Isabella Kirkland, Taxa, 2006
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Birgit Jensen, Kagami 33 III, 2018, acrylic on canvas, 66 7/8 x 55 1/8 inches
At the most basic level, Birgit Jensen
is a landscape painter. She’ll appropriate an image of a site — often someplace she’s never been, sometimes a place that doesn’t even exist — and manipulate the pixels, making up the image into geometric marks or patterns, and then make a low-resolution, pixelated painting in oil or acrylic on canvas.
Inspired both by Japanese woodblock prints and the Pop Art of Andy Warhol, Jensen’s paintings vibrate and shimmer. From a distance (or viewed as a small photographic image), they’re easily discernible. Upon closer inspection however, they break down into textile-like patterns and become more abstract — a comment on the relationship between perspective and understanding.
Jensen’s most recent work revolves around the moon and its reflection in a still body of water. Her paintings feature vibrant, unexpected color combinations, achieved through a meticulous process of layering silkscreens, custom-made by the artist. The results are striking, and speak to the nature of perception, mediation, interpretation, and memory.
Birgit Jensen, Hafu II, 2019, acrylic on linen, 66 7/8 x 55 1/8 inches
Cornelius Völker, Hair-do, 2005, oil on canvas, 27 1/2 x 25 5/8 inches
With a distinctive method of handling paint that is simultaneously fluid and precise, German artist Cornelius Völker
chooses traditional genres — the still-life and portraiture — to explore and decode the history of representational painting.
Frequently involving subject matter that was used by painters for centuries to best exhibit their proficiency — hair, hands, flesh, glass, food — Völker’s works blur traditional distinctions between genres, each painting becoming both a still life and
a portrait. Whether or not actually figurative, nearly every work that Völker paints refers to the body.
Andrew Schoultz, Window (in Plain Sight), 2018 - 2020, acrylic on canvas over panel, 36 x 30 inches
Andrew SchoultzMother Nature, Father Time
"Showing at Hosfelt Gallery is really good for me as an artist because I don't have any limitations. The space feels more like a museum than a gallery. I like to make it an experience for the viewer as a participant — not just as a spectator." — Andrew Schoultz
To view the exhibition in person, please make an appointment for your visit. You will have 40 minutes to see the show privately. You may call the gallery or use our online calendar: calendly.com/hosfelt-gallery
If you can't visit the exhibition in person, you can view the exhibition through this link
Andrew Schoultz, Noble Beast in Window, 2020, acrylic on canvas over panel, 20 x 16 inches
From Left to Right: Farhad Moshiri, Ruth Asawa, Anoka Faruqee & David Driscoll
From Left to Right: Russell Crotty, Andrea Higgins, Matt Wedl
The best of British New Wave film, from our friend Tom DiRenzo:
Room at the Top (1958)
Saturday Night and Sunday Morning (1960)
Taste of Honey (1961)
The Loneliness of the Long Distance Runner (1962)
This Sporting Life (1963)
The Servant (1963)
Billy Liar (1963)
Smashing Time (1967)
All of these titles are available free or to rent on YouTube.
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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
To schedule an appointment, call the gallery or sign up online:
Hours: M, Tu, W, F, Sa 10-5:30, Th 11-7
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