Heesoo Kwon is a visual artist and anthropologist from South Korea and is currently based in the Bay Area, California. Kwon initiated an autobiographical feminist religion, Leymusoom, in 2017, which mines the depths of personal cosmologies and Korean shamanism to sculpt a virtual confessional space of deep introspection. 

The sculptures here are part of a body of work Kwon made for her first participatory Leymusoom performance, as an MFA student at UC Berkeley. They represent asexual sex organs in many different shapes, named after Leymusoom community members. 

Kwon has requested that 100% of proceeds be donated to this list of Black-led arts, culture and community focused organizations, spaces, and collectives based in the Bay Area. Please email info@slashart.org if you’d like us to donate to a particular organization on the list.

⚫️ CLOACA PROJECTS ⚫️ presents US: IN THE SHINING CANDY HOLE ARENA, a grouping of works by 4 artists that created projects at the space in the recent past.

The title of this grouping is an amalgamation of the artists projects at Cloaca. Documentation for each project is available on our website and can be seen by clicking on the included artists names: Nikita Gale, Young Joon Kwak, Craig Drennen and Rodrigo Valenzuela.

Other works by each artist are available upon request.

Altman Siegel is pleased to announce A Platypus Glows Under Blacklight, a solo exhibition of new paintings by Los Angeles-based artist Alex Olson. The selection of new works, while consistent with Olson’s signature controlled materiality, mark-making, and collage-like approach, introduces a new element of script patterning and “text” components.  A Platypus Glows Under Blacklight marks the artist’s second solo exhibition with Altman Siegel.

Within Olson’s new painted works her mastery of surface is evident. Through the use of color, layering, and texture (both in terms of three-dimensional impasto and in terms of implied textures within visual patterning), she controls surface tensions in a manner simultaneously meticulous and playful. Layers appear to peel away to reveal peaks at other layers, suggesting several paintings imbedded in one, some of which remain forever concealed, at least in part, like a Russian doll.  Her mark-making pushes and pulls from both historical abstraction and contemporary design.

Another strategic yet playful recurring element in Olson’s practice is cross-referential nods between works. An example of this is the subtle dialogue between separate works, Page and Cover, both of which contain layers of painted effects that physically obscure a ground layer inscribed with carved marks, resembling notations and scribbles from Olson’s sketchbook. Text-based elements like jotted show notes, calligraphic scrawl and the Roman alphabet primer, seem to be attempting to reaffirm their own legitimacy or permanence by carving into the surface, only to be wryly obscured by the artist both materially and conceptually.

Whether partially revealed, hinted at, or otherwise resisting full literal consumption, the text components embedded in Olson’s new paintings dance just outside the grip of the legible, leaving us in a perpetually contemplative state, ever-hovering amongst the aesthetics of decipherability.

Anthony Meier Fine Arts is pleased to present a selection of works by renowned American artist Rosie Lee Tompkins (1936–2006), considered one of the greatest quiltmakers of all times, and one of the century’s greatest artists.

Rosie Lee Tompkins is the pseudonym of quilter Effie Mae Howard, who carefully guarded her privacy after her rise to national prominence in the late 1990s. Born on September 6, 1936 to a sharecropping family in southeastern Arkansas, she learned quilting from her mother as a child but did not begin to practice the craft seriously until the 1980s, when she was living in the Bay Area city of Richmond. Tompkins was a devout member of the Seventh Day Adventist Church, and credited God with her uncanny sense of color. Many of her quilts were made with family members or friends in mind, and can be seen as prayers on their behalf, including her sons.

Few of Tompkins’ quilts conform to the traditional scale of a bed covering, a byproduct of the conceptual logic inherent in each piece. Her quilts are characterized by the variation in scale of the triangles and squares used in her patterns, creating “asymmetrical forms that pull, crumble, and bend,” says Lawrence Rinder, the longtime champion of Tompkins and former Director of the Berkeley Art Museum Pacific Film Archive. Tompkins “transformed everything she touched with her improvisatory piecing and unerring sense of color, composition and scale,” notes critic Roberta Smith. “In the still-unfolding field of African-American quilt-making, she has no equal.”

