MOTHER NATURE: Elements and Archetypes

May 7 - July 20, 2019

Opening Reception: May 7th, 6-8pm

“When we kept the lights on.”

William T. Vollmann

“Archaeological materials are not mute…
The images [of the Goddess] that existed for so long did not vanish. They are still there with us. …The meaning of life is discovered through creativity and the knowledge that we are interconnected with the entire natural world. When we deny this, meaning is shattered.”

Marija Gimbutas

In divisive times our collective subconscious manifests itself as a reminder to our common source:

In the beginning were the elements
And then dawned the awe of the above and the beyond. The sacred and life Giving life.
Water element, as in”if there is no water there is no life.”
Life as Mother Earth.
Mother Earth personified in mother-being. Giving life.
Water, warmth and Light
Wood and tree. Tree of life
Taken and –
left Coal, Ice and flying particles.
What happened to mother’s sacredness?

Anne Appleby, Lucas Foglia, Jane Ivory, Paul Kos, Isabelle Sorrell, William T. Vollmann

Anne Appleby: In an interview with Elli Ridgeway, Anne Appleby says, “Scientists are now discovering that aspens, willows, and other plants that grow in riparian zones (near waterways) have the ability to cleanse contaminates from the water, mainly heavy metals. These plants are now being used for river and stream restoration. The trees act not only as lungs for our planets but also as the kidneys”. And when asked if “art can play a part in educating people about the dangers of climate change”, she replied: “yes, I believe art can play a part in human awareness, it always has. My paintings require the viewer to slow down from a fast-paced digital world and allow themselves to enter the painting. Hopefully, this will enable them to see the beauty of the natural world, maybe the beauty of that world will change our awareness of how precious it is”. Anne Appleby was born in 1954 in Harrisburg, Pennsylvania and moved to Montana at age 17. She received her Bachelor of Fine Arts in 1977 from the University of Montana and embarked on a 15-year apprenticeship with an Ojibwe elder, learning to patiently and deeply observe nature. Appleby would watch and then translate into color the cycles of leaves, stems, buds, fruit, and seeds, transforming nature’s fluid evolution into two- dimensional portraits. Appleby received her Master of Fine Arts in 1989 from the San Francisco Art Institute and has since exhibited her paintings internationally to high acclaim. She has had solo exhibitions at the Tacoma Art Museum, 2018, the Ulrich Museum of Art at Wichita State University, Kansas, 2011, the Museum Ritter, Waldenbuch, Germany, 2010. In 2007 the artist was featured at the Villa e Collezione Panza, Varese, Italy, which commissioned a permanent major painting installation. Her paintings are in the permanent collections of the Albright-Knox Museum, the San Francisco Museum of Modern Art, the National Gallery of Art, the Denver Museum of Art, the Museo d’ARTE Moderna e Contemporea. Anne Appleby has received grants from the Pollock Krasner Foundation, the Western Arts Federation, and the Louis Comfort Tiffany Foundation; in addition she is the recipient of the SECA Award from the San Francisco Museum of Art, and the Northwest Biennial from the Portland Art Museum.

Lucas Foglia: Frontcountry (2006 – 2013) focuses on cattle and mining industries in the rural American West. The region is famous for being wild and the Wild West is part of our American Story. While the ranchers Lucas Foglia photographed were struggling to survive the economic recession and years of drought, almost anyone could get a job at the mines. Coal, oil, natural gas, and gold were booming. Lucas Foglia grew up on a farm in New York and currently lives in San Francisco. He completed his MFA at Yale in 2010. His photographs are widely exhibited in the United States, Europe, and Asia. Nazraeli Press recently published his third book, Human Nature, together with exhibitions at Foam Fotografiemuseum Amsterdam and Museum of Contemporary Photography in Chicago. Foglia’s prints are in the collection of Denver Art Museum, International Center of Photography, Museum of Fine Arts Houston, Victoria and Albert Museum, Philadelphia Museum of Art, and San Francisco Museum of Modern Art.

