Patricia Sweetow Gallery:

by Admin on 05/15/2014

09/13/2014 @ 3:00 pm – 5:30 pm
Patricia Sweetow Gallery
Geary Boulevard
San Francisco, CA


PATRICIA SWEETOW GALLERY is pleased to present Bay Area artist David Huffman, Everything Went Dark Until I Saw Angels, paintings and drawings; and Sarah Wagner from Detroit, Yard Zone an installation crafted from textiles and armature. Exhibition dates are September 13 – October 15th. The Reception is Saturday, September 13th, from 3:00 – 5:30 pm.

With the second to final exhibition at 77 Geary Street we are particularly proud to present two outstanding artists that the gallery has represented since 1996 and 2008 respectively. Both artists have contributed their vision and talent to the strong voice that is the Bay Area Arts. The last exhibition at 77 is Kim Anno, Gail Wight and Gale Antokal, opening October 18th, concluding November 22nd.

On this note, the gallery will be vacating 77 Geary Street, it’s home for the past 8 ½ years at the end of November. I want to extend my deepest gratitude to all our friends who have supported the gallery with words of encouragement, and belief in the extraordinarily gifted artists it has been my pleasure to know and represent. Please take advantage of our move to consider adding a work of art from an artist you have admired with a special discount as our gift to you.

Looking forward, I have leased a 380 square foot space opening October 1, 2014, at the corner of 25th & Telegraph in Oakland. The new space is a project I call Spun Smoke; an announcement will follow in the next few weeks. Until a new gallery space is secured you will continue to view the gallery program in pop-up exhibitions, as well as mini exhibitions at Spun Smoke. Our location is in the heart of Oakland’s Art Murmur, an exciting monthly event, with visual arts, music and culinary delights; come visit us and see what we’re up to at Spun Smoke.

In the current exhibition, Everything Went Dark Until I Saw Angels, David Huffman delves into the colors and light of near death experience, ” These works are a weaving of my previous concerns in painting over the last six years: social indexing, abstraction, color field painting and basketballs. In my new work colors reported in near death experiences, the aesthetics of science fiction, gestural rupture, drawing and urban vernacular abound. Some of the methods I’m employing are stamping, using basketball netting and chains to make images, spray-painting, energetic drawing and text.”

The new work weaves together Huffman’s concerns expressed in his paintings over the last six years: social indexing, abstraction, color field painting and basketballs. The aesthetics of science fiction, drawing and urban vernacular abound in the paintings, “Some of the methods I’m employing are stamping, basketball netting, chains, spray-painting, energetic drawing and urban vernacular.” Text elements that feature urban vernacular in surprising combinations, such as “veganpimp”, “porkrinds and tofu”, point to the cultural mixing bowl of urban life. ”

David Huffman’s work gained national attention during the The Studio Museum in Harlem’s celebrated Freestyle exhibition in 2001. In 2013 The Studio Museum opened The Shadows Took Shape which culminated in a front page image of Huffman’s painting, MLK in the NY Times. Huffman was recently included in Yerba Buena Center for the Arts, Bay Area Now 6, along with an exhibition funded by the NEA at the San Francisco Art Commission Gallery. Huffman was the recipient of the Artadia Foundation Award in 2006, and the Fleishhacker Foundation Eureka Fellowship in 2007. In November 2008, Huffman was a panel speaker at Transformations: New Directions in Black Art, the 3rd Annual Conference for African American Art, hosted by the Maryland Institute College of Art (MICA) and the W.E.B. DuBois Institute for African and African-American Research at Harvard University. Exhibitions include the Institute of Contemporary Arts, London and the Institute of International Visual Arts, London; CCA Wattis Institute for Contemporary Arts, San Francisco; New Langton Arts, San Francisco; Santa Monica Museum of Art; de Saisset Museum at Santa Clara University; Yerba Buena Center for the Arts, San Francisco; The Crocker Art Museum, Sacramento; and The Luggage Store, San Francisco. Huffman’s work has been reviewed and written about in Frieze, Artforum, Art Papers, Flash Art, The San Francisco Chronicle, The New York Times, The International Review of African American Art, NY Arts, Art Journal, and the San Francisco Bay Guardian.

Sarah Wagner, from Banglatown, Detroit, finds inspiration in her constantly changing surroundings. Detroit is home to a dynamic fusion of naturally occurring flora, domestic garden remnants amidst re-greening spaces, increasing pheasant and fox populations and rampant unsupervised dumping.

Drawing from the glamorous illusions of 1940s starlet fashion, she also explores the cost of white privilege. Found fabrics, silk and laser-cut wooden armatures simulate the city’s populations to explore the effects of white flight and the complex interactions among the people who continue to reside in Detroit. Wagner’s fauna interpret the dynamic forces that stitch together this city of the future both past and present.

Sarah Wagner is a sculptor and installation artist whose work renders the frailties and strengths wrought by the dynamism of biological development within an increasingly unnatural world. Her investigations and renderings of the ‘endocrine disruption theory’, radiation and her love of ecology has inspired her to explore exhibition venues as unnatural environments within which to create models for parallel worlds.

Shortly after receiving her MFA in 2005 from California College of the Arts, Sarah Wagner became an instructor at the School of the Art Institute of Chicago. Exhibitions include Projekt 0047 (Berlin), Homie (Berlin), Museum of Craft and Folk Art , San Francisco, Yerba Buena Center for the Arts, San Francisco , Southern Exposure, New Langton Arts (San Francisco). School of the Art Institute of Chicago, Oakland University Art Gallery, Michigan, and George Ayers Cress Gallery, University of Tennessee at Chattanooga.