The San Francisco Museum of Modern Art has announced the 2019 recipients of its biannual SECA Art Award. Conferred this year on three Bay Area artists, the award has been the region’s most visible recognition program for contemporary artists since its inception in 1967.
The winners were chosen from among 16 finalists announced in December. They are Kenyatta A.C. Hinkle, Sahar Khoury and Marlon Mullen. Each artist will have a dedicated gallery in a three-person exhibition to be held at SFMOMA in November.
Opening reception: Friday, January 25, 6:00-8:00 PM
This spring marks forty years since the Iranian revolution disrupted a nation and laid the groundwork for global conflicts in the following decades. It resulted in millions of lives being displaced and dislocated, and initiated a shift in the politics of the region that deepened a complicated and precarious rift between conflicting ideologies, resulting in an ongoing exile for Iranians in diaspora across the world.
The SFAC Galleries is pleased to present Part and Parcel, guest curated by renowned local artist, curator and educator Taraneh Hemami. As a member of the Iranian diaspora, Hemami was interested in fostering an exhibition that would take a look at geographies of belonging. What does it mean to belong? How do specific places affect our ability to be included or excluded from belonging? And how does one negotiate identity in a new space when dislocated from self-defining cultural, political, geographical, or social aspects from another? What role do desires to fit in and/or resist assimilation have in belonging?
The four featured artists, Tannaz Farsi, Gelare Khoshgozaran, Sahar Khoury, and Minoosh Zomorodinia examine crossings and becomings, systems and processes, nature and language, time and histories, and remnants of the everyday, in their multidisciplinary projects.
Gelare Khoshgozaran, an interdisciplinary artist, and writer, was born and raised in Tehran and currently lives in Los Angeles. In her work, she envisions the city as an imaginary space between asylum as “the protection granted by a nation to someone who has left their native country as a political refugee” and the more dated meaning of the word, “an institution offering shelter and support to people who are mentally ill.” Part and Parcel hosts a new installation by Khoshgozaran that harkens back to a previous project featuring internally-illuminated packages sent back and forth from California to Iran.
In Bay Area-based artist Minoosh Zomorodinia’s new two-channel video the artist is depicted standing alone in epic natural landscapes facing into strong winds that press a silver safety blanket against her body. Zomorodinia struggles against the gale to keep her body covered. Her resistance against forces beyond her control, and her determination to be both present and invisible at the same time, combine in ways that are powerful and at times humorous.
For her Bay Area debut, Oregon-based artist Tannaz Farsi will be installing works from her recent solo exhibition, Points of Departure. For a large wall-work, Farsi displays the names of Iranian women, historical and contemporary, creating a visible and accountable document of women's public intellectual labor in Iran and abroad. The names are spelled out in a custom font inspired by 10th century Arabic calligraphy.
Sahar Khoury, an Oakland-based artist, will be producing a new installation of hybrid sculptural works for the exhibition that bring attention to key historical dates in Iran/US relationship of the past four decades.
Part and Parcel and its partner exhibition Once at Present (March 29 - April 20, 2019), curated by Kevin B. Chen and Taraneh Hemami at Minnesota Street Project, are affiliate programs of the international conference, Forty Years and More (March 28 - 30 2019), presented by the new Center for Iranian Diaspora Studies at SFSU. https://ids.sfsu.edu/conference
Image credit: Minoosh Zomorodinia, Sensation, 2016-2018, two channel video installation (video still)
Nov 8 — Dec 16, 2018
Thursday, November 8, 6–9 pm
Co-curated by Jehra Patrick, Law Warschaw Gallery Director and Curator, and Susannah Magers, an Oakland-based independent curator and writer, Material Futurity brings together contemporary artists from across the United States working in video, performance, sculpture, fiber, painting, digital projects, and mixed media. These artists’ practices prioritize re-working, mutability, potential, and fluidity—locating futurity, in conversation with the past and present, as a speculative and generative site.
Whether incorporating interdisciplinary or collaborative methodologies, appropriation, archival resource materials, or autobiographical narrative structures, this exhibition takes a humanist approach to imagine an abstracted, queer, and forward-looking space for inquiry and investigation. We see a common thread in process, with resistance to hegemonic or definitive outcomes, and a specific contextual commitment to intersectional, expansive approaches that critically imagine, access, or abstract the world we have as well as the world we want to live in.
