JACK FISCHER - DON SOKER - BAER RIDGWAY - ROSENTHAL - FEMINA POTENS - ROOT DIVISION - ELEANOR HARWOOD - SHOOTING GALLERY - WHITE WALLS 01.10.09 (with assistance from BTN)

Jack Fischer Gallery: John Hundt - Totems.

Comment by AB: The precision and sensitivity of John Hundt's curiously surreal collage work account for half of the viewing pleasure; the other half is embodied in the way he selects and combines individual elements to actualize "personalities" that seem almost real.

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Don Soker Gallery: New Artists, New Works, New Year.

Artists: Jenny Bloomfield, Nancy Klein Green, Kristin Holder, Joan Moment, Blake Summers.

Comment by AB: Group show of gallery artists exemplifies Don Soker's serene meditative approach to aesthetics.

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Baer Ridgway Exhibitions: Mads Lynnerup - You Art the Artist, You Figure it Out.

Comment by AB: Mads Lynnerup presents an amusing, or maybe more satirical, look at the world in general and the art world in particular via posters, video, photography, written word, sculpture, and more. Highlights include "burrito seating" upholstered in silver mylar and a video of a numerical counter on the stairway which appears to count heads as people enter the gallery. One notable aspect of Baer Ridgway is that they do up the entrance hall to the gallery in a motif chosen specifically for each exhibit.

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Rosenthal Gallery: The Big Three.

Artists: Scott Barry, Sara Blaylock, Nicholas Bohac, Amy Casey, Nathan Ross Davis, Robyn Engel, Renee Gertler, David Gurman, Katty Hoover, Sangyon Joo, Lauren Lavitt, Christine Monahan, Suzy Poling, Anthony Record, Brion Nuda Rosch, Erik Scollon, Michael Swaine, Annie Wong. Curated by Chelsea Heikes and Mary Anne Kluth.

Review by BTN: The gallery showcases a mix of artists' work at this heavily attended opening. Tucked away in the back corner is a notable installation by Brion Nuda Rosch entitled "Masks for Tomorrow, Country Countryscapes of our Past." The piece combines the iconography of indigenous masks, museum culture, design, and internet communication in a way that comments on contemporary visual language and meaning creation. The remainder of the show demonstrates the strength and vibrancy of artists working in the San Francisco Bay Area.

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Femina Potens: Pop Pop! Fizz Fizz!.

Artists: Erika Meriaux, Jenny Wehrt, Katie Gray, Audrey Welch, Hiroko Sakai, Ehren Reed.

Review by NTB: Femina Potens presents paintings and sculptures that refer to 1950s and 60s American pop culture as well as new surrealism. Erika Meriaux contributes several strong canvases that interpret Greek mythical characters in contemporary and surrealist settings, showing hints of Picasso, Botero, and Magritte. Another showcased artist, Audrey Welch creates small pieces that combine collage-- using original comics-- paint, and a thick resin surface. These as well as other works on 60s icons such as Twiggy and Marilyn Monroe round out the updated pop expressions.

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Root Division: Retractions.

Artists: Peter Baldes, Taha Belal, Jan Blythe, Ross Campbell, Deric Carner, Jon Clary & Bruce Wilhelm, Julie Cloutier & Claire Nereim, James Davis, Adam Whitney Day, JRF, Jennifer Maria Harris, Ryan Hendon, Robin Johnston, Ryan Jones, Forrest Lewinger, Ann Mansolino, Ramekon O'Arwisters, Piero Passacantando, Moshe Quinn, Michael J. Ryan, Jeff Schmuki, Travis LeRoy Southworth, James Tantum, Will Tucker, Hooper Turner, J. Parker Valentine, Allison Watkins, Julie Weitz, Jameson Zaerr. Curated by Whitney Lynn.

Review by BTN: Guest curator Whitney Lynn gathers together a collection of pieces that work with the concept of retraction, erasure, absence, and loss. Highlighted near at entrance of the show is Jennifer Maria Harris' "Fear Not Library" consisting of a long row of hard-cover volumes painstakingly whited out line by line except for carefully selected words that focus on fear. Similarly, Adam Whitney Day's "Erased USD Notes" frames laid-out $20 bills that appear to have been "white-washed," with references to a Jasper Johns/Robert Ryan era aesthetic. Additional works on display are in a variety of media such as photography, textiles, collage, installations, sculpture, found objects, and computer demos. The show is consistent, well thought out, and includes many strong works.

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Eleanor Harwood Gallery: Mat O'Brien - Well I Ain't No Freud, I'm from S.F.

Comment by AB: Mat O'Brien expostulates on the impact and import of "alternative culture" in a satisfying series of cyan blue watercolors (I think) and a fine centerpiece mandala fashioned from sewn and glued black Converse sneaker uppers, and seasoned with shoe laces. Good stuff; worth a visit.

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The Shooting Gallery: Van Arno - The Boogie Disease.

Comment by AB: Van Arno Lowbrow (or is it New Brow) is about as good, or perhaps more aptly, as low, or perhaps more aptly, as new as it gets. His compositions are excellent enough in and of themselves, conjuring an unrestrained reality rife with mad dogs, crocodiles, red skies, full moons, wild gyrations, wiggy chickens, unbridled celebrities, hard hats and naked babes. But Arno doesn't stop there, tricking his art out with verse, custom crafted name plates, and kicky vintage-style frames. This one's a definite yes.

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White Walls Gallery: Family First.

Artists: Andrew Schoultz, Richard Colman, Sylvia Ji, Henry Lewis, Mike Davis, Cleon Peterson, Ian Francis, Hillary Pecis, Albert Reyes, Shepard Fairey, Shawn Barber, Jim Houser, Mike Giant, Rogelio Martinez, Adam 5100, David Choong Lee, Adam Flores, AJ Fosik.

Comment by AB: Indeed White Walls Gallery has a sense of family about it-- a reverence, respect, and loyalty to its artists. And this show is about that, presenting a medley of commendable work by the gallery's core creative contingent of the past three years.

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