Headlands Center for the Arts
Reclaimed: The Art of Recology
July 1 - October 17, 2021
In collaboration with the Recology Artist in Residence (AIR) Program, Bedford Gallery presents a breathtaking survey of artists who have had the opportunity to participate in the program. Operating with the belief that art plays a unique role in educating and inspiring the public, Recology—San Francisco’s recycling and composting company—provides Bay Area artists with access to discarded materials via coveted scavenging privileges, a stipend, and studio space at the San Francisco Transfer Station and Recycling Center. This special exhibition of work created from unwanted materials encourages us to see our “trash” in a new light and reflect on our own consumption practices in a time of heightened concern and awareness for the future of our planet.
Since its founding in 1990, over 150 professional artists and 50 college student artists have completed residencies “at the dump.” The facility is a 47-acre site that includes the trash transfer station, the Household Hazardous Waste Facility, the Organics Wing, the Public Reuse and Recycling Area ("the dump"), and other recycling areas.
Reviews in 48 Hills
SFAI 150: A Spirit of Disruption:
On View March 19 — July 3, 2021
Curated by Margaret Tedesco and Leila Weefur
Walter and McBean Galleries
Diego Rivera Gallery
800 Chestnut Street
SFAI 150 | A Spirit of Disruption showcases a selection of works and archival materials that celebrate the ethos and expansive ecosystem of the San Francisco Art Institute. As the title suggests, the exhibition disrupts the bias present in the history of many arts institutions across the Bay Area, and the proclivity to preserve and celebrate an art world that has been predominantly white and male. With careful examination of this history and a breadth of perspectives, the exhibition illuminates the distinct and diverse voices of SFAI which includes alumni, faculty, staff, and the community who have made an enormous contribution to its legendary history. This 150th anniversary marks a beginning for yet another era at SFAI, one that aspires to deepen and grow a more inclusive support for the kind of work that continues to disrupt.
A Spirit of Disruption embraces time; past, present, and future.
For the month of December, Art at a Time Like This presents an exhibition, UnPredictable, with 7 visionary artists who struggle with a prognosis for the future. Each of these artists, deeply engaged in social issues, offer ideas of things to come, some hopeful and some dystopian. Ranging from global warming to Afro -futurism, their projections are timely and demand immediate intention.
Renowned artist Alexis Rockman is wary about the possibility of a future, given global warming, depicted in a series of watercolors currently on view at Sperone Westwater. New Inc. participant Xin Liu, Arts Curator in Space Exploration Initiative in MIT Media Lab, provides documentation of her launch of a bunch of potato seeds to the International Space Station and Genevieve Quick, an interdisciplinary artist based in San Francisco, uses science fiction to explore Asian identity and globalization in her new film, Planet Celadon. Demetrius Oliver, sometimes referred to as an Afro-futurist, creates artworks that draw heavily on a variety of disparate intellectual interests related to interpreting phenomena, including American transcendentalism, music of the spheres, and the history of cosmology. Irish artist John Gerrard offers a 1 hour recording of a year long simulation of the Yangtze River, besmirched by a rendering of an oil spill while JD Beltran, artist and founder of the Center for Creative Sustainability in San Francisco, explores time translated via technology into intriguing videos. Finally, the great Agnes Denes, who had a 2019 retrospective at the Shed, offers an interactive work, a questionnaire, available for all to answer.
As supporters of creative visionaries whose ideas and artworks offer solutions to todayâ€™s problems, Art at a Time Like This is proud to offer these prognosticators who have an ambiguous relationship to the future. Founded in March 2020, at the outset of the pandemic, Art at a Time Like This could never have predicted its journey over the course of this year, including being recognized by Holland Cotter in the New York Times as one of the "most important art moments of 2020."
Why are they so afraid of a lotus
Why are they so afraid of a lotus?
Nanyang Technological University, Centre for Contemporary Art, Singapore
October 24, 2020–January 2021
The Archive to Come
The Archive to Come
October 22nd - December 17th, 2020
Opening Reception: Thursday, October 22nd, 4:00 - 7:00pm [PDT]
In social VR at: https://hubs.mozilla.com/BRLaDhW/archive-gallery
IRL: 323 10th St. @ Folsom, San Francisco, CA 94103
Wednesday – Saturday, 11:00 – 4:00 (Monday and Tuesday, by appointment)
Screening Online in Speculative Fictions
Planet Celadon Mission Completed
Planet Celadon: Operation Completed (2020) is a new commissioned video that continues Genevieve Quick’s Planet Celadon: Our Receiver is Operating (2018). In this series, Quick employs the traditional celadon ceramic glaze, widespread throughout East Asia, as the framework for a fantastical narrative of Asian American diasporic identity, exaggerating ideas of alienness that converge with futurity and tradition. Here the artist uses aeronautical surface-to-air body gestures and symbols, along with the sounds and icons of computer graphics, Google Earth, and early computer games, as analogies for communication with extraterrestrial life.
