1. Reduction of Both 2"D and 3~D Floors of 4 Feet Each

deceived t CPC Hearing 3~

~` REQUESTED CHANGES 1(~o' 1 ~ fi~,~~,

1.Reduction of both 2"d and 3~d floors of 4 feet each •~ Reduction of 2"d floor by 5 feet

2.Removal of 3rd floor deck

3.Removal of north-facing windows on 2"d floor

4.Reduction of 2nd floor deck by pulling railings in 5 feet from side property lines

5. Turn rooms behind garage into a small and affordable second unit

6.Clarify for the record there is no attic level deck (because while it does not show in the plans it does in the 3D drawings the sponsor sent you) e 'j Re efv~d at PC Hearing ~ ~~.~. _ _~ Russian Hill Community Association~ i~~ 1166 Green St. San Francisco, CA 94109 510-928-8243 nc~asf.com

August 30, 2017

President Rich Hillis and Members of the San I`rancisco Planning Commission 1650 Mission St~~eet Roo~1~ 400 San Francisco, CA 94103-2479

Re: 8/31 i17 Planning Commission Agenda No. 12 Case No. 2017-002430CUA 9~8-9ti0 Lombard Street c~ 841 Chestnut Street

Dear President Hillis and Members of the Planning Commission:

You need to read between the lines of the Executive Summary for the Conditional Use request for a lot merger Por the above projeci~ to realize that there has been a massive failure of the Planning process resulting in the loss of a historic resource and potential significant negative impacts on the surrounding neighborhood.

While the history ofthe project is less than clearly outlined, either deliberately oi• inadvertently, it is worth noting That the Executive Summary Project History identifes 12 separate applications/permits. And n2ore are listed on the Uepartmer~t of Building Inspection's database. Also significant are the litaos~ of errors, omissions, oversights and lack of coordination between Planning and the Department of Building inspection noted in the Project History:

• "Building Permit Application No. 2011.1 ].04.8277 was filed and approved on \ovember 4, 2011, to correct the record and validate the approved peru~it at both legal properties."[Project History Par. 2] • "Planning Deparhnent Staff approved the merger of the subject lots (Lots 10 acid 17) on April 22, 2015 based upon incotnnlete information contained ~a~ithiu the Department of Auildii~g InspecYiou (DBl) Report of Residential Building Record (`3-R Report). [Project History I'ar.5] • "On April 2, 2016, a complaint was filed on lire property regarding work. be}rand the scope of permit...On June 9, 2016, building Permit Application No. 2016.0C.099~A4 vas issued ~+ith an engineer's notice and no plans...\o changes to approved design proposed.•. (Project I listory I'ar. 6] • `On June 1 ~, 2016, building Permit Application No. 2016.06.1 .9992 was submitted with one sheet oi'plans illustrating the full removal of all historic material...'flle plans were approved by~ DBI ~.vithout Planning Depa~-tmeut review or ap ro~°al."[Project History' Par.6] • "Ai the time all plans were submitted, the property had been effectively demolished; all permits were filed to correct the record." [Project Hist~~y Par. 6] • "On July 6. 2016. a complaint vas tiled with the Pla~ming Department ... citing the possible demolition of a historic resource without Planning Department approval...Planning Department Stafl~conducCed a site visit on November 8, 2016, ~~~here it was determined that the building ~~~as composed of all new framing and slieatl~ing." Project History. Par 7]

The Russian Elill Community Association respectfully requests that the Planning Commission consider all of the facts and circumstances of this situation and deny the request for a lot merger.

Unfortunately, the stipulation in the settlement agreement requiring that all. future pzrn~ts be reviewed by the Plannii7g Department and that the Project Sponsor not exceed the scope of work on ap~i•oved permits does not provide the assurance that it should.

Violators of the Planning and Building Codes should not be rewarded. The requested merger of the t~vo lots should be denied.. Alternatives for access to the properties need to be explored. This is a precedent settinb case and should not be addressed to simply clear the calendar. Alease deny the Conditional Use request to mere tw•o lots.

Sincerely, Ka.t~.le,P,titi Co~v~.e~y Clair, Housing &Zoning Committee

Cc: Jamie Cherry•, Jeff Cheney, RHCn; Robyn Tucker, PANA; Bob Bluhm, RHN; District 2 Supervisar Marh Farrell From: Richard Cardello To: Secretary. Commissions (CPCI Cc: Foster. Nicholas ICPCI Subject: 948-950 LOMBARD / 841 CHESTNUT -- PLANNING COMMISSION THURSDAY 08-31-2017 ITEM 12 -- #2017- 002430CUA Date: Tuesday, August 29, 2017 4:50:49 PM

Jonas P. lonin Commission Secretary San Francisco Planning Department 1650 Mission Street, Suite 400 San Francisco, CA 94103 PH:(415) 558-6415 (Assistant) PH:(415) 558-6309 (Direct) FX:(415) 558-6409 Commissions.SecretaryC~sfgov.org

Nicholas Foster (415) 575-9167 Nicholas.FosterC~sf gov.arg

RE: 2017-002430CUA

The fine levied for the egregious and unauthorized demolition of the Willis Polk structure seems way too small, especially when considering the estimated value of the completed project; the fine is just a relatively small, cost-of-doing-business expense. My personal feeling is that the developer forfeited any consideration and, under the circumstances, doesn't deserve the granting of any additional benefits from San Francisco's Planning Department, such as the approval of a lot merger or a conditional use application. Rather, the City should decide solely on the basis of what would be better for the Russian Hill neighborhood and for the City of San Francisco and rule that way; no consideration should be given to the developer's wishes nor any potential increased profit.

Richard Cardello 999 GREEN STREET NO. 903 SAN FRANCISCO CA 94133 sf-planning.org _..

Jv Lhra~c~ ~Qic~ ~'ublic Residential Expansion: ~:.~,r~`ti~Eic~~~ti~F-~ .jai Any projec# application that proposes one or more of the following cri#aria is Threshold: A dear process r,~,r c ar,~~-o~ ; considered "Tantamount to Demolition" and subject to San Francisco for alterations ~n~t ~3ir.~yr.~l~ r~~~,~f~i~,n ~,~~ Planning Code ~~c;~i~~r7 :3 ~! ~~'. d~li~oliti+~ns ~f you would dike Planning staff ~'l~anr,in~~ ~~t~~r1y~ ~~ to attend an u~eoming A major alteration of a residen#iat bui{ding, removing more than 50 percent ~;~~~-~s~_~P~~~ ~t~crr~sj neighborhood or organization of the front and rear facade {combined);- -- ~ ~~="~~c €~ac~t,~~:~~.cf~ ~~ meefing, Tease.contact ~°~ Removing more than 65 percent of all exterior walls, or ,p ' ` : f~c~fi~ icar~s tr; tl'ir l~' ~~.iYc~r~#~~i~fe-; Crar~uirc .4 major alteration of a residential building removing more than 50 percent Le~:~rary E~l~~fr1t;ss f~E of the Vertical Enuelope Eiemen#s (defined as all exterior walls that provide weather and thermal barriers between the interior and exterior of the building, or that provide structural support to other elements of the ~c~~.fr~lc~~rr~t.:rt ,~1~;r~e~ btailding envelope); D ~'~

More than 50 percent of the Horizontal Elements (defined as all roof areas and all floor plates, except floor Cc~i~r~~p[~:1~~ !_ist r,~~f F~l~~. plates at or below grade) of the existing building, as measured in gross square feet of actual surface area

However, we have fiound that the currant controls have led to project sponsors designing just short of the threshold, resulting in inferior design and/or significantly expanded prvjeets. The current controls have led~to praje~ct sponsors designing just short of the threshold, with these results: . ~ t~%~e.l~,~.. y ;:~ ,' i ~ ~ -;,- ,, ~~r; l Allowing major additions. A project can significantly expand the size ofi the existing housing whip still meeting the Tantamount to Demolition threshold, thus be approved administratively (no Commission hearing Questions? Start witP Email' ~air,C~~ sfa~tiay.ar~;i required}. Phoney (415)558-637 r 1660 Mission Street. G Potential for inferior design. San Francisco, CA 941

The Department agrees with the public that Tantamount to Demolition is not effective in respecting neighborhood ~'a 49i~i ~:` `-~`~

October 27, 2016

To: Planning Commission and Staff

Re: Residential Expansion Threshold Informational Hearing

Dear Commissioners and Staff:

Here is my proposal for ne~N language to deal v~rith Tantartiount to a Demolition in Section 317 end the doss of a~S~~el~~s~t ~C)LISjPi~:

"If any or all sections o~ the front or reap facade or wall of a structure are proposed for removal, then the project is considered. Tantamount to a Demolition and must have a Conditional_ LTse Authorization hearing. Hove-ever, if a project is determined during Tntake and Design Review to removz any or all sections of onl~T the rear facade or wall of the structu_Ye for only a horizontal addition, and phis horizontal addition does not exceed the rear yard requirements under Seciions 134 and 136 of she Planning Code, this project will not be considered Tantair_ount to a demolition, but an alteratioP_ If a vertical addition is proposed that adds square footage, a project ~-~?1 be considered Tantamount to a Demolition and a CUA hearing ~~rill u~ required. A roof deck is considered a vertical addition. Skylights or clerestory will not trigger a CUA hearing. If any portion of the fro~~t facade is altered at airy time during the construction. of a protect, other than replacement ~~findows peY the Panning and Building Code, mould a project would be considered Ta~~ta~-nount ~o a demolition and be subject to penalties under tchz Planning Code and Building Code. than If a Project Sponsor wishes to add only a garage to a structure does not currently ha~Te a garage, suc~~ a~ addition could ~e Gr z considered under the Soft S~ory PrQ;rare and she A_DU provision Project Sponsor may seek a Valiance i~'om the Zor~ing AdminisiratoY. If a Projzct Sponsor needs to repair u f~~an~ or czar facade due to deteriorating conditions, ~ s~zcial Buiidir_g Permii muss be appiie~ regal,e for and will be issued. This special Buil~.ing Permit ~`Tould scrutiny from bc~tl~ the B~~i~~~ng De~artm~i:fi and the En~or~emeni Division of the Planning De~arj rent ai the time of application_"

I do not think ~rou need to get rid of Section 3~ 7. The point of the revised language proposed above, is to tighten up the Tantamount to a Demolition definitions.

It has been said that the thresholds of Tantamount to a Demolition do not work as intended. Currently they are thresholds of what can be r~move~. ~'~e nro~osed RET is a threshold of what can be added.

jJVhat is the difference in betting to the foal of ~reservin~ ~e xisting.housin~ if thresholds are the problem? ~IThat threshold do you land on under a new ~ro~asal? GAF, FAR, a Fixed number,lVei~h~orhood Avera~~s. etc. etc?

Tightening up Tantamount to a D~moli~~~r~ as I propose above, bangs " certainty to the process. If a project sponsor wants to do a project that would trigger Tantamounfi to a Demolition ~iey know from the get-go that them will be a Conditional Use Hearing.

Also, please remove the language in Section 3~7 [b) (7). It is a problem because ~t adds t~ loss of ~ousir~g and bas~calty allows a unit merger.

D~ a ~~rsonal note, Commissioners anc~ Stc~f}~ I have been talking about this~c~~ nearly t3a~ee years now. I wrote myfirst letter on this in January 201 . There hive been ~raany good conversations about this and Igreatly appreciate the Sta}~`'s work and concern as well as the Commission "s cor~cerrt anc~ interest.

.This needs quick attent~or3. 1~I~ need ea ~stter way to ~y end preserve existing housing. Devising a new planning Core Section and new Review P~oc~dures ~v~ll be lab~~rous aid contentions. please r~ev~se the de~in~t~or~ of~anta~oun~ to a Demolition either as I proposed abr~ve ~~ sornet~ing very similar. The~°e is no mason it cannot be~atrly simple.

Sincerely,

Georgia Schuttish

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Zhan Wang (Chinese, b. 1962)

in Born in Bei}ing, Zhan `Fang is an in7portant representative figure of Chinese contemporary= art the intemaaonal art scene, ~~~orking in sculpture, photo~raphq, and tnultiinec~ia installations. ~v~'ang's art education started at an early age, from brush painting lessons by his grandfather and sketching lessons b~. his uncle, to the endless games of brick building (which foreshadowed his later urban landscape series). As a sculpture major at the. China Central Academy of Fine r~rt, ~~'ang spent his entire college Fears in the atmosphere of the 85 ~'e~v-~~'a~Te 11~tovemen.t. Between his Realist training at the Academy and t~~e 14odernist influences that came feom exhibirio.ns, conferences, and sensational e~Tentc, Wang started developing 1-us o~vti stile.

I his series of stainless steel Artificial Rocks, begun in 1995, has garnered interziarianal accl~utn and has been collected by= institutions around the ~varld. These works are Uased on an object sFmbolic of China's past, the scholar's rock, ~~hich ~uas traditionally collected by the literati and placed in coutt~,ards or other sites of private contemplarion, such as studies. Zhan g'ang's stainless steel reinterpretations of this form draw attention to China's shifting value systems and the reconstruction of its urban centers. These highly reflecrit-e works not only utilize the ubiquitous building material cif his nati~e cozzntry, but also reflect in amirror-like fashion the rapid urbanization of modern-day China and its ongoing realignment `vith the natural u-ozld. These works are made through a painstal~ing handcrafted process for which the artist received a patent in 2002.

A prominent and well-respected figure in hi.s nariti-e China and beyond, Zhan `~~ang's work has been `~~idely exhibited at insritutions internationally, including the Shanghai Pujiang OCT'Ten Year Public Art Project, China ~2016j; Mori ~~rt Museum; Tokj.o,Japan (2005); Shanghai iVluseum of ContempoYan Art, China (2006); Asian ?art Museum, San I~rancisca, CA (?008); the Milwaukee Art -luseum, ~k%I (2011); National 1~~luseum of China, Beijing (2011); and Ullens Center for Contemporary tit, Beijing, China X2012). Selected collections that have acquired bus work include the ~1-Ietropolitan ~IuseLun of Art, New ~'otk, NY; the de Young I12useum, San Franciscq CA; the ~Zuseum of Fine arts, Boston, I~~; the 1bluseum of Contemporary ~~rt, Los Angeles, C:A; and the Palm Springs :art I~Zuseum,Palm Springs, CA. His works have been featured in many important international contemporary- exhibitions, biennials and triennials including those in Venice, Shanghai, Singapore and Guangzhou.

10 HAS\rPHORNE STREET SAN FRANCISCO CA 94105 TEL 415 781 4629 INFO~RERGGRUEN.COM BERGGROHN.COM

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ZHAN WANG

1962 Bozn in Beijing, China

Education rts 1983-88 Sculpture Departrnent, Central ~,cademy of Fine ma

1978-81 Beijing Industrialslrts College

Awards Beijing, China 2011 sward of l~rt China, Most Influential artist of the Year,

2006 Martell Artist of the Yeaz, China rlrt Museum, China

Selected Solo Exhibitions

2014 morph, Long March Space, Beijing, China

2012 Fornz ofthe Farmlerr, Long March Space, Beijing, China Zhan Wang: My Universe, Singapore Tyler Print Institute, Singapore Zhan Wang: My Personal Universe, Ullens Center for Contemporary cart, Beijing, China

2011 T~ayager, National Museum of China, Beijing, China On Site: Zhan Wang, Milwaukee Art Museum, Milwaukee, WI Urban Arcadia, MOT/~,RTS, Taipei, Taiwan

rlrt Museum, Beijing, China 2010 One HourEgualr 700 Million Yeara: Suyuan Stone Generator, Today I~tf7ection, Eslite Gallery, Taipei, Taiwan

2008 Gold Mountain, Haines Gallery, San Francisco, CA Garden Utopia, National Museum of China, Beijing, China Cr1 On Gold Mountain: Sculpturerfrom the Sierra, The Asian rlrt l~Zuseum, San Francisco, Zhan Wang, Haines Gallery, San Francisco, C~ 86 Divinity Figzrrer, Long March Space, Beijing, China Zhan Wang, Albion Gallery, London, United Kingdom

Williamstown, Mc1 2006 Zhan Wang.• Urban Iltndreape, Williams College Museum of Art,

2005 Flowers ire the Mirror, Hanaxt Gallery, Hong Kong

2004 Mount Everest Project -to the Sumnut Everest 8853.5m

2002 Fram Sweden to Taibei, Taibei-Taizhong, Taiwan

2001 Inlay Great Wall Kemnant, Great wall of Badaling, Beijing, China Sham Nature, Zhan Wang's l~rtificial Jiashanshi, Hanart Gallery, Hong Kong In.rzde out, Floating Rock on Sweden, Gothenbog, Sweden

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~.~i~i3~~~~1~M ~ALLEFLY

2000 Beyartd Twelve Nautical Miles: Flouting Rack Driftr On The O~ien Sea, Lingshan Island Jiaonan City, Shandong Provence, China

1994 Kong Ling Kong- Seduction Series, Works of Zhan Wang, Cr1F~ Gallery, Beijing, China

Selected Group Exhibitions

2017 Middle ofNoav ~ Here, Honolulu Biennia12017, HI

2015 Chirea 8, Lehmbruck Museum, Duisburg, Germany

2014 FundamentalAbrtraction III, Haines Gallery•, San Francisco, C~ Pure Vieavr: Nero Paintingfrom China, Centre d'rlrt Santa Monica, Barcelona, Spain Pacrage to Hi.rtary-20 Years of Venice Bienale and Chinese Contemporary Art, Venetian 1lrsenal, `'enice Italy

