
EDUCATION: 2010 1999
MFA, Creative Writing, Saint Mary’s College of California, Moraga, CA BA, English -Creative Writing; Minor -Theatre Arts, San Francisco State University, San Francisco, CA
PUBLICATIONS 2016 2014 2013 2011 2012
Year 12 & God of the City , poetry, Arroyo Literary Review Wanting What You Can’t Have Anymore, poetry, East Bay Review Amulet, BOOK, Write Bloody Publishing Kein/Munich and Troubadour, POETRY, Tandem II Today the role of Bruce Willis will be played by my dad... , poetry, Fourteen Hill For Joseph, Who Drowned in the Creek, poem, Muzzle Magazine Wanting What You Can’t Have Anymore, poem, East Bay Review Ardenwood B-Boys and Sonnet for E-40, poem, Learn Then Burn, Write Bloody Publishing July.
FELLOWSHIPS AND AWARDS: 2016 2015 2010
Asian Pacific Islander Cultural Center SF’s United States of Asian America Festival Presented Artist) Kundiman Writing Workshop Fellowship, Fordham University, Nominee: Norma Farber First Book Award Kundiman Writing Workshop Fellowship, Fordham University,
SELECTED FEATURES: 2016 2015 2014 2013 2012 2010 2009
Talking Bodies Center for Art & Thought Los Angeles, CA (06/16) Whale and Jazz Festival, Point Arena, CA (05/16) Lunada Literary Series, San Francisco, CA (09/15) Boston Poetry Slam, Boston, MA (07/15) Integral Theory Conference at Sonoma State University, Sonoma, CA (07/15) The Anthem at Cal Poly, San Luis Obispo, CA (05/15) Quiet Lightning: Under the Influence, San Francisco, CA (10/14) Voices of Gold California Poet Teachers in the Schools Petaluma, CA (10/14) Poison Pen Reading Series, Houston, TX (5/13) Salzburg Poetry Slam, Salzburg, AU (2/13) Slam Train (Munich Department of Arts and Culture), Munich, DE (2/13) Zurich Poetry Slam, Zurich, CH (2/13) Studio One Reading Series, Oakland, CA (4/12) Literary Death Match’s 100th Episode, San Francisco, CA (10/10) Sulu Series, Washington, DC (6/19/10) and New York, NY June (6/10) Loft Literary Center, Minneapolis, MN (4/10) Bringing Back Kerouac Reading Series, Oahu, HI (6/09)
Jason Bayani
The Great City by Jason Bayani
A co-worker told me once that development works like this. You lock into a place and build outwards. He sees a seed that builds a tree, that spreads more seeds,that builds more trees. The living organism of a city. Better buildings. Nicer parks. Street lights that work. This is how a city moves forward. How it grows stronger. How we will progress? It didn’t sound like a seed to me, but a bullet. How when you discharge a handgun into a person the wound only looks cosmetic at first. Beneath it the insides have shredded, bone degraded into microscopic pieces, slowly upending the entirety of the system. Cities aren’t abandoned. They are bled dry. The money is always in the development and never in the sustainability of life. Great cities tell the story of great empires. The great cities of this world eventually grind into dust. And when a city gives way to its body, what is it then? What are we if we don’t see the the places we inhabit as a living entity, but a machine?
I know I am in a body that adheres to form and structure, but there must be inquiry beyond the recognition of pattern. I know there is something here that can’t be replicated. There’s no formula for desire, is there? No replication for the honesty of loss. I’m always afraid that someone will figure this out, that there will be nothing left to understand — just decisions based on outcomes, and beauty becomes only a series of pleasures provoked. I am afraid that everything becomes abandoned in the end, even the things that make us human. I never felt more alive than when the city was alive, too. Now you got a me questioning my own heart. The streets used to pulse for me, I swear it. Sometimes we get to write the world as we see it. And therein is the mess of it all right now. The delusion of certainty, the weaponization of narrative. Who would I be if this story wasn’t mine to tell, though? How do I say, I’m still here? The blood runs through me. The heart can be metaphor and material.
Jason Bayani
Both will keep us alive.
