Spacegallerysf's Blog

“Wild Country” Group Show

Space Gallery SF — Sat, 09 Apr 2011 23:38:45 +0000

Wild Country Opening Reception
Space Gallery Saturday April 9th
1141 Polk St …Space Gallery is proud to present Wild Country, a group show curated by Crystal Townsend. America was built on exploration, frontierism, and going out into the unknown. The Wild Country highlights art from emerging and established artists, their perceptions of the time of the fledgling American West and the people who built it: mountain men, prospectors, social outlaws, immigrants, and people who were willing to gamble everything they had to achieve a dream, and who refused to settle for the boundaries of the known. Drawing upon a group of artists based in San Francisco and beyond, the show features work spanning a wide range of both two and three dimensional media and discipline, the artists’ interpretation of a younger, wilder West.

The exhibit features work from;
Erik Parra
Mike Kershnar
Albert Reyes
Dave MacDowell
Aaron Lawrence
Serge Gay Jr.
Nick Teodori
Hugh Leeman
Bo Heimlich
Lori Koenig
Derick Montez
Aleksandra Zee
Kristin Farr
Jason C. Arnold
Francisco Agudo

Come by for the opening and show some love! If you don’t get a chance to see it that night the show is up until May 7th and the gallery is open from 12-6pm Tuesday through Saturday for viewings.

In Plain View

Space Gallery SF — Tue, 04 Jan 2011 04:06:53 +0000

Complimenting his solo show at White Walls Gallery on Saturday, January 8, White Walls Gallery and Space Gallery are pleased to present “In Plain View: 30 Years of Artworks Illegal and Otherwise”, a book signing by world- renowned street artist, Dan Witz. In Plain View is the first and long-overdue monograph of Dan Witz’s prolific career as a street artist. His exceptionally long career has allowed for the maturity and innovation that has made Witz a catalyst and an inspiration to artists and audiences alike. The 250 page visual memoir covers the history of his career with explanations and reproductions of his work. With New York as his backyard and stage Witz’s mediums are varied and unique; from conceptual pranks to stickers and posters, all inspired by the transformative appeal of the urban landscape. The book signing will be held on January 7^th from 8-10pm at Space Gallery and is free and open to the public. “In Plain View” will be on sale and available for purchase.

D Young V Special Edition Screen Print Posters

Space Gallery SF — Fri, 10 Dec 2010 22:40:22 +0000

Artist D Young V has released a new special edition screen print exclusively for the Space Gallery event, “The Microscopic Giant”, on December 14th, 2010. The first 50 heads get one! So get to Space Gallery on December 14

Last Nights Show

Space Gallery SF — Fri, 03 Dec 2010 23:00:56 +0000

Thank you to everyone who made it out to the Archaic Revival show last night!

We had a great opening night with live music from Howlin Rain!

If you did not get to come to the opening check out some images from artists Alan Forbes, Stacie Willoughby, and David V. D’Andrea

come by the gallery Tuesday-Saturday 12-7

Interviews of ‘Archaic Revival’ Artists

Space Gallery SF — Sat, 20 Nov 2010 00:20:33 +0000

Upcoming Show: December 2nd

David V. D’Andrea interview

Excerpts from an interview by Rebecca Czaicka for her dissertation,”Psychedelic Art and its influence on contemporary Illustration”.

There’s a clear influence of Psychedelic Art in your work, has your work always revolved around this theme?
I’m not certain. It hasn’t been a planned theme, although I’ve always been heavily influenced by music and design created by people with their “3rd eye glowing”, to quote Scott Weinrich. I’m influenced by nature which is inherently very, very psychedelic! I suppose my work becomes increasingly psychedelic as I become more and more comfortable with conveying my inner journey, better at putting it on paper.

I think that at the core of Psychedelic Art is the artist’s inner vision on paper…and in turn the viewer’s moment of realization…of “I KNOW that too” or “I’ve seen that too”. Since psychedelic drugs and meditation are congruent to the ultimate heightened visionary state, the shared visions are plentiful. Great Psychedelic Art is at once very personal and entirely universal.

