260 Utah Street
San Francisco, CA 94103
415 495 5454



Artists Represented:
John Andrews
Chris Ballantyne
Rina Banerjee
Jim Campbell
Julie Chang
Russell Crotty
Reed Danziger
Jay DeFeo
Anoka Faruqee
Luka Fineisen
Jutta Haeckel
Tim Hawkinson
Christian Houge
Alfredo Jaar
Stefan Kürten
Michael Light
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 Exhibition

Jim Campbell
Far Away Up Close
260 Utah Street
San Francisco, CA 94103

September 7, 2017 - October 14, 2017
Through constantly-evolving and continually innovative iterations, Jim Campbell parses one of the most fundamental questions regarding the human mind: what enables us to interpret and understand the world around us? The 15 new works in this exhibition should, in theory, defy comprehension. They are either so low resolution (too little information) or so high resolution (too much information) that the viewer should not be able to understand the imagery depicted. Campbell’s works, however, activate our most primitive neural and sensory processes for interpreting visual clues like shape, movement, rhythm, and color. Tapping into these instincts, combined with the human capacity for complex memory and the ability to extrapolate, Campbell experiments with digital representation as a metaphor for the transmutation of data into knowledge. Campbell’s pieces are unique among artists using technology — not only because he designs and builds the computer systems that make them function. More significantly, his choice of media is conceptually linked to his message: he uses technologies developed for information transfer and storage to explore human communication and memory. His is not technology used merely to wow, but to consider the relationship of our minds to the technologies we’ve created. To be completed within the next few months and visible for decades to come, Campbell’s artwork on the top nine stories of the exterior of San Francisco’s new Salesforce Tower — the tallest building on the West Coast — will fundamentally alter the Bay Area skyline as well as the nature and purpose of public art. Unlike any permanent public artwork to date, Campbell’s piece will change daily, as a direct reflection of the life of the city in which it exists. Jim Campbell was born in Chicago in 1956 and moved to San Francisco after earning degrees in mathematics and engineering from MIT. He transitioned from filmmaking to interactive video installations in the mid 1980s, and began using LEDs as his primary medium in 2000. His custom electronic artworks and installations have made him one of the leading figures in the use of computer technology as an art form. Campbell’s works are in the collections of MoMA, SFMOMA, Whitney Museum of American Art, The Metropolitan Museum of Art, Smithsonian Museum of American Art, Los Angeles County Museum of Art and many others. In addition to the new installation for the Salesforce Tower, Campbell’s numerous public commissions include The Journey at the San Diego airport, Exploded Views for SFMOMA’s atrium lobby, Scattered Light in Madison Square Park (New York), Exploded View (Cowboys) for the Dallas Cowboys Stadium, and a forthcoming work, in collaboration with Werner Klotz, in the new San Francisco central subway in Union Square. Jacob’s Dream, a collaborative installation with Benjamin Bergery, is currently on view at Grace Cathedral in San Francisco.

 
Upcoming Exhibition

Stefan Kürten
Millefleurs
260 Utah Street
San Francisco, CA 94103

October 21, 2017 - December 2, 2017

 
Past Exhibitions

Jay DeFeo, Monir Farmanfarmaian, Luka Fineisen, Adam Fuss, Timothy Horn, Christian Houge, Birgit Jensen, Stefan Kürten, Marco Maggi, Josiah McElheny, John O’Reilly, Liliana Porter, Gideon Rubin, Ed Ruscha, Cornelius Völker, Zhan Wang, Carrie Mae Weems
Mirror Mirror
260 Utah Street
San Francisco, CA 94103

July 8, 2017 - August 12, 2017
In art, the mirror functions as a metaphor for viewing something we otherwise cannot see… most often ourselves. It's a mechanism by which the viewpoint is shifted, and we gain access to knowledge that had heretofore been beyond our reach. Of course, that is also the function of art itself. Artists hold up a looking glass within which an active viewer must confront their history, prejudices, identity and mortality. This exhibition offers the insights of Jay DeFeo, Monir Farmanfarmaian, Luka Fineisen, Adam Fuss, Timothy Horn, Christian Houge, Birgit Jensen, Stefan Kürten, Marco Maggi, Josiah McElheny, John O’Reilly, Liliana Porter, Gideon Rubin, Ed Ruscha, Cornelius Völker, Zhan Wang and Carrie Mae Weems as they reflect on ideas about “the gaze,” the (im)possiblity of veracity and the act of self-judgment.