Art Hazelwood
Art Hazelwood calls himself artist, instigator and impresario to define the three intertwining areas of his practice. He uses printmaking within a range of political allegory and satire making work from political posters to fine press edition artist books. He has curated and organized a range of exhibitions at venues from museums to immigrant centers. He has worked for over 20 years with homeless rights groups; creating prints, and street posters, and has authored one book and contributed to another on art and homelessness. He has been a regular visiting guest artist at San Quentin State Prison and teaches currently at the San Francisco Art Institute. He organized the San Francisco Poster Syndicate, which uses public poster printing to address issues ranging from student debt to the death penalty in Pakistan to the rise of fascism in America. Hazelwood’s prints regularly appear in several West Coast street newspapers.
Art Hazelwood 298 - 4th Avenue #302 San Francisco, CA 94118
website: www.arthazelwood.com email: art@arthazelwood.com extensive resume available on website
EDUCATION
BA degree in Fine Arts, University of California, Santa Cruz CA
RECENT EXHBITIONS OF NOTE 2016 Liberty Denied: Immigration, Detention, Deportation, Museum of Anthropology at Central Washington University, curator Mark Auslander, Susan Platt Wordless: The Collection of David A. Berona, Billy Ireland Cartoon Library & Museum, Ohio State University Libraries, Columbus OH, Grito –The Border Crossed Us We Didn’t Cross It, an exhibition of artists from Mexico and the US, Mission Cultural Center for Latino Arts, San Francisco 2015 Speaking to the Issues: Art Hazelwood and Ronnie Goodman, Georgia Museum of Art, Athens, GA 2014 William F Wolff & Art Hazelwood: Working Together, Artzone 461, San Francisco Social Discourses: In Print, the Prints and Collections of Juan Fuentes, Art Hazelwood, Jos Sances and Jim Nikas, Richmond Art Center, Richmond CA SELECT PROJECTS, POSITIONS, AWARDS 2014-17 San Francisco Poster Syndicate: organizer of poster group creating work on issues including union struggles, Fight For Fifteen, Pakistan’s Death Penalty, Jobs With Justice, SEIU, City College Strike, California Labor Federation, Coalition on Homelessness 2013-17 Instructor, San Francisco Art Institute, relief print and screenprint 2008-17 Guest artist working on projects with the printmaking class of Katya McCulloch at San Quentin State Prison 2005-17 “Minister of Culture” for the Western Regional Advocacy Project WRAP, creating art and organizing other artists to create work for homeless rights. 2016 House Keys Not Handcuffs, public art mural for Western Regional Advocacy Project in Clarion Alley San Francisco. with San Francisco Print Collective and Michelle Williams. 2015 Outstanding Faculty Award, presented by Student Union of the San Francisco Art Institute. SELECT COLLECTIONS
The Library of Congress, Washington, DC | Whitney Museum of American Art, New York | The RSDI Museum, Providence, RI | Arts of the Book Collection, Yale University Library, CT | Stanford Library Special Collections, Stanford, CA |New York Public Library Print Collection, NY | Achenbach Collection, Fine Arts Museums of San Francisco | Center for the Study of Political Graphics, Los Angeles | St. Mary’s College Art Museum, Moraga, CA | Staatsbibliothek Berlin, Germany | Bibliotheca Librorum, Australia
SELECT PUBLICATIONS Imagining Lynd Ward, by David Berona, Freedom Voices, San Francisco, Art Hazelwood designer; one of seven artists featured. House Keys Not Handcuffs:Homeless Organizing, Art and Politics in San Francisco and Beyond, by Paul Boden, with additional essays by Art Hazelwood and Bob Prentice, Published by Freedom Voices, San Francisco, CA, freedomvoices.org Pressing the issue: Art Hazelwood's imagery and action on the homeless front, by Emily Green, 2 Dec 2014, Street Roots News, Portland, OR Art Hazelwood
Art Hazelwood
Passage screenprint 32 1/2" x 25 3/4" $400 unframed | $550 framed
Scapegoats woodcut 13 1/2" x 16" $150 unframed | $250 framed
Soledad woodcut 18" x 12" $200 unframed | $300 framed
Moloch woodcut 24" x 13" $200 unframed | $300 framed Art Hazelwood
Golbanou Moghaddas
A Mind Left Behind Leaving one’s homeland often results in the abandonment of memories naturally tied to home. The mind in the new land is too immersed in adapting itself to an endless number of unknowns and the unfamiliar. There is a whole new landscape of visual, social, and psychological behaviour to tame one’s heart and mind. The challenge scarcely leaves any room for the memories of the past, which are the only tie to help maintain a lost identity. The power of scent to evoke memories is well known. An aroma can vividly bring long forgotten memories back to life. The scent of spearmint is very unique to me. I’m interested in how a scent triggers memories and the entire mind can suddenly become occupied with explicit feelings of the past. It is not necessarily the details of a particular scene, but rather the emotional transformation that intrigues me. The intensity of that feeling reminds me how much I have forgotten and how precious it is to remember what has been abandoned for so long. I believe we feel more lost forgetting where we come from rather than not knowing where we go. A scent can be a pleasant interval between who I have been and who I will become.