Ellie Hunter and Charlie Leese are multi-disciplinary artists whose creations seem pulled from an unfriendly speculative future. Deeply concerned with the normative body, both artists find ways of provoking a visceral response from the audience that rests somewhere near curious trepidation. While they have separate practices and haven’t collaborated before, their works seem to harmonize around similar materials (aluminum, vinyl, thread, woven photographs) as well as feelings of ensnarement/entombment. This is Leese’s third time showing with Bass & Reiner and Hunter’s second.

Charlie Leese holds a BFA in Sculpture from the Rhode Island School of Design. His sculptures employ enduring materials (cast bronze, welded steel, carved stone, etc.) to build forms that recall landscape and architectural models, allowing the viewer to consider shifts in scale relative to themselves. Leese has been featured in numerous exhibitions including YBCA, San Francisco; Ratio 3, San Francisco; Alter Space, San Francisco; The Battery, San Francisco; and The Wurks, Providence, RI.

Ellie Hunter is a visual artist based in NYC. Hunter locates her work inside spaces where bodies are heavily scrutinized. She explores the ways in which the pathologizing ethics of clinical institutions are absorbed into our everyday lives and anxieties, and can merge with spaces of fiction and fantasy. Hunter received her MFA in Sculpture + Extended Media from Virginia Commonwealth University where she was the recipient of the VCU Graduate Thesis Grant. She has participated in residencies at Shandaken: Storm King (NY), Interstate Projects (NY), Rupert (Vilnius), Superdeals (Brussels), 2727 California (CA), and Ox-Bow (MI). Hunter’s work has been featured in ArtForum (Critic’s Pick), AQNB, ArtMaze Magazine, Kuba Paris, and more. She recently exhibited at the Contemporary Art Center in Vilnius, and has an upcoming two-person show at Cordova (Barcelona

Berggruen Gallery is pleased to present Michael Gregory: The Best Days Are the First to Flee, an exhibition of eighteen recent paintings by California artist Michael Gregory. This show marks Gregory’s thirteenth solo exhibition with the gallery and will be on view January 14 – February 13, 2021.

Michael Gregory’s most recent body of work presents a series of new oil paintings that render the vast, captivating, and almost ineffable beauty of the American landscape—a subject matter that has always fascinated the artist. Gregory writes, “America has always been an idea, a construct of our imagination, and our imagination has outdistanced even its vast boundaries and empty places. The American West has provided us a rich metaphor for a discussion of our hopes, aspirations and failures.  It is the subject of literature, poetry, and song—part of our American common language.” Gregory’s landscapes, rich in detail, continue to expand this great American metaphor.

Michael Gregory: The Best Days Are the First to Flee, January 14 – February 13, 2021. On view at 10 Hawthorne Street, San Francisco, CA 94105. Open by appointment. Images and preview are available upon request. For all inquiries, please contact the gallery by phone (415) 781-4629 or by email info@berggruen.com.

Casemore Kirkeby is proud to present Impressions, featuring new photographs by Oakland-based photographer Chanell Stone. Stone’s practice focuses on challenging insular views of Blackness by expanding on narratives subject to Black erasure. This avidity has led her to explore the Black body’s connection to the American landscape.

Chanell Stone (b. 1992, Los Angeles CA) received her Bachelor of Fine Arts in Photography at California College of the Art in 2019. Stone has had a solo exhibition at the Museum of the African Diaspora, San Francisco, CA (Natura Negra, 2019), and exhibited at Aperture Gallery (New York, NY), the Berkeley Art Center (Berkeley, CA), Center for Photography at Woodstock, (Woodstock, NY), San Francisco Art Commission (San Francisco, CA), SF Camerawork (San Francisco, CA), and Kala Art Institute (Berkeley, CA). Stone is the 2020 resident at Real Space and Time (Oakland, CA), and the January/February fellow at Black Space Residency hosted at 1240 Minnesota Street. Stone is in the collection of the KADIST Foundation (San Francisco/Paris), Center for Photography at Woodstock, (Woodstock, NY) and the Meyer Library: Artist Book Collection, (Oakland, CA). Stone was featured in W Magazine’s “8 Young Photographers to Follow in 2020.”

