San Jose Institute of Contemporary Art

La Selva (detail), 2011, Oil on casein on linen, Courtesy of the Artist and Dolby Chadwick Gallery, San Francisco

Focus Gallery & Cardinale Project Room
Nov. 5, 2011 — Feb. 18, 2012

Tim Craighead: Dos Mundos

An exhibition of paintings and works on paper

One Thing Leads to Another, Exhibition view

Main Gallery
Nov. 12, 2011 — Feb. 25, 2012

One Thing Leads to Another

Process and repetition in contemporary print and drawings

Emanuela Harris-Sintamarian, Panta Rei, 2010, gouache, ink on paper, Courtesy of the Artist

ICA Front Windows
Dec. 5, 2011 — Jul. 28, 2012

Everything Is In Motion

An installation in the ICA’s Front Windows by San Jose-based artist Emanuela Harris-Sintamarian

Ascending River, Installation view, Staller Center for the Arts at Stony Brook University, Stony Brook, NY, 2005, acrylic on canvas, plexiglass, Courtesy of the Artist

Focus Gallery
Mar. 3 - May. 12, 2012

Youhnee Paik: Ascending River

The California premiere of this large-scale, immersive installation

Packard Jennings, Business Reply Pamphlet, (detail), 2006, Pigment print, ed. 25, Courtesy of the Artist and Catharine Clark Gallery, San Francisco

Main Gallery
Mar. 10 - Jun. 2, 2012

The Office

Contemporary office culture examined, deconstructed, rearranged, and critiqued

Learn More

Curator Susan O’Malley introduces selected works in the show, "One Thing Leads to Another" now on view in the Main Gallery.

Talking Art: Are You Serial?

Join us on Thursday, February 16th for a fun and informative discussion and demos with artists.

Make Art Here

Check out the Print Center Workshops Schedule

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Dos Mundos is an exhibition of paintings and works on paper by abstract artist Tim Craighead who has long explored and exploited mark making and recurring symbols and objects in his work.  Craighead’s visual vocabulary includes repetition and duplication of marks and shapes. Shells, vessels, scribbles, knots, polygons, DNA fragments and other representational and abstract gestures are repeated from canvas to canvas. The biomorphic and architectural forms that populate Craighead’s mostly autobiographical painted and printed works are reminiscent of the structural works of Frie Otto and Buckminster Fuller who looked at models found in nature to develop the ideas surrounding their work.
“When I look at a painting by Tim Craighead, I feel as though I’ve just awakened from a dream, the details of which are rapidly dissipating and what’s left is fragmented residue that continues to swirl around in my head, ” says Cathy Kimball, the ICA’s Executive Director. Craighead’s’ work inhabits that precise space between the objective and the nonobjective world. His paintings and prints are a unique mix of abstraction and acute attention to representational detail. And it is this dichotomy and tension that drives his work. He is interested in the physicality of paint and its expressive potential. He finds the language of paint to be encyclopedic. He pushes, pulls, wipes, scrapes and smears paint on canvas, often revealing his process of editing and refining. Through his work, Craighead provides an entry to a compelling and provocative space that blurs the distinction between the content and the composition, the recognizable and the mysterious.
Craighead lectures in the Art Departments at the University of California Santa Cruz and Cabrillo College in Aptos, CA. He has a B.A. in Printmaking and Sculpture from the University of California Santa Cruz and an M.F.A. in Painting from Columbia University, New York where he was also a Post Graduate Fellow in Painting in 1992-93. Craighead has exhibited his work since the late 1980s with solo exhibits at the Gerald Peters Gallery in Santa Fe, NM; Smith Andersen Editions, Palo Alto, CA; and the University of California in Santa Cruz. Craighead’s group shows include Lost and Found at Savage Gallery, Portland, OR, Yuma Symposium at the Yuma Fine Arts Museum, AZ; Roll the Dice at Cabrillo College in Aptos, CA, Seven, Painting and Sculpture, with The Heritage Fine Arts Collaborative at the Heritage Bank of Commerce, San Jose, CA; and Small Matters at Gerald Peters Gallery in Santa Fe, NM. Craighead was recently awarded the Rydell Visual Arts Fellowship for 2010-2011. In 2004 he was a lecturer at the Visiting Art Lecture Series at California State University in San Jose, CA, and his Suites of Monotypes have been produced by Taller de Gravat Torralba, Girona, Spain and Smith Andersen Editions, Palo Alto, CA. Craighead's work can be found in collections at the DeSassiet Museum, University of Santa Clara, Santa Clara, CA; the Graham Gund Collection, Boston, MA; and in private collections in Shanghai, China and throughout the United States.

