6.30.2010

COLD+HOT 2010














Opening Reception 1 July Exhibition through 28 August


MICAËLA GALLERY presents COLD+HOT 2010, an annual showcase of the work of selected national and international glass sculptors in a single exhibition. Featured artists are Peter Bremers, Kathleen Elliot, Michael Janis, Michelle Knox, Weston Lambert, Carol Lawton, Silvia Levenson, JP Long, Susan Longini, Thomas Scoon, Carmen Spera, and Kristiina Uslar, who collectively demonstrate the expansive versatility of glass as a sculpture medium in terms of material, color, and form, alongside the video work of Tim Tate and photography of Mark Leibowitz.

The exhibition title, "COLD+HOT 2010," derives from the distinct processes used by glass artists for millennia - sculpting its form, or cold-working it while cold (actually, at room temperature), very hard and brittle; and working hot glass, shaping it while molten, using blowing and/or kiln forming techniques at temperatures ranging from 1700 to over 3000 degrees.

Rich in visual vernacular, "COLD+HOT 2010" introduces the work of new artists to Micaëla Gallery, Kathleen Elliot, Michael Janis, Tim Tate, and Mark Leibowitz.

You are cordially invited to join us for a welcoming reception for the artists on Thursday, 1 July 2010, from 5 to 7.30 pm.

For inquiries or a preview of these works, please contact info@micaela.com.

A print exhibition catalog, PDF exhibition catalog, photographs and high resolution images are available upon request. To order print exhibition catalog, please contact the gallery at info@micaela.com

All images are courtesy of the artists and Micaëla Gallery, protected by all copyright/trademark laws everywhere. ©1997-2010 micaëla and micaëla gallery, its name, logo and all website content are copyright/trademarks of micaëla gallery llc.

6.07.2010

Why Should People Buy and Own Art?

by Alan Bamberger:

Selling art can be just as hard, if not harder, than making art. This sentiment has been and will continue to be echoed by fine artists everywhere for as long as artists make art. The instant a work of art is finished and ready to leave an artist's studio, that artist is now confronted with the seemingly insurmountable task of having to convince someone somewhere that not only is the art worth experiencing, enjoying and appreciating, but also that it will provide a lifetime of gratification and-- perish the thought-- that it's even worth buying and owning. So in the interest of minimizing the pain and suffering of selling your art-- and of encouraging more people everywhere to own more art-- please feel free to incorporate any or all of the following helpful hints about why art is worth owning into as many of your sales presentations as necessary:

* Art is a powerful form of expression not only for the artists who create it, but also for those who own it. Art allows people to express their individuality, and to represent deeply held beliefs, feelings, convictions or philosophies in socially (and visually) redeeming ways.

* Art encourages people to ask questions, to take brief moments out of our busy lives to reflect on ideas other than how to make more money faster or how to get over on the competition.

* Art improves quality of life. All you have to do is think about the difference between a room with bare walls and one with walls full of art.

* Art inspires people to think about and even visualize ways that life might one day be better than it is now.

* Art stimulates the expression and interchange of thoughts, feelings, and ideas among total strangers who might never otherwise say a single word to each other.

* Children are fascinated with art. Art makes children ask questions, encourages them to fantasize and imagine, and expends their perceptions of reality. Art teaches children how to be creative and have fun with life.

* Art transforms and personalizes the places where we live and work. Art can evolve lifeless interiors-- homes as well as offices-- into unique, beautiful and engaging environments.

* For those so inclined, art can be used to signify wealth, success or power, and can even be used to intimidate. For example, imagine a CEO's office appointed with a big bold, vibrant, dynamic painting hanging on the wall directly behind his desk, and two imposing larger-than-life sculptures, one at either side of the desk. Anyone who sits and meets with this individual must also contend with his art.

* An original work of art is not only visually appealing, but it also communicates the personality, abilities, creativity, inspiration, attitudes, and at best, the brilliance and genius of the artist who created it. And people who own art are able to experience and be uplifted by these qualities on an ongoing basis.

* An original work of art reflects, enhances and even magnifies the personality of the individual who owns it.

