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The Greens Hotel was the spot for a Summertime Mixer hosted by The Temp (Sacramento Temporary Contemporary Gallery) for an evening of socializing and networking, as well as a Fish Fry and a Preview of "Gone Fishing" - a group show featuring Ken Waterstreet's Water Series in the long, long Gallery.
In the past year I've found myself pleasantly surprised with Del Paso Blvd several times. When I moved to Sacramento four years ago I dared not walk the streets of the boulevard alone. Nine months ago, with camera in tow, I roamed around The Boulevard, by myself, snapping photos of the revitalized buildings and median.
It was a great space, inside and out.
And at the Summertime Mixer, I found myself gawking in amazement. The exterior of The Greens Hotel along Del Paso Blvd. in no way prepared me for what lay on the otherside.
The arched opening leads from the lobby into the parking lot of the hotel which has a great touch of art deco with the big red planter, fabric sections suspended as a sunblock and the rooms are designated by letters not numbers.
Neighboring business essentially under the same roof include a restaurant, art gallery, and a live performance theatre.
The Temp Art Gallery is the brainchild of Limn Furniture owner Dan Friedlander, who grew up in Sacramento. The gallery is modeled after the innovative space in Los Angeles that eventually became the Museum of Contemporary Art. Friedlander believes that Sacramento is due for such an art space that would complement rather than challenge the Crocker Art Museum and the Center for Contemporary Art.(stcgallery.webs.com)
Second Saturday Reception is Aug 14, 7-9 p.m. Gallery hours are Thursday, Friday and Saturday from noon until 4pm.
See a recent article about The Greens Hotel: www.sacramentopress.com/headline/32788/Greens_Hotel_for_sale
Mentors celebrated at North Sac Gallery
By Victoria Dalkey
Bee Art Correspondent
Published: Sunday, Apr. 25, 2010 - 12:00 am | Page 4I
"3x1" is the title of the current show at North Sacramento's Temporary Contemporary Gallery in the old Himovitz space on Del Paso Boulevard, now owned by Dan Friedlander of Limn. The numeral 3 references the three artists in the show – Laureen Landau, Marilyn Kuksht and D.L. Thomas – and the numeral 1 refers to D. Oldham Neath, who curated the exhibition.
Neath, the proprietor of Archival Framing across the street from the Temporary Contemporary, selected the three artists because they were all personally meaningful to her and at points in her life served as mentors.
Landau introduced Oldham Neath to local contemporary art when she was still in her teens. Thomas initiated her into the mysteries of abstract art when she found such work difficult to understand. And Kuksht extended her experience into the realm of abstract sculpture.
It's not the most cohesive show, but the large-scale action paintings by Thomas and Kusksht's geometric metal sculptures in the main room of the gallery complement each other. Landau's smaller, more intricate works are isolated in a narrow passageway that allows the viewer to get up close.
Thomas' work harkens back to the late 1940s and '50s when abstract expressionism as practiced by Jackson Pollock and others held sway. His large canvases are slashed and swiped and swirled with gestural markings in black, white and primary colors, setting up an activated field of energetic linear forms.
An untitled canvas in which the markings are bounded by an internal frame seethes with tension as the forms push and pull, creating an almost three- dimensional effect.
Another untitled piece posits flame-colored feathery strokes that extend to the edges of the canvas, encompassing the viewer in the overall composition. A third with black, red and green hues suggests tropical foliage but maintains its resolutely abstract stance.
A series of smaller works offers circular and conical geometric forms, sometimes with symbolic numbers, in a rich palette of earth tones built up with layers of glaze. More recent than the large-scale works, they call up associations with early European abstractionists such as Wassily Kandinsky, Franz Marc and August Macke.
Kuksht's sculptures partake of the spirit of constructivism, as well as cubism, being made up of geometric forms and angles. In "Here and Now," she balances triangles with a central sphere holding them together. In "Germination," red, blue and yellow balls spring up from a geometric base with curvilinear elements. "Twist of Fate" is a playful piece that again terminates in a ball. "Firebird" with its more complex flamelike forms and red tones chimes nicely with Thomas' fiery, feathery forms.
Landau, who recently passed away, was one of Sacramento's most respected artists. Her work ranged from paintings of paper bags and paper collages to haunted scenes of William Land Park near the house where she lived. She is represented here by her last works, a series of small circular abstractions that call up aerial landscapes seen through the round windows of an airplane. At times resembling maps, at others desert or ocean scenes, they are quiet, meditative works whose circular forms speak of completion.
By Victoria Dalkey
Bee Art Correspondent
Published: Monday, Dec. 14, 2009 - 12:00 am | Page 8D
Last Modified: Monday, Dec. 14, 2009 - 4:41 pm
Zhang Xianyong creates fantasy landscapes in which he plays all of the characters. Han Bing examines the changing roles of working people in modern China. Wan Ningde captures the poetic soul of the new China in dreamlike images.
They are three of the six young Chinese artists in "Some Place Else," a show curated by Christine Duval, director of the Limn Gallery in San Francisco, at the new Temporary Contemporary Gallery in the old Himovitz Gallery space on Del Paso Boulevard.
The brainchild of Limn owner Dan Friedlander, who grew up in Sacramento, the gallery is modeled after the innovative space in Los Angeles that eventually became the Museum of Contemporary Art. Friedlander believes that Sacramento is due for such an art space that would complement rather than challenge the Crocker Art Museum and the Center for Contemporary Art, Sacramento.
