Artsource Blog

Check back here from time to time to get updates on what we like, exhibits to see, and art related ideas. If you’re interested in more information about what you see here, please email us.

To Do List: April

 

Ayana V. Jackson “The Rupture was the story” 2019 photograph. Image courtesy of MoAD SF.

April 5 to August 20 – Black Venus at Museum of African Diaspora (MoAD): Curated by Aindrea Emelife, Black Venus is an exhibition that surveys the legacy of Black Women in visual culture – from fetishized, colonial-era caricatures to the present-day reclamation of the rich complexity of Black womanhood by 18 artists (of numerous nationalities and with birth years spanning 1942 to 1997). This exhibition is a celebration of Black beauty, an investigation into the many faces of Black femininity and the shaping of Black women in the public consciousness – then and now. MoAD is located at 685 Mission Street in San Francisco.

 

Zarouhie Abdalian “Flutter” 2010. Image courtesy of Kadist San Francisco.

April 14 to August 12 –  From the Kadist Collection: be here, or even better, be nowhere at Kadist San Francisco: This exhibition brings together artists who employ sculpture, drawing, video, and sound to probe social and historical structures and infrastructures, such as migration, colonialism, carceral systems, and space militarization. The works commune through memory, language, social and religious alliances, and ancestral knowledge, to summon an “elsewhere” as an act of re/construction. Kadist San Francisco is located at 3295 20th Street.

 

Scene from last year’s auction. Image courtesy of Southern Exposure.

Saturday, April 29 – PRISMATIC Annual Art Auction at Southern Exposure:  PRISMATIC, is Southern Exposure’s 2023 benefit art auction. The Main Event will feature both a silent and a live auction, showcasing over 130 pieces of radiant art from some of the Bay Area’s most luminous new and established artists. Featuring entertainment from local performers, cocktails from Trick Dog, hors d’oeuvres from Work of Art, and the joy of gathering safely with the vibrant SoEx community. VIP Preview Night: Thursday, April 13, 6:00 – 8:00 PM. Purchase tickets here.

 

Adia Millet “Strata,” 2023. Acrylic on wood panel. Image courtesy of CCA Campus Gallery.

Ongoing to April 28 – Women to Watch 2024: New Suns at CCA Campus Gallery:  Each of the artists in New Suns are grounded in their own specific experiences of heritage, ritual, and belonging. Artists Sofía Córdova, Nicki Green, Cathy Lu, Adia Millett, and Genevieve Quick hold different histories of oppression and joy in tension in their work, while sharing a common commitment to the practice of creative world-building. With radical hope, they imagine different practices of coexistence, crafting propositions for life oriented around different suns. CCA Campus Gallery is located at 1480 17th Street, San Francisco.

 

Anna Sew Hoy “Hard Swamp Ecstatic Return”,2022.  Courtesy of SFMOMA.

Ongoing to July 16 – New Work: Anna Sew Hoy at SFMOMA: Los Angeles–based sculptor Anna Sew Hoy’s Growing Ruins rise from the floor in a mesmerizing tangle of hand-built clay arches, found metal cages, and detritus ranging from charging cords to denim scraps. They recall the ruins of a lost city or shelters assembled from the shiny, tech-laden remains of a land destroyed. Three of these towering forms take center stage in Sew Hoy’s New Work exhibition at SFMOMA, alongside coiled clay vessels that recall giant, cartoonish organs and vast fabric webs created by stripping office shirts down to their seams. Taken together, the sculptures embody Sew Hoy’s interest in turning things inside out to explore the relationship between the exterior world (of bodies, buildings, and objects) and interior space (of psyches, emotions, and souls)—and the inevitable porousness between them.

 

Sarah Hotchkiss “Kai’s Painting” 2021, flashe on panel. Image courtesy of ICA San Jose.

March 31 to August 13 – Altered Perception: Sarah Hotchkiss, Lordy Rodriguez, and Susie Taylor at ICA San Jose: Inspired by the British artist Bridget Riley (b. 1931), who has long been known for her dizzying, vibratory paintings that set the Op Art movement in motion, the exhibition Altered Perception is a tribute to Riley and her life’s work. Altered Perception includes works from three local Bay Area artists: Sarah Hotchkiss, Lordy Rodriguez, and Susie Taylor. 560 south First Street, San Jose.

To Do List: March

Nan Goldin “Falling buildings, Rome” 2004 dye sublimation print on aluminum. Image courtesy of Fraenkel Gallery.

