Tag Archives: di Rosa Collection

Incorrect Previews: Explorations of Exhibition Vignettes with Kate Eilertsen & Twyla Ruby | At Home

Perspectives | At Home

Listen to Executive Director and Curator Kate Eilertsen and Curatorial Associate Twyla Ruby discuss the history of Northern California art through the context of the artwork represented in The Incorrect Museum: Vignettes from the di Rosa Collection

Each preview covers two vignettes:

Sweet Land of Funk / The Pot Palace

Dude Ranch Dada / Nut Art

The Museum of Conceptual Art /  Worlds in Collision

These programs are offered as part of di Rosa’s at home digital content.

Shakespeare Summer Stroll | July 15, 16, 17, 18

di Rosa Grounds

JOIN US FOR A UNIQUE OPPORTUNITY TO EXPERIENCE THE TRANSFORMATIVE POWER OF LANGUAGE, PERFORMANCE, AND ART IN ONE OF THE MOST EXTRAORDINARY VENUES IN THE NAPA VALLEY.

About Shakespeare Napa Valley

Shakespeare Napa Valley engages and inspires our diverse communities by creating lively and innovative productions of Shakespeare’s plays. Founded in 2010 by Artistic Director Jennifer King at Napa Valley College, Shakespeare Napa Valley presents at least one production each year.  Featuring professional actors, artisans, directors, and designers, working alongside college students, Shakespeare Napa Valley is committed to nurturing seasoned and emerging artists alike.   Signature programs include Shakespeare in the Park, Student Company and Student Matinees.  For more information visit shakespearenapavalley.org

Olivia Cowell (Director, Shakespeare Summer Stroll) is an award-winning Bay Area director, choreographer, and actor.  Local directing credits include: A Chorus LineBeauty and the Beast, Clue, Matilda the Musical, Mary Poppins, Shrek the Musical, Roald Dahl’s Willy Wonka, Peter Pan, Late: a Cowboy Song, Lend Me a Tenor, The Wizard of Oz, Seussical Jr., and Alice in Wonderland to name a few.  She is also co-director of Cafeteria Kids Theater, a local non-profit youth educational theater and a theater arts faculty member at Napa Valley College.

Shakespeare Napa Valley and di Rosa Center for Contemporary Art present Shakespeare Summer Stroll, a site-integrated presentation of scenes and monologues from some of Shakespeare’s most beloved plays, interwoven with the exquisite works and outdoor spaces at di Rosa. This family-friendly show boasts a fantastic balance of comedic and dramatic scenes as well as sonnets, and is directed by Napa Valley College faculty member Olivia Cowell. Shakespeare Napa Valley, an auxiliary program of the Napa Valley College, has conceptualized an incredible walking tour through the world of Shakespeare and some of his greatest dramatic works. Guests will experience a short and enchanting hike through a carefully curated sequence of moments from The Tempest, Romeo and Juliet, Much Ado About Nothing, Hamlet, Macbeth, and A Midsummer Night’s Dream.

 * Shakespeare Napa Valley is a Napa Valley College auxiliary program.

Please note that all performances include a walking tour that is approximately 1.5 mi long along uneven terrain. We suggest wearing comfortable shoes. If you require ADA assistance, please contact kathleen@dirosaart.org

Opening Night Performance – SOLD OUT 

July 15 | 6 – 8:30 PM

Doors open at 5:30 PM

$65 Your ticket includes:

  • A guided tour through various scenes from six of Shakespeare’s most beloved plays
  • Wine and Food Pairings  
  • An invitation to the post-show reception and champagne toast, where small desserts will be served during a meet and greet with the stars of the evening’s performances

Evening Performances – SOLD OUT

July 16, 17 | 6 – 8:30 PM

Doors open at 5:30 PM

$5 Minimum Donation: General Admission: Pay What You “Will” (all donations will be distributed amongst Shakespeare Napa Valley and di Rosa Center for Contemporary Art). This will grant you access to the guided walking tour and performance.

$30 VIP Admission: When you donate $30 or more, your ticket will also include a glass of wine and a small snack.

