Meridel Rubenstein At Brian Gross Fine Art

Meridel Rubenstein, Amethyst Room, Southern Iraq Marshes, 2011-2016  UV cured acrylic ink on linen, 77 x 58 inches
Meridel Rubenstein, Amethyst Room, Southern Iraq Marshes, 2011-2016
UV cured acrylic ink on linen, 77 x 58 inches

In Eden In Iraq, Rubenstein explores themes of destruction and renewal through the social, political, and environmental history of Southern Iraq, the area believed to be the location of the Biblical Eden on Earth.

Rubenstein’s series Eden Turned on its Side investigates ecological processes across time that either reinforce or destroy the notion of Eden. These photoworks focus on the poetic intersection of nature and culture in relation to ecological and social imbalance. Rubenstein’s previous exhibitions at the gallery focused on Photosynthesis and The Volcano Cycle, the first two parts of the cycle. In the final segment, Eden In Iraq, she has documented the land, culture, and people of war torn Southern Iraq, and co-designed a wastewater garden/memorial that aims to transform relics of war into art.

In Eden In Iraq, Meridel Rubenstein explores environmental devastation and renewal in the marshes of Southern Iraq, the area believed to be the site of Biblical Eden on Earth. Rubenstein captures the cycle of environmental, military, and cultural devastation through compositions of layered imagery, including ancient Sumerian ziggurats, marshland plants and animals, contemporary Iraqi domestic interiors, destroyed Islamic shrines, the marshland peoples, and an icon of the Sumerian goddess Inanna. Realized through dye sublimation images on aluminum, works printed on linen, and woven jacquard tapestries, the photoworks in the exhibition reveal the complex interconnections between the cultural histories, political forces, and their impact on this area of the world.

Meridel Rubenstein was born in Detroit, MI and received an MA (1974) and MFA (1977) from the University of New Mexico, Albuquerque.

Meridel Rubenstein: Eden In Iraq
Exhibition Dates: February 23 – April 6, 2019
Reception for the artist: Saturday, February 23, 2019 from 4pm – 6pm with an Artist talk and book signing: 4:30pm

Brian Gross Fine Art
248 Utah Street
San Francisco, CA 94103

New Material At Ratio 3

James Sterling Pitt, Untitled, 2019, Acrylic on wood, 8.5 x 9 x 4 inches
James Sterling Pitt, Untitled, 2019, Acrylic on wood, 8.5 x 9 x 4 inches

New Material is an exhibition of new sculptural artworks from three San Francisco Bay Area artists. Featuring objects at varied scales by James Sterling Pitt, sculptural constructions by Ben Peterson, and intricate drawings and minimal sculptures by Mitzi Pederson, New Material highlights various dialogues between recent works from each of its three artists.

Mitzi Pederson presents a series of monochromatic pencil drawings that relate closely to her sculptural practice. Where Pederson’s sculptures frequently form gestures from the inherent and unexpected qualities of their materials, her works on paper deemphasize physical material, instead evoking imagined spaces, passages, and motion. By varying the density and direction of clustered lines, Pederson’s drawings never fully resolve into an image, instead remaining fluid and suggesting space, weight, and texture. Pederson also debuts several sculptures made from thin black rope that interact with the gallery’s architecture, bridging walls to floor, and distending into the viewer’s space, suggesting imagined barriers or masses.

James Sterling Pitt presents sculptures of painted wood displayed atop pedestals and shelves, or mounted to the wall. These new artworks, like his earlier sculptures, originate from drawings and impressions of memory, while introducing layered colors, complex interior spaces, and textures varying from the reflective sheen of alkyd paints to the stone-like finish of modified wood. Guided by intuitive decisions informed by a decade of evolving forms and surfaces, Pitt’s latest sculptures provide a physical account of their making and a record of bodily memory.

Ben Peterson’s newest sculptures introduce varied plaster and encaustic finishes, elaborating on the vocabulary of his past ceramic works, which were painted to appear weathered and patinated. By situating his recent ceramic works on displays built variously from reclaimed wood, modified furniture, and plaster surfaces, Peterson further complicates his work’s references to modernism, design, and architecture. The sculptures reflect and incorporate their display structures, existing equally as architectural models and cultural relics.

New Material is a discourse between sculptures assembled from varied media and derived from disparate approaches. Whether constructed from reclaimed objects, built through gradual layering and reworking, or conjured from drawn or draped lines, the artworks comprising the exhibition suggest an expanded definition of sculptural media, where concept and matter are of equal substance. Throughout New Material, physicality invites interpretation, and the imagined and remembered are made physical.

New Material: Mitzi Pederson, Ben Peterson & James Sterling Pitt
Exhibition Dates: January 16 – March 16, 2019
Opening Reception: Saturday, January 19, 6 – 8PM

Ratio 3
2831A Mission Street.
San Francisco, CA 94110

Chris Dorley-Brown At Robert Koch Gallery

The Corners, a series of photographs by British photographer Chris Dorley-Brown

The Corners is a series of photographs by British photographer Chris Dorley-Brown, whose surreal and off-kilter imagery of his hometown streets of the London Borough of Hackney is comprised of many separate relatively narrow captures taken from the same vantage point over an extended period, sometimes up to an hour at a time. The artist sets up the camera in one location, and tilts and pans around the cityscape to capture the activity on the street, along with it’s unsuspecting protagonists. Once he has returned to the studio, he overlays the resulting moments into one central composition or alternate reality, which initially presents the viewer with a sense of familiarity, but dually takes on a dreamlike tone.

Largely self-taught, Dorley-Brown’s cultural education was formed in east London in the late seventies. In 1984, Dorley-Brown began creating a photographic archive of the streets of Hackney where he lived and worked, and which has been an ongoing impetus and the primary focus of his work.

CHRIS DORLEY-BROWN: THE CORNERS
Exhibition Dates: January 5 – March 2, 2019
Opening Reception: Saturday, January 5, 2019, 3:30 – 5:30 pm

ROBERT KOCH GALLERY
49 Geary Street
San Francisco, CA 94108

Bovey Lee At Rena Bransten

We Are All Mountaineers - Entry (入), 2018, Chinese xuan paper on silk, 29 x 24"
We Are All Mountaineers – Entry (入), 2018, Chinese xuan paper on silk, 29 x 24″

We Are All Mountaineers is a new body of work by Los Angeles based artist Bovey Lee comprised of intricately hand cut Chinese rice paper. The exhibition title references #WeAreAllImmigrants and it reflects upon the uphill battle facing immigrants under the current administration’s recent policy shifts. The works in the exhibition explore facets of migration: diaspora, lineage, displacement and the rebuilding of home, and familial separation. Drawing on immigrants’ personal experiences, the show affirms our shared desire for a sense of community, societal acceptance, and belonging.

BOVEY LEE: We Are All Mountaineers
Exhibition Dates: January 5 – February 23, 2019
Artist Reception: January 12, 2019 from 5pm – 7pm

Rena Bransten Gallery
1275 Minnesota Street
San Francisco, CA 94107

Diane Andrews Hall At Rena Bransten Gallery

 Louisiana Drift I, 2017, Oil on wood, 30 x 30 inches
Louisiana Drift I, 2017, Oil on wood, 30 x 30 inches

This solo exhibition, Andrews Hall’s first with the gallery, is a collection of exquisitely detailed and masterfully crafted paintings of the natural environment. Andrews Hall is an acute observer of her surroundings, and has the intuitive connection to capture the fleeting moment a Goldfinch lands in the birdbath in her back yard, or the meditative Pacific Ocean waves as they arrive on the shore. Andrews Hall’s paintings arrest time, allowing us to exist and relish in the moment portrayed for as long as we wish.

DIANE ANDREWS HALL: in time
Exhibition Dates: January 5 – February 23, 2019
Artist Reception: January 12, 2019 from 5pm – 7pm

Rena Bransten Gallery
1275 Minnesota Street
San Francisco, CA 94107