We Are Here: Contemporary Art and Asian Voices in Los Angeles brings attention to the dynamic voices in our diverse metropolis that extend viewers’ knowledge and understanding of the Asia Pacific region. The exhibition highlights seven female contemporary artists of diverse Asian Pacific heritages living and working in Los Angeles.
Over the past 10 years the lumber room has placed itself as a meeting ground between exhibition space and private residence, with a goal of creating access and community around a shared interest in the arts.
800 Plates Illustrating Final Meals of US Death Row Inmates
Silva’s web-based, audio-visual piece The Silva Field Guide to Birds of a Parallel Future and Fritz’s three-dimensional Alvarium 2 suggest interactions between the natural and the digital worlds, human and animal activity, and knowing and not knowing. Each artist operates in this malleable space, inviting a sense of wonder and further inquiry.
Art History Professor Akiko Walley and Chief Curator Anne Rose Kitagawa team-taught an Utagawa School course, in which students studied this vibrant artistic tradition and learned about exhibition planning in order to contribute to this installation, which features more than 30 loans from Lee and Mary Jean Michels along with prints from the museum’s permanent collection.
Artists in the exhibition work with memory, material, and various printing techniques to communicate a sense of place, the experience of working as a migrant farmworker, and profound connections between culture, consciousness, and economies of power.
Oakland-based curator Leila Weefur organizes the program to consider the question of “What is America today?” as inspired by ‘Lessons of the Hour,’ British artist Isaac Julien’s immersive film and photographic exhibition on the life and legacy of Frederick Douglass.
‘Lessons of the Hour’ is a ten-screen immersive film installation and photography exhibition by British artist Isaac Julien that explores the life of the visionary African American abolitionist Frederick Douglass.
La Resistencia’s #FreeThemAll campaign shares visual and narrative portraits of people detained within the Tacoma ICE Processing Center
This monumental work has been created as a “Haida manga,” a unique approach developed by Yahgulanaas that blends several artistic and cultural traditions, including Haida formline art, Japanese manga, Pop Art, and graphic novels.
Yellow No. 5 examines the transactional relationship between culture and consumerism and how they often work in tandem to conceal their connection. Tariqa Waters’ project-based, multi-disciplinary exhibition sees her collaborate with regional artists to explore the grab-and-go nature of material goods and how these products serve as armor to shield us from our intrinsically codependent relationship with consumerism—using artificial additives.
Designed to alleviate some of the social, emotional, and financial challenges that a person living with dementia may face, the Frye’s Creative Aging programs serve as opportunities to deepen their life experiences, foster friendships, and build community through art.
Inspired by the Proust novel, the pandemic and our last exhibition at our Pioneer Square address, this show draws connections with the nature of time, the transportive quality of memory, and the immense pleasure in the details of looking at objects.
"Upon Closer Inspection" brings together artworks from three artists who work across different media to explore personal history and lived experiences as they relate to the formation of individual and collective identity.
entered around her current bas relief works and her early “zipper” series, both bodies of work deploy geometric configurations to explore the convergence of gender, nature and the material world.
Listen. Learn. Act. incorporates different bodies of work across multiple platforms, focusing on Blackness, Black experience and dismantling racism.
Paintings and prints from the JSMA's permanent collection explore archetypal ideals of feminine virtues, the objectification of the female form and woman as model and muse.
The Jordan Schnitzer Printmaking Residency at the Sitka Center for Art and Ecology was established in 2002 to provide working artists with little or no printmaking experience the opportunity to explore a new creative medium with guidance, instruction and technical assistance from an expert etching printer.
A native San Franciscan, Carlos Villa (1936-2013) was an artist and educator whose legacy was immeasurable. His works from the 1970s and 80s deftly reject the ethnographic terms historically ascribed to non-Western art. Combining repetitive action, performance, and activism, his abstract assemblages are visually dramatic expressions of Filipino-American identity.
The artworks in What Will Have Being draw the relics of fallen empires into discourse with contemporary political and environmental instabilities, considering the legacy of our species on this planet. Creating a throughline between ancient past and possible future, the works suggest a museological exhibition of antiquities that has been forgotten and reclaimed by nature.
Taking cues from the dangerous but alluring femme fatales of the 1940s and 50s Hollywood crime melodramas, Krick approaches the photograph as a fragment ingrained with treachery. In Repetition Suppression, prints are physically sliced, fractured and masked, then embedded within layers of reflective resin and mirrors.
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.
For the past 8 years, the Art of the Athlete (AofA) program has been an education program for UO student-athletes as part of the museum’s broad outreach program which engages diverse student groups from across campus. AofA workshops are designed for students to experiment with a variety of media including sculpture, photography, collage/mixed media, oils, watercolors and acrylics.
Stories from the Stone House, an online exhibition of work from 2009–2014, includes five print editions and a handmade folio from which the exhibition takes its title.
Fraenkel Gallery is pleased to present new work by Christian Marclay. Featuring collage, video animation, and photography, the exhibition explores the visual representation of sound and voice.
Refrains is Ross Simonini’s first solo exhibition in the United States. 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.
Our identity is dictated to us from the moment we are born, but as we grow up, identity is what we actually choose to be. I do believe that our circle of friends is what makes us who we are. We are all outsiders, Asian artists living abroad, and their deep friendship has offered me a ground on where I can stand and embrace my own identity.
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.
Through the use of autonomous aerial cameras, air-monitoring sensors, and sound detectors, Rowell gathers and contextualizes media and data from the field. His presentation of this nonhuman documentation of animal behavior, plant cycles, waste, displacement, erosion, and other elements of the human-altered landscape investigates how we understand, perceive, and experience the environment through technology.