2011 Startf~m the Horizon: Cbinere The Errrperaxr Private Paradire, Trecuu~er From The Forbidden City, Milwaukee rlrt Museum, Milwaukee, WI Collecting Hirtary: China NeavArt, Chengdu MOCr1, Sichuan, China MonirFarmanfarmaian d~'Zhan Wang, Haines Gallery, San Francisco, Cr1 SurUeyor,111bright-Knox Art Gallery, Buffalo, NY

2010 Artfor the World.- the Sculpture Project ofthe EXPO Boulevaro World, Shanghai 2010, Shanghai EXPO, Shanghai, China Great Performancer, Pace Beijing, Beijing, China

2009-11 VancouverBiennale,`'ancouver, British Columbia, Canada

2009 Collision, Experimental Carer of Conterr~orary Chtnere Art, Cr1F~ r1rt Museum,Beijing, China Sculpture in Nature, Nature ofSculpture, Foundarion de 11 Lijnen, Oudenburg, Belgium Conterrrporary Sculpture zn the Hirtoric, Bad Homburg Kurpark and Castle Gardens, Germany FrieZeArtFair2009, Sculpture Park, Regent's Pack, London, United Kingdom Exhibition ofChinese Contemporary Artirtr, Suzhou Museum and Suzhou 11rt Museum, Suzhou, China The Pararnaunt, A Collective Portrait afA.rian Conterrrporary Art, Boao Asian Forum International Fleeting Center, Hainan, China Art and Backr. Nature Found and Made, ArtFarm, Chambers_Fine r1xt, Salt Point, NY Universal Experience: Art, Life, and the Tourirt'r Eye,I~luseum of Contemporary 11rt, Chicago, IL Contemf~orary Scupturer From China, Millennium Park, Chicago, IL L~tnclMark, Haines Gallery, San Francisco, C:~

2008 Material Terrain, Haines Gallery, San Francisco, C~ Mahjong: Contemporary Chine.reArtfrom the Sigg Collection, Berkeley 11rt Museum, Berkeley, C~ The Revolution Continues: New Art From Cbzna, Saatchi Gallery, London, United Kingdom Biennial Cuvee, OK Centre of Contemporary art, Linz, r~.ustria 798 Art FertiUal, Factory 798, Beijing, China Hypallage—Tbe Po.rtModern Mode of Cbinere Contemporary Art, OCT rlrt and Design Gallery, Shenzfien, China Wonder 2008: Singapore Biennale, Singapore Accumulations—The Spirit ofthe East, Asia art Center, Beijing, China New World Order Conterrrporary In.rtallatian Arl and Photographyfrom China, Groninger Museum, Groningen, The Netherlands

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China Care Studies ofArtirtr in Art Hirtory, SZ 11rt Centex 798, Beijing, SH Conterrrporary OB, Shanghai Exhibirion Center, Shanghai, China China Hattging in the Sky, Drifting on the Surface, Linda Gallery, Beijing,

Lijnen, Oudenburg, Belgium 2007 Energier-Synergy, Foundation de 11 Scarborough, Toronto, Canada Reincarnation, Doris McCarthy Gallery, University of Toronto Beijing, China Top 70 Chinese Contemporary Sculpture Exhibition, Asia girt Centex, of 11rt, Seoul, South Korea Floating: Ne~v Generation ofArt in China, National Museum Contemporary Louisiana Museum of China Onzvarc~--The Ertella Collection---Chinese ContempararyAr6 7966-2006, IVlodern ~1rt, Humlebak, Denmark L~endreape d~'ll-lemony II, Haines Gallery, San Francisco, Cr1 Museum of Fine arts, Kecapture Hirtory, Contemporary Chinese Art From the Collection, Guandong Guangzhou, China China Net, Be-Imagining Space, Time and Culture, Chambers Fine Arts, Beijing, Be~jetted Collection, Ke Centex fox Contemporary r1rt, Shanghai, China Colton Gallery, Houston, China UnderCatzrtruction: Contemporary Artfrom the Peaple'.c I~ubliy Deborah Tai Being Corrr~rebenrive Art Exhibition Florilegium, Museum of ~~rt Today, Beijing, China of Ercafie by Crafty Scheme—Salvationfrom Traditioszal asul AevolutionalL.Anguage, Square Gallery Contemporary Art, Nanjing, China Center, Beijing, China The Power ofthe Universe, The Fronrier of Contemparary Chinese art, Asia 11rt Sculptors, Asia The Contemporary Itaad ofMedia and Tradition: Gmsrp Exhibition of Ten Leading Contemporary rlrt Center, Beijing, China Tran.rpannt Frame: Conterrrporary Art in Tibet, Lhasa, Tibet, China Terrz~7tationr, The Columns, Seoul, South Korea Museum, Shanghai, China 2006 6th Shanghai Biennale - Hyj~er Design, Shanghai Biennale, Shanghai art Shanghai, China Entry Gate: Chinese Aeatheticr ofHeterogeneity, Shanghai Museum of Contemporary 11rt, City in Progreu/Livefrom Zhang]iang, Zhangjiang Shanghai, China r~rt Museum, Chinerene.cr in Indigenous Mode: Contemporary Renai.r.rance in Aesthetic Aecon.rtruction, Today Beijing, China Cambridge, The New Chinese Landscape, Arthur NI Sackler Museum, Harvard University r1rt Museum,

Beaufort Sea Tieranium, PINK Museum of Modern 11rt, Ostende, Belgium Heyri Ae-za Project: Chinese Contemporary Art Fe.rtzval, Heyri, South Korea MartellArtirtr ofthe Year 2006, National r~rt Museum of China, Beijing, China Building Code Violations, Long March Foundation, Beijing, China 1.~tAnnual Exhibition of Chinese Conterrrporary Art, Millennium I~rt 1~luseum, Beijing, China Exchange Value ofPleasure, Pusan Museum of 1~fodern rlrt, Pusan, South Korea The Festival of China, The Kennedy Center, Washington, DC City in Pmgre.u/lavefrom Zhang Jiang, Zhangjiang, Shanghai, China