Jane Ivory: In her Coyote [skulls] as Landscape, the artist reflects on the immediate dilemma’s of wildlife (in life and death), and its spiritual aspects with its world of origin. In the Wood Ear and Tree Root, the emphasis is on the striations, bulges and indentations which in a larger scale would read as wind worn hillsides, rolling hills and/ or a cave. Jane Ivory’s inquiries into the fauna, flora and fungi takes the viewer closer or farther from the expected subject, but all within macro perceptions questioning our visual associations. Jane Ivory holds an M.A. Fine Art/Painting from UC Berkeley. She ran the art school in the Education Dept, SFMA and was the Sales Director at 2 San Francisco galleries before co-owning Ivory/Kimpton Gallery in San Francisco. In 2018 her work was included in exhibits at Image Flow in Mill Valley and the Center for Photographic Arts in Carmel (an online show.) In 2019 her work was included in another show at Image Flow, Mill Valley, CA.

Paul Kos: “The more coal burns the more ice melts”, states the artist. Kos’s materials, coal, water and ice speak in onomatopoeia: canaries chirping, drip drops and the sound of snow melt. Gathered from the coal country of his home town of Rock Springs, Wyoming, and in the High Sierras at Donner Summit, as well as in drought plagued Oaxaca, these concepts, sites and situations point to the fragile equilibrium of Mother Nature. Paul Kos was born in Wyoming. He received a BFA and an MFA in painting from the San Francisco Arts Institute and was part of the founders of West Coast conceptual art in 1968 with Tom Marioni, Terry Fox, Howard Fried and Bonnie Sherk. Paul Kos has been featured in numerous one person shows in the United States and in France and groups shows around the world. In 2003, “Everything Matters:Paul Kos, a Retrospective” was organized by Connie Lewallen and BAM/PFA and travelled to the Grey Art gallery, New York University, San Diego Museum of Contemporary Art and the Contemporary Art Gallery in Cincinnati. A publication accompanied the exhibition. In 2016, di Rosa Art Preserve exhibited Equilibrium, a survey of Kos’s work from 1968 to 2016. Paul Kos has received 5 NEAs, a Tiffany, a Guggenheim, a Rockefeller, a Flintridge, a Eureka, and a AVA award. His work is in the collections of various museums and foundations, including the Guggenheim museum, MOMA New York, The Whitney Museum, SFMOMA, San Diego Museum of Contemporary Art, the Louis Vuitton Foundation and the Kadist Foundation in Paris. Paul Kos has also produced numerous public Art works throughout the state of California. He taught for 7 years at the University of Santa Clara, CA, then 30 years at the San Francisco Art Institute and in 2008/09 he held the Dodd Chair at the University of Georgia in Athens. He was awarded a residency at the Rockefeller Foundation in Bellagio, Italy in 2015. He is represented by Anglim Gilbert Gallery in San Francisco and by Gallerie Georges- Phillipe and Nathalie Vallois in Paris, France.

Isabelle Sorrell: In current times, which so particularly stress individuality and the self, Sorrell has been drawn to its antipodes: our commonalities, and specifically how water, the water-source itself is at the core of life, our common origin. Mother-goddesses, (the black madonna, the goddess Isis, the Virgin Mary, Durga, Shakti or Tara), icons of mother-earth, have originated from all over the world and seem to attest to a shared belief; that which in earlier matriarchal societies stood in reverence to the magic-like properties of nature, nurturing and caring. Sorrell has her contemporary archetype in

GIVEN (water, gas and light), which could also be titled: Mother Was a Mountain. The artist holds an MFA in Painting from the San Francisco Art Institute, a certificate in painting and Graphic Design from Ecole de Sevres, Academie de Versailles, France, and a certificate in Literature from Trinity College, Cambridge University, England. She studied printmaking with Krishna Reddy at NYU, and Chinese calligraphy and Kung Fu in China, Hong Kong and Taiwan, the later became a major influence in her work. She taught at the San Francisco Art Institute, and at the Universitee de Lausanne, at the American College of Leysin, and at Art Center School of Design Annex, La Tour de Peilz, Switzerland. In 1995 she founded Frontier Press, which has produced artists books with intaglio and letterpress with texts from various poets. In 2010, she had a solo exhibition Latitudes and Longitudes at the Meridian Gallery in San Francisco. Her work is in the collection of BAM/PFA and in private collections.

