Grace Munakata’s unique deployment of painting’s arsenal of tricks, to both illuminate and obscure, makes an elegant case for the medium’s continued relevance in the digital era.
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.