Gallery Wendi Norris

For its inaugural exhibition of 2025, Gallery Wendi Norris presents "Leonora Carrington: Mythopoesis," its fifth Carrington exhibition and the first Carrington show in San Francisco in ten years. From gothic fairy tales to Celtic legends and multicultural myths, "Leonora Carrington: Mythopoesis" examines the origin stories and literary influences that fueled her boundless creativity and subversive sensibility. Taking its title from the Ancient Greek word meaning “the making of myths,” the exhibition explores how Carrington transformed and translated these forms of storytelling across diverse visual mediums, shaping her complex and expansive oeuvre into a visionary universe. Featuring approximately fifteen artworks executed between 1940 and 1987, this presentation highlights the broad and under-explored range of media in which Carrington worked. In addition to paintings and drawings, the exhibition includes a tapestry, one of her largest painted sculptures, a toy carriage, and a playful object, that together reveal the depth and versatility of her artistic practice. Accompanying the exhibition is a richly illustrated catalogue that features new scholarship on Carrington and an in-depth analysis of the works on view. “Leonora Carrington’s work continues to surprise and delight even the most seasoned scholars and collectors,” says Melanie Cameron, Senior Director at Gallery Wendi Norris. “With Mythopoesis, we are honored to present a side of Carrington that is both familiar and refreshing.” Throughout her career, Carrington invented a fantastical universe populated by a motley cast of characters: chimerical ghoulies, historical figures, anthropomorphic oddities, primordial gods and goddesses, feisty crones, and mythical creatures. Together, these beings engage in rituals and perform miniaturized dramas within each artwork. The largescale "La cuna (The Cradle)" (c. 1945) and diminutive "Untitled" (1946) are distinctive objects within Carrington’s oeuvre, and demonstrate how she channeled her mythopoetic approach into the creation of transportive sculptural objects. In "La cuna," Carrington painted the hull of the sailboat-cum-cradle carved by artist José Horna with an enchanted tree sprouting from an enormous egg, from which a procession of hybrid creatures parade through a watery realm. While the creatures in "La cuna" seem to sprout from Carrington’s imagination, those in the luminous painting "Sidhe, the White People of Tuatha dé Danann (1954)," which is on view for the first time in 27 years, are taken straight from Celtic mythology. Making its public debut is the cosmic painting, "Equinoxio" (1958), featuring her animal surrogate, the horse, in a celestial setting. Meanwhile, "Untitled" (c. 1948–1955), kept privately for decades, exemplifies her engagement with pre-Columbian iconography. In this work, she turns to the mythology of her adopted home, Mexico, depicting the Aztec plumed serpent god, Quetzalcoatl. Gallery Wendi Norris is the world’s preeminent dealer of Leonora Carrington’s work, with the longest history of showcasing her art since 2004. The gallery’s last solo showcase of Carrington’s work was the critically acclaimed 2019 exhibition "Leonora Carrington: The Story of the Last Egg" in New York City as part of its offsite exhibition program. About Leonora Carrington Leonora Carrington was born in 1917 in Lancashire, England, and passed away in 2011 at the age of 94 in Mexico City, Mexico. A leading artist of the 20th century, Carrington incorporated painting, drawing, sculpture, textiles, printmaking, and writing into a body of work produced throughout her nearly seven-decade career. Carrington's work has been acquired by museums worldwide, including The Museum of Modern Art, New York; San Francisco Museum of Modern Art; The Metropolitan Museum of Art, New York; The Tate, London, United Kingdom; National Museum of Women in the Arts, Washington, D.C.; Peggy Guggenheim Collection, Venice, Italy; National Galleries of Scotland, Edinburgh; and Museum Boijmans van Beuningen, Rotterdam, Netherlands, among others. Carrington’s visionary art has garnered increasing global attention in recent years. Since her passing in 2011, her work has been the subject of several solo museum exhibitions: "Leonora Carrington" at the ARKEN Museum of Modern Art, Ishøj, Denmark and "Leonora Carrington: Revelation" at the Fundación MAPFRE, Madrid, Spain (2022-2023); "Leonora Carrington: Magical Tales" at the Museo de Arte Moderno, Mexico City and the Museo de Arte Contemporáneo, Monterrey, Mexico (2018); "Leonora Carrington" at the Tate Liverpool, United Kingdom (2015); and "The Celtic Surrealist" at the Irish Museum of Modern Art, Dublin, Ireland (2014). Her artwork has been featured in international group exhibitions, including "Surrealism Beyond Borders" (The Metropolitan Museum, 2021-2022 and Tate Modern, 2022); "Surrealism and Magic: Enchanted Modernities" (Peggy Guggenheim Collection, 2022 and Museum Barberini, 2023); and the 2022 Venice Biennale, whose title and curatorial direction was inspired by Carrington’s book of children’s stories, "The Milk of Dreams." Carrington’s artwork is currently on view in the landmark exhibition, "Surréalisme" (Centre Pompidou, 2024 and Philadelphia Museum of Art, 2025), and her first solo museum show in Italy will open at the Palazzo Reale in Milan in October 2025 before traveling to the Musée de Luxembourg in Paris.

