Max Gimblett, Jungle-After Henri Rousseau, 2019, acrylic, resin, Aquasize and platinum white gold leaf on canvas, 70 x 70 inches |
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The distinctions between Buddhism, Christianity, Hinduism and Taoism are irrelevant to Max Gimblett, who accepts the Modernist notion of duality as a guiding principle even though the reconciliation of opposites constantly asserts itself in his imagery. As a believer in the practice of meditation to empty the conscious mind and to engage with a pure space, Gimblett in his work may be regarded as coalescing the principle of 'poverty of the spirit' of Christian meditation with the Buddhist notion of 'emptiness,' the 'silence' of Hindiusm and the 'unutterable' of Taoism.
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— Anne Kirker, Head of International Art at the Queensland Art Gallery, from her essay "A 'Minimalist' with Passion" from the catalogue to the exhibition Max Gimblett: The Language of Drawing at Queensland Art Gallery, 2002 |
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Max Gimblett: juggernaut Installation View |
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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. |
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Max Gimblett, The Traveler, 2019, acrylic, resin, Aquasize, and platinum leaf on canvas, 30 x 21 inches |
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In Conversation: Marcia Reed & Max Gimblett
Wednesday, October 7th at 12 pm PST
Please tune in for a virtual tour of juggernaut and conversation between Marcia Reed, Chief Curator and Associate Director of Special Collections & Exhibitions at The Getty Research Institute and Max Gimblett.
Please email info@hosfeltgallery.com to RSVP and receive the Zoom details. |
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Left: Lordy Rodriguez; Right: Jim Campbell |
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Jean Conner, OUT OF THE BLUE, 2015, paper collage, 10 7/8 x 8 1/8 inches |
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Jean Conner's collages — playful, uncanny, formally sophisticated — are knotty riddles in which people, images and places come together in ways that are extraordinary or impossible. Dream-like, they both beg for and resist interpretation. Unraveling their narrative or symbolic meaning is a task she assigns to the viewer. |
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Max Gimblett, The Golden Virtue of Blue Sky over My New Zealand, 2010,
gesso, acrylic and vinyl polymers, epoxy, Aquasize and Swiss gold leaf on canvas, 60 x 60 inches |
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“The quatrefoil first appeared in my work in 1983. It came to me in a dream. The quatrefoil said, ‘form me and paint me and I will heal you.’ And I recognized it immediately as a mandala. The quatrefoil is the center of my practice.” — Max Gimblett The quatrefoil has been a recurring motif in architecture and design for centuries. Listen to 99% Invisible discuss the history of the quatrefoil in Episode 106: The Fancy Shape.
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Polar Democracy
October 17 - November 25
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Lordy Rodriguez, Texas 35th, 2020, ink on paper, 44 x 26 inches |
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Twenty-four years ago, Lordy Rodriguez (b. 1976, Quezon City, Philippines) started using a visual lexicon of map-based forms as metaphors for defining an individual’s position within a culture or society. For his sixth solo exhibition at Hosfelt Gallery, Rodriguez employs this ever-developing, cartography-inspired vocabulary to ruminate on issues about the immutable appeal of democracy and its very precarious existence. |
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Revisited Spaces
October 17 - November 25 |
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Driss Ouadahi, Recto-verso, 2020, oil on canvas, 74 3/4 x 66 7/8 inches |
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As a young man, Algerian artist Driss Ouadahi immigrated from post-colonial North Africa to study painting at the renowned Kunstakademie in Düsseldorf, Germany. His years as an architecture student combined with his lived experience as an émigré continue to inform his work. In his seventh solo exhibition at Hosfelt Gallery, Ouadahi begins with the simplest of forms — the line — to simultaneously demarcate borders and suggest that established boundaries can be overcome. |
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Liliana Porter, Canguro/Mono, 2009 (detail), solar print on paper; image 16 x 13 3/4 inches, sheet 31 x 22 1/2 inches, $2,700
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The concept of "the disguise" has captivated Liliana Porter (b. 1941, Buenos Aires) for decades. In this editioned work on paper, Porter playfully explores the idea of true identity versus the face we present to the world. Available in our Online Shop here.
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Hosfelt Gallery 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:
calendly.com/hosfelt-gallery
Hours: M, Tu, W, F, Sa 10-5:30, Th 11-7
Copyright © 2020 Hosfelt Gallery, All rights reserved.
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