october zero eight

events calendar

"Untitled Painting with Bird", 2008, mixed media on board
© Yisrael K. Feldsott
Courtesy of the artist and Paul Mahder Gallery

      Once a person decides to take more than a passing interest in a culture quite different from their own, that person's philosophy and values are likely to be changed forever--often for the better. At age 24, Chicago-born artist Yisrael K. Feldsott decided to begin his extensive travels through Central and South America. His most recent works, currently on exhibition at the personable and upscale Paul Mahder Gallery, provide us with a visual pulse of Feldsott's response to the traditions, folklore, and daily events he observed and encountered in this new culture. His exhibition consists of oil paintings on wood panels and mixed media on paper. read more

Oh America, 2006, digital print
© Gee Vaucher
Courtesy of the artist and Jack Hanley Gallery

      History frequently (with increased frequency of late) proves to us that not one Guernica painting, nor a million Guernica-type paintings, will ever have the slightest impact on preventing or ending a war. Never has, never will. Realize too, that nothing short of a peaceful street demonstration or protest ever gets footage on the evening news. This might make you wonder why responsible curators spend so much time and energy organizing exhibitions such as the current one at Meridian Gallery. Certainly none of us need to see artist images of yet more proof of man's inhumanity toward man that the news media might have missed, even if those images might include a visual description of a word that has more recently crept into our vocabulary--like waterboarding. If we consider ourselves to be sane and caring people completely abhorrent to war, why are we attracted to shows like this? Is it possible that we look forward to seeing how far a particular artist, whose normal subject matter is miles removed from the horrors of war, will "testify" through his/her chosen medium? Yes, that's a part of it. read more

Party Time, 30" x 45"
acrylic, glitter, pom poms, pipe cleaner, plastic eyes on canvas
© John Zoller

      Much of this group exhibition seems at first glance to typify summer--carefree, colorful, and fun. But there is a specter of something sinister in many of these works that creates an interesting and evocative experience for its audience. The art characterizes not only life to the fullest; it also illustrates the decay that comes with the fall.

      Yee Jan Bao's "Grey Beach" depicts the typical figures of happy children posing for a photo at the beach. Their body language clearly expresses their excitement and joy, but the artist's loose brush strokes portray the children's faces as somewhat masked or mummified. Tragedy may be near--or not--and the ambiguity of the painting is fascinating. read more

Comfort Ceremony, 24.5" x 10.5" x 6"
© Marilyn Kuksht

     The beauty of Marilyn Kuksht's sculptures is that she takes a variety of heavy metals and manipulates them into graceful works of art that seem to defy gravity and embrace movement. Kuksht's exhibition, aptly entitled "Implied Motion", can be viewed through August 30th at Evolving Art Gallery, located in the San Francisco Design District's Showplace Square.

     Each sculpture plays with movement, motion, shapes, textures, and color. Kuksht describes her pieces as an exploration of the "interaction of spaces and forms on one another and the changing energies and emotional impacts that result." She is interested in the transitioning of energy through the three dimensions that creates feeling and reaction in the viewer through her control of "balance, flow, tension, negative space, and implied movement." And it works. Through Kuksht's skill, the static heaviness of the materials used is transformed into a balanced composition of weightless and graceful action. read more

Ginelle Hustrulid stands tall in Iceberger's gallery.

photo: Tony Foster © 2008

     Ever escalating rents in San Francisco continue to test the resourcefulness of gallery owners attempting to present fine art. "It's really hard to afford a large space," says Erica Freyberger, "and then we'd just have to compromise what we show ... just trying to pay the rent." When Freyberger and her business partner Ginelle Hustrulid first investigated a brick-and-mortar space for their online gallery, listed prices exceeded $3000 per month.

     In order to make their three-dimensional dream come true, they took on a sunny, 9' by 14' cinderblock venue on Treat Street in the Mission. "We had to put up the drywall ourselves," Hustrulid remembers. "We did quite a bit of labor ... ." Ultimately, men resident to the neighborhood decided to help, "So we basically watched them and bought them beer while they built this up."

     The finished gallery, Iceberger, demonstrates how a small, adventurous venue can contribute nationally and internationally. Iceberger opened in February of this year, with the photography of Mark McKnight. Recent exhibits include an oil on canvas show from Boston's Apenest Collective and this month's video installation by Londoner Richard T. Walker, currently in residency at the Headlands Center for the Arts in Sausalito, California. read more