Opening Celebration: May 20, 6–9PM Free with reservation
Exhibition: May 21–30, 11AM–6PM; May 31, 11AM–2PM Free and open to the public
Live Auction with performance by Carole Kim: May 31, 5–9:30PM Tickets required
The Store House and Gallery 308 at Fort Mason
2 Marina Blvd., San Francisco CA
Full details, including tickets, reservations and how to bid. Tickets on sale April 27.
We’re kicking off our 2022 Benefit Art Auction with an opening celebration and exhibition on May 20, 6–9PM. View over 60 artworks available for bidding, enjoy interactive art-making activities, and experience site-specific installations from Headlands Artists Annie Albagli, and Anja Ulfeldt. Reservations required for the Opening Celebration.
Can’t make it to the opening, or just need some quiet time to experience the work? The exhibition will be open Saturday, May 21–Monday, May 30 11AM–6PM, and Tuesday, May 31 11AM–1PM; no reservations required.
Visit Headlands.org/auction for more information, tickets and reservations, and to register to bid.
Saturday, April 23, 2022, 6:00 PM
Come see the preview exhibition for POWER ON, Southern Exposure’s Annual Benefit Art Auction! This is your chance to check out the art in person before our main event on April 23. Make an appointment to view here. And if you’re looking for the VIP experience, get a ticket to this Thursday's VIP Event, where you can enjoy food and drinks among the artworks of so many of the Bay Area’s most exciting artists. You can start bidding on artworks now when you register online.
TICKETS: Online at soex.org/auction or call 415.863.2141 x105
$250+ Host Packages $175 VIP + Main Event Ticket $100 Main Event Ticket $0-75 Livestream Event Ticket*
*If you’re unable to join us in person, we welcome you to support us with a sliding scale ticket to our Livestream Event! Purchase a ticket for $25 or more and you'll get a limited-edition SoEx fanny pack!
LOCATION: Southern Exposure 3030 20th Street San Francisco, CA 94110
MAIN EVENT SCHEDULE:
6:00 PM Doors Open
7:30 PM Live Auction
8:30 PM Silent Auction begins to close
May 11 — July 17, 2021
Gallery Wendi Norris Online
Val Britton collects, cuts, paints, pastes, folds, and layers paper. Her practice is fundamentally tactile and reflects a long commitment to her medium. Originally trained as a printmaker, Britton meticulously builds paint and collage layers to create depth in her compositions with contrasting materials and techniques.
Impressions of Time, a video recently shot in Britton’s Portland, Oregon studio, provides a behind-the-scenes glimpse at the making of her newest body of work and the most in-depth look into her process to date. These ten square compositions, part of her decade-long Reverberations series, capture the plurality of her approach to the medium of paper. Britton acts upon her surfaces in dynamic fashion, from the gestural painting and staining process to the meticulous work of cutting shapes out of and into the material. The process becomes a constant negotiation of adding and subtracting in order to both fill space and create it. “The work holds an impression of time, and those layers get built up from back to front,” says Britton.
Through a formal language rooted in mapping, including loosely interpreted continents, networks, and constellations, Britton’s visual lexicon is both familiar and illegible. The works, as a result, offer a gesture of invitation without prescribing any particular, worldly destination. “Ultimately, I am trying to make intangible experiences visual through this intense layering and physicality of material.”
October 16, 2021 — January 22, 2022
516 ARTS / 516 Central Ave. SW, Albuquerque, New Mexico
516 ARTS will present an exhibition and public programs on the subject of map art, with a focus on “counter mapping.” Conventional Western mapping has been historically used to track, register, and achieve land appropriation and exploitation. Today, with processes such as gerrymandering, mapping still has an important role in the current political, social, and cultural systems. “Counter mapping” refers to efforts to map against dominant power structures. The concept for the exhibition is to investigate how different ways of tracking and mapping affect the meanings and perceptions of places, and to reflect upon the power structures that define those representations. The exhibition will critically engage with historical forms of mapping and the elements of power and culture that characterized them.
July 1 — October 17, 2021
Bedford Gallery at the Lesher Center for the Arts / 1601 Civic Drive, Walnut Creek, CA
In collaboration with the Recology Artist in Residence (AIR) Program, Bedford Gallery presents a breathtaking survey of artists who have had the opportunity to participate in the program. Operating with the belief that art plays a unique role in educating and inspiring the public, Recology—San Francisco’s recycling and composting company—provides Bay Area artists with access to discarded materials via coveted scavenging privileges, a stipend, and studio space at the San Francisco Transfer Station and Recycling Center. This special exhibition of work created from unwanted materials encourages us to see our “trash” in a new light and reflect on our own consumption practices in a time of heightened concern and awareness for the future of our planet.