William T. Vollmann: In the New York Times, John Schwartz reports “As one of the greatest challenges facing the planet, climate change deserves serious treatment by a great writer who combines deep reporting with a compelling literary style – someone who can explain the overwhelming scientific evidence of warming and its human causes, and of our need for action. William T. Vollmann would seem to be just the writer for the challenging project… As someone who writes about climate change…reading these books did have an effect on me; I became even more conscious of the resources I waste in my own life.” William T. Vollmann studied at Deep Spring College in California and received a BA in comparative Literature from Cornell University. He is the author of ten novels, including Europe Central, which won the National Book Award. He has also written four collections of stories, including The Atlas, which won the PEN Center USA West Award for Fiction; a memoir; and eleven works of non-fiction, including Rising Up and Rising Down and Imperial, both of which were finalists for the National Book Critic Circle Award. In 2018 Pinguin published his two volumes of Carbon Ideologies: No Immediate Danger and No Good Alternative. William T. Vollmann is also a war correspondent and has covered Afghanistan under the Russian occupation, Bosnia, Cambodia, Somalia, the Congo and Colombia. He has completed numerous limited editions of artists books which host photographs, drawings and paintings. He lives in California.

Mother Nature: Elements and Archetypes
Mother Nature: Elements and Archetypes

Seven Places of the Mind

October 11, 2018 - January 25, 2019

Opening Reception: October 11th, 6-8pm

Curated by Margaret Tedesco, 2nd floor projects


Claudia La Rocco: I am trying to do the assignment [ limited edition chapbook ]

[ Freeways ]

“Make you feel they had some reason in mind when they built them—I mean, it makes you feel

you might understand.”   —Maria (Tuesday Weld), Play It As It Lays, 1972


It begins in what we remember. Subtraction. Names of streets. Venice. Los Feliz. Hollywood Blvd. Lincoln Blvd. Cahuenga and Lankershim. Santa Monica Blvd. Glendale. Whittier. Sepulveda. The 405, the 10, the 605, Pico. Pacific Coast Hwy. Sunset & Vine. Normandie. Topanga Canyon. Marina del Rey. Compton. Beverly. Imperial & Crenshaw. Gower. Centinela. So. Central. Western Ave. Laurel Canyon. Wilshire. Slauson. Inglewood Ave. Names of streets. Say them. Fairfax. Let them roll off your tongue. La Cienega. Equalizers. How to talk about landscape. Ground cover. Desert. Clay. Freeways. Freeways. Ice plant. Sun. The coast. Ethos. The Texas Hop. Minimal line. Tent revivals. Norton Simon Museum. Golden State. Vincent Thomas Bridge. Barstow. Strip malls. Horizon. Jacaranda trees. Shipwreck. Lawns. Orange Skies. The Source. Fields. Lake Shrine Temple. Port of Los Angeles. The Woman’s Building. The Valley. Paris, Texas. Griffith Park Observatory. Paramount lots. Red Rubber Ring Floating in a Swimming Pool. Bunker Hill. Pacific Ocean Park. Freeways. Ask the Dust, John Fante, John Fahey, John Baldessari. Octavia Butler, Curtis Harrington. Aimee Semple McPherson, David Hockney, Sister Corita Kent, Robert Irwin, Judy Baca, Joan Didion. Joan Didion. Kenneth Anger. And Vito’s Dancers.

Baby, baby don’t cry,
Baby, baby don’t cry,
Baby, baby here’s why,
Because love is here standing by,
Love is right here standing by.  
—Smokey Robinson and The Miracles

Seasons slip by. Los Angeles does stand still sometimes.