Matinee Performance – SOLD OUT

July 18 | 2 – 3:30 PM

This show will not include food and wine pairings. Admission to Sunday’s Matinee Performance is free to the following qualifying individuals:

  • Those who pay for general admission to di Rosa Center for Contemporary Art
  • di Rosa members
  • Napa Valley College Students (with ID)

 

Cocktails with a Curator | June 24

David Best, Rhinocar | Digital Program
David Best and Michael Bishop, Rhinocar , 1984, 1976 Oldsmobile and found objects, 60 × 276 × 94 3/4 in.

Gather your barware and join di Rosa Curatorial Associate Twyla Ruby for a spirited MINI happy hour. 

Twyla will be enjoying a Kitchen Sink cocktail and guiding a deep dive into the incredible Rhinocar by David Best, a work on view in The Incorrect Museum: Vignettes from the di Rosa Collection.

Zoom login:

Meeting ID: 814 9331 9396

Passcode: 201753

Cocktail Recipe: The Kitchen Sink

  • 1/2 ounce light rum
  • 1/2 ounce triple sec
  • 1/2 ounce vodka
  • lemon-lime soda
  • lime wedge, for garnish

Directions

Muddle the mint in the bottom of a cocktail shaker with the Simple Syrup. Add ice to the shaker, then add the gin, rum, triple sec and vodka and shake vigorously. Strain into a rocks glass filled with ice. Top with some lemon-lime soda and garnish with a lime wedge.

Mocktail Recipe: The Clean Sink

  • 2 sprigs fresh mint, muddled
  • 6 ounces sparkling water
  • 1/2 ounce lime juice
  • 1 ounce simple syrup
  • lime wedge, for garnish

 

 

Cocktails with a Curator | June 17

Lynn Hershman Leeson, Constructing Roberta Breitmore | Digital Program
Lynn Hershman Leeson, Constructing Roberta Breitmore. 1975, Ektacolor print inscribed in ink, 19 3/4 × 12 3/4 in. (50.2 × 32.4 cm).

 

Gather your barware and join di Rosa Curatorial Associate Twyla Ruby for a spirited MINI happy hour. 

Twyla will be sipping a Platinum Blonde cocktail and guiding a deep dive into Constructing Roberta Breitmore by Lynn Hershman Leeson, a work on view in The Incorrect Museum: Vignettes from the di Rosa Collection.

Zoom login:

Meeting ID: 814 9331 9396

Passcode: 201753

Cocktail Recipe: The Platinum Blonde

  • 1 ounce grapefruit-rosemary-infused vodka*
  • 1/2 ounce elderflower liqueur
  • 1/2 ounce grapefruit juice, freshly squeezed
  • 1/2 ounce lemon juice, freshly squeezed
  • 1/2 ounce simple syrup
  • Garnish: rosemary sprig

Directions

  1. Add the infused vodka, elderflower liqueur, grapefruit juice, lemon juice and simple syrup to a shaker with ice and shake until well-chilled.

  2. Double-strain into a chilled cocktail glass.

  3. Garnish with a rosemary sprig.

Mocktail Recipe: Sparkling Highlights

  • 1 ounce grapefruit sparkling water
  • 1/2 ounce elderflower water
  • 1/2 ounce grapefruit juice, freshly squeezed
  • 1/2 ounce lemon juice, freshly squeezed
  • 1/2 ounce simple syrup
  • Garnish: rosemary sprig

 

 

Cocktails with a Curator | June 10

Jay DeFeo, Geisha I | Digital Program
Jay DeFeo, Geisha I, 1987, oil on canvas, 84 × 60 in. (213.4 × 152.4 cm).

Gather your barware and join di Rosa Curatorial Associate Twyla Ruby for a spirited MINI happy hour. 

Twyla will be sipping a Golden Geisha and guiding a deep dive into Geisha I by Jay DeFeo, a work on view in The Incorrect Museum: Vignettes from the di Rosa Collection.

