The success of this unlikely pairing shows what can happen when inspired curatorial vision bridges the divide we sometimes erect between media.
David M. Roth
In Hundt and Newhagen the fighting spirit of Dada is alive and well. Their work points to the extant power of irrationality.
Photojournalist Robyn Twomey covered the medical marijuana industry. The patients, she found, were the real story.
Gottfried Helnwein’s paintings and photographs tackle the persistence of evil and the cruelties perpetrated by humans against each other.
Couwenberg mixes the spatial ambiguity of cyberspace with the disorienting angularity of Cubo Futurism — recasting the Southern California landscape as a mind-bending interior experience.
Tony May’s SJICA retrospective showcases the artist’s genius for embedding strong ideas in meticulously crafted objects that both tweak and invoke art history.
Action/reaction is the governing principle in this interactive light-and-sound installation in which the audience is both instigator and spectator.
Robert Ortbal’s sculptures explore essences. Not actual essences, as in molecular structures, but unfathomable things: like the physical structure of smells as they exist in psychological, emotional and sensory space.
Whether scouring the desert, reading about tribal art or traveling in foreign lands, Bob Brady has always had a knack for creatively re-purposing objects, ideas and experiences.
In the Bay Area, you’d be hard-pressed to find a more exuberant, more imaginative painter than Linda Geary. Using oil, watercolor and spray paint, Geary has charted new frontiers in biomorphic abstraction.
With great economy and visual imagination, Koen creates elegant and deliciously open-ended works that tweak the orthodoxies of Minimalism while simultaneously engaging them with serious craft.
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.
The “oldest museum in the West” has tripled in size. Now, for the first time ever, the Crocker can really show its stuff. A list of its holdings reads like a Who’s Who of Northern California art in the post-WWII era.
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.
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.