Nam June Pike, Alan Rath, Jim Campbell, Tim Hawkinson, Gail Wight, Charles Lindsay, Rachel Sussman
Garage Inventors
260 Utah Street
San Francisco, CA 94103

May 6, 2017 - July 1, 2017
This exhibition features a 30-year span of work by artists who exemplify the ethos of Silicon Valley in the form of the genius “garage” inventor. Many of these artists have deep roots in the Bay Area, and they all channel a streak of “mad scientist” to experiment, discover, and innovate. Yet their works are more than high-tech marvels. Each of these artists harnesses their esoteric skills and knowledge to delve into existential conundrums and to explore the metaphysics of emotion, perception and consciousness. The ultimate pioneer in the genre of new media, Nam June Paik was a Korean American artist (born 1932 in Seoul, died 2006) widely credited as the founder of video art and among the first artists to envision the radical implications of an ‘electronic super highway’ and cybernetics. He co-created the Abe-Paik video synthesizer in the 1960s, which became a key element in his future work involving altered TV sets reconfigured into cyborg sculptures and installations. An MIT-educated engineer based in San Francisco for 30 years, Alan Rath builds electronic sculptures infused with uncannily life-like characteristics. Incorporating LCD screens and custom-designed robotic armatures, the works’ digital and mechanical movements are algorithmically generated sequences with an infinite progression of permutations. This exhibition features a range of work from the 1980s to the present. Jim Campbell received degrees in engineering and mathematics from MIT and has been based in San Francisco since 1980. His work probes the limits of perception with extremely low-resolution imagery through hand-made, LED-based sculptures. Campbell's work is unique in that his medium and message are inseparable: he uses technologies developed for information transfer and storage to explore human perception and memory. This exhibition includes early work from 1990 as well as new work. Tim Hawkinson (born 1960, San Francisco) received his BFA from San Jose State University before moving to Los Angeles. Hawkinson’s creative output channels the qualities of virtuoso tinkerer and prodigious alchemist. For this exhibition he has reconfigured a bicycle into a whistle that plays notes encoded in the notches of the bike’s rear-wheel tread pattern. Stanford Art Professor Gail Wight works primarily in sculpture, video, interactive media and print to construct biological allegories that tease out the impacts of life sciences on the living: human, animal, and other. The interplay between art and biology, theories of evolution, cognition and the animal state-of-being are themes that are central to her investigations. Born in San Francisco, Charles Lindsay began his career as an exploration geologist and is currently the SETI (Search for Extraterrestrial Intelligence) Institute’s Artist-In-Residence Program Director. His multi-disciplinary practice involves immersive environments, sound installations, and sculptures built from salvaged aerospace and bio-tech equipment, photographs and videos. Based in Brooklyn, Rachel Sussman recently completed a critically acclaimed, decade-long project, "The Oldest Living Things in the World," that combines art, science, and philosophy into a traveling exhibition and New York Times bestselling book. In her latest project, working with SpaceX, NASA, and CERN, Sussman has created a 100-foot long, handwritten timeline of the universe that begins before the Big Bang and extends 10 to the 100 billion years into the future. "(Selected) History of the Spacetime Continuum" conceptually weaves together astrophysics, geology, biology, mathematics, archeology, history, Einsteinian relativism, and chronocriticism—the study of time itself.