Gallery Wendi Norris presents Tiger in the Looking Glass, an exhibition of new paintings by Chitra Ganesh (b. 1975 Brooklyn, New York, USA). One of the most preeminent contemporary artists of her generation, Ganesh opens her fifth solo presentation with the gallery. In this body of work, Ganesh expands upon an iconography that she has been building for more than twenty years, taking it in a lush direction of otherworldly, surreal landscapes. The exhibition takes its title from the motifs and Surrealist themes that weave through Ganesh’s work, such as hybridity, portals and mirrors, double consciousness, multiverses, and femme shapeshifters. Drawing and painting form the core of Ganesh’s multi-disciplinary practice, which is rooted in literature, semiotics, queer theory, and historical texts as well as popular and graphic vernaculars like Keith Haring’s subway drawings in New York and hand painted Bollywood posters in India. Exemplified in Tiger in the Looking Glass, Ganesh takes cues from the graphic language of comics and science fiction and interweaves it with Surrealism, mythological iconography to empower her queer and femme subjects, representations of whom are largely absent from artistic and literary Eurocentric canons. In this exhibition, Ganesh renders the familiar unfamiliar against dense and bountiful environments that evoke the foliage in Rajasthani and Pahari miniature paintings or Henri Rousseau’s jungles. The hybrid figure in the large-scale Enter the Jungle (2024), which inspired the exhibition title, is shown entering a new world without disturbing the harmony of their environment. Interconnectedness and dissonance coexist as Ganesh addresses the world’s need to regenerate and paints a vision of possibility and abundance. This harmony continues in the inky-hued Pond Walk (2024), an inverted version of the lush worlds depicted in the other paintings where a stag and its rider emerge from the ground in glowing, psychedelic silhouettes. The stag stares back at the viewer, as if through an opening or portal. Ganesh’s coming of age in the mid-to-late ‘90s in New York around progressive South Asian and queer and trans people of color has deeply influenced her mode of thinking. Her visual grammar forms its own queer vernacular, richly layering and stitching together seemingly disparate styles, creating nontraditional mixed media works that exist in between painting and drawing. This approach informs Alien Abduction (2024) which depicts a superhero-like figure being abducted and transported out of a verdant landscape into a gendered paradigm, as a human-monkey hybrid figure watches with unease. Tiger in the Looking Glass opens at a time of heightened global critical recognition for the artist. In 2024 Ganesh was featured in the Sydney Biennale and will be included in the Bangkok Biennale opening in October. Her first comprehensive monograph was recently published by Distanz, featuring essays by leading curators and scholars Natasha Bissonauth, Gayatri Gopinath, Saisha Grayson, Tausif Noor, Svati Shah, and Ksenia Soboleva, and a foreword by Jasmine Wahi. The San Jose Museum of Art named Ganesh an honoree at its 2024 gala in recognition of her storied career. In New York this summer, Ganesh opens dual major multi-disciplinary public commissions for Art at Amtrak at Penn Station and Moynihan Train Hall and is the first artist to take over both transit hubs.

Gallery Wendi Norris presents Multiple Voices, a group exhibition exploring the idea of multiplicity, material and metaphorical. Bringing together gallery artists Ambreen Butt, María Magdalena Campos-Pons, Chitra Ganesh, Julio César Morales, Ranu Mukherjee, and Eva Schlegel, the exhibition features artworks that are multiples, with the state of multiplicity embedded into their very fabrication. On a conceptual level, each of the artists exhibited plays with the relationship between the multiple and the multitudes in their artwork, seeking to amplify voices beyond their own. The prints, sculpture, video, and performance photography exhibited work together like a Greek chorus, uniting as a collective voice to speak truth and bear witness. Multiple Voices addresses the vital need for diverse points of view and redresses the implications of silencing. The polyphony of voices that ring out from the artworks speak to the viewer: we will be heard, we will be seen. Taking its title from Eva Schlegel’s first public artwork in the United States, Multiple Voices (2023), the exhibition is anchored by the maquette for this polished steel and glass sculpture, whose mirrored surfaces create an architectonic space for reflection. In the titular work, Schlegel (b. 1960, Tyrol, Austria) incorporates lines of poetry from local poets into the panes of glass, blurring the script to limit legibility and incite the viewer’s curiosity. Creating spaces for reflection and for ritual is central to the work of María Magdalena Campos-Pons (b. 1959, Matanzas, Cuba), which explores the role of memory, community and ritual in shaping and transforming the present. Included in the exhibition is a portfolio of writing, poetry, and photography from her When We Gather film project, which has been screened over 200 times around the world. The project celebrates the women who have played a pivotal role in the progress of the United States and offers a call to create a path forward. On view is the first ever print by Ranu Mukherjee (b. 1966, Boston), where she can enter into history on her own terms (2024). Mukherjee creates a background that is unique to each edition by printing abstract images of activist events onto sari fabric and catching the ink that bleeds through onto the paper. A field of objects – fruits, flowers and birds, swathes of cloth, a megaphone, an ornate table – float atop the patterned ground, creating a dynamic still life imbued with symbolism and serving as an homage to international feminist movements. The artwork of Julio César Morales (b. 1966, Tijuana, Mexico) addresses forms of migration and human trafficking. His film Boy in a Suitcase (2015) is inspired by an x-ray image taken of a young boy who was smuggled from the Ivory Coast to Spain inside a suitcase. The monitor playing the film sits on the floor and is exhibited with a mirror that reflects and refracts the film’s pixelated and pulsing images, mimicking the disorientation the young boy must have felt while tumbling in the suitcase on his harrowing journey. Morales’ own musical score adds to the anxious tension felt by the viewer. The work of Chitra Ganesh (b. 1975, Brooklyn) interweaves a diverse range of visual languages including expressionism, comic and graphic arts, and South Asian figurative forms to create a unique visual grammar. The poetic text in Ganesh’s work draws from surrealist processes of automatic writing, offering polyvocal narratives that amplify the dreamlike and fantastical quality of works such as Her Garden (Charmed Tongue) (2006). The heroine of this work appears poised at a crossroads, contemplating the liminal space between creation and death, and posing alternative models of femininity and power to subvert conventional mythic and fairy tale storylines. The suite of prints, Daughters of the East (2008), by Ambreen Butt (b. 1969, Lahore, Pakistan) is a poignant response to the tumultuous events surrounding the Lal Masjid (Red Mosque) clash in Islamabad in 2007. In this signature work of her oeuvre, Butt brings attention to the complexity of narratives surrounding the incident, particularly focusing on the involvement of young women protestors. Using images from the media, she highlights the role of mass media in shaping perceptions and narratives, underscoring the dichotomy between the visual allure of the images and the harsh realities depicted within them. The uneasy coexistence of empowerment and vulnerability here, creates a powerful intersection of beauty, violence, and empowerment that lingers with the viewer.

