handful of which are represented here, who pos- ourselves: Why are we relevant? What do we sess a distinct interest in working across mediums have to offer? How do we work together? and providing platforms for generative work. For The impetus that drives cooperative ven- Nov. 2, 2013–Feb. 2, 2014 this exhibition, Paul Clipson presents a new 16mm tures translates to mechanisms present within film that contrasts the Napa Valley environment art making and the art world at large. Mirroring with urban night imagery to explore the dynamic di Rosa’s programmatic direction—with a focus atmospheres of these differing landscapes, with on creating new platforms for the generation and Beatnik improvisational scores by Joshua Churchill, John dissemination of the art and artists of our time “To me funky Davis, and Chris Duncan. Chris Duncan installs and place—this exhibition marks the beginning a site-specific interactive sonic wire installation, of an exciting new chapter. Launching a number inviting experimental musicians Ashley Bellouin of programmatic partnerships beginning in Janu- and Ben Bracken to compose new sound pieces ary 2014, di Rosa embraces collaboration as a using the sculpture as their instrument. In addition, means to share expertise and resources, foster objects are Duncan presents a set of graphic notations that the growth of new ideas, and broach new ways Meteors served as the basis for compositions by musicians of working both in and beyond our local region. Rob Barber, Robert Crouch, Laura Steenberge, Beatnik Meteors is a celebration of art, place, and objects you make yourself or and Zachary James Watkins. Lisa Rybovich Crallé, community. And like the rays of cosmic debris Exhibition Checklist: Public Programs Height precedes width precedes and Events: depth. All works courtesy of the artists. December 12, 7–9 PM Lisa Rybovich Crallé, Christopher Screening & Live Performance (Offsite: 500 First Street, Napa) Füllemann, and Bailey Hikawa with your friends. It doesn’t have Selections from di Rosa’s film Talk My Language, 2013 collection curated by Beatnik Mixed media Meteors artist and filmmaker Paul Dimensions variable Clipson, followed by a screening Styling and clothing: Esra of outtakes from Clipson’s 16mm Canogullari; Performers: Mary film with live improvisational Alachman, Tim Griffin, Leslie sound accompaniment by Joshua anything to do with the making Jaquith, Tara Navarro, Raphael Churchill. $10 General/$5 Members. Noz, Esteban Partida, Mara Poliak, Sara Pritchard, Scotty Slade, Jonah Susskind, Alison Wilder, January 16, 4–8 PM and Brittany Williams di Rosa at YBCA (Offsite: Yerba Buena Center for the of art to be shown in galleries or Chris Duncan Arts, San Francisco) Platform, 2013 di Rosa teams up with YBCA’s Mixed media monthly ConVerge program series, Dimensions variable taking Beatnik Meteors on the road Sound: Ashley Bellouin and Ben with the presentation of related 1 Bracken performances and programs in – Bruce Conner YBCA’s Grand Lobby and Screening museums.” Chris Duncan Room. Free. Classical Elements/Earth/Graphic Score, 2013 January 18, time TBD Reisograph print Launch Party 17 x 11 in. (Gatehouse Gallery) region’s rich artistic history complete, he closed the lid, locked it, and desig- Sound: Zachary James Watkins di Rosa celebrates two new exciting and a platform through which nated that it would remain closed until its program initiatives: On Rotation Chris Duncan project space, the first iteration to explore art making today purchase. The artist expressed delight in thinking Classical Elements/Air/Graphic of an ongoing series that invites and the persistence of the col- about the element of surprise its new owner might Score, 2013 outside partners to curate the di Reisograph print Rosa collection, with collective Will laborative spirit within the Bay experience upon cracking it open and discovering 17 x 11 in. Brown, and Art Practical’s residency 3 Sound: Rob Barber at di Rosa, in which the Bay Area Area and beyond. such an amalgam of treasures. art journal moves on site for 2014. A time capsule of sorts, Wiley’s remarkably diverse output, which Christopher Füllemann, and Bailey Hikawa work that come together to alight a meteor’s path Chris Duncan Featuring live sound compositions Wiley’s Beatnik Meteor in- has spanned painting, drawing, sculpture, as- together here for the first time, creating a large- as it hurtles through the atmosphere, the future Classical Elements/Water/Graphic by Ashley Bellouin and Ben Bracken Score, 2013 with Chris Duncan’s sonic sculpture; cludes contents ranging from semblage, filmmaking, and performance, was an scale sculptural installation that will be activated is bright. Reisograph print an improvisational sound score 17 x 11 in. by John Davis with Paul Clipson’s black-and-white snapshots of important precursor for many defining artistic by a group of performers during scheduled Sound: Laura Steenberge filmic installation; and others. the