2005 The Elegance ofSalence, Mori i~rt Museum, Tokyo,Japan NY The Wall - Berhaj~ing Contemporary Chinese Art,111bright-Knox Art Gallery, Buffalo, Chicago, IL; Haywazd Univerfal Experience: Art, Life and the Toun.rtr Eye, Museum of Contemporary l~rt, Gallery, London, United Kingdom Xiangeng! Chinese Avant-Garde, Museum Beelden aan Zee, The Hague, The Netherlands Shanghai, China Electroscope: International Neav Media Art Exhibition, Zhengda Museum of 1~lodern 11rt, Mabjon~ Chinerirche Gegemvartrkun.rt, Kunstmuseum, Berlin, Germany China The Neav Long March Space InauguralExhibition, Long March Foundation, Beijing,

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2004 Chinere Imagination,Jardin des Tuileries, Paris, France Beyond Boundaries, Shanghai Gallery of t1rt, Shanghai, China Betaveen Part and Future: Neav Phatoomzrpby and Videofrom China, International Center of Photography (ICP), New York, NY Playing rarith the Energy, House of Shiseido, Tokyo,Japan Stone Face BANG,Shanghai Duolun Museum of Modern Art, Shanghai, China Dreams and ConfZictr-The Dictatorrbij~ ofthe Tlieaver.• 50th Venice Biennale, Venice, Italy

2003 China Guangdong Museum of Art/Venice -China Art Museo rlrte Contemporanea di Rome, Italy Chlnere Conterr~oraryArt, Ludwig 1~Iuseum, Budapest, Hungary A Sino-German Exhibition of Contemporary Art, 798 Space Art &Culture, Beijing, China Open Timer, Chinese Art Gallery, Beijing, China

2002 The First Guang~hau triennzal Beinterpretatian: ADecade ofExperimental Chinese Art (7990-2000), Guangdong 11rt Museum, China China Contemporary Art, Brasileira ~xt Museum, Sao Paulo, BrazIl Chinart, Museum Kuppersmuhle Sammlung Grothe, Duisburg, Germany Being-Pair, Centre Pompidou, Paris, France China ConterrrporaryArt, Croatia Art Museum, Croatia

2001 Po.rterExhibition of ChinereAvantgarde, Red Door,Beijing, China HOTPOT kisaerirk ramtidrkurut, Kunstnernes Hus Oslo, Norway Dream 07, Contemporary 11rt of China, The Red I~iansion Foundation, Aflantis, London, United Kingdom Kith Complements, Cotthem Gallery, Belgium Shanghai Biennale, Shanghai 11rt Museum,Shanghai, China The Vert lake International Sculpture Invitational Exhibition Tai~iwan ~ Atlantis, London, United Kingdom

2000 The World ofkeal and Illzuory, Yunfeng Gallery, Beijing, China Documentation ofChinese avantgarde Art in 90r, Fukuoka Asian r~rt Museum,Japan Humarzitier Larsdreajie, Langdao, Guilin, China Open2000, Internarional E~ibition of Sculpture and Installations, Venezia, Italy - Inuited Exhibition on Contemporary Chinese Sculpture, Qingdao Sculpture museum, Qingdao, China OrientalPlaya: Selected Co~zterirporary Sculpturefrom China, East Square, Beijing, China

1999 The Door ofthe Century, Chengdu r1rt Museum, Chengdu, China The Future Plan ofEcology City, Shenzhen, China Volume d~'Form, Singapore International Sculpture Singapore Traruience.• Chinese E.~erimentalArt at the End ofthe Twentieth Century, The Smart Museum of art, Chicago, IL Chinese Conterr~oraryArt, LIMN Gallery, San Francisco, Cr1 Cities on the Move, Louisiana Museum of Modern art, Humlebaek, Denmark; Hayward Gallery, London, United Kingdom; Museum of Contemporary 11rt, Helsinki, Finland

1998 AnnualExhibition of Contemporary Sculpture, He~tiangning Museum, Shenzhen, China Building Block, The Courtyard Gallery, Beijing, China A Revelation of20 Years of Contemporary Chinese Art Workers, Cultural Palace, Beijing, China Cities on the Move, Museum of Contemporary r1rt, Bordea~, France; P.S.1 Contemporary Art Center, New York, NY Commemorating Life,Jinshan, Taiwan

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1~4useum, Beijing, Halfa Century ofFootprints, Central academy of Fine 11rts, Sculpture Institute CAFA China Autonomous Action, tlrt Space Gallery,sluckland, New Zealand Signs ofLife: Group Exhibition ofModem Chine.reArt, Modem 11rt Studio; Beijing, China

1997 Continue, CIFA Gallery, Beijing, China The First Sculpture Acti~itier in Guilin Dayanggu Art Palace, Giulin, Guang~u, China Dream Of China '97 Chinese Contemporary Art, Yanhuang rlrt Museum, Beijing, China Chinere Contemporary Art Exhibition, Watari-UM,Japan, Tokyo,Japan China Forever Aetum -97'Nasuhan Sculj~ture Exhibition, Nanshun Sculpture Institute, Shenzhen, Cities an the Move, Vienna, r~ustria

Tianjin, China 1996 Certificate OfAzvard '96 TEDA,International Sculpture Symposium, The First Exhibition in Mountain-Forert Sculpture Park Huairou, Beijing, China International Sculpture Wild-oj~en Show, Fukouka Seaside Pack, Fukuoka,Japan Hong Kong The First Academic Exbibitio~a Of Chinese Conterrrporary Artirt, Hong Kong art Center, Chongqing, Sichuan, Scut`~ture dam' Conterrrparary Culture, The Kerearch ~ort on Chinese Conterrrporary Art, China China Invited Works of Chinese Contemporary Scxlpture, Nanshan Sculpture Institute, Shenzhen, China Keality: Present dam' Future, 9G Chinese Contemporary 11rt International ~rt Place, Beijing,

