Of Bodies and Borders Ana Teresa Fernandez Grunwald Gallery of Art January 11

Online Programming

Ranu Mukherjee

Ranu Mukherjee Has Been Very Decorated

"I am trying to do this really basic job of a painter, which is to make images that express something about the present." — Ranu Mukherjee While many of the states have been wondering what to do, Ranu Mukherjee has been very busy in 2020. She has been painting and studying and painting and listening and painting and writing and painting some more. This serial of mixed media paintings is a result of all that work, and information technology represents the full constellation of Ranu's concerns: ecology, motherhood, and biodiversity; the man trunk and labor; modernity, climatic change, and sacred cultures; the impoverishment of the imagination and the promise of unimagined utopias; feminist futurism and the strength of listening.

Ambreen Butt

Ambreen Barrel: Say My Proper name

Gallery Wendi Norris presents Say My Proper name, a solo exhibition of new collage works by Ambreen Butt. Say My Name is Butt'south first exhibition with Gallery Wendi Norris and her first in San Francisco. Created equally a means to explore the relationship between power and vulnerability and to pay homage to innocent lives lost, each of the twelve pieces in Say My Proper name incorporates the proper name and age of a single Afghan or Pakistani kid killed in U.S. drone strikes. Butt commences by staining the paper in tea. She then separately and repeatedly writes or prints out the child'southward name, shreds information technology into pieces, and arranges and glues the shredded fragments to her tea-stained paper in dense, swirling patterns. This process, undertaken with repetitive and transformational urgency, reconsiders the ripping, tearing activity of a drone strike in order to drag the names of its victims into shapes of exquisite grace and enduring strength.

Val Britton

Val Britton | Impressions of Time

Val Britton collects, cuts, paints, pastes, folds, and layers paper. Her practice is fundamentally tactile and reflects a long commitment to her medium. Originally trained as a printmaker, Britton meticulously builds paint and collage layers to create depth in her compositions with contrasting materials and techniques. Impressions of Time, a video recently shot in Britton's Portland, Oregon studio, provides a behind-the-scenes glimpse at the making of her newest body of work and the about in-depth expect into her procedure to date. These ten square compositions, part of her decade-long Reverberations series, capture the plurality of her arroyo to the medium of paper. Britton acts upon her surfaces in dynamic style, from the gestural painting and staining process to the meticulous work of cutting shapes out of and into the fabric. The procedure becomes a constant negotiation of adding and subtracting in order to both fill space and create information technology. "The work holds an impression of time, and those layers go built up from dorsum to front," says Britton. Through a formal linguistic communication rooted in mapping, including loosely interpreted continents, networks, and constellations, Britton's visual dictionary is both familiar and illegible. The works, equally a result, offer a gesture of invitation without prescribing any particular, worldly destination. "Ultimately, I am trying to make intangible experiences visual through this intense layering and physicality of material."

Past Exhibitions

Ambreen Butt, Chitra Ganesh, Eva Schlegel

Three Fates

January 13, 2022 - January 30, 2022

Gallery Wendi Norris is pleased to present Three Fates, featuring works by artists Ambreen Barrel, Chitra Ganesh, and Eva Schlegel at Fort Mason Center Pier 2 in San Francisco. 3 Fates will exist the 7th exhibition in the gallery'south innovative offsite exhibition model. In ancient cultures beyond the earth, Fate was understood as a cosmic force that existed beyond the control of homo activity. For the Greeks, it was personified past 3 women so powerful that fifty-fifty the Olympian deities were discipline to their decisions. Clotho (from whose proper noun the English word "cloth" is derived) would spin the thread of an individual's life. Lachesis would measure and destine it; finally Atropos—the inflexible 1, the oldest of the three—would cut it, thus determining the moment of death. Every bit nosotros reflect on the past year and prepare to enter a new one, beset by global powers and then vast (political, medical, economic, climatological) as to feel impersonal in their accomplish, Gallery Wendi Norris presents the piece of work of three artists whose diverse experience and work examine, reflect, and reckon with the vexing problems and delightful possibilities that Fate provides. Three Fates is an opportunity to reconsider in the present moment the primeval concept of Fate, as well every bit the role it may (or may not) play in our individual and commonage lives.