When developing new artwork, where do you look for your inspiration?
I spend a night immersed in “research”. This entails flipping through books of classic art, design, natural history etc, often a bottle of wine, salvia occasionally. I love my record collection, so I spend time with that. Good sci-fi or natural history books, heraldic studies, vintage underground comics or 70′s magazines such as Eerie or Nightmare. I meditate in silence or lay down on the floor w/ headphones and Earth 2.

It’s all really an inward looking. I always have a sketchbook at hand, and hopefully emerge with some ideas on paper the next morning.
Who are your design heroes, from the past and present?
My favorite contemporary artists are Barron Storey, Arik Roper, Kiki Smith, Daniel Higgs, Vania Zouravliov, Roger Dean, Alan Lee…
From the past, Barney Bubbles, Rick Griffin, Harry Clarke, Ivan Bilibin…

What is it about Psychedelic Art that makes you want to re-interpret it in your own way?
Well, if anything, I think I’m just plugging in to the same channels, the same psychic stream, as the classic poster artists and designers of the past. That might cause easily identifiable parallels in graphics. But really, I think Psychedelic Art is each artists’ view of that world beyond the veil, and the particular way they each choose to explain it on paper.

Nowadays, if I do lettering that references Griffin or use colors from Moscoso’s palette, it’s simply a nod to them. Much of the music that I am into is either from their generation or direct descendants of it. The coupling of live music and art was at a peak during their era, and in many ways I’m riding the wave that they created. The re-interpretation is a conscious nod, although I try to keep my own style and vision as the focus of each piece.

A lot of your work is print and packaging, how do you get most of your commissions? (e.g word of mouth, website etc)
I began in the mid 90′s by producing photocopied flyers for local shows. It has all evolved organically from there. At this point I do get a lot of people approaching me, so i just do my best and one job leads to the next. I screen print all my own posters here at Monolith Press. The printing has become an important part of my process, so I really enjoy producing show posters for bands I like. It’s a never ending struggle, both to maintain financially and the decisions involved in maintaining a healthy drive to create.

Alan Forbes interview

Interview by Erin Cadigan, curator of the “Psychedelic Bicycle Ride” show, August 2010, San Francisco.

What can we say about Alan Forbes? Definitely one of the most prolific of the new guard of psychedelic rock poster artists. Incorporating nature and humanistic imagery with sacred symbology his work is very well known in the heavy rock, metal and indie scenes. There is something creepy yet mesmerizing in the fluidity of his ink work, it calls to mind poster masters like Mucha and the San Franscisco “Big 5″ yet delves into the present and future creating a modern style of his own. Here’s Alan in his own words……

Name:
Alan Forbes

Age:
41

City:
San Francisco

At what age did you know you wanted to be a professional artist?
I honestly cannot think of anything else I have ever wanted to do. Ever since I was a kid I have always been driven to draw constantly. I have done a couple day jobs,and each time it has taken me back to artwork.

Who are your favorite artists?
I have loved the sixties posters. Rick Griffin, Mouse and Kelley, Greg Irons. I also really dig the work of Arik Roper and David Dandrea.

What moves you to create psychedelic or visionary art?
What inspires me to do the work I do is usually a ton of reading (lately “nog ” by Rudolph Wurlitzer and yet more Alan Watts). Also a lot of my surroundings here in San Francisco and the Bay Area. I am lucky to be in such an amazing city with endless access to nature. I guess you can say I wander around in my head every day.

What medium do you work in? What is your process to complete art?
For posters I only like to work in brush and ink. No computers, everything hand drawn and lettered. As for paintings, it is oil and acrylics.

Like any other field do you see yourself “retiring”?
I do not think I will ever retire. I think that being an artist is a ever evolving process.

Do you listen to music while you work? If so what kind?
Music lately has been the Black Crowes, Howlin Rain, Sleepy Sun and a whole bunch of this great Bay Area music scene that is going on.

Stacie Willoughby interview

Interview by Cat Johnson. Originally published on houseofcat.net.