China 1995 Degree ar a Bearo~z, Postcard Exchange, Hangzou, Shanghai, Beijing, Fine Arts, Development Plan, Triplicate Studio 1st Exhibition, Debris of the Central Academy Of Beijing, China China Woman'r Here, Triplicate Studio 2nd Exhibition, Contemporary slrt Gallery, Beijing, Capital Teaching Open Your Mouth, Clore YourEye.r, Beijing- Berlin rlrt Exchange 11rt Museum of University, Beijing, China Exhibition of Works Nomination by Criticr `~ingru Art Monthly;"Jiangsu Province, China

Beijing, China 1994 Agree to 91/26Ar a Reason, Postcaxd F~change Hangzou, Shanghai, Kong Iing Kang- Seduction Serier, I~ork.r ofZhan tiP/ang, CAFr1 Gallery, Beijing, China

rlrt Gallery, Taiwan &Beijing, 1993 Taiaa~an-Bung Tzvo Sides ofthe Straits, Sculpture Exchange Gaoxiong China

Hangzhou, China 1992 Conterrr~oray Youth SculptorinUitation Exhibition, ZIFr1 Gallery, 20th Century China, China i~rt Gallery, Beijing, China

China 1991 Neav Generation Arl Exhibition, Chinese History Museum, Beijing,

1990 The First Stucllo Art Exhibition, CAFr1 Gallery, Beijing, China

1986 Being Youth Art Exhibition, Chinese'~rt Gallery, Beijing, China

Selected Public Collections

tllbright-Knox art Gallery, Buffalo, NY 11nne Marie and Gillion Crown Foundation, Belgium A+thux M. Sackler Museum, Harvard University, Cambridge, 1~~~ British DZuseum, London, United Kingdom

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i ~ i GALLER~C

Busan Museum of Modern Art, Busan, South Korea Changchun International Sculpture Park, Changchun, China China Central academy of Fine Arts ?art Museum, Beijing, China China Xichang Satellite Launch Center (XSLC) Museum, Xichang, China ChinPaoSan Group, Taiwan Cincinnati Art Museum, Cincinnati, OH East West Bank Collection, Pasadena, C The Farm, Kaipara, New Zealand Fine marts Museums, San Francisco, C2~ Gibbs Farm, Kaipara Harbour, New Zealand Gothenburg City Council, Sweden Guangdong Museum of Art, Guangzhou, China The Guy & Myriam Ullens Foundation Collection He Xiangning rlrt Museum, Shenzhen, China Hotel Puerta <~rxierica, IVladrid, Spain Iris & B. Gerald Cantor Centex for the Visual Arts at Stanford University, Palo r11to, Cry K21 Kunstsammlung, Dusseldorf, Germany Long Museum, Chongqing, China Long Museum, Shanghai, China Louis Vuitton Foundation for Creation, Paris, France M+ Museum, Hong Kong, China The Metropolitan Museum of Art, New York, NY The Museum of Contemporary r1rt, Los Angeles, CA Museum of Fine arts, Boston, NLA - The Museum of Fine 11rts, Houston,TX National rlrt Museum of China, Beijing, China National Museum of Scotland, Edinburgh, United Kingdom Oakland Museum of California, Oakland, Cr1 Oriental Plaza, Beijing, China Palm Springs art Museum,Palm Springs, C~ Potala Palace, Lhasa, China Quarry Bay MTR Starion, Hong Kong, China The Saatchi Gallery, London, United Kingdom Shiodome, Tokyo,Japan - Sifang ilrt Museum, Nanjing, China Smart Museum of ~1rt, University of Chicago, Chicago, IL Tomson Group, Hong Kong, China Wellington Management, Inc. Collection, Boston, MA Williams College Museum of t1rt, Williamstown, MA Yuzi Paradise, Guilin, China

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BERGGRUEN G ALLERY

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Zhan Wang Artificial Eck No. 749 2006 Edition 2 of 4 Stainless steel 305 x 152 x 147 cm (120 x 59 x 58 inches) r

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Christopher Brown (Amer.ican., b. 1951)

Christopher Bro~vn vas barn in 19 1 in Camp Lejeune, a Marine Corps vase in North Carolina, where tus father, Bruce, ~x~as a doctor. ~~%hen he vas three, his family motied to Ofuo, and his interest in arc began to bud. He had lus mother to enroll him in Saturday- morning art classes in a neighbor's home; an interest in art is among Brown's earliest memories. Painting far Brown continues to be comiected «-ith the formation and sensation of memory; that moment in his cl-uldhood during the. move to Ohio, when harmonti- was disrupted just as his conceptualization of die world began. ~~v'hen Brown was 13, his famil~~ moi~ed again, this time to Illinois. His fader became the student-health director at the Uni~Tersit5- oEI1.1tnois in Champaign-Urbana, wheie Brown attended coIlege and majored iii painring. ~~ter he graduated in 1973, he wetlt to art school at the L~ni~-ersit~T of California at Dati~is. The faculh- included Thiebaud, ti~r'iley, Roy De Forest, Rot~ext Arneson, ~lauuel Neri and Roland Peterson. At Daz-is, Brown began to think seriously about the concept of Pop ~~rt in Great Britain as well as in America. To Biown, this concept meant both the presence-absence of the media image, the tension between its immediary and vet its distance from us ai d from the reality co which it refers..~fter the first year at Dais, he took a year oft and u-ent to Europe on a grant from the University of Illinois. He spent several months in Spain, visiting the I'rado, settling brietl~> in l~Zalaga. Brown then went to Munich, where he spent most of the winter. Brown returned to Davis, where he graduated in 1976. lifter his graduation Brown spent five peas on the me. I-~irst he moved to ~~'oociland, an old farnung community outside of Davis, where he taught part-time at American River College in Sacramento.'I`hen in 1978, he mom ed to San Francisco, where he not only painted but also wrote. art criticism for :=1rt«-eek magazine~n Oal~land. Then, with a Dr1AD (Deutsches ~~kademisches Austausch Dienst~ Fellowship atuarded thiough the Fulbrigl~t Program, he ~aTent back to 1~4unich foi a year. F Ie retw_ned to San Francisco after being au=arded the second of his two ait critic's grants by the National F.i~dotivtnent for the Arts and went on to teach in the studio art departn-~ent of the University of California ~t Serkele~- in 1981 where he taught until 1)9~, and was Department Ghair from 1990-1994.