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One Thing Leads to Another presents contemporary prints and drawings by artists who address process and repetition in their works. The exhibition also highlights works created in the ICA Print Center by several of its talented Artists-in-Residence and simultaneously celebrates the art of printmaking and the ICA’s Print Center itself.  Exhibiting artists include four of the ICA Print Center’s Artists-in-Residence: Modesto Covarrubias, Christel Dillbohner, Linn Meyers and Theodora Varnay Jones. Additionally, works by Mari Andrews, Brad Brown, Jaq Chartier, Amy Ellingson, Lea Feinstein, Robin Kandel, Fanny Retsek, Anthony Ryan and Kim Rugg will be presented.
Through repetitive and sometimes systematic processes, the exhibiting artists generate a varied visual vocabulary where one work informs the next one and so on. Drawing on various disciplines, such as music, language, mathematics and architecture, and employing minimal materials such as paper, pencil and ink, the artists present the expansive possibilities that repetition yields in developing a series of works. “As humans, we can relate to methodical repetition in imagery. We find ourselves lost in the recurring marks and mesmerized by the unexpected patterns it produces,” explains Susan O’Malley, ICA Curator and Print Center Director. “The physical act of repeating a mark over and over invokes the elemental and primal practice of mark-making, and thus is connected to the long lineage of human creativity,” adds O’Malley. Printmaking lends itself to repetition: In the printmaking process, artists work in diverse ways on the surface of a plate, which ultimately is the object that is placed on the press. In the development of a series, artists can duplicate and alter the properties of the plate, then repeat the printing process. Re-use of the plate inevitably creates repetition in a series; this rhythmic repetition suggests motion and draws the viewer’s attention through the series. Repetition is inextricable to this practice, and yet difference is key to the creation of a series, since variation and development, and not reproduction, are sought. With the extraordinary works on paper in One Thing Leads To Another, the ICA intends to explore creative repetition and its relationship to the development of a series of works.
The ICA Print Center In June 2007, with the opening of a newly purchased facility in downtown San Jose, the ICA unveiled its state-of-the art, 500 square-foot onsite printmaking studio. Printmaking requires equipment that is both prohibitively expensive and large. The ICA Print Center answers a demand in the South Bay for a professional-quality, public-access facility where artists of all ability levels can come to learn, experiment and produce artwork in a in a welcoming and engaging environment. It is an invaluable resource for established artists and art students who have recently graduated and no longer have access to university facilities.
In addition to serving artists who have extensive experience in printmaking, the Print Center offers artists working in all media (including painters, sculptors, photographers, graphic designers, etc.) opportunities to explore new ideas and techniques. Because the printmaking process involves works on paper, it provides an important means for experimentation. The ability to print an etched plate in various states, re-work a monotype image, or adjust the palette in the printing process supports artistic risk-taking, discovery and growth.
The Print Center is vital to the realization of the educational directives of the ICA’s mission. The Center offers a year-round schedule of workshops for artists of all ability levels, as well as open access sessions that provide artists familiar with the printmaking process an affordable opportunity to work on self-directed projects. Since its inception, this dynamic studio has served approximately 200 artists per year in its workshops and open access sessions. One Thing Leads to Anotheris supported in part by a generous grant from the Applied Materials Foundation.

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As a Romanian immigrant to the United States, Emanuela Harris-Sintamarian lives between two diametrically opposed cultures, from a totalitarian regime to a society in which individuality and information are emphasized. Her large-scale artworks convey a sense of fragmentation and tension which mirror her conflicted sense of identity. Borrowing visual language from Eastern European folklore, architecture and cartography, Harris-Sintamarian considers her graphic and energetic images as personal maps which chart her physical, emotional and intellectual journeys.
San Jose-based artist Emanuela Harris-Sintamarian is an Adjunct Instructor at San Jose State University and San Jose City College. Her work has been exhibited both nationally and internationally. She is the recipient of the 2013 Eureka Fellowship from the Fleishhacker Foundation, the 2010 Silicon Valley Arts Council Award and the 2008 ArtShift Award. Harris-Sintamarian has participated in the residency programs at Djerassi, Vermont Studio Center and the San Jose ICA Print Center. She received an MFA in Printmaking from the University of Delaware and an MFA in Painting from San Jose State University.

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The ICA presents Ascending River, Youhnee Paik’s site-specific installation of large-scale painted canvases -- part of a series of contemplative, restful works created as a tribute to the artist’s late mother. Although Paik has exhibited her work extensively throughout the Bay Area, this presentation marks the first time that Ascending River will be shown in California.
Paik’s dynamic, unframed paintings are hung from the ceiling like sails and laid out under a plexiglass-covered floor, enveloping the viewer in an immersive other-worldly environment. The works are complex in color and texture and filled with motifs of light that seem to radiate from the canvases. Celestial and water imagery abound, as do recurring imagery of ships and architectural drawings of cathedral floor plans. Through the use of these images, Paik makes a connection between the world of experience and the world of the unknown while challenging our conventional notions of space and time. The installation also includes a place for the viewer to lie down, relax, and listen to music with headphones.
Younhee Paik was born in Seoul, Korea and immigrated to the U.S. in 1968 after receiving her B.F.A. from Seoul National University. Paik received her M.F.A. from the San Francisco Art Institute in 1973 and continued to live in San Francisco for 30 years, working as an artist and raising her family. Today she travels extensively and maintains studios in New York City, San Francisco, and Seoul. Paik has exhibited her work since the mid 1970s with solo exhibits throughout the U. S. and Korea, including the Staller Center for the Arts at Stony Brook University, Stony Brook, NY; LASCA Gallery, Los Angeles, CA; and TOTAL Museum, Seoul, Korea. Paik’s group shows include, Tiger’s Tail, 1996 Venice Biennale, Venice, Italy; Rediscovering the American Landscape, Gerald Peter Gallery, Santa Fe, NM; the Schneider Museum of Art at Southern Oregon University, Ashland, Oregon; and the National Museum of Modern Art, Mexico City, Mexico. Paik’s work can also be found in collections around the globe including the National Museum of Contemporary Art, Korea; the San Jose Museum of Art, San Jose, CA; and the Korea Exchange Bank, New York, NY.
Ascending River is presented as part of the ICA’s Sandbox program that provides opportunities for artists to create ambitious large-scale installations. The Sandbox program was created in 2007 to fulfill core value of the ICA’s mission -- giving emerging and mid-career artists opportunities to take risks in their artmaking and expand their creative practices. Past Sandbox projects include; Chris Dorosz, The Painted Room (2009); Christel Dillbohner, Ice Floe (2009), Modesto Covarrubias, Liminal (2010) and Mike Rathbun, Urgency (2011).

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Exhibiting artists: Fritzie Brown, Alex Clausen, Kirk Crippens, Lauren DiCioccio, Mitra Fabian, Allison Foshee, Jonn Herschend, Packard Jennings, Jill Sylvia, Ian Treasure, and Penny Young. Like its television series namesake, The Office explores the absurdity and artistry of objects, ecosystems, culture and characters familiar to office works everywhere. Jill Sylvia’s meticulously cut ledger paper structures transform a nearly extinct material into elegant sculptures. Penny Young turns her obsession with organizational systems - library card catalogs, rolodexes, office files- into works that are liberated from structure and express chaos and absurdity. Kirk Crippens creates photo portraits of the ubiquitous office plant. Mitra Fabian and Allison Foshee explore the artistic potential of staples and binder clips. Packard Jennings appropriates the standard business reply envelope with his unique interventionist approach, and Jonn Herschend responds with an installation that threatens (or promises) to disrupt the ICA’s own office practices.

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Tim Craighead: Dos Mundos

One Thing Leads to Another

Everything Is In Motion

Youhnee Paik: Ascending River

The Office

Learn More

Talking Art: Are You Serial?

Make Art Here

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