Tag Archives: #artstudio

Pétanque with Paul Kos

Gallery 2 Petanque Court + Courtyard Tournament

Laissez les bon temps rouler!

Join renowned Bay Area artist Paul Kos for an afternoon of pétanque—a French boules sport that has played a role in his artistic practice for decades.

Kos will deliver a brief lecture about his relationship with the game—and its role in the creation of his masterpiece Chartres Bleu (1982-86)—before re-dedicating his site-specific installation Zizi Va (1994), a functioning pétanque court which has been newly refurbished for ongoing public use. Finally, Kos and guests will participate in a rousing tournament, competing for a golden ball adorned with Kos’ signature as well as di Rosa memberships for each member of the winning team. RSVP is not necessary to be a spectator, but those who wish to compete in the tournament are encouraged to register ahead of time. Tournament is limited to eight teams of three. Walk-ons allowed only if there is space on the day of the event.

Please note that masks are needed to enter the indoor Tunnel and Chapel and see the beautiful interior of Chartres Bleu. Masks will not be required outside.

Do you have a team? Purchase your tickets together under one name, or include the names of the individuals (or team name) you want to be grouped with in the “comments” section of your ticket registration.

Participants without a team will be grouped into one at random.

This pétanque event is currently SOLD OUT. There is the possibility of more tickets going on sale at a later time. To get on the waiting list, please email your name to: visit@dirosaart.org with the subject line “Petanque Waiting List.” NOTE: Only the pétanque game requires a reservation to play. The ribbon-cutting and lecture portion of this day do not require a reservation, and all are welcome to attend. All are welcome to observe the pétanque game(s) in session, as well.

Paul Kos’ masterpiece Chartres Bleu, 1982-86 (left) and pétanque boules. Pétanque is sometimes called “French bocce” ball. It’s definitely different, but we invite you to give it a try if you’ve played bocce, but not played pétanque.

Oliver Jackson: Any Eyes

Gallery 1

When asked about viewers of his work, Oliver Lee Jackson responds, “It’s for anybody’s eyes. Any eyes will do.” 

This exhibition presents—for “any eyes”—a selection of Jackson’s works in painting, sculpture, and mixed media. While recent retrospectives at the National Gallery of Art and Saint Louis Art Museum have brought renewed critical attention to Jackson’s paintings and works on paper, this exhibition highlights the true breadth of his practice, featuring previously unseen works in materials ranging from burlap, felt and paint to steel, wood and marble.

Guest curated by Diane Roby.

Opening Weekend Events: Saturday, August 20

Making Art with Everyone

1:30 – 3:30 PM

Patron’s Reception, with Curatorial Walkthrough

4:30 – 5:30 PM

Become a Patron today! Contact development@dirosaart.org to learn more.

Member’s Reception

5:30 – 6:30 PM

About the artist

Oliver Lee Jackson’s artworks are in the permanent collections of The National Gallery of Art, Washington, DC; Museum of Modern Art, New York; The Metropolitan Museum, New York; Museum of Contemporary Art, Chicago; Detroit Institute of the Arts; New Orleans Museum of Art; Los Angeles County Museum of Art; Portland Art Museum, Oregon; St. Louis Art Museum; Museum of Contemporary Art, San Diego; San Francisco Museum of Modern Art; Fine Arts Museums of San Francisco; San Jose Museum of Art; Seattle Art Museum, and many other public and private collections.

Since 1982 Oliver Jackson’s studio has been in Oakland, California.

 

Oliver Jackson
Oliver L. Jackson, Tapestry No. 1, 2011, Mixed media on linen, 80 x 107 1/2 in.

Fort Phooey: Wiley in the Studio

Gallery 1

William T. Wiley (American, born 1937), Eerie Grotto? Okini, 1982, color block print on rag paper, 20 7/8 x 27 3/8 inches, Montgomery Museum of Fine Arts, Montgomery, Alabama, Association Purchase, 1999.6

August 20 – October 31, 2021

Step inside the studio of the late William T. Wiley. Fort Phooey: Wiley in the Studio recreates the sights and sounds of his iconic studio—a meeting place for generations of Bay Area artists—combining over fifty original works from di Rosa’s collection with archival objects on loan from the artist’s estate. The “Fort Phooey” part of the exhibition title is taken from a little-known work in the di Rosa collection titled “Fort Phooey Mandala.” Wiley created the mandala as a meditative exercise in his studio, and he also referred to his studio as “Fort Phooey.”

Wiley’s Marin County studio was perhaps his greatest work of art. Densely layered with words, images and objects that meandered into his work and back out again, it was nothing less than an immersive assemblage. “Being in the studio was like entering into a Wiley artwork,” explains curator Kate Eilertsen. “The effect could be dizzying. Every surface was covered with scrawled wordplay, found objects and other elements of his distinctive visual vocabulary.”

Inviting visitors into Wiley’s studio, the exhibition draws attention to the legacy of his artistic practice. “Wiley’s studio practice—rooted in Zen mysticism and an ethos of open-ended play—was imitated by artists ranging from Bruce Nauman to Deborah Butterfield,” states Eilertsen. “To understand his profound impact, it is necessary to grapple with the legacy of his practice as well as the work itself.”

The exhibition is both immersive and participatory, and will include such details as Wiley’s final painting he was working on at the time of his death earlier this year; his workbench; photographs of him with friends and family; works by artists who influenced Wiley’s work including Wally Hedrick; musical instruments he encouraged visitors to play when they visited; National Public Radio (NPR) live via radio; and objects such as chalkboards and dunce caps that often appeared in his two-dimensional and three-dimensional work. Visitors will be prompted to create their own artworks and add them to a community wall inside the exhibition space.

Related Events

Member’s Reception on August 20, 4:30-6:30 PM

Making Art with Everyone / Haciendo arte con todos on September 25 and October 23

Why is it called Fort Phooey?

“Fort Phooey” is taken from a little-known work in the di Rosa collection titled “Fort Phooey Mandala.” Wiley created the mandala as a meditative exercise in his studio, and he also referred to his studio as “Fort Phooey.”

Anything with a Hole is also a Bead (Erik Scollon)

Gallery 1

March 11 - July 3, 2022

A committed educator, Scollon is an Associate Professor and Chair of the First Year CORE Studio Program at California College of the Arts. Moving between ‘sculpture’ and ‘ceramics,’ functional objects and aesthetically autonomous objects, social engagement and recorded performances, he investigates issues of education, access, taste, class, gender, and queerness.

About the artist

Born in Rochester, Michigan, he received his BFA from Albion College, and an MFA in Ceramics along with an MA in Visual and Critical Studies, both from California College of the Arts. His work has been seen at museums, galleries, craft fairs, design blogs and gay biker bars. He is represented by Romer Young Gallery and he currently lives and works in San Francisco, California.