You spend a lot of time creating posters for shows and music-related events; can you talk about the relationship between your art and music?
There’s something about combining the two that takes everything a step up. That’s true whether there are visuals happening at the same time as the music, or whether there are visuals lauding the music beforehand, or whether there’s music happening while the art is being made…they just work well together.
I like having the event be the de facto meaning of the poster. It really takes the pressure and the seriousness off of WHAT THE ART MEANS. And if people are looking at the art and they understand inherently that it’s an advertisement for an awesome event, then that’ll be the thing on their mind, and any other meaning they pick up from it will be sorta sneakier and secondary. And y’know, I like shows, I like live music, and live music goes off best when everyone’s, y’know, ready for it. I’m just really into making things exciting…I want my posters to be the best possible kind of foreplay.

How has your art evolved over the years? When did you start drawing and how did you get into doing gig art?
I’ve always drawn. Since my hands could clasp an implement. I’d like to think I’ve gotten more skilled over time, and I know I still have an eternity to go in that department. I’ve gotten much more willing to let myself draw whatever I feel like, even if it’s gonna be kind of uncomfortable for someone. I started making advertisements because it needed doing, and it’s pretty much the best job in the world. For me, I mean.

What kind of physical space do you create for yourself when you sit down to start a project? What is your preferred medium?
I like posters because you can do them anywhere, you can take them with you outside, you just need a hard surface on your lap. I hang out in my room and do them and listen to records. I have a drawing table but I only use it about half the time, maybe, and I haven’t had it that long. I have this board I put in my lap, I just sorta work that way. I like playing with materials, but I guess pencils and pens are my favorite. Markers are cool too, but I’ve been playing with a lot of mixed media lately. Anything that can mark the surface and is even remotely controllable.

The characters that show up in your work tend to be one of a kind, other-worldly types. Where do they come from? Do you plan them out in advance or do they manifest spontaneously as they’re being created?
I don’t know, I don’t think about it. I make something that looks right as I go along. I get an idea, and then it needs something, and then I put it there, and I keep doing that ‘til it’s finished. I’m sure that everything’s psychological. People always see the posters and they’re like, “Hey! It’s a girl with a spiderweb on her!” And it seems silly because you’d think I’d be aware of what the poster is of, right? But actually I don’t see half the stuff other people see in there, so it’s cool for me. The thing never feels fully apparent ‘til someone else tells me what they see.

Poster art has such a rich history. Are there particular artists or movements that have directly inspired your work?
Yeah. Tons. Pretty much everything I’ve ever seen. That’s how I feel about it. I didn’t study anyone, I just have a really photographic memory and I file everything away and let it blend.

Historically, poster artists are record keepers, documenting everything from art and music movements to wars and political upheavals. Their posters are known by all, yet very few know the artist behind the work. Why is this and how can we pay poster artists the respect they deserve?
I don’t know. You either care or you don’t, it’s not a big deal. If a poster strikes me, I always try to find out who did it. Posters are advertisements, so people’s minds go to what’s on the poster instead of who made it, first. And then if the art is really striking, they might want to know who made the poster, and that’s a compliment to the artist. But I think it’s cool that people know of the posters and don’t necessarily know who I am or my name or my face. It helps me to see more realistic reactions to them, unlike when you’re at an art show and everyone’s kinda pussyfooting around, feeling like they have to have an opinion even if they don’t feel anything.
Posters are like guerrillas, they’re out all over the street and half the time you don’t even realize you’re being infiltrated. That’s true of shitty ads too, unfortunately. But I just like making the thing, I like altering the landscape a little tiny bit in my own way. I mean, everything I have to say is in there. But I believe in communication, so that’s why I answer these questions sometimes, but there’s really no need: it’s all in the posters.

Original blog post here:

http://archaicrevivalsf.blogspot.com/

Revisiting our Soulless Corpses

Space Gallery SF — Fri, 12 Nov 2010 00:18:29 +0000

Here is a little recap of a few pieces that were part of the Zombie Show, “Just One Bite” (November 30th)

“Zoltron Loves You”… check out other work from Zoltron here.

Collaborative work from Bo Heimlich and Helen Bayley

Cross stitch, cutout, quilted work from Jason Vivona

Chad Hasegawa

and Peter Adamyan

Tomorrow: City Dolls

Space Gallery SF — Fri, 05 Nov 2010 07:29:35 +0000

Tomorrow night from 8-11pm will be a fashion friendzy! “City Dolls” brought to us gratefully by Kirsten Incorvaia, the show will feature the fashions of many, highlighting the talented designer Becky Jane Harrington. Her new fashion line emerges as a fall fashion forward look with unique studs and stones by Ashley Clark.

