• Multiple silkscreen layers of blue black green and red form a constructed landscape of a river bank In the foreground are several black silhouettes of submerged trees and hanging branches with many leaves
    Birgit Jensen
    PASTURE, 2021
    acrylic on linen
    78 3/4 x 66 7/8 in
    200 x 170 cm
  • Black ink on paper which was folded in various evenly spaced columns creates several groups of intricate mirrored abstract organic forms. Graphite illustrated on top of the dried ink forms various geometric shapes and patterns that contain and surround the inkblots
    Bruce Conner
    DISSERTATION, OCTOBER 5, 1994, 1994
    ink and pencil on paper
    image 10 3/4 x 11 5/8 inches/27.3 x 29.5 cm
    sheet 11 x 12 1/8 inches/27.9 x 30.8 cm
  • Four fuschia flower petals float over blurry colorful floral green, yellow and turquoise background.
    Cornelius Völker
    Petals, 2020
    oil on canvas
    39 3/8 x 27 1/2 in
    100 x 70 cm
  • Mixed media landscape with silver metallic pointillism floating clouds that obscure the view of some large black and white marbled mountain tops Several bare birches and flowing willow trees are visible at the mountain tops while multiple blush peonies bloom at the bottom of the piece
    Crystal Liu
    the fog, "hold up", 2019
    gouache, watercolor, ink and collage on paper
    40 x 40 inches/101.6 x 101.6 cm
  • Multi-colored thin straight lines overlap and intersect to create a digital like graph amongst dark and light blues reds and purples
    Driss Ouadahi
    Recto-verso, 2020
    oil on canvas
    74 3/4 x 66 7/8 in
    190 x 170 cm
  • “Layers of multi-colored threads strung across a round wooden and plaster panel create the effect of a small glowing purple center that is encircled by criss-crossing red border
    Emil Lukas
    proximity of heat #1814, 2020
    thread, wood, plaster, paint, nails
    27 1/2 x 27 1/2 x 3 1/2 in
    69.8 x 69.8 x 8.9 cm
  • Gideon Rubin, Untitled, 2018
    Gideon Rubin
    Untitled, 2018
    oil on linen
    14 x 12 1/8 inches/35.5 x 30.5 cm
  • Harry Bertoia, Untitled, 1950s
    Harry Bertoia
    Untitled, 1950s
    ink on Japanese paper
    8 1/2 x 26 in
    21.6 x 66 cm
  • Highly detailed and realistic oil painting on panel of a zoomed in birds eye view of a bouquet of vibrant red and pink flowers Crawling up the stems of the flowers are several Spotted Lantern Flies an insect indigenious to China but has now spread invasively into Japan South Korea and the United States
    Isabella Kirkland
    New Opportunist (Spotted Lantern Fly: Lycorma delicatula), 2018
    oil and alkyd on wood panel
    16 x 20 in
    40.6 x 50.8 cm
  • Paper collage of various cut outs from early twenty tens magazines display a pair of old withered hands holding an oval image of a man and woman kissing. On top of the intimate image an orange butterfly rests at the lower left side
    Jean Conner
    THE KISS, SEPTEMBER 2010, 2010
    paper collage
    10 13/16 x 8 3/16 in
    27.5 x 20.8 cm
  • Still image of multiple colorful LEDs shining up through acrylic blocks of varying heights on the surface of a pedestal
    Jim Campbell
    Repixelated 3, 2017
    custom electronics, 300 LEDs, acrylic
    30 1/2 x 22 1/2 x 16 1/2 inches/77.5 x 57.1 x 41.9 cm
  • An image of painted boulders and rocks with an orange yellow background.
    Judith Belzer
    All That Is Solid #32, 2022
    oil on canvas
    60 x 80 in
    152.4 x 203.2 cm
  • Dots of colorful paint creates a tentacle-like shape moving from the bottom left to the top right of canvas. Around the canvas’s edge, more colorful dots in red and orange create interwoven shapes.
    Jutta Haeckel
    Lights Dots Waves II, 2021
    acrylic on jute
    59 1/8 x 47 1/4 in
    150 x 120 cm
  • Dark photo etching depicting a book opened to an old yellowed image of a well dressed man with multiple hands eating at a dinner table. Hovering above the book a hand uses a fork like tool to dab the mouth of the man in the image with a tiny white napkin
    Liliana Porter
    The Magician, 1977
    photo etching and aquatint on paper
    plate 11 x 8 1/2 inches/27.9 x 21.6 cm
    sheet 23 1/8 x 18 1/8 inches/58.7 x 46 cm
  • Marco Maggi, Waiting to Surface (color on white), 2019
    Marco Maggi
    Waiting to Surface (color on white), 2019
    cut paper on Dibond
    24 x 18 inches/61 x 45.7 cm
  • Thin black and white hasty brush strokes with two smaller white arches painted on top of a multi-blue painted circular cut canvas
    Max Gimblett
    The White Fish with Silver Wings, 2020
    acrylic, water-based size and platinum leaf on canvas
    50 x 50 in
    127 x 127 cm
  • Sculpture of shiny red motorcycle-like vehicle with many mirrors forming antlers. Yellow sculpture that is part-animal with webbed hands and part-motorcycle appears to be leaping on the back of the red motorcycle.