website: http://golbanou-moghaddas.com/
email: info@golbanou-moghaddas.com
EDUCATION 2014 MFA, Printmaking Fellowship, San Francisco Art Institute, San Francisco, CA 2011 MA Communication Design [Illustration] with distinction, Central Saint Martins College of Art & Design, University of the Arts London, London, UK 2006 BA, Graphic Design [Illustration], Tehran Azad University of Art & Architecture, Tehran, Iran SELECTED EXHIBITIONS 2016 In Defense of Culture, Skylight Gallery, San Francisco Public Library, Main Library, San Francisco, CA, USA Artists Annual Juried Exhibition, Kala Art Gallery, Kala Art Institute, Berkeley, CA, USA Between Worlds, Arc Gallery, San Francisco, CA Palimpsest, Southern Graphics Council International Conference, Soltesz Fine Art Gallery, Portland, OR First Fire, Hi-Lo Press, Atlanta, GA 2015 Al Mutanabbi Street Project, New Hampshire College, Hampshire, MA, USA Raised on Replicas, Campfire Gallery, San Francisco, CA, USA Monster Drawing Rally, Southern Exposure, San Francisco, CA, USA Tondo Mondo, Southern Graphics Council International Conference, Knoxville, TN, USA 2014 Absence and Presence: A Printmaking Response to the Bombing of Al-Mutanabbi Street, San Francsco Center for the Book, San Francisco, CA, USA Wuda Wasa, Walden Studios, London, UK Principal: San Francisco Art Institute MFA Exhibition, The Old Mint, San Francisco, CA, USA Serial Relations, Southern Graphic International Conference 2014, Peninsula Museum of Art, San Francisco, CA, USA OK To Print, Modern Eden Gallery, San Francisco, CA, USA A Vibrant Fusion of Art & Life, Southern Graphic Conference International 2014,Diego Rivera Gallery, San Francisco, CA XXL Relief, Southern Graphic Conference International 2014, Mullowney Printing, San Francisco, CA, USA 2013 Murphy & Cadogan Contemporary Art Award, SOMArts Cultural Center, San Francisco, CA, USA Kala Art Auction, fundraiser, Kala Art Institute, Berkeley, CA, USA Nomads, Diego Rivera Gallery, San Francisco, CA, USA 2012 Streets of Gold, Museum of London, London, UK 2011 Images 35 AOI the Best of British illustration Exhibition, Bankside Gallery, London, UK Central Saint Martins College of Art & Design Final Show Selected Works, Rochelle School Gallery, London, UK 2010 Solo exhibition, The New Rose, London, UK 2008 Solo exhibition, Gisha Gallery, Tehran, Iran AWARDS & RESIDENCIES 2017 2016 2012-14 2013 2011 2011-12
Residency Scholarship, Manhattan Graphic Center, New York NY Artist in Residence, KALA, Berkeley CA San Francisco Art Institute Master of Fine Arts Fellowship in Printmaking, San Francisco, CA Murphy & Cadogan Contemporary Art Award 2013, San Francisco, CA, USA. Best of British Illustration, New Talent, AOI, London, UK Printmaker resident, Byam Shaw School of Fine Arts, Central Saint Martins College of Art & Design, UAL, London, UK
SELECTED COLLECTIONS
Archive of California Society of Printmakers The Special Collection and Archive of Framingham State University, Framingham, MA, USA National Library of Baghdad, Iraq AOI: Association of Illustration London, UK
Golbanou Moghaddas
Golbanou Moghaddas
An Abandoned Mind hard ground etching on Japanese gampi paper chine collĂŠ 8" x 9" image size 11" x 13.5" paper size | 17" x 20" framed $450 framed | $300 unframed edition size 10
What the Scent Can See hard ground etching on Japanese gampi paper chine collĂŠ 8" x 9" image size 11" x 13.5" paper size | 17" x 20" framed $450 framed | $300 unframed edition size 10
The Reflection of the Scent Through the Mind hard ground etching on Japanese gampi paper chine collĂŠ 8" x 9" image size 11" x 13.5" paper size | 17" x 20" framed $450 framed | $300 unframed edition size 10
An Old Friend Emerges hard ground etching on Japanese gampi paper chine collĂŠ 8" x 9" image size 11" x 13.5" paper size | 17" x 20" framed $450 framed | $300 unframed edition size 10
Golbanou Moghaddas
Patrick Piazza
War is really bad. It is also really bad to live without a sense of humor about things. Humor often gives us the capacity to embrace factors in our lives that are so vast they leave us mumbling to ourselves... "But I am only one human being". I don't for a second think that all art should be political. That said, I don't think that the artist should hide away as a specialist unconcerned about the reality of what it is to be a human in the times we all share here on earth. I look to many examples from Latin America where there is often little difference between free artistic expression and an immense centuries long struggle for freedom. Based upon this example, I am interested in the continuum between the lyrical and the political. I make a lot of printed works that are silkscreened on to paper and given away or simply "put up", anonymously as it were in public places. I am only one human being but "out there" we are many and one may never know who did what. Art and humor are like slingshots, for breaching the gulf between self and other.
