Patrick Dougherty: Whiplash
“My affinity for trees as a material seems to come from a childhood spent wandering the forest around Southern Pines, North Carolina... When I turned to sculpture as an adult, I was drawn to sticks as a plentiful and renewable resource.” —Patrick Dougherty
Whiplash, 2016, by North Carolina Artist Patrick Dougherty was created during a three-week artist residency. His sustainable willow material came from upstate New York, and was shaped in a process similar to basketry, but which the artist describes as akin to drawing. Patrick has created more than 275 monumental, site-specific sculptures on the grounds of museums, universities, botanical gardens, and private residences worldwide. His compelling sculptures evoke woodland architecture or gargantuan nests.
Whiplash was supported by the Palo Alto Art Center, the Palo Alto Public Art Program, and the Palo Alto Art Center Foundation, with support from William Reller, Pat Bashaw and Eugene Segre, Catharine and Dan Garber, Barbara Jones, Nicki and Pete Moffat, Nancy Mueller, Anne and Craig Taylor, the Acton Family Fund, and more than 40 community donors to the Foundation’s first crowd funding initiative.
Encounters: Honoring the Animal in Ourselves
Exhibition Dates: September 14—December 29, 2019
Opening Celebration: Friday, September 20, 2019, 7-10 p.m.
Art, Ecology, and Animal Talks: Saturday, September 21, 2019, 2-4 p.m.
Craig Calderwood, Surrogate, 2014, pen, mulberry paper, beeswax, thread, 9x12 in., courtesy of the artist
|In the summer sun of the hillside, with my eyes
Far more than human. I saw for a blazing moment
The great grassy world from both sides
—James Dickey, “The Sheep Child”
|“Defining the animals as a way of defining the human is as old and common as beer.”
—Onno Oerlemans, “Poetry and Animals: Blurring the Boundary with the Human”
Humankind was born living alongside other animals, studying their behavior, sharing resources, fighting for land, sleeping under the same sky. As civilization progresses and cultural paradigms shift, it is inevitable that our relationship to our nonhuman brethren would also change. Today, other animals possess an endless number of positions in society. They are political pawns, commodities to be bought and sold, and pests to be eradicated. As often and as much they are beloved companions, symbols of beauty and innocence, and essential to environmental stability. They are worshipped and slaughtered in what is, unfortunately, unequal measure. If human activity continues at its current rate, we will lose half of all species by the end of this century.
Our artist ancestors, who painted in blood and carved into stone the likenesses of the animals with whom they shared space, had no choice but to locate themselves within the context of the greater ecosystem Today, encountering an undomesticated creature as we go about our daily lives is, at least in most urban areas, an event of note. Watching a coyote cross a busy street, glimpsing a bobcat on a hike, following a hawk as it circles above, or even finding a salamander in a backyard, can be a singular occurrence in the course of a human life.
All the artists in this exhibition have had, or imagine they have had, revelatory encounters with other animals. Even more, they find meaning for their own lives by interpreting these occurrences. Drawing freely from the characteristics, behaviors, and architypes of the nonhuman animal world they examine the events and emotional content of their lives, exploring themes of kinship, identity, hybridity, death, and love.
In her animated short Ascend, Shiva Ahmadi uses animal imagery to rage against and memorialize the real life death of a 3 year old Syrian refugee. Photographer and fisherman Corey Arnold documents the interactions between animals (human and nonhuman) he witnesses and experiences as a fisherman on the Bering Sea. Patricia Piccinini sculpts arresting, hyper-realistic creatures that are both human and other, speaking to the mutability of form. Printmaker Belkis Ayón Manso draws on the power of the animal architypes in African-Cuban myth to tell her own story.
As John Berger puts it, “animals first entered the imagination as messengers and promises.” And if the artists in this exhibition are any indication, this they remain.
|Shiva Ahmadi||Corey Arnold|
|Roberto Benavidez||Craig Calderwood|
|Leonora Carrington||El Gato Chimney|
|Kate Clark||Anna Fidler|
|Belkis Ayón Manso||Kara Maria|
|Patricia Piccinini||Christopher Reiger|
|Fanny Retsek||Samuelle Richardson|
|Elisabeth Higgins O'Connor||Robb Putnam|
Exhibition Dates: June 15—August 25, 2019
Opening Celebration (Friday Night at the Art Center): Friday, June 21, 2019, 7-10 p.m.
