Stephen Giannetti's Family Portrait at Marx & Zavattero

Summer Selections & Fond Farewells

Summer Selections

Opulent Options—Summer abounds with group shows. They’re a prime opportunity to see a huge variety of work, and often galleries will feature up and comers with well established artists, as well, providing the opportunity to not only see work from some of your favorites, but also that of the hottest new talent. Some stellar multi-artist exhibitions can be found at Catharine Clark Gallery (“Remix,” through Aug. 15); Patricia Sweetow Gallery (“From the Celestial Latitude of 45 Degrees, Ending at the Longitude of 60 Degrees,” through Aug. 15); Togonon Gallery (Liberating Landscapes, Aug. 6–22); Altman Siegel [“see: Abstraction (disambiguation)” through Sep. 19]; and Robert Koch Gallery (through August 22).

Clark offers up a cacophony of color and materials in this show featuring collage by five artists in a wide array of iterations. A solid exhibition throughout, particularly engaging are works by Hilary Pecis and Amir H. Fallah. Fourteen artists are featured in the Sweetow show; there’s a lot to view. The delicate constructions of Katie Lewis, Cornelia Schultz’s abstract assemblage works, and Jamie Vasta’s glitter painted wood panels stand out. Togonon’s landscape show features the work of four painters and two photographers (all but one of whom has earned a degree in SF at SFAI or CCA). Throughout, the artists—Kristen van Diggelen, Tomashi Jackson, Bernardo Poggi Leigh, Klea McKenna, Ben Needham, Jackson Kyle Patterson—present their unique approach to this timeless genre. The Abstraction exhibition at Altman Siegel features three artists, Sara VanDerBeek, Shinpei Kusanagi, and Garth Weiser, none of whom have previously shown here, and explores the genre with a fresh perspective. VanDerBeek’s work (which will be featured in a group exhibition at New York’s MOMA next month) warrants a long look. Dramatic black-and-white photography captivates at Koch. Featured are works by Jerry Burchard (blurred night images), Debbie Fleming Caffery (artful images of Mexican prostitutes), and Linda Foard Roberts (romantic antique-esque images). Dark, ethereal, emotive, intimate, personal, this is an intensely beautiful show.  

Certainly Circular—Also up are  some notable solo shows. Over at Marx & Zavattero (through Aug. 22), Davis-based artist Stephen Giannetti takes his meditation on circles to a new level. For years, Giannetti has investigated the layering of exactly similarly sized circles, layering thin washes of color over color creating vibrating, serene works of sublime beauty. These new pieces show the artist reaching out to new materials—oil pastel drawings on paper, and black-and-white spray-paint on linen—to new effects, while maintaining his solitary use of the circles he’s known for. The drawings—white pastel on black, and black on white—are quiet and simple. The spray-paint pieces deliver a magnificent sculptural quality. Additionally, Giannetti hung the works in grouped clusters, almost patchwork-like, further enhancing the visual impact. Though each piece is a work of art on its own, as one viewer aptly put it, “you’d be crazy to separate them!” 

Circles also figure prominently in Sacramento-based artist Joan Moment’s work, on view at LIMN Gallery (through Sep. 12). On view is Moment’s Constellation Series, aptly named as these organic paintings resemble scenes of outer space. These dynamic abstractions are visually engaging on several levels. They are pleasing from the outset and, given additional visual attention, evolve with great depth and movement. Featuring a simple palette, at times only a single color is used, the works are at once soothing, while also presenting a wonderful complexity of composition. 

Fond Farewell

After forty years of covering West Coast artists showing in the West, as well as presenting thoughtful perspectives on art and serving as a clearinghouse for West Coast art news and artist grant and residency opportunities, Artweek magazine has closed its doors. A victim of the huge economic challenges currently being faced, the magazine ceased publishing after the June 2009 issue; no new editorial will appear in print or online. Back issues continue to be available. Articles from past issues are also available from UMI, www.napubco.com and Art Index, www.hwwilson.com.

Artweek, one of the few publications (and certainly the longest running) to focus completely on the West Coast will be missed; it has long been a vital outlet and source for giving artists at all phases of their career exposure and informing the public of the fine art offerings available here, lending a fair, critical voice, and helping to shape the region’s art scene. 

Chérie Turner is the editor of the Nob Hill Gazette.