March 2 to April 29 – Nan Goldin at Fraenkel Gallery:  This exhibition includes still photographs as well as the centerpiece Memory Lost, a slideshow in which Goldin explores the darkness of drug addiction through images and recordings from her extensive archive. Projected in a darkened room, Memory Lost presents a haunting and emotional narrative comprised of outtakes drawn from Goldin’s archive of thousands of slides. Depicting scenes from her life and circle of friends, the 24-minute piece recounts the pain and fleeting moments of beauty in life lived through the lens of addiction. Fraenkel Gallery is located at 49 Geary Street in San Francisco.

 

(Left) Georgina Reskala “Untitled #202320″ 2023 (detail). (Right) Arleene Correa Valencia “Querido Hijo” 1991 / Dear Son, 1991, 2020. Images courtesy of SFAC Galleries.

March 3 to April 29 –Crossing Lines/Lineas que Cruzamos at SFAC Main Gallery:  Curated by photographer, curator, and educator Ann Jastrab, the exhibition features the work of Georgina Reskala and Arleene Correa Valencia, both graduates of CCA, who both live and work in California, and who both have an immigration story to share. Arleene Correa Valencia’s textile works draw heavily from her upbringing and her migration to the United States. Her work explores her identity as a registered “illegal alien” through a thoughtful play portraiture. Georgina Reskala seeks to stop transient moments, creating a record of what slips away from history. Her photography and textile-based work involves folds, layers, cuts, and transformation to reveal hidden images and through that investigates how stories get reshaped and how history is written. Opening Reception: Friday, March 3, 6 – 8 p.m.  A special blessing for the exhibition will be offered by Xiuhcoatl Danza Azteca. SFAC Main Gallery is located at 401 Van Ness Avenue in San Francisco.

 

Rema Ghuloum “4 is a Rainbow Line” 2022, oil and acryla-gouache on canvas. Image courtesy of Et al.

March 4 to April 8 – Rema Ghuloum: 4 is a Rainbow Line at Et al. etc (Mission Street):  Ghuloum paints ethereal, atmospheric abstractions that revolve around and evolve through her process. Beginning on the floor, Ghuloum uses squeeze bottles and buckets to pour, flick, and drip diluted acryla-gouche onto the canvases. Once this layer dries, Ghuloum moves the canvases onto the wall and slowly builds up thin glazes of oil paint, working with and against the initial poured layer.  Moving geologically, Ghuloum continues to build and subtract from the composition, sanding between each successive layer until the work vibrates with an internal tension. The finished surfaces retain the history of this improvisatory and responsive practice, manifesting a resonance between the works and the viewer. Et al. etc is located at 2831 Mission Street in San Francisco.

 

Sky Hopinka, “Teją́. The Sea. It’s neither our name for the great lakes or lesser lakes. It’s the sea, and we said we were from the north and from the salt. It’s too much right now. Too much like learning that my father performed the Breathings his entire life. I have recordings of him, and I heard them when I was little, and I said them myself after his death” 2020. Inkjet print, etching. Image courtesy of  McEvoy Foundation for the Arts.

March 10 to May 27 – Rituals of Devotion at McEvoy Foundation for the Arts: The artists in this group exhibit use a wide variety of methods to externalize the feelings inherent to the powerful connections we associate with faith, family, and community. Together, the artworks demonstrate the possibility offered by ritual to examine how our predecessors try to make sense of the unknown, while simultaneously defining new methods for sharing knowledge and care in our contemporary moment. Opening Reception, Thursday, March 9th at 6pm. McEvoy Foundation for the Arts is located at 1150 25th Street in San Francisco.

 

NIAD

Saturday, March 11, 3 to 7pm – Win Win Eleven at NIAD Art Center in Richmond: NIAD is a progressive art studio for adult artists with developmental disabilities. Through its visual arts studio program, NIAD gives people with disabilities the skills and experience to express themselves, be independent and earn income as an artist. Win Win Eleven is the annual fundraiser and community event. Money raised by this annual fundraiser goes to the NIAD Art Center general operating fund. NIAD Art Center is located at 551 23rd Street in Richmond.

 

Kehinde Wiley “The Death of Hyacinth (Ndey Buri Mboup)” 2022, oil on canvas. Image courtesy of Fine Arts Museums of San Francisco.

March 18 to October 15 – Kehinde Wiley: An Archaeology of Silence at the De Young Museum: American artist Kehinde Wiley’s new body of paintings and sculptures confronts the silence surrounding systemic violence against Black people through the visual language of the fallen figure. It expands on his 2008 series, Down — a group of large-scale portraits of young Black men inspired by Hans Holbein the Younger’s The Dead Christ in the Tomb (1521–1522). Wiley investigates the iconography of death and sacrifice in Western art, tracing it across religious, mythological, and historical subjects. In An Archaeology of Silence, the senseless deaths of men and women around the world are transformed into a powerful elegy of resistance. The resulting paintings of figures struck down, wounded, or dead, referencing iconic paintings of mythical heroes, martyrs, and saints, offer a haunting meditation on the legacies of colonialism and systemic racism. A conversation with Kehinde Wiley will be on March 18, 1–2pm. The de Young Museum is located at 50 Hagiwara Tea Garden Dr, in San Francisco.

 

Ali Dadgar “For Her Hair” 2022, mixed media. Image courtesy of Round Weather Gallery.

March 19 to May 13 – The Other Side of Time at Round Weather Gallery:  Round Weather is a nonprofit art gallery committed to alleviating the climate crisis.  It directs funds raised through the sale of contemporary art to three organizations selected each year for their effectiveness in climate change mitigation. The Other Side of Time features Iranian-American artists Sholeh Asgary, Ali Dadgar, Taraneh Hemami, and Shirin Towfiq. The Other Side of Time is where individual imagination and voices may move with freedom and as collectives, thus gathering strength to build an infinitely less shadowed world. Round Weather Gallery is located at 951 Aileen Street in Oakland.

 

To Do List: February

Amalia Mesa-Bains “Queen of the Waters, Mother of the Land of the Dead: Homenaje a Tonatzin/Guadalupe” 1992. Mixed media installation including fabric drape, six jeweled clocks, mirror pedestals with grottos, nicho box, found objects, dried flowers, dried pomegranate, potpourri.  Image courtesy of BAMPFA.

February 4 to July 23 – Amalia Mesa-Bains: Archaeology of Memory at BAMPFA: For over forty-five years, Bay Area artist Mesa-Bains has worked to bring Chicana art into the broader American field of contemporary art through innovations of sacred forms such as altares (home altars), ofrendas (offerings to the dead), descansos (roadside resting places), and capillas (home yard shrines). Presenting work from the entirety of her career for the first time, this exhibition, which features nearly 60 works in a range of media, including fourteen major installations, celebrates Mesa-Bains’s important contributions to the field of contemporary art locally and globally. Opening celebration is Saturday, February 4 from 11am – 7pm.

 

 

Max Gimblett “Karma” 2022, acrylic, resin, oil size and Chinese pewter leaf on canvas and panel. Image courtesy of Hosfelt Gallery.

February 11 to April 1 – Max Gimblett: The Beginning of Time at Hosfelt Gallery: Max Gimblett is a painter, calligrapher, and Rinzai Zen monk. Gimblett’s paintings are a harmonious postmodern synthesis of American and Japanese art. Often working on shaped panels or canvases – tondos, ovals, and his signature four-lobed quatrefoil – he marries Abstract Expressionism, Modernism and Spiritual Abstraction with mysticism and traditions of Asian calligraphy.

 

Ann Hamilton and David Ireland from “Ann Hamilton/David Ireland” at the Walker Art Center (1992). Photo: Glenn Halvorson, courtesy of Ann Hamilton

February 11 to April 29 – Process + Place: Ann Hamilton at 500 Capp Street:   500 Capp Street joins Headlands Center for the Arts for a project created by Ann Hamilton sited in both locations that highlights the deep connection between the two spaces and their shared stories of material and discovery. During a research residency at 500 Capp Street, Hamilton selected objects from David Ireland’s practice, exploring the typology of their forms and materiality, and scanned each to create luminous images that will be on display along with a newspaper print that will be available as a free, take home memento. Further connecting the domestic scale of 500 Capp Street with the institutional scale of Headlands’ studio buildings, Hamilton is developing a sculptural audio element that will call across the distance to connect the near at hand with the far away—a pulse, connection, collaboration reaching across time, then and now. Opening Reception Saturday, February 11, 12-5pm.

 

Photograph of Mark Thompson (left) and David Ireland using a paintbrush to clean the tin ceilings of the stairwell in Building 944.  Image courtesy of Headlands Center for the Arts.

February 12 to March 19 – Mark Thompson: Semaphore at Headlands Center for the Arts: In 1986 artists David Ireland and Mark Thompson, and a team of collaborators transformed and opened the cluster of former military buildings to artists now known as Headlands Center for the Arts. A lifelong beekeeper, Thompson’s Semaphore harkens back to key works in the Artist’s oeuvre featuring collaboration with living beehives, and transforms the Gym into a multi-sensory installation utilizing sound, video, architectural intervention, and beeswax. With its tight focus and abstracted interplay between human and swarm, Semaphore speaks to the cyclical nature of time and the possibilities of inter-species communication.  Opening reception Sunday, February 12, 3–5pm.