Featuring compositions by Adria Otte. Special thanks to San Francisco Arts Commission Individual Artist Grants and Investing in Artists Grants from the Center for Cultural Innovation.
FeministFuturist at the Boston Center for the Arts
February 8–April 5, 2020 at the Boston Center for the Arts
Headlands Center for the Arts
Eureka Grant 2022
Migration: Speaking Nearby
November 22, 2019-February 23, 2020
ACC Creation, SPACE 2, Gwangju, South Korea
Migration: Speaking Nearby, an exhibition organized in collaboration by the Asia Culture Center/Asia Culture Institute and the Goethe-Institut Korea, marks the final journey in the “Migration Narratives in East and Southeast Asia” project, sharing the outcomes of an effort launched as an initiative by the Goethe-Institut and continued from 2018. Staged as part of “ACC PRISM,” an annual exhibition project since ACC’s opening with a focus on exchange and cooperation with various culture and arts institutions in Korea and overseas, the exhibition is significant as an attempt to approach Asian history, society, and culture from a new perspective through the general theme of “migration,” which has emerged as a major contemporary global issue.
How are we to perceive and understand the different facets and circumstances of migration, or the resulting social and cultural transformation, diversity, and complexity? If we are to understand that images possess influence and power not only on the ways in which migration appears but also how it is understood and addressed, then how might we approach and discuss the topic of migration through visual arts? What is the relationship between art and migration, and how do they interact?
Starting from these questions, the Migration: Speaking Nearby project and exhibition was designed and developed in conjunction with nine curators active in nine different Asian cities (Seoul, Gwangju, Beijing, Hong Kong, Ulaanbaatar, Taipei, Singapore, Bangkok, and Jakarta), as well as 21 artists/artist groups invited by them and various other collaborators. Individual projects proposed by the each of them were developed in an open and multilayered process of interaction and relationship-forming through seminars and workshops in Korea and Germany and small-scale exhibitions, group exhibitions, and discussions in Beijing, Ulaanbaatar, and Hong Kong. Sharing the various new works created through individual projects along with existing works by some of the participating artists and artist groups, the exhibition suggests different perspectives and approaches to the multilayered and complex aspects and circumstances of migration, with a focus on East and Southeast Asia.
The English-language title of the exhibition, Speaking Nearby, was borrowed from an expression used in an interview by the filmmaker, writer, composer, and scholar Trinh T. Minh-Ha. According to Minh-Ha, “speaking nearby” sets itself apart from “speaking about”; it refers to an indirect form of speaking that does not objectify topics and subjects but reflects upon itself and is capable of approaching topics and subjects from up close. The concept, which reflects a complex consideration of Minh-Ha’s cinematic representation, is introduced into the exhibition as a key concept encompassing the curators’ and artists’ different perspectives, methodologies, and attitudes regarding the topic of migration. In that sense, the exhibition posits its different works of art as an open-ended, multilayered, and polyphonic way of “speaking nearby” about migration – an open-ended and polyphonic form of speaking nearby that we hope is carried on and spread elsewhere through audience engagement.
Recology™ Artist in Residence Exhibitions Recology™ Artist in Residence Exhibitions: Work by Mansur Nurullah, Genevieve Quick and Ariel Huang
Art Studio at 503 Tunnel Ave.
Environmental Learning Center Gallery at 401 Tunnel Avenue
Reception-Friday, September 20, 2019, 5-8pm
Reception-Saturday, September 21, 2019, 1-3pm
Additional viewing hours-
Tuesday, September 24, 2019, 5-7pm
Gallery walk-through with artists, 6:00pm at 401 Tunnel Ave.
Genevieve Quick envisions a new universe, complete with its own cosmology, as a way to think about global manufacturing, technology, communication, culture, and transnationality here on planet earth. In an immersive installation that includes audio, video, and interactive components, Quick references an Asian Futurism that rejects clichés about technology and Asian cultures, and instead envisions a completely unique galactic existence. Hacking into consumer electronics, Quick reconfigures them to create work that is playful and charmingly fantastic, yet deals with larger issues.
Recology Artist in Residence
Beyond Boundaries at the Korean Cultural Center, New York
The first Call for Artists 2019 group exhibition of this year that showcases works by nine talented artists: Jihyun Hong, Nayoung Jeong, Jong Sook Kang, Bonam Kim, Gene Kim, Kieun Kim, Genevieve Quick, Jaime Sunwoo, and Jeongwon Yoon.