Leonora Carrington

Leonora Carrington | The Story of the Last Egg

May 23, 2019 - June 29, 2019

Leonora Carrington: The Story of the Terminal Egg, installation view, Gallery Wendi Norris Offsite, 926 Madison Avenue, New York, NY, May 23 — June 29, 2019, photography: Dan Bradica In the outset New York solo exhibition in 22 years for the late creative person, Gallery Wendi Norris presents "Leonora Carrington: The Story of the Concluding Egg." Gathering four decades of painting and sculpture, a new curatorial direction will present her visionary perspective from a contemporary vantage point, advancing the examination of Carrington's ecofeminist worldview. More than than 20 paintings and six sculptures past the British-built-in Mexican-exile will coalesce to explore Carrington's personal philosophy every bit information technology'south depicted through a vast visual vocabulary forged from her encyclopedic cognition of ancient myth and religion. Through the creative and often comical overlapping of esoteric references, Carrington demonstrates a primordial wisdom fundamentally the same across all cultures. Recognizing a universal interconnectedness we do not withal understand, Carrington's imagery evokes the salvatory ability of feminism, ecology, and mysticism in the face of flesh's destructive dominance over nature. "Leonora Carrington: The Story of the Last Egg," derives its title from a play Carrington wrote in 1970 in which a profit-driven apocalypse has killed all the women except for one, a "colossally fat erstwhile lady of 80, the ex-madam of a brothel," who comes to possess the last hope, symbolized in the form of an egg. Throughout the exhibition the egg reoccurs every bit a symbol for fertility and the universe, which to Carrington were one and the same. "The Egg is the macrocosm and the microcosm, the dividing line between the Big and the Minor," Carrington wrote in Downwardly Below (1943), a memoir of her experience in a Spanish Sanatorium. This exhibition chronologically begins with the painting Down Below (1940), a visual representation of the same feel, and spans the evolution of Carrington's ecofeminist perspective as the scope of her artistic attention widens from her ain inner-experience to the all-encompassing One. Wendi Norris and her gallery take been working with Leonora Carrington'due south artwork and legacy for 17 years. Her art has been featured in over lxxx exhibitions effectually the world and she is represented in the museum collections of The Metropolitan Museum of Art, Tate Mod, and the Art Plant of Chicago, among others. She published seven works of fiction, all of which accept been reissued subsequently her death with resurging popularity. She died in 2011 at the age of 94.

Yamini Nayar

Yamini Nayar | If stone could give

February 21, 2019 - March xxx, 2019

Yamini Nayar: If stone could give, installation view, Gallery Wendi Norris Offsite, 3344 24th Street, San Francisco, CA, February 21 — March 30, 2019, photography: John Wilson White / Studio Phocasso "If stone could requite" explores the fundamental intersection of sculpture and photography in Nayar's artistic exercise. Bearing strong reference to both Modernist architectural structures, informal edifice strategies and corporeal forms, the works invite viewers into distinctly psychological environments. Nayar'due south compositions draw visually on the relationships between architecture and the torso, and the cultural, emotional and spatial resonance of our constructed surroundings. Similar the exhibition'southward championship, "If stone could give", the works on view blur the boundary betwixt breathing gestures and inanimate constructs. Inside her studio, Nayar builds her sculptural subjects from elementary materials - paper-thin, plaster, firm paint, woods, string, cut paper and photographs, and other industrial materials and studio droppings. Nayar documents the procedure of construction and deconstruction in hundreds of motion-picture show and digital photographs. Ultimately, she creates a single photographic prototype as the only relic of the tableaux. The laborious process of building and unbuilding remains only in retention and metaphor as she destroys the sculpture to start afresh. Nayar describes her work equally "exploring psychological relationships to the built environment, the tensions between planned and informal architectures, retention and erasure, material and psychic spaces." The exhibition presents large and medium-scale photographs mounted on Dibond and frameless, leaning or hanging on supports inside the environment. The presentation invites the viewer into a space of process and further blurs the lines between object and image. "If stone could give" is Gallery Wendi Norris' fifth offsite exhibition and is presented at 3344 24th Street in San Francisco. Built in 1924, the building boasts archetype San Francisco architectural elements, including a small un-finished basement characterized by depression ceilings and exposed framework. Like Nayar'southward artworks, the space boasts juxtaposing characteristics of refined and raw, light-filled and clangorous, new and old. At the center of the Mission District, the exhibition is adjacent nearby cultural institutions including the The 500 Capp Street Foundation, Kadist Foundation, Galería de la Raza, The Mission Cultural Center for Latino Arts, The Women's Edifice, Ratio three Gallery, Et Al. Gallery, and more.