Zoom login:

Meeting ID: 814 9331 9396

Passcode: 201753

Cocktail Recipe: The Golden Geisha 

  • 1 1/2 ounce Grey Goose vodka
  • 2/3 ounce aloe vera juice
  • 2/3 ounce apple juice
  • 1/3 ounce lemon juice, freshly squeezed
  • 8 raspberries
  • Garnish: gold flakes (optional)

Directions

  1. Add all ingredients into a shaker with ice and shake until well-chilled.

  2. Double-strain into a chilled cocktail glass.

  3. Garnish with gold flakes.

Mocktail Recipe: The Virgin Geisha

  • 1 1/2 ounce sparkling water
  • 2/3 ounce aloe vera juice
  • 2/3 ounce apple juice
  • 1/3 ounce lemon juice, freshly squeezed
  • 8 raspberries
  • Garnish: gold flakes (optional)

 

 

 

 

The Incorrect Museum: Vignettes from the di Rosa Collection

Gallery 2

Welcome to the exhibition’s microsite

Scroll down to read the introductory wall text and click the icons below to enter vignettes.

“Come on out and let go/to return again while getting to know/that here the art invites a titter/from the free admitter/That here art is a healthy remedy/with a laugh at rascality not posing as ponderosity.” - Rene di Rosa

Rene di Rosa viewed his collection of more than 1600 objects, accumulated over five decades from the 1960s until his death in 2010, as a sort of “incorrect museum.” In 1997, when the preserve opened its doors to the public, di Rosa memorialized the occasion in verse, penning a “singalong for an incorrect museum” which was distributed to early visitors: “Come on out and let go/to return again while getting to know/that here the art invites a titter/from the free admitter/That here art is a healthy remedy/with a laugh at rascality not posing as ponderosity.”

di Rosa’s vision of an “incorrect museum” is a potent concept, especially today as museums across the world reassess their institutional histories, missions and values. What, exactly, made the di Rosa an “incorrect museum” in the eyes of its founder? 

di Rosa, along with many of the artists he collected, strictly opposed the aesthetic and social conventions of the mainstream art world, which he viewed as pretentious, sterile and fundamentally conservative.

Unlike major museums in New York and Los Angeles, di Rosa welcomed the public free of charge, reflecting a populist vision for the arts. Similarly, he rejected the bland art-speak peddled by gallerists and curators, eschewing the use of exhibition labels to cultivate a more immediate and personal exchange between artwork and viewer. 

Even the personal residence di Rosa shared with his wife Veronica was imbued with an “incorrect” spirit, with works installed ceiling-to-floor in a playful salon style. The entryway of The Incorrect Museum is installed similarly, as a tribute to di Rosa’s curatorial vision. In the main gallery, we present six vignettes exploring how di Rosa’s “incorrect” sensibility was informed by the Bay Area’s unique artistic milieu. As this exhibition shows, the ideal of “incorrectness” was a lodestone for generations of Bay Area artists.

The works in the collection had a distinctly “incorrect” flavor which tended, di Rosa wrote, to invoke a “curatorial frown” from cultural gatekeepers in large, international museums.

 

 The collection focused on Bay Area artists—like Bruce Conner, William T. Wiley, Robert Arneson and Roy De Forest, among others—whose work was too colorful, ungainly, humorous and irreverent to be easily interpreted or consumed by art world afficionados. di Rosa also supported local artists—including Peter Voulkos, Jim Melchert, Tom Marioni and Paul Kos—who blurred the line between art and life, creating conceptual works rooted in experience that were not easily bought or sold.

We invite you to celebrate the shared “rascality” of these artists. The art and artists of Northern California have too often been overlooked by critics and historians of twentieth century art.