Gallery Wendi Norris is honored to present A Visionary Line: Remedios Varo Drawings, the first exhibition dedicated to the drawings of the indelible Remedios Varo (b. 1908, Anglès, Spain; d. 1963, Mexico City, Mexico). Marking her first New York City solo show in nearly four decades, the exhibition unveils a rare collection of drawings owned by a couple who were dear friends of Varo. The nine works on paper in A Visionary Line reflect Varo’s Renaissance-inspired techniques and showcase her technical precision. As indexes of the artist’s fantastical ideas and blueprints for her masterful paintings, Varo’s sketches are also works of art in their own right. Included are the developmental studies for such major paintings as El flautista in the Museo de Arte Moderno in Mexico City and Tailleur pour dames in the Museum of Fine Arts in Boston. A Visionary Line: Remedios Varo Drawings further expands the growing international recognition of Varo’s exquisite oeuvre, denoted by major museum acquisitions; her noteworthy inclusion in the 59th Venice Biennale The Milk of Dreams (2022); and the groundbreaking exhibition Remedios Varo: Science Fictions (2023) at the Art Institute of Chicago, with an accompanying catalogue co-published with Yale University Press. Moreover, Varo’s work is featured in the touring exhibition IMAGINE! 100 Years of International Surrealism (2024–2026), which recently opened at the Royal Museums of Fine Arts of Belgium (Brussels, Belgium). The exhibition travels to the Centre Pompidou (Paris, France), the Hamburger Kunsthalle (Hamburg, Germany), the Fundación MAPFRE (Madrid, Spain), and concludes at the Philadelphia Museum of Art (Philadelphia, Pennsylvania). This is the third Remedios Varo exhibition for Gallery Wendi Norris, the only gallery to present solo shows of Varo’s artwork since her untimely death in 1963. A Visionary Line continues the gallery’s offsite exhibition model, celebrating its third iteration in New York City, following Leonora Carrington: Story of the Last Egg (2019) and Alice Rahon and Ranu Mukherjee: Time Warriors (2023).

Gallery Wendi Norris presents Musical Chairs, an exhibition centered around two rare oil paintings by luminary artist Dorothea Tanning (b. 1910, Galesburg, IL; d. 2012, New York, NY). Five years after featuring in her landmark retrospective at the Museo Reina Sofía (Madrid, Spain) and the Tate Modern (London, UK), Tanning’s Musical Chairs (1951) and Door 84 (1984) meet again for their inaugural San Francisco display. Exhibiting in the U.S. for the first time in over seventy years, Musical Chairs depicts an adolescent girl sliding off a high-back chair into a cat-like posture, ignoring the swathes of golden cloth subsuming her limbs. These faceted planes of fabric––a signature Tanning motif––juxtaposed with the girl’s composure, evoke the contradictory moods of vigor and serenity. The painting stands out within Tanning’s oeuvre as a convergence of her interests in Gothic literature, designing for ballet productions, and experimenting with abstraction. Created thirty-three years later and more than twice the size of Musical Chairs, Tanning’s Door 84 similarly radiates her iconic yellow palette, though with much more fluid brushstrokes. A distinct example of her fascination with portals, this composition strikingly features an actual door’s edge, echoing the found object assemblages of Jasper Johns and Robert Rauschenberg. Tanning heightens the image’s tension by choreographing two figures blocking one another from getting to the other side of the door. Highlighting the seated figures in both Musical Chairs and Door 84, these paintings playfully hang among unique chairs by Rachel Shillander, Chris Wolston, Arflex, Campagna for Roll & Hill, and Orior, artists represented by leading contemporary design gallery The Future Perfect. The rich and layered textures in Tanning’s paintings play off the textured fabrics and surfaces of the chairs, bridging the modern and the contemporary. Like a game of musical chairs, this staging creates an immersive environment for engaging with Tanning’s work. Musical Chairs is the gallery’s fifth exhibition with Tanning and follows recent major institutional shows recognizing her art historical contributions, including Cecilia Alemani’s 59th Venice Biennale The Milk of Dreams (2022) and Surrealism and Magic: Enchanted Modernity (2022–2023), a collaboration between the Peggy Guggenheim Collection (Venice, Italy) and the Museum Barberini (Potsdam, Germany). Furthermore, a watershed exhibition celebrating Surrealism’s centennial, IMAGINE! 100 Years of International Surrealism (2024–2026), will also honor Tanning. On display for two years, this show begins at the Royal Museums of Fine Arts of Belgium (Brussels, Belgium), then travels to the Centre Pompidou (Paris, France), the Hamburger Kunsthalle (Hamburg, Germany), the Fundación MAPFRE (Madrid, Spain), and concludes at the Philadelphia Museum of Art (Philadelphia, Pennsylvania).

