Introductions

INTRO DUCT IONS 2015

1

INTRODUCTIONS 2015 JULY 11-27, 2015

Photo credit: Kija Lucas

Introductions has been a core part of Root Division’s annual exhibitions programming for nine years. Conceived as an opportunity to bridge a gap left when the San Francisco Arts Dealer Association (SFADA) discontinued their thirty-year summer programming of the same name, Introductions has become a mainstay of our roster. This show highlights talent in the Bay Area and creates connections for artists with commercial galleries and beyond. Root Division acts as a nexus for the production and presentation of visual art. Our goal is to serve as a connector between artists, the larger art community, and the general public. We offer an entry point for artists as they develop and hone their professional practice. Especially as the arts community faces an exodus of artists moving outside San Francisco and to other cities in search of a more sustainable life, Root Division is strengthening its position as an anchor for artists to remain in the Bay Area. With the opening of our new 13,000 square foot facility in September 2015, Root Division has risen to the challenge to be a beacon for the visual arts in San Francisco. Introductions begins each year as an open call to any Bay Area artist whose work is not currently represented by a local gallery. Reviewed by a committee of three arts professionals representing a diversity of commercial, non-profit, and educational venues, the exposure for any submitting artist is invaluable. Each year we are encouraged and impressed by the quality of submissions, and we are surprised by the number of outstanding artists still operating under the radar of commercial representation. In addition, as we see the model of the traditional gallery evolving under the stress of shifting economies, our intent is to capture both the aesthetic and conceptual magic that comes from experiencing a new artwork in person. This year thirteen artists were selected through intensive review by Catharine Clark (Owner/ Director, Catharine Clark Gallery), Aimee LeDuc (Executive Director, Berkeley Art Center), and Steven Wolf (Owner/ Director, Steven Wolf Fine Arts). In these pages, you will find an essay by Amy Cancelmo (Root Division’s Art Programs Director) contextualizing the work of each artist and bringing the works into conversation with one another as well as within a larger discourse of art practice. Root Division is happy to provide an opportunity for these thirteen artists to add to the conversation of contemporary Bay Area art, especially in assertion that the San Francisco art community has a unique voice.

We are proud to debut this group of artists and to support their continued artistic and professional development.

Michelle Mansour

2

Executive Director

Table of Contents Alexandra Bailliere — 4

Adam Thorman — 11

Michael Bartalos — 5

Merav Tzur — 12

Matthew Goldberg — 6

Anja Ulfeldt — 13

Jon Gourley — 7

Matthew Usinowicz — 14

Malena Lopez-Maggi — 8

Katherine Vetne — 15

Heather Murphy — 9

Tali Weinberg — 16

Courtney Sennish — 10

Essay: Juxtapositions, Amy Cancelmo, Art Programs Director — 17-20

Photo credit: Kija Lucas

3

Alexandra Bailliere alexandrabailliere.com

4

Head 2015 4 x 23 x 17 in.

Cast Hydrocal

Wall Skins (newer) 2015 Variable Poured Latex

Mission: East 2015 60 x 76 x 12 in.

7:24 Video and fabric

Michael Bartalos bartalos.com

5

Matthew Goldberg mathyougoldberg.com

6

Lobnut 2015 36 x 40 x 40 in.

Ceramic, pastry boxes

Slice 2015 32 x 50 x 24 in.

Ceramic, rubber, marble, blueberries

Untitled 2013 30 x 23.5 in.

Screen print on Sekishu

Untitled 2015 30 x 23.5 in.

Screen print on Sekishu

Untitled 2012 30 x 23.5 in.

Screen print on Sekishu

Jon Gourley loungerjoy.com

7

Photo credit: Kija Lucas

Malena Lopez-Maggi MalenaLopezMaggi.com

8

Geodes 2014-2015 5 x 5 x 5 in.

Polymer clay, aluminum foil, cardboard, Plexiglas, wood

Oasis 2015 5 x 72 x 48 in.

Plexiglas, wood, foam, foil, sugar, salt, glitter, light

Trending Weekly (June 1-7th, 2015) 2015 10 minutes Video

Trending Weekly (June 8-15th, 2015) 2015 10 minutes Video

Heather Murphy heathermurphyart.com

9

Photo credit: Kija Lucas

Courtney Sennish courtneysennish.com

10

Untitled 2015 12 x 24 x 10 in.

Mixed media

That Feeling of Being Backed into a Corner 2015 12 x 24 x 10 in.

