Heather James San Francisco Gallery Walkthrough

The stands are: 32 H x 19-3/4 W x 19-3/4 D in.
<br>Rat: 27 7/8 x 12 7/8 x 20 7/8 in.
<br>Ox: 29 1/8 x 20 1/8 x 16 7/8 in.
<br>Tiger: 25 7/8 x 14 7/8 x 16 7/8 in.
<br>Rabbit: 27 7/8 x 9 7/8 x 18 7/8 in.
<br>Dragon: 35 7/8 x 18 1/8 x 25 7/8 in.
<br>Snake: 27 7/8 x 14 1/8 x 6 3/4 in.
<br>Horse: 29 1/8 x 12 1/4 x 22 in.
<br>Ram: 25 1/4 x 20 7/8 x 16 1/8 in.
<br>Monkey: 27 1/8 x 12 7/8 x 14 7/8 in.
<br>Rooster: 24 x 9 x 16 7/8 in.
<br>Dog: 25 1/4 x 14 7/8 x 18 7/8 in.
<br>Boar: 27 1/8 x 16 1/8 x 20 7/8 in.
<br>World-renowned Chinese contemporary artist Ai Weiwei is a sculptor, installation artist, architectural designer, curator, and social and cultural critic who has been exhibiting his work internationally since the late 1990s. His artistic practice is inextricably linked with cultural engagement and willingly crosses barriers between different media—cultural, artistic, and social. It was perhaps his detention from 2011 until August 2015 by the Chinese government that brought his views to the greatest audience. Ai Weiwei now lives in Germany and continues to create new works and uses his significant international profile to promote artistic and personal freedom.
<br>These twelve sculptures depict the animals associated with the traditional Chinese zodiac. Ai Weiwei’s cycle references a European rendering of the zodiac animals designed by the Italian Jesuit Giuseppe Castiglione. The original sculptures were built in the eighteenth century for an elaborate water-clock fountain at the Yuanming Yuan (Old Summer Palace), which was ransacked in 1860. By recreating the lost and displaced statues, Ai Weiwei engages issues of looting, repatriation, and cultural heritage while expanding upon ongoing themes in his work concerning the “fake” and “copy” in relation to the original.
<br>Ai Weiwei now works in Berlin, Germany.


The only known extant Diebenkorn sculpture, this welded iron form is a brilliant example of his artistic development and the creative energy of his early work. 
<br>This rare sculpture comes from a period of experimentation and a burst of lyrical creativity that the artist experienced while in graduate school at the University of New Mexico. It was likely included in his 1951 Master's Degree Exhibition at that institution. Like many American artists before him, Diebenkorn was enthralled with the atmosphere and landscape of the Southwest. He produced energetic and unpredictable canvases with bold, warm colors, barely contained within their underlying geometric structure. This iron sculpture demonstrates the far reaches of the artist’s exploration, establishing the essential linear framework that would come to characterize his later work. 
<br>This piece was the only sculpture included in the 2008 exhibition "Diebenkorn in New Mexico" at the UNM Harwood Museum of Art in Taos. Since his first retrospective in 1976 at the Albright-Knox Art Gallery in Buffalo, New York, Diebenkorn has found a place in over 50 museum collections worldwide and is recognized as a major creative force of the 20th Century.


“Man with Hoops” (1946) is a proto-Abstract Expressionist sculpture by David Hare. Flirting with surrealist elements, the present work shows how monochromatic creations convey a wide range of artistic expression in the third dimension. Much like Picasso’s sculptures from the same period, Hare references African sculptural traditions and art historical precedents for quasi-abstract figures.  
<br>Hare was included in the "Dada, Surrealism, and Their Heritage" exhibition of 1968 at the Museum of Modern Art, New York.


RICHARD DIEBENKORN - Blue Surround - spit bite aquatint & drypoint aquatint on paper - paper: 35 x 26 1/4 in.


MANUEL NERI - Standing Male Figure - polychrome plaster and wood - 70 x 13 3/4 x 19 in.


Contemporary German artist Katharina Grosse works in a variety of media to accomplish site-specific works as well as smaller-scale sculptures such as the present work, "Untitled 2015".  The structure of Grosse's compositions are meant to invoke emotional reactions from the viewer.  The artist believes that the physical presence of the viewer affects the work and changes an individual's experience of that work.  
<br>Grosse is included in numerous museum collections worldwide, including the Museum of Modern Art, New York, and in 2019 was selected for a mural commission at the Museum of Fine Arts, Boston. "Untitled, 2015" has a prestigious exhibition history, having been included in: Venice Biennale Art, "All the World's Future," 2015 by Okwui Enwezor (curator).  
<br>"That is the challenge for me, to find a way to make painting visible - make it a visceral part of our everyday life"- Katharina Grosse.