The copper on Earth formed through the explosion of stars, which catapulted the metal onto our planet more than four billion years ago. Using this material from the cosmos, Rohini Devasher (b. 1978, New Delhi, India) adorns copper sheets with markings inspired by astrophotography through interventions like acid washing, embossment, and fumage, or the natural impressions of candle smoke. Devasher's use of this latter technique pays homage to the gallery's modern artist Wolfgang Paalen, who invented fumage in 1936. Intricate and luminous, these works with copper invite close-looking and contemplation. This exhibition is concurrently on view with Devasher’s first U.S. solo institutional exhibition, One Hundred Thousand Suns, at the Minnesota Street Project Foundation at 1201 Minnesota Street.

Gallery Wendi Norris, in collaboration with The Minnesota Street Project Foundation (MSP Foundation), is pleased to announce One Hundred Thousand Suns, Delhi-based artist Rohini Devasher’s first U.S. solo exhibition. Her captivating and research-driven body of work chronicles a decade as an eclipse chaser and amateur astronomer. The focal point of the exhibition, the four-channel, 20-minute One Hundred Thousand Suns film will debut simultaneously in three continents: at the Dr. Bhau Daji Lad Museum in Mumbai, India in collaboration with Project 88; at Museum Catharijneconvent in Utrecht, Netherlands; and at MSP Foundation in San Francisco, California. The San Francisco debut of One Hundred Thousand Suns at MSP Foundation will be accompanied by the immersive, site-specific installation Latent Fields. As a counterpoint to this cinematic presentation, Gallery Wendi Norris will concurrently host an intimate show of Devasher’s two-dimensional works on copper at its San Francisco-based headquarters. “Providing a new platform for artists from around the world is an active ethos of the Minnesota Street Project Foundation,” Rachel Sample, Director, Minnesota Street Project Foundation. “Each subsequent exhibition at 1201 Minnesota Street has expanded the geographic scope of artistic voices, and Devashar’s One Hundred Thousand Suns is the perfect next stop on our international journey.” Within MSP Foundation’s state-of-the-art screening gallery, Devasher’s One Hundred Thousand Suns film explores four distinct dimensions of the Sun: material, ephemeral, personal, and historical. Driven by more than 157,000 portraits of our nearest star, observed over 120 years, this audio-visual work centers on the Kodaikanal Solar Observatory in India, where every day since 1901 staff have recorded images of the Sun. Through the Observatory’s archival material, combined with public-domain images from NASA and the artist’s own data—photographs, drawings, videos, and interviews with eclipse chasers—Devasher examines the complexities of observational astronomy and the ways in which ‘seeing’ is strange, wondrous, and more ambiguous than one might imagine. Suspended from MSP Foundation’s towering vaulted ceiling, Devasher’s installation Latent Fields envelops visitors with expansive digitally-printed fabrics on which the subatomic and the stellar collide. Devasher prints images and drawings of fast-charged particles and distant celestial bodies imbuing their silk material with the mesmerizing sheen of copper. A crossing through the body of a star: from the sub atomic to the atmospheric, Latent Fields is a coalescence of material, visibility, scale, and temporality. An exhibition at the Gallery Wendi Norris headquarters will focus on Devasher’s Sol Drawings, a series of embellished copper sheets. Once forged in massive stars, the Earth inherited copper from the universe more than four billion years ago. Transformed through interventions like fumage, acid wash, and embossment, these intricate and luminous panels invite close-looking and contemplation. One Hundred Thousand Suns is free and open to the public.

Gallery Wendi Norris is delighted to present Lay Bare My Arms, Ambreen Butt’s first in-person solo exhibition with the gallery. Featuring eight new meticulously painted and collaged works, this exhibition coincides with the release of Butt’s first monograph, What Comes to My Lips. Lay Bare My Arms foregrounds Butt’s perspective as a woman and a mother, processing the consequences of political stagnation and gun violence in America. Combining the radiant aesthetics of South Asian miniature paintings with the democratic nature of collage, Butt adorns her paintings with textual fragments from the Second Amendment to the United States Constitution, an artistic interpretation that questions how the law is changed within and by society. A central work in this exhibition, Guardians of Safe Heavens, features two figures that resemble demons. One holds a pistol, symbolizing the ever-present threat of violence that can disrupt the sanctity of life. The other cradles a walking iris, whose ephemeral bloom lasts only one day, emphasizing the fragility of existence. Though these creatures suggest potential danger, they are also engagingly rendered, inviting viewers to contemplate the delicate balance between safety and risk in today's time. This work, along with the other seven pieces of Lay Bare My Arms, asks the fundamental question, where are the safe spaces for the most vulnerable? Rather than inciting a political call to action, Butt positions herself as a witness and record-keeper. Lay Bare My Arms, like her previous Say My Name series, prompts viewers to consider the realities of those afflicted by violence, going beyond the role of a news consumer with the privilege of distance from lived violence.

