The show has a juxtaposition of abstract, geometric paintings and objects with what look like vintage portraits with drawn patterns around the figures. These portraits were each displayed within a clear plastic bag that has been stitched closed with pink thread, signaling to me a sense of closure with the portraits themselves, but since the thread was left untied, they seemed to be able to be opened again if need be. Like the thread, pink was definitely the color of the show, and it showed up in almost every work shown, giving them all a decidedly feminine attitude.

The femininity of the night was further emphasized by the audience (which were almost all women), the gallery itself, and even the delicious cookies they decided to serve instead of hors d'oeuvres. As a woman, this was a really nice break from the hyper-masculine shows I've been going to and allowed a place for the women's artistic community to gather. Congdon was also at the opening, which allowed many visitors to come and talk to her. Even though she probably won't be there all open hours for the rest of the show, I would suggest getting to Rare Device before it closes on December 31st, but as quickly as the work was selling on Friday, you might want to get there sooner than later.

Full photo slide show

Work by Meridel Rubenstein

The show was one of two opening that night, the second of which was Meridel Rubenstein's Heaven Turned on Its Side: Photosynthesis. She works in large scale photography, capturing moments within different stages of photosynthesis along with the equinoxes. All but one of them are photomontages with layered works, most of which depict natural atmospheric weather and trees. The photograph that does not seem to be digitally manipulated does seem to contrast with the fragmentation of the rest of the works, but because of its size, it works with the rest of the pieces in the show.

Not only the bright colors and textures of Sagerman's work drew audiences, but the fact that Rubenstein was only allotted a very small space in comparison put focus on him as the star of the show. I saw Sagerman at the opening and he was constantly busy talking to collectors and guests. The gallery was busy and many people were there, which speaks to the strength of the work. If you get a chance, please go see these works in person. The pictures below just can't do it justice.

One woman exclaimed, "They're amazing!" while looking at the work and I have to say I was partial to the collages rather than the paintings. They provided more depth and complexity, although the paintings are not simple, they do seem somewhat flat. No matter, the work is very high quality, whether painted or on paper, and those that did make the show seemed to enjoy both mediums.

The space of the gallery is incredibly efficient, and although it is very small, there were plenty of room for the works and for visitors trying to see them. The intimate setting helped to allow viewers to establish relationships with individual works, before they skirted off to any of the other number of galleries within the building. However, Manzo's work is very strong and deserves a time and space all its own.

On Saturday, October 20th, the Human Pyramids Collective presented the last leg of the CMYK show, an international group exhibition, which showed in Majorca, Spain, Malmo, Sweden, Dublin, Ireland, and then stopping finally in Los Angeles at the XVY Art + Design.

Playing off the CMYK from printmaking, the show featured hand printed works by Hovin Wang, Philip Evans, Mari Araki, Pato Conde, Fos, Sean Morris, Philip Morgan, Teddy Kelly, The Love Movement, Michael C. Hsiung, Richard Gilligan, Stefan Narancic, Nils Svensson, Elvis Segarich, Bigfoot, Mike O'Shea, Michael Coleman, Fuchsia Macaree, Loana Ibarra, and Stu Smith.

The exhibition opened in Los Angeles Oct. 11th thru Oct. 27th. Some print works will be up on the Human Pyramids store.

Works by Stefan Narancic (Sweden).

Our buddy Henrik Haven in Copenhagen emailed over some photos from San Francisco based Jason Jagel's current show "The Castle" which opened last Friday at Gallery Christoffer Egelund (Denmark). In 2002 Jason Jagel graduated with a Master of Fine Arts from Stanford University.

Because of the large crowd, it was difficult to see all of the photographs, but that wasn't really the point of Friday night. The skateboarding community came out in full force to see what was happening here in San Francisco as well as internationally in places like France, where Magenta Skateboards is based. The video was shown strategically on the back wall at 8 so that the people in the street could watch while they finished smoking their cigarettes. No beer was served, which is unusual for Book and Job, but it was brown-bag friendly and most took advantage of that.

The photographs themselves range from the stylistic skate photos of Isaac McKay-Randozzi and Ben Gore, to the more abstracted and colorful mini photos by Evan Kinori on the stairs. Most, if not all, of the photographs were taken here in the city and helped to maintain cohesion between the artwork and the video. But, Friday night was really about the video. If you missed it, it's available online at magentaskateboards.com, but the photographs will be up through October 31st. Even if you did make it to the opening, I would suggest a second round to really spend some time with the pictures. It is worth it, and great inspiration for an afternoon skate session in the city.