Featuring recent work by Diedrick Brackens (Los Angeles, CA), Jeffrey Gibson (New York, NY), Sahar Khoury (Oakland, CA), Grace Rosario Perkins (Oakland, CA), Anna Luisa Petrisko (Los Angeles, CA), Chris Bogia (Queens, NY), Jade Yumang (Vancouver, BC, Brooklyn, NY, and Chicago, IL).
The only survey exhibition of its kind in Northern California, YBCA's signature triennial BAY AREA NOW returns in its eighth manifestation as a key component of YBCA's 25th anniversary season.
At a time when the challenges facing artists in the Bay Area continue to mount — from rising rents and displacement to too few venues that can elevate and support emerging artists — an exhibition that focuses on what is being created in studios across the region is not just desirable, but vital.
Selected through a process of studio visits conducted from fall 2017 through spring 2018, the exhibition showcases visual artists in a broad range of creative practices, including painting, photography, ceramics, textiles, video installation, and digital media. For the first time in its history, Bay Area Now also includes architects and designers working at the leading edge of environmental, landscape, and housing design.
The picture that emerges — of both the region and the artists who call it home — presents a resilient Bay Area, where humor and care come together with intimate reflections on individual and personal histories, and where bodies and geographies propose a fluid understanding of race, gender, and nature. Using materials as surrogates for gender and environmental politics, the participants point to an in-between space that, by rejecting rigid dichotomies, suggests a delicate optimism.
In celebration of the artists and curators who took part in previous editions, as well as the current state of YBCA as an institution, the exhibition research and text materials will include a look back at the history of Bay Area Now.
Sadie Barnette, David Bayus, Sita Kuratomi Bhaumik, Sofía Córdova, Caleb Duarte, Josh Faught, Darell W. Fields, Nicki Green, Porpentine Charity Heartscape, Jamil Hellu, Constance Hockaday, Rhonda Holberton, Carrie Hott, Hyphae Design Laboratory, Sahar Khoury, Charlie Leese, modem, NEMESTUDIO, Woody De Othello, Marcela Pardo Ariza, Stamen Design, Taravat Talepasand, Urban Works Agency (UWA), Cate White, Andrew Wilson
Featuring works by Tauba Auerbach, Sarah Cain, Ajit Chauhan, Veronica DeJesus, Colter Jacobsen, Sahar Khoury, Alicia McCarthy, and Will Rogan.
Opening reception: Thursday March 15, 6:30–8:30 pm
7pm: Musical performance by The Dirty Ditches
Panel: Friday, March 23, 7:00 pm
Sarah Cain, Colter Jacobsen, and Sahar Khoury, and co-curator Maddie Klett have a conversation at the McRoskey Mattress Company.
Artwork for Bedrooms tells the story of eight artists living in San Francisco 2000–08, a period that until now has been framed by the Mission School, artists known for sprawling assemblages that took inspiration from graffiti culture. Artwork for Bedrooms draws a parallel narrative from the same moment of young artists who were similarly invested in “poor” materials, but who put them to work in more abstract, fragile, or conceptual ways.
Artwork for Bedrooms is curated by CCA’s Graduate Program in Curatorial Practice Class of 2018 Maddie Klett, Zhaoyu Lin, MK Meador, Cristiane Ulson Quercia, Rosa Tyhurst, and Qinyue Xu.
In contrast to a conventional historical survey, Way Bay is organized to suggest poetic currents and connections among works from disparate cultures and communities, highlighting transhistorical affinities among artists, filmmakers, authors, and other creative practitioners who have contributed to—and drawn inspiration from—the region’s distinctive character.
Continuous film screenings in the galleries showcase the Bay Area’s rich history as an incubator for avant-garde and experimental cinema, beginning with a silent film that captures life on the streets of San Francisco just days before the 1906 earthquake destroyed much of the city. The exhibition also includes highlights from BAMPFA’s extensive archive of video and audio recordings by artists working in the Bay Area, as well as an interactive postcard project devoted to poetry by Bay Area writers. A series of lectures, performances, readings, and participatory workshops in the Fisher Family Art Lab extends Way Bay across diverse media and disciplines.
In addition to works from BAMPFA’s collection, including many recent acquisitions on display for the first time, Way Bay includes exceptional paintings, prints, photographs, and other works from UC Berkeley’s Bancroft Library and Phoebe A. Hearst Museum of Anthropology.
