01_w_SMFA--Eric_Powell_Poster_5

02_w_Eric_Powell--In_Person_Poster

Eric Powell’s sculpture is driven by a visceral urgency to build. Compelled by intuition, Powell engages in a moment-to-moment exploration of his materials. It’s a vulnerable and highly charged experience. His preferred medium is steel, one of the most common and ubiquitous building materials in the modern world. “Steel is infinitely versatile and adaptable. It’s a durable, long lasting industrial material that can be sculpted into virtually any form that the imagination can conjure,” says the artist.

 

Images Above: Eric Powell, Schooner, 2016, Steel, 34 x 53 x 11 Inches; Eric Powell artist portrait; Eric Powell, Gosa I, 2017, Steel, 51 x 32 x 12 Inches

 

Eric Powell, Vestige III, 2016, Steel, 88 x 52 x 15 Inches

 

04_w_Eric_Powell--Barque,_2017_19in_x_35in_x_8in_Steel

Eric Powell, Barque, 2017, 19 x 35 x 8 Inches

 

An avid collector, Powell regularly searches for steel along the waterfront landfills, in junk yards and anywhere he can discover a large cache of historical metal objects, which he often integrates into his pieces. These metal remains serve as reminders of our country’s rich industrial past. Powell also makes an annual sojourn deep into the California and Nevada deserts where he camps and walks miles every day hunting for scavenged treasures to make art. This ritual is a spiritual journey, a reflection of self and a rejuvenation of his practice. Freed of studio constraints, he makes improvisational sculptures out of these weather-worn metal and wood fragments. Then he leaves them behind in the desert sun.

 

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Video: Eric Powell – Metal Sculpture, Directed by Kesten Migdal, 2:17 Minutes

 

06_w_Eric_Powell--Tarim,_2017,_34in_x_27in_x_4in_Steel

Eric Powell, Tarim, 2017, 34 x 27 x 4 Inches

 

“Drawing also informs my work,” says Powell. “It is very much like other practices such as yoga and meditation. It is an exercise in balancing play with discipline, the intuitive with the linear, the unknown with the known.” He sketches almost daily, and his sculptures reflect the spontaneity and fluidity of his hand. Along with his three-dimensional works, he also creates finished drawings and paintings.

 

07_w_Eric_Powell--Quadpodular_I,_2017,_22in_x_16in_x_14in_Steel

Eric Powell, Quadpodular I, 2017, 22 x 16 x 14 Inches

 

Eric Powell, Sacellum, 2010, Steel, 77 x 20 x 18 Inches

 

Powell is most well known for his commissioned works of art that strongly relate to site and architecture. His pieces grace numerous public institutions and private estates around the country, including freestanding sculpture or integrated architectural works such as gates, fences, and sculptural screens. He especially enjoys the collaborative aspect of working with design and architectural professionals, developers, arts commissions, and other stakeholders. Public art projects provide him an opportunity to create lasting works that are accessible to all. Adds Powell, “I create artworks that are relevant and responsive to the places where they reside–whether on a narrative, historical, or poetic level.”

 

09_w_Eric_Powell--Germination,_2016_14in_x_16in_7in_Steel

Eric Powell, Germination, 2016, Steel, 14 x 16 x 7 Inches

 

Eric Powell, Chantry, 2010, Steel, 32 x 10 x 8 Inches

 

Born in San Jose, California, Powell studied sculpture and painting at California College of the Arts and University of Southern California. In 1982, he co-founded Spirit Arts Gallery in Santa Fe, New Mexico, where he created an extensive body of steel art and furniture. In 1989, he returned to the San Francisco Bay Area to continue his sculptural practice and begin working in the public art realm. Over the years, he has produced large-scale commissions for cities including Los Angeles, San Francisco, Oakland, Napa, San Jose, Berkeley, Tucson, Madison, Cambridge and Reno. He recently completed work for a major public art project in San Francisco’s Hunters Point Shipyard. His art can be seen in libraries, plazas, parks, and other public places such as the Daly City BART station and Golden Gate Park.

