A painting reminiscent of a certain “naive primitivism,” Untitled (Colors) and Untitled (Ghost) are representative of McCarthy’s work. Upon first encounter, her abstract colorful compositions resemble somewhat formal nonrepresentational landscapes. However, a closer inspection reveals the presence of a lowbrow style that draws inspiration both from outsider and folk art traditions.
San Francisco-based Alicia McCarthy graduated from the San Francisco Art Institute in the late 1990s and later pursued an MFA at UC Berkeley. She is now considered part of the first generation of “Mission School” artists, alongside Barry McGee, Rubi Neri, and Rigo23. McCarthy’s early work was largely associated with collective practices, graffiti art, and San Francisco’s active queer punk scene. In line with a trend that rejects the use of consumer goods, McCarthy’s paintings often begin with found materials such as discarded wood panels, on which she paints and draws with acrylic, latex, graphite, or crayon.
Rojas’s two pieces in the Kadist Collection— Untitled (four-legged…) and Untitled (Bird’s Eyes) —are representative of her pictorial style which uses bold colorful blocks of paint and female and animal characters...
Barry McGee’s Untitled is a collection of roughly fifty, framed photographs, paintings, and text pieces clustered together in corner...
Central Station, Alignment, and Sumo are “situation portraits” that present whimsical characters within distorted and troubling worlds...
Central Station, Alignment, and Argument are “situation portraits” that present whimsical characters within distorted and troubling worlds...
Central Station, Alignment, and Sumo are “situation portraits” that present whimsical characters within distorted and troubling worlds...
Chris Johanson’s paintings, sculptures, and installations break down everyday scenes and commonplace dramas into colorful forms; the darkest sides of humanity are invoked with humor...
Chris Johanson’s Untitled (Painting of a Man Leaving in Boat) (2010) pictures a canoe drifting toward an off-kilter horizon line, which demarcates the cobalt sea from the cerulean sky...
In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
In establishing a deliberate distance between viewer and subject, Lassry raises questions about representation itself and how all portraits are, in effect, fully constructed objects that only gain meaning once we ascribe them with our own personal associations and emotions...
Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...
The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...
In Up All Night, Waiting for the Chelsea Hotel Magic to Spark My Creativity Mario García Torres constructs and documents a hypothetical scene, situating himself within a lineage of artists and creatives that used to congregate at the historic hotel...
Untitled (Wheelchair Drawing) is a ten-foot photo transfer of the image of a wheelchair with burning embers in its seat...
In One Must , an image of a pair of scissors, accompanied by the words of work’s title, poses an ominous question about the relationship between the image and the text...
Continuing Oursler’s broader exploration of the moving image, Absentia is one of three micro-scale installations that incorporate small objects and tiny video projections within a miniature active proscenium...
Gypsy shows an ambivalent scene, in which broken blinds and its unsmiling subject are balanced with the stilllife plentitude of watermelon slices and the beautifully lit nudity of the sitter...
Welling employs simple materials like crumpled aluminum foil, wrinkled fabric and pastry dough and directly exposes them as photograms, playing with the image in the process of revealing it...
Apartment on Cardboard (2000) is an exterior view of an abstracted apartment building...
Towhead n’Ganga, enclosed in darkness, lorded over by the sexualized folded high priestless form reflects many of Kelley’s works, in both its compositional and semantic qualities...