To view the press release kindly written by Kirsten, click here.

Here are some sneak peaks of Harrington’s awesome flocks:

All photos courtesy of Kirsten Incorvaia’s awesome site! Check it out and come to the show tomorrow!

Brandie Grogan in the SF Gate

Space Gallery SF — Fri, 05 Nov 2010 06:13:18 +0000

Brandie Grogan’s show, “What A Ship Is Built For”, is getting the coverage it deserves.

The SF Gate has published a show announcement and it is one to check out. Everyone seems excited for the show!

See you at this Saturday, November 6th, 2010 from 7-12pm!

Cheers!

Close Up: Brandie Grogan

Space Gallery SF — Fri, 05 Nov 2010 06:05:51 +0000

Photo: Shaun Roberts

It is a rare occasion to see a solo show at Space Gallery. That is why this Saturday, November 6th, 2010, is a very special night. Space Gallery invites you all to attend the solo show “What A Ship Is Built For” featuring new works by Brandie Grogan. Grogan is an artist whose work jumps off the canvas and transforms into 3D masterpieces made of found goodies from her artistic and inspiring environment. Her meticulous eye for good grabs from the dump (whether they be alive or dead) , and endless hours printing and assembling her pieces are partially responsible for the genius in this show. Each creepy piece of junkyard jewels develop into a story in the artist’s mind and evolve into a sculpture or piece of intricate artwork. One can appreciate the time and effort Grogan takes just by taking one glance. Her work is something different that the San Francisco art scene could use. Glad to have her at Space!

Take a look into what Brandie has to say. Her words are just as interesting as her work.

Can you describe your process for your next show at Space Gallery, “What A Ship is Built For”?

I usually start with all the bits I’ve created and have collected, which includes anything from scraps of paper, small prints, old photos, new photos, drawings, small sculptures, hair, stitched fabric, molds, found objects and building materials. I have it strewn all over the studio, and I piece it together. All of these pieces in this show have been worked and reworked until I felt they were ‘done’ and that I was done with them.

Does your process change with each new body of work?

I try to work with different mediums for every show. ‘What A Ship is Built For’ involved some sculptural pieces like the photo blocks. Those pieces had a very long process attached to them. It was about finding old 4×4’s from salvage yards and sometimes the side of the road, cutting, sanding, staining, burning screens and printing them. Of course I didn’t do the pieces at the same time so I ended up repeating this process about six times. I am a printmaker so I am used to it.

Do you have any rituals you do before starting a painting? Do you have a vision of what it’s going to look like before you start, and follow that vision? Or, do you just create as you go kind of thing?

I love driving around and taking photos with digital and analog cameras. I usually hit up a few salvage yards like building resources in San Francisco. I walk around and get ideas for new pieces. I gather different materials and come home and spread them out along with the photos that I’ve taken and see how they work together. Rearranging, cutting, pasting, covering up and scraping back to reveal what’s been hidden to the point of insanity. This is the ritual that I have created for myself and it is what I do when I’m alone. It’s really not until the last-minute that everything comes together. If anyone were to watch this process they would think I’m creepy.

You have interesting mediums. Tell me why you use human hair, and whose hair do you use?

I use everyday things in artwork. Pictures, lost items, found items, drawings…and hair is just another one of those things. It’s weird how it is seen as beautiful on someone’s head but as soon as it is cut off it’s suddenly disgusting. So I find hair in old photo albums where someone has saved a lock from their child’s first hair cut. The idea behind this act of saving something is really the essence the work. It’s about storytelling and keeping something alive.

Do you work best with structure or clutter and chaos?

I think my work involves both. It is sort of like a structural element that is breaking down.

It’s crazy to me how our society is so afraid of growing old and dying. Death is inevitable, and just as much apart of the circle of life as birth is, and therefore just as beautiful. What are your views on death?