Shown for the first time on the West Coast, this exhibition features new hybrids in Mariah Robertson's ongoing practice of using unique hand-cut masks, color filters and controlled light exposure. Working in complete darkness, Robertson precisely exposes her photo paper at two-second intervals, experimenting with the color balance of the enlarger's filters and the movement of her exposure masks. While this technique is built into the very tools of traditional photography, Robertson pushes the potential of image-making into a visual codex compressing time and action onto a single object.
Congress Yard Projects’ first exhibition of 2021, hard & SOFT will submit the artworks to continuous display outside, throughout the wet dragging days of late winter. This turns our previous format on its head from the summer series of weekend long exhibitions where artworks susceptible to the elements are moved inside nightly. Rather, hard & SOFT will run for 1344 hours, from late January til Spring Equinox, showcasing works that stand resolute under the weight of the grey dripping sky, alongside works that embrace weathering transformation and decay.
Each artist in this exhibition has unceasingly examined truth, (that being the reality of historical events and the social conditions as demanded by these actions, and how those points intersect to inform our present moment), for themselves and others, as central to their practice.
Night Gallery is pleased to present Screen Time, an exhibition of new work by Christine Wang and Luke Murphy. Both artists address the screen as a digital intermediary for experience.
Boshier’s practice has taken many forms over the years: he has produced films, paintings, sculptures, album covers as well as theatrical sets, but drawing has remained central the entire time.
Anastacia-Reneé’s poetry and performances are an assertion of presence that counteract the erasure of those who have been marginalized by American society. With an unflinching focus on collective liberation, her work is rooted in the Black feminist and womanist traditions, and their intersectional approach to addressing racism, sexism, homophobia, ageism, and class.
Glass Rice is proud to present She and I, Them and Us, Taylor Smalls’ debut solo exhibition with the gallery and co-curated with Sydney Pfaff of Legion Projects. Smalls is a female designer and painter based in Oakland, by way of Albuquerque, New Mexico. Through palette knife painting and her use of highly saturated pigments, Smalls manipulates and exaggerates the visual and figurative complexities of colored skin through large-scale female portraiture. In her latest body of work, Smalls continues this exploration with an intent focus on a feature that has always intimidated the artist in the past; hair.
Round Weather’s second exhibition recognizes fire as central to our earthen experience.
Our past, our present, and the future.
Imagining otherwise:
What would a more equitable society look like?
Stranger Fruit was created in response to the senseless murders of black men across the nation by police violence.
The Manifest portfolio consists of photographic representations of objects, documents, photographs, and books held in various public collections throughout the U.S.
Elizabeth Leach Gallery is pleased to present Michelle Ross, I Am Your Signal, an exhibition of new boldly-colored abstract paintings.
Curated by Carolyn Hopkins, this exhibition is an all-female lineup of artists from the greater region. Featuring work by Robyn Johnsen, Jo Hamilton, Elizabeth Malaska, Jeralyn Fix, Morgan Rosskopf, and Leslie Vigeant.
Shelley Turley creates dreamlike, mysterious paintings that explore themes of displacement, longing, mourning, and spiritual reflection. Through Turley’s energetic and intuitively painted gestures, intimate or odd scenes emerge.
The Jordan Schnitzer Museum of Art is pleased to host Nkame, a solo exhibition dedicated to the work of the late Cuban printmaker Belkis Ayón (1967-1999). During her short but fertile career, she produced an extraordinary body of work central to the history of contemporary printmaking in Cuba and abroad.
Following grain, patterns, knots, and other irregularities inherent to the material, Skelly highlights simple and essential abstract shapes informed by intrinsic characteristics of the material.
Inspired by moving images, Mariel Capanna explores the subtleties of place and perception in her paintings.
Sites of Memory considers how the act of remembering is a site of critical and generative excess. Contained to reverie, remembering resides in an illimitable space, extending out and in towards what was or what perhaps or what could have been.
Their newest series of video, print and large-scale textile banners focus on the social, racial and environmental upheaval during the summer of 2020. Led by the ideals of Black Lives Matter, Antifa and their own background as a radical educator, Vo’s solo show investigates the multitudes of activism and is a call for social justice and global solidarity.
Clark College’s Archer Gallery presents, "Calm Under the Waves in the Blue of My Oblivion," a virtual exhibition by Yulia Pinkusevich.
Small Press Traffic and UC Berkeley Poetry Colloquium present the sixth installment of HIGH DAWN, a reading series featuring poets and musicians from the Bay Area and beyond.
Collectively, the ‘Scaffold Series’ has enabled Bawa to explore the endless possibilities of a single structure by pushing permutations and combinations of color, form and scale in relation to location.
Portland-based artist George Johanson has been drawing and painting for over 80 years. In this slide lecture and studio visit on Zoom Webinar, he will talk about where art has taken him and why he feels the need to keep making it.
Barbara Earl Thomas’ new body of work carries within it the sediments of history and grapples with race and the color line. At the heart of her new work is a story of life and death, hope and resilience—a child’s survival.
Jacob Lawrence: The American Struggle questions the stories we’ve been told by amplifying narratives that have been systematically overlooked from America’s history. This exhibition reunites Lawrence’s revolutionary 30-panel series Struggle: From the History of the American People (1954–56) for the first time since 1958.
The COVID-19 pandemic has urged us to reflect on our mortality. The intensity of this inevitable shadow forces us to accept the prospect of death—an acceptance that impacts the way we lead our lives.
