Jan
7
Feb 4

me/you

  • C2C Project Space

me/you is a group show installed in C2C/WC, the bathroom space in C2C Project Space, curated by Kirk Stoller. 

Opening reception: January 7, 2017 6-9pm
Closing reception: February 4, 2-5pm
Exhibition dates: January 7 - February 4, 2017

Artists: 
Auggie Oz, Elise Siegel, Adam Novak, Jennie Ottinger, Sarah Thibault, Grace Rosario, Amanda Church, Tebby George, David Lasley, Bill Samios, Yuki Maruyama and Matt Chavez. 

 

Nov
12
Dec 10

The Understudy @ Et Al

  • et al gallery

A drawing show. Artists: Stephanie Hier, Julia M. Leonard, Brigid Mason, Sam Spano, Sarah Thibault
November 12 - December 10, 2016
Opening Reception: Saturday, November 12, 6:00 - 9:00 p.m.

Et al
620 Kearney St
San Francisco CA 94108
etaletc.com

Nov
11
Nov 19

Alma Mater @ CCA

  • Hubble Street Galleries

Alma Mater: 2016 Alumni Exhibition
November 11 - November 19
Opening: Saturday November 12, 3:30 - 5pm

Hubbell Street Galleries
161 Hubbell Street (near 16th)
San Francisco, CA 94107

Public reception as a part of Alumni & Family Weekend

There's no such thing as a free hand @ Egyptian Art & Antiques
Nov
5
Dec 4

There's no such thing as a free hand @ Egyptian Art & Antiques

  • Egyptian Art & Antiques

“There's no such thing as a free hand.” an exhibition of painting, drawing and sculpture by Sarah Thibault & Micah Wood.  Sarah Thibault’s artwork for this exhibition- drawings, works on canvas, and sculpture made of provisional materials like cardboard and aluminum foil- investigates the quiet trauma of the everyday, a million small blows felt by the invisible and the silenced.  Among her subjects are women, avatars for herself, grappling with a culture that values image and over agency; and the homeless population in San Francisco- people who are cast out and living at the fringes of the city.  While the challenges faced by these groups are disparate, there is a loss of humanity and a degradation of the self that is shared.  Engaging a Surrealist approach to image construction and materials as a way to access challenging subject matter, the work attempts to bring light issues that haunt our culture from the shadows.  

Micah Wood’s small paintings on panels and reproductions of original posters offers a chance for the viewer to think about the current conflicts in the US and abroad. His use of posters by the French group “Atelier Populaire” draws upon the political context of France in the 1960’s, a time that is eerily similar to the American political landscape of today. Atelier Populaire posters were made for the May 68’ protests in Paris and primarily produced at the Beaux-Arts academy. The artists were addressing issues such as capitalism, fascist governments, consumerism and immigration, among other things. These artists decided to de-authorize the posters, making them available for mass reproduction— a nod to a more Marxist way of distribution. Wood felt a particular resonance with these posters while he was living in Paris this past year. The radical notion of giving up authorship of the “artwork” is also of particular interest to Wood in terms of appropriation and a conflation between political texts and painting.