Rebeca Bollinger, Ajit Chauhan, Dylan Crossman, Catherine Fairbanks, Nicki Green, Léonie Guyer, Maggie Preston, Claudia La Rocco, Billy White, David Zuttermeister

Working within a generative practice, Rebeca Bollinger identifies the nuances that reside between unstable ground and order. She gives this study visual form and language while working in several mediums including sculpture, photography, video, performance, writing, drawing, and installation. She has been honored with a Eureka Fellowship from the Fleishhacker Foundation, SECA Award (SFMOMA), Artadia Award, James D. Phelan Award in Video, Veronica diRosa Award for New Media, and a Creation and Presentation Grant from the National Endowment for the Arts. Solo exhibitions include: Feigen Contemporary, Henry Art Gallery, Rena Bransten Gallery, Walter Maciel Gallery; and group exhibitions at SFMOMA, Ballroom Marfa, deYoung Museum, Orange County Museum of Art, Museum Fridericianum, Henie Onstad Kunstsenter, Yerba Buena Center for the Arts, Asian Art Museum, and Mills College Art Museum.

Ajit Chauhan (b. 1981) is an artist who lives in San Francisco, California. Chauhan’s work reflects the marginal, subtle gesture and variation, the imperfect, attentiveness, desire, and collective memories—the poetry of materials. His work has been exhibited at the Saatchi Gallery in London, White Columns NY, CCA Wattis Institute for Contemporary Arts, Berkeley Art Museum, Jack Hanley Gallery, Annarumma Gallery, Naples, Italy, SVIT Prague, Czech Republic, and most recently the KMAC Museum in Louisville, Kentucky. He concurrently has a solo exhibition Three Days a Week at Jules Maeght Gallery, San Francisco.

Dylan Crossman grew up in the south of France, received his Bachelor’s degree from the Trinity/Laban College of Music and Dance in London, and studied in the U.S. at Burklyn Ballet Theatre (VT). In 2006, Dylan moved to New York and has since danced for various choreographers including Brian Brooks, Christopher Williams, Ellen Cornfield, Wally Cardona, and Sean Cúrran. He is a founding member of Peter Kyle Dance. Dylan became an understudy for the Merce Cunningham Dance Company in 2007, joined the main company in 2009. He works with Kimberly Bartosik/Daela, Sally Silvers, Ryan McNamara, Megan Williams, and Pam Tanowitz Dance. He is on faculty at the Cunningham Trust, SUNY Purchase and Burklyn Ballet Theatre, Barnard College. His work had been shown at Roulette, La Mama, 92nd Street Y, Museum of Arts, and Design, Gibney Dance, Abrons Arts Center, and The Yard. Called “compellingly poetic” by The New York Times, his next work will premiere in March 2019 as a part of the Harkness Dance Festival. He has received support from the Foundation for Contemporary Art, the Jerome Foundation, Mount Tremper Arts, Topaz Arts, Norte Maar, 2014 French Cultural and Artistic Audacity Award, and was a 2016 Schonberg Fellow at The Yard. Dylan is a long-time friend and collaborator of Catherine Fairbanks.

Catherine Fairbanks’s work questions empathy, its qualities and its limits as a contemporary construct. Her work has been exhibited nationally and internationally. She received her MFA in sculpture from the San Francisco Art Institute in 2010 and has attended national and international residencies, including the Skowhegan School of Painting and Sculpture, the National Textile Institute in Iceland, where in 2014 she produced her solo exhibition Empathomimesis, and most recently the Wool Factory AIR in Barcelona. She maintains a dual pursuit as a critical care nurse in an urban medical center and has been a visiting lecturer at Otis College of Art about The Aesthetics of Empathy, and at the UCLA Ronald Reagan Medical Center where she presented a talk titled Art and Empathy. Fairbanks’s solo exhibition, Two Chimneys, was a critic’s pick in Artforum in 2016.

Nicki Green is a transdisciplinary artist living and making work in the Bay Area. Originally from New England, she grew up immersed in handcrafts and continues to explore many material processes in her work today. Her sculptures, ritual objects and various flat works explore topics of history preservation, conceptual ornamentation and aesthetics of otherness. Nicki has exhibited her work internationally, notably at the New Museum, New York, The Contemporary Jewish Museum, San Francisco, and Broken Dimanche Press, Berlin. She has contributed to numerous publications including Maximum Rock n Roll, San Francisco and Fermenting Feminism, Copenhagen. She completed her BFA in sculpture from the San Francisco Art Institute in 2009 and her MFA in Art Practice from the University of California, Berkeley in 2018. She was awarded the 2018 Headlands Center for the Arts Graduate Fellowship. She concurrently included in Bay Area Now 8, Yerba Buena Center for the Arts.