For its debut presentation with 8-bridges, Catharine Clark Gallery announces the release of four works from Afterimages (2021), a suite of five photogravures by multidisciplinary artist Stephanie Syjuco, co-published by Catharine Clark Gallery, BOXBLUR, and Mullowney Printing, San Francisco.

The physically manipulated photogravures in Afterimages are based on visual research that the artist conducted at historical museums in St. Louis and during a 2019 Smithsonian Artist Research Fellowship. In this response, ethnographic images of a “Filipino Village” on display at the 1904 St Louis World’s Fair are reedited through crumpling and folding to deny their imagined function as anthropological evidence, and to reveal their presentation as inherently fabricated. By utilizing the traditional medium of photogravure, Syjuco furthers her exploration of how photography and early imaging forms are linked with the production of American colonial history. Special thanks to The Contemporary Art Museum St. Louis and The Luminary for supporting the initial research for this project.

The full series of photogravures will debut in conjunction with Syjuco’s solo exhibition Native Resolution, on view March 6 – April 10, 2021 at Catharine Clark Gallery.

Creative Growth is an art studio and gallery that serves artists with developmental disabilities in Oakland, California. Currently, there are over 150 artists working in the studio with a variety of media. Artwork fostered in this renowned environment has been included in the Venice Biennale, and prominent institutional collections worldwide, such as MoMA, the Centre Pompidou, Collection de L’art Brut in Lausanne, the Smithsonian American Art Museum, the American Folk Art Museum, the Studio Museum in Harlem, and SFMoMA.

For more information regarding the artwork, or to schedule a viewing appointment, please email gallery@creativegrowth.org.

To learn more about these artists and their practice, follow the links below.

Dan Miller | Ron Veasey | Latefa Noorzai | Donald Mitchell 

Crown Point Press presents Grounded, a group of four etchings by John Chiara, Julie Mehretu, Mary Heilmann, and Chris Ofili. These works encourage a sense of peace and balance, helping us to move forward into 2021 by being present in the moment and intentional in thoughts and actions.

CULT Aimee Friberg Exhibitions is pleased to bring together the work of artists from the Bay Area and New York with this presentation of artwork by Amy Lincoln, Masako Miki, and Marcus Leslie Singleton.

Each artist in this presentation explore narrative through their work, considering both ideologies of the collective and intimate visual chronicles of personal experience and place. Miki’s new painted bronzes present a new manifestation of her Shapeshifters series, reimagining Shinto tradition’s Yokai in a contemporary mythology.

Lincoln and Singleton reveal the wide range of quotidian experience from firsthand observations. Lincoln’s radiant botanicals breathe optimism in the collective slowing of life, vivid reminders of the resilience (and fragility) of our natural world. Singleton shares intimate moments of his shelter in place from the last year, weaving highly personal moments with broader historical narratives of this contemporary moment.

For more information and further works by Singleton, Miki, and Lincoln contact the gallery at info@cultexhibitions.com.

Delaplane is pleased to present Ox, Child & the River. A three-person exhibition featuring works by Lyric Shen, Kennedy Morgan, & Sean McFarland.

IV
-Eric Dolan

blackberry season
prize wisecrack
just boil

tubular bells
bog bodies
on occasion

an incorrect oak
rubber hose
bright patience

The gallery is currently open by appointment. Click here to plan your visit.

The idea that “Sometimes Things Come Together” is about science as much as it is about art. Carámbula, Turner and Wackers share a love of combinations and invention in their very different mediums. Playfulness and a shrewd process of editing is integral to these artists’ work.

Carámbula creates individually made “tiles”, texturing and glazing them various colors, and then intuitively assembles them into ceramic collages. Turner works with paper petals, colored paints, and various scales and angles creating dynamic paper sculptures of flowers. Wackers draws from a variety of remembered and invented forms to create paintings of curiosity cabinets. HIs arrangement and juxtaposition of color, various tempos and rhythms make the paintings almost read as text.

Et al. is pleased to present works by Viola Frey and Ross Simonini.

Over the course of her five-decade career, Viola Frey created boldly-colored figurative sculptures, paintings and works on paper that reflect on contemporary culture, power, and gender dynamics. While most closely aligned with the Bay Area Funk movement, Frey’s immense creative output delves into many aesthetic directions. She used a distinctive, personal iconography and palette to depict human figures arrayed among objects of antiquity, flea market collectibles, and interior landscapes.