Patrick Piazza, lives and works in San Francisco California. He first exhibited his work in the late 1980’s and has been included in
exhibitions from Seattle and San Francisco to Los Angeles and New York City. His photographic and design work has been included in books that have been published nationally and internationally. He has prints that are in collections of the Library of Congress and the Center for the Study of Political Graphics. In 2002 He was the recipient of the Paul Sack Award for Fine Art Photography and his work is part of the Paul Sack Collection of photographic prints. He speaks Spanish fluently and has traveled widely throughout Mexico and Central America. EDUCATION 2002 MFA, Fine Art Photography, San Francisco Art Institute, San Francisco CA. 1997 BA, Spanish / Latin American History and Lit. The Evergreen State College, Olympia WA.
Patrick Piazza
Patrick Piazza
Armee de Bouffons serigraph and acrylic paint on wood 24" x 32" $ 250
Repo and Demo serigraph and acrylic paint on wood 24" x 32" $250
Cirque D'Hiver serigraph and acrylic paint on wood 24" x 32" $250
Patrick Piazza
Eric Rewitzer As a printmaker, the two questions I get asked the most are “How long did that take?” and “Why linoleum?” I find the first question very indicative of our culture modern living views the time committed to art-making as precious. When I say I commit dozens of hours to a single block, itdemonstrates how different my image making is from a digital experience of instant gratification. I like that it makes people consider how time is valued and spent. When I get asked about my choice of medium, it is simply a question of why do I not use wood. For me, there are specific qualities of linoleum that I prefer over wood. First, it holds ink very differently than wood, and I use those effects to my advantage. Second, I can easily manipulate the shape of the plate, removing sections with scissors as opposed to power tools. Finally, linoleum becomes easier to carve when warmed with sunlight, so carving outside is a joy. For me, carving a block is a meditation. It represents a clear process: developing an image, transferring the image to a block, and carving the block. I find the process comforting and satisfying, and enjoy knowing when the carving is complete. Once my block is finished my fun begins. While iterations are one of the benefits of being a printmaker, I’m not interested in my prints all looking the same. Rather, I find the most reward by distressing the ink, playing with ghosts (a print made using the residual ink on the block from the previous print), and/or assembling a variety of papers to create one-of-a-kind images on the press. Experiments with new techniques has been, and will continue to be, the focus of my art practice.
