Lane’s sculptural visions incorporate mythopoetic fantasies based on childhood dreams, the likes of which most adults lack the capacity to summon.
In the late ’60s he mixed Duchampian absurdism with text-based object making to lampoon every myth the art world was manufacturing and refining.
In sculptures and large-scale drawings, Stone pits black against white, gravity against buoyancy and spontaneity against calculation in works that display grace and pugnacity.
Never mind the so-called zeitgeist. Wetzl wants to show how every belief system in human history continues to shape our experience.
Hido’s pictures of rural roads to nowhere put a new spin on the all-American themes of rootlessness and alienation.
Stone’s complex, multi-layered installations flow across walls in amoeba-like shapes.
Fortes’ quasi-expressionist paintings hint at oblique political and personal conundrums.
Linda Day has taken the basic tenets of hard-edge, geometric abstraction and turned them upside down.
At the heart of documentary photography lies an epistemological conundrum: What do we know and how do we know it?
In what amounts to a visual roman á clef, Sherwood demonstrated why she is one of the most important painters working today.
Buelteman employs camera-less form of image making that relies on the application of high voltages to subjects on light-sensitive media.
Dauber plays havoc with our sense of equilibrium by injecting urban sounds (á la Cage) into a rural setting of his own making.
If awards were given for labor-intensive art, Ian Harvey and Koo Kyung Sook would surely be contenders.
In two separate Sacramento-area shows from her 300-painting “Flower Series,” Louie covers heaven and earth and a lot of space in between.