BrouTn currently 1i~~es and ~rorks in Berkeley, California.

~ 10 HAIti'THORNE STREET SAN FRANCISCO CA 9+105 TEL 415 781 4629 [email protected] BERGGRUEN.COM

~~~Vri~r 4.1 ~l`~t ~ALLI:R'Y

CHRISTOPHER BROWN

1951 Born in Camp Lejeune, NC

Present Lives and works in Berkeley, C~

Education

1973 B.F.A., University of Illinois, Champaign-Urbana, IL

1976 M.F.A., University of California, Davis, Cry

Selected Solo Exhibitions ~

2011 New Paintings, Maxwell Davidson Gallery, New Yoxk, DIY

2010 A Gardener's Notebook,John Bexggruen Gallery, San Francisco, Crl

2008 BecentPaintingr, John Berggruen Gallery, San Francisco, CA Paulson Press, Berkeley, C<~

2006 Building, Birds, and Box Carr,John Bexggruen Gallery, San Francisco, C~1

2005 Center for Contemporary Art, Sacramento, Cry

2004 Paulson Press, Berkeley, C~ Friesen Gallery, Sun Valley, ID ]ohn Bexggruen Gallery, San Franciscq C~

2002 ]ohn Bexggruen Gallery, San Francisco, Cc1

2001 Byron Cohen Gallery, Kansas City;-I~IO

2000 Friesen Gallery, Seattle, WA

1999 Campbell-Thiebaud Gallery, Laguna Beach, C~ ~

1998 Edward Thorp Gallery, New York, NY Campbell-Thiebaud Gallery, San Francisco, CA

1997 Christopher Broaam: Works on Paper, i~finneapolis Institute of arts, I~tinneapolis, ivII~I Pasadena City College Art Gallery, Pasadena, CA CbrzrtopherBrown: Painting•, Huntington Museum, Huntington, WV

1996 ChrirtopherBroum: Pnntr 7997-1995, Crown Point Press, San Francisco, C~ The Birder's Lag, University of Illinois I Space Gallery, Chicago, IL

Chn.rtopherBroavn: Works on Paper, Fisher Gallery, University of Southern California, Los Angeles, C~ Kecent Paintings and Kelated Prints, Campbell-Thiebaud Gallery, San Francisco, C~

~. 10 HAl&'THORNE STREET SAN FRANCISCO CA 94105 TEL 415 7814629 INFO~yRERGGRUEN.GOM BERGGRUEN.COM

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1995 Edward Thorp Gallery, New York, NY Chri.rtopherBroavn: Workr on Pafier, Palo Alto Cult~al Center, Palo ~~lto, C~ History and Memory: Painting- by Christopher Broavn, Museum of Modern r1rt of Fort Worth, Fort Worth, TX;tr aveled to San Jose Museum of Art, San Jose, Cr1; Museum of Contemporary r1rt, Honolulu, HI; Palm Spaings Desert ~rt Museum,Palm Springs, Cam; Norton Gallery of art, West Palm Beach, FL

1994 Christopher Broavn: Neav Paintings, Zolla-Lieberman Gallery, Chicago, IL

1993 Chri,rtopherBrov~n: Works on Pafier, Yellowstone rlrt Centex, Billings, I~TI' Campbell-Thiebaud Gallery, San Francisco, CA Arlene Lewellen Gallery, rllbuquerque, NM

1992 Chrirtojiher Brown: Nezv Paintings, Edward Thorp Gallery New York, NY Christopher Broom: Ne~v Pcutelr, Linda Farris Gallery, Seattle, Wl~

1990 Christopher Broavn, Nesv Paintings, Gallery Paule ~nglim, San Francisco, C~ ChsartopherBroum: The WaterPaintingr, Centex fox Research in Contemporary I~rt, University of Texas at Arlington, Arlington, TX;tr aveled to de Saisset Museum, University of Santa Clara, Santa Clara, CA; Richa.td H. Reynolds Gallery, University of the Pacific, Stockton, C~~ ~

1988 Christopher Broavn: Nezv Paintings, Gallery Paule ~nglim, San Francisco, Cr1

1987 Jan Tursiei Gallery, Los Angeles, Crl Zolla-Lieberman Gallery, Chicago, Cr1

1985-86 The Painted Baam, Madison l~lrt Centex, I~Zadison, WI; traveled to Matrix Gallery, Untversity of California, Berkeley, Cam; Zolla-Lieberman Gallery, Chicago, IL; University rlrt I~Tuseum, Santa Barbara, Cif; Des I~Zoines llrt Centex, Des Moines, I~1; University of California, Irvine, Cr1

1985 Dart Gallery, Chicago, IL Gallery Paule ringlim, San Fxancisco~ Ct1 Matxi~r Gallery, University of California, Berkeley, Crl

1984 Shasta College, Redding, C11

1983 Gallery Paule Anglim, San Francisco, CA

1982 American River College r1rt Gallery, Sacramento, C~

1980 Gallery Paule ~inglim, San Francisco, CA Second Street Gallery, Charlottesville, CA

1979 de Saisset ~rt Gallery, Santa Clara, Cr1 \ Loeb Rhodes i~laxket Hours Gallery, San Francisco, C~ ~rrists Contemporary Gallery, Sacramento, CA

1977 Introductions '77, Gallery Paule Anglim, San Francisco, Cl~

10 HA\~'I7-IORNE STREET SAN FRANCISCO CA 9~F105 TEL 415 781 4629 [email protected] BERGGRUEN.COM

Selected Group Exhibitions

2017 The Human Form, Bexggruen Gallery, San Francisco, C~1

Francisco, C~ ~ 2016 Pa.rring Through Minnesota Street, Bexggruen Gallery, San

2014 Friesen Crallery, Sun Valley, Idaho

2010 Paulson Press, Berkeley, C~

Kemper Museum of Contemporary 2009 Volunteer Voices: Selectionsfrom the Collection ofthe KemperMureum, art,Kansas City, MO Horn ofPlenty, Viktox Wynd Fine Art, London, UK California College of the arts Faculty Exhibition, San Franciscq C~ Speakfar the Treer, AndYea Friesen Gallery, Sun Valley, ID