The themes and concerns alive in the work of Ranu Mukherjee and Alice Rahon cross generational boundaries and offer viewers the opportunity to consider ideas rooted in nature, materiality, and transcendence. Alice Rahon and Ranu Mukherjee: Time Warriors presents artworks that examine issues of migration and identities, our changing landscapes and environmental concerns, across history and into the future. On view in New York City September 6 - October 7, 2023 at 529 West 20th Street on the ground floor, the exhibition includes approximately 20 mixed media artworks spanning the mid-20th and early 21st centuries, depicting how both artists innovate across media to further investigate their themes. “Beyond presenting the work of two artists who I admire and am proud to represent,” said Wendi Norris, “Time Warriors invites audiences to explore the way their work, from different perspectives and across generations, shares ideas and themes as an open conversation. It is striking how both Rahon and Mukherjee experienced a world in immense turmoil and have harnessed this energy to create deeply poetic and personal explorations of time and expression.” In the case of Rahon (b. Chenecey-Buillon, France, 1904; d. Mexico City, 1987), she utilizes sand and the earth as well as found objects in many of her compositions, and famously refers to herself as "a cave painter," having delved back in time and through her experiences with indigenous cultures in Mexico to render uniquely timeless, stylistic compositions. Mukherjee (b. Boston, 1966) similarly explores the changing environments. Using the forest as a means of expressing connection with nature and time, she innovatively prints present day mass media images from climate change and feminist protests onto jamdani sari fabrics that are collaged into her paintings, often appearing as hybrid or invented groves of banyan, aspen, or black cherry trees. Both artists take inspiration from India, Indian culture, and concepts of being and time. Rahon’s first volume of poetry was published in 1936 upon her return from a sojourn in India with fellow poet and artist, Valentine Penrose. Many of her poems and paintings address nature and mysticism, as well as the duality and union of humanity and nature. Mukherjee draws from her ancestry in India, poetically utilizing sari cloths as her canvas, investigating the transformation of its material as well as the multiplicity of ideas in her layered images. Rahon once described a process of hers as “a type of enchantment, like the development of photos in a tray—little by little, the forms emerge.” Likewise, Mukherjee utilizes a layered process of printing on textiles and then putting them down in the color fields. “While my compositions are very planned out, it is also like printing in a darkroom and watching the image emerge,” says Mukherjee. “The chemistry between the printed patterns and the fabric and then the colors and images in paint is really exciting and the process often seems magical.” Time Warriors is on view September 6 - October 7, 2023 at Gallery Wendi Norris, 529 West 20th Street ground floor, New York City.

Gallery Wendi Norris is pleased to present Leo Marz’s Modern Office. For his debut at Gallery Wendi Norris and first U.S. solo show in over a decade, Mexican artist Leo Marz investigates humans as processors of information. The seven new paintings and two sculptures in this exhibition, which evoke modern offices, address the flux, fragmentation, and discontinuities of space and time inherent in contemporary life. Each painting begins with a series of quick observational sketches. Drawing upon his imagination, intuition, and sense of humor, the artist combines elements from multiple sources as he develops the work. Modern Office addresses both temporal and spatial complexities. Lines may offer perspectival cues or suggest overlapping objects or gestures. Playing with scale, Marz layers compositions within compositions, bending space and time. Hats, decorative objects, and fragments of human bodies are ghostly presences in complex office spaces. Planes intersect in irrational ways. Abstraction coexists with representation. Interiors mingle with exteriors, present with past. Marz speaks to what we are conscious of, yet may not fully comprehend, as we navigate work life and home life, often simultaneously.

Gallery Wendi Norris presents Remedios Varo: Encuentros, the Spanish artist’s second solo gallery exhibition since her death in 1963. With approximately twelve works on display, Remedios Varo: Encuentros explores Varo’s engagement with the unexpected. A decade after organizing the artist’s first solo gallery exhibition (Indelible Fables, 2012), Gallery Wendi Norris is thrilled to deepen its commitment to the work of Remedios Varo, a vitally important modernist and pioneer of a feminist Surrealism. “This exhibition presents a rare and extraordinary opportunity to view powerful and awe-inspiring works by Remedios Varo, an imaginative artist whose mastery puts her in the ranks of the greatest painters of the 20th century,” states Wendi Norris, Varo’s gallerist and market expert. The exhibition takes its name from one of Varo’s signature paintings, Encuentro (1959). In this composition, a woman in a watery blue dress sits at a table and opens a box from which her own face stares back at her. Varo’s visual imagination is replete with such uncanny encounters: chance meetings between two beings, confrontations with the self, entanglements with the cosmos, brushes with the unknown. In each piece in the exhibition, the natural laws of the universe are suspended. Remedios Varo: Encuentros features paintings from throughout the artist’s career, including her last painting Naturaleza muerta resucitando (1963). In this wry take on the still life tradition, the objects are anything but still. Varo creates a dynamic vegetal solar system in which levitated fruits orbit a lighted candle, leaving trails of cosmic dust in their wake. Also on view is the haunting Ruptura (1955), a painting with the air of mystery for which Varo is famous. Rarely exhibited works on paper, like La torre (1947) and Apártalos que voy de paso (1959), offer viewers opportunities to experience other facets of the artist’s technical mastery and fantastical vision. Remedios Varo is achieving widespread institutional recognition. The Museum of Modern Art (New York), the Detroit Institute of Arts, and the Toledo Museum of Art have all recently acquired Varo artworks from Gallery Wendi Norris. Her work was featured in the 59th Venice Biennale, The Milk of Dreams, as well as in the recent exhibitions Surrealism and Magic: Enchanted Modernity at the Peggy Guggenheim Collection (Venice) and the Museum Barberini (Potsdam), and Surrealism Beyond Borders at the Metropolitan Museum of Art (New York) and Tate Modern (London). It is currently on view in Third Eye: The Costantini Collection in Malba at Fundación Malba (Buenos Aires). Varo will be the subject of the forthcoming exhibition at the Art Institute of Chicago, Remedios Varo: Science Fictions, from July 29 to November 27, 2023, the artist’s first solo museum exhibition in the U.S. in 23 years.

Afro-Cuban artist María Magdalena Campos-Pons addresses issues of history, memory, gender and religion through her work; she investigates how each one of these themes informs identity. Campos-Pons employs painting, installation, performance, video and photography to create autobiographical works that invite close examination and consideration. Marking the 20th Anniversary of Gallery Wendi Norris and inaugurating their new headquarters at 436 Jackson Street, Finding Balance is the second solo presentation for Campos-Pons with the gallery. The exhibition borrows its name from Campos-Pons's monumental 28-panel multimedia masterwork, which is the centerpiece of the show. The exhibition will focus on Campos-Pons's large-format polaroid works, including a complementary array of multi-paneled works that have never been shown by the gallery.