Ana Teresa Fernández

Ana Teresa Fernández | Of Bodies and Borders

November ii, 2018 - Dec 8, 2018

Ana Teresa Fernández: Of Bodies and Borders, installation view, Gallery Wendi Norris Offsite, 6391 NW Second Artery, Miami, FL, November 2 - December 8, 2018, photography: Sergi Alexander / Eyeworks Production Since 2014, close to 120,000 migrants and refugees have crossed the Central Mediterranean departing from Libya, Tunisia or Egypt on the route known equally the "deadliest edge in the world". To date, according to the New York Times, 13,000 migrants take been recorded as killed or missing on this border. In one case saturating the N American news, this crunch has been distilled to the periphery of our awareness. For Ana Teresa Fernández'due south third solo exhibition, "Of Bodies and Borders", Fernández aims to refocus attending on the plight of the thousands of migrants through a new trunk of work, including video, painting, drawing, and installation. Pivoting from her previous work on U.S./Mexico border to the Mediterranean Bounding main, this five-year project was filmed in various locations off the island of Poros, Greece. All of the works in the exhibition stem from Fernández'due south performance in the depths of the body of water. In the video, "Drawn Below", she dons her signature little black dress and heels, weighted down with thirteen-pound weights. While submerged, she wrestles with a bed sheet for hours, exemplifying an indelible physical and psychological performance. Her big-calibration documentary oil paintings illustrate her suspended underwater: swimming, floating, and plummeting into a dark, eerie completeness. The meticulous layering of colour and brushwork farther emphasize the complexity and tension betwixt h2o, cloth, and the artist'southward torso. In the series of documentary drawings titled, "Gauging Gravity", Fernández'south identity is somewhen erased, only recognized by bodily fragments inside a void. This new work observes what exists within liminal spaces, seeking what is lost in the margins, between light and shadow, positive and negative infinite, heavy and buoyant, seen and unseen. Fernández seeks to champion the invisible, unrecognized, undervalued, and in danger of sinking into oblivion. As Gallery Wendi Norris' fourth off-site exhibition and Fernández's east declension debut, "Of Bodies and Borders" will be presented in a non-profit space in Miami, FL, in the vibrant arts community of Little Haiti, also known equally "the U.S. cultural heart of the Haitian diaspora". The neighborhood parallels histories of migration, particularly the Haitian refugees during the belatedly 1970s to early 1990s, and builds upon Fernández's 2006 public artwork and activism in Republic of haiti. Moreover, the site presents a unique opportunity to piece of work with an art non-profit whose program serves the local intergenerational arts community. The exhibition will travel to the Grunwald Gallery at Indiana University in January 2019. Indiana University will publish a book in Nov, to be released in Miami, featuring an essay past María Elena Ortíz, Associate Curator at the Peréz Art Museum Miami.

