Mildred Howard at Anglim Gilbert Gallery

Mildred Howard, Incontro con Casanova: Il Potere dell'Altro VIII, 2018 Lithograph, chine collé on antique paper, 20 3/4 x 17 in.
Mildred Howard, Incontro con Casanova: Il Potere dell’Altro VIII, 2018
Lithograph, chine collé on antique paper, 20 3/4 x 17 in.

Drawing inspiration from an 18th-century set of Casanova’s journals, Mildred Howard’s new body of work appropriates and subverts history, comments on perpetual global movement and universal connections, and serves as a modern critique of masculinity. A suite of 27 prints created at renowned Shark’s Ink in Lyons, Colorado combine collage, found antique engravings, digital images, maps, various papers, lithography, and chine collé. Two cotton Jacquard tapestries (published by Magnolia Editions in Oakland, California) round out the exhibition.

Howard, who grew up in a family of antique dealers, has long been fascinated by the mysteries inherent in rare books and the historical narratives and figures within them. She reworked and transformed the images in Casanova’s journals through the addition of color and subtle alterations to subject matter. Rare antique books from Venice, London, and Paris became further inspiration, bolstering the content of these new narratives with lithographs, maps, and anatomical and botanical drawings.

As the collaged imagery came together, Howard was reminded of the indefinable nature of the Other. As Howard states, “[The Other] can’t be pinned down: it changes like language changes, all the time, almost imperceptibly, whether one moves from block to block or across an ocean.” Further, Howard’s research and process allowed her to realize that the seemingly fictitious, archetypal character of Casanova was, in fact, an historical figure, and, inadvertently, a caricature for the current social climate.

Mildred Howard: Casanova’s Assignations: The Power of the Other
Exhibition Dates: May 31 – June 30, 2018
Opening Reception: Saturday, June 2, 2018 from 4pm – 7pm

Anglim Gilbert Gallery
1275 Minnesota Street
San Francisco, CA 94107

Deborah Oropallo At Catharine Clark Gallery

 Deborah Oropallo. Blazes, 2018. Photomontage, pigment print and paper on canvas. 69 x 102 inches.
Deborah Oropallo. Blazes, 2018. Photomontage, pigment print and paper on canvas. 69 x 102 inches.

Dark Landscapes for a White House critiques our cultural habituation to political and ecological traumas. As with earlier works, Oropallo employs photomontage as a strategy for visualizing how media-based images accumulate and overwhelm our collective consciousness. The works in Dark Landscapes for a White House, however, shift away from the portraiture of previous series, towards depictions of what Oropallo describes as conflicted “moral terrains.”

Oropallo presents her new works as “journalism in visual form,” and her compositions bear witness to global traumas that are all-toooften underreported, including oil spills and mass fires, as well as acts of human violence. By sourcing images from online news outlets, Oropallo draws attention to critical events that most people will never see, and which are elided from mainstream reportage

Four new videos produced in collaboration with musician and composer Andy Rappaport expand the visual narratives at play in the two dimensional works, and are featured in dual presentations in the main gallery and in the media room – the shift in scale changing the viewer’s experience of the work. Oropallo’s longest and most ambitious videos to date, the four works featured — Meltdown, Blazes, Crude, and Oval O (all 2018) — layer hundreds of images of impacted natural, political, and art historical environments (from polluted oceans to the Oval Office), an amalgamation of source materials that reflects Oropallo’s deep research into – and unease with – the proliferation of visual information in news media.

As Oropallo notes, “we consume and dismiss images so rapidly” that contemporary viewers have little time to reflect on geopolitical events and crises as they occur. By extension, Oropallo employs video montage to “slow down” that rapid feed of information, and to give viewers the time and space to reflect on troubles in the world around us. Rappaport’s complex sound design, in turn, encompasses such elements as original compositions, found sounds, and adapted and remixed versions of popular songs, such as Marvin Gaye’s Inner City Blues (Makes Me Wanna Holler) (1971), to create an auditory landscape that is both familiar and unsettled, as a critical analogue to Oropallo’s photomontages.

Deborah Oropallo | Dark Landscapes for a White House
Exhibition Dates: May 12 – June 16, 2018
Opening reception with artists’ talks: Saturday, May 12, 2018 from 2pm – 5pm with the Artists’ Talks at 3pm with Deborah Oropallo and Andy Rappaport

Catharine Clark Gallery
248 Utah Street
San Francisco, CA 94103

Sam Flores And Christopher Konecki At 111 Minna Gallery

Recent Work by Sam Flores | Acrylic on Canvas | 2018
Recent Work by Sam Flores | Acrylic on Canvas | 2018

Sam Flores is an American visual artist, illustrator, and muralist, primarily creating urban- and graffiti-inspired modern art. He has worked with various mediums, including acrylics, pen and ink, and sculpture. Much of his early work focused on developing designs for skateboarding and clothing companies. He has displayed in the United States, Canada, Singapore, Japan and throughout Europe.