Gallery Wendi Norris presents Uncovering Alice Rahon, the artist’s first solo gallery exhibition in over forty-five years. With seventeen works on display, Uncovering Alice Rahon reveals Rahon’s mastery of oil and sand painting, assemblage, and sculpture. Her art has not been shown in San Francisco since 1953, when the San Francisco Museum of Art (now SFMOMA) presented a Rahon solo show. Almost seventy years later, Uncovering Alice Rahon underscores Rahon’s contemporary relevance and deepens Gallery Wendi Norris’ commitment to advancing the work of this remarkable artist, who was brought into the gallery’s program three years ago.

Gallery Wendi Norris is pleased to present Three Fates, featuring works by artists Ambreen Butt, Chitra Ganesh, and Eva Schlegel at Fort Mason Center Pier 2 in San Francisco. Three Fates will be the seventh exhibition in the gallery’s innovative offsite exhibition model. In ancient cultures across the globe, Fate was understood as a cosmic force that existed beyond the control of human activity. For the Greeks, it was personified by three women so powerful that even the Olympian deities were subject to their decisions. Clotho (from whose name the English word “cloth” is derived) would spin the thread of an individual’s life. Lachesis would measure and allot it; finally Atropos—the inflexible one, the oldest of the three—would cut it, thus determining the moment of death. As we reflect on the past year and prepare to enter a new one, beset by global powers so vast (political, medical, economic, climatological) as to feel impersonal in their reach, Gallery Wendi Norris presents the 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 as the role it may (or may not) play in our individual and collective lives.

Leonora Carrington: The Story of the Last Egg, installation view, Gallery Wendi Norris Offsite, 926 Madison Avenue, New York, NY, May 23 — June 29, 2019, photography: Dan Bradica In the first New York solo exhibition in 22 years for the late artist, Gallery Wendi Norris presents "Leonora Carrington: The Story of the Last 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 20 paintings and six sculptures by the British-born Mexican-exile will coalesce to explore Carrington's personal philosophy as it's depicted through a vast visual vocabulary forged from her encyclopedic knowledge 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 yet understand, Carrington's imagery evokes the salvatory power of feminism, ecology, and mysticism in the face of mankind'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 old 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 as 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 Small," Carrington wrote in Down 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 experience, and spans the evolution of Carrington's ecofeminist perspective as the scope of her artistic attention widens from her own inner-experience to the all-encompassing One. Wendi Norris and her gallery have been working with Leonora Carrington’s artwork and legacy for 17 years. Her art has been featured in over 80 exhibitions around the world and she is represented in the museum collections of The Metropolitan Museum of Art, Tate Modern, and the Art Institute of Chicago, among others. She published seven works of fiction, all of which have been reissued after her death with resurging popularity. She died in 2011 at the age of 94.

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 give” explores the fundamental intersection of sculpture and photography in Nayar’s artistic practice. Bearing strong reference to both Modernist architectural structures, informal building strategies and corporeal forms, the works invite viewers into distinctly psychological environments. Nayar’s compositions draw visually on the relationships between architecture and the body, and the cultural, emotional and spatial resonance of our constructed surroundings. Like the exhibition’s title, “If stone could give”, the works on view blur the boundary between animate gestures and inanimate constructs. Within her studio, Nayar builds her sculptural subjects from simple materials - cardboard, plaster, house paint, wood, string, cut paper and photographs, and other industrial materials and studio debris. Nayar documents the process of construction and deconstruction in hundreds of film and digital photographs. Ultimately, she creates a single photographic image as the only relic of the tableaux. The laborious process of building and unbuilding remains only in memory and metaphor as she destroys the sculpture to start anew. Nayar describes her work as “exploring psychological relationships to the built environment, the tensions between planned and informal architectures, memory and erasure, material and psychic spaces.” The exhibition presents large and medium-scale photographs mounted on Dibond and frameless, leaning or hanging on supports within 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 classic San Francisco architectural elements, including a small un-finished basement characterized by low ceilings and exposed framework. Like Nayar’s artworks, the space boasts juxtaposing characteristics of refined and raw, light-filled and cavernous, new and old. At the heart 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 Building, Ratio 3 Gallery, Et Al. Gallery, and more.

Ana Teresa Fernández: Of Bodies and Borders, installation view, Gallery Wendi Norris Offsite, 6391 NW Second Avenue, 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 as the “deadliest border in the world”. To date, according to the New York Times, 13,000 migrants have been recorded as killed or missing on this border. Once saturating the North American news, this crisis has been distilled to the periphery of our awareness. For Ana Teresa Fernández’s third solo exhibition, “Of Bodies and Borders”, Fernández aims to refocus attention on the plight of the thousands of migrants through a new body of work, including video, painting, drawing, and installation. Pivoting from her previous work on U.S./Mexico border to the Mediterranean Sea, 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’s performance in the depths of the ocean. In the video, “Drawn Below”, she dons her signature little black dress and heels, weighted down with 13-pound weights. While submerged, she wrestles with a bed sheet for hours, exemplifying an enduring physical and psychological performance. Her large-scale documentary oil paintings illustrate her suspended underwater: swimming, floating, and plummeting into a dark, eerie abyss. The meticulous layering of color and brushwork further emphasize the complexity and tension between water, cloth, and the artist’s body. In the series of documentary drawings titled, “Gauging Gravity”, Fernández’s identity is eventually 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 space, 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 coast 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 as “the U.S. cultural heart of the Haitian diaspora”. The neighborhood parallels histories of migration, particularly the Haitian refugees during the late 1970s to early 1990s, and builds upon Fernández’s 2006 public artwork and activism in Haiti. Moreover, the site presents a unique opportunity to 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 November, to be released in Miami, featuring an essay by María Elena Ortíz, Associate Curator at the Peréz Art Museum Miami.

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 Magazine and ISAIA, proudly presents Broken Lines, a curated exhibition within Frank Lloyd Wright’s iconic San Francisco landmark, 140 Maiden Lane. Constructed 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 by gallery artists Julio César Morales, Yamini Nayar, Miguel Angel 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's signature cylindrical lines. Nayar’s large scale photo, "Transference", reveals a Brutalist architectural approach, with complete regard for function 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 balls from his critically-acclaimed film which serves as a metaphor for human and drug trafficking. Morales’ “Broken Line”, a red neon drawing of the US/Mexico border is installed across from his life-sized silver ceramic "Wetback Burrito" sculptures, a captivating, radiant manifestation of a socio-political hotspot. Finally, Young’s Weave acrylic paintings on canvas and paper from the 1970s masterfully reference the weave, a nod to the exquisite ISAIA line.

Eric Siemens, A Settle in the Cornice Downs, 2018, Acrylic on canvas, 72 x 144 inches (182.9 x 365.8 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 foot atrium of 555 20th Street, Building 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 Award. Raveling Relic marks the solo debut exhibition for Eric Siemens, who was formerly represented by Gallery Wendi Norris as part of the collaborative artist duo Kate Eric. These thirteen new paintings represents a long journey of return to painting, after a nearly five-year hiatus, an untangling of revered images and ideas stowed away in the artist’s mind. Currently residing in Camogli, a small fishing village on Italy’s Ligurian coast, Siemens pulls from a pre-existing nautical language to aid his conceptual navigation. His lexicon originates from old world cartographic charts, specifically Portolan Charts or Ex-voto paintings, which operate as historical anchors. Siemens’s mental excavation simultaneously venerates and questions the veracity of these artistic paradigms. Siemens’s paintings feature 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 sharp landmasses that dissipate and reemerge at different angles. The work harkens back to fifteenth century shipwreck paintings but uses surreal color palettes and expressive washes of acrylic paint. The installation of the artworks will 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 10,000 square foot atrium within the 20th Street Buildings at the Historic Pier 70. Building 113 was designed by civic engineer D. E. Melliss in 1885 and previously housed the Machine Shop. Located on the San Francisco waterfront, Pier 70 is comprised of eight historic office and industrial buildings known as the Union Iron Works which served for 150 years contributing to the industrialization of the west coast and both World Wars. The renovation of the building, led by Orton Development, preserves the site’s history and repurposes the space for a community of modern, innovative companies. The site was chosen for its intersection between past and present, honoring the city’s maritime past, while also revitalizing the space for future arts and culture events.

Val Britton: The Shape of Change, installation view, Gallery Wendi Norris Curatorial Project, Hired Commission, 1275 Minnesota Street, San Francisco, CA, April 10 - 14, 2018 SAN FRANCISCO -- March 27, 2018 -- In honor of Equal Pay Day 2018, Gallery Wendi Norris has partnered with Hired, a career marketplace that matches tech talent with the world’s most innovative companies, to present a curated project that will foster creative problem solving and dialogue around wage inequality. The Shape of Change presents a commissioned body of work by San Francisco-based artist Val Britton, curated in direct response to Hired’s 2018 report, The State of Wage Inequality in the Workplace, which calculates current trends in tech salaries. Last year's data found that 63% of the time, women received lower salary offers than men for the same job at the same company — and the forthcoming report will further evaluate the state of wage inequality today between men and women in the technology field. The installation will transform the atrium at Minnesota Street Project with two mixed media paintings on paper and a sculptural installation made up of cut paper and string. The work stems from Britton’s interpretation of the statistical analyses that become transmuted into visual elements, i.e. shapes, forms, and colors. She extracts ratios and statistics from the report to be converted into concrete 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 April 9 - 14. Britton creates a material representation of the state of wage inequality to be corporeally understood and acknowledged. Her work allows the data to take shape and occupy space, engaging the viewer’s visceral response in hopes of changing the way we move through our current socio-economic environment. Coinciding with Equal Pay Day on April 10, 2018, The Shape of Change shines a light on the state of wage inequality across the technology industry. Gallery Wendi Norris selected Minnesota Street Project, a prominent art space 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 space that has developed its mission around supporting the arts and artists in the Bay Area.

Julio César Morales: This World is Not For You, installation view, Gallery Wendi Norris Offsite, Torre Cube, Floor 13, Guadalajara, Mexico, February 2 - 28, 2018 San Francisco, November 20, 2018 — From the first barb wire fence placed in the Southwest region to deter the Chinese after the Chinese exclusion Act in the 1880’s, to Trump’s proposed 70 billion-dollar wall, the physical 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 than two 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, 19-piece series entitled “Day Dreaming” mixes black 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, clothing and drinking vessels from both sides of the border. The photographs are printed to the same size as the holes that are left at certain areas along the fence for surveillance. The art works attempt to find 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 it has been cursed for hundreds of years and stories about men, women and children being swallowed by the ghosts/devils under the sand is still talked about today. The area is dangerous and no border wall exists –an invitation for migrants to attempt crossing in a place where their odds of survival are slim. We Are The Dead and We Are the Dead: Part Two, a two channel video installation with original soundtracks by the artist, are based on a true 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 as a gift for relatives waiting in the US. The brothers later decided to split up and find help, and one made it to a Circle K convenience store, while the other was later found dead in the desert with an empty bottle of tequila. A story originally told of the dead brother in 2013 in We Are the Dead is now continued through the eyes of the living brother in We are the Dead, Part Two, where the living brother states. Since my brother is gone, I no longer speak Spanish. That world left us, dehydrated. We saw planes taking flight, running away. This world is not for you they were telling us in their lift off. Do you still believe the world is for you? Gallery Wendi Norris presents its fourth exhibition for Morales at Galería Curro’s project space at Torre Cube, the 230-foot tower building, designed by architect Carme Pinós, in the heart of Puerta de Hierro, Guadalajara, Mexico. The building is situated in an 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 center, taking advantage of the local climate. The exhibition is accompanied by limited edition artist poster, with an essay by Diana Nawi, an independent curator and writer based in Los Angeles, who previously served as associate curator at the Perez Art Museum Miami.