Frey was born in 1933 in Lodi, California. In 1951, she moved to Oakland and attended the California College of Arts and Crafts (CCAC) and completed her BFA in 1955. She pursued an MFA in Painting at Tulane University, and studied under George Rickey, Katherine Choy, and visiting artist Mark Rothko. Frey taught at CCAC from 1964 to 1999. During her tenure, she served as the Ceramics Department chair and continuously championed the ceramic medium as an art form. Among her many accomplishments, Frey was the recipient of two National Endowment for the Arts fellowships, a Masters of the Medium for Ceramics from the James Renwick Alliance, and an honorary Doctorate from CCAC.

Ross Simonini’s first US solo exhibition, Refrains, opened January 22 at Et al. etc. The show features five of his Refrains painting series, which are created by repeatedly writing a single phase to construct an image. Each painting is a phrase. Every mark forms a letter. In this way, the show is a marriage of Simonini’s work as a writer and painter.

Ross Simonini lives in California, splitting his time between Northern California and Los Angeles. He has exhibited at Shoot the Lobster (Luxembourg), Sharjah Biennial 13, Human Resources (Los Angeles), Jack Hanley Gallery (New York), Anonymous Gallery (Mexico), Fredericks and Freiser (New York), and elsewhere. Simonini’s first novel, The Book of Formation was published by Melville House Books and he contributes monthly dialogues to ArtReview and The Believer. He currently hosts the podcast Subject Object Verb and teaches cross-genre courses in Columbia University’s graduate department.

Tarot Reckoning is a visual poem by San Francisco-based artist Mieke Marple made of three cards. It begins with The Moon, the card of the feminine subconscious, which features the artist in profile, superimposed on the moon. Next comes The Lovers, the card of union and attraction, which depicts two endangered Sumatran Tigers—one cuddling the other. Finally, there is Death: the card of mourning and rebirth, which shows a skull inlaid with an image of The Great Fire of Rome. This fire occurred in 64AD, roughly the middle of the empire’s 1,000-year reign and approximately 40 years before the peak of its expansion. It can thus be seen as the crisis point marking the shift from growth to decline. This shift happened in the Roman Empire around the time of the Great Fire and appears to be happening now in America. To date, over 400,000 people in the United States have died from COVID, with Black, Indigenous, Latinx, and Pacific Islander populations almost 2.5 times more likely to die from COVID than others. We are in the midst of great collective grief as we witness our own dysfunction, which—like the caterpillar who becomes immobile towards the end of its life cycle—has brought us a screeching halt. The caterpillar will naturally become a butterfly. However, it first must self-immolate inside a chrysalis. And so must we. We—and our imbalanced systems—must die to come back to life.

Gallery Wendi Norris is pleased to present new works by María Magdalena Campos-Pons and Chitra Ganesh. 

Campos-Pons’ Descending Angels are the newest works in Campos-Pons series, Un Pedazo del Mar (A Piece of the Sea). The works explore notions of transformation and spirituality, as well as the dualities of life and death, sea and sky, bodies and territories.

Ganesh’s double-sided mixed media paintings reveal intimate studio moments evoking hope and despair, triumph and exasperation. Each work incorporates free-form poetry with fantastical imagery and collage, melding text and image like roving maps of the mind.

Haines Gallery presents a selection of works by the Oakland-based artist Kota Ezawa, whose practice draws from our collective repository of images to examine potent moments in our shared cultural history. Comprising photography, animation, and sculpture, this multimedia offering spans two decades of the artist’s work to explore ideas of peace in our political sphere.

From the representation of a democratic voting process in its simplest form in the sculpture Handvote, to the ceremonial transition of power between US Presidents in the animated Take Off, the selected works in Kota Ezawa: What We Build are especially resonant during this unprecedented era in US politics—one marked by voter suppression, false claims of election fraud, and dangerous breaches of democracy. Viewed together, the works are a meditation on peace, diplomacy, and shared responsibility. The presentation’s title is drawn from former President Barack Obama’s 2016 speech at the Hiroshima Memorial Peace Park, an entreaty to “define our nations not by our capacity to destroy, but by what we build.”