Julio César Morales, Yamini Nayar, Miguel Angel Ríos, Eva Schlegel, Peter Immature

Cleaved Lines | Julio César Morales, Yamini Nayar, Miguel Angel Ríos, Eva Schlegel, and Peter Immature

Oct 18, 2018 - Jan 2, 2019

Broken Lines, installation view, Gallery Wendi Norris Curatorial Project in collaboration with ISAIA and Whitewall Magazine, 140 Maiden Lane, San Francisco, CA Gallery Wendi Norris, in collaboration with Whitewall Mag and ISAIA, proudly presents Broken Lines, a curated exhibition within Frank Lloyd Wright's iconic San Francisco landmark, 140 Maiden Lane. Synthetic in 1948, Wright's euphoric, cylindrically-oriented setting gives way to contemporary notions of borders, beautiful decay, and playful uses of art media as modes of contemplation. Art works past gallery artists Julio César Morales, Yamini Nayar, Miguel Affections Ríos, Eva Schlegel, and Peter Young elegantly punctuate the space with both confrontational and congruous gestures. Eva Schlegel's site-specific mirror installation greets the viewer upon entry, presenting an infinite reflection of Wright'south signature cylindrical lines. Nayar's big scale photograph, "Transference", reveals a Brutalist architectural approach, with complete regard for office over form, a stark contrast to that of Wright's. Ríos's "Piedras Blancas" photo documentation, hysterically depicts a grouping of thousands of handmade clay assurance from his critically-acclaimed film which serves as a metaphor for human and drug trafficking. Morales' "Broken Line", a red neon cartoon of the US/Mexico border is installed beyond from his life-sized silver ceramic "Wetback Burrito" sculptures, a captivating, radiant manifestation of a socio-political hotspot. Finally, Young'southward Weave acrylic paintings on canvas and newspaper from the 1970s masterfully reference the weave, a nod to the exquisite ISAIA line.

Eric Siemens

Eric Siemens | Raveling Relic

September 8, 2018 - Oct 6, 2018

Eric Siemens, A Settle in the Cornice Downs, 2018, Acrylic on canvas, 72 x 144 inches (182.9 x 365.eight cm) Gallery Wendi Norris is pleased to announce its third off-site exhibition, Raveling Relic, featuring new paintings by Eric Siemens. The exhibition will take place in the 10,000 square pes atrium of 555 20th Street, Edifice 113, in the Historic Pier 70 in San Francisco. The exhibition is accompanied by a publication with a contribution by Kevin Killian, celebrated poet and writer, winner of the 2010 Lambda Literary Award and the 2009 American Book Accolade. Raveling Relic marks the solo debut exhibition for Eric Siemens, who was formerly represented by Gallery Wendi Norris as role of the collaborative creative person duo Kate Eric. These thirteen new paintings represents a long journey of return to painting, afterward a nearly five-yr hiatus, an untangling of revered images and ideas stowed away in the artist's mind. Currently residing in Camogli, a minor line-fishing village on Italia'south Ligurian declension, Siemens pulls from a pre-existing nautical linguistic communication to aid his conceptual navigation. His dictionary originates from old globe cartographic charts, specifically Portolan Charts or Ex-voto paintings, which operate as historical anchors. Siemens'south mental excavation simultaneously venerates and questions the veracity of these artistic paradigms. Siemens'southward paintings characteristic elusive landscapes with abstract backgrounds that leave the viewer disoriented, yet awestruck. Scenes range from apparitional figures that flit against the thick, impasto foreground to abrupt landmasses that dissipate and reemerge at different angles. The work harkens dorsum to fifteenth century shipwreck paintings only uses surreal color palettes and expressive washes of acrylic paint. The installation of the artworks volition conceptually mimic the psychological journey represented. Gallery Wendi Norris will construct an intimate sculptural installation environment, enhancing the dramatic interplay of light and shadow, while embracing the grandiose architecture of the building's atrium. This site-specific exhibition appropriates the x,000 foursquare foot atrium within the 20th Street Buildings at the Historic Pier 70. Building 113 was designed past borough engineer D. E. Melliss in 1885 and previously housed the Motorcar Shop. Located on the San Francisco waterfront, Pier 70 is comprised of viii celebrated part and industrial buildings known as the Marriage Iron Works which served for 150 years contributing to the industrialization of the west declension and both World Wars. The renovation of the building, led by Orton Development, preserves the site'due south history and repurposes the space for a community of mod, innovative companies. The site was chosen for its intersection betwixt past and present, honoring the city's maritime past, while too revitalizing the infinite for future arts and culture events.