María Magdalena Campos-Pons: If I Were A Poet, installation view, Gallery Wendi Norris Offsite, 649 Mason 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 significant works in the exhibition are gridded variations of large-format Polaroid photographs depicting ancestral, 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 production of the film 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 piece, 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 show 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 made by 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 Golden Gate, utilizes raw spaces in historic Building 649 at Crissy Field. The building was constructed in 1951 by the United States Army to house the Sixth Army’s US Army Reserve Center. The 6,000 square foot interior features a large assembly hall surrounded by storage space, classrooms, and a rifle range. When the Presidio was a military base, Building 649 was used for training and administrative activities. In April 1975, thousands of Bay Area volunteers worked at the building when it was being used for the medical care of more than fifteen hundred children who had been hastily airlifted from Vietnam as Saigon fell. The children were ultimately relocated for adoption with American families in a program called Operation Babylift.

Leonora Carrington, Operation Wednesday, 1969, Tempera on masonite, 23 ¾ x 17 5/8 inches (60.5 x 44.7 cm) Gallery Wendi Norris’ final exhibition at 161 Jessie Street, Threads of Memory: One Thousand Ways of Saying Goodbye, presents a celebratory survey of the gallery’s program, including emblematic works by each of the 18 represented artists. The exhibition highlights the rigorous and richly varied artworks that anchor the gallery’s transcultural approach, while tracing threads of influence and connection between the artists. Leonora Carrington’s Operation Wednesday (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 by the artist to honor the 43 students who were unjustly killed as a way to silence their protests in a more recent 2014 tragedy. Firelei Báez’ Study 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 balance between abstraction and figuration. Also on view are video works by 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’s title is derived from Maria Magdalena Campos-Pons’ largest installation, Threads of Memory: One Thousand Ways of Saying Goodbye (2003), an immersive mixed media 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, we invite our community to celebrate the program we have built here at 161 Jessie Street, the artists that propel us forward, and the exciting path ahead as we embark on a new focus, new program, and new headquarters. In lieu of an opening reception, Gallery Wendi Norris will host a champagne celebration to close the exhibition on Wednesday, November 15, from 6-8pm, accompanied by a curated playlist by gallery artist and DJ, Peter Young (DJ Joven).

Yorgo Alexopoulos: Drifting on a Memory, installation view, Gallery Wendi Norris, San Francisco, CA, September 21 — October 14, 2018, photography: Bryan Hewitt San Francisco — Gallery Wendi Norris is pleased to present Yorgo Alexopoulos: Drifting on a Memory, the Los Angeles-based artist’s second solo exhibition with the gallery. Drifting on a Memory debuts large-scale oil paintings and works on paper that mark a conceptual voyage into the artist’s past. Departing from his decades-long practice of creating video installations built-up from hundreds of original paintings, drawings, and photographs rendered into digital compositions, Drifting on a Memory 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 after 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. As such, he reveals a stripped-down, “unplugged,” and deeply personal narrative thread in his ongoing artistic journey.

(ism): 80 Years of Nonconformity, installation view, Gallery Wendi Norris, San Francisco, July 13 - September 15, 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 selection of works represent important art historical moments of the last 80 years, while never fitting neatly or distinctly within their respective categorical ‘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 form, with the bold, mythological feminist figures of Chitra Ganesh and Firelei Báez.

Ranu Mukherjee: Shadowtime, 2017, installation view, Gallery Wendi Norris, San Francisco, May 18 - July 8, 2017, photography: JKA Photography San Francisco — Gallery Wendi Norris is pleased to present Shadowtime, the third solo exhibition with San Francisco-based multi-media artist Ranu Mukherjee. Shadowtime unveils a series of new yellow, orange, and purple milk paintings on paper and a hybrid film installation, projected on a 107 x 60-inch sculptural 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 incorporate layers of gestural lines evoking immediacy and movement. At first glance, the paintings appear as collections of colorful fragments. Made up of seemingly knotted entanglements, they deny the viewer immediate comprehension of specific subject matter. However, from vibrant tangles and clusters, narrative and contradicting imagery unfolds. Scenes of lovers embracing, ice sheets cracking, and masses of people in protest or prayer reveal themselves with relatable complexity. This exhibition will also 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 world. This footage, animated atop fragments of shifting groundcover, portrays expressions of love 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 environment, Mukherjee collaborated with the Bureau of Linguistic Reality to coin the term, “Shadowtime”. “Shadowtime” conveys “the feeling of living simultaneously in two distinctly different time scales.” An additional definition is “the acute consciousness of the possibility that the near future will be drastically different than the present.” “Shadowtime” becomes a noun about unknowing. It expresses the cognitive dissonance of equally possible yet divergent futures. Layering images of natural disasters and exodus the artist personalizes incomprehensible fear with undeniable notions of hope and love. This exhibition is complemented by two public programs including an artist conversation lead by with Saisha Grayson, Ph.D. candidate, The Graduate Center-CUNY, and former Assistant 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 movement-based performance for three people, inspired by and based on the Shadowtime exhibition.