* Art attracts attention on global as well as personal levels. An impressive or extensive personal art collection can be likened in microcosm to that of a great museum, and certainly increases the esteem of that individual among his or her peers. In fact, many of the great personal art collections end up in museums.

* Art makes people proud to live, work, and play where they do. They point to their museums, public monuments, and cultural institutions with pride.

For those of you buyers who like to profit from your art, people decide where to spend their time (and money) based on the types or amounts of art they know or expect to encounter. For example, commercial spaces such as restaurants, hotels, and meeting places can be more or less interesting and attractive to patrons depending on the art they have on display (or lack of it).

* Art is environmentally friendly, energy efficient, and easy to maintain. It does not increase global warming, use fossil fuels, or need to be serviced on a regular basis, and it's certainly not just another expendable destined for the landfill.

* Across the country and around the world, artists move into troubled or blighted neighborhoods or parts of cities and revitalize them with their artistry. Their creative expression increases property values, new businesses move in, and the overall quality of life improves immeasurably. Sooner or later, the public at large discovers these wondrous transformations, and in some cases, people actually travel thousands of miles to visit these oases, spend time there, and of course, buy art.

That's right. Owning original art has numerous benefits. Perhaps it's not quite so hard to sell after all.

6.04.2010

Peter Foucault's Auto-Matic

Curated by Peter Foucault @Root Division:
Opening Reception: Saturday, June 12, 6 to 10 pm Exhibition Dates: June 9th- 26th, 2010
Gallery Hours: Wednesdays – Saturdays, 2-6 pm (or by appointment)

AUTO-MANIC Ever since the first interstate highways began carving a path through the urban landscape in the early 50’s, California has been the epitome of American “Car Culture.” Nostalgic images of the warm summer sun reflecting off the chrome bullets on the ached tail fin of a steel behemoth have given way to technologically savvy hybrids that can tear up a track at 0-60 mph in less than four seconds, and are nearing 130 miles per gallon.

From Thunderbirds to Teslas, the freeways, side streets, beaches and parking lots of California have always been clogged to the saturation point with automobiles. These everyday objects have deeply imbedded themselves into the collective unconscious of artists working within this urban environment, and created a fertile trajectory for exploring the relationship between man and four wheeled machine.

In Venice Beach, CA, at the Speedway Avenue Garage on April 23, 1974, Chris Burden had himself voluntarily crucified onto a Volkswagen Bug. The following year, on July 4, 1975 at the Cow Palace in San Francisco, CA, the Bay Area Art Collective Art Farm staged a full-scale collision of the Phantom Dream Car (a modified 1959 Cadillac) into a flaming wall of televisions as part of their piece “Media Burn”. Utilizing the car as a cultural icon and critiquing American ideals of heroics and technological superiority, these early performances gave way to a new breadth of work in the generations to come.

At our current vantage point, within a deep and crippling economic recession, with CO2 emissions reaching an alarming level and gas prices teetering on the preposterous at times, we must re-evaluate our relationship with the beloved car. With the devastating fall of the big American Car Companies and the disappearance of such iconic brands as Pontiac, a dramatic new relationship is evolving between producer and consumer, pragmatist and dreamer. Alternative modes of transportation are becoming more visible. Bicycles are beyond trendy; messenger bags are the new fuzzy dice. There are golf carts on city streets. High Speed Rail proposals are finally being funded.

As we speed off into a new era of travel, technology and environmental responsibility, the artists in Auto-Manic respond to the role of the automobile, and it’s alternatives, in art.

Curated by Peter Foucault
FEATURING PERFORMANCES BY:
Kevin E. Taylor and M.A.P. (Mobile Arts Platform – Peter Foucault and Chris Treggiari)
ARTISTS:
Cody Bratt, Laura Garzon, Justin Hoover, Shea Naer, Guy Overfelt, Michael Pedroni, Damaris Rivera, Kirsten Rae Simonsen, Susanne Slavick, Heather Sparks, Anna-Maria Vag, Michelle Waters

ROOT DIVISION GALLERY 3175 17th Street (at S. Van Ness) San Francisco, CA 94110 415.863.766 www.rootdivision.org