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260 Utah Street
San Francisco, CA 94103
415 495 5454
Hosfelt Gallery represents an international roster of artists whose work is grounded in a broad understanding of history — visual, cultural, political and social. Our program is built around artwork with a refined level of execution that offers new perspectives on critical discourses in contemporary art, culture, and politics. 

Over the course of more than twenty years, Hosfelt Gallery has distinguished itself through the introduction of exceptional new artists from around the world, the intellectual rigor of its programming, its role in nurturing the careers of now internationally-renowned artists, a commitment to showing work that may not align with current trends, and representation of some of the most important artists of the Bay Area and beyond. In 2015 the gallery founded the first Digital Media Conservation Lab to address the growing need for the preservation of digital and electronic art.
Artists Represented:
Rina Banerjee
Jim Campbell
Julie Chang
Bruce Conner
Jean Conner
Russell Crotty
Reed Danziger
Anoka Faruqee
Max Gimblett
Jutta Haeckel
Tim Hawkinson
Andrea Higgins
Christian Houge
Birgit Jensen
Isabella Kirkland
Stefan Kürten
Crystal Liu
Bernard Lokai
Emil Lukas
Marco Maggi
Ben McLaughlin
John O'Reilly
Driss Ouadahi
Patricia Piccinini
Nicole Phungrasamee Fein
Liliana Porter
Angelina Pwerle
Alan Rath
Lordy Rodriguez
Gideon Rubin
Surabhi Saraf
Andrew Schoultz
Cornelius Völker
William T. Wiley
Works Available By:
Rina Banerjee
Jim Campbell
Julie Chang
Bruce Conner
Jean Conner
Russell Crotty
Reed Danziger
Anoka Faruqee
Max Gimblett
Jutta Haeckel
Tim Hawkinson
Andrea Higgins
Christian Houge
Birgit Jensen
Isabella Kirkland
Stefan Kürten
Crystal Liu
Bernard Lokai
Emil Lukas
Marco Maggi
Ben McLaughlin
John O'Reilly
Driss Ouadahi
Patricia Piccinini
Nicole Phungrasamee Fein
Liliana Porter
Angelina Pwerle
Alan Rath
Lordy Rodriguez
Gideon Rubin
Surabhi Saraf
Andrew Schoultz
Cornelius Völker
William T. Wiley

 

 


 
Current Exhibitions

Liliana Porter

The Riddle / Charada



March 13, 2021 - April 24, 2021
Hosfelt Gallery is pleased to present the world premiere of the most recent video by Liliana Porter, The Riddle/Charada, featuring an idiosyncratic cast of characters culled from her ever-evolving collection of toys and figurines that she finds in flea markets, antique stores, and souvenir shops.

Ben Mclaughlin

Ex Libris



March 13, 2021 - April 24, 2021
Hosfelt Gallery is pleased to present new work by London-based Painter Ben McLaughlin. The intimate, often dream-like tableaus are a reflection of the slower, more interior-focused lives many of us have found to be the flip-side of pandemic shelter-in-place.

 
Past Exhibitions

Bruce Conner, Jean Conner, Anonymous, Anonymouse, Emily Feather and Signed in Blood

ASSEMBLED: Bruce Conner / Jean Conner / Anonymous / Anonymouse / Emily Feather / Signed in Blood



January 23, 2021 - March 6, 2021
Hosfelt Gallery is thrilled to present its first exhibition in collaboration with the Conner Family Trust — a show which mines 60 years of work by Bruce Conner and Jean Conner (as well as by Anonymous, Anonymouse, Emily Feather and Signed in Blood), across the genres of drawing, collage, assemblage and painting — highlighting shared themes and recurring motifs. 150 works, some from the private collection of Jean Conner and many never exhibited before, illustrate the artists’ intertwined interests in mysticism, religion, social and cultural norms, the natural world and the human body. Bruce Conner (1993 – 2008) and Jean Sandstedt (b.1933) met on a blind, double date in 1954 at the University of Nebraska, where they both studied art. They married on September 1, 1957 and left that night for San Francisco, where they quickly fell in with the Beat-era community of artists and poets. The Conners, like other Bay Area artists, refused to conform to the expectations defined by the art establishment of New York, instead embracing the lack of commercial viability of their artworks and their outsider status in ways that led to highly experimental and original art forms. Then, in the autumn of 1961, spurred by Bruce’s fear of the possibility of nuclear war with the Soviet Union and the intention to live cheaply, the Conners moved to the Juárez neighborhood of Mexico City. The year they lived there proved highly inspirational. Forays to historic churches and pyramids; Dia de los Muertos, and the funeral rites of strangers; a hunt for psilocybin mushrooms; the birth of their son; and day-to-day living in a foreign city and culture led them to independently create related bodies of work that would presage concepts, motifs and techniques they’d explore for the rest of their lives. This exhibition – by tracing those seminal, symbolic vocabularies and technical strategies – surveys the practices of two remarkable late 20th and early 21st century voices.

Emil Lukas

All Connected. Like it or Not.



December 5, 2020 - January 16, 2021
Emil Lukas is a sculptor who uses eccentric materials in his process-based artworks. Byproducts of his studio practice and the natural environment become both source material for and the subjects of works that are both painting and sculpture.For his eighth solo exhibition at the gallery, Emil Lukas presents new thread paintings alongside his "lost photograph" series, an adaptation of his eccentric process of using living fly larvae to drag ink across surfaces.

Lordy Rodriguez

Polar Democracy



October 17, 2020 - November 25, 2020
Twenty-four years ago, Lordy Rodriguez (b. 1976, Quezon City, Philippines) started using a visual lexicon of map-based forms as metaphors for defining an individual’s position within a culture or society. For his sixth solo exhibition at Hosfelt Gallery, Rodriguez utilizes this ever-developing, cartography-inspired vocabulary to ruminate on issues about the immutable appeal of democracy and its very precarious existence. Like many of us, Rodriguez is a news junky— fixated on unfolding stories of unequal access to resources; the violent quelling of peaceful demonstrations in Hong Kong, Minsk and Washington D.C.; and governments that murder journalists, poison political rivals or enact laws to disenfranchise their citizenry. The work in this exhibition — two new bodies of large-scale drawings — focuses on the bravery inherent in demanding a place at the table. The first series memorializes historic and contemporary efforts at peaceful demonstration. These include the 1930 Salt March, led by Mohandas Gandhi challenging British rule over India; the Langa March of 1960, in which between 30,000 and 50,000 demonstrators marched in opposition to apartheid; the 1965 civil rights march from Selma to Montgomery; and recent pro-democracy protests against Mainland China’s oppression in Hong Kong. In Rodriguez’s cartographic lexicon, these routes are “code-switched” in candy-colored references to race and oppression. The second group of drawings represents efforts by those in power to manipulate the boundaries of voting districts in order to favor a political party or racial group, thereby diminishing the voting power and political voice of others. While researching these gerrymandered districts, his very personal “ah-ha moment” came when he realized many of them were districts in which members of his large and far-flung, Filipino-American family live — states like Texas and Florida with large immigrant populations.The pieces in this series represent some of the most egregious examples of voter suppression as well as districts in which activists and courts have compelled boundaries to be re-drawn in ways that are more equitable.

Driss Ouadahi

Revisited Spaces



October 17, 2020 - November 25, 2020
After having trained as an architect, Algerian artist, Driss Ouadahi (b. 1959, Casablanca, Morroco) immigrated from post-colonial North Africa to study painting at the renowned Kunstakademie in Düsseldorf, Germany. Influenced by his lived experience as an émigré he has developed a unique visual vocabulary – a synthesis of structural design and modernist grid painting – which he uses to explore the social, political and psychological aspects of boundaries and the possibility of transcending them. Driss Ouadahi was born in Morocco in 1959 to parents who were Algerian political exiles. His work was exhibited in the Cairo Biennial in 2010 and The Future of a Promise: Contemporary Art from the Arab World during the 2011 Venice Biennale. He was awarded the grand prize at the Dakar Biennale in 2014. His work has been exhibited and collected internationally, including in Dubai, New York, North Africa and throughout Europe.

Max Gimblett

juggernaut



September 8, 2020 - October 10, 2020
Hosfelt Gallery presents a solo exhibition of work by the esteemed painter, calligrapher, and Rinzai Zen monk Max Gimblett. The exhibition, entitled juggernaut, opens September 8, 2020 and is the artist’s first exhibition at the gallery. Gimblett’s paintings are a harmonious, postmodern synthesis of American and Japanese art. Often working on shaped panels or canvases—tondos, ovals, and his signature four-lobed quatrefoil—he marries Abstract Expressionism, Modernism and Spiritual Abstraction with mysticism and traditions of Asian calligraphy. Gimblett’s paintings are defined by masterful brushwork combined with an eccentric and sophisticated color sense, and finished with sensuously glossy surfaces. They frequently incorporate gilding in precious metals—a nod to alchemy, the Presbyterian Church of Scotland (in which he was raised) and Japanese lacquerware, ceramics, and temple art. Gimblett’s oeuvre encompasses a half-century practice of creating unique artist’s books as well as calligraphy-inspired ink paintings on paper. He is both a storyteller and a teacher who frequently guides workshops in traditional Sumi ink drawing and calligraphy techniques.

Tim Hawkinson

Tantric Drip Drawings



July 20, 2020 - August 29, 2020
The word “tantra,” Sanskrit for “loom” or “weave,” is a metaphor for Hindu and Buddhist spiritual practices that bring together rituals, texts and teachings to guide understanding of the universe and a person’s place within it. To create this group of large-scale drawings, Tim Hawkinson constructed an apparatus that functions in much the same way as a tattooist’s needle. Large sheets of paper are mounted on a turntable fixed flat to the wall. Using his contraption, he applies India ink to the paper and allows it to run in straight lines. He then rotates the paper and repeats the process from different angles to construct complex geometric forms that bulge and bend across the picture plane — despite the absence of any curved lines. Many are uncannily tiki-like — stylized and fetishistic representations of the human body. Others evoke the geometry and optical effects of Islamic tiling or American quilts. Each, constructed though the ritualistic buildup of lines, is a token of Hawkinson’s idiosyncratic practice. Tim Hawkinson was born in San Francisco in 1960 and received his BFA from San Jose State University before moving to the Los Angeles area (MFA 1989, University of California, Los Angeles), where he is currently based. Hawkinson’s work has been exhibited internationally with solo museum shows at the Museum of Contemporary Art, Sydney; J. Paul Getty Museum, Los Angeles; Whitney Museum of American Art, New York; Los Angeles County Museum of Art; the Hirshhorn Museum and Sculpture Garden, Washington D.C., among others. His work is in numerous collections including the Smithsonian American Art Museum, Washington, D.C.; Whitney Museum of American Art, New York; San Jose Museum of Art, California; J. Paul Getty Museum, Los Angeles; Museum of Contemporary Art, Los Angeles; and the Los Angeles County Museum of Art. Tantric Drip Drawings is Hawkinson’s third solo exhibition at Hosfelt Gallery.

Andrew Schoultz

Mother Nature, Father Time



June 1, 2020 - July 11, 2020
Uncannily prescient, LA-based Andrew Schoultz’s new exhibition of paintings and sculptural installations looks at mortality—personal, societal, cultural, environmental—with an eye to taking responsibility, and glimmerings of hope. Schoultz’s stylized, symbolic lexicon includes archaic military machines, volcanic eruptions, Greek vases, mythical creatures and iconography from the Great Seal of the United States. Weaving them together with formal references to mid-20th-century Op Art, Schoultz depicts a complex and unstable world in which truth must be de-coded. We live, he says, in a dizzying time of environmental degradation poised at a tipping point of no return, endless wars fought in the name of religion inflicting suffering at massive scale, and income disparity empowering the demagogic at the expense of the democratic. Add a plague of biblical proportions and it’s no wonder we’re all reeling. As important as the vocabulary of symbols that those familiar with Schoultz’s work will immediately recognize, is his use of the tools of classic Op Art to create visual effects like vibration or trembling. Such effects can literally induce physical sensations of disorientation in a viewer. For the artist, they function as a concrete representation that best describes the zeitgeist. Central to what is likely his most ambitious gallery exhibition to date is an 11×34 foot painting he calls Cathedral. Three years in the making, it’s an epic cycle examining the history of the Western world—of greed, partisanship, war for profit, self-interest, and the failure of governments. This painting specifically, and the exhibition generally, is a wakeup call… a plea to examine how we treat each other and how we abuse our environment. It serves notice that we must take responsibility and make changes, or face the consequences.

Stefan Kürten

True Colors



February 1, 2020 - March 14, 2020
Stefan Kürten’s paintings explore the complexities of our universal yearning for the ideal place to call home. His source material includes appropriated images from architecture and design magazines as well as photographs he has taken during his global travels. These become starting points for carefully constructed scenes whose idyllic environments belie their illusory promise of ultimate happiness.

Jim Campbell

Closer to Nothing



December 14, 2019 - January 25, 2020
With light as his primary medium, Jim Campbell probes the liminal boundaries of perception. Utilizing devices and techniques he has developed over the last nineteen years, his newest body of work exploits extreme data deficiency as a means of engaging primal pathways of comprehension. Each piece, effectively incomplete without viewer participation, resolves itself only through the brain’s capacity to extrapolate meaning from a paucity of information.

Jutta Haeckel

Double Nature



October 19, 2019 - November 27, 2019
Düsseldorf-based Jutta Haeckel may be the most original painter of her generation. Her recent paintings on jute—the strong, coarse, natural fiber that burlap is made of—utilize a series of unorthodox techniques to undermine the physical and conceptual precepts of painting. For several years, Haeckel has been developing a technique that inverts traditional processes of depiction. Rather than painting a form, she paints the negative space around the form, confounding one’s perception of foreground and background as well as the meaning of “subject.” In her newest work, in addition to her already eccentric process, she applies pigments to the “backside” of the painting, then pushes paint through small gaps in the fabric—extruding it onto the “front”—further subverting the two-dimensional space of traditional painting. Technically dichotomous—painted from both sides; seemingly gestural, yet quite controlled; at the same time abstract and representational; micro and macro—Haeckel’s paintings are studies in ambiguity. Their Double Nature, she believes, is a reflection of the technological, scientific, social and cultural fluidity of our time. Jutta Haeckel was born in Hannover, Germany in 1972. She studied at Hochschule für Künste, Bremen, under the tutelage of Karin Kneffel and at Goldsmiths College in London. She has exhibited widely in Germany, including recent exhibitions at the Kunstverein Leverkusen, the Kunsthalle in Recklinghausen and at Schloss Detmold. This is her sixth solo exhibition at Hosfelt Gallery. A recent catalogue can be purchased by contacting the gallery. As a counterpoint to Haeckel’s paintings, Hosfelt Gallery will exhibit a group of antique stone objects from the temple gardens of Kyoto. While Haeckel’s paintings can be said to be about flux, the basins, pagodas, lanterns and foundation stones—some dating as early as the Kamakura Period (1185 – 1300)—exude serenity and solidity. These stone objects are shown in association with Mitsui Fine Arts.

Rina Banerjee

Blemish



September 7, 2019 - October 12, 2019

Reed Danziger

To Sweep the Horizon



September 3, 2019 - October 12, 2019
Reed Danziger thinks of herself as a researcher, documenting the scene of a disruption in an imagined time and space. Her artworks take the form of large-scale paintings on paper, in which she develops a vocabulary of mark making using watercolor, ink and graphite to record moments of flux. In some of these paintings, she captures explosive instants frozen in time. In others, she represents continuously flowing energy. The resulting “imagery” is both fast and slow, filled with flashes of momentum and moments of calm, and reveals evolutionary layers of process that speak to the relationship between the fluid and the fixed. Though completely abstract, the paintings are metaphors for transition, be it scientific, cultural or personal. In each piece she uses the representation of something unseen – energy – as a symbol for the human effort to understand and cope with things that are ultimately unknowable and outside our control.

Rina Banerjee

New Paintings on Paper



September 3, 2019 - October 12, 2019
Hosfelt Gallery presents a solo show of new mixed media paintings on paper by Kolkata-born, New York-based Rina Banerjee, as an ancillary exhibition to her touring mid-career survey, currently on view at the San Jose Museum of Art. Banerjee’s sensuous and otherworldly paintings reflect both her transnational background and her mastery of materials and image-making to examine and describe the complexities of 21st century globalism. Delicately rendered in inks, metallic leaf and collaged elements, female figures float in worlds both fluid and ambiguous. They’re dislocated, detached and in states of transformation — sometimes shifting between human and bird or beast. She spins narratives relating to colonialism, environmentalism, immigration and identity, poetically tackling the big issues from the perspective of a woman of color.

Ruth Asawa, Antonio Asis, Chris Ballantyne, Rina Banerjee, Robert Bechtle, Judith Belzer, Dike Blair, Michael Buthe, Alessandro Casolini, Tyrell Collins, Bruce Conner, Russell Crotty, Reed Danziger, Hugo de Marziani, Jay DeFeo, Jonathan Delafield Cook, Gustavo Díaz, Fortunato Duranti, Jacob El Hanani, Nicole Phungrasamee Fein, León Ferarri, Roland Flexner, Gajin Fugita, Alberto Giacometti, Max Gimblett, Nancy Graves, Zarina Hashmi, Tim Hawkinson, Eva Hesse, Kein Imao, Chusei Inagaki, Colter Jacobsen, Jacob Jordaens, Nam June Paik, Anish Kapoor, Yokoi Kinkoku, Isabella Kirkland, David Klamen, Stefan Kürten, Crystal Liu, Antonio Lizárraga, Jose Antonio Suarez Londono, Emil Lukas, Claire Lukas, Marco Maggi, Gerhard Mayer, Tyeb Mehta, Alicia Mihai Gazcue, Nasreen Mohamedi, Rosetsu Nagasawa, John O’Reilly, Mariyama Okyo, Gabriel Orozco, Driss Ouadahi, Giovanni Battista Paggi, Raymond Pettibon, Patricia Piccinini, Yulia Pinkusevich, Liliana Porter, Ken Price, Angelina Pwerle, Lordy Rodriguez, Ed Ruscha, Fred Sandback, Andrew Schoultz, Shahzia Sikander, William T. Wiley, Mark Tansey, Paul Thek, Ana Tiscornia, Howei Tsui, Ignacio Uriate, Cornelius Völker, Hannah Wilke, William Wood

Between Them: An Installation Composed of Drawings



July 13, 2019 - August 17, 2019
Todd Hosfelt puts together approximately 200 drawings, ranging from abstraction to figuration and utilizing juxtapositions between works to tease out formal and thematic echoes across centuries and cultures. The exhibition includes work by 75 artists ranging from the 1500s to the present. An opening reception will be held Saturday, July 13 from 4 - 6 PM.

Bernard Lokai

Bernard Lokai: New Paintings



May 11, 2019 - July 3, 2019
Opening reception for the artist: Saturday, May 11 from 3 – 5 PM In two distinct bodies of work, German painter Bernard Lokai explores the seemingly infinite possibilities of paint applied to canvas. The first body of work, which he calls Landscape Blocks, is comprised of grids of 12 x 16 inch panels in which he both refers to and disrupts the history of painting. Each panel is a stand-alone abstract work. Some of them clearly allude to recognizable conventions, techniques or even specific artists, while others undermine those connections and still others have no recognizable precedent. He then arranges (and sometimes spends years rearranging) them into grids of 18 to 33 components, which together form the impression of a landscape. The tension between abstraction and representation operates as a metaphor for philosophical examinations of appearance and disappearance, permanence and impermanence, creation and destruction. Individual large canvases form the second body of work. These make room for bold expressions of color and mark-making and often combine multiple painting techniques within a single work. From sprayed neon acrylics to thickly applied, gestural brushstrokes in oil, Lokai’s purpose is neither to express emotion nor reference a particular subject. Rather, his practice ceaselessly probes the traditions and tropes of painting in unbounded pursuit of latent meanings and potential. Bernard Lokai was born in 1960 in Bohumín, Czechoslovakia. After his parents escaped from the former Czechoslovakia, Lokai grew up in Düren, Germany. He studied at the Kunstakademie Düsseldorf under Gerhard Richter and now resides in Düsseldorf.

