Collect art from the comfort of your own backyard this summer. Our curator Michelle Bello has done your homework for you. Enjoy everything from a sizzling hot print by art world superstar Tauba Auerbach to a waggish cool blue bulldog sculpture by archetypal Bay Area artist Bob Hudson to Penny Olson’s sophisticated plaid photographs generated from nature walks in Berkeley’s Wildcat Canyon.

Visit Sloan Miyasato in San Francisco and online here.

Inquiries:
Tommy Talbot (415) 431-1465 tommyt@sloanm.com
2 Henry Adams Street, San Francisco, M-F, 9am-5pm

Judith Foosaner
Aerial Excursion, 2005
Oil on Canvas
60 x 60 Inches

With her emphasis on drawing and its place in the shifting fortunes of painting, Judith Foosaner intensely and relentlessly probes the possibilities of line. Gravity and flight, speed and resistance, weight, pressure, and direction are all present. Dance, music, and literature inform her art. “Certainly my work is greatly influenced by calligraphy–primarily Chinese and Japanese. I don’t know if it’s a correct definition, but my idea of calligraphy is a marriage of line and space. There is rhythm. There is movement. If there is a pause, it is pregnant. Expectant. Each mark calls space into being.”

Emily Lazarre
Night Run, 2014
Collage, Oil Paint on Paper
36.5 x 64.5 Inches (Framed Size)

Emily Lazarre cannot remember a time when her mind was not filled with images. The quality of light in a room, the shape of an object in her hands, the color of a linoleum floor, the horizon line delicately separating ocean from sky, a beach in fog. Color is woven into her memory. Blue collides with blue. Darks are pricked with the barest bits of bright green or yellow. As she works, a reverie of drifting remembrances encourages the harmony and dissonance of relative shapes and colors. Breaching the customary confines of the rectangle, images come to life again in her large-scale painted paper collages.

Penny Olson
Wildcat 204, 2013
Dye-Infused Aluminum
33 x 33 Inches

Penny Olson
Wildcat 200-9-12.3, 2013
Dye-Infused Aluminum
33 x 33 Inches

Penny Olson’s photography based work is an integrated synthesis of the artist’s diverse interests and expertise; digital technology, nature, textiles, reductive aesthetics, and process-driven art. She samples, extrudes, and overlays pixels from her more traditional photographs of plants and landscapes to create striated color fields of emanating light. The original source from nature is unrecognizable but it is suggested through the resulting color palette, luminosity, and the artwork’s title. As is typical for this ever-experimenting artist, Olson uses the latest in digital technology to create her most recent work. For the Wildcat Series she took photographs with an iPad while on walks through Berkeley’s Wildcat Canyon and used these images as the basis for her digital compositions.

Robert Hudson
Blue Dog, 2014
Cast Iron Dog, Shards of Cast Iron with Porcelain Enamel, Steel, Stainless Steel, Epoxy Paint
27 x 26 x 14 Inches

An archetypal Bay Area artist, Robert Hudson has been a primary force in the West Coast Assemblage and Funk Art movements, and is well known for his polychrome steel sculpture. Hudson’s works are characterized by a riotously visual approach as he carefully juxtaposes fabricated and found objects into pieces that burst with his signature wit. The careful geometry of his forms is often painted over in trompe l’oeil designs and decorative patterns as he skillfully manipulates the viewer’s perceptual experiences. Although his sculptures seem to have been thrown together haphazardly, there is so much method to Hudson’s madness that the viewer comes to understand that the method is the madness, a compulsion toward making mundane objects into art while leaving them anchored in the everyday.

Jeff Long
Harlequin, 2015
Mixed Media on Canvas
48 x 68.5 Inches

Elements of Modernist design fuse with motifs of tribal art in Jeff Long’s paintings. If the history of art, in a broad sense, has much to do with codifying our experience of the natural world, Long finds visual parallels among many cultures and in various time frames. Through artists like Matisse and his many artistic descendents, the visual vocabulary of pattern-making, flattened color and hard edges crossed over into mainstream Western art in the 20th Century from societies in which the abstraction of nature was traditional. Long has created a body of work characterized by the distillation of landscape and votive traditions from various cultures. His art expresses humanity’s impulse to connect the optical sense with a feeling for the wholeness of the world.

Tim Rice
Flow 24, 2015
Oil on Canvas
54 x 58 Inches

Nature is omnipresent in Tim Rice’s intuitive and organic abstractions. Using layer upon layer of oil paint in thin washes results in deep, indefinite, and luminous spaces. His paintings have the quality of filtered sunlight, dappled forest shade, and reflections in a slightly disturbed pond’s surface. “I come to an empty canvas in a spirit of adventure without a specific idea or image in mind. My process is improvisational. My only goal is that the ‘found’ image–through its mood, tension, movement or light–creates its own world and inhabits a palpable space. I remain intuitive rather than mindful in this activity.”

Tauba Auerbach
Mesh Moire I, 2012
Color Softground Etching
40.25 x 30 Inches
Edition of 40

Born and raised in San Francisco, Tauba Auerbach is one of the most important artists working in the contemporary art world. Her work is constantly shifting between conceptual art, abstraction, and graphic art. In her recent Mesh Moire etchings, in order to create the nearly pixelated visual interference of two grids slightly out of alignment–which calls to mind a digital photograph taken through a window screen or snapshots of a computer monitor–the artist pressed an elastic mesh directly onto a soft ground, distorting its pattern as it went through the press. As she printed the resulting plates on top of one another in complementary colors (choosing two plates out of a possible seven), the images inevitably aligned slightly differently in each of the prints. Combined, each of the original plates loses its identity as it blends with the other. As the different colored layers overlap and break away from one another, the surface of the print is given a nearly quivering, iridescent quality, a sum more compelling than either of its parts.

Judith Foosaner
Blackbird Sings, 2008
Oil on Canvas
78 x 26 Inches

Pricing
Tommy Talbot
(415) 431-1465 tommyt@sloanm.com

Sloan Miyasato
2 Henry Adams Street, Suite 212
San Francisco, CA 94103

Hours
Monday through Friday, 9am to 5pm

Curator
Michelle Bello Fine Art Consulting
(415) 317-5975 info@michellebello.com

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