Beyond Boundaries presents works of the selected artists whose practices range across diverse mediums and go beyond traditional artistic boundaries. This group show of 9 artists introduces a large number of experimental works of different genres, including installation, painting, illustration, video, and sculpture.
May 22, 2019 - June 21, 2019
Opening Reception: Wednesday, May 22, 6 pm - 8 pm
Gallery Korea of the Korean Cultural Center NY
(460 Park Ave 6th Floor, NYC)
Gallery Hours: 9 am - 5 pm, Mon - Fri
Planet Celadon at the Asian Art Museum
Video and performance by Genevieve Quick
Choreography by Liz Tenuto
Thursday, Sep 6 7 PM and 8 PM
Saturday, Sep 8 1 PM and 2:30 PM
Sunday, Sep 9 1 PM and 2:30 PM
Samsung Hall | Free with museum admission
In the video and performance Planet Celadon: Our Receiver Is Operating, artist Genevieve Quick imagines Asian American identity through a science fiction narrative that explores the challenges of communicating with a distant place and culture. Embracing her own hybridity and displacement, Quick imagines the Asian American experience as not just a global immigration phenomenon, but an interplanetary migration.
The Genre Leap
The Genre Leaps, Organized By Margaret Tedesco
Shade: Andrew Luck
Saturday, August 11 from 1:00 to 4:00 pm
NIAD Art Center
551 23rd Street in Richmond, California
Organized by San Francisco artist and curator Margaret Tedesco, “The Genre Leap” features work from Sarah-Dawn Albani, Jeremy Burleson, Nicolaus Chaffin, Heather Copus, Luis Estrada, Sylvia Fragoso, Janay Futch, Aaron Harbour, Peter Harris, Tina Heringer, Karen May, Genevieve Quick, Carlota Rodriguez, Jonathan Velazquez, and Christian Vassell. On the occasion of “The Genre Leaps, Tedesco – in the tradition of 2nd floor projects – will produce an edition with Pam Martin.
A+P+I Exhibition at Mills College Art Museum
2017 A+P+I exhibition showcases the work of the third round of artists to the program––Sofía Córdova, Sanaz Mazinani, and Genevieve Quick. Each of these artists brings with them a unique approach to art-making and a commitment to research that compliments an academic setting.
JUN 28-AUG 27
Mills College Art Museum
Postscripts to Revolution
Curated by Genevieve Quick
Featuring:Morehshin Allahyari, Jeffrey Skoller, Slinko, Ehren Tool
June 3 – July 2, 2016
Opening Reception: Friday, June 3, 2016, 7:00 – 9:00 PM
Gallery Hours: Tuesday – Saturday, 12:00 – 6:00 PM
Mesocosm at Adobe Books Backroom Gallery
Curated by Jasmin Lim
May 27 – June 19, 2015
Opening reception – Friday, May 27, 6-9pm
Zane Jefferson Morris
The mesocosm is the realm that we, as humans, are able to perceive with our senses. From our perspective, we are in the meso, the middle. The human scale appears to be between the outermost micro and macro scales—from subatomic particles like quarks and neutrinos to the universe or multiverse. While orienting from this position, we also create and use tools, both material and imagined, experiential and theoretical, to access scales many orders of magnitude smaller and larger.
How do we construct conceptions of the world around us? Adult consciousness tends to be focused like a spotlight, automatically making assumptions about the periphery and filling in the blanks. As a species thought to be capable of complex self-awareness, long-term planning and the ability to override impulses, why is it useful to understand perceptual processes that are normally subconscious? In some ways, impulse control plays a large role in the evolution of our species, of being able to consciously shape the world around us, but many of our day-to-day activities occur on autopilot. In the Rebecca Solnit essay, “Woolf’s Darkness: Embracing the Inexplicable,” she advises “to travel light when it comes to preconception” and to enter the darkness “with [our] eyes open.” Woolf’s “Darkness”—or the “Inexplicable”— is a zone of ambiguity, a liminal space where ideology and consciousness can shift and expand.
opening reception: Friday March 4, 7-10pm
exhibition: March 5 through 20, 2016
film showing: Saturday, March 12, 6pm
“A Trip to the Moon”
restored in its original 1902 colors
“The Extraordinary Voyage”
documentary on the restoration of “A Trip to the Moon” followed by a brief tour of the exhibition with artists Dolores Zorreguieta and Genevieve Quick. All admission free!
Artists Frank Aguilar, Deborah Edmeades, Genevieve Quick, and Dolores Zorreguieta present a dystopian view in their search for new century survival tactics. Issues dear to science fiction and folk tales: the paranormal, the esoteric, and the futuristic are recognized in work depicting monstrosity, metamorphosis, and epic journeys to alien worlds.
Exhibition continues through March 20.
Curated by Dolores Zorreguieta.