Since its founding in 1990, over 150 professional artists and 50 college student artists have completed residencies “at the dump.” The facility is a 47-acre site that includes the trash transfer station, the Household Hazardous Waste Facility, the Organics Wing, the Public Reuse and Recycling Area ("the dump"), and other recycling areas.
Participating Artists: Tamara Albaitis, Kathy Aoki, Michael Arcega, Miguel Arzabe, Terry Berlier, Val Britton, Beau Buck, Ed Clapp, Lauren DiCioccio, Ricki Dwyer, Rodney Ewing, Mike Farruggia, Amy Wilson Faville, Julia Goodman, Nemo Gould, Jeff Hantman, Jamil Hellu, David Hevel, Barbara Holmes, D. Cherie Johnson, Andrew Junge, Cathy Lu, Kara Maria, Mansur Nurullah, Ramekon O'Arwisters, Jenny Odell, Scott Oliver, Kari Orvik, Erik Otto, Alison Pebworth, Yulia Pinkusevich, Ferris Plock, Genevieve Quick, Nicole Repack & Isis Rodriguez, Kate Rhoades, Leah Rosenberg, James Sansing, Kathy Sirico, Chris Sollars, Stephanie Syjuco, Weston Teruya, Shushan Tesfuzigta, Sherri Lynn Wood, Victor Yañez-Lazcano, Imin Yeh.
On Friday, March 26, join us for a Livestream event featuring silent and live auctions (led by esteemed Bonhams Auctioneer Aaron Bastian) showcasing over 125 pieces of gorgeous artwork from some of the Bay Area’s leading new and established artists, entertainment from local performers, and a joyful online gathering of the SoEx community. Join us in celebrating the continued vitality and radiance of experimental art in the Bay Area.
January 16—19, 2020
VIP and Press Preview: Thursday, January 16, 2-8 pm
Meet the Artists: Val Britton and Eric Siemens, booth conversation with Gallery Wendi Norris (Booth A1): Thursday, January 16, 5:30-6 pm
Pier 35 / 1454 The Embarcadero, San Francisco, California
January 19—April 7, 2019
Opening Celebration: January 25, 2019, 7-10 pm
Palo Alto Art Center / 1313 Newell Road, Palo Alto, California
“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.
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.
April 10 - 14, 2018
1275 Minnesota Street / Atrium, San Francisco, California
In honor of Equal Pay Day 2018, Gallery Wendi Norris has partnered with Hired, a job marketplace that matches tech talent with the world’s most innovative companies, to present a curated project that will foster creative problem solving and dialogue around wage inequality.
The Shape of Change presents a commissioned body of work by artist Val Britton, curated in direct response to Hired’s 2018 Women, Work, and the State of Wage Inequality Report, which calculates current trends in tech salaries, particularly highlighting the wage gap between men and women in the field, as well as gaps across race, sexuality and age.
The installation will transform the atrium with two mixed media paintings on paper and a sculptural installation made up of cut paper and string. The work stems from Britton’s interpretation of the statistical analyses which become transmuted into visual elements, i.e. shapes, forms, and colors. She extracts ratios and statistics from the report to be converted into concrete masses. These abstract, geometric visual elements are imbued with Hired’s report data, yet remain open for audiences to explore a multitude of potential meanings.
Britton creates a material representation of the state of wage inequality to be corporeally understood and acknowledged. Her work allows the data to take shape and occupy space, engaging the viewer’s visceral response in hopes of changing the way we move through our current socio-economic environment.
Val Britton is a charter resident of the Artist Studio Program at Minnesota Street Project.
Gallery Hall 2 | Booth D9 March 21-24, 2018
Gallery Wendi Norris returns to Art Dubai and will present a curated exhibition titled Wanderlust, featuring rare 1970s folded paintings by Peter Young, new photographic abstractions by Yamini Nayar, and a site-specific suspended sculpture by Val Britton. Together, the installation explores the mysterious notions found in places unknown or unattainable.
Art Dubai - Building 7
Dubai Design District (d3)
PO Box 72645, Dubai, UAE
T +971 4 563 1400