Tangent Contemporary Art presents Photomosaics™ a retrospective exhibition of digital composite works by internationally known artist Robert Silvers. The exhibition is on view from March 1-31, 2017, at Tangent Contemporary Exhibition Space, 349 Geary Street, San Francisco.
Combining groundbreaking digital technology with photography, fine art and a keen imagination, Robert Silvers developed Photomosaic™, his “pointillism for the digital age.” A classic example of the artist’s iconic imagery, each work in the exhibition is composed of over a thousand smaller photographic images that relate in both a pictorial and conceptual sense to the subject. Produced in small numbered editions of various sizes the photomontages are printed on archival photographic paper and mounted on aluminum.
The exhibition at Tangent Contemporary Art focuses on the most popular aspects of Silvers’ work: celebrity portraits, museum masterpieces and currency banknotes. Among photomosaic portraits of JFK, Jackie O and president Obama, the image of Marilyn Monroe is presented in three distinct variations produced over the years – a quad created with a nod to Andy Warhol, a triple sequence, and a single focal portrait. Among the museum themed works, Girl with a Pearl Earringbrings to mind the rich paintings of Renaissance and Baroque Europe. As a Photomosaic™, Vermeer’s famous portrait is composed of multiple images of famous Renaissance paintings from the Metropolitan Museum of Art, New York, and the Louvre in Paris. Fusing images of currency from around the world, the One Dollar Bill, Euro 500 and the British £20 note are elegantly presented as an object of art, inviting the viewer to reconsider an everyday utilitarian object of exchange.
Silvers invented the unique technology of Photomosaics™ at the age of 26 while studying at the MIT Media Lab. In San Francisco, he is perhaps best known for the large-scale photographic montage he created for the Museum of the African Diaspora. His distinctive medium holds world-wide acclaim through large scale projects for Fortune, IBM, Lucasfilm Ltd., Mastercard International, Disney and Paramount Pictures, as well as covers for LIFE, Sports Illustrated, Newsweek, GEO, WIRED and Playboy. A wall size photomosaic is featured on the façade of the Museum of the African Diaspora in San Francisco. Robert Silvers lives near Boston, and is president and CEO of Runaway Technology. He has co-authored and published two books on his work: Photomosaics (1997) and Photomosaic Portraits (2000).
Tangent Contemporary Art specializes in painting, sculpture, and digital media photography by mid-career, and internationally known artists. For information or inquiries, please contact: 415-956-9999 firstname.lastname@example.org.
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Richly colored, rounded shapes, and sugar-coated surfaces make for luminously pure still life subjects. But for centuries, the subject of candy and desserts has also served as an ideal metaphor for human experience. It evokes simple nostalgia and shared memories, while tapping into the deeper realm of human desire. The longing for sweets echoes the pull of erotic pleasure, seduction and decadence, and their inevitable transience. At the same time, commercial sweets can serve as a means to expose our artificial, consumerist culture.
Internationally renown sculptor,Peter Anton presents oversized, hyper-realistic boxes of chocolates in various sizes and sculptures of ice cream deserts, while Italian photorealist Roberto Bernardi astounds with a dynamic portrayal of a single, red lollypop.
Miss Munchie, a painting byMel Ramos and a selection of his prints equate sexual temptation with commodities, such as commercially produced candy. Alongside Ramos, Albuquerque painter Suzy Smith presents a series lush of neo-pop figurative paintings that pay homage to another Northern California master, Wayne Thiebauld.
Pure seduction is evident in Hubert DeLartigue’s Enjoy. The works of this French photorealist exclusively portray one of the most beguiling parts of the human body: the mouth. In this case, bright red lips part sensuously to reveal a sugary secret.
Peter & Madeline Powell use illusionist technique, with incorporated text, to focus on intricate piles of commercial candy packages. Their paintings of Tootsie Pops, Gummie Bears and various piles of candies instantly bring back delightful memories of childhood treats.
With heightened color, exaggerated form, and often a dash of good humor all of the works in the exhibition promise the unattainable: ultimate satisfaction.
The exhibition is currently on view at 349 Geary Street through January 28. For further information please contact Travis Wilson, email@example.com.
San Francisco creative CHAS MCFEELY in collaboration with Linda Horning exhibit a series of canvases that have been salvaged from the annals of history and repurposed to reflect modern times. Tangent Contemporary Art is pleased to present this exhibition during the month of October. All the artists’ proceeds will go to the charities, Children of Shelters and A Home Within. A cocktail reception will be held on Thursday, October 13, 6 – 9pm. The exhibition will run October 4th through October 29th.