In conjunction with 4×8-bridges, Haines Gallery is streaming one of Ezawa’s seminal animations, Lennon Sontag Beuys, in its entirety online from January 25 to 31. Click here to learn more.

Hashimoto Contemporary is pleased to announce our participation in “4 x 8-bridges” a San Francisco art gallery week initiative featuring thirty six prominent Northern California galleries. For this week long event we will be presenting four gallery artists with ties to the Bay Area, specifically Joel Daniel Phillips, Jeffrey Cheung, Anna Valdez and Chris Martin. All four artists will present new and recent works which will be on view at our gallery space at 804 Sutter street in downtown San Francisco.

Additionally, we are proud to host an online event, Joel Daniel Phillips in conversation with Scott Stulen of the Philbrook Museum and poet Quraysh Ali Lansana. You can learn more about that Zoom discussion here.

To view this exhibition in person please schedule an appointment online here.

Hosfelt Gallery is thrilled to present its first exhibition in collaboration with the Conner Family Trust — a show which mines 60 years of work by Bruce Conner and Jean Conner (as well as by Anonymous, Anonymouse, Emily Feather and Signed in Blood), across the genres of drawing, collage, assemblage and painting — highlighting shared themes and recurring motifs.  150 works, some from the private collection of Jean Conner and many never exhibited before, illustrate the artists’ intertwined interests in mysticism, religion, social and cultural norms, the natural world and the human body.

Bruce Conner (1933 – 2008) and Jean Sandstedt (b.1933) met on a blind, double date in 1954 at the University of Nebraska, where they both studied art. They married on September 1, 1957 and left that night for San Francisco, where they quickly fell in with the Beat-era community of artists and poets.  The Conners, like other Bay Area artists, refused to conform to the expectations defined by the art establishment of New York, instead embracing the lack of commercial viability of their artworks and their outsider status in ways that led to highly experimental and original art forms.

Then, in the autumn of 1961, spurred by Bruce’s fear of the possibility of nuclear war with the Soviet Union and the intention to live cheaply, the Conners moved to the Juárez neighborhood of Mexico City.  The year they lived there proved highly inspirational.   Forays to historic churches and pyramids; Dia de los Muertos, and the funeral rites of strangers; a hunt for psilocybin mushrooms; the birth of their son; and day-to-day living in a foreign city and culture led them to independently create related bodies of work that would presage concepts, motifs and techniques they’d explore for the rest of their lives.

This exhibition – by tracing those seminal, symbolic vocabularies and technical strategies – surveys the practices of two remarkable late 20th and early 21st century voices.

Jenkins Johnson features four artists of the African Diaspora who reflect on the international, political and social issues of today:  Dewey Crumpler, Lisa Corinne Davis, Aïda Muluneh, and Philemona Williamson. Crumpler is a multidisciplinary artist who examines issues of globalization and cultural commodification through abstract and representational painting, video and installation works. Davis explores the complex relationship of race, culture, and history, where form and content merge. She uses maps to emphasize the ways in which the viewer attempts to locate themselves within her paintings. Muluneh is an Ethiopian photographer, artist, and cultural entrepreneur. Muluneh’s Who Knows Tomorrow addresses the plight of water access and its impact on women in rural regions. Williamson is a narrative painter, exploring the tenuous bridge between adolescence and adulthood, encapsulating the intersection of innocence and experience at its most piercing and poignant moment.

Born in Ghana and based in Detroit, Conrad Egyir finds biblical and West African folk narratives in the texture of everyday life. For 8-bridges, the artist has created four new multimedia paintings, portraying himself in red and three valued friends in blue, green and yellow. Egyir’s paintings refer to the forms of stamps, postcards, notepads and journals with tabs, as metaphors for the migration and archiving of ideas and imagery.

Conrad Egyir (b. 1989, Accra, Ghana) received his MFA from the Cranbrook Academy of Art. In 2020, the artist enjoyed a solo show at the Museum of Contemporary Art Detroit (MOCAD). and his work is in the permanent collections of: Pérez Art Museum. Miami; Rennie Collection, Vancouver BC; the JPMorgan Chase Art Collection, NY; Kaiser Permanente Bernard J. Tyson School of Medicine, Pasadena; and the Cranbrook Art Museum, Bloomfield Hills, MI. Egyir has been awarded residencies by Vermont Studio Center; ACRE Residency, Wisconsin; the Ox-Bow School of Arts and Artist Residency, Saugatuck, MI; and the International Studio & Curatorial Program (ISCP), Brooklyn. He is represented by Jessica Silverman.

