L@TE: Friday Nights @ Berkeley Art Museum/Pacific Film Archive. The much-lauded after-hours performance program returns with a typically eclectic schedule, melding dance, theater, music, and more.
This “eclectic group of pluckers”—eight virtuosos of classical guitar, including ensemble founders David Tanenbaum and Peppino D’Agostino—supplements nylon strings with steel, combines electric basses with seventeenth-century theorbos, and throws in an oud for good measure. Tonight they join forces to tackle a wide variety of music, including Steve Reich’s seminal Electric Counterpoint, as well as works by Sérgio Assad, Terry Riley, and Astor Piazzolla. Programmed by Sarah Cahill. February 1, 7:30 p.m. Doors open 5 p.m.
‘Silence,’ a new show at the Berkeley Art Museum and Pacific Film Archive explores the aesthetic, emotional, psychological and spiritual terrain that underlies those expectations and assumptions. Ranging from hushed Surrealist canvases by Giorgio de Chirico and René Magritte to experimental silent films to a Robert Morris minimalist wooden box that murmurs the recorded sounds of its own creation,
“Silence” spans a century’s worth of work that challenges, cajoles and charms visitors into re-examining the complex sonic space and the increasingly rare silence they share in a hyper-wired and amplified world. First mounted by Houston’s Menil Collection and supplemented by new works here, the show opened in Berkeley on Wednesday.
Review by Kenneth Baker at SF Gate
Read more: http://www.sfgate.com/art/article/Silence-at-Berkeley-Art-Museum-4217821.php#ixzz2JawphpCV
Dorothea Tanning at Wendi Norris:
Over 30 of her paintings, sculptures and drawings are now on view in “Unknown but Knowable States,” running through March 2 at Gallery Wendi Norris (161 Jessie St., SF).
Married for 30 years to the Surrealist painter and sculptor Max Ernst, Ms. Tanning became well known in her own right for her vivid renderings of dream imagery. Much later in life, after she had reached 80, she gained a different kind of attention when she began to concentrate on writing, producing a novel, an autobiography and poems that appeared in The New Yorker, The Yale Review and The Paris Review.
“Unknown but Knowable States” features rare and ground-breaking paintings, drawings, and sculptures by Dorothea Tanning. For the first time, the gallery will be dedicating the entire 5,000 square foot space to the work of one artist, paying tribute to Tanning’s fearless vision and prolific body of work. Focusing on works created between 1960 and 1979, during which the Surrealist artist and writer lived, worked, and exhibited in Paris, the show will include over thirty pieces, and will be documented in a 80-page catalogue featuring an essay by Catriona McAra.
Oakland Museum of California: On view are “Suburban Dreams” an exhibition of 22 competently crafted, large-scale color photographs by Beth Yarnelle Edwards now at the Oakland Museum.
Taken between 1997 and 2006, they depict a small group of various Silicon Valley residents before the economy tanked and destroyed a huge chunk of the middle class. Unfortunately, the portrayal of banal conformity results in an exhibit of equally banal images.
Fortunately, this rather boring exhibit was redeemed by the other show at the Oakland Museum: “Playing with Fire: Artists of the California Studio Glass Movement.”
Featuring 32 works on view representing 22 artists in the Gallery of California Art, the exhibition Playing with Fire: Artists of the California Studio Glass Movement celebrates California’s involvement in, and impact on, this movement that was brought to the Golden State by Marvin Lipofsky, who started the glass programs at California College of Arts and Crafts and UC Berkeley, and by Robert Fritz, who established the program at San Jose State University.
Free admission on February 3