This exhibition is composed of portraits originally painted in the 19th Century. These family heirlooms had become casualties to the ceaseless march of time and circumstance and were eventually forsaken. Sadly, for most items of this ilk this is the end of their lives. But in the case of these pieces, this is the point in which they are reborn. McFeely goes to great lengths to acquire and restore these paintings then turns them over to accomplished artists Linda Horning (paints hats) and Katherine Jacobus (frame finishes). A collaboration of idea and artistry begins and results in the seamless addition of modern trucker hats to the portraits subjects. These hats, bearing humorous and ironic catch phrases instantly transport the paintings from the past to the current day, while compelling the viewer to ask, “who’ s satirizing who?”
As an advertising veteran, McFeely is no stranger to the power of a creative idea and the impact it can have. In this instance instead of using his creative prowess to boost sales for his clients, he saw the opportunity to pursue a higher cause and give back. This austere yet cynical concept has been conceived and produced with the intent to raise money for the San Francisco charities, ‘ Children of Shelters and ‘ A Home Within.’ “After some serious introspection (AKA midlife crisis), I realized most of my charities involve kids. Kids who are sick, abused, homeless, challenged, parentless, trafficked, or vulnerable in any way. It all breaks my heart and I want to do more.”Said Chas when asked about the inspiration behind the show.
It’ s important to point out the initial quality of the paintings in this show; they were executed over 120 years ago at a time when entire schools of artists revolved around portraiture. These artists were expected to not just record their subjects, but to provide a glimpse into their character and psyche. The Duchampian addition of the hats not only spares these canvases from oblivion, but also serves to enhance and expand the paintings initial purpose without sacrificing the considerable skill of the original artists, both technically and emotionally.
Chas McFeely is an internationally known Creative Director best recognized for viral hits ‘ Hook Chas Up’ and “Google Pizza.’ Having recently turned his attention to at-risk children, Chas is now using ‘ weird ideas’ www.weirdcharity.com to help transform young lives. Memorable career highlights include a film option from Dreamworks, two appearances on the BBC and a near death imprisonment in Zimbabwe.
Tangent Contemporary Art
381 Geary St. San Francisco, CA
During the month of September, Scott Richards Contemporary Art presents PETER ANTON: CANDY DANDY, a new series of wall-mounted sculptures depicting oversized, illusionistic candy and sweets. A cocktail reception for the artist, featuring a wine and chocolate tasting, will be held on Saturday, September 17, 12 — 5 pm in conjunction with the Union Square Fall Art Walk. The exhibition continues through October 1.
In the spirit of indulgence—and with a healthy dash of good humor—Peter Anton focuses his unflinching eye on the heart of our desire. His monumental, hyper-realistic boxes of chocolates, ice cream bars, donuts and popsicles present us with an unapologetic look at ourselves. While the richly colored, rounded shapes and sugarcoated surfaces make for luminously pure still life subjects by themselves, the overarching theme also serves as an ideal metaphor for human experience. It evokes simple nostalgia and shared memories, while tapping into the deeper realm of human desire; our longing for mouthwatering sweets echoes the pull of erotic pleasure, seduction and decadence, and their inevitable transience. The result can make us wriggle with delight or squirm with guilt.
“Through the use of humor, scale, irony, and intensity in my forms,” says Anton, “the foods we take for granted become aesthetically pleasing and seductive in atypical ways. I like to create art that can lure, charm, tease, disarm and surprise.” He adds, “I activate the hunger people have for the things that give them pleasure, and force them to surrender.”
Anton’s multi-colored, slick and textured surfaces are crafted from carefully selected and manipulated materials, including cast foam, aluminum, acrylic, fabric, and high-gloss industrial paints. With his playful use of heightened color, exaggerated form and impeccable technique, the artist promises us the unattainable: ultimate satisfaction.
Peter Anton is an internationally known artist who has participated in exhibitions from Germany and Korea to New York and California. His works are held in numerous public and private collections, including the Arkansas Art Center, Little Rock, AR; the Kemper Museum of Contemporary Art, Kansas City, MO; the Portland Museum of Art, Portland, OR; the Aldrich Museum of Contemporary Art, Ridgefield, CT; and Bill and Hillary Clinton.
September 1-30, 2016
Hours: Tuesday–Friday 10:30–5:30
Sunday & Monday by appointment
Scott Richards Contemporary Art presents ROAD TRIP, a new series of high-rev, high-shine photorealist oil paintings by Cheryl Kelley. A cocktail reception for the artist will take place on Thursday,November 3, 5:30-7:30 pm. The exhibition continues through November 23.
Cheryl Kelley’s exquisite paintings of automobiles present high-powered muscle cars as seductive objects of desire, and reveal them as not only 20th century icons, but as metaphors for the American Dream itself, in all its complexity. Working from photographs she has taken along the Northern California coast, the artist manipulates the images to create wide-angle, in-your-face compositions. The smooth high-gloss varnish of her painted surfaces mimics the sleek veneer of her subjects, while the dramatic angles and detailed close-ups of metal, chrome and rubber caressing the fluid lines of the engineered designs suggest boldness and undeniable sex appeal.
Kelley renders the reflective qualities of chrome and gloss in hyper-realistic detail, and employs the reflections in the mirror-like finishes to add a layer of subtle, yet engaging, complexity to the works. In some of her paintings, such as Red Jag Rear, a maze of abstract pattern emerges and overlaps the composition; in others we can see tiny figures and landscapes within the reflections, revealing worlds within worlds. The surrounding environment interacts with the reflected landscapes as well, giving the viewer insights into the people, culture, and places that surround the automobiles, as in the street art depicted in Trans Am with Banksy.
Kelley brings a uniquely female perspective to these objects — which are usually almost synonymous with bad-boy hyper-masculinity — by heightening the graceful, curvaceous outlines and lush, bright candy colors of the cars. “The compositions flow from recognizable bumpers and hood scoops to rambunctious abstractions with colorfully gleaming showroom highlights,” said the Village Voice, “it ain’t a man’s world anymore.”
Cheryl Kelley is a recipient of the prestigious Pollock-Krasner Award. Exhibitions of note include Photorealism Revisited, at the Oklahoma City Museum of Art; and invitational shows at the Seven Bridges Foundation, Greenwich, CT and the Samek Art Gallery at Bucknell University, Lewisburg, PA. Collected nationwide, her work has been reviewed in many publications, including ArtNews, the New YorkTimes, and San Francisco Weekly, and has been featured on the cover of Harper’s magazine. A native of Texas, Kelley earned her bachelor’s degree from the University of Houston in 1992. The artist lives and works in Northern California.
Husband and wife team Peter and Madeline Powell will present All Piled Up, their debut exhibition of photorealistic still life paintings at Scott Richards Contemporary Art, during the month of June 2016. A cocktail reception for the artists will be held on Thursday, June 2, and the exhibition continues through June 30.
In what they describe as a “creative alliance”, Peter and Madeline Powell combine their talents, jointly sharing the artistic process from conception to the final brushstroke. They also share an amazing photorealistic technique, with every reflection, shadow and texture carefully reproduced.
Together they assemble elaborate piles of objects that have been selected not just for their bright colors and playful shapes, but also for their equally important evocative meaning. These are photographed by the Powells, who then choose a final composition from dozens of potential shots. Favorite subjects include jumbled mounds of candy, toys, or other nostalgic objects from childhood, which are densely massed together in detailed, close-up views.
In the Pop Art tradition, the everyday, playful objects are blown out of proportion on the canvas, directing our attention to their status as American icons and worthy cultural subjects. Meticulously painted in detail, including the minute text on the printed wrappers, the magnified objects engulf the viewer in exuberant color and dynamic movement. At the same time, the artists appreciate the good humor of their subject matter, inviting us to dive straight into the bounty for the sheer joy of it.
While other still life painters might downplay the text on the labels, the Powells prefer to place it front and center. Brands such as Milky Way, Bazooka, Red Hots, M&Ms and Hershey’s Kisses are easily recognizable and summon up fond memories of summer vacation and Halloween trick-or-treating. We are likewise reminded of the strong temptation in these familiar brand names and how we unconsciously respond, wanting to unwrap the goodies on the spot.
Peter and Madeline Powell have exhibited across the United States and their work is included in many private and public art collections including A&M Records, Los Angeles, CA; BMW North America, Atlanta, GA; OPI, Beverly Hills, CA; COSBAR, Aspen, CO; and Robert McKay Corporate Collection, San Diego, CA. The couple resides in Hawaii.
June 2 – July 2, 2016
Hours: Tuesday–Friday 10:30–5:30
Sunday & Monday by appointment