At a time when it feels like the light is finally breaking through the darkness, Community Garden — a group exhibition of seven artists — cultivates an abundance of connections. Using a variety of methods, the artists achieve a naturalism that aesthetically binds their work together into a single gesture, allowing us glimpses and sensations of the open spaces where we once walked freely, and will soon return.

Community Garden features: Miguel Arzabe, Rachelle Bussières, Craig Dorety, Matthew F Fisher, Alexander Kori Girard, Kristina Lewis, Blaise Rosenthal is open for in-person visits at Johansson Projects.

Founded in 2006, Mercury 20 is a contemporary art gallery established, supported and operated by San Francisco Bay Area artists. Mercury 20 maintains a gallery space in Oakland, California, as well as an online sales platform. Our collective operating structure supports our ability to experiment, develop, exhibit and advance our work and to sustain community.

Form, Pixel, Movement, Story is an introduction to the work of 4 of our exhibiting artists. We invite you to visit our website and further explore the work of these and other Mercury 20 Gallery artists.

Modernism is pleased to present a selection of works from our three current exhibitions:

Shawn HUCKINS: All You Had To Do Was Call

In ‘All You Had To Do Was Call,’ Huckins’ series of paintings continues Huckins’ broad theme of combining classical portraiture with digitally driven communication. “I wanted to highlight the trend of the growing phobia in younger generations of speaking on the phone, who often would rather communicate via text, or social media. With our smart technologies, communication with our loved ones, local and abroad, has become effortless and instantaneous, but lacks an emotional connection.”

Robert STIVERS: Remembered Reveries

Robert Stiver’s atmospherically layered imagery triggers half remembered flashes of memory. Charles Fisher observed, “Dreaming permits each and every one of us to be quietly and safely insane every night of our lives.” Robert Stivers creates moody dreamscapes that refrain from the factual nature of photography but instead, present visual doors that open up to our unconscious.

Duncan HANNAH: Imagined Journeys

“I was always an imaginative kid and I loved other eras, cultural history and art history and film history and biographies. I always wanted to roam around in the 20th century, just as a novelist or a filmmaker might choose to dwell in the past.” – Duncan Hannah
Hence, Duncan Hannah describes his work as “a trip through other times,” with his narrative pieces capturing that moment of possibility that occurs just as a good story gets underway.

The exhibitions will be on view at the gallery through February 27, 2021

Pace Gallery is pleased to present a selection of works by the artist, Hai Bo. Born in rural Changchun in Northeast China, Hai Bo has spent decades capturing the people, daily life, and vast landscape of his home. The Southern, the artist’s recent series, includes a collection of photographs taken across Southern China, a region of the country far less familiar to the artist, which has served as rich inspiration as he explores the unfamiliar. In contrast to the intense physicality of Northern China, Hai Bo finds the south more spiritual. He says, “If ‘The Northern’ series represents a heavy reality and pessimistic emotions, then ‘The Southern’ series is more about fantasy and virtual mental states. Life and art are just dreams.” In The Southern, the mundane feels graceful, even sublime.

Pamela Walsh Gallery is pleased to present Beauty & Imperfection, a selection of new paintings by Sydney-based artist Craig Waddell. Recognized as one of Australia’s most lauded contemporary painters, Craig’s practice is a testament to his great passion for the tangible characteristics of paint. Associating with the styles of Willem de Kooning and Frank Auerbach, Waddell approaches his work as an emotional and physical gesture. He delights in the act of pushing, pulling – practically wrestling the paint on the canvas in a vigorous, explosive manner. This materiality is evident in his finished works; his canvases vibrate with energy. The thick waves of paint capture light as it falls across the undulating surface. He is known for his spectacular abstract florals, but also has a strong commitment to portraiture and vanitas still lifes. His artistic practice and resulting work is a deep exploration of his interest in love, loss, longing and the inevitability of death.

pt.2 is pleased to present a selection of works from Kelly Ording’s solo exhibition Slow Tide and Drawings and Pictures and Time a solo exhibition by Jordy Kerwick currently on view until February 5th.

