Galerie Kashya Hildebrand

Scott Williams and Brent Green Opening Saturday, September 15, 6-8pm

SCOTT WILLIAMS HOME INVASION BRENT GREEN TO MANY MEN STRANGE FATES ARE GIVEN September 15 – October 20, 2012 Opening Reception:  Saturday, September 15, 6-8pm Gallery Hours:   Wednesday – Friday 10:30-5:30 Saturday 11:00-5:00 Steven Wolf Fine Arts 2747 19th Street, A San Francisco, CA 94110 415-263-3677 stevenwolffinearts.com BRENT GREEN: Artist’s Talk at SFAI Monday, September 17, 7:30pm San Francisco Art Institute 800 Chestnut Street, SF CA SCOTT WILLIAMS This fall, Steven Wolf Fine Arts will recreate the studio interior of painter Scott Williams, best known to San Franciscans as an early aerosol street artist who painted murals, cars and interiors using a spray can and stencils. His primary media though, since 2000, when he exchanged spray can for airbrush, is canvas, wood, and books. Williams cinematic, stencil montages take the form of landscapes, rock posters, political propaganda and various forms of abstraction. Literature, punk flyers, Asian woodcuts and obscure comic books are among his many sources. One of his most intriguing creations is the interior of the Victorian Mission flat that he has lived in for the past 25 years. The residence, studio and gallery is a mixture of wall stencils, decay and paintings that hang on the wainscoting and stack on the floor like sloppy layer cakes. The space is a link to an era of San Francisco studios that flourished before skyrocketing rents, gentrification and the evolution of live/work spaces into generic corporate interiors. His capacity to achieve a painterly looseness with stencils, and his tendency to work flat on the ground in the manner of the abstract expressionists mirrors that link to the past. The installation will include paintings from every stage of Williams' career, new stencils made directly on the wall, and fragments of the studio itself. This isn't the first time Williams has been projected into a conversation about gentrification. As a young artist, in 1983, he was evicted from the Goodman Building on Geary Boulevard between Gough and Franklin. One of the last of the artist hotels in San Francisco, the Goodman's residents fought the city's redevelopment in the name of a utopian communal live/work situation that challenged the normative paradigm of domesticity and labor. After years of court battles, the residents lost, but the case gave rise to an awareness of non-traditional living spaces in a city that was rapidly gentrifying along late capitalist lines. The irony of recreating Williams' studio in a gallery that is gentrifying his very own neighborhood only seems to energize the fragmentary and unstable character of his work. His portraits of Josef Stalin, which oscillate between ironic takes on authoritarian art and a genuine affection for the left, seem likely to drift off the compass of meaning entirely. In a space often devoted to artists just out of art school, his cowboys and Indians paintings, which have the air of movie landscapes peopled by toys, will look like the Photoshop worlds they preceded. In general, the characters in Williams' paintings seem strangely detached from their sources. Like magical phrases that have been spoken so many times they grow uncanny, they lurk at the edge of something we once knew. His process of selection, arrangement and deployment through stenciling seems to vaporize meaning, leaving the viewer in an Phillip K. Dick atmosphere of paranoia, lucidly described by one of his long-time book collaborators, the poet Fred Rinne. "If you could see through the fog and murk that passes for an atmosphere hereabouts you might notice the subtle documentation of the citizenry.... You might notice that you are in a tinny funhouse mirror burlesque of an American city... We call it Frisco." BRENT GREEN Continuing his tradition of applying new technologies to his staunchly DIY, American folk roots, Brent Green built To Many Men Strange Fates Are Given with deconstructed LCD screens, an elaborate welded steel frame, polarized lenses and sets of delicate machine-milled wooden audio horns. These diverse materials all serve as a platform for a new hand-drawn three-dimensional animation displayed on two layered panels simultaneously, hearkening back to the tradition of animating on glass. The animation can only be seen when the viewer looks through the polarized lenses located at three stations on the sculpture; otherwise, Green’s film is invisible. The story centers on the tale of the woman who sewed the spacesuit for Laika, the dog sent into space by the Russians in 1957. Pulsating with the intensity of the artist’s own signature narration, the sound track articulates themes of progress and insight, of invention, wonder and faith. To Many Men Strange Fates Are Given demonstrates both the technical and formal progress in Green’s artistic journey and reflects the increasing deftness with which he handles humanistic themes in his storytelling, carving out from his self-taught roots a new and sophisticated handmade aesthetic, sustained by a stark political agenda that runs through his lyrically composed allegories. For more information please contact Steven Wolf Fine Arts at 415.263.3677 or email stevenwolffinearts@gmail.com