CANADA is pleased to announce bow bow, a two-person exhibition featuring Johanna Jackson and Sahar Khoury. These two sculptors have neither collaborated nor shown together. Artist curator Tony Cox recognized their material and conceptual affinities, what he describes as shared acts of ‘ancient maintenance,’ and felt they belonged together. Jackson and Khoury produce hand-built, delicate constructions; they employ clay or concrete, their forms are natural or urn-like, and they share an experimental approach to sculpture that is both archaic and of the future.
Khoury makes vessels and freestanding numerals that resemble amphoras or figures. They are careworn objects and bare the residue of use--built from found or discarded materials--and their patchwork surfaces are covered with paper mâché or paint. Her numeral sculptures are placed just so, arranged in a way reminiscent of a garden, a forest, or a crowd, and indicate years of personal and neoliberal significance: 1953 or 1979. In their titles and forms, these works suggest traces of history and monuments, and yet Khoury displays an openness to the act of making.
Jackson uses language in visual ways: her tin sculptures are pressed with words and images like a sort of instruction manual for the subconscious. She creates objects that are simultaneously recognizable yet transformed beyond utility; her rugs are hooked by hand, and a grandfather clock stands rendered in clay and frozen in time. The scale of her work is purposefully sized for the body or the home, as though she’s drafting a proposal for a weirder way of living. She tunes an antenna towards the universe, and listens for the mysterious.
Johanna Jackson (b. 1972 in Springfield, Massachusetts) currently lives and works in Los Angeles. Solo and two person exhibitions include “The Middle Riddle” with Chris Johanson at the Journal Gallery, Brooklyn; "What It Means to Learn" with Dana Dart-McLean at Human Resources in Los Angeles (2015); "The Big Fig" at the Portland Museum of Modern Art (2013); and “Money on Fire,” a video commission for the Museum of Contemporary Art in Los Angeles (2011). Her work has also been exhibited in group shows at the Oakland Museum of California, Marlborough Gallery in New York, Roberts & Tilton in Los Angeles, Yerba Buena Center for the Arts, and the San Francisco Museum of Modern Art, among others. In December, she will be present a solo exhibition with Adams & Ollman in Portland, Oregon.
Sahar Khoury (b.1973) currently lives and works in Oakland, California. Recent exhibitions include ‘They,’ Luggage Store and 2nd Floor Projects, both in San Francisco. Her work has been exhibited in group shows at the Oakland Museum of California and Yerba Buena Center for the Arts. She received her BA in Anthropology from UC Santa Cruz in 1996 and her MFA From UC Berkeley in 2013. She worked as an ethnographer at the Cesar Chavez Institute at San Francisco State University from 2002-2015. Her research focused on the structural vulnerability of Latino migrant day laborers in the Bay Area.
Tony Cox (b. 1975, Louisville, Kentucky) lives and works in New York and is represented by Marlborough Contemporary. His work has been exhibited extensively in New York at venues such as The Jewish Museum, White Columns, Salon 94, Andrew Edlin Gallery, and Kate Werble Gallery. His work is currently on view at Reyes Projects in Detroit. As a member of the performance group LOBOTOMAXXX, Cox has performed around the US at galleries and institutions including the Perez Museum and Hammer Museum. Their next performance will be at the Brant Foundation, in Greenwich, CT in conjunction with Animal Farm an exhibition curated by Sadie Laska.
The Luggage Story Gallery is pleased to present dual solo exhibitions of the Oakland-based artists Sahar Khoury and Anne Walsh, opening February 18 and running through March 18. Khoury will be showing new sculptures and paintings built from papier mache, concrete, ceramic, steel, bamboo, textiles, and found objects. Walsh will be showing a ten-minute video work titled “Anthem (Let it Go),” installed amidst walls papered with written, illustrated, and edited drafts of her genre-bending adaptation known as The Annotated Hearing Trumpet. Khoury and Walsh took the shared title THEY for their exhibitions in an act of communion with one another and as an expression of the teeming, clamoring, urgent mass of voices and forms that make up the works on view. At the close of the exhibition, Walsh and Khoury will produce a collaborative publication with documentation, conversation, and writings on THEY works.