 

 

María Magdalena Campos-Pons “

February 23 to April 29 – María Magdalena Campos-Pons: Finding Balance at Gallery Wendi Norris: The inaugural show at Gallery Wendi Norris’ new exhibition space is María Magdalena Campos-Pons: Finding Balance. Campos-Pons addresses issues of history, memory, gender and religion through her work; she investigates how each one of these themes informs identity. The exhibition borrows its name from Campos-Pons’s monumental 28-panel multimedia masterwork, which is the centerpiece of the show. The exhibition will focus on Campos-Pons’s large-format polaroid works, including a complementary array of multi-paneled works that have never been shown by the gallery.

 

Yaron Michael Hakim “En Bogotá me Quedo” 2022, acrylic on used sailcloth. Image courtesy of SFSU Fine Arts Gallery.

February 25 to March 29 – Have You Seen Me? at SFSU’s Fine Arts Gallery: This exhibition centers on the return of the gaze in contemporary self-portraiture created by diverse artists across diverse media. Featuring work by Marcel Pardo Ariza, Erica Deeman, Yaron Michael Hakim, and Jamil Hellu. Have You Seen Me? focuses on contributions of Latinx Americans, Arab Americans, and Black and mixed-race Americans, with personal histories that include transnational adoption, and the centering of transgender and Queer/BIPOC community, in defiant acts of seeing and being seen. Opening Reception: Saturday, February 25, 1 – 3 p.m.

 

To Do List: January

Arngunnur Ýr “Onomea IV” 2022, oil on birch panel. Image courtesy of Anglim/Trimble.

January 5 to February 25 –  Arngunnur Ýr: Onomea at Anglim/Trimble: Arngunnur Ýr’s new botanical series Onomea is rooted in influences from the lush vegetation of Hawaii. Arngunnur, who is from Iceland, is in the process of building a future residence on the Big Island of Hawaii, and her new work reflects the natural transition from the Icelandic glaciers to explorations of the place that is to become her new home. The works reference the typical flamboyance and jubilation of floral glory, the lushness and abundance of beauty and color, but also suggest an intensity of introspection both pictorially and of the artist herself. The works are intended to evoke a feeling of complexity and confusion while alluding to a deeper experience. Through a labor-intensive process, Arngunnur explores the common depiction of paradise and turns it on its head. The works are psychological in nature, examining the dichotomy of life, transience, and temporal existence. Each flower has a beginning and an end and in these works, the subtle voids and bleached-out plants become a suggestion of an otherness, their ghostlike quality and neutrality become an ironic focal point. Opening reception is Saturday, January 7th, 4-6pm. Anglim/Trimble is located at 1275 Minnesota Street in San Francisco.

 

J. John Priola “Green Lichen & Moss” 2022, archival pigment print. Image courtesy of Anglim/Trimble.

January 5 to February 25 – J. John Priola: Natural Light/Simbiosis at Anglim/Trimble: This exhibition features work made in 2022 from natural occurrences and natural disasters, and it coincides with the release of Priola’s new monograph, Natural Light, published by Kehrer Verlag. Priola continues his love of beauty and the act of seeing/looking into the natural world through innate happenings or natural disasters. This new work is about renewal, existence, and perseverance in the ever-growing human effect on nature. In a small yet revealing way, the aftermath of two devastating California wildfires is one source. In Trunks, images from the Dixie Fire in 2021 reveal detailed and haunting beauty from the wreckage and debris, while an image from the 2018 Camp Fire speaks to recovery and survival in the age of the Anthropocene. Opening reception is Saturday, January 7th, 4-6pm. Anglim/Trimble is located at 1275 Minnesota Street in San Francisco.

 

Alanna Fields “Untitled (Blue)” 2019. Image courtesy of SF Camerawork.

January 17 to March 25 – Dismantling Monoliths at SF Camerawork:  Curated by artist Jamil Hellu, this is a group exhibition of artists who catalyze their medium to challenge conventions. Through critical engagement and intimate gestures, Dismantling Monoliths calls attention to the multidirectional ways in which contemporary artists are recontextualizing the canon of Western history while envisioning fresh perspectives for identity representation, visibility, and inclusion. The exhibition presents works, from photography to video, by Alanna Fields, Xandra Ibarra, Tarrah Krajnak, Forrest McGarvey, Marcel Pardo Ariza, and Aaron Turner. Together, they shatter stereotypes and shift the monolithic historical frame of reference to new dimensions. SF Camerawork is located at Fort Mason Center, 2 Marina Blvd, Building A.