Léonie Guyer (b. 1955, New York City) makes paintings, drawings, site-based work, and books. She has exhibited her work at Feature Inc., NYC; Peter Blum Gallery, NYC; Greg Kucera Gallery, Seattle; Lumber Room, Portland, OR; Douglas F. Cooley Memorial Art Gallery, Reed College, Portland, OR; odium fati, San Francisco; [ 2nd floor projects ], San Francisco; Shaker Museum | Mount Lebanon, NY; Gallery Joe, Philadelphia; PLUSkunst, Düsseldorf, Germany among others. Her work is held in numerous public collections including the San Francisco Museum of Modern Art, UC Berkeley Art Museum and Pacific Film Archive, Metropolitan Museum of Art, Shaker Museum | Mount Lebanon, Reed College Art Collection, Yale University Beinecke Rare Book & Manuscript Library and others. She received her BFA and MFA from the San Francisco Art Institute. She concurrently has a solo exhibition, Léonie Guyer: form in the realm of, at The Wattis Institute for Contemporary Arts.

Claudia La Rocco is the author of the selected writings The Best Most Useless Dress (Badlands Unlimited) and the novel petit cadeau (The Chocolate Factory Theater). animals & giraffes, her duo with musician/composer Phillip Greenlief and an ongoing roster of collaborators, has released the albums July (with various musicians; Edgetone Records) and Landlocked Beach (with Wobbly; Creative Sources). Her poetry and prose appear in such anthologies as 6×6 #34: I Like Softness (Ugly Duckling Presse), Imagined Theatres: Writing for a Theoretical Stage (Daniel Sack, ed; Routledge), and On Value (Ralph Lemon, ed; Triple Canopy), and she has bylines in numerous publications, including Artforum, BOMB, and The New York Times, where she was a critic from 2005–2015.

Maggie Preston is a native Northern Californian who received her BA from Sarah Lawrence College, and her MFA from the California College of the Arts. Her photo-based and sculptural work has been exhibited both locally and nationally, with a solo exhibition at SF Camerawork as well as group exhibitions at Minnesota Street Project, San Francisco Arts Commission Gallery, [2nd floor projects], Berkeley Art Center, Ampersand International Arts and the Houston Center for Photography. In 2012 Preston was awarded an artist residency with an accompanying exhibition at Rayko Photo Center in San Francisco. Currently she is focusing much of her creative energy on Preston | Kalogiros, a small lot wine label she started with her husband, artist Jason Kalogiros. They bring their artistic sensibilities and influences to the winemaking process while working with grapes from her family’s farm in Dry Creek Valley.

As a young boy, Billy White was left in a coma after being hit by an automobile. When conscious again, doctors and his family realized that he had suffered a traumatic brain injury and would never recover full mobility. Mindful of his own injuries, Billy has mentioned numerous times feeling an affinity to Vincent van Gogh. He sees the artist’s unsuccessful romantic overtures and missing ear as similar to his own travails. Billy White works without hesitation, intuitively, and with complete freedom from the pitfalls of self-doubt and second-guessing; he is always “in the zone.” He often intermixes pop-culture icons such as Hulk Hogan and Fred Flintstone with surprisingly divergent subjects such as art luminary Picasso. White is also adept at giving new life to sometimes forgotten gems of African American culture such as Sanford and Sons and Red Foxx. All of his subjects are rendered with thick paint on canvas, markers and graphite on paper, or more recently three-dimensionally with clay to create raw and extremely evocative portraits. Billy White has been working at the NIAD Art Center in Richmond, CA since 1994, and is represented by SHRINE, New York.

David Zuttermeister is an artist practicing sculpture in Los Angeles. He attended UCLA for his MFA, and continued to work with one of his professors, Charles Ray, after his graduation. He has shown both nationally and internationally. This work was begun while in residence at Anderson Ranch in 2016.

Seven Places of the Mind
Seven Places of the Mind
Rebeca Bollinger, Ajit Chauhan, Dylan Crossman, Catherine Fairbanks, Nicki Green, Léonie Guyer, Maggie Preston, Claudia La Rocco, Billy White, David Zuttermeister