Altman Siegel is pleased to present Chorus, an exhibition of new work by Sara VanDerBeek, her fourth solo exhibition with the gallery. Using unique applications of color, cropping and combinatory actions, VanDerBeek adds to her ongoing investigation into the representation of the female form.

With this new work, VanDerBeek addresses complicated contemporary relationships to the body while exploring her ambivalence toward a gendered understanding of adornment and the ideals of female beauty proposed by these classical forms. Photographing within encyclopedic and historic museums over the last decade, VanDerBeek has collected a significant archive of images. Previous interventions into this archive focused on digital manipulation; including compositing and adding layers of saturated color. Now the artist returns to her earliest methods of image interpretation, applying hand coloration as she paints directly on the surface of her own photographs.

Enlivening her subjects with brightly colored and refractive paints that evoke the jewel-toned palate of the make-up aisle, her various gestures function more to obscure than to reveal. VanDerBeek’s decision to paint her works alludes to the fact that many of these sculptures would originally have been polychromatic, gilded or bejeweled. Allowing for traces of movement, the application and removal of paint from her photographic surfaces creates a record of the artist’s own gesture. Her inquiry into ancient images once again reflects the continued mediation of the female form from antiquity to the present moment.

Fraenkel Gallery is pleased to announce Martine Gutierrez: Half-Breed, a new exhibition of photographs. Acting as both subject and producer, Gutierrez explores the multiplicity and complexity of identity in a series of pop-influenced narrative scenes. The exhibition, which takes its name from Cher’s 1973 album, includes selections from three recent series, Body En Thrall, Plastics, and Indigenous Woman, the 124-page magazine for which Gutierrez acted as muse, model, photographer, and art director, creating every element from fashion spreads and ads to an editor’s letter. A Berkeley native now based in Brooklyn, this is the artist’s inaugural show with Fraenkel Gallery. The exhibition is on view at 49 Geary Street until January 29, 2022.

With Priyantha Anusha, Elisheva Biernoff, Anne Buckwalter, Omari Douglin, Laeh Glenn, Sasha Gordon, Jenna Gribbon, Loie Hollowell, Sanya Kantarovsky, Deana Lawson, Tidawhitney Lek, Karyn Lyons, Jesse Mockrin, Rebecca Ness, Catherine Opie, Jiab Prachakul, and Deborah Willis

Jessica Silverman is pleased to announce Sadie Barnette: Inheritance, the artist’s first solo exhibition with the gallery, on view from November 20, 2021 to January 8, 2022. This new body of work uses installation, sculpture, photography, wallpaper and large-scale drawing to examine the artist’s familial legacy. Employing archival material–such as the 500-page dossier compiled by the FBI surveilling her father, Rodney Barnette, during his time in the Black Panther Party–the artist wields the personal nature of generational inheritance to inflect international political struggle with urgency, collapsing temporal distinctions of past and present. The solo presentation at the gallery runs simultaneously with the two-venue exhibition, Sadie Barnette: Legacy and Legend, at Benton Museum of Art at Pomona College and Pitzer College Art Galleries, on view until December 18, 2021. It also coincides with the announcement of Barnette’s commission by Los Angeles International Airport and the L.A. Department of Cultural Affairs to design a permanent site-specific artwork for a new plaza to be completed in 2024, which will display the message “Sister You Are Welcome Here” in brightly colored terrazzo lettering.

Pace Gallery is pleased to present an exhibition of new works by Mary Corse, marking the artist’s first presentation at our Palo Alto space.

Over the course of her six-decade career, Corse, who is based in Los Angeles and was born in Berkeley, has explored the nuances of light, space, and perception. The artist is widely known for her dynamic, subtly gestural, and precisely geometric paintings and inventive light boxes. The light boxes enabled the artist to explore new frontiers in illuminating her artworks. The result of Corse’s experimentations with electricity, plexiglass, glass microspheres, and traditional painting techniques is a singular language of light and abstraction.

This exhibition comprises three large-scale paintings, two freestanding light boxes situated on pedestals, and two hanging light boxes installed against the gallery’s walls. Suspended from the ceiling using monofilaments, these works are powered by Tesla coils that wirelessly transfer electromagnetic fields through the walls and allow the light boxes to hover in the exhibition space. Similarly, Corse’s use of microspheres in her paintings give viewers the impression that the canvases are lit from within as they refract light from different angles depending on the viewer’s position. The Inner Band and Multiband paintings in this exhibition shapeshift as viewers move around them, with vertical bands disappearing and reappearing from various points of view.

The artist’s work has been presented at the Whitney Museum of American Art, the Los Angeles County Museum of Art, and the J. Paul Getty Museum, and can be found in the permanent collections of the San José Museum of Art; the Museum of Contemporary Art, Los Angeles; the Museum of Contemporary Art, San Diego; the Seattle Art Museum; the Long Museum, Shanghai; and other institutions.

Ratio 3 is pleased to present a selection from Racecar in Reverse, a solo exhibition of new artworks by New York-based artist Ryan Mrozowski currently on view at the gallery through December 17, 2021.

Featuring paintings from several related yet distinct bodies of work, this selection showcases the artist’s understated and conceptually rigorous approach to image-making. Taking natural forms—flowers, fruit, birds—as their subjects, Mrozowski’s paintings deconstruct and distort familiar motifs from art-historical traditions of still life painting, calling attention to the active role of viewership and inviting interrogation into unexpectedly profound aspects of perception.