Dynamic tension between the metaphysical and the worldly, and between high and low characterizes the painting of Sarah Walker.
What are the literary and philosophical implications of re-presenting the contents of a book? Dettmer explores the question.
Webster’s hermetic, alchemy-influenced work focuses on the spiritual journey of two fictional characters.
Dublin-based Patrick Graham makes grave and complex paintings that are hard to like and absolutely impossible to disrespect.
To concretize the ephemeral, Kandel pulls from several strains of abstraction to reinvigorate an old subject: the play of light on water.
The exquisite beauty of her pictures nearly obscures the tragedy that underlies them.
Taggart’s art is about turning one thing into another and then turning that thing into something else.
With perception-bending collages Bell reframes the epistemological question: what do we know and how do we know it?
Building on the qualities that catapulted her into the front rank of ceramic sculpture, Rosen expands the possibilities of clay.
Serial methods underpin some of the most important art of the past century. 13 Bay Area artists weigh in.
Wilderness now exists only through acts of human beneficence. Three Bay Area artists examine this state of affairs.
Displaying a level of obsession that rivals Agnes Martin’s, Tabatabai makes a strong case for the ongoing vitality of Minimalism.
Shows, a peerless collagist, and Waterston, an established master, explore geologic wonders.
He’s been described as a “latter-day Transcendentalist with a brush.” But did he succeed as an artist? Ben Marks reports.
The relationship between jazz and abstract painting is long and storied. Lewis, channelling that history, shows he can hold a painterly groove.
“Beauty that was luxuriant, carnal and worldly” — that’s how critic Mark Van Proyen describes painting in Venice’s “Golden Age”.