William T. Wiley

SCULPTURE, EYES WEAR TUG ODD



March 23, 2019 - May 4, 2019
William T. Wiley is one of the most influential American artists to come out of the San Francisco Bay Area. His third solo exhibition at Hosfelt Gallery reflects the importance of what is perhaps the least known aspect of his output—sculpture—through a range of works spanning the last six decades. Defined and unified by a visual vocabulary of repeating motifs combined with cunning word play, Wiley’s is an open-ended investigation into the moral issues of the global citizen. He masterfully assembles found objects and common materials upon which he inscribes enigmatic malapropisms, puns and double entendre, crafting strange objects with uncanny psychological weight. But the “gee-shucksness” of the media and frontier-plainness of the poetry are the spoons-full-of-sugar employed by a philosopher/poet of the most sophisticated order. Wiley’s riddle-filled assemblages, like his paintings on canvas and paper, are the empathetic musings of one particularly tuned into the absurdity of the human condition. William T. Wiley was born in 1937 and moved to San Francisco in 1956 to attend the San Francisco Art Institute (then the California School of Fine Arts). He completed his MFA in 1962, then taught at UC Davis, where he, along with Wayne Thiebaud, Robert Arneson, Roy De Forest, and Manuel Neri, transformed what was known as an agricultural college into one of the most important art schools of the 1960s and 1970s. In 2009 the Smithsonian American Art Museum mounted a retrospective of Wiley’s work that traveled to the Berkeley Art Museum in 2010. In 2013 Wiley was the subject of a major solo exhibition at the Fondazione Marconi in Milan. During the 2013 Venice Biennale, Wiley’s work was included in the Prada Foundation’s remake of the legendary exhibition, When Attitude Becomes Form, originally curated by Harald Szeemann at the Bern Kunsthalle, Switzerland in 1969. Wiley’s paintings, works on paper, sculptures and films are in the permanent collections of prominent public and private collections worldwide.

Russell Crotty

Bordering the Habitable Zone



February 2, 2019 - March 16, 2019
Internationally recognized for his innovative drawing practice, Russell Crotty presents a new body of work that combines his fascination with space exploration and concerns about environmental degradation from the viewpoint of an accomplished amateur astronomer, passionate surfer and native Californian. The central motif of this exhibition is imagined planetary landers—representing the thrill and promise of exploration as well as the perils our world faces. Informed by his own observational experience and that of scientists who surmise worlds that might exist beyond our own, his robotic explorers navigate hostile, submarine-like environments awash in toxic Kool-Aid-colored atmospheres. But their whimsical, futuristic architecture also recalls the optimism of mid-century California design, the Googie architecture of John Lautner, Oscar Niemeyer and Eero Saarinen, and Hanna Barbera’s influential animation, The Jetsons. Like the fastidiously inked globes for which he became famous, Crotty’s new work is equally object and drawing. Meticulous depictions of rockets, celestial bodies, smoke stacks and planetary landscapes are collaged to build the structure of the rovers, which are then embedded in bio-resin—a technique similar to that used in finishing surfboards. Despite this reference to “finish fetish,” he incorporates enough chance in these works to suggest the unintended consequences of humanity’s (mis)use of our planet and the unknowable results of exploration. Russell Crotty (b. 1956) was born and raised in the San Francisco Bay area. He lived and worked between Southern and Northern California for many years and now resides in the Ojai Valley. He received his BFA from the San Francisco Art Institute and his MFA from the University of California, Irvine. His work has been exhibited extensively internationally and collected by The Museum of Modern Art and the Whitney Museum of American Art in New York, the Los Angeles County Museum of Art, SFMoMA, the San Francisco Fine Arts Museums, the Centre Pompidou in Paris and many others. A two-year residency in 2016/2017 at Lick’s Mount Hamilton Observatory, a research facility managed by the University of California Santa Cruz, culminated in a solo exhibition at the San Jose Institute of Contemporary Art entitled “Looking Back in Time: Russell Crotty and Lick Observatory.”