 

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Eric Powell, Portal, 2014, Installation View with Artist
Mixed Media on Composite Board, 86 x 86 Inches

 

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Eric Powell, Flotilla, 2016,
Public Installation, Hillpoint Park, San Francisco
Painted Steel, 90 Inches Long

 

1_Final_SMFA--Jan_2017_Poster

0001a_Miya_Ando--Yellow_Gold_Moon_Mandala,_2016_36_Inches_Dye_Urethane_Pigment_Resin_Stainless_Steel
Miya Ando
Yellow Gold Moon Mandala, 2016
Pigment, Urethane, Resin, Stainless Steel
36 Inches
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01a_Penny_Olson--Concrete_4012,_2016_54in_x_81in_2_Panels_Archival_Pigment_Print_Edition_1_of_3
Penny Olson
Concrete 4012, 2016
2 Panels Archival Pigment Print
54 x 81 Inches
Edition of 3
______________

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03_Rex_Yuasa--KdotFdotS,_1994_49in_x_49in_Acrylic,_Oil_and_Alkyd_on_Canvas

Rex Yuasa
E.F.S., 1994
Acrylic, Oil, and Alkyd on Canvas
49 x 49 Inches
______________

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04_Rex_Yuasa--EdotFdotS,_1994_49in_x_49in_Acrylic,_Oil_and_Alkyd_on_Canvas

Rex Yuasa
K.F.S., 1994
Acrylic, Oil, and Alkyd on Canvas
49 x 49 Inches
______________

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01a_Jeff_Long--Untitled_12,_2016_30in_x_22in_Oil_and_Collage_on_Paper_Mounted_on_Wood_Panel
Jeff Long
Untitled 12, 2016
Oil and Collage on Paper Mounted on Wood Panel
30 x 22 Inches
______________

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001a_Miya_Ando--Kon_(Navy)_Meditation_Mandala,_2016_41in_x_41in_x_2in_Dyed_Bodhi_(Ficus_Religiosa)_Skeleton_Leaves,_Monofilament,_and_Archival_Ragboard
Miya Ando
Kon (Navy) Meditation Mandala, 2016
Dyed Bodhi (Ficus Religiosa) Skeleton Leaves, Monofilament, and Archival Ragboard
41 x 41 x 2 Inches
______________

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01_cropped_David Ruddell--_a_Blackboard,_Gold_Strip,_Boat_with_Red_Interior,_2015_46in_x_60in_x_5in_Painted_Fir,_Canvas,_22_Carat_Gold_Leaf

David Ruddell
Blackboard, Gold Strip, Boat with Red Interior, 2015
Painted Fir, Canvas, 22 Carat Gold Leaf
46 x 60 x 5 Inches
______________

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0001b_Miya_Ando--Blue_Gold_Moon_Mandala,_2016_36_Inches_Dye_Urethane_Pigment_Resin_Stainless_Steel
Miya Ando
Blue Gold Moon Mandala, 2016
Pigment, Urethane, Resin, Stainless Steel
36 Inches
______________

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final_smfa-ideas_fall_2016

Beauty is unbearable, drives us to despair, offering us for a minute the glimpse of an eternity that we should like to stretch out over the whole of time. -Albert Camus

 

01a_christel_dillbohner-turbulence_iii_2011_66in_x_60in_oil_wax_on_canvas

Christel Dillbohner
Turbulence III, 2011
Oil, Wax on Canvas
66 x 60 Inches
______________

 

03_christel_dillbohner-lost_coast_xiii_-_weather_rolling_in_2014_60in_x_53in_oil_cold_wax_on_linen

Christel Dillbohner
Lost Coast XIII – Weather Rolling In, 2014
Oil, Cold Wax on Linen
60 x 53 Inches
______________

 

01_deborah_dancy-vernal_pools_2014_60in_x_60in_oil_on_canvas

Deborah Dancy
Vernal Pools, 2014
Oil on Canvas
60 x 60 Inches
______________

 

04_kirk_maxson-oxalis_and_mallow_2016_42in_x_52in_varnished_brass

Kirk Maxson
Oxalis and Mallow, 2016
Varnished Brass
42 x 52 x 10 Inches
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kirk_marxson

Kirk Maxson
Golden Eagle Wing, 2015
Varnished and Waxed Brass, Wire
10 x 23 x 3 Inches

Swan Wing, 2015
Varnished and Waxed Brass, Wire
9 x 23 x 3 Inches

Wild Grass, 2013
Aluminum, Nickel Silver Wire
18 x 30 x 10 Inches
______________

 

01_a_laurie_reid-pond_2016_36in_x_48in_oil_and_acrylic_on_linen

Laurie Reid
Pond, 2016
Oil and Acrylic on Linen
36 x 48 Inches
______________

 

01_lisa_bartleson-sphere_316-42-04_2016_42in_x_42in_mixed_media_and_resin_on_panel

Lisa Bartleson
Sphere 316-42-04, 2016
Mixed media and Resin on Panel
42 x 42 Inches
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03_ryan_cobourn-lake_effect_1_2016_30in_x_40in_mixed_media_on_paper