Flores’ work is whimsical, yet fuses realistic styles and elements with animated characters and objects. His subjects resemble children coming of age, shedding naivety as they embark on their paths in the “real world.” There is an obvious sense of adventure and curiosity among Sam’s subjects that, over the years, have become well traveled, both geographically and culturally. And wherever they go, animals tend to follow.

"Cycle" by Chris Konecki | Mixed Media Wall Sculpture | Size Variable | 2018
“Cycle” by Chris Konecki | Mixed Media Wall Sculpture | Size Variable | 2018

Konecki is self-taught and constantly experimenting. He is known for completing large scale aerosol murals, fine artwork including paintings and miniature sculptures, as well as various public and private site specific installations. Konecki’s work is explorative of social consciousness, generally irreverent, and focused on subjects that are both serious and absurd. His use of found and ‘repurposed’ objects in his work advocates the reassessment of typical ideals of function and beauty. Elements of nature often collide with harsh urban landscapes and elements of street art and graffiti, symbolizing the ongoing struggle between the harmonious coexistence of these two competing monumental forces.

HEAD ON SWIVEL: Christopher Konecki Solo Show

Opening: Friday May 4, 2018 from 5pm to Late
Featuring DJ No Fare + Drink Specials All Night

Curated by Micah LeBrun.

111 Minna Gallery
111 Minna St.
San Francisco, CA 94105

Last Days to See John Beech At Anglim Gilbert Gallery

John Beech, Intra #35 (Closed Painting), 2018, Oil enamel, pencil, canvas, metal stretcher bars, 71 x 70 x 2 1/8 in.
John Beech, Intra #35 (Closed Painting), 2018, Oil enamel, pencil, canvas, metal stretcher bars, 71 x 70 x 2 1/8 in.

With reverence for materials and process, John Beech creates sculptures and paintings incorporating reworked elements from his studio with basic building materials like plywood, plaster, and metal brackets. For the artist, paint has broader implications than simply as a liquid vehicle for color. Rediscovered, repurposed remnants from other projects gain new life. Beech pulls from discarded scraps to build his Utiles, sculptures that tower upwards from a base on casters with particular intent yet unclear utility. Intra Paintings manipulate the liquidity of paint and its’ drying to generate abstract images as two paintings are pressed together and then pulled apart repeatedly. In the same series, but with the subtitle Closed Paintings, the paint itself is the mechanism binding together the double canvas compositions.

Beech further pushes the inherent qualities of paint and the idea of repurposing the discarded in a series of paintings. He includes dried scrapings from paint cans and uses plywood scraps as tools to apply paint, later leaving them stuck in the painted surface as additional layers of depth and visual information.

John Beech is a British-born American who studied art at UC Berkeley and has lived and worked in New York since 1996.

John Beech: Under Way
Exhibition Dates: Through April 21, 2018

Anglim Gilbert Gallery
1275 Minnesota Street
San Francisco, California

Janet Cardiff and George Bures Miller At The Fraenkel Gallery

The Poetry Machine, 2017. © Janet Cardiff and George Bures Miller, courtesy Fraenkel Gallery, San Francisco
The Poetry Machine, 2017. © Janet Cardiff and George Bures Miller, courtesy Fraenkel Gallery, San Francisco

Fraenkel Gallery is presenting THE POETRY MACHINE & Other Works, by Janet Cardiff and George Bures Miller, featuring the pair’s interactive tribute to the late Leonard Cohen. Made from a vintage organ, a collection of speakers and recordings of dozens of Cohen’s poems from his final book, Book of Longing, The Poetry Machine allows viewers to hear and play Cohen’s voice and texts as a haunting musical instrument. The piece, says Janet Cardiff, “creates new connections through all of the poems,” and gives participants the ability “to create new poems out of his words.” The installation debuted in an exhibition devoted to Cohen at the Musée d’art contemporain de Montréal this winter. This will be its first U.S. presentation.

Also on view is Road Trip, an installation of slides made by Bures Miller’s grandfather in the 1950s, during a drive from Vancouver to New York City. Projected from a computer controlled carousel onto a standing screen, the slides show mostly empty landscapes, their color often changed by time. Accompanying them is a two-speaker recording of Cardiff and Bures Miller. In it, the artists consider what the enigmatic photographs might have meant to Anton Bures, who was traveling to New York to see a doctor for the cancer he was fighting. Cardiff and Bures Miller’s open-ended conversation uncovers questions about photography’s role in memory, time and the yearning for permanence.

Exhibition Dates: May 3 – July 5, 2018
Opening Reception: Thursday, May 3, 5:30-­7:30pm

49 Geary Street
San Francisco