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Reportage by Rachel Ralph, Fecal Face's new San Francisco correspondent. You can email her at rachel(at)fecalface.com

Chris Lux's work consists of sculptures and paintings along with the studies he completed in their making. Of his pieces, the largest was Depeche Mode “Halo” depicting a black man actively pursuing a white woman. Because of its size, it was utterly unavoidable. A girl looking at this piece and talking about its inherent racism mentioned it being "completely offensive" but she said it with smile before having another sip of her wine. Besides the painting, Lux has several graphic gouache pieces in black and white hung in a small room built in the back. I hope it was built recently (and is still in process), because there was no paint on the wood walls and it was completely segregated from the rest of the show.

On the other side of the gallery are many works by Dane Johnson in photography, painting and sculpture, none missing out on his sexual overtone. His work incorporates iconographic figures from pop culture, ranging from Mickey Mouse to Derek Jeter, removed from any other pop culture reference and presented as fine art. However, the hallmark piece of his show is Untitled (White Guys Taking Black Cocks/ The Monstercock Max de Long Experience 2) which was basically a collage of photographs of masculine camping supplies resting on two shelves full of porno (which is where the title comes from). It combines both the sexuality and racial nature of the show without disguising it whatsoever.

Ultimately, I think "Eating Out of the Drain" is operating on shock tactics and references to pop culture. By making the show inherently sexual and racial, there will inevitably be discussions raised by it; however, those discussions probably won't have any mention of the actual aesthetic quality in the work, as it has been completely covered in order to appall audiences.

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Reportage by Rachel Ralph, Fecal Face's new San Francisco correspondent. You can email her at rachel(at)fecalface.com

Work by Xiau Fong Wee

111 Minna never disappoints and Friday night was no exception. Even the uber-corporate crowd, with their glowing ID badges couldn't detract from the quality of the work in their newest show, "Corporeal Clusters" with works from Kelly Allen, Melissa Arendt and Xiau-Fong Wee. The place was packed, as I stepped on more than one shined toe from men's dress shoes, and was filled playing top 40 hits, a weird atmosphere for the gallery. However, the quality of the work is what prevails; there are some really beautiful paintings here.

The show opens with Kelly Allen's photorealistic paintings of animals combined with geometric and biomorphic shapes, setting the tone with a geometric and animalistic thread that runs throughout the entire gallery. Next on inside are Melissa Arendt's paintings on wood panels using geometric shapes and human figures, while letting the grain of the wood compose the background. I was especially attracted to the grouping Clusterfuck Series #s 11, 6, 7, 9, 5. Is that Bowie a la Labrynth I see in the center? Why yes it is, and it made my day. Her next grouping had several works which incorporated glitter, and most of these had been sold by the time I had gotten there at 8:00.

While there is no question of the beauty in both Allen's and Arendt's works, the standout for me were the acrylic paintings on canvas by Xiau-Fong Wee. My god are they beautiful. All I could say (literally) was "wow." The works have amorphous animal/human figures, most of which have the female form, indicating a connection with mother nature. The delicate treatment of the surface of the paintings and the natural aesthetic qualities reminded me of the surreal beauty of Tiffany Bozic's work, but taken to a whole new, dream-like level.

Ultimately, the crowd won the battle of wits, and I just had to get out of there. I will definitely be back before the show closes on November 10th, when I can actually see the paintings, without the soul-crushing music and the creepy businessmen. Really, this show is a must-see, and I guarantee you that you don't want to miss it. -more photos

Xiau-Fong Wee, Slow Motion, 2012

Last weekend Vans sent me down to check out opening night of Supply and Demand, art gallery and installation, which opened October 12that the House of Vans for a one-night invite-only event. (You might remember seeing the Supply & Demand show post from last year as well). Supply and Demand, set up by Russ Pope and Vans, featured the works of Neil Blender, Nathaniel Russell, Chris Yormick, Jay Howell, Jamahl Williams, Russ Pope, Rich Jacobs, Dennis McNett, and Jai Tanju in a one night special event with free mini burgers, quesadillas, beverages, and a musical performance by Super Juice. Thanks again to Vans and Russ Pope for sending me out there for the event.