Mixed media

Nonlinear Motivations 2015 48 x 36 x 15 in.

Mixed media

$15,000 Shadow 2015 84 x 40 x 12 in.

Mixed media

Photo credit: Kija Lucas

Sunmoon 1 2014 43 x 53.5 in.

Archival pigment print

Sunmoon 2 2014 43 x 53.5 in.

Archival pigment print

A Proposition Of Likeness 7 2015 43 x 34.5 in.

Archival pigment print

Adam Thorman adamthorman.com

11

Photo credit: Kija Lucas

Merav Tzur meravtzur.com

12

Merav Tzur, JoyAbound 2015 Mixed media installation with photography by Doug Becker

Photo credit: Kija Lucas

Time Machines 1-4 2015

Chair for Provocation 2015

24 x 24 x 12 in. each Donated posessions, wood, acrylic and custom electronics

1:18 Video Loop 2013

Anja Ulfeldt anjaulfeldt.com

13

Matthew Usinowicz

Labor 2015 72 x 60 x 2.5 in.

Oil, acrylic, enamel, wax pencil on stretched canvas

matthewusinowicz.com

14

Trade Tool 2015 72 x 9.5 x 5 in.

Mahogany, steel

Photo credit: Kija Lucas

American Brilliant 2015 20 x 28 in.

Silverpoint and goldpoint on chalk gesso panel

Inheritance VI 2015 12 x 65 ½ in.

Lead crystal kitchenware, melted and mirrored (silver nitrate)

Katherine Vetne katherinevetne.com

15

Photo credit: Kija Lucas

Tali Weinberg taliweinberg.com

16

Drought Portrait 1 (1982-2014) 2015 33.5 x 32 in.

Palmer Drought Severity Index (PDSI) by year for California; hand-woven California-grown organic cotton

Drought Portrait 2 (1982-2014) 2015 32 x 32 in.

Average temperature and total precipitation by year for California; hand-woven California-grown organic cotton

Drought Portrait 3 (1982-2014) 2015 32 x 32 in.

Warmest temperature by year for California; hand woven Californiagrown organic cotton

Drought Portrait 4 (1982-2014) 2015 32 x 32 in.

Coolest temperature by year for California; handwoven California-grown organic cotton

Juxtapositions This year’s “Introductions,” jurors were tasked with reviewing over

and challenge the line between high and low brow, commercial and fine art

two hundred artist submissions. Each artist that responded to the

categories.

open call was invited to submit four images, and a brief statement

Heather Murphy’s videos, “Trending Weekly,” for example, overlay

for consideration. Selecting work from these mere glimpses into

and intertwine audio, visual and textual clips from viral web content to

artists’ practices is no small feat. The jurors, Catharine Clark, Aimee

produce complex and multi-faceted narratives. Part of a larger project

Le Duc, and Steven Wolf, brought their experience in commercial

marking the passage of time as seen through weekly viral trending, the

gallery, non profit, and consulting practices to the table, in a review

videos presented in this exhibition feature footage of the Rachel Dolezal

session that was as funny and witty, as it was serious, considered,

scandal, police brutality at a Texas pool party, new media contemporary

and reflective of their refined sensibilities. When I look at the

footage shot at the recent Venice Biennale, a motivational speech by Shia

thirteen artists selected for “Introductions 2015,” I can’t help but

Labeouf, and the artists thoughts about the Stanford prison experiment.

notice how the artists’ works reflect the professionalism, intellectual

Highlighting the compressed digital experience of multiple realities,

curiosity, and sense of humor of the jurors themselves.

brutalities, and pop culture all viewed from the safety of a screen, the artist’s image remains constant in the upper left corner--a constant reminder

As diverse as the practices of each of these artists are, several

of the consumption (literally snacking while watching) of the multi layered

themes begin to emerge from the grouping. Many of the artists

content. In montaging the footage and mis-matching the audio, layered

utilize wit and surprising juxtapositions to present intelligent

and often humorous narratives are created, complicating meaning, and in

institutional critique with a light touch. Others reflect on the

part implicating the viewer’s passivity in absorbing all content equally.

passage of time and shifts in perception through interesting juxtapositions of familiar imagery. All of the works selected for this

