This show of “re-purposed” junk demonstrates how socially relevant art can spring from idiosyncratic, personal investigations and material invention.
Bob Brady works with the figure, but the figure hasn’t really his subject. Like a jazz instrumentalist who uses song structure for self-expression, Brady is all about stretching his materials.
With mixed-media light-boxes, Hattori comes to terms with war and memory. Essoe, using video, installation and still photography, addresses the existential conundrum of suburbia.
Peter Honig uses the conventions of commercial photography to subvert the consumer desires with a style applies Dadist and Surrealist sensibilities to set-up photography.
There’s plenty of mystery in Peter VandenBerge’s elongated, primitive faces; but their punch comes from a distinct brand of ‘60s-era, Duchamp-influenced absurdism.
The title of this show, curated by Aaron Petersen, suggests possession and certitude, but the works themselves traffic in mystery and ambiguity.
Many artists have stared at, painted and even feigned leaping into The Void. But few do so as energetically as Phil Amrhein.
These seductively posed apparitions drive us to question whether what we’re seeing. It is photography, painting or some new hybrid?
Employing a boggling array of shapes, textures and colors, Rex Ray’s collages resemble mash-ups of ’50-style home décor motifs, extraterrestrial floral fantasies and symbolist imagery.
Jenn Shifflet’s paintings are like pools of light emanating from indeterminate sources. They exist in a brackish wash of terrestrial, aquatic and celestial atmospherics.
Joan Moment’s paintings suggest that we exist outside of time and space: that we are at once everywhere and nowhere — like stars and galaxies whose images are history before they even reach us.
Enrique Chagoya builds on his love of pop culture, European high art and his knowledge of the dark side of sunny American optimism.
The goal was simply to showcase works from the gallery’s estimable stable. The result was one the strongest summer group shows in San Francisco.
If you remember the ’60s you weren’t there, goes the saying. But Doug Biggert was there and he remembers, thanks to more than 2,000 photographs that do everything but import the scent of patchouli and pot.
Using double images that simultaneously appear right side up and upside down, Schneider’s paintings activate our impulse to separate the actual from the ephemeral.
Every hierachy you can think of, from modes of artistic representation to gender roles, is being demolished and rebuilt. “Decline and Fall” offers a sneak preview.