 

Beth Van Hoesen “Sister Zsa Zsa Glamour” 1997, watercolor, colored pencil, graphite on paper. Image courtesy of Altman Siegel.

January 17 to February 25 – Beth Van Hoesen: Punks and Sisters at Altman Siegel: This exhibition presents the portraiture of San Francisco legend, Beth Van Hoesen. A keen observer of detail, Van Hoesen’s prints and works on paper express a mastery of line that captures the unique eccentricities of her subjects and the vibrant Castro community in which she lived for nearly 50 years. This exhibition focuses on her portraits of punks from the late 1980s and early ’90s, and a series of portraits commemorating The Sisters of Perpetual Indulgence, an order of queer and trans nuns. Started in the late ’70s, the Sisters are known for their activism, community service, ministry and outreach to those on the edges. All sales of the Sisters portraits benefit the Rainbow Honor Walk, the nonprofit organization that sponsors a monument of bronze sidewalk plaques in the Castro honoring lesbian, gay, bisexual, transgender, and queer individuals who have made a significant impact in global history. Altman Siegel is located at 1150 25th Street in San Francisco.

 

Ja’Tovia Gary “Citational Ethics (Saidiya Hartman, 2017)” 2020, Neon, glass, wire, and metal. Image courtesy of ICA SF.

January 21 to June 25 – Resting Our Eyes at ICA SF: Curated by Tahirah Rasheed and Autumn Breon this exhibition is focusing on the liberation and celebration of Black women through the lens of leisure and physical adornment, Resting Our Eyes features new and existing works from 20 multi-generational Black artists working across sculpture, photography, video, mixed media, painting, and textile. Through embodied experiences of space and temporality, spectrums of abstraction and representation, these artists contend with the limitations and failures of the colonial gaze by casting Black womxn at the center of their visions through leisure and adornment. Collectively, these works invite us to see Black womxn as fully realized and free. Artists included are; Derrick Adams, Sadie Barnette, Traci Bartlow, Knowledge Bennett, LaKela Brown, Genevieve Gaignard, Ja’Tovia Gary, Lauren Halsey, Simone Leigh, Helina Metaferia, Ebony G. Patterson, Alison Saar, Lorna Simpson, Hank Willis Thomas, Lava Thomas, Mickalene Thomas, Adana Tillman, Leila Weefur, Carrie Mae Weems, and Deborah Willis. The ICA SF is located at 901 Minnesota Street.

 

Heesoon Kwan “Leymusoom Bridge” (detail). Image courtesy of Berkeley Art Center.

January 21 to March 12 – The Letters of Mina Harker at Berkeley Art Center: Curated by Naz Cuguolgu, this group exhibition takes its title from the book by Dodie Bellamy, and investigates speculative fiction’s potential for alternative world-building. The exhibition celebrates Mina, the central woman character from Bram Stoker’s Dracula, who demands her own agency and voice in Bellamy’s narrative. Individual works by Bay Area artists come together in the space to form a chosen family and to suggest a speculative narration. Via diasporic artistic practices, the exhibition aims to look at the definition of monster as a symbol for the outsider and to rather construct an alternative universe with a new and otherworldly language. Artists included are; Dena Al-Adeeb, Sholeh Asgary, Kerri Conlon, Red Culebra (Guillermo Galindo& Cristobal Martinez), Behnaz and Baharak Khalegi, Heesoon Kwon, Tracy Ren, Chelsea Ryoko Wong, and Rupy C Tut. Opening reception is Saturday January 28th, 2–5pm. Berkeley Art Center is located at 1275 Walnut Street in Berkeley.

 

Exterior view of Fort Mason Festival Pavillion where FOG Design+Art is located.

January 18 to January 22 – Fog Design+Art at Fort Mason Festival Pavillion: Celebrating today’s most significant creatives and leading contributors to the worlds of design and visual arts, this fair assembles 45 leading international galleries; prominent 20th-century and contemporary design dealers; and a weekend of programs. Building on FOG’s longstanding commitment to cultural institutions, the fair’s Preview Gala is honored to continue its crucial support of SFMOMA’s exhibitions and education programs. FOG represents a key moment in which the local and global community congregate to engage in critical dialogue, artistic exchanges, and a shared passion for creative pursuits.

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