2007 Edward Thorp Gallery, New Yoxk, NY

CA 2005 Arti.rtr and Mentozr, John Bexggruen Gallery, San Francisco,

2004 Byron Cohen Gallery, Kansas City, lbt0

2003 John Berggruen Gallery, San Francisco, Cpl

2002 Friesen Gallery, Sun ti'alley, ID Edward Thorp Gallery, New Yoxk, NY

2001 Paul Thiebaud Gallery, San Francisco, CA Friesen Gallery, Sun Valley, ID Printsfrom Pau~ron Pre.rr, San Jose I~Zuseum of Art, San Jose, CA

2000 TheAnderron Collection, SFMol~~,San Francisco, C~ the Legion of Honor, Printrfrom the Anderron Collection, ~chenbach Foundation, California Palace of San Francisco, C2~ Abstractionfrom 1Zaucour to Ae~ned, Bedford Gallery, Walnut Creek, C~ The Great Novel Exhibition, Palo rllto Axt Centex,Palo alto, Crl

1999 Campbell-Thiebaud Galley, San Francisco, C~ Edward Thorp Gallery, New Yoxk, NY

of Honor, San 1997-98 35 Year~~ at Cronn Point Pre.rr, California Palace of the Legion Francisco, Cr1

C~ 1997 Twenty-five Trea.rure.r, Campbell-Thiebaud Gallery, San Francisco, San Diego, C~ Seduced Surface: Eight BayArea Painterr, University of San Diego tlrt Gallery,

1996 Celebrating Ten Yearr, Friesen Gallery, Ketchum,ID

Francisco, Cc1 1995 ManuelNeri/ Chri.rtopherBmwn, Campbell-Thiebaud C-rallery, San

~ ~ 10 HAI~rI'HORNE STREET SAN FRANCISCO CA 94105 TEL 415 781 4629 INFOLRERGGRUEN.COM BERGGRUEN.COM

's i -~,_'~~R~ G.A LLLRY

San Jose Institute of Contemporary art, San Jose, C~ Ban a Tirer. Selected Printrfrom Bay Area Presses, de Saisset Museum, University of Santa Clara; CA Dealer'r Choice, Kirk deGooyex Gallery, Los Angeles, C.~

1982 Fresh Paint.• Fifteen Calzfomia Painters, SFMoMr1, San Francisco, C~

1981 Shasta College, Redding, Cr1

1980 Faczrlty Exhibition, University of Virginia, Charlottesville, V~ Second Street Gallery, Charlottesville, Vtl

1979 Ne:v Images, Bay Area, Oakland I~luseum of California, Oakland, CA

Honors and Awards

1988 American Academy and Insritute of Arts and Letters, Award in Art 1987 National Endowment for the Axts Grant in Painting 1986 ~waxd in the Visual Arts given by the Equitable and Rockefeller Foundations with partial support from the National Endowment fox the Arts 1985 Eureka Fellowship, The Mortimer Fleishhacker Foundation, San Francisco, California 1984 Regents Junior Faculty Fellowship, University of California, Berkeley, California. 1981 National Endowment fox the rltts Special Projects Gant in r1rt Criricism 1979 National endowment fox the arts Special Projects Grant in ~rt Criricism 1978-1979 Dr1~1D Grant, guest artist affiliation with the Academy of ~rt in Munich 197¢1975 MaYy C. McLellan Scholarship fox independent study and traveled in Europe 1973-1976 Regents' Fellowship, University of California, Davis; California

Public Collections

Metropolitan 1~Iuseum of Art, New Yoxk, NY ~lchenbach Collection of Prints and Drawings, California Palace of the Legion of Honor, San Francisco, Crl Bank of San Francisco, San Francisco, CA Berkeley Art Museum, Berkeley, Ctl Bank of America, San Francisco, Cr1 Chase Manhattan Bank, New York, NY Coca Cola Corpoxarion, Atlanta, G11 Grey Art Gallery, New Yoxk University, New Yoxk, NY Hood Museum of Art, Dartrnouth College, NH Hughes fir West, Los Angeles, C~ Johnson County Community College Art Gallery, Overland Park, KS Lannert ~xt Museum, University of Illinois, Champaign-Urbana, IL l~I.H.deYoung Memorial Museum, San Francisco, CA Merrill Lynch Pierce Fenner &Smith, Inc., Los Angeles, CA Modern Art Museum of Fort Worth, Fort Worth, TX New York Public Library, New York, NY Orlando Museum of art, Orlando, FL Palm Springs Desert ~rt 1~Iuseum, Palm Springs, Cl'~ Prudential Insurance Co. of America; IVIl~1, Cry and NJ Rayovac Corporation, Madison, WI Redding Museum, Redding, CA

10 HA\\~TF IORNE STREET SAN FR ANCISCO CA 94105 TEL 415 781 4629 [email protected] BERGGRUEN.COM

~ ~ ~ GALLERY

Rosenburg Capital Management, San Francisco, Cr1 San Francisco Museum of l~todexn Art, San Francisco, CA San Jose Museum of Axt, San Jose, Crl Santa Baxbaxa Museum of art, Santa Barbara, Cr1 Security Pacific National Bank, San Francisco, Cr1 Sheldon Memorial ~rt Gallery, Lincoln, NE

10 HA\\~'THORNE STREET SAN bRANCISCO CA 9+105 TEL 415 781 4629 INFO(n;RERGGRUEN.C OM BERGGRUEN.COM

BERGGRUEN GALLERY

Christopher Brown In the Tuileries, 2017 Oil on linen 90 x 80 inches

BERG~RUEN GALLERY

Christopher BroRm Sails d9'Sea 77, 2010 Oil on linen 80 x 80 inches

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