    Patricia Piccinini
    The Struggle, 2017
    fiberglass, auto paint, leather, steel, scooter parts
    78 3/4 x 94 1/2 x 47 1/4 in
    200 x 240 x 120 cm
  • Horizontal and vertical straight black ink lines form a geometric pattern of semi circles and curves creating patterns similar to simplified wave crescents. Throughout the piece several lines get closer to create optical illusions of depth and recession into space
    Tim Hawkinson
    Pultek, 2020
    India ink on Yupo paper
    60 x 40 in
    152.4 x 101.6 cm
  • William T. Wiley, Angel Saving Stag From Jaguar, 1995
    William T. Wiley
    Angel Saving Stag From Jaguar, 1995
    acrylic on canvas
    68 x 97 in
    172.7 x 246.4 cm
  • Purple pink and red paint layered to create several circular moiré effects with some pink blotches towards the corners of the piece
    Anoka Faruqee & David Driscoll
    2017P-21, 2017
    acrylic on linen on panel
    33 3/4 x 33 3/4 inches/85.7 x 85.7 cm
  • Woman gazes down at the white table she’s seated at. Her form is mirrored but slightly distorted by a black shape that hovers to her left.
    Ben McLaughlin
    The Northern Cross, 2017
    oil on panel
    12 x 8 inches/30.5 x 20.3 cm
  • Abstract scene with cobalt blue background in the top left, brown in the bottom left and yellow on the right. Layered on top of the background are textured dark yellow brushstrokes, two gray chrome shapes and two horizontal strips of orange chrome.
    Bernard Lokai
    Untitled, 2018
    acrylic on canvas
    55 1/8 x 78 3/4 inches
    140 x 200 cm
  • Birgit Jensen, KAGAMI VllI, 2018
    Birgit Jensen
    KAGAMI VllI, 2018
    acrylic on linen
    78 3/4 x 66 7/8 in
    200 x 170 cm
  • Enlarged print of an original photograph of a performance piece The photo captures the urban nineteen fifties landscape scene of the word LOVE painted in white onto San Francisco’s Oak Street
    Bruce Conner
    LOVE OAK, 2004/2021
    pigmented inkjet print on paper
    20 x 24 in
    50.8 x 61 cm
  • Woman’s head and shoulders are seen from behind as she turns her head to the left. Her blonde hair is pulled into a bun in the middle of her head.
    Cornelius Völker
    Bun, 2013
    oil on canvas
    19 3/4 x 27 1/2 in
    50 x 70 cm
  • Mixed media landscape with silver pointillism streams of fog caress several blush peonies, bare birch trees, and black and white marbled mountain tops. At the bottom a gold metallic moon peeks out from three of the marbled mountain tops
    Crystal Liu
    the fog, "please be gentle", 2020
    gouache, watercolor, collage and ink on paper
    50 x 40 inches
    127 x 101.6 cm
  • Harry Bertoia, Untitled, 1960s
    Harry Bertoia
    Untitled, 1960s
    ink with graphite on Japanese paper
    24 x 13 in
    61 x 33 cm
  • Sixteen varieties of Nudibranch egg cases, in different shapes, sizes, and colors on black background.
    Isabella Kirkland
    Nudibranchia, Egg Cases, 2014
    oil and alkyd on wood panel
    7 3/4 x 7 3/4 in
    19.7 x 19.7 cm
  • Two gallon milk jugs on foggy beach.
    Jean Conner
    TWO NUDISTS AT THE BEACH, 1996
    paper collage
    7 7/8 x 7 1/2 in
    20 x 19.1 cm
  • Still image of metal rods protruding out of a wall and arranged more densely towards the center of the piece. On the ends of each rod multi-colored LEDs are mounted and they shine soft glowing circles on the surface of the wall which display a scene of a crowd splitting in two at the twenty seventeen Women’s March in Washington DC
    Jim Campbell
    Splitting the Crowd, 2017
    custom electronics, 713 LEDs
    120 x 240 in
    304.8 x 609.6 cm
  • Several silkscreen layers of multi-colored acrylic paint overlap to display several patterns on black paper The patterns depict vegetal designs and elements from the artist’s own Asian American upbringing in the primarily white suburb of Orange County California
    Julie W. Chang
    Untitled #14, 2012
    acrylic on paper
    22 1/8 x 30 inches/56.2 x 76.2 cm
  • Jutta Haeckel, Pattern of Chance II, 2021
    Jutta Haeckel
    Pattern of Chance II, 2021
    acrylic on jute
    59 1/8 x 47 1/4 in
    150 x 120 cm
  • Marco Maggi, What is the Meaning of Blue, 2018
    Marco Maggi
    What is the Meaning of Blue, 2018
    cut paper on museum board
    24 x 18 in
    61 x 45.7 cm
  • Three thick hasty black ink strokes that form interconnecting messy circles that in an area to the left drips down
    Max Gimblett
    Universe-5 for Sengai Gibbon, 2014
    sumi ink on Thai garden paper
    22 x 30 inches/55.9 x 76.2 cm
  • Thin rectangular horizontal drawing of a pastel blue and grey mountainous landscape with bands of yellow on the horizon, a starry sky and a banded planet
    Russell Crotty
    400 Million Miles from Tranquillon Mountain, 2022
    color pencil, gouache and ink on museum board (3)
    10 3/8 x 120 in
    26.4 x 304.8 cm
  • Tim Hawkinson, Nine Lobed Roliepolie, 2019
    Tim Hawkinson
    Nine Lobed Roliepolie, 2019
    urethane
    12 x 14 x 15 inches
    30.5 x 35.6 x 38.1 cms
  • Painting of blackboard with wooden frame. Black board dread "Trust us for Just us" with large barrel that says "HOAX" with other phrases.
    William T. Wiley
    Trust Us For Just Us, 2008
    watercