This exhibition examined the development of robot iconography in fine art over the past 50 years and featured sculptures, paintings, photographs, digital media, and installations created by more than 20 artists. While some of the artists meticulously create portraits or representational sculptures of robots, others address a range of social and cultural issues through robot iconography.
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Hassel Smith (1915-2007) was one of the most influential abstract expressionist painters in San Francisco during the seminal years of the late 1940s and 1950s. Teaching at the California School of Fine Arts (CSFA, now the San Francisco Art Institute) alongside Clyfford Still and Mark Rothko, Smith developed a spontaneous, jazz-inspired style of gestural abstraction. Smith’s approach differed from the solemn sensibility of his peers with an exuberant, lightening-fast draftsmanship that led San Francisco Chronicle critic Allan Temko to describe his canvases as “Thunderbolt Paintings.”
Spratt’s paintings are studies of intensity, flatness, saturation, and hue. His largely monochromatic square and rectangular works respond to minimalism, an extreme form of nonrepresentational art that emerged in the late 1960s. Using colors ranging from vibrant orange to muted grey, Spratt investigates the properties of his materials, demonstrating the endless invention possible with limited means. Viewed as a whole, his paintings create a scintillating interaction of color and space.
Love and desire are themes that fascinated the twentieth-century master Pablo Picasso (1881 – 1973). Born in Malaga, Spain, Picasso studied art in Barcelona and Madrid. In 1904 he settled in Paris, where he became associated with avant-garde artists and writers. Picasso created paintings, sculptures, prints, ceramics, and theater designs in an unprecedented variety of styles, yielding cubist collages, neo-classical figure paintings, and expressive drawings.
Using satire and a dark imagination, Spanish painter and printmaker Francisco Goya published Los Caprichos, a series of 80 etchings in 1799. Goya was stone deaf; he relied on his keen observation to represent Spain during a period of social and economic hardship. Los Caprichos portrays goblins and aristocrats alike, enacting the excesses of the nobility and the corruption of the church.
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Picasso (1881–1973) was fascinated by themes of love and desire. Born in Malaga, Spain, Picasso studied art in Barcelona and Madrid. In 1904 he settled in Paris, where he became associated with avant-garde artists and writers. Picasso created paintings, sculptures, prints, ceramics, and theater designs in an unprecedented variety of styles, yielding cubist collages, neo-classical figure paintings, and expressive drawings. This exhibition included 40 etchings produced between 1966 and 1971 that are unique in their expressiveness and tonal depth.
Over the course of the California College of Art’s 100 years, many notable artists have passed through its doors and their exceptional work has entered into the permanent collection of the San Jose Museum of Art. On the occasion of the college’s centennial, SJMA presented a selection of works on paper by CCA alumni and faculty, including Squeak Carnwath, Richard Diebenkorn, and Laurie Reid.
This exhibition featured the work of pioneer European modernist Miró, one of the most influential artists of the 20th century. Highlighting the artist’s exploration of printmaking toward the end of his career, this exhibition showcased approximately 60 works.
The American painter and printmaker Richard Diebenkorn is regarded as one of the leading artists of the twentieth-century due to his significant contributions to Abstract Expressionism, Bay Area Figuration, and his highly acclaimed Ocean Park series. Diebenkorn in New Mexico: 1950 – 1952 is the first exhibition devoted entirely to the artist’s New Mexico work. In 1950, Diebenkorn enrolled in the Masters of Fine Arts program at the University of New Mexico in Albuquerque, leaving behind a teaching position at the California School of Fine Arts (now known as the San Francisco Arts Institute). Over a two-year period, Diebenkorn created a body of work that represented the region’s desert terrain through aerial views, linear planes, and a palette of rusty earth tones. His unique rendition of landscapes continued in his later works, including the Berkeley and Ocean Park series. Highlighting a little-known period of Diebenkorn’s work that had a lasting impact on his career, the exhibition brings together 50 paintings, works on paper, and sculpture that have never been seen together before. Diebenkorn in New Mexico: 1950-1952 is organized by the Harwood Museum of Art, Taos, University of New Mexico with major support from the Thaw Charitable Trust and the Richard Diebenkorn Estate.