Michael Light

Great Basin Autoglyphs and Pleistoseas



February 2, 2019 - March 16, 2019
In his eighth solo exhibition at Hosfelt Gallery, Michael Light presents a new body of work from his ongoing aerial photographic survey of the arid American West. Great Basin Autoglyphs and Pleistoseas ventures into deep time, moving from habited, placed settlements into pure space and its attendant emptiness. The resulting images are abstract and painterly investigations that reveal hitherto unseen terrain imprinted by both human intervention and geological phenomena. Twelve thousand years ago the Great Basin—that part of the country between California and Utah where water does not drain to the ocean—was 900 feet underwater, covered by two vast and now largely evaporated historical lakes, Bonneville and Lahontan. The remnants of Lake Bonneville today are the Great Salt Lake in Utah and its eponymous salt flats, while the most famous portion of the former Lake Lahontan is the Black Rock Desert in Nevada, an alkali bed that floods and dries each year, creating the flattest land on earth. It is also the location of the annual arts festival Burning Man. The topographies now exposed by both Pleistocene lakes are the entry points for Light as he continues to pursue themes of mapping, perceptual orientation, geology, and human impact on the land, but here in a more minimal and psychological way. Piloting his 600-pound aircraft at low elevations, he uses a large-format digital camera to capture the vast flatness of the former lakebeds, while back in the studio he applies a hyper-intensification process not unlike X-ray imaging or gravestone rubbing that results in the revelation of impressions, spaces and textures that are indiscernible to the naked eye. While Light has always pushed the boundaries of landscape photography, his approach with this body of work takes a deeper turn into graphic and emotional abstraction. Michael Light (b. 1963) is a Bay Area photographer, bookmaker, and pilot whose focus is the environment and how contemporary American culture relates to it. Light has exhibited globally and his work is in numerous museum collections including the San Francisco Museum of Modern Art, Fine Arts Museums of San Francisco, San Jose Museum of Art, Los Angeles County Museum of Art, Getty Research Institute, Los Angeles, Nevada Museum of Art, Reno, Brooklyn Art Museum, and the Victoria & Albert, London. His series FULL MOON is permanently displayed at the American Museum of Natural History in New York.

Patricia Piccinini

Inter-natural



December 1, 2018 - January 26, 2019
In her second solo exhibition at Hosfelt Gallery, Patricia Piccinini presents an immersive installation of hyper-realistic sculptures probing the increasingly permeable boundaries of humanness.

Cornelius Völker



October 13, 2018 - November 21, 2018

Marco Maggi

SUPRA muro



September 8, 2018 - September 6, 2018

Janine Antoni, Rina Banerjee, Louise Bourgeois, Julian Charrière, Edmund Clark, Bruce Conner, Russell Crotty, Tim Hawkinson, Isabella Kirkland, Barbara Kruger, Michael Light, John O’Reilly, Patricia Piccinini, Alan Rath, Kiki Smith, Surabhi Saraf and Cornelius Völker

Frankenstein’s Birthday Party



June 23, 2018 - August 11, 2018
2018 is the bicentennial of Mary Wollstonecraft Shelley’s novel, Frankenstein; or, The Modern Prometheus. Why does a 200-year-old ghost story continue to feel so relevant? It’s important to remember that the Frankenstein of Hollywood and pop culture – Boris Karloff, The Munsters or Rocky Horror Picture Show – is quite different from the novel. Beyond the fact that the tale has captured popular imagination, the novel’s lasting impact is grounded in the fact that it is a parable about human nature. And the most important question it asks is who is the real monster? The exhibition begins, as it must, with contemporary artists looking at the body and our attempts to conquer death; advances in science and technology; the animation of objects or machines and artificial intelligence. Thence comes an examination of ambition that outstrips the ability to understand or control what we’ve created and finally, what happens when we don’t take responsibility for the consequences of our actions. Central to both the novel and the curatorial stance of this exhibition is the failure to feel empathy for the ostensibly unlovable — the other. Who is to blame for the rage born of feelings of rejection and how do we expect that anger to play out in society?