Jutta Haeckel
Future Echo
260 Utah Street
San Francisco, CA 94103

March 11, 2017 - April 29, 2017
Düsseldorf-based painter Jutta Haeckel has accomplished a rare feat in the crowded arena of contemporary art — she has developed a style of painting that is unique. In her fifth exhibition at Hosfelt Gallery, she uses her technical breakthrough to express the uncertainty of our time. Haeckel creates multiple viewpoints within a single painting by treating three-dimensional representation within a picture plane as fluid. Her technique reverses traditional processes of depiction: instead of drawing a line to define the outline of a form, she delineates a shape by painting the negative space around it, inverting one’s perception of foreground and background. The effect is, as erstwhile critic for the San Francisco Chronicle, Kenneth Baker, described it, a “dreamlike quality of one image or plane of awareness bleeding or burning through another, a sensation available only to memory, seldom approximated in any pictorial art.” Haeckel believes we exist in a time of increasingly rapid change and instability. Populations are finding conventional patterns, structures, codes and rules no longer reliable. She uses ambiguity — of space, perspective and perception — as a metaphor to describe that flux, and the necessity to think elastically. Jutta Haeckel was born in Hannover, Germany in 1972. She studied at Hochschule für Künste, Bremen, Germany and Goldsmiths College, London, England. She has exhibited widely in Germany, including recent exhibitions at the Kunsthalle in Recklinghausen and at Schloss Detmold. This is her fifth solo exhibition at Hosfelt Gallery.

Marco Maggi
Global Myopia (Language in Residence)
260 Utah Street
San Francisco, CA 94103

March 11, 2017 - April 29, 2017
Hosfelt Gallery is pleased to present the West Coast premiere of Marco Maggi’s first video installation. The two-channel, 30-minute video installation draws its content from Maggi’s 2015 Venice Biennale exhibition in the Uruguay pavilion. Maggi’s video venerates and satirizes the complexities and paradoxes of the experience of contemporary art from the viewpoint of a spectator observing spectators. In all of Maggi’s work, the necessity of slowing down, moving in closely, and examining carefully are requisites to encountering the intricacies of his techniques and ideas. In Maggi’s view, myopia has a positive connotation: narrowing one’s vision to focus, pay attention, and contemplate. It becomes an act of rebellion in a world of incessant distraction, where the speed and quantity of information is instantaneous, omnipresent, and overwhelming. Born in Montevideo, Uruguay in 1957, Marco Maggi now divides his time between New Paltz, NY and Montevideo. He was chosen to represent Uruguay in the 2015 Venice Biennale. His work is in numerous museum collections including the Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; Whitney Museum of American Art, New York; Art Institute of Chicago; Hirshhorn Museum and Sculpture Garden, Washington DC; Museum of Fine Arts, Boston; Fine Arts Museums of San Francisco; Walker Art Center, Minneapolis; as well as in the Cisneros Collection, New York and the Daros Foundation, Zurich.

Rina Banerjee
Human Likeness
260 Utah Street
San Francisco, CA 94103

January 28, 2017 - March 4, 2017
Kolkata-born and New York-based, Rina Banerjee fills the entire gallery with her fantastical, immoderate sculptures and delicately swirling paintings in an exhibition that seeks to describe the human experience in an era of unprecedented migration and interconnectedness. Banerjee’s sculptures are shamanistic assemblages of textiles, feathers, sparkling glass and tinkling bells. Beaded, embroidered and sensuously monstrous, they wantonly conjoin the exotic and rare with the cheap and mass-produced — rejecting conventional hierarchies of material and culture. In her paintings, chimeric female forms dance and float through vibrant, bountiful landscapes in states of hybrid transformation. In a post-colonial, global world, identity — racial, cultural or gender — is no longer easily defined. In this exhibition, Banerjee offers up the optimistic possibility of a world freed from the constraints of conventional standards of beauty, worth, social pecking order and what is “proper.” We live in a moment of singular opportunity, Banerjee posits, a moment when it is possible for individuals to define themselves in a way that is truly authentic. Rina Banerjee (b. 1963, Kolkata, India) received a BS in Polymer Engineering and worked as a research chemist before completing her MFA at Yale in 1995. Recent solo museum exhibitions include the Smithsonian Museum’s Sackler Galleries (Washington DC) and the Musée Guimet (Paris). Her work was included in the 2000 Whitney Biennial, the 2005 and 2015 Greater New York Shows at PS1/MOMA, the 2013 Venice Biennale’s White Light/White Heat at the Glasstress Museum, the 2015 Asian Art Biennial at the National Taiwan Museum of Fine Arts (Taichung) and the 2016 Busan Biennial, South Korea. Her work will be included in this year’s Prospect 4 New Orleans Biennial. Her work is in the collections of the Devi Art Foundation (New Delhi), Kiran Nadar Museum (New Delhi), Centre Georges Pompidou (Paris), the Whitney Museum of American Art (New York), The Brooklyn Museum (New York), Berkeley Art Museum (Berkeley, CA), San Francisco Museum of Modern Art, Hammer Museum (Los Angeles), and many others.

