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
Works Available By:
Jay DeFeo

 
Upcoming Exhibition

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
260 Utah Street
San Francisco, CA 94103

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?

 
Past Exhibitions

Emil Lukas
Twin Orbit
260 Utah Street
San Francisco, CA 94103

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
260 Utah Street
San Francisco, CA 94103

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
260 Utah Street
San Francisco, CA 94103

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.

Angelina Pwerle
260 Utah Street
San Francisco, CA 94103

January 27, 2018 - March 10, 2018
Angelina Pwerle’s subtly shifting, abstract paintings come out of a history of Aboriginal art-making that is thousands of years old. Yet audiences of contemporary art will find reference points in the spatial complexity of Jackson Pollock, optical intensity of Bridget Riley, technical elegance of Vija Celmins or meditative process of Agnes Martin. Using the fine point of a bamboo stick, Pwerle paints masses of minute, individual dots that float, cloud-like, on a colored ground, shifting and vibrating within an indeterminate spatial plane, to depict the Bush Plum Dreaming narrative. To Aboriginal people, “Dreaming” describes not only the creation of the earth and every life form, but provides the framework for human experience in the universe and the harmonious order of all things. The Bush Plum is a shrub found in dry Northern and Central Australia that because of its significance as a food source, is a totem with an associated Dreaming story. Pwerle’s representation of that narrative – formally sophisticated and dazzlingly transcendent — goes beyond cultural specificity, ethnographic stereotype or art historical precedent — to describe our place in the universe. Angelina Pwerle was born in 1946 in Utopia, Australia – Aboriginal freehold land north east of Alice Springs. Her paintings are in the collections of the National Gallery of Australia, Canberra; the Art Gallery of South Australia, Adelaide; the National Gallery of Victoria, Melbourne; the Queensland Art Gallery/Gallery of Modern Art, Queensland; and The National Museum of Art, Osaka, Japan. This is Pwerle’s second solo exhibition at Hosfelt Gallery.

Birgit Jensen
What a Perfect Combination
260 Utah Street
San Francisco, CA 94103

January 27, 2018 - March 10, 2018
In her first solo exhibition in the United States, German artist Birgit Jensen looks to the history of the landscape in painting to examine the role of artifice in our never-ending pursuit of perfection. Made without a brush, Jensen’s paintings are meticulously and labor-intensively constructed to look as if they were created digitally. The “hand” of the artist is completely invisible. Superseding the brushstroke, Jensen applies multiple layers of screened paint to represent the pixilated matrices that compose digital imagery – the signifier of the electronic and impeccable. Referring primarily to the woodcuts of the Edo Period Japanese artist Katsushika Hokusai, but also to the 19th century Romantic, Caspar David Friedrich, as well as Vija Celmins, Thomas Ruff and Gerhard Richter, Jensen’s paintings appear at first to be realistic representations of nature. But they are in fact poetic constructs, composed of many images and places stitched together to create the illusion of an ideal. For Jensen and her predecessors, such imagined theatricality is a stratagem for seducing the viewer and transporting them toward the sublime. Jensen is interested in exploring the shift away from the physical and the natural toward the manufactured and virtual, as more and more aspects of our lives are constructed or designed, and more and more knowledge is gained through media instead of reality or experience. This move looks likely to accelerate. And as that paradigm changes, so do our notions of the meaning of perfection, the ideal and the transcendent.

Andrew Schoultz
Illuminated Opposition
260 Utah Street
San Francisco, CA 94103

December 16, 2017 - January 20, 2018
Reception: Saturday, December 16, 4-6 pm Andrew Schoultz brings his signature street-savvy style to a new body of work that questions the meaning and function of public space and the nature of political discourse. With an emphasis on the formal vocabulary of abstraction, Schoultz exposes the ways in which meaning is manipulated and perception skewed as the locus for civic debate has shifted from the town plaza to the isolated, anonymous realm of cyberspace. Two monumental sculptures anchor the installation, surrounded by murals painted directly on the walls of the gallery, paintings on panel and paper, and other sculptural objects. In a new series of abstract paintings, Schoultz distills some of his familiar stylistic elements into a more formal language with subtler allusions. Other works incorporate new symbolic motifs with multiple, sometimes conflicting meanings. As an example, the snake features prominently. Depending upon your cultural heritage, religious beliefs, or political persuasion, it can denote fertility, transformation, protection, wisdom, eternity, healing, anti-government resistance, racism, treachery or original sin. In the age of Trump, truth is a questionable commodity, peddled like a trinket for short-term gain. Is this really a new phenomenon, or simply one that has emerged brazenly from the shadows, to operate with impunity in the full light of day? Schoultz’s work situates itself squarely within current socio-political concerns, illuminating the battleground of a sharply divided country. Andrew Schoultz was born in Milwaukee, Wisconsin in 1975 and currently resides in Los Angeles. A major solo exhibition occupying the entire museum was presented by the Monterey Art Museum in 2013, and Schoultz is currently preparing for a solo exhibition at the Fort Wayne Museum of Art in Indiana in 2018. He has painted outdoor murals worldwide, including most recently in Beirut, Manila, San Francisco, Los Angeles and Toronto. His work is in the collections of the San Francisco Museum of Modern Art, Berkeley Art Museum, Los Angeles County Museum of Art, Museum of Contemporary Art, San Diego, and many others. This is his second solo exhibition at Hosfelt Gallery.

Stefan Kürten
Millefleurs
260 Utah Street
San Francisco, CA 94103

October 21, 2017 - December 2, 2017
Stefan Kürten likes to say that every weekend of his childhood was spent accompanying his parents and their realtor in their search for the “perfect home.” In his eighth solo exhibition, marking the 20th anniversary of working with Hosfelt Gallery, Kürten explores the deep and universal yearning to find that quintessential place. With eleven paintings on paper, Kürten imagines what the perfect home would look like. Chic. Modern. Glassy. Immaculate. Affluent. Open. Enveloped by and harmonious with nature. Safe. Epitomizing the dazzling promise of economic prosperity and social stability in the post-World War II West. These images exert a powerful emotional pull. Yet are also — often indefinably — uncanny. Anchoring the exhibition are two major new works. The first is a monumental canvas, two years in the making — an encyclopedic masterpiece that aims to be a reflection of everything in our world. The second is a 5 ½ x 7 foot multi-panel work on paper representing the tenacious human belief in progress — our desire to make life happier and the world a better place. Stefan Kürten is a professor at the famed Kunstakademie Düsseldorf, where, as a young man, he studied with Michael Buthe. Kürten is also an alumnus of the San Francisco Art Institute. His recent solo museum exhibitions include Kunstmuseum Mülheim an der Ruhr, Germany; Künstlerverein Malkasten, Düsseldorf; Museum Haus Esters, Krefeld, Germany; Royal Hibernian Academy, Dublin; and Museum im Kulturspeicher, Würzburg, Germany. Several of his paintings are in the Saatchi Gallery and were included in “Gesamtkunstwerk, New Art From Germany” in 2011. His work is in the collections of The Museum of Modern Art, New York and San Francisco Museum of Modern Art as well as many others. He lives and works in Düsseldorf.

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.

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.