For me it seems to be the thought and anticipation of something dying that evokes the fear and apprehension. It’s another example of the ideas behind my work. It’s a process that includes sadness and denial but it also includes recalling all of those memories that you left behind. To me it’s fascinating and this is the kind of artwork I like looking at and producing.

How do you like teaching at the Academy?

It’s so amazing to see this influx of new ideas and talent. It’s very inspiring.

What are your artistic fantasies?

I want to start making some large scale installations. I would love to take over an entire warehouse and turn it into some sort of exquisite nightmare.

What kind of reaction are you looking for in your audience?

I love seeing all reactions. One person could feel sadness and another thinks it’s cute. It’s all across the board but any reaction is a good reaction.

How was your childhood? Were you one of the kids writing on the walls with crayons and markers?

Definitely didn’t write on any walls. My mom was an interior designer so she was just a little particular about our house. She decorated my bedroom pretty elaborately when I was little. A lot of pink items: baskets, ribbons, dolls, throw pillows, bolster pillows… then one day I came home from school and walked into my pink room and said that’s it. I threw everything pink into a box and put it in the garage.

Jason Vivona and Zombie Time!

Space Gallery SF — Fri, 29 Oct 2010 02:47:20 +0000

Zombie time! The time is almost near… clear away your twinkies and guns. Run for your lives straight to SPACE gallery or else they will eat your brains!

To get you all pumped on this weekend’s Zombie show, “Just One Bite” we have an interview with the one and only Jason Vivona, whose work and installation horriffiingly electrifies the show with orange neon drips and oozing brains.

ENJOY!

From left to right: Greg Speck and Jason Vivona

Where are you from? What’s your sign?

I was born in Springfield, MA. Lived in Connecticut and Massachusetts for my formative years, but then gypsied around since. I am a Capricorn.

What’s the method to the madness?

I stain and paint on paper and then draw stuff on it, then I cut it up and sew it together.

What are you drinking right now?

TECATE

Your work is psychedelic, surreal, and a bit abstract. You seem to juxtapose cultural influences with these avant-guard images. Where do these cultural and stylistic inspirations come from?

From all over the place, my brain soaks things up in a weird way, then this stuff just comes out. Plus anything that’s funny to me gets smooshed in there usually.

Which artists do you admire? Which artists have influenced your work the most?

As far as admire, there is a grip of people I love and respect their work, some I know, some I don’t. Off the top of my head: Chris Johanson, Peter Rubens, Paul Joyce, Gerhard Richter, Porous Walker. As far as influence, I can see some and I’m sure there is a bunch I don’t. It’s all there, you can’t escape that shit.

If you had to share a needle with anyone in the world, dead or alive, who would it be?

None for me thanks…if I had to give my parents blood to save their lives then, maybe.

How would you describe your work to others?

They should just look at it….

What do you think of the SF art scene? Comparatively to NYC and LA…

I’m feeling it. I am stoked on all the folks that I’ve met here so far. Those other places are just different vibes, they sort of parallel the vibes of those cities in my opinion.

You’re covered in tattoos, and you give tattoos. Which mediums do you prefer, skin or canvas? Why?

I like paper, but tattooing is pretty fun. Giving people presents that last forever…that’s sort of neat.

When did you get your first tattoo? What and where is it?

I got it in Boston before tattooing was legal in a kitchen listening to Black Sabbath with my friend Laura, her boyfriend Jason (who did it), and my homie Kerri Valentine.

You’re an avid bike rider and long time skateboarder. Which do you prefer?

Both.

What is We Ride At Night about? Where do you hope to go with this project?

WRAN is a “company” that makes limited edition art products with our favorites drawing the graphics. Tees, and decks, etc. Also, we try to give back in the way of curating group shows for our homies who slay it. We just are having fun, the most important thing to us.

Many artists seem to have a pivotal year or moment when they start to take themselves seriously as an artist. Can you comment on a similar situation/feeling when it became clear to you that this is what you wanted to spend your life doing?

My mom tells me stories of when I was little and about how I haven’t stopped drawing since I was a wee little person. Plus, I can’t do anything else….

What’s next?

Fun.

Buckets of fun with Greg and Jason

For more info on Jason click here!