Tuesday, August 28, 2012

Linda Vallejo

George Lawson Gallery is pleased to announce our representation of Linda Vallejo



El Vis (cat. no. LIV11) 2012
re-purposed plaster figurine, pigment print of original painting, acrylic, and 14k gold leaf
12.5(h) x 7.5(w) x 5.5(d) in.

Marielena: La Fabulosa (cat. no. LIV14) 2012
re-purposed porcelain figurine and acrylic
8.5(h) x 5(w) x 4.5(d) in.

http://www.georgelawsongallery.com/artists/l_vallejo1.html

Thursday, August 23, 2012

Jacob Melchi: new paintings, Alma Chaney: nameless spaces: recent paintings

JACOB MELCHI
new paintings
September 5 – October 6, 2012
reception Saturday, September 8, 5:00–8:00 PM




















JACOB MELCHI
Double Play 2 (cat. no. JAM14) 2012
oil on linen on aluminium stretcher
23 x 20 in.

We are opening the September season and our 13th exhibition in Culver City with two important painting exhibitions.
In the front gallery, we are showing new work by Los Angeles painter Jacob Melchi. Melchi was included here in last February's group of young LA painters; this is his first solo show with the gallery. A 2003 MFA graduate of Otis, Melchi's work has been shown previously at institutions such as The Center for Contemporary Art in Sacramento, The Torrance Art Museum, The Nordic Institute for Contemporary Art in Helsinki, and The Netherlands Media Art Institute in Amsterdam. 
Melchi practices a highly sensate, yet disciplined form of painting that uses geometry as its underpinning and the means of paint application as its mode. His process is iterative, his surfaces articulated and nuanced. He builds his image through pentimento and overpainting, paying close attention to the grain of his support and the viscosity of his medium. He leverages to great result slight biases and obliques off the regular weave of his grid, and slight shifts and stops in his stroke. The result is an agile and individuated vernacular that triggers abstract associations while grounding his work in concrete experience. Relatively modest in scale, Melchi's canvases nevertheless hold the wall with authority, and engage the viewer on every level.

ALMA CHANEY
nameless spaces: recent paintings
September 5 – October 6, 2012
reception Saturday, September 8, 5:00–8:00 PM




















ALMA CHANEY
Untitled #8 (cat. no. ALC40) 2012
oil, silverpoint and golpoint on gessoed panel
16 x 16 in.

In the middle gallery we are showing recent paintings by Seattle-based artist Alma Chaney, her second solo with the gallery. A 2010 MFA graduate of The San Francisco Art Institute, Chaney also completed post-Baccalaureate work at the Pont-Aven School of Contemporary Art in Brittany, holds a Certificate of Scientific Illustration from the University of Washington, and a BFA from the Rhode Island School of Design.
In her work Chaney tackles the perennial dichotomy between drawing and painting, employing Renaissance techniques of silverpoint crosshatching beneath layers of opaque, highly mixed, off-whites and translucent glazes of tonal color. Her work presents a real dilemma for a gallerist: it is impossible to reproduce, reveals itself even in person only slowly, and makes no concessions to fashion. What it does is reward patient engagement with a series of unfoldings that could be described as florescent. Chaney manages the studio equivalent of en plein air; she is a painter of shadow and light.




Thursday, August 16, 2012

Sara Bright and Clem Crosby in the SF Chronicle


The San Francisco art scene got a little dimmer when George Lawson closed his Geary Street gallery and decamped for Culver City, the latest gallery hot zone in greater Los Angeles.
Recently Gallery 60Six invited him to stage a two-person show here, and he has brought tasty paintings by former San Franciscan, now New Yorker, Sara Bright and Londoner Clem Crosby.
The compatibility of work by artists showing together often matters little, but in this case it strengthens the impressions made by both.
Bright, true to her name, turns out sweetly eccentric pictures that could have taken inspiration from artists such as Richard TuttleHoward Hodgkin or the young David Hockney.

"Windy" (2012) exemplifies Bright's manner of thatching together a picture that might or might not be abstract out of blithe-looking brushstrokes. Her titles can invite figurative readings - several mention landscape or weather - but her touch is so relaxed that it tends to make any interpretation feel forced.
Crosby also seems to steer by a pleasure in making and seeing that perhaps only painting can provide at this peculiar moment of its resignation to marginality in a culture blinded by speed and greed.
Crosby paints in oil on panels of aluminum-backed Formica, a slick, impervious support that leaves his brushstrokes looking not merely fluent but wet, in jeopardy of being smeared by a viewer's sleeve.

"King Heroin" (2011) and Crosby's two other pictures here draw attention to their own framing edges by sporting grids apparently arrested as they slump into shapelessness. The grid having given painting bones since the Renaissance, its coming unstrung expresses a sort of listless foreboding plus, paradoxically, a celebratory hint of the medium's liberation from its past.
LeDoux at the Luggage Store: Despite their sense of belatedness, Bright's and Crosby's works, by their relaxed execution and dreamy ambiguity, recall the utopian air that modernist painting emanated from time to time.
The paintings of San Franciscan Neil LeDoux at the Luggage Store take us into a completely different zone, one of strange, tense, seemingly ingrown absurdity.
This exhibition celebrates LeDoux's receipt of the 2012 Tournesol Award given annually by the Headlands Center for the Arts. Its title, "People of Earth," sets an odd tone, wavering between concerned address and cheesy sci-fi nostalgia.
A couple of canvases here, "Star Control" and "Pocket Universe," recall quite clearly pictures from LeDoux's 2009 San Francisco gallery debut.
He traced that earlier series to a childhood memory of finding a magical fountain in the Louisiana woods that he could never locate a second time. The series seemed to allude to Marcel Duchamp's notorious "Fountain" (1917) and moved toward more visceral imagery in the key of Francis Bacon.
I suspected LeDoux then of concocting a personal myth retroactively to account for paintings that even he could not really explain otherwise. Nothing wrong with that, in my view, but he provides no such obvious key to the new pictures.
A couple of scumbled canvases here present as blurry textiles, something like the reverse sides of knotted rugs. A number of others, such as "Shah" (2011-12), display networks of lines, resembling a cat's cradle, spanning a shallow, torn-open picture space.
Similar patterns, looking like abstractions of exposed sinew, reappear throughout the show. They bring to mind the anatomy lesson as a theme with a long history in painting.
But, absent organic figures, anatomy of what?
Of the revenant aliens - invaders from the past - that paintings have become in an amnesiac culture with no more need of handmade images.
Bright and Crosby discover a kind of lyric freedom in the practice of painting now. LeDoux presents it as an ongoing autopsy, relieved here and there by allusions or a flighty pattern, but leaving an impression that is hard to shake.
Sara Bright: Recent Paintings; Clem Crosby: Three Paintings: Noon to 7 p.m. Wednesday-Sunday. Through next Saturday. Gallery 60Six, 66 Elgin Park, S.F. (415) 515-0563. www.gallery60six.com.
Neil LeDoux: People of Earth: Paintings. Through Aug. 11. The Luggage Store, 1007 Market St., S.F. (415) 255-5971. www.luggagestoregallery.org.


Read more: http://www.sfgate.com/art/article/Bright-s-eccentricity-Crosby-s-marginality-3723760.php#ixzz23klGpneT

Sara Bright's works on paper laid out for cataloging at the Los Angeles gallery