Ratio 3 is pleased to present a selection of works from our group exhibition Sea Change, a special project in collaboration with Nonaka-Hill Gallery, on view by appointment through March 20th.

Rebecca Camacho Presents is pleased to share a capsule exhibition of new works by Austin based artist Claire Oswalt.

With a mixed media practice encompassing paper collage, sewn canvas paintings and weavings, Oswalt’s works are akin to stories; narratives of moments, environments, places and times. Fluid across medium and defined by a strong emotional sense of color and a sensitive understanding of form and perspective, the serenity of Oswalt’s works belie the intricacies of their construction.

Rena Bransten Gallery presents Solo, four works from four artists. These works are imbued with a deep longing for connection and intimacy, while gently engaging our understanding that there is a freedom found in individual autonomy. Through these images, we are also acutely aware of the conditioning the current pandemic has caused: a visceral reaction when we see humans “too close.” Both the longing and the apprehension are ever present.

Romer Young Gallery is pleased to present its second solo exhibition with artist Johnny Abrahams. A Sprint for the Idler will be on view Saturday, January 16th through Saturday, February 27th.

Abrahams’ paintings are abstractions, characterized by large geometric forms painted in oil and acrylic on raw burlap and canvas in black, red and yellow. Through repetition and subtle interactions between the void and painted form, the compositions convey rhythm, phrasing, cadence and an unmistakable melodic character.

And in the back gallery for SF Arts Week we have installed a collection of works by gallery artists Nancy White, Christoph Roßner, Joseph Hart and Jean-François Lauda

Sarah Shepard Gallery is pleased to present recent works by Johnna Arnold, Serena Mitnik-Miller, and Lena Wolff. Made during the pandemic, these pieces represent hope, advocate for environmental change and provide a quiet spiritual moment.

Johnna Arnold is an artist, photographer, educator, and urban farmer based in Oakland, CA. Johnna’s work revolves around her interest in the infrastructure that supports our post-industrial lifestyle and how humans can relate to this vast system.

Serena Mitnik-Miller is an artist and designer working between San Francisco and Los Angeles. Beginning with pencil drawings, Mitnik-Miller carefully chooses her watercolor pigments to co-exist together on the paper in a composition of interlocking patterns of color and concentric shapes where structures break apart, bubbles stack and pyramids multiply.

Lena Wolff is an interdisciplinary visual artist, craftswoman and activist for democracy. Her practice extends out of American folk art and craft traditions, while at the same time being connected to minimalism, geometric abstraction, Op art, social practice and feminist art.

Simon Breitbard Fine Arts is pleased to present select works by Jami Porter Lara, Scott Hazard, Jeremy Holmes, and t.w.five. Each of these four artists’ work is deeply informed by their process, the physical act of making it, and the subsequent transformation of their materials. Clay becomes vessel using a process over 2000 years old; hard wood is transformed into dynamic ribbons; flat, patiently torn paper renders a three dimensional landscape; and mundane, industrial vinyl is painstakingly cut into thousands of tiny pieces to create a library of detailed cultural obsessions. These works are on view at our San Francisco gallery, which is currently open by appointment.

Sachi Moskowitz’s solo exhibit “TEARS IN DREAMS” opens at SWIM Gallery on January 23rd. The show will be appointment only and COVID safety guidelines will be strictly enforced.

Sachi Moskowitz was born in Topanga Canyon in 1989. She grew up in Southern Humboldt, moved to Los Angeles where she studied at Santa Monica College, and graduated from San Francisco Art institute in 2017 with a BFA in Sculpture.

Pieces in this show were made following a period of time in which the artist was unable to make work due to a series of injuries. That time spent reflecting, cataloguing dreams and memories, led to the world of “Tears in Dreams” which reconstructs glimpses of the past both personal and universal, with surrealist elements in disembodied spaces. The work is a blend of traditional ceramic techniques, painterly glazing, woodworking, and unique functional objects. The viewer is encouraged to peer into the uncertainty of the human condition, the subtle beauty of domestic space, and documentation of reality.

She’s currently based in Los Angeles.