Emil Lukas

Twin Orbit



May 5, 2018 - June 16, 2018
Emil Lukas’ exquisitely strange and phenomenological objects are meditations on the way we perceive the world. “We’re affected by lots of things that are larger than us — things we don’t normally know how to see — for example the laws of physics,” says Lukas. “I’m attempting to make the invisible, visible.” Labor-intensive and experimental, playful and poetic, surprising and delightful, Lukas’ sculptures and sculptural paintings grow out of investigations into gravity, perspective, mathematics, color theory and the properties of light. Round “paintings” — actually parabolic bowls with tens of thousands of colored threads stretched across — manipulate our sense of space and definition of color. Chunky, plaster works composed of honeycombs of multi-colored pixels create optically vibrating fields, their convex surfaces disrupting our perception of depth. And the centerpiece of the exhibition, a monumental, pixilated, aluminum lens, both restricts and restructures our line of sight. This exhibition is an examination of seeing, where optics — the study of sight and the behavior of light — is a metaphor for the human ability to derive insight from abstract concepts. “We have two eyes and they are set into our heads in a way that determines our reality — our perspective. Those notions of the way the world exists are what I’m trying to upend.” Emil Lukas was born in Pittsburgh, PA. He has exhibited extensively internationally and has been collected by, among many others, the San Francisco Museum of Modern Art and the Anderson Collection. Lukas has been represented by Hosfelt Gallery since 2006. This is our sixth solo exhibition together.

Anoka Faruqee

structural color



March 17, 2018 - April 28, 2018
In Anoka Faruqee’s sixth exhibition at Hosfelt Gallery, she collaborates with her partner David Driscoll to present new paintings from their Circle series. These works exploit the optical complexity of interference created through the layering of misaligned patterns — turning what is considered a corruption in digital imagery into a source of prismatic luminosity and uncanny volumetric effects. Developing out of Faruqee’s earlier Moiré series, these new paintings adhere to the consistent structural format of concentric circles. Created with notched tools raked through wet paint, their digital/mechanical appearance belies the rigorous hand-made process, but human gesture and imperfection are apparent through interruption, errata, and the thick flows of paint dripping around the edges. The ultimate chromatic and spectral effects are unpredictable and only fully reveal themselves once each work is complete. The fusion of patterns and colors creates an ephemeral condition in which the vibrations of light and hue continually change with the movement of the viewer. Moirés have a stubborn logic that parallels various phenomena in the physical world, such as wave formations, stress patterns, and magnetic fields. The overlay and subsequent visual fusion of two or more offset patterns creates another pattern that is quite unlike and much more complex than any of the components. In this group of works, this phenomenon of interference not only exemplifies the plasticity of perception, but also models the dynamism of the physical world. Anoka Faruqee was born in Ann Arbor, Michigan and directs graduate studies in painting and printmaking at Yale School of Art. David Driscoll was born in Wintersville, Ohio. They live and work in New Haven, CT.

Gideon Rubin

The Kaiser’s Daughter



March 17, 2018 - April 28, 2018
Most of the paintings in Gideon Rubin’s sixth solo exhibition with Hosfelt Gallery were selected from work made for an exhibition at the Freud Museum in London. As source material, Rubin — an Israeli living in London whose work always refers to found images — mined photographs illustrating a serialized English-language edition of Mein Kampf that was published in 1939, the same year that Rubin’s grandparents, like Sigmund Freud, fled Europe to escape Nazi persecution. Rubin’s characteristic manner of painting – with his subjects reduced to a few adept brushstrokes in a minimal color palette — renders his imagery simultaneously straightforward and ambiguous. They read like a flash of memory at the point of fading completely, a dream, or a history known only through re-telling. Other paintings in this exhibition refer to Andrei Tarkovsky’s 1975 experimental film, The Mirror, a non-linear, autobiographical masterpiece known for the poetry of its cinematography. Central to the work of the three — Freud, Tarkovsky and Rubin — is the slipperiness of human memory and the importance of seeking clues in the past to decipher and resolve the issues of the present. Gideon Rubin was born in Tel Aviv, Israel, and lives in London. He received his MFA from Slade School of Fine Art, University College, London. His work has been exhibited extensively internationally.