Three Fish Studios website: www.3fishstudios.com 4541 Irving St. email: eric@3fishstudios.com San Francisco CA 94122 phone: 415-242-3474
EDUCATION:
Cleveland Institute of Art -1986-87 Michigan State University - 1984-85
SELECTED EXHIBITIONS, EVENTS & FAIRS: 2016: 2015: 2014: 2013: 2012: 2011: 2010
Differing Feathers, Great Highway Gallery, San Francisco, CA City of Lights, L’Oeil Overt Gallery, Paris, France Solo Exhibition, Hotel Biron, San Francisco, CA Sausalito Art Festival, Sausalito, CA Solo Exhibition, Madrone Art Bar, San Francisco, CA Art for AIDS Live Auction, San Francisco, CA Roadworks, SF Center for the Book, San Francisco, CA StARTup Art Fair, San Francisco, CA Roll The Presses, Arc Gallery, San Francisco, CA We Will All Live Under the Sea, Great Highway Gallery, San Francisco, CA Sausalito Art Festival, Sausalito, CA Madrone Art Bar, San Francisco, CA Ritual Coffee, San Francisco, CA Selections, SOMArts Gallery, San Francisco, CA Art for AIDS Live Auction, San Francisco, CA Roadworks, SF Center for the Book, San Francisco, CA SquaredAlumni, Arc Gallery, San Francisco, CA L’Oil Overt, Paris France Sausalito Art Festival, Sausalito CA invitationas, Graton Gallery, Graton CA Roadworks, SF Center for the Book, San Francisco CA Art for AIDS, San Francisco CA Solo Exhibition, Hotel Biron, San Francisco CA Impulse, Arc Gallery, San Francisco, CA Roadworks, SF Center for the Book, San Francisco CA Solo Exhibition, Hotel Biron, San Francisco CA FourSquared, Arc Gallery, San Francisco, CA Halden Gallery, lake Tahoe Community College, So Lake Tahoe CA Solo Exhibition, Hotel Biron, San Francisco CA Guerrilla Show, Arc Gallery, San Francisco, CA Graton Gallery, Graton CA Solo Exhibition, Hotel Biron, San Francisco CA Guerrilla Show, Arc Gallery, San Francisco, CA Solo Exhibition, Hotel Biron, San Francisco CA Studio 3579, San Francisco CA
COMMUNITY OUTREACH:
ArtSpan, Board Member since 2012
PROFILE:
Full-time artist focusing on relief printmaking. Teacher, entrepreneur, and advocate for the arts in San Francisco
Eric Rewitzer
Eric Rewitzer
Death of a Clown chine collĂŠ linocut 44" x 30" unframed | 48" x 36" framed $1500 unframed | $2500 framed
Godzilla chine collĂŠ linocut 42" x 42" $1500 unframed
Mothra chine collĂŠ linocut 42" x 42" $1500 unframed
Eric Rewitzer
Jenny Robinson Jenny Robinson moved from London to San Francisco in 2001. Her studio is located in an area of post-industrial decline, populated by architecture that is on the periphery of people’s vision, abandoned and forgotten. Her work is informed by her immediate surroundings and the territory she inhabits has a direct impact on the subject matter she is drawn to. Coming from a family of Engineers, her natural proclivity is to look closely for, and at, the structural and physical elements around her, searching out abandoned and forgotten architectural relics that document how time and the environment have impacted the physical landscape. Making large-scale works on paper, Robinson’s process enables her to create images that are clotted and heavy with ink, often using saturated colors to reveal the surfaces textures of the structures and infecting the emptiness around them.
EDUCATION 1981 Bachelor of Fine Arts, Printmaking, West Surrey College of Art and Design, Farnham, RECENT EXHIBITIONS 2017 New prints, International Print Center, New York NY Masters of Intaglio, Alfred University, NY - Artist in Residence 11th Turner National Print Competition Exhibition, Chico, CA New Prints 2015/16, Soeffker Gallery, Hamline University , Saint Paul, MN 2016 International Print Biennale, Vane Gallery, Newcastle UK Under Pressure, Rochester Contemporary Art Center, Rochester NY Schema, Scale and Construction - Jenny Robinson, Flatbed Press, Austin TX Jenny Robinson , Structure, Zarrow Art Center, University of Tulsa, Tulsa OK Signs and Signifiers, Magrath Gallery, Louisville KY Structural Forms, Jenny Robinson Prints, Gallery 72 , Omaha NE Large Works on Paper, Davidson Gallery, Seattle WA 2015 Boston Printmakers North American Biennial Exhibition, Boston MA SCALE, Arc Gallery, San Francisco, CA (curator) Giants in the Sky, New Museum of Los Altos, Los Altos CA Original Prints, Royal Society of Painter Printmakers (RE) Bankside Gallery, London RECENT AWARDS 2016 Fellowship Award, Vermont Studio Center, 2015 Otis Philbrick Purchase Award, Museum of Fine Arts Collection, Boston, Ma Oehme Graphics Award, Boston Printmakers 2013 Jincheon Print Museum Purchase Award, Pacific Int'l Print Festival Invitational, Korea Hiromi Paper Prize, Boston Printmakers North American Print Biennale, Boston MA 2011 Recipient Sustainable Arts Foundation Promise Award SELECT MAJOR COLLECTIONS Library of Congress Fine Prints Collection; Museum of Fine Arts Boston; Achenbach Foundation; Ashmolean Museum; Sheldon Museum Collection; Janet Turner Print Collection; Jincheon Print Museum; Arts Council of Great Britain ASSOCIATIONS RE, Royal Society of Painter Printmakers; Los Angeles Printmaking Society; Boston Printmakers; Southern Graphics International, USA Jenny Robinson
