EARLY ACCESS BEGINS
di Rosa Center for Contemporary Art is a place for experimentation. Beginning January 29, enjoy a free visit to di Rosa’s Gallery 1, with an expansive new view of Winery Lake. Experience Davina Semo’s completed installation, Core Reflections, as well as a “behind-the-scenes” glimpse of Jim Drain’s new immersive program hub mid-installation, in anticipation of the opening reception for Conversation Pieces. Read More...
Conversation Pieces launches a new series of artist commissions in di Rosa’s Gallery 1 exhibition space showcasing work by emerging and mid-career artists who spark dialogue with the artistic legacy of Northern California. This series continues di Rosa’s ongoing interest in supporting the production of new work, and for the first time, expands the programmatic scope to include artists working outside the Bay Area not often presented here. Conversation Pieces broadly contextualize the impact of our region’s cultural landscape in transformative and unexpected ways but informed by aspects of the di Rosa collection as a springboard for experimental work and intergenerational dialogue.
January 29 – June 28
San Francisco-based artist Davina Semo’s exhibition works across two and three dimensions, often utilizing industrial materials that examine tensions between nature, society and the self. Her project for di Rosa considers the unique setting of Gallery 1 in relation to the landscape as well as its siting as a point of public entry and assembly.
Davina Semo, Messenger, 2019, polished and patinated cast bronze bell, whipped nylon line, wooden clapper, powder-coated chain, hardware, bell: 32 inches tall x 13 inches diameter, overall dimensions variable. Photo: John Wilson White. Image courtesy of Jessica Silverman Gallery, San Francisco, and the artist.
OPENS February 19 — December 27, 2020
Jim Drain’s long-term installation Membrane in Gallery 1 is designed to serve as a gathering space for a range of activities and events, including artist talks, lectures, symposia, and performances, as well as an area for lounging, reading, and daydreaming amidst di Rosa’s idyllic landscape. Demonstrating his collective and interdisciplinary background coupled with his intuitive, irreverent blend of assemblage, craft, and form, draw from; the project will resonate with the distinctive spirit of the Bay Area and its artistic legacy.
Jim Drain, Membrane, 2020, photo by Karen Philippi
UPCOMING SPRING EXHIBITIONS 2020
PUBLIC RECEPTION SATURDAY, MAY 16, 2020
May 13 — November 29, 2020
Public Reception: Saturday, May 16, 2020
Deborah Remington’s career spanned six eventful decades, from the artist’s Beatnik days in 1950s San Francisco to her death in New Jersey in 2010. A prolific artist whose volume of paintings, drawings, and prints exceeded thousands, she sustained episodes of unsteady critical and commercial visibility but, vagaries regardless, upheld a clarity of vision that gusted her along until the end. Through sixty artworks and a rich selection of archival material, Deborah Remington: Kaleidoscopic Vision is a concise survey of forty of those years, beginning with her early efforts as an art student in the aftermath of World War II, progressing to her iconic paintings and drawings, and concluding with works from the mid-1980s that herald the highly embellished imagery that would crown her last two decades of life. In form and sensibility, each period appears distinct, but the arc of her practice is unusually clean and focused. Her early expressionist paintings, for example, transform incrementally into tightly structured shapes at once abstract and allusive, spare but maximal, self-contained while also radiant with color. In their explorations of scale, space, and perception, her works may seem neatly correspondent with contemporaneous developments, such as Light and Space in California and Minimalism in New York. But they reveal a language that is distinctly her own, one of otherworldly forms engendered by the vibrant interplay of experimentation and constancy that animated the heart of Remington’s singular practice.
Deborah Remington, Saratoga, 1972, oil on canvas, 91 x 87 inches. Image courtesy of the Deborah Remington Charitable Trust for the Visual Arts.