"Sacramento needs two or three institutions with different points of view," Friedlander said on the phone from his office in San Francisco. "Why doesn't it have a museum of natural history and a museum of modern art?"
The city has worked to get a national league sports team but the arts have been neglected, Friedlander says. Though Mayor Kevin Johnson is pushing an arts initiative, he does so in the midst of an economic recession.
Why, I wondered, would Friedlander start a gallery in such a downturn? "It's the best time to do it," he replied. "Creative projects flourish during tough times. If you are doing something well it will inspire people and you are able to control the costs. At Limn, furniture sales are down, but art sales are up."
Sacramento, Friedlander said, has many strong artists who deserve not only a place to show but a place to be exposed to art from outside the area. Thus his plan is to look both outward and within, forward and backward. The gallery started with a tribute to the old Himovitz Gallery and now looks outward and forward by featuring some of the hottest young artists in China.
It's an imposing show full of unpredictable imagery that casts a new light on China. With the exception of Zhang Wei's elegant bronze sculpture, all the work is photo-based, as is much international contemporary art today.
"This is a new generation of Chinese artists," Duval said. The exhibitors are in their 20s or 30s.
"We started bringing in Chinese artists 10 years ago who were mostly concerned with the Cultural Revolution and freedom of speech. Now these new artists are more concerned with the urbanization of the landscape and what's happening with the country as old structures are demolished to make way for massive high-rises and luxury hotels."
Yang Yongliang is a case in point. His digital photos present fantastic landscapes that echo traditional Chinese landscape paintings with a new twist. The long scroll-like formats at a distance seem to be traditional paintings of high snowy mountains, but up close you see that the mountains are miniature cities dotted with cranes, telephone poles and construction equipment.
His newest works from the "Heavenly Cities" series refer to the myth of the phoenix rising out of the ashes. In these cataclysmic scenes, explosive clouds swirl upward carrying modern high-rises and freeways to the heavens. These ambiguous portraits of the process of modernization on China hover between apocalyptic and hopeful visions.
Han Bing, who is the most well-known artist in the show, responds to the changing nature of culture and economics in China with his "Theater of Modernization" series. Here a varied cast of characters is posed atop the claw of an industrial bulldozer, each representing the past, present and future. In these images, the past is represented by peasant farmers, the present by industrial workers and new food producers, and the future by businessmen who hold gold-leafed versions of Mao's red book and sit atop piles of waste.
These trenchant political comments have a satiric edge, their comedy shadowed by serious concerns about pollution and industrial waste.
Moving into a more intimate and sensual realm, Yu Hang's works comment on gender issues in China by hearkening back to the past when concubines were used to produce male heirs. As the lone woman artist in the show, she conflates past and present in images in which women hover between objects and mistresses of their fates. These gorgeous color photos resemble luxurious silk paintings of women with exotic tattoos that turn them into works of art.
Wang Ningde's poetic black-and-white photographs of somnolent people in various occupations sleeping their way through life are haunting and lyrical explorations of dream states in which the protagonists seek escape from the harsh realities of the present. A member of the Red Guard sleeps in bed under a window through which beautiful flowers shower petals onto his chest. A bride in Western dress sleeps as she poses for her wedding photograph, leading us to think that perhaps she does not want to be married. Schoolchildren sleep through their class pictures and a family that has broken the one-child rule sleeps while posing for a formal photograph. These are the simplest yet most powerful works in the show.
In contrast, Zhang Xianyong's multiple self-portraits are highly theatrical bits of surrealism in which the artist becomes a crowd of selves referring to both present and past characters. A Red Guard again appears, as does a baker and man in a trench coat who might be a spy. These fantastical scenes – in one a toy soldier and a real soldier ride on a giant wooden rocking horse – are wonderfully rich and intriguing, full of humor and pathos.
More austere in feeling are Zhang Wei's bronze sculptures of mountains and sheer cliffs, which serve as reminders of the China that still exists in the mind if not in the urban areas of the land.
These dignified bronzes depict a slice of water showing both the under and upper side of an island, a mountain emerging out of what might be a molten sea of lead, and sheer cliffs that mimic sticks of wood rising straight up from the land. They are mute yet powerful reminders of the Chinese love of nature.
SACRAMENTO, CA, April 22, 2010—KVIE Public Television announces that it has selected D. Neath as its new curator for its annual Art Auction juried competition and televised benefit auction. Now in its twenty-ninth year, Neath becomes the third curator of this prestigious art competition that raises funds to support public television in the
Neath says about her new position, “I have had the pleasure of working as a volunteer with the KVIE Art Auction, and as the curator I am looking forward to making this year’s auction stronger by providing an exciting and diverse gallery of art. It is an honor to be given the opportunity to work with such a large group of talented, well-known artists, and I look forward to adding that special piece to each bidder’s collection.”
D. Neath is one of the founders of
In her position as KVIE’s Art Auction curator, Neath is responsible for recruiting artist participation, overseeing the framing program, art management and exhibition installation, and coordinating the event committee.
The Art Auction Preview Party will be held at the KVIE Studios on Monday, September 20, followed by the Art Auction broadcast September 24, 25, and 26, 2010. For more information, visit kvie.org/artauction.
Art Auction History:
The KVIE Art Auction has grown to become the largest three-day art gallery in the region and attracts high-caliber artistic submissions. The proceeds from this fundraiser support KVIE’s ability to create local productions and offer outreach services to the community. Today’s KVIE Art Auction is an offshoot of a general-merchandise fundraising action held by the station in locations throughout