Reviews

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”.

A picture may be worth 1,000 words, but can it compete with a reader’s imagination?

Maps promote the notion of consensus reality. Artists, the cartographers of our no-consensus zones, remind us that there is no such thing.

Bostwick’s cast-relief sculptures evoke a sense of nostalgia for the visual language of architectural drawing and the structures that once arose from them.

A painter of resplendent abstract landscapes, Bluhm displays an unpretentious, off-kilter virtuosity, painting for the sheer thrill of it.

How art can address the environmental crisis? Thirteen shows demonstrate. Maria Porges reports.

Whether he’s building massive steel sculptures or afixing oil-stick coated canvases to walls, Richard Serra is, at root, about drawing.

Oliveira’s finest late paintings are magisterial, poignant and profound. More spirit than corporeal, they are exquisite contemplations of mortality.

“DeFeo”, a prelude to the artist’s 2012 retrospective at SFMOMA, is a show of mostly small works that offer insight into the artist’s remarkable mind.

Her lucid-dream drawings appear to be anodyne at first glance. But they’re not. Look closely and shudder as you see yourself inside of them.