artist’s family and friends movements of this region, most notably funk and events. Together, the artists in Beatnik Meteors – Amy Owen, Curator 4 Chris Duncan Visit www.dirosaart.org for details. to elements that mark his ar- conceptualism, two seemingly opposed forces. offer a constellation of possibilities, exhibiting Endnotes: Classical Elements/Fire/Graphic onner’s words epitomize the defiance of tistic relationships with other luminary contempo- It is also worth noting that Wiley has status as the works in experimental film, sound, performance, 1. What’s it all Mean: William T. Wiley, A Retrospective; John Score, 2013 Acknowledgments: Reisograph print convention and embrace of collabora- raries such as Bill Allan, Terry Fox, Robert Hudson, foremost collected artist in di Rosa’s collection. and sculpture that invite exchange. As such, G. Hanhardt, Fictions of the Pose: The Films of William Wiley (Washington, DC: Smithsonian American Art Museum, 2009), 182. 17 x 11 in. This exhibition is supported by tion that grew out of the Beat movement Edward Kienholz, Bruce Nauman, Robert Nelson, An instigator par excellence, Wiley was behind the exhibition becomes a living organism: fluid, 2. Wiley, conversation with author, October 1, 2013. Sound: Robert Crouch donors to the Fresh Art Fund. 3. Ibid. Additional support is provided of the 1950s and emerged in the 1960s and Steve Reich. Artifacts held inside include a such events as The Slant Step Show with Bruce transparent, and permeable, highlighting chance 4. Thomas Albright, Art in the San Francisco Bay Area, 1945–1980: An Paul Clipson by our members and the di Rosa and 70s bringing musicians, filmmak- bag of dust from the Whitney Museum—a remnant Nauman, for whom he was an influential teacher encounters, risk taking, and collective surprise. Illustrated History (Berkeley: University of California Press, 1985), 119. AUTUMN DIMENSIONS, 2013 Collectors Council. We extend C 5. The former has achieved near mythic status and the latter went on 16mm color film with sound our deepest thanks to William T. ers, sculptors, painters, and performance artists of Wiley’s ongoing exchange of studio dust with and collaborator, and the happening Over Evident Beatnik Meteors explores artistic process, to be represented at the Whitney Museum of American Art as part of 13 minute loop Wiley for providing the inspiration together in a potent mix of artistic exchange that Fox—and the soundtrack for Wiley’s important Falls with Steve Reich that originated the seminal identity, and collaborative authorship while the exhibition Anti-Illusion: Procedures/Materials. Conversation with Sound: Joshua Churchill, John for this exhibition and to the artists Wiley; http://www.furious.com/perfect/ohm/reich.html. Davis, and Chris Duncan (13 for their collaborative spirit and 5 continues to characterize the art of the Bay Area. 1970 film Man’s Nature composed by Reich. Once sound piece Pendulum Music. His highly collab- also questioning the very nature of a work of 6. Hanhardt, 182. minutes each) creative vision. Similarly, William T. Wiley’s Beatnik Meteor from Wiley deemed assembly of Beatnik Meteor as orative forays in film began with making sets and art by shifting and disrupting the way we see, Graphic Design: Stripe SF 1970, a seminal work in the di Rosa collection, costumes for theater experience, and engage. By creating multiplicities encapsulates this spirit. “Beatnik” and “Meteor,” where a host of creators of experience, the works in the exhibition may a casual hook up of two words, coined by an contributed to all vary- prompt one to ask: Is it music? Is it performance? artist renowned for wordplay, is a fitting choice of ing aspects of produc- Is it an artwork? Does it matter? The exhibition language that coalesces past and future. Formally, tion. This elastic and thus places art objects and time-based arts on the work is an intriguing object: a rustic, leather- experimental approach equal footing, and through activation, collapses hinged wooden box inspired by the work of H.C. to art making was a the moment of creation and reception. Westermann and lined with the remnants of a hallmark of the times The Bay Area is a region marked by innova- discarded circuit board. (The artist discovered and Wiley was at the tion and dynamic approaches to everyday life, this tangled assortment of wires in a streambed center of it all.6 and the growing prevalence of a collaborative di Rosa on his Woodacre property in 1968 before finding These influences economy offers an immediacy that is generative. 5200 Sonoma Hwy its purpose as the starting point for an accumula- continue to resonate Transactions are not static, but rather intimate Napa, CA 94559 tion of curious odds and ends.)2 Conceptually, the amongst an exciting exchanges where success is contingent upon T 707.226.5991 work operates as a poetic point of departure for group of contemporary everyone upholding their part of the bargain.