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Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, De-Natured presented a sampling of the many ways that artists have engaged with their changing environments. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban.
Ruscha and Pettibon explore the tensions, congruencies, and associations of image and text. This exhibition represents their collaborative work on the two print series The Holy Bible and THE END. The exhibition included several states of the two collaborations—including all 27 color trial proofs of THE END with unique texts by Pettibon on each, and related artworks by both Ruscha and Pettibon.
Ramírez (1895–1963) created some 300 artworks of remarkable visual clarity and expressive power within the confines of DeWitt State Hospital, in Auburn, California, where he resided for the last fifteen years of his life.
This exhibition featured approximately 50 works of art and 30 items of ephemera dating from 1951 to 1994, including collages, paintings, and sculptures, by Jess (1923–2004), a San Francisco–based visual artist who emerged from within the literary context of the Berkeley Renaissance and San Francisco’s Beat culture.
Bursting with expressive energy, Il Lee's drawings and paintings produce the maximum impact with minimal materials. Using the unique medium he has cultivated since the 1980s—the humble ballpoint pen on paper, and more recently, canvas—Lee creates works that are abstract, yet express the dynamic, unbridled power of nature. Born in Seoul, Korea and educated at the prestigious Hong-Ik University in Seoul, Lee earned his MFA in painting from the Pratt Institute in New York. This is the Brooklyn-based artist's first major museum survey exhibition, and spans the past 25 years of his work.
The best art collections reveal an intriguing and singular vision. Assembling a dazzling variety of drawings by celebrated architects, artists, and designers, L.J. Cella has carved out a unique collecting niche, ranging from Robert Irwin's meticulous presentation drawings on vellum to Frank Gehry's spontaneous brainstorms on paper napkins. These drawings and photographs offer a pathway into the creative mind, revealing the thought processes and varied impulses behind contemporary architectural and landscape design projects, both real and imagined.
This exhibition explored the graphic art of Maurits Cornelius (M. C.) Escher (1898-1972), the 20th-century Dutch master recognized as a predecessor of op art. A cross section of the artist’s works, including several of his lesser known early works and original preparatory drawings, were featured. The Portland Art Museum was the organizing institution.
Op Art Revisited featured a selection of paintings and sculptures from artists central to the op movement—such as Josef Albers, Richard Anuskiewicz, Bridget Riley, Julian Stanczak, and Victor Vasarely. In addition, more recent works by contemporary artists Tim Bavington and Susie Rosmarin were also on view to exemplify a resurgence of interest in art and perceptual phenomena.
This exhibition featured a flock of Pepe Ozan’s colorful and fanciful Monicacos, 10 new sculptures ranging from 4 to 14 feet in size, created especially for SJMA.
New Year, New Gifts displayed a selection of gifts to the museum’s permanent collection received over the past two years—many on display for the first time. Between 2001 and the opening of this exhibition, the San Jose Museum of Art added 377 new paintings, sculptures, works on paper and technology-based works to the collection.
Hundreds of families—taking any number of forms as only the diversity of the Bay Area can provide—were invited to participate in SJMA’s first-ever non-juried community exhibition. We Are Family was conceived as a companion exhibition to Family Legacies: The Art of Betye, Lezley, and Alison Saar, featuring the work of one of the most renowned artist families in the United States—Betye Saar and her daughters, Lezley and Alison.
Family Legacies was the first exhibition to examine the artwork of the talented Saar family: Betye Saar and her daughters Lezley and Alison Saar. The exhibition featured nearly 50 artworks, including mixed-media sculptures, assemblages, collages, and a collaborative installation created by the three artists.