Ryan Cobourn
Lake Effect 1, 2016
Mixed Media on Paper
30 x 40 Inches
______________

 

01_mara_de_luca_dior_dusk_2015_38-5in_x_48in_mixed_media_on_canvas_over_panel

Mara De Luca
Dior Dusk, 2015
Mixed Media on Canvas over Panel
38.5 x 48 Inches
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The clouds parted and our art program skyrocketed last year. We added new artists to our roster and showcased more exceptional work. And everywhere we looked we saw the art and design community flourishing. Cheers to all the artists, designers, and clients who make us look good. Their creativity and diligent work build a better and brighter world. Below are a few of our favorite projects from this past year. Imagine what 2016 will bring.
WEB_NEW_1_SMFA--happy_new_year_2016

1_SMFA--Composite_Russian_Hill_Home

Judith Foosaner’s dynamic painting perfectly suits this super sophisticated pied-à-terre designed by David Oldroyd of the powerhouse design firm ODADA (Orlando Diaz-Azcuy Design Associates). Installed in the clients’ entry, the painting’s title Breaking and Entering #14 injects irony into this high-rise project atop Russian Hill. With the space’s breathtaking city views, floor to ceiling glass walls, and austere architecture, Oldroyd also wanted his luxurious furnishings to provide some fun. Everything is playful and inviting. Photography by John Merkl. View more of artist Judith Foosaner’s work at Sloan Miyasato Fine Art here.

1_SMFA--Composite_Nob_Hill

Noted Bay Area designer Dara Rosenfeld created a stylish home away from home for her New York based client who travels regularly to San Francisco. Set like a small, high quality jewel, this petite residence in Nob Hill is the epitome of understatement. Rosenfeld’s pairing of the spare and smart collages by Kathryn Van Dyke with the spaces was brilliant. Both the artist and designer are experts at economy of scale and favor the found object. Rosenfeld mixes contemporary pieces with antiques and treasure hunt finds. Artist Kathryn Van Dyke paints over pages taken from books and manuscript auction catalogues. Photography by John Merkl. View more of Van Dyke’s work at Sloan Miyasato Fine Art here.

NEW_06_Kathryn_Van_Dyke

 

Katano_SMFA_eblast_Jan_2016

This year the San Francisco Museum of Art reopens after undergoing a dramatic expansion. Our curator Michelle Bello is proud to announce SFMOMA has recently acquired a second painting by artist Marc Katano for their collection. This piece is from the same series on view at Sloan Miyasato Fine Art. To view more of Katano’s work click here.

Other artists in the collection of SFMOMA whose work is available at Sloan Miyasato Fine Art include the following:

Tauba Auerbach
Larry Bell
Ross Bleckner
Pegan Brooke
Squeak Carnwath
Mark Erickson
Kota Ezawa
Robert Hudson
Hung Liu
Sean McFarland
Ed Moses
Mimi Plumb
Laurie Reid
Gregg Renfrow
Kathryn Van Dyke
Catherine Wagner

Pricing
Tommy Talbot
(415) 431-1465 tommyt@sloanm.com

Sloan Miyasato
2 Henry Adams Street, Suite 212
San Francisco, CA 94103

Hours
Monday through Friday, 9am to 5pm

Curator
Michelle Bello Fine Art Consulting
(415) 317-5975 info@michellebello.com

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sloanmiyasatofineart.com

Larry Bell has been breaking boundaries in the art world since the early 1960s, making history in the Light and Space movement of Southern California. Our curator Michelle Bello proudly presents Unbounded, a collection of recent works by Bell and three other dynamic California artists: Joey Piziali, Judith Foosaner, and Casper Brindle. Each artist distinctively explores boundaries in their art now on view at Sloan Miyasato in San Francisco.

Sloan_Miyasato--Larry_Bell_Poster

Throughout his career Larry Bell has made investigations into the properties of light on surface. By experimenting with the nature of surface and its relationship to space, Bell has devised a methodology characterized by spontaneity, intuition, and improvisation. His experiments are primarily concerned with technically advanced material and their potential to challenge and extend the thresholds of perception.

Made from papers, Mylar, and laminated film, his recent collages are seemingly smooth swathes of luminous colors that appear to change from different angles. “Sheets of these materials have been coated with vaporized metals and quartz in a thermal vacuum chamber,” says Bell. “Heat is then applied to the metals. The metals melt, and then gas or vaporize. As this is taking place in a vacuum, there is no resistance to the vaporized metals spreading throughout the chamber and coating the materials. Metals have a crystalline structure as solids. When they gas, and then coat the surface of a material, they retain the same crystalline structure. Crystals and light create rainbows, or light interference colors.”

