“No other scholar has contributed as much to the study of California art,” says critic and curator Michael Duncan.
The art and literature in Invisible Colors turn our gaze toward the blinding fury of the atom’s explosion in its singular purpose to raze and slaughter.
An exhibition at the San Francisco Museum of Modern Art positions the artist known as Jess as the center of a creative nexus, bringing together his works with a smattering of California artists.
The Bété people did not have a writing system for their spoken language, so Frédéric Bruly Bouabré created one and used it to describe the scenes in his artworks.
Way Bay visualizes the currents of unbridled creativity that have coursed and flowed throughout the San Francisco Bay Area over the last two centuries.
Vendors embraced the idea of San Francisco, the capital of all things counter-culture, whose art scene is still notable for being idiosyncratic and truly weird.
With varying degrees of success, a show at the Contemporary Jewish Museum in San Francisco looks at how storytelling can help us access spirituality.
At San Francisco’s de Young Museum, an interactive dive into the ruined pre-Columbian metropolis.
Franklin Williams’s work is the kind that challenges a viewer and demands the labor of self-reflection to resist knee-jerk reactions.
At the Legion of Honor in San Francisco, an exhibition marking the centennial of Rodin’s death juxtaposes his work with Sarah Lucas’s materially soft but conceptually tough sculptures.
Parker Gallery’s multimedia Nut Art survey intersperses new work with original pieces from the 1970s.
A retrospective of Roy De Forest, who described what he and his colleagues at UC Davis were making in the 1960s as “Nut Art,” is fun, innovative, and ambitious.