Kate Eilertsen, Executive Director and Curator

Twyla Ruby, Curatorial Associate

Ceramic Interventions: Nicki Green, Sahar Khoury, & Maria Paz

Gallery 1
Nicki Green, The Porous Sea (Tub), 2019. Glazed earthenware with cotton quilt.
Sahar Khoury, Untitled (bone holder with two charms wall relief), 2021 Ceramic, cement, pigmented paper mache, resin, vinyl paint, steel. Courtesy the artist and Rebecca Camacho Presents, San Francisco
Maria Paz, Camilo Marcelo Catrillanca, 2021 Ceramic, glaze 22 x 26 x 12 inches

The Bay Area has a longstanding tradition of radical experimentation in ceramic arts and, in recent years, many of the region’s most exciting young artists have chosen clay as their medium. This exhibition highlights three emerging artists working in this space, exploring a range of contemporary interventions in ceramic tradition.

Nicki Green, Sahar Khoury and Maria Paz all speak about the respect they have for ceramic’s durability, elasticity and strength, and are deeply engaged with the legacy of Bay Area ceramics. However, their practices represent unique modes of ceramic intervention. Green uses clay to create objects that explore history, ritual and the aesthetics of otherness. Khoury, meanwhile, engages in a practice of “creative repair” to create sculptures and installations that incorporate clay with cement, metal, textile and papier-mâché as well as rejected or found materials. Paz, finally, archives her personal and family history on ceramic vessels as an act of resilience and resistance.

Highlighting a wide range of recent works, Ceramic Interventions shows that clay remains an exciting and vital medium for today’s emerging artists.

 

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About the Artists

Nicki Green is a transdisciplinary artist working primarily in clay. Originally from New England, she completed her BFA in sculpture from the San Francisco Art Institute in 2009 and her MFA in Art Practice from the University of California, Berkeley in 2018. Her sculptures, ritual objects and various flat works explore topics of history preservation, conceptual ornamentation and aesthetics of otherness. Green has exhibited her work internationally, notably at the New Museum, New York; The Contemporary Jewish Museum, San Francisco; Rockelmann & Partner Gallery, Berlin, Germany. She has contributed texts to numerous publications including a recent piece in Duke University Press’ Transgender Studies Quarterly and a piece in Fermenting Feminism, Copenhagen. In 2019, Green was a finalist for the San Francisco Museum of Modern Art’s SECA Award, a recipient of an Arts/Industry Residency from the John Michael Kohler Art Center, among other awards. Green lives and works in the San Francisco Bay Area.

Sahar Khoury is an artist based in Oakland, California.  Khoury makes sculptures that integrate abstraction, personal and political symbols, and an intuitive sensitivity to site. Experimenting with juxtapositions of found or fabricated items with more familiar artist materials such as clay and papier-mâché, she continues to develop an idiosyncratic approach, with a primary commitment to material enquiry. She received her BA in Anthropology from UC Santa Cruz in 1996 and her MFA From UC Berkeley in 2013. She was the recipient of The San Francisco Museum of Modern Art 2019 biannual SECA Art Award and the 2018 Triennial Exhibition, Bay Area Now 8 at the Yerba Buena Center for the Arts. Khoury’s work has been exhibited at SFMOMA, YBCA, Oakland Museum of California, The Wattis Institute, UC Berkeley Art Museum, Rebecca Camacho (SF) and CANADA (NY). Khoury’s work has been written about in the New Yorker, Art Review, and Hyperallergic.

Maria Paz (b. Quilpue, Chile) is a self- taught sculptor based in Oakland, California. Her ceramic sculptures serve as archival objects, often exploring the bond broken with her home country and how her experience as an immigrant in the United States has shaped a multiplicity of identities within her. Recently, Paz has exhibited work at Yerba Buena Center for the Arts (San Francisco), San Jose Institute of Contemporary Arts (San Jose, CA), Pt. 2 Gallery (Oakland, CA), and Southern Exposure (San Francisco, CA). Paz has held workshops at the Contemporary Jewish Museum (San Francisco, CA) and was a finalist for the 2019-2020 TOSA Studio Award. She was awarded the Bed Stuy Arts Residency in Brooklyn, New York and is currently preparing for a group exhibition focused on community healing at Part 2 Gallery (Oakland, CA).

 

Curated by Curatorial Associate Twyla Ruby, with Executive Director Kate Eilertsen, and Director of Education & Civic Engagement Andrea Saenz Williams.