02_Larry_Bell--SF_1.30_12A,_2012_30in_x_22in

Larry Bell
SF 1.30 12A, 2012
Mixed Media on Black Arches Paper
30 x 22 Inches

Larry_Bell--BIO_Composite

Larry Bell in the studio

Larry Bell was born in Chicago in 1939. Having grown up in the San Fernando Valley, Bell attended Chouinard Art School in Los Angeles from 1957 through 1959 where he was a student of Robert Irwin. He was extraordinarily successful as a young artist and showed regularly at Pace Gallery in New York. Bell’s work was also included in the seminal Museum of Modern Art exhibition The Responsive Eye in 1965. His art is in public collections throughout the world including the Museum of Modern Art, Whitney Museum of American Art, Solomon R. Guggenheim Museum in New York City, Art Institute of Chicago, Los Angeles County Museum, San Francisco Museum of Modern Art, Stedelijk Museum in Amsterdam, and Tate Gallery in London.

01_Joey_Piziali--The_Difference_Between_You_and_Me,_2008

Joey Piziali
The Difference Between You and Me, 2008
Acrylic, Ink, and Latex on Canvas
60 x 72 Inches

“This series was influenced by my ongoing appreciation of contemporary architecture,” says artist Joey Piziali. “At the time I was looking at buildings by Rem Koolhaus, like the Seattle Central Library and studies of the CCTV towers in Beijing as well as Norman Foster’s Hearst Tower in New York. I loved the way the buildings performed as massive sculpture, they transform the space around them, engaging unexpected aspects of the urban environment. They create such unique and challenging compositions. They make me rethink what is possible.”

“In a painting I often think about subverting the expectation of a composition,” adds Piziali. “In the painting The Difference Between You And Me, I wanted to present a painting that fully established itself within an expected form, the architecture of the pictorial plane. The painting, composed of a geometric abstract work is floating in a frame of white space. The slashing sprayed lines activate the frame of the image. This gesture disrupts or defaces the image, pushing it to the background while simultaneously becoming a part of painting and engaging the white space. These lines push the composition to the edge of the frame. It’s as if they continue well beyond the painting/object itself.”

03_Judith_Foosaner--Egyptian_Chapter_12,_2014_40in_x_80in

Judith Foosaner
Egyptian Chapter 12, 2014
Collage with Acrylic on Canvas
40 x 80 Inches

“All of my work derives from the ancients,” says artist Judith Foosaner. “The Egyptian Chapter series is the result of an investigation of organic forms, broken and reassembled into geometric units. Each unit combines with the next to express simultaneously, both continuity and interruption. I love the sinuous shapes in combination with the staccato supplied by the geometry. I love the suggestion of what is implicit. Once launched on these pieces, it became clear that their rhythms and the “stacked space” in which they were aligned was suggestive of so much of what I’d experienced with Egyptian hieroglyphs. The visual beauty of this early language never fails to call–this work of mine is its reply.”

01a_Casper_Brindle--Tange,_2014

Casper Brindle
Tange, 2014
Acrylic, Automotive Paint, and Resin on Panel
44 x 96 Inches

The paintings of Casper Brindle look as sleek as surfboards and shiny as high beams. Using color-shifting automotive paints and coats of glossy resin, this contemporary Los Angeles artist’s work stems from the Light and Space and Finish Fetish art movements of the 1960s, reflecting the car and surf culture of Southern California. Brindle was mentored by the internationally acclaimed artist Eric Orr, one of the pioneers of the Light and Space movement. Though Brindle’s work cannot be separated from the movement’s practice, it does stand out with its sophisticated studies of atmosphere and vaporous ambiguities that intrigue and compel us to navigate the hazy borders of perception. Subtle horizon lines aide this navigation. His richly hued canvases, composed of bands of softened colors, seem to radiate and extend far beyond the boundaries of the picture plane. Having spent a considerable amount of time on a surfboard, his work also reflects his personal passion for the ocean and skies of California.

Pricing
Tommy Talbot
(415) 431-1465 tommyt@sloanm.com

Sloan Miyasato
2 Henry Adams Street, Suite 212
San Francisco, CA 94103

Hours
Monday through Friday, 9am to 5pm

Curator
Michelle Bello Fine Art Consulting
(415) 317-5975 info@michellebello.com

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