Crystal Liu
weighing it out
260 Utah Street
San Francisco, CA 94103

December 10, 2016 - January 21, 2017
Crystal Liu constructs landscapes that are metaphors for her emotional states. In large-scale paintings on paper that incorporate her adaptation of the technique of marbleized paper along with watercolor and metallic pigments, the fundamental elements of earth and sky enact narratives of conflict, entrapment, longing, and precarious hope. There are echoes of the centuries-old tradition of Chinese ink brush painting in the swirls of marbleized black ink and the efficient distillation of line, form and color into evocative depictions of stone, mountain ranges, and subterranean cross-sections of earth. Metallic gold pigment provides a stark contrast in the form of a moon and hundreds of stars, which become the protagonists in an epic odyssey of faith and tenacity against the daunting forces of reality. Crystal Liu's parents emigrated from China to Toronto, Canada, where she was born in 1980. Liu majored in photography at the Ontario College of Art & Design and received an MFA at the San Francisco Art Institute in 2005. She resides in San Francisco.

Julie Chang
New Work
260 Utah Street
San Francisco, CA 94103

December 10, 2016 - January 21, 2017
Drawing from sources as diverse as African mudcloth, Japanese shibori, and Native American basket weavings, Julie Chang investigates how identities are constructed, engaging patterns to explore the personal and political forces that shape and misshape our lives. Chang will create a work directly on the walls and floor of the gallery as well as present a series of large-scale paintings on paper. The patterns in woven textiles and baskets reflect a rich multiplicity of traditions, while the elemental forms in each are common to many cultures across the globe. Similarly, the process of weaving embodies paradox in its unification of opposites: the warp and the weft, one vertical and one horizontal thread, one stretched taut and one in undulating motion. Taking her cue from the visual and technical components of weaving, Chang’s forms freely float and then gather and intertwine. Shapes migrate and cross boundaries, transformed by encounters with other forms. Arrivals, foreignness, dislocation, struggle and integration reference hidden histories both personal and universal. In many countries and cultures today, weaving remains a vital craft, reflecting vibrant traditions while encumbered by the politics of gender, race and class. Taking her identity as a Chinese American woman as a starting point, Chang explores the formal systems and invented structures in which we operate: rules, constraints, and possibilities made visible and material. Julie Chang was born in Parkridge, Illinois and raised in Orange County, California. She received her MFA from Stanford University in 2007. As one of five artists chosen to create a permanent art installation for the new San Francisco Transbay Transit Center, she is designing 20,000 square feet of terrazzo floor for the Grand Hall.

Liliana Porter
Actualidades / Breaking News
260 Utah Street
San Francisco, CA 94103

October 15, 2016 - November 23, 2016
Argentinian artist Liliana Porter is a master at distilling life and art to simple profundities through humorous juxtapositions of incongruous objects. For her first exhibition at the gallery in four years, Porter premieres a new video, Actualidades/Breaking News. In addition to the video, the exhibition showcases a full range of new work, including paintings, sculptural objects, installations, works on paper, and photographs, each challenging the proposition that time is linear and reality graspable. Over the years, Porter has amassed a prodigious and eccentric collection of figurines, knickknacks, toys, and souvenirs from her global travels. These kitschy objects appear regularly in her work, inviting political, philosophical, and existential interpretation through their arrangement in unexpected situations. Each tchotchke represents a different era and cultural/historical narrative. Porter delights in manipulating time, history and reality by combining them as though in dialogue in an atemporal white space. In her new video, titled Actualidades/Breaking News, Porter structures each scene as if it were a segment from a newscast or section in a newspaper, including “Arts and Leisure,” “Fashion and Style,” “World News,” and “Religion.” With music arranged and composed by Sylvia Meyer, each scenario becomes an evocative portrayal of the absurdities and tragedies perpetuated by poignant human surrogates in the form of shabby children’s toys, hilarious religious and political icons, and other peculiar and pathetic mass-produced objects. Liliana Porter was born in Buenos Aires, Argentina in 1941. In 1961 she moved to New York, where she has lived and worked since. In 1965 she founded the New York Graphic Workshop with Luis Camnitzer and Jose Guillermo Castillo. Porter has shown extensively internationally, including most recently solo museum exhibitions at the Museo Caraffa, Cordoba, Argentina; Museo Nacional de Artes Visuales, Montevideo, Uruguay; MALBA, Buenos Aires; Museum of Fine Arts, Boston; Museo Rayo, Roldanillo, Colombia; Centro Cultura de España, Santiago, Chile; and Museo Tamayo, Mexico City, as well as a two-person exhibition with Marcel Broodthaers at The New Museum, New York. Her work is in numerous public and private collections in Latin America, Europe and the United States, including The Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; The Whitney Museum of American Art, New York; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Museo de Arte Moderno, Buenos Aires; Philadelphia Museum of Art; Smithsonian Museum of American Art; Daros-Latinoamerica Collection, Zurich; and Tate Modern, London.

