Apartment, 2005

Alex Kanevsky

Instances of Stillness
December 1, 2005 — January 28, 2006

December 1, 2005 - January 28, 2006… read more

Recent Paintings by Chris Cosnowski
November 3 — 26, 2005

In Chris Cosnowski’s latest body of work, plastic toys continue to make up the bulk of his subject matter. These cast, monochromatic toys relate to the sculptures of classical antiquity. Like classical sculptures, the toys represent an ideal vision. Specifically, the Fischer-Price Little People with their spherical heads and cylindrical bodies have their own canon of form. Realistic painting technique, symmetry, balance and proportion are all carefully considered. Color is extremely important and has been used for symbolic, emotional or psychological effects. Cosnowski purposefully paints a mundane subject to evoke feelings of nostalgia. These old fashioned and simplistic toys speak towards a longing for simpler times before the onset of technology. Several paintings in this exhibit address the current political climate. As featured on the postcard, “Neoconservatism and Its Enemies” is a response to the conservative’s political domination. As Bush sees himself as a superman rescuing the world, the figurines flanking him symbolize victims of his political agenda. On the left is a figurine of an American Indian representing an imperialistic agenda, on the right is a plastic cupid figure which represents the denial of equal rights for homosexuals. Cosnowski’s message is presented in a colorful and refined surface couched by a minimalist aesthetic. Content and style build a dialogue of politics, art and idealized nostalgia.… read more

Rick Chapman "Circle"
October 6 — 29, 2005

Striving to root his art in the everyday, Chapman photographs circular objects in mundane locations such as elevators, barnyards, city streets and public parks. In the photographs, each found circle is presented as the same size. By equalizing the scale, each circle is viewed in context of the other circles rather than in the context of its original surroundings. The circle images become letters of a lost alphabet- together they communicate a language that transcends the individual sphere. Chapman’s bold graphic sensibility is in balance with the careful intimacy he has with his subjects. Each object is carefully documented with its location and date found. At the core of Chapman’s circle dialogue are several large wooden totem made of found wood, inlayed with a series of photographs. Chapman uses the iconic presentation of the totem to elevate the mundane, hoping to remind his audience of the natural source of all objects.… read more

UC Berkeley Chair #1, 2005

Ada Sadler

Recent Paintings
September 1 — October 1, 2005

September 1 - October 1, 2005… read more

Kim Frohsin "In the Abstract: 2004-2005"
July 7 — August 27, 2005

“Kim Frohsin draws with absolute authority, every line precisely what it should be. She elevates drawing to a level of expressive accomplishment. In this, she is among the relatively few legitimate heirs of the Bay Area Figurative School. Among her predecessors are Richard Diebenkorn, Elmer Bischoff, Nathan Oliveira, and Frank Lobdell, all admired for their draughtsmanship. Among the things she and her distinguished predecessors share in common is a complete control of line and form as means to construct an unmistakably individual personal world in their art.” Paul Karlstrom Former West Coast Director Smithsonian Archive of American Art In Kim Frohsin’s recent works on paper, she seeks to both abstract the female form and maintain the specificity and individuality of the model. Frohsin follows the Bay Area Figurative School’s tradition of abstracting the figure. However, in this series she intuitively combines an interest in formal issues with the interest in capturing the essence of a singular human being. The use of a live model is central to Frohsin’s work; it inspires her with a diversified, vital and direct collaboration. These models have worked with Frohsin extensively and have become individual sources of abstraction. Frohsin’s use of ink and ink washes facilitates the abstraction. This medium combined with organic and asymmetrical instruments provided a new freedom in her drawing process. In the Abstract: 2004-2005 is Kim Frohsin’s exploration and acknowledgement of the close relationship between representation and abstraction.… read more

Lance Morrison "Sequence"
June 2 — July 2, 2005

Announcing Lance Morrison’s exhibit of new oil paintings entitled “ Sequence.” This body of work places the hummingbird in a subtle atmospheric space. Morrison’s minimal and translucent paintings are created for a patient audience. The hummingbird serves as an entry point for the observer- allowing the painting to become a reflection of its audience’s personal associations. The hummingbird’s stillness is both static and kinetic, embodying the complexity of movement in Morrison’s work. These paintings have a direct and open simplicity, creating a dialogue of quiet differences.… read more

Room to Breathe, 2005

Room to Breathe
May 5 — 28, 2005

The surface of these new works is informed by hot wax, oil paints and a variety of hand-held and electric tools (etching needle, dental drill, heat gun) to create pieces with simplified and rich surfaces. Her spare paintings are filled with marks broken down into basic geometry. Stolle draws inspiration for these forms from nature, choosing organic and playful shapes. Originally a print maker, Stolle recently began working with wax, embracing its emphasis on both process and immediacy. Layering and reworking the surface, each painting is built up slowly like a print. The final surface is a result of chance and control. Stolle states: “I am interested in art where you can see the mark of the hand. The line, the erasure, the use of graphite - there is energy there, there is evidence of the artist left behind.”… read more

Marshall Crossman

New Oil Paintings
April 7 — 30, 2005

New Paintings by Marshall Crossman… read more

Stephen Simons "Proscenium Series"
March 3 — April 2, 2005

An opera begins with a pause. The curtain rises and everything is revealed in perfect silence. All the elements of the stage are filled with anticipation, implication and presence. Stephen Simons’ latest still life paintings depict this brief moment of stillness. Placing vessels, bowls, and tools against a textured and detailed backdrop, Simons creates a stage. The objects and the backdrop each play a role to build a relationship between geometry, space, light and paint. The backdrop settings become integral components in the creation of atmosphere. Inspired by his teaching experiences in Europe, Simons imbues his backgrounds with texture and color reminiscent of the Italian masters. In the foreground, an object’s importance is not how it looks, but how it reacts within the setting. Each individual component builds a collective whole. Simons writes, “I work with the hope that one day there will be a point when I stop, look at the painting and it has achieved wholeness; it is complete and alive.”… read more

Willard Dixon "Meditations"
February 2 — 26, 2005

Over the past decade, Willard Dixon’s still life work has been dedicated to a steady paring down of form. The fewer elements in a painting, the more significant their relationship becomes. Because of the sparse nature of these paintings, Willard finds himself spending a good deal of time contemplating their visual and emotional possibilities. The actual execution of the painting is balanced by this kind of active inaction. The objects which appear seem balanced in a relatively empty though energized space, each depending on the other for the particular nature of their existence. In Zen Buddism they speak of “form and emptiness” as two aspects of one reality. As a long time student of Zen and related cultures, Willard Dixon is drawn to an image which embodies the feeling one may have in meditation; a feeling of calmness, stability and possibility. Writes Willard, “The fleeting specificity of the forms that we see in the ‘objective’ world, generates in me a feeling of stillness behind the visible, something unchanging and supporting which is also present in me. I suspect this point of convergence is the real content of my work.” In the work of Willard Dixon, space seems to open and clarify, revealing things just as they are in a complete and satisfying way.… read more