DO NOT miss an in-person viewing of Tim Hawkinson's current exhibition at the gallery.
Tim Hawkinson: Tantric Drip Drawings installation view
Rooted in a fascination with building complex, art-making mechanisms from everyday objects, Tim Hawkinson
's lifelong practice explores machine's ability to extend the artist's hand. In often dramatized expressions of the body, Hawkinson uses his various instruments to exaggerate human form — doing so in both his own artistic gestures and in his fully resolved artworks.
I use my body in a lot of my work as a jumping off point but usually the result is so abstracted that I don’t really feel that identified with it any longer. It’s not about my identity, but our identity and our experiences within our bodies as well as our body's relation to the external world.
— Tim Hawkinson for Art21
Tim Hawkinson, Emoter, 2002 (detail), altered inkjet prints on plastic and foamcore board on panel, monitor, stepladder, and mechanical components, 49 × 36 × 4 inches; Courtesy of Private Collection
Extending his practice of creating tools to accompany his art making, Hawkinson constructed an ink-dripping apparatus to make a series of 65 Tantric Drip Drawings. As is common in the artist's oeuvre, many of the drawings are stylized and fetishistic representations of the human body.
Tim Hawkinson, Lioobnobn, 2020, India ink on Yupo paper, 114 1/2 x 57 inches
Hosfelt Gallery is open six days a week — Monday through Saturday. To view the exhibition — in private — call the gallery at 415 495 5454, or use our online calendar: calendly.com/hosfelt-gallery.
Russell Crotty, Cantankerous Astronomers, 2020,
ink, acrylic, fiberglass, and tinted bio-resin on paper on wood, 6 x 6 x 3/4 inches; $550
In Russell Crotty
's newest work, meticulous depictions of celestial bodies and earthly landscapes are collaged within painted structures that resemble retro-futuristic architecture and lunar rovers. These are then embedded in bio-resin — a technique similar to that used in finishing surfboards. Despite this reference to “finish fetish,” he incorporates enough chance in these works to suggest the unintended consequences of humanity’s (mis)use of our planet and the unknowable results of exploration.
Reed Danziger, After the Distant B, 2017, mixed media on paper on panel, 18 x 18 inches; $5,550
's work captures explosive instants as if they were frozen in time. She creates forms representative of continuously flowing energy — both fast and slow — filled with flashes of momentum and moments of calm. In so doing, she reveals evolutionary layers of process that speak to the relationship between the fluid and the fixed.
Ben McLaughlin, The Visitor 29, 2014-2020, photo collage, 5 1/2 x 3 3/8 inches; $800
London-based artist Ben McLaughlin
has a long-standing practice in collage. Using vintage material, including postcards and fashion magazines, he creates worlds that are both nostalgic and surreal. These collages often inform his intimately-scaled oil paintings. A solo exhibition of McLaughlin's new work is scheduled for 2021.
Patricia Piccinini, The Weaver's Suite (pink yellow), 2019,
etching and lithograph on paper, 17 3/8 x 25 1/4 inches, edition of 25; $2,100
In Patricia Piccinini
's Weaver Suite
, hummingbirds — important pollinators — hover and flit amongst stylized genitalia fashioned with elaborate coiffures. These prints beautifully illustrate Piccinini's fixation with the grace found in our collective instinctual and biological desires.
Cornelius Völker, Dog 1/Hund 1, 2003, lithograph on paper, 15 x 17 7/8 inches, edition of 120; $450
For centuries, painters have turned to representing hair or fur to exhibit their technical prowess. Based on Cornelius Völker
's series of paintings of dogs, this lithograph series captures his masterful brushwork and eccentric sense of color.
Left: John Chamberlain; Right: Jim Campbell
Patricia Piccinini, Sapling, 2020, silicone, fiberglass, hair, clothing;
Courtesy of the artist and the Kunsthalle Helsinki
Patricia PiccininiBetween the Shadow and the Soul
August 15 - October 25, 2020
A large solo exhibition of new work by Patricia Piccinini, Between the Shadow and the Soul
features over 30 works and a built environment where the viewer encounters many kinds of lifeforms, surprising characters and stories where fact and fiction, science and mythology meet.
For more than two decades, Piccinini has explored the potentialities — both liberating and threatening — inherent in our advancing capabilities in genetic engineering and artificial intelligence. Her meticulously-crafted sculptures envision a co-mingling of animal, plant, machine and human, questioning the ‘otherness’ of creatures, cyber-forms, and humans who don’t resemble ‘the norm.’ These imagined beings are nearly possible, embodying and reflecting the complex ethical issues of our times.
Connection and empathy are at the heart of Piccinini’s practice. The creatures she envisions share a deep emotional bond in a trans-species, posthuman version of love and relational ethics.
Max Gimblett, Celestial, 1995, acrylic polymer and metallic pigments on canvas, 90 x 90 inches
September 8 - October 10, 2020
We are thrilled to present our first solo exhibition of work by the esteemed 84 year-old painter, calligrapher, and Rinzai Zen monk Max Gimblett
Max Gimblett, In Our Time, 2020, gesso, acrylic, resin, size, and 23kt red gold leaf on canvas, 40 x 40 inches
is located at 260 Utah St, between 15th & 16th streets. Wheelchair accessible entrance at 255A Potrero Avenue. For more information call 415.495.5454 or visit hosfeltgallery.com
.Open by appointment Monday through Saturday
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Hours: M, Tu, W, F, Sa 10-5:30, Th 11-7
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