25 artists, including Jean-Michel Basquiat, Patricia Piccinini, Tim Hawkinson, Liliana Porter, Andrew Schoultz, Hannah Wilke, Marco Maggi, Shahzia Sikander, Nick Cave, William T. Wiley, Jay DeFeo, Channing Hansen, Jim Campbell, and Ed Ruscha
20th Anniversary Exhibition
260 Utah Street
San Francisco, CA 94103

September 9, 2016 - October 8, 2016
Hosfelt Gallery celebrates its 20th anniversary with an exhibition exploring what makes an artwork significant and lasting, and the qualities that distinguish the most innovative artists of our era. This carefully curated selection of artists and works has been chosen to reflect the gallery’s distinct philosophical and aesthetic approach as well as the key values that have guided its program since inception. The exhibition features 25 artists, including Jean-Michel Basquiat, Patricia Piccinini, Tim Hawkinson, Liliana Porter, Andrew Schoultz, Hannah Wilke, Marco Maggi, Shahzia Sikander, Nick Cave, William T. Wiley, Jay DeFeo, Channing Hansen, Jim Campbell, and Ed Ruscha. Central to the gallery’s program are artists whose work is grounded in a deep understanding of history — be it artistic, literary, social, political or intellectual. Their originality derives from an idiosyncratic synthesis of that core knowledge with a mastery of their medium, resulting in artworks that allude to tradition while incorporating new materials, methods and ideas. From that informed viewpoint, they show us things we’ve never seen, challenge our preconceptions, and give us access to life experiences very different from our own. Art, at its best, can unveil the collective unconscious of a culture, and open a space for “the other” in our minds… and from a perspective broader than ourselves, inclusive of others, we can become co-creators of a new reality. About Hosfelt Gallery With a background in law, non-profit arts administration and collecting, Todd Hosfelt founded his gallery in 1996 in a 2,000 square foot space above the famed artist residency program, Capp Street Project, in San Francisco’s SOMA district. Former San Jose Museum of Art curator and current partner Dianne Dec joined the gallery in 1997. Over the years, the gallery developed a reputation for transforming gritty industrial buildings in off-the-beaten-path locations into extraordinary exhibition spaces, starting with its relocation in 1999 to a South of Market former warehouse. In 2006, Hosfelt Gallery opened a second venue in New York City, a few blocks north of Chelsea in Hell’s Kitchen, converting a derelict storeroom above an auto-body shop into 7,500 square feet of exquisite gallery space suffused in natural light. In 2012 the gallery consolidated its operations with a trailblazing move to its current location, establishing the nucleus of what is now San Francisco’s newest and most vibrant arts district, DoReMi. With 9,000 square feet of sky-lit space in a former door factory, the gallery’s integration of distinctive contemporary design with unaltered remnants of the building’s prior function mirrors its programmatic emphasis on innovative expression born out of a deep understanding of social, political, and/or cultural history. Over the course of 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. In 2015 the gallery founded the first Digital Media Conservation Lab to address the growing need for the preservation of digital and electronic art. Hosfelt Gallery is a member of the Art Dealers Association of America.