In “JoyAbound,” artist Merav Tzur challenges the passive consumption

exhibition are thoughtful, intelligent, and crafted with a high level

of images of women, highlighting the “trending” representation of what a

of dexterity and consideration of material. Many of the works offer

happy woman should look like. A simple Google image search for “happy

a self conscious reflection upon their own status as an art-object,

woman,” reveals countless photos of women, dressed in white, in fields,

17

among daisies, playfully jumping, with butterflies, dancing in the wind,

Malena Lopez-Maggi also utilizes reflection in her installation,

or gazing wistfully in the distance—all complete with soft focus or sun

“Oasis,” a floor based infinity mirror in the shape of a puddle is

filter digital effects. Working in collaboration with photographer Doug

surrounded by a shimmering salt, sugar and glitter. The glowing

Becker, the artist has recreated these situations, placing herself as the

lights reflected in the pool suggest great depths., or the reflection

subject in each scenario, and exaggerating the recurring symbolism used

of the vast celestial unknown. “Oasis,” presents both positive and

in commercial imagery with the use of props, and over embellishment

negative space, a void that reads as a portal to an otherworldly space,

of the stylistic elements in Photoshop. Tzur’s project reflects the

a hint at the possibility of falling into a wormhole, or time travel.

constructed tropes and exaggerates them in playful reenactments.

Lopez-Maggi’s “Geodes,” similarly collapse the future and the past,

For Introductions, the artist presents a mock-tradeshow booth featuring

referencing the centuries of layered geological formations, made by

the photographs printed in large scale, staged with pamphlets, pens,

the chance encounters of air bubbles, minerals, water, heat and time.

buttons and including a performative element of sales representatives

Lopez-Maggi’s constructions are made of synthetic materials, including

for the “program” at the opening reception. Blurring the line between

Polymer clay, aluminum foil, cardboard, foam, and Plexi-glas modeling

fiction and reality, “JoyAbound,” has expanded back into the internet

an enticing constructed history that gestures towards both a utopian

as well, with a dedicated Instagram account featuring testimonials and

and dystopian future.

photos of women who have successfully completed the faux-program.

Rooted in natural photography Adam Thorman’s work presents a Though far from a digital expression, Katherine Vetne’s interest in

related perceptual shift creating alien spaces, and alternative universes

Waterford Crystal as subject matter and material began as an internet

from familiar natural elements. In positioning circular areas of inversion

search of her own name in online bridal registries. Upon finding a

in his black and white photography the familiar is made strange

match, the artist was shocked to see that the other Katherine Vetne

and the landscape imbued with a haunting ethereal quality. While

had registered for a $155 Waterford butter dish. The artist became

the imagery is based entirely within the natural world, the resulting

fascinated with Waterford crystal as a symbol of opulence and a vehicle

shift in perception creates an otherworldly experience. The artist

for cultural criticism of class, consumerism, and socially constructed

describes the circular element as “sun as moon, moon as sun,” and

expectations of femininity. Working from precariously abundant still life

when situated unexpectedly within the landscape, the artist collapses

maquettes of the fragile crystal stemware and serving dishes, Vetne

the celestial and terrestrial. For “Introductions,” the “Sunmoons,”

incorporates both Waterford and the cheaper “knock off” versions of

are presented in triptych with, “A Proposition of Likeness 7,” a richly

the same distinctive style in her exquisite silverpoint drawings. Vetne’s

saturated photo in which the disorienting perspective makes, the

interest in deconstructing object and it’s metaphorical meaning, is further

familiar patterning effects of water on sand appear alien, heightening

developed in sculptural objects created by melting the actual glassware

the tension between the real and imagined landscape.

down in a kiln, and coating the glass with silver nitrate--the material used to fabricate mirrors. The reflective melted surfaces bear faint historical marks of the shapes and patterns of the original crystal and are layered further in suggestion of vanity, by reflecting the viewer’s own image in the form.

18

Thorman’s celestial imagery is juxtaposed in an interesting interplay

Matthew Usinowicz’s

in the gallery with Courtney Sennish’s concrete sculptural objects.

employment of a three

Although deeply referential to the urban landscape, Sennish’s

dimensional readymade

work offers like-minded shifts in perception and possibility through

object in juxtaposition

weightless and playful juxtapositions of recognizable industrial

with a large-scale abstract

materials. Colliding self-consciously with the interior architecture

painting navigates the

of the gallery, Sennish’s work highlights the mundane and offers

nuanced relationship

seemingly impossible constructions that defy gravitational and

between the world of

locational expectation. In “$15,000 Shadow,” the artist considers

fine art and labor. A

the interaction between nature and the city, referencing the palm

mop leans precariously

tree as a non-native status symbol within the California landscape. In

against a brightly colored

a gritty, three dimensional tactile painting referencing the sidewalk

geometric canvas, its

itself, Sennish’s title further implicates the artwork as a commodity,

head stained pink in

heightening the tension between the subject and the object in the

perfect compliment

context of a gallery.