Jenny Robinson
Abandoned Waterslide drypoint monoprint 52" x 34" $ unframed
Helter Skelter drypoint monoprint 32" x 53" $3400 unframed
Casino drypoint monoprint 34" x 22" $1400 framed
Ferris Wheel drypoint monoprint 35" x 53" $3400 unframed
Jenny Robinson
Patricia Rodriguez
My current focus is monotype prints, a process that allows me to work in a loose format creating spontaneous splashes of color. I discovered monotypes while I was working as a curator in the Mission Cultural Center for Latino Arts, in San Francisco. I never had time to do my own artwork, as I had to prepare for two large exhibitions every month my weekly hours could ran 60 hours per week in preparation. I discovered a new way to do artwork without leaving the building where I worked. After work I learned to do monotypes and fell in love. I was getting the images I wanted to do with the paintbrush but there wasn’t enough time to paint on a canvas. Monotype prints allowed me to paint on the plexi glass and print it; let it dry and add more layers. In this way I create the abstract and figurative images that I desire.
http://patriciarodriguezart.weebly.com/ corazones999@gmail.com
Patricia RodrĂguez was born in Marfa Texas, and currently resides in the San Francisco Bay Area. She received her BFA from the San Francisco Art Institute and MA from Sacramento State University. Rodriguez is the co-founder of the “Mujeres Muralistas." She has taught printmaking and mural painting in colleges around the Bay Area, including San Francisco State University, Laney College, San Mateo Community College and Contra Costa Community College. She was one of the first Chicana artists to create a course on Chicano Art History and a textbook for a Chicano Art History course at UC Berkeley in 1977. Between 1990 and 1996 Rodriguez taught at The Institute of American Indian Arts in Santa Fe, New Mexico, Espanola Community College in Espanola, New Mexico, and at Los Alamos Community College in Los Alamos, New Mexico. From 2001 through 2009 Rodriguez was the gallery curator for Mission Cultural Center for Latino Arts in San Francisco. She is currently a teacher for the Art in the Community program at the Richmond Art Center in Richmond, California. Ms. Rodriguez' monotype prints and box constructions have been exhibited nationally, including the Museum of Modern Art, NYC, the Smithsonian in Washington, DC, Mexican Fine Arts Museum in Chicago, IL, the White Gallery, UCLA, Daniel Saxon Gallery, Los Angeles, de Young Museum, San Francisco, CA and the Triton Museum, Santa Clara. RECENT EXHIBITIONS 2013 Monotype Prints, Beso Maya Gallery, Oakland, CA Mosaic Mural, Laurel Elementary Sch. Oakland, CA. 2012 From a Whisper to a Roar Women Artists Charting Their Own Course, Avenue 50 Gallery, Highland Park, CA 2010 Xicana: Spiritual Reflections/Reflexiones Espirituales, Triton Museum Santa Clara, CA Las Expresiones Exhibition, Celebrating Latino Artists of the Bay Area, Marin Community Foundation,San Rafael, CA 2009 What Is This Thing Called Love? An Exhibition of Art and Words, La Raza Galeria Posada, Midtown Sacramento, CA Women Artists on Immigration: Crossing Borders, Confronting Barriers, Bridging Identities, Korean Cultural Center Art Gallery, Los Angeles, CA 2006 Chicano Now American Expressions, de Young Museum, Golden Gate Park, San Francisco, CA (Cheech Marin Collection) 2005 Vandals, The Thatcher Gallery, University of San Francisco, San Francisco, CA Dia de Los Muertos, Legion of Honor, San Francisco CA Patricia Rodriguez
Patricia Rodriguez
The Magician at the Amusement Park monoprint 22" x 30" $1200 framed
A Ghost of a Deream monoprint 22" x 30" $1200 framed
Our Land - Abandonment monoprint 22" x 30" $1200 framed
Dreams on Fire monoprint 22" x 30" $1200 framed
Patricia Rodriguez
http://arc-sf.com http://arcfinearts-sf.com 1246 Folsom St. San Francisco, CA
arcgallerysf@gmail.com 415-298-7969