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FW: INSIDE VIEW at Pond : Fri Feb 15th : 6:30 - 9:30pm

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  • Kearny Street Workshop
    ... Kearny Street Workshop - ksw@somarts.org; ph/fax 415.503.0520 934 Brannan St.; SF, CA 94103 - http://www.kearnystreet.org. PLEASE JOIN US FOR: APATURE
    Message 1 of 1 , Feb 1, 2002
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      Kearny Street Workshop - ksw@...; ph/fax 415.503.0520
      934 Brannan St.; SF, CA 94103 - http://www.kearnystreet.org


      APATURE RETREAT! Information and planning session
      for those interested in helping to organize APAture 2002
      our annual festival for APA artists aged 18 - 35
      Sunday, Feb. 3; 10 AM - 4 PM
      please call to sign up

      Quarterly Reading Series
      featuring Pacific Islander Poets:
      Fuifuilupe Niumetolou, John Tunui
      co-presented with Chinatown Community Arts Program
      Sunday, Feb. 10; 2 - 4 PM
      750 Kearny Street, 3rd Fl., San Francisco

      From: pondpeople <pondpeople@...>
      Date: Thu, 31 Jan 2002 21:19:23 -0800
      To: Pondpeople <pondpeople@...>
      Subject: INSIDE VIEW at Pond : Fri Feb 15th : 6:30 - 9:30pm

      Pond proudly launches its second year of programming with INSIDE VIEW, its
      first anniversary group exhibition.


      Desiree Holman ­ video installation
      Kent Manske ­ digital print/book
      Geof Oppenheimer - photography
      Ricardo Rivera - installation
      Schechter/Schimizu ­ photography and video

      Opening Reception : Friday February 15th : 6:30pm ­ 9:30pm

      February 15 ­ March 18, 2002
      Gallery Hours : Thurs ­ Sun, 3-8 pm

      pond : a place for art, activism, and ideas
      214 Valencia St (between 14th and Duboce)
      San Francisco, CA 94103

      For more information contact Marisa Jahn, Steve Shada, or Blair Randall

      ----- INSIDE VIEW -----

      Pond proudly launches its second year of programming with Inside View, its
      first anniversary group exhibition. The five works curated for the show
      explore the idiom "inside view", a metaphorically rich expression that
      suggests a multiplicity of readings revolving around the presupposition that
      to view, or see, is to understand, and that vision is associable with truth.
      Through a diversity of media and visual strategies, the pieces offer a
      visual invitation to consider a different kind of "inside view", ranging
      from notions about of intimacy, self-portraiture, to personal mythography
      and pop cultural memory.

      Wishbook, a diaoramic video installation by Desiree Arlette Holman, narrates
      the lives of the Manns family, a set of paperdolls clipped from department
      store catalogues. Endowed with rich personalities and complex
      interrelationships, the installation makes visible the artist¹s fascination
      and delight in bestowing depth to the characters, whose uncanny desires and
      motivations poignantly reflect upon human nature. Holman writes, "Within
      the pages of [these] catalogues lie many stories. Those housed within wait
      and hope for the day someone might come a long and cut them free from their
      unfortunate, flat and static prison. They wait for someone to tell their

      Kent Manske¹s accordion book, entitled 2001, exemplifies the artist¹s
      innovative integration of traditional and digital printmaking to create
      emotionally and intellectually introspective work. Comprised of juxtaposed
      pictographic images of everyday existence, the visual associations
      communicate as distinct messages and at other times as enigmatic narratives.
      Manske¹s symbol system developed in 2001 and throughout his oeuvre seemingly
      enshrouds the author¹s personal experiences with myth and mark.

      In Geof Oppenheimer¹s project, duplicate photographic images of the artist¹s
      gnarled pinky toes hanging side by side have been digitally altered, leaving
      one image with deep focus and the other shallow‹or fuzzy‹focus. The
      diptych, entitled The Ugliest Part of My Body and the Ugliest Part of My
      Body, leaves the viewer understanding that Œugliness¹ or Œfuzziness¹ does
      not inhere in the pinky toe itself but the viewer¹s perspective.
      Oppenheimer¹s piece, then, twists the familiar adage about beauty: "Ugliness
      and fuzziness lie in the eye of the beholder."

      In his installation featured at Pond and throughout his oeuvre, Ricardo
      Rivera¹s work employs technologies of optical illusion (camera obscura,
      anamorphic projection) that call attention to the subjective faculties of
      visual perception. Through tricks of the eye, Rivera¹s work suggests that
      there is no unified reality, rather, only a world known through the
      subject¹s senses. The artist writes, "My apprehension of the objects in my
      perceptual world is always perspectival . . . I am perspectivally related to
      other real beings."

      Drawing from the iconography and ethos of today¹s twentysomething generation
      weaned on pop culture, art duo Schechter/Shimizu¹s conceptual photographic
      and video work voices both a love and ironic distance from the references
      (1980¹s John Cusack flicks, Brittany Spears) they appropriate and invert.
      Through wry humor, Schechter/Shimizu¹s work carries a tone that is both
      earnest and at the same time always already nostalgic; seemingly devoid of
      critical judgement and at the same time elucidating the politics embedded
      within cultural memory.

      ----- What is Pond? -----

      Pond is a nonprofit community space and forum dedicated to experimental
      artists. Through gallery exhibitions, collaborations, public arts projects,
      workshops, peer critiques, special events, and its bi-yearly publications
      Pond provides a forum through which experimental artists may share ideas and
      foster a mutually beneficial relationship with the larger Bay Area
      community. Our goal is to offer an accessible place for individual and
      community groups to develop and execute ideas in a non-competitive
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