GRACE HARTIGAN - Renaissance Costumes - oil on linen - 72 x 84 in.


GRACE HARTIGAN - Caribbean Interior - oil on linen - 72 x 78 in.


GRACE HARTIGAN - Chinese Calendar - oil on linen - 84 1/4 x 61 1/4 in.


Rodney McMillian is multidisciplinary artist working in sculpture, painting, performance, and video. Born in South Carolina, McMillian has lived in Southern California since 2000 where he is now Professor of Sculpture at the UCLA School of Arts and Architecture at the University of California, Los Angeles. "Lollipop" (2001-2002) represents one of the earliest works from the artist, who graduated with an MFA from CalArts in 2002.
<br>McMillian shapes his work around the socio-political history of the United States even through abstraction. At first glance, "Lollipop" appears to be a continuation of Abstract Expressionism in its layered flow of paint. For these works, like abstract expressionists of yore, McMillian pours and drips paints. Nevertheless, on closer inspection, many of his works appear to suggest a map or landscape and thus, the history of struggle and power inherent to mapmaking and landscape painting. Who makes maps and for whom? Who owns the land and at what cost? What happens in that land? Furthermore, in using household paint and other industrial materials, McMillian mines issues of economy, accessibility, and even temporality as the materials are inherently unstable and non-archival.
<br>McMillian's work is collected by the Museum of Modern Art in New York, the Art Institute of Chicago, the Hammer Museum, the Los Angeles County Museum of Art, and the Museum of Contemporary Art in Los Angeles among others, and his work was featured in the 2008 Whitney Biennial. In 2019, McMillian's work was exhibited at the San Francisco Museum of Modern Art: “New York: Rodney McMillian”, Feb. 9-Jun. 9, 2019.


GRACE HARTIGAN - Matador - oil on linen - 48 x 72 in.


RICHARD DIEBENKORN - Untitled (Urbana Series) - ink on paper - 13 7/8 x 11


YAYOI KUSAMA - Soaring Spirit - stainless steel balls and wire - 19 x 18 x 14 in.


LOUISE BOURGEOIS - Plate 5 of 9 from He Disappeared Into Complete Silence - engraving - 8 x 6 in.


NANCY SPERO - The Modest Orgasms of the Middle Class - gouache, charcoal, and collage on paper - 25 x 20 in.


ROLAND PETERSEN - Luncheon - oil on canvas - 24 1/4 x 26 3/8 in.


MABEL MAY WOODWARD - Beach Scene - watercolor on paper - 14 1/2 x 19 1/2 in.


LOUISE NEVELSON - Untitled - wood and paper collage - 37 1/4 x 25 1/8 in.


KUMI SUGAI - 3 Heures D'Après Midi - acrylic on canvas - 24 x 19 3/4 in.


NAOTO NAKAGAWA - Aggressive Still Life - oil on canvas - 56 1/4 x 70 1/4 in.


YANG MAOYUAN - Mexican Silver Grizzly - painting on paper - 26 1/4 x 37 1/2  in.


RITA ACKERMANN - Fuck Your Cake - watercolor and charcoal on paper - 44 x 30 1/4 in.


KYOKO IBE - Untitled - recycled ganpi paper fiber, old documents, mica and sumi - 30 3/4 x 62 5/8 in.


CONSTANCE MALLINSON - Couple - oil on paper - 95 x 52 1/2 in.


KAORU MANSOUR - Pistachio, Peony and Chandelier #101 - mixed media on canvas - 72 x 60 in.


MICAELA AMATO - Red Fez - cast leaded glass - 20 x 18 x 18 in.


GRACE HARTIGAN - Elizabeth Etched - aquatint (Ink Ground, Spite Bite) - 40 1/2 x 30 1/2 in.


Ann Craven - Red Crescent Moon - oil painting - 14 1/8 x 14 1/8 in.

Ann Craven

Ann Craven - Full Moon with Clouds - oil on canvas - 14 x 14 in.

Ann Craven

KYOKO IBE - Untitled - recycled ganpi paper fiber, old documents, mica and sumi - 17 1/2 x 29 1/2


TERUKO YOKOI - Schlucht am Abend (Evening Gorge) - egg tempura and collage on paper - 24 1/2 x 18 1/4 in.


GEORGE MIYASAKI - Mescalero - mixed media on paper - 40 x 27 3/4 in.


TERUKO YOKOI - Untitled - egg tempera on paper - 11 x 14 3/4 in.


KAORU MANSOUR - Olive & Blue Chandelier #101 - mixed media - 20 x 20 in.


TATIANA BOTTON - Sand Dunes 7 - photograph - 15 x 22 1/4 in.