to the painting, and

The surprising juxtapositions of Matthew Goldberg’s sculptures

suggestive of its utility to

share an affinity in their self-conscious presentation within the

the artist, or to janitorial

gallery. In anthropomorphized forms that slip in and out of the comfortable space of recognition, the artist shifts perceptions of

Matthew Usinowicz

staff. The artist calls into question the distinction

recognizable imagery and objects by creating surprising forms

between art making and labor in the addition of the mop, and successfully

that seem to evolve at differing angles. In this space of ambiguity,

removes focus from the painted imagery, self consciously reflecting on the

the objects evade clear definition, and yet offer an element of

the dissonance in valuation of vocation. Further challenging this distinction,

self-reflection and critique of high and low-brow art; commodity

in his sculptural work, “Trade Tool,” the artist has fabricated the familiar

and sculpture. Important to the structure of each composition

shape of a painter’s palette knife in a much larger than life scale. Expertly

is the interaction between handmade materials and readymade,

produced from mahogany and steel, the craftsmanship associated with

ceramic with marble, rubber and wood, even fresh blueberries, in

painting, woodworking and metalsmithing are brought into constellation

an interplay of tactility that adds layers of interpretations to these

with one another, to produce a tool that is far too cumbersome to wield.

elusive “creatures.” Goldberg’s integrated pedestal elements, imbue the objects with the esteemed reverence of classical

More weightless in presentation, but similarly nuanced in their self-

sculpture, and seem to challenge historical and contemporary

reflective critique, are Jon Gourley’s text based works. Screen-printed in

valuation of three dimensional art objects.

Helvetica on lightweight Sekishu paper and hanging vulnerably unframed by two magnets in the gallery, the works are self deprecatingly modest in presentation. Gourley’s prints challenge their own very nature, and offer inadequacy as subject. Each work is a stand-in for an authentic experience

19

or successful attempt at the communication of ideas. The one non-

and hung in a row higher than eye level, these rock tumbler-esque,

character based text in this presentation, “Untitled, 2013,” features

sculptures function almost as clocks, suggesting the passage of time

a flat print of a braille text, which would translate to “You Feel Me?”

and accelerating the wear and tear of the objects they contain.

The print fails the blind and seeing alike, allowing no point of access for communication of meaning. Gourley’s work by nature exposes its

Alexandra Bailliere’s sculptural works also investigate the passage

own inadequacy. Humor is prevalent in the prints; each punch line is

of time through the worn mark of human presence and discarded

delivered in the presentation of its own awkward failure.

refuse suggestive of past actions. In a site-specific installation, “Measurement,” receipt paper pours out a corner into a massive pile

The humor that results from recognizable awkwardness is present as

juxtaposed between the gallery and the commerce of San Francisco’s

well in Anja Ulfeldt’s, “Chair for Provocation.” In this video, the artist

Market Street. This unraveling of record is presented alongside the

interacts with a found office chair, turned performable sculptural object

refuse of another gesture of deconstruction. Bailliere’s, “Paint Skins,”

with the addition of microphones. With every slight movement, or shift

sit low to the ground on a pedestal creating a tension between the

in the artist’s seated position, the amplified creaks that the aged chair

celebrated object and forgotten detritus. The layers of latex house

produce are suggestive of awkward public embarrassment caused by the screeching auditory irritation. The artist’s playful interactions further explore the passage of time through the aging of objects, and fleeting relationships we have with the things that surround and define us in, “Time

Alexandra Bailliere

20

Tali Weinberg

Machines.” The artist

paint suggest a deconstruction of the home, or

has created cylindrical

a record of artistic action. In “Head,” the artist presents a cast pillow,

kinetic reliquaries of

its concave shape worn down from repeated use. Its presentation on

discarded objects

a custom pedestal allows the inanimate object to serve as an inverted

donated by the

portrait bust, presenting only the memory of the head that created its

public, turning

shape. Frozen in time, the pillow’s imprint is embedded with a sense

counter clockwise

of presence and absence.

