Archives for April 2026

The satirical, iconoclastic legacy of Robert Arneson, who so successfully championed ceramics as an art form, is so well accepted today that we forget it was not always so. An early scatological toilet piece delighted some viewers but prompted the spouse of the collector who had acquired the work to smash it.

The idea behind this cross-generational group show is that Bay Area figuration is a living tradition, amenable to the innovations of working artists. It is a pleasing concept, but also one that raises fresh questions about what the Bay Area Figurative label actually means.

Rachel Simon Marino’s exhibition, titled “Running on Air,” focuses on the moment of suspended catastrophe. Each painting is imagined in a fantastical realm sourced in the debilitating, hallucinatory migraine episodes Marino endured as a teenager.

Sky Hopinka’s “Sonic Transmission” features three large screens on one wall, upon which six looping films alternate to create a program that lasts approximately an hour in length. It’s an environment of looped and streaming memories that create cresting focal points of consciousness.

“Emergence” juxtaposes the works of Cathy Lu and Yulia Pickusevich, whose shared aesthetic deals with transformation and transcendence. The show’s title was chosen to indicate change and transmit the idea of an emergency.

employ a minimalist grid as a filtering overlay for their internal (Asseby) or external (Eschliman) visions. The subject and the means of its perception and replication become fused, fitting digital cultures’ interweaving of analogue reality and digital representation.

In the origami tradition, an artist begins with flat sheets of paper which are folded so as to create unlimited varieties of three-dimensional objects. In “Folded Light,” Fritz Horstman draws on this logic but reverses its outcome