Red Bull Curates for SCOPE Miami 2012

SCOPE ART SHOW PARTNERS WITH RED BULL CURATES: CANVAS COOLER PROJECT HIGHLIGHTS NEW YORK AREA ARTISTS IN ONE NIGHT SHOWCASE AT VILLAIN IN WILLIAMSBURG ON SEPTEMBER 13, 2012
	BROOKLYN, N.Y. (September 11, 2012) – SCOPE is partnering with Red Bull Curates: The Canvas Cooler Project, to give emerging artists wings as it tours the United States. The public gallery show will include a curatorial judging panel & audience choice voting. The finalists will receive an all-expense paid trip to participate in a Red Bull Curates group show at SCOPE Miami during Art Basel, where they will have the chance to exhibit and sell selections of their works. Learn more at redbullusa.com/curates. After hosting gallery events in Los Angeles and Chicago, the program arrives in New York with a public gallery event on Thursday, September 13, 2012 at 9 p.m. at Villain, The Space at 50 N. 3rd St., Williamsburg, Brooklyn. This special event is one night only and open to ages 21 and over. For more information visit redbullusa.com/curates.
	SCOPE taps into the cultural psyche to present only the most pioneering work across multiple creative disciplines. SCOPE Art Shows in Miami, Basel, New York, London and the Hamptons have garnered extensive critical acclaim, with sales of over $250 million and attendance of over 500,000 visitors. With over a decade of critically acclaimed art fairs and non-profit initiatives that extend beyond the ordinary in Contemporary art, design, music and fashion: Our Reach is Global. Believing the creative act has no bounds: Our SCOPE is Infinite.

Space Invaders

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Space Invaders, organized by guest curator Karin Bravin, features the work of eighteen artists who make use of the unique spaces at Lehman College - both inside the galleries and outside the building. Using the walls, the ceiling, the floor, or the balcony above the atrium, works appear to grow out of the structure, hang down, wrap around, or peer out from under. Working with a specific location in mind, the space becomes the artist's canvas. The outcome can be organic and free flowing, expressive and thought provoking. These site-specific installations will include floor-bound works arranged in sprawling configurations that appear to be organically inspired. Some of the artists use large sculptures that skillfully appropriate both indoor and outdoor spaces. Others use bits of material that might have once intersected with someone's life creating an expanding cultural collage, and some create installations that cascade from a ceiling or stretch from inside to outside. Each artist will inhabit the space differently, taking cues from the distinctive architecture - Lehman College Art Gallery is located in a building designed by Marcel Breuer in 1960. Upon approaching the gallery from the center of the campus, the viewer will encounter Rachel Hayes' boldly colored fabric installation. Light and wind affect the piece as it is viewed from both indoors and outdoors. On the Goulden Avenue side of the campus viewers will find Dahila Elsayed's series of text-based flags. These festive, poetic, and suggestive visual markers metaphorically call to attention aspects of the campus with which one might not be familiar. DeWitt Godfrey's monumental steel tubes sit under an overpass, nestled between concrete walls. Kim Beck's work will lead us from the outside to inside with vinyl decals of commonly overlooked weeds that grow out of cracks and up walls.   Inside, in the gallery lobby, Sheila Pepe will dress the atrium with a degree of craft and decoration that likely was never intended for Marcel Breuer's cast concrete; Rita MacDonald's large-scale wall drawing plays up the roundness of the foyer's walls with an image of a pattern caught in a spinning motion. Carol Salmanson's Hercules Light, made of transparent green plexiglass, will mimic the shape of the building's massive support columns, emphasizing contrasting feelings of weightlessness and ephemerality. In the galleries, Diana Cooper will combine fragmented photographs with three-dimensional elements, abstracted, but projecting an inherent sense of oppressive systems, networks, circuitry and surveillance. Heeseop Yoon's installation of black masking tape on Mylar will play with positive and negative space, void and solid, transforming the space into a busy network of lines that not only slows down the process of seeing and drawing but also suspends the viewer's gaze. Franklin Evans' work will explode the boundaries of painting with such disparate elements as books, sound recordings, sculpture, painting, artist's materials, digital images, drawing, and process residue. Abigail Deville will transform the small video room using found and inherited domestic objects that make a connection to her personal universe and the one at large. Cordy Ryman's Rafter Web Scrapwall will be a sprawling 30 foot wall installation of recycled remains from a previous installation of painted wood pieces; Mariah Robertson will create a cascading floor to ceiling installation of unique photographs that are the result of darkroom experimentation.  Lisa Kellner uses the language of diseased cellular activity to make large-scale installations. She hand forms, paints and sews together thousands of organic, bulbous shapes out of silk organza. Nicola Lopez will create an installation using woodblock printed Mylar that will transform a portion of the space's sloping ceiling. Robert Melee's marbleized imitation wood and drop ceiling panels will cover a space that channels and explores the distinct, yet inter-related psychologies of the suburban home. His installation will include the paintings of fellow artist Erik Hanson. Gandalf Gavan's neon and mirrored wall installation will alter the viewer's perception of the exhibition space, and Halley Zien will make use of a hidden gallery kitchen that will be invaded by hundreds of her collaged and psychologically expressive characters. October 2, 2012 - January 9, 2013  Reception: Wednesday, October 17, 6-8:00 pm Gallery Hours: Tuesday to Saturday from 10 am to 4 pm For more Information about Lehman College Art Gallery visit: www.lehman.edu/gallery  718 960 8731 Our exhibitions and programs are made possible with the generous support from: The Institute of Museum and Library Services; The New York City Council through G. Oliver Koppell, Joel Rivera, and the Bronx Delegation; New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; The New York City Department of Cultural Affairs; Lily Auchincloss Foundation, Inc.; The Milton and Sally Avery Arts Foundation; The Cowles Charitable Trust; Jarvis and Constance Doctorow Family Foundation; IBM; JDAF Arts Foundation; Edith and Herbert Lehman Foundation; The New Yankee Stadium Community Benefits Fund; and United Way of New York City.   Reception refreshments generously donated by Cabot Creamery.