Laeh Glenn is an American painter living in Sebastapol, California. Glenn’s practice explores the conflation of historical and contemporary precedents in painting and the way in which we often experience images today, through their digital representations online.

Her paintings address the digital life of an image; how repetition and sharing affect quality and context and how a physical painting can speak to the altered and damaged images that surround us. Although her source material is diverse, Glenn’s paintings are uniformly characterized by a flattened application of paint. Her perfectly articulated edges and matte surfaces are executed in refined and controlled color palettes. She often returns to the same image multiple times, with each subsequent painting shifting slightly in tonality, texture or scale. These subtle shifts mimic the effect of an image’s digital experience as it travels from screen to screen. A border of raw canvas surrounding the painting is a signature motif creating a kind of window within a window and alluding to the way we often experience images through the mediation of our screens. She often finishes a painting with a handmade wooden frame made by the artist, reinforcing the object quality of Glenn’s paintings in contrast to their digital inspirations.

Laeh Glenn’s solo exhibition, The Doldrums is on view at the gallery through October 24th. To make an appointment to view it in person please use this link or email us at info@altmansiegel.com.

Fraenkel Gallery is pleased to present a selection of 8 works from I’m Not the Only One, a group exhibition that explores solitude alongside our relentless yearning to connect. This unprecedented time of social distance has upended many of the usual ways we find connection while underscoring that which we truly value. Through photographs and videos from 20 artists, the intention of this exhibition is to bring us together and to acknowledge our connectedness in a world that can sometimes feel broken apart.

The show will be on view in our gallery from September 8 to October 24, 2020. To make an appointment, please email inquiries@fraenkelgallery.com.

How to Read the World is a presentation of commissions by Bay Area related artists exploring the potential of visual tableaux through allegory and narrative. The exhibition looks at ways in which artists see the world; specifically those who use new forms of language to interpret the current moment. The codex, in this case, acts as a container for escapism, imagination, knowledge, and passage of time.

I’ve always got to get down there and show what is underneath everything.
—Jay DeFeo

Gagosian is pleased to present selected works by Jay DeFeo from the exhibition Transcending Definition: Jay DeFeo in the 1970s, on view at Gagosian, San Francisco, through October 31, 2020. DeFeo spent most of her life in the San Francisco Bay Area and remains an influential figure in the region. This presentation focuses on the artist’s output in the decade following the completion of her pivotal work The Rose (1958–66), when she was based in Larkspur, Marin County. In her paintings, photographs, and works on paper of the 1970s, DeFeo fused the representational with the abstract, permeating her images of everyday objects—a camera tripod, a jewelry fragment, a shoe tree—with a sense of mystery. The artist described her works of this period as “beings suspended in space and time” that “transcend the definition of the literal objects from which they are derived.”

To schedule an appointment to visit the exhibition, please contact sanfrancisco@gagosian.com.

For the inaugural edition of 8-bridges, Jessica Silverman is pleased to present eight new sculptures by Matthew Angelo Harrison. Harrison creates enigmatic sculptures that are in conversation with anthropology, industrial design, science fiction and the realities of 21^st century capitalism. Born and raised in Detroit, Harrison occasionally accompanied his mother to work at American Axle, a small car parts firm, where she worked on the assembly line. His early experience of this “intense, almost violent working environment,” as he puts it, has fueled a fascination with machines and the relationship of Black American identity with labor.

As part of a new “Global Dissidents” series, Harrison has made resin encapsulations of fragments of car headlights – specifically the curvilinear forms of the Porsche 911, made in Stuttgart, Germany. Sitting on raised pedestals at viewer eye-level, the sculptures take on anthropomorphic qualities, suggesting heads or eyes that are not entirely inanimate. As such, they become rebels from the assembly line, runaway slaves, robots gone rogue, figures that refuse their function and deconstruct what would otherwise be an emblem of power.

Harrison’s “Bodily Studies” take the form of thrones made of resin and real zebra bone. The combination of materials – organic animal and petroleum-based acrylic – is oxymoronic, evoking both preservation and extinction. The carefully sliced skulls create beautiful patterns and phantom faces, a soul-stirring life after death. Representing the African savannah as well as the idiosyncrasies of evolutionary camouflage, the zebra’s black and white coat is replaced by a harmony of tinted resins.

With these latest works, Harrison continues his exploration of the aesthetics and politics of globalization, mass production, authenticity, and metamorphosis. Alongside his “abstracted ancestries,” these new works contribute to the artist’s long-term project to make “archaeologies of the future.”

Pace Gallery is pleased to present Harmony of the Spheres, an exhibition bringing together three new LED works by Leo Villareal alongside eight single-panel pieces from his Instance series (2018), on view August 25 – October 10, 2020. This presentation, Villareal’s first at Pace in Palo Alto, continues his longstanding relationship with the Bay Area.

Custom-built software and devising rules that promote principles of emergent behavior are integral to Villareal’s practice. The works in this exhibition build on the artist’s early examinations of artificial and living systems as seen in The Bay Lights, across networked panels and mosaicked tiles that burst with visual force. Together, they provide a rare opportunity to grasp the full breadth of the artist’s practice, placing his innovative sculptural works in direct dialogue with large-scale public installations

This exhibition will be on view in our gallery through October 10, 2020. To make an appointment, please email pacepaloalto@pacegallery.com.

“What did I do a lot of when I was a teenager growing up in Palo Alto? I went hiking. I went out to the High Sierra and I would come back and hang these maps all around my walls — the headwaters of the Current River, Mount Tyndall, Milestone Mountain — all these places I still love to go to. Mapping happens in a lot of the work, but I think it’s being subverted in most of these things. They’re not really an homage to the map but something else, emergent form.”
–James Siena

Ratio 3 is pleased to present a selection of new paintings and watercolors by James Siena from the exhibition Phased Resonators and Reciprocating Transitions currently on view at the gallery through October 31st, 2020. The selection featured here exemplifies Siena’s unique balance of methodical, systems-based abstraction and biomorphic lines. Working between the intimate scale of his Quarantine Watercolor group and the expansive surfaces of his largest acrylic-on-linen paintings to date, Siena builds immersive fields of color and line from unexpectedly simple origins. In each work, graphite and charcoal lines proceed concentrically, repeating and gradually amplifying their hand-drawn irregularities, forming seemingly complicated, irregular grids. Throughout the works, patterns, topologies, and harmonies emerge from rudimentary systems, showcasing Siena’s singular ability to reveal the elegance within complexity.

To schedule a private appointment to visit the exhibition, please contact the gallery or use the link provided here.

Rebecca Camacho Presents is pleased to present MANUAL,  an online group exhibition of new works by Leilah Babirye, Stephanie Crawford, Max Jansons, Sahar Khoury, Claire Oswalt and Vincent Valdez. With clear indications of hand and process, works on view interconnect through their visually and physically tactile worlds.