Posts Tagged ‘San Francisco’

Chris Johanson: Equations at Altman Siegel

Given the cartoonlike basis of most of his portrayals, the slackerly compositions, and the seeming arbitrariness of the surface textures of the paint he uses so dynamically as a set of color choices (seemingly clumsy elements that have often been similarly deployed by other artists who might pass as “outsider,” however relative that term might be), the question arises as to why Johanson chooses to so often paint rather than draw. In these pieces Johanson doubles down on painting in several ways: first, through the large scale of several of the scenes, as with Lecture Series/Abstract Mass, and the bleak consumer composite suburbia of Los Angeles with Pills. Johanson paints on repurposed wood panels and displays most of his work in awkward, large, built wooden armatures to show off both fronts and backs equally (as he has done even more elaborately in installations elsewhere). This prominently shows off the wooden buttressing behind the panels, which he also highlights with “secondary” paintings on the reverse. These include what look like a series of painted geometric doodles mosaic’d on the back of one larger composition, a simple set of color fields of darker and lighter brown parceled out by the different wood elements themselves, and what looks like a beginning painted sketch of an abstract landscape not so dissimilar to what might show up elsewhere as just one among many background components in a “primary” or finished painting by Johanson on the front of one of his panels.

Today from our partners at Art Practical, we bring you Brian Karl’s review of Equations at Altman Siegel Gallery in San Francisco. The author notes, “Johanson eschews in this set of paintings the strategy of inserting text directly into the worlds he creates. The titles of the pieces do some of that work.” This article was originally published on November 30, 2015. In this exhibition of ten new works (all[…..]

Julian Hoeber: The Inward Turn at Jessica Silverman Gallery

Julian Hoeber. The Inward Turn; installation view. Courtesy of the Artist and Jessica Silverman Gallery, San Francisco.

In this closed, infinite system, there is more to ponder than the paradoxical experience of such a visual journey.

Paul Graham: The Whiteness of the Whale

Paul Graham. New Orleans (Cherries), 2005. Courtesy of the Artist and Pier 24 Photography, San Francisco.

By further playing up these perspectives through the massive scale of the photographs, Graham leaves a viewer feeling uncomfortable about accepting these imposing yet generic visualizations of economic standing.

Raiders and Empires

Stephanie Syjuco. Empire/Other: Morphset E, 2013 (video still); 3D animated video. Courtesy of the Artist and FLACC Workplace for Visual Artists, Belgium.

In these projects Syjuco harnesses technologies of distribution and reproduction—the web, photography, and 3D scanning and printing—to create objects that reveal the tangled history of colonization and cultural hybridization.

Özlem Altin at Kiria Koula

Özlem Altin. Sleeping statue, 2013; print on litho paper; 27 ½ x 22 in. Courtesy of the Artist and Kiria Koula, San Francisco. Photo: John White.

From our partners at Art Practical, today we bring you a review of Özlem Altin’s current solo show at Kiria Koula in San Francisco. Author Zachary Royer Scholz declares: “Özlem Altin’s exhibition at Kiria Koula is a wonderful rarity. It does not present viewers with clear answers because it is not the finished result of an exploration. It is an exploration in progress, in which viewers participate—a generous[…..]

Fourth World: Current Photography from Colombia at SF Camerawork

Andres Felipe Orjuela. Luis Aldana Uno de los Antisociales Detenidos en la Mañana de Hoy Cuando Trataba de Huir [Luis Aldana One of the Antisocial Arrested in the Morning While Trying to Escape], 2014; photograph on cotton paper, illuminated with Marshall's pigments. Courtesy of the Artist and SF Camerawork.

From our partners at Art Practical, today we bring you John Zarobell’s review of Fourth World: Current Photography from Colombia at SF Camerawork. Zarobell notes that Fourth World follows a survey of contemporary photography from Mexico: “Taken together, these exhibitions make SF Camerawork preeminent in presenting contemporary Latin American photography in the Bay Area. Such a program […] suggests other avenues that SF Camerawork could explore in order to continue[…..]

Richard Colman: Faces, Figures, Places, and Things at Chandran Gallery

Richard Colman. Faces, Figures, Places and Things, 2015; installation view. Courtesy of the Artist and Chandran Gallery, San Francisco.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Laura Jaye Cramer reviews Richard Colman: Faces, Figures, Places, and Things at Chandran Gallery in San Francisco. In Richard Colman’s solo show, Faces, Figures, Places, and Things,[…..]