Kathy Aoki, (She) Twerkin', 2014, stone lithography with watercolor, 18x24 in., courtesy of the artist
The San Francisco Bay Area is home to some of the most creative and innovative print studios in the country. Locally and internationally renowned artists have created new work with master printers at presses which include Arion Press, Crown Point Press, Electric Works, Gallery 16, Greunwald Press, KALA, Magnolia Editions, Mullowney Printing, Paulson Fontaine Press, Trillium Graphics, and Smith Andersen Editions. For this exhibition, the Art Center has collected pieces produced at these notable presses in order to celebrate the rich tradition of fine art printmaking, showcasing its many processes and results. With our accompanying artist-in-residence program highlighting local printmakers for short, nine-day residencies, the Center intends to engage the public directly in the power of printmaking. And through our Summer of Printmaking, inspire our visitors to try their hand at this dynamic and always-evolving form of expression.
|Darren Almond||Marcel Dzama||Greg Niemeyer and Roger Antonsen|
|Kathy Aoki||Stella Ebner||Nathan Olivera|
|Mamma Andersson and Jockum Nordstrom||David Gilhooly||Deborah Oropallo|
|Tauba Auerbach||Takuji Hamanaka||Mel Ramos|
|Miya Ando||Frank Lobdell||Gustavo Rivera|
|Sandow Birk||Diogenes Lucero||Maurice Sendak|
|Rebeca Bollinger||Fred Martin||William Wiley|
|Enrique Chagoya||Michael Mazur||Joe Zirker|
|Robert Crumb||Kerry James Marshall||Jessica Dunne|
Peninsula Photo Contest
Exhibition Dates: May 21—June 23, 2019
Location: Palo Alto Art Center Meeting Room
Reception: Thursday, May 23, 2019, 6:00-7:30 p.m.
Sponsored by the Palo Alto Weekly and The Six Fifty
Katie Chan Firtch, In Passing, 2019
Cultural Kaleidoscope and Youth Art
Exhibition Dates: April 27—May 26, 2019 (Youth Art ends May 19!)
Reception: Wednesday, May 1, 2019, 4:30-7:00 p.m. (Remarks at 5:30 p.m.)
Left: Tuli Morin, 3rd grade, Addison Elementary | Right: Valu Mataele, 2nd grade, Mixed Media Buddy Selfie Portrait (top), Brentwood Academy Noah Siva, 3rd grade, Mixed Media Buddy Selfie Portrait (bottom), Herbert Hoover Elementary
Cultural Kaleidoscope: Collaborative Artworks by Palo Alto and East Palo Alto Students
The culminating exhibition of the Palo Alto Art Center’s unique artists-in-the-schools program Cultural Kaleidoscope, which partners K-5 classes from schools in Palo Alto Unified School District and Ravenswood City School District
Youth Art: Annual Exhibition of Artworks by Palo Alto Unified School District Art Students
Youth Art celebrates the imaginative spirit of the students from the Palo Alto Unified School District, featuring work from students in grades K-12. Instructors have selected work that demonstrates accomplishment and innovation in the classroom.
The Sheltering Sky
Exhibition Dates: January 19—April 7, 2019
Opening Celebration: January 25, 2019, 7-10 p.m.
Vanessa Marsh, Cave 3, 2016, chromogenic photogram, 20x25 in., courtesy of the artist and Dolby Chadwick Gallery, SF
“A black star appears, a point of darkness in the night sky's clarity. Point of darkness and gateway to repose. Reach out, pierce the fine fabric of the sheltering sky, take repose.” ? Paul Bowles, The Sheltering Sky
Taking its title from the iconic novel by Paul Bowles, this exhibition looks to the stars for comfort in the darkest of times. Our connection with, and attention to, the abstract concept we call the “sky” is binding, and contemplating its many facets provide rich subject matter for artists. This exhibition will explore a variety of artistic responses through works in a wide range of media.
The origins of the word “sky” are various and many. In Old Norse it was the word for cloud; in Old High German it comes from the words for shadow and mirror; in Middle English, it can mean heaven. These definitions reflect the mutability of the sky itself; it is the true and original shapeshifter, never static, always evolving, a storyboard onto which we project ourselves and our mythologies, and from which we gather information about our possible futures.
While the human stature may be small in comparison to the vastness of the atmosphere above and around us, we are inexorably linked to it, creating it and being created by it in every moment. We are burning, evaporating, decomposing, and breathing ? the results of which are taken up into the heavens and retuned to us as magnificent sunsets, roiling clouds, and acidic rain. Extreme weather events pound the planet; hurricanes, volcanic ash, flooding and drought all draw our gaze upwards. Yet no matter how surreal, how political, how dangerous it is, we still look to the sky for solace, and there is nothing like it to bring us back to earth.
||Sarah and Joseph Belknap
|Adrian Landon Brooks
||Anna Von Mertens
|Pieter Laurens Mol
Exhibition Dates: January 19—April 7, 2019
Opening Celebration: January 25, 2019, 7-10 p.m.
Val Britton, Upper Air, 2019 (detail), site-specific installation of hand cut and laser cut paper, ink, and thread
In conjunction with our exhibition in the main gallery, we are presenting a new, site-specific installation by Val Britton. Her immersive work suggests fragmented, exploded landscapes, or in this case skyscapes. Britton received her MFA from California College of the Arts. She is the recipient of numerous grants, fellowships, and residencies and her work is included in many prominent collections across the country. She currently lives in Seattle, WA.