Val Britton

Val Britton | The Shape of Change

April 10, 2018 - April 14, 2018

Val Britton: The Shape of Change, installation view, Gallery Wendi Norris Curatorial Projection, Hired Commission, 1275 Minnesota Street, San Francisco, CA, April 10 - fourteen, 2018 SAN FRANCISCO -- March 27, 2018 -- In accolade of Equal Pay Mean solar day 2018, Gallery Wendi Norris has partnered with Hired, a career marketplace that matches tech talent with the world's most innovative companies, to nowadays a curated project that volition foster creative problem solving and dialogue around wage inequality. The Shape of Change presents a commissioned body of work past San Francisco-based artist Val Britton, curated in direct response to Hired'southward 2018 report, The State of Wage Inequality in the Workplace, which calculates current trends in tech salaries. Last yr's information constitute that 63% of the time, women received lower salary offers than men for the same job at the same company — and the forthcoming report volition further evaluate the state of wage inequality today betwixt men and women in the engineering science field. The installation will transform the atrium at Minnesota Street Project with ii mixed media paintings on newspaper and a sculptural installation made up of cut newspaper and string. The work stems from Britton's interpretation of the statistical analyses that go transmuted into visual elements, i.e. shapes, forms, and colors. She extracts ratios and statistics from the report to be converted into physical masses. These abstract, geometric visual elements are imbued with Hired's report data, yet remain open for audiences to explore a multitude of potential meanings. It will be on display Apr 9 - fourteen. Britton creates a fabric representation of the state of wage inequality to be corporeally understood and acknowledged. Her piece of work allows the information to accept shape and occupy space, engaging the viewer's visceral response in hopes of irresolute the manner we move through our electric current socio-economic environs. Coinciding with Equal Pay Day on April x, 2018, The Shape of Change shines a low-cal on the state of wage inequality across the technology industry. Gallery Wendi Norris selected Minnesota Street Project, a prominent art infinite in San Francisco, as the site for the installation in the interest of collaborating with the local arts community, and bringing this important campaign to a infinite that has developed its mission around supporting the arts and artists in the Bay Area.

Julio César Morales

Julio César Morales | This World Is Not For Y'all

Feb 2, 2018 - February 28, 2018

Julio César Morales: This World is Non For You, installation view, Gallery Wendi Norris Offsite, Torre Cube, Floor 13, Guadalajara, Mexico, Feb ii - 28, 2018 San Francisco, November 20, 2018 — From the first barb wire contend placed in the Southwest region to deter the Chinese later on the Chinese exclusion Act in the 1880'south, to Trump's proposed seventy billion-dollar wall, the concrete border between Mexico and the United states has been highly debated. For his inaugural gallery exhibition in Mexico, Morales examines the history of the border wall in a new series of experimental landscapes in video, photographs, and watercolors. Morales has been researching and chronicling activities along the border for more 2 decades and has amassed an archive of over 800 news stories that detail absurd, atrocious and inventive stories of activities along the border. These headlines are brought to the surface through text-based watercolors, or his ongoing "Narco Headlines" series. A new, nineteen-piece series entitled "Twenty-four hour period Dreaming" mixes blackness and white photographs of the US/Mexico Border wall with geometric abstractions in which the color fields derive from sampled items of abandoned trash, shoes, habiliment and drinking vessels from both sides of the border. The photographs are printed to the same size equally the holes that are left at certain areas along the argue for surveillance. The art works try to detect beauty in the everyday struggles and reality of migration, self-determination and social equality. A larger-scaled, four-panel piece, Cuatro Caminos, was shot along The Devil's Highway, a prehistoric and colonial trail through the Sonora Desert in Arizona, known as the deadliest region of the continent—a desert so harsh and desolate that even Border Patrol is afraid to travel through it. Native Americans from that region say information technology has been cursed for hundreds of years and stories well-nigh men, women and children being swallowed past the ghosts/devils under the sand is still talked about today. The expanse is dangerous and no border wall exists –an invitation for migrants to endeavour crossing in a identify where their odds of survival are slim. We Are The Dead and We Are the Dead: Office Two, a two aqueduct video installation with original soundtracks past the artist, are based on a truthful story from the 1990's in which two brothers crossed the Sonora Desert from Mexico into Arizona. Lost and out of water, they are left only with two bottles of tequila meant every bit a souvenir for relatives waiting in the The states. The brothers later decided to carve up up and find help, and one fabricated it to a Circle K convenience shop, while the other was later on found dead in the desert with an empty canteen of tequila. A story originally told of the dead brother in 2013 in We Are the Expressionless is at present continued through the eyes of the living blood brother in We are the Dead, Function Two, where the living brother states. Since my brother is gone, I no longer speak Spanish. That world left u.s.a., dehydrated. Nosotros saw planes taking flight, running away. This world is non for you they were telling usa in their lift off. Do yous still believe the globe is for you? Gallery Wendi Norris presents its fourth exhibition for Morales at Galería Curro's projection space at Torre Cube, the 230-human foot tower edifice, designed by architect Carme Pinós, in the heart of Puerta de Hierro, Guadalajara, Mexico. The edifice is situated in an surface area of high seismic intensity, defining the concrete materiality of the building, with sculpturally stunning design, made of airy terraces opening to a large, exposed silo-style centre, taking advantage of the local climate. The exhibition is accompanied past limited edition creative person affiche, with an essay past Diana Nawi, an independent curator and writer based in Los Angeles, who previously served as associate curator at the Perez Art Museum Miami.

Maria Magdalena Campos-Pons

Maria Magdalena Campos-Pons | If I Were A Poet

January eleven, 2018 - January 28, 2018

María Magdalena Campos-Pons: If I Were A Poet, installation view, Gallery Wendi Norris Offsite, 649 Bricklayer Street, San Francisco, CA, January 11 - 28, 2018, photography: Maciek Janicki San Francisco, November 15, 2017 — Cuban-born artist María Magdalena Campos-Pons addresses the unique and resilient nature of the Afro Cuban diaspora through photography, sculpture, performances, and video installations. Her West Coast debut and first exhibition with Gallery Wendi Norris, presents works ranging from 1990 to 2017, including three major installations, rare large-format Polaroid photographs, and a performance work. Among the pregnant works in the exhibition are gridded variations of large-format Polaroid photographs depicting bequeathed, totemic and futuristic themes ranging from the slave trade to migration. Polaroid manufactured only four large-format cameras and they have been used by very few artists, including Chuck Close, Gerhard Richter and William Wegman. The company ended product of the flick in 2017 making existing works increasingly rare. If I Were a Poet features several works from international museum exhibitions. Matanzas Sound Map, a sound and glass sculptural installation, debuted at Documenta 14 in Athens, Greece, and will be part of her upcoming retrospective at the National Museum of Fine Art in Havana in 2019. Another video and sound slice, Meanwhile the Girls were Playing, has been shown at the Frist Center at Vanderbilt, Spelman College, in Atlanta, and Smith College, in Northampton, MA. Another highlight of the testify is the performance work titled Remedios, in which Campos-Pons negotiates narratives of pain, loss and resilience while imagining herself in a time of societal and geopolitical transition. During her singular meditation on survival, the artist wears a costume that she designed and fabricated past hand. Remedios has been performed at the New Museum in New York and at Colby College in Waterville, Maine. Campos-Pons will perform Remedios at 6 pm on January 11, 2018 at Building 649. This exhibition in the Presidio of San Francisco, a national park at the Gilded Gate, utilizes raw spaces in historic Edifice 649 at Crissy Field. The building was constructed in 1951 by the United States Army to house the Sixth Army'southward US Army Reserve Eye. The half-dozen,000 foursquare human foot interior features a large assembly hall surrounded by storage space, classrooms, and a burglarize range. When the Presidio was a military base, Edifice 649 was used for training and authoritative activities. In April 1975, thousands of Bay Area volunteers worked at the building when it was being used for the medical care of more fifteen hundred children who had been hastily airlifted from Vietnam equally Saigon fell. The children were ultimately relocated for adoption with American families in a program chosen Operation Babylift.

Leonora Carrington, Ana Teresa Fernández, Firelei Báez, Dorothea Tanning, Julio César Morales, Ranu Mukherjee, Miguel Angel Ríos, Christine Elfman, Chris Fraser, Yamini Nayar, Eva Schlegel, Marcel Jean, Wolfgang Paalen, Peter Young, Remedios Varo

Threads of Retention | Ane M Manner of Saying Goodbye

October 21, 2017 - Nov fifteen, 2017

Leonora Carrington, Performance Wednesday, 1969, Tempera on masonite, 23 ¾ x 17 5/8 inches (sixty.five x 44.7 cm) Gallery Wendi Norris' final exhibition at 161 Jessie Street, Threads of Retentiveness: 1 Thousand Ways of Proverb Goodbye, presents a celebratory survey of the gallery's programme, including emblematic works by each of the 18 represented artists. The exhibition highlights the rigorous and richly varied artworks that ballast the gallery's transcultural approach, while tracing threads of influence and connectedness betwixt the artists. Leonora Carrington's Functioning Midweek (1969), an exquisitely rendered canvas commemorating and mourning students who were killed in violent uprisings in Mexico in 1968, is juxtaposed by Ana Teresa Fernández' new small canvases from her Erasure series, paintings that document a performance past the artist to award the 43 students who were unjustly killed equally a way to silence their protests in a more recent 2014 tragedy. Firelei Báez' Written report for Flight No.1 (archived, the order of Anacaona) (2017) is juxtaposed with Dorothea Tanning's 1960 oil, Visite jaune (Visite éclair), two paintings that strike a deft residual between abstraction and figuration. Also on view are video works past Julio César Morales, Ranu Mukherjee and Miguel Angel Ríos, experimental photographs by Christine Elfman, Chris Fraser, Yamini Nayar, and Eva Schlegel, paintings on canvas by Marcel Jean, Wolfgang Paalen and Peter Young, and a precious wooden object by Remedios Varo. The show'south title is derived from Maria Magdalena Campos-Pons' largest installation, Threads of Memory: One Thou Ways of Proverb Good day (2003), an immersive mixed media piece of work that, as poetically described by curator and scholar Sally Berger, "is a metaphor for moving away from one thing and toward another". With this exhibition, nosotros invite our community to celebrate the program we accept built here at 161 Jessie Street, the artists that propel u.s.a. forward, and the exciting path ahead as we embark on a new focus, new plan, and new headquarters. In lieu of an opening reception, Gallery Wendi Norris will host a champagne celebration to close the exhibition on Wed, November 15, from half-dozen-8pm, accompanied past a curated playlist by gallery artist and DJ, Peter Young (DJ Joven).

Yorgo Alexopoulos

Yorgo Alexopoulos | Drifting on a Memory

September 21, 2017 - Oct 14, 2017

Yorgo Alexopoulos: Globe-trotting on a Retentivity, installation view, Gallery Wendi Norris, San Francisco, CA, September 21 — October fourteen, 2018, photography: Bryan Hewitt San Francisco — Gallery Wendi Norris is pleased to nowadays Yorgo Alexopoulos: Globe-trotting on a Memory, the Los Angeles-based artist'southward second solo exhibition with the gallery. Drifting on a Memory debuts large-calibration oil paintings and works on paper that mark a conceptual voyage into the artist's past. Departing from his decades-long do of creating video installations congenital-upwardly from hundreds of original paintings, drawings, and photographs rendered into digital compositions, Globe-trotting on a Retentivity marks Alexopoulos' return to oil painting, a medium he has consistently utilized behind the scenes of these iconic moving image works in various, subtle ways. Having relocated to his hometown of Los Angeles later on living in New York City for over twenty years, Alexopoulos revisits the landscapes—both real and remembered—that mark the brief time spent with his father, who died prematurely when the artist was just seven years old. Continuing his exploration of the universality of landscape symbols and archetypes, Alexopoulos roots his new paintings firmly in the private, emotional realm of his own memory. Every bit such, he reveals a stripped-downwardly, "unplugged," and deeply personal narrative thread in his ongoing artistic journey.

Firelei Baez, Chitra Ganesh, Yamini Nayar, Wolfgang Paalen, Eva Schlegel, Dorothea Tanning, Peter Immature

(ism) | 80 Years of Nonconformity

July 13, 2017 - September 15, 2017

(ism): lxxx Years of Nonconformity, installation view, Gallery Wendi Norris, San Francisco, July thirteen - September fifteen, 2018, photography: Hewitt Photography Gallery Wendi Norris presents new and never-before-exhibited modern and contemporary artworks by Firelei Baez, Chitra Ganesh, Yamini Nayar, Wolfgang Paalen, Eva Schlegel, Dorothea Tanning and Peter Young. Spanning the years 1935 – 2017, the careful choice of works represent important art historical moments of the last 80 years, while never fitting neatly or distinctly within their respective chiselled 'boxes'. The presentation will weave together early perspectives of Paalen on the spirituality of abstraction from the 1930s, with the whimsy-infused formalism of Young that emerged in the 1970s and the sculptural photo explorations of Yamini Nayar; simultaneously, Tanning's kaleidoscopic 1960s abstractions that subtly suggest human being form, with the bold, mythological feminist figures of Chitra Ganesh and Firelei Báez.

Ranu Mukherjee

Ranu Mukherjee | Shadowtime

May 18, 2017 - July 8, 2017

Ranu Mukherjee: Shadowtime, 2017, installation view, Gallery Wendi Norris, San Francisco, May 18 - July viii, 2017, photography: JKA Photography San Francisco — Gallery Wendi Norris is pleased to present Shadowtime, the third solo exhibition with San Francisco-based multi-media creative person Ranu Mukherjee. Shadowtime unveils a serial of new yellow, orange, and imperial milk paintings on paper and a hybrid film installation, projected on a 107 ten 60-inch sculptural drinking glass screen. The paintings, varying in scale from intimate to larger-than-life, debut a new style of mark making for Mukherjee. The brightly colored and near-abstract compositions contain layers of gestural lines evoking immediacy and movement. At first glance, the paintings appear equally collections of colorful fragments. Made up of seemingly knotted entanglements, they deny the viewer firsthand comprehension of specific subject field thing. However, from vibrant tangles and clusters, narrative and contradicting imagery unfolds. Scenes of lovers embracing, ice sheets groovy, and masses of people in protest or prayer reveal themselves with relatable complexity. This exhibition will besides introduce the artist's newest hybrid film installation, Mixing Dusts. As artist-in-residence at the de Young Museum, Mukherjee recorded pairs of participants rolling on the ground while hugging. This action, both difficult and intimate, describes movement and love in an unsteady earth. This footage, blithe atop fragments of shifting groundcover, portrays expressions of dearest made incongruous by an underlying sense of apocalypse and uncertainty. In order to capture the feeling of being a multi-racial artist in a precarious environs, Mukherjee collaborated with the Bureau of Linguistic Reality to money the term, "Shadowtime". "Shadowtime" conveys "the feeling of living simultaneously in two distinctly different fourth dimension scales." An additional definition is "the astute consciousness of the possibility that the most futurity will be drastically different than the nowadays." "Shadowtime" becomes a noun nigh unknowing. It expresses the cognitive dissonance of equally possible all the same divergent futures. Layering images of natural disasters and exodus the artist personalizes incomprehensible fearfulness with undeniable notions of hope and love. This exhibition is complemented by two public programs including an artist chat lead by with Saisha Grayson, Ph.D. candidate, The Graduate Center-CUNY, and former Banana Curator at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. The exhibition closing reception features Now not Now, a newly commissioned dance performance by Hope Mohr Dance. Inspired by physical movement, Mukherjee invited Hope Mohr Dance to create and premiere a new motion-based operation for iii people, inspired past and based on the Shadowtime exhibition.

eckerteingthishe.blogspot.com

Source: https://artdealers.org/gallery/gallery-wendi-norris