at varying speeds

Tali Weinberg’s works draws upon the presence and absence of water in historical and personal representation of the passage of time. In

visually striking patterned weavings, Weinberg’s, “Drought Portraits,”

moving and changing screens and scrims on the window occasional

represent the artist’s interpretation of historical data of the National

access is offered to see outside, and for the outside to see in. The video

Oceanic and Atmospheric Administration’s National Climatic Data

presentation for “Introductions” is projected onto layers of translucent

Center within her own lifetime. The artist’s systems of calculations

fabric suggestive of the curtains the artist used to create the work, and

and coding have resulted in a lexicon of patterns representative

offering a layered vision of the light interplay. This video is part of an

of California’s annual temperature, precipitation, and the Palmer

ongoing series of time-lapse videos shot internationally in specific locations

Drought Severity Index from 1982 to 2014. The sources California-

offering interesting perspectives on the shifting of directional light.

grown organic cotton, dyed with a variety of plant dyes and mineral mordants to weave formally minimal geometric patterns in a naturally

Bartalos elected to exhibit “Mission: East,” from his series of videos for

based palette. These weavings literally thread the connection

its locational proximity to Root Division’s former gallery space, and its

between personal histories and the natural landscape, inextricably

dialogue with the shifts in San Francisco’s Mission District. These very shifts

linking natural historical data, within the timeframe of the artist’s own

were the impetus for Root Division’s move and subsequent organizational

lifespan and lived experience.

growth. It seems fitting that “Introductions 2015,” is presented on the

Michael Bartalos tracks time not in years, but in the passage of a

verge of pivotal shift in Root Division’s own trajectory. This exhibition is

day in his video installation, “Mission: East.” The evolution of light

the last that the organization will be presenting in our interim location on

is presented as photographed from the interior of a storefront on

Market Street, a beautiful ending to a transitional era, and the beginning

Valencia Street in San Francisco’s Mission District. Bartalos’ time-

of a new chapter in the organizations history in our new, long term home at

lapse sequence explores the changing light over the course of a day

1131 Mission Street.

through shifting fabrics and screens that the artist manipulates. The meditative migration of the light, suggests the evolution of the world

The themes that have risen to the surface of this group exhibition seem apt

outside, as viewed from a controlled interior space. Representative

for the organization as well. During this time of transition we too have had

of a single day, the artist shoots hundreds of images over the

to consider the passage of time, utilize innovative strategies for conveying

course of weeks to get a range of manipulated moments. Through

our ideas, challenge our own infrastructure, and maintain enough of a sense of humor to get through the challenges. As we move into the next phase of the organizations history, we hope that the artists featured in this show feel a similar rise in momentum in their careers, fostered in part from the exposure gained by opportunities such as this -Amy Cancelmo, Art Programs Director, Root Division

21

Photo credit: Kija Lucas

Jurors

About Root Division

CATHARINE CLARK – Owner, Catharine Clark Gallery

Root Division is a visual arts non-profit that connects creativity and community

AIMEE LE DUC – Executive Director, Berkeley Art Center STEVEN WOLF – Owner, Steven Wolf Fine Arts

through a dynamic ecosystem of arts education, exhibitions, and studios. Our mission is to empower artists, foster community service, inspire youth, and enrich the Bay Area through engagement in the visual arts.Root Division is a launching pad for artists, a stepping stone for educators, a door to creativity for

Staff

youth, and a bridge for the public o become involved in the arts.

MICHELLE MANSOUR – Executive Director

Root Division is supported in part by grants from The National Endowment

AMY CANCELMO – Art Programs Director

for the Arts, The Andy Warhol Foundation for the Visual Arts, Grants for the

LETICIA SALINAS – Education Programs Director

Arts: San Francisco Hotel Tax Fund, San Francisco Arts Commission / Com-

BROOKE WESTFALL – Communications &

munity Investments, Bloomberg Philanthropies, Fleishhacker Foundation,

Walter & Elise Haas Fund, Drusie Davis Family Fund, Adobe Foundation,

Development Manager

Zellerbach Family Foundation, A Better Place Foundation, Crescent Porter

BLAKE GIBSON –Installation & Facilities Manager SUSANA CORTEZ – Outreach & Programs Assistant

Hale Foundation, and Art4Moore.

Catalogue Production IRENE CARVAJAL – Artist/Designer (www.carvajal-art.com) KIJA LUCAS – Exhibition Photographer (kijalucas.com)

pop-up

22

www.rootdivision.org

415.863.7668