Khoury’s THEY will fill the lofty third floor gallery, with an installation of her signature rough yet tender objects. Painted and glazed ceramic works, bed pillows deliberately shot through like target dummies, concrete encased masquerade masks gather in a central huddle. A small forest of number forms - 20th c. years which mark nationality and memory formation in Iranian and Palestinian histories - stands aside the central cluster of sculptures. A set of paintings, (6’ x 4’, 5’ x 5’)) made of dismembered clothing, newspaper and paper shopping bags are THEY’s wall objects. Khoury’s figuration in THEY moves confidently around and through a core of damaged, beloved, assertive and eternal bodies.
Anne Walsh’s THEY is a quasi-documentary music video titled Anthem (shot 2014, completed 2015 and re-worked 2017) , conceived as a “chapter” of her ongoing, multi-year “adaptation” of Leonora Carrington’s utopian feminist fable The Hearing Trumpet. When Walsh learned that a local organization for older-age thespians would be teaching a musical theatre class featuring Let it Go, the hit song from Disney’s 2014 movie Frozen, she signed up for the class. Walsh reveals herself in Anthem as both stranger and native, ambivalent and curious in the re-making, re-embodying, re-mediation of a little girl’s manifesto by a troupe of (mostly) women, ages 65-80.
Surrounding, containing, and contextualizing Anthem, the walls of Luggage Store’s second floor space are papered with Walsh’s writing and visual ephemera, a book-in-progress exploded and mapped from her studio to the gallery. Hand-written research notes, photographs of those notes, digitally-printed and hand-edited photographs of text, enlargements of the latter, and photographs and letters from Walsh’s friendship with Carrington, as well as her own self-imaging and research into the identity of an “Apprentice Crone” are the elements of Walsh’s affective universe
Sahar Khoury is an artist based in Oakland, California. She works mostly with found or rejected materials to produce painterly sculptures. Her constructions are made of a combination of paper mache, paint, textile, concrete, ceramic, and silkscreened materials. She received her BA in Anthropology from UC Santa Cruz in 1996 and her MFA From UC Berkeley in 2013. She has exhibited in the Bay Area and nationally, most recently at the Oakland Museum of California and 2nd Floor projects.
Anne Walsh lives and works in Oakland. She frequently engages collaborators in the retelling of histories and the translating of texts, and this process of making, with its risks, desires, and failures, gives unstable shape to her completed work. Her performances, videos, sculpture and works on paper have been exhibited at Diapason, NYC; San Francisco Camerawork; Rosenbach Museum and Library (Philadelphia); Artists Space (NYC); Royal College of Art (London), Lothringer 13 (Munich), the Whitney Museum of American Art, and as part of the Hayward Gallery's (London) traveling exhibition program. She is faculty in the department of Art Practice at U.C. Berkeley.
Sahar Khoury | ZOO
I am transported to Dheisheh, a Palestinian refugee camp in the West Bank of the occupied Palestinian territories; designed 50 years ago to be temporary, this has become a permanent home for many. I’m walking up winding, unnamed streets narrowly sandwiched between crumbling walls, their exteriors covered with layers of faded posters and painted stencils. Concrete floors and tin roofs, exposed rebar and half-built cinderblock structures, rebuilt and repaired–everywhere is evidence of dislocation.
Sahar Khoury scours the urban landscape for castaways: security bars or fence posts that were discarded in favor of visually pleasing replacements, or disposed of altogether in the wake of demolition for a new building site. She reimagines this refuse— gathered nearby her West Oakland studio—to build her sculptures. The resulting work is not specific to any place, yet is insistently local–this is what is being thrown out. The work is able to exist out of place, yet be about place.
Luca Antonucci | The Custodian
In “The Custodian,” Luca Antonucci explores issues of authenticity and authorship of art. Starting from an obsession with art forgeries and their implications, Antonucci focused on the practice of art conservation for the work in his installation. The conservator is tasked with the impossible challenge of making an artwork last indefinitely but who inevitably alters the work in an attempt at preservation. Apt for a seasoned publisher, the core of Antonucci’s site-specific installation takes book form — one that cleverly employs ambiguity to frame a collection of found images that muddle the definition of art. Antonucci’s installation also challenges traditional display practices: while it is conventional to hang 2D work on a wall with a 60’’ center, said wall is traditionally facing the viewer.