Fortes creates an electrically charged, claustrophobic atmosphere filled with high-def images and stupefying excess, where nothing makes sense and everything seems wrapped in a cocoon of white noise.
Talk about mixing macrocosmic and microcosmic views. Cornelia Schultz gives them to us from on high and from inside the planet’s nooks and crannies – all in the same picture.
Thiebaud’s 4th solo show at The Crocker since 1951 comes at a propitious time: the museum’s 125th anniversary, the opening of its tripled-in-size exhibition space and the artist’s 90th birthday.
Painting the same scene 54 times over a 6-month period, the artist documented an acutely observed interchange — between raw optical sensations and the mechanism by which they are translated into recognizable forms.
Nobody manufactures chaos like Judy Pfaff. She continuously reinvigorates sculpture by moving it into painterly, theatrical, performative and architectural directions. “Tivoli Gardens” extends this formidable tradition.
Are they magnified views of chemical reactions or a visions of the Earth’s crust from outer space? In Nellie King Solomon’s “beautiful pictures of terrible things” both possibilities appear simultaneously and with equal force.
When it comes to “non-traditional” materials, Vik Muniz is the undisputed king. Factory machinery, spaghetti, dust, peanut butter, sugar, chocolate and auto bodies – he’s used them all them to remake Old Masters. His latest targets: Hiroshige and Hokusai.
Here, at the base of the Santa Cruz Mountains, in a gallery exhibition and in a series of site-specific works, seven artists of vastly different persuasions, examine the complex and often conflicted relationships we have with animals and nature.
Making the quotidian look strange and familiar was Henry Wessel’s specialty. His New Topographics cohorts recorded the bald facts of our surroundings and elevated their impact through repetition. Wessel didn’t need to. His photos are self-contained stories.
Before museums we had cabinets of curiosities: rooms that housed natural history, ethnographic artifacts and archeological remains. Twenty-one Bay Area artists explore those traditions.
Tired of big, banal theory-driven photos? A quiet counterinsurgency is gathering force. It’s composed of artists who are turning antiquated photographic methods to contemporary ends. Meet the antiquarian avant-garde.
Ever since Robert Rauschenberg built his legendary “combines” from cast-off junk sculptors have relied increasingly on found objects and industrial materials. Repurposed, they convey new meanings that go beyond associations we normally affix to them.
Contrary to Bay Area opinion, which holds that Sacramento is a backwater, “Flatlanders” stands as a smart rebuke. It not only serves as a showcase for emerging artists, but also spotlights artists who long ago established international reputations.
In 1861, photographer Felix Nadar captivated Parisians with his photos of the city’s catacombs and sewers. In “Excavating the Underground”, Jennifer Little and Mike Osborn, explore subterranean urban spaces in much the same spirit.
Katherine Sherwood, Robert Brady, Jim Melchert, Squeak Carnwath, Livia Stein and Gale Wagner would seem, at least on the surface, to have little in common. Look deeper are you find that each, in their own way, is committed to plumbing life’s mysteries.
Mixing works by Asian-American artists, both foreign and native-born, this show demonstrates how Zen, calligraphy and Automatism, as advocated by the Surrealists, combined to form one of the most influential movements of the 20th century.