William T. Wiley, a Funk artist whose offbeat art and influential teaching practice have inspired generations of artists in the Bay Area, has died at 83. Los Angeles’s Parker Gallery, which co-represents the artist with Hosfelt Gallery in San Francisco, said in a newsletter on Thursday that Wiley had died on April 25. The San Francisco Chronicle reported that he had Parkinson’s disease.

Over the last three decades, Los Angeles-based artist Mary Weatherford has developed a rich and diverse painting practice: from early target paintings in the 1990s based on operatic heroines, to expansive, gestural canvases overlaid with neon glass-tubing that brought attention to Weatherford’s practice in the 2010s. Mary Weatherford: Canyon—Daisy—Eden presents a survey of Weatherford’s career, drawing from several distinct bodies of work made between 1989–2017. As constant experiments with color, scale, and materials, these works reveal the continuity of Weatherford’s preoccupation with memory and experience, both personal and historical.

Praz-Delavallade is pleased to present Hypercube, a solo exhibition by Jim Isermann. Isermann’s oeuvre encompasses an astonishing variety of mediums including painting, drawing, sculpture, site-specific installation, graphic and product design. 

David Kordansky Gallery is pleased to announce Recent Sculpture, an exhibition of new work by Fred Eversley. The show opens at the gallery on March 20 and will be on view through May 1, 2021.

The Cross Cultural Female Gaze

11:30 am (EST)

Moderator:
Manal Ataya, Director General of the Sharjah Museums Authority

Panelists:
Alia Ali, artist
Lita Albuquerque, artist
Rania Matar, photographer

Starting Thursday February 25 at 1PM PST, Holly Harrell starts her four part Live Instagram performance series Glossy Fruits / Pathological Products, Anesthetics / Autopsies, Hide the Empire and Just Add Vegetable Oil: Product Lady 2
 

Stay tuned for our forthcoming new releases with Farah Atassi

In this interview, Lamelas discusses the origin of the work, his time working alongside a brilliant group of colleagues in Buenos Aires, and gives a surprisingly humanistic vision of his radical Conceptual art.

Carson’s geometric paintings, inspired by the land of big sky, mimic rolling hills and valleys.

A strained, stretched, widening, loosened metaphor, one that gives lights and receives them, might be the best way to describe Math Bass’ work. Yet metaphor is an easy interpretational mode that relies too heavily on iconography. Morever, description logo-centrically implies that all that is felt can be written or painted, that you actually can describe what bottoming is like to someone who has yet to do it. A simile might be better. In this moment, it seems more capacious. Bass’ work is like a ride on the Long Island Rail Road, winding through a certain kind of world, in which crushed skulls and young love happen simultaneously and often unnoticed, where aspiration and reality meet, where the Piano Man’s jar is filled up with cock-like bread, where hearts are broken and lose their three-dimensionality, only to unflatten at the sight of beautiful arms at work on a floor.

Shot in 1967, Lyon’s photographs offer a more nuanced and human perspective of the destruction of the old lower Manhattan, one that is often paved over by history books.

Judy Chicago continues her long-running Atmospheres series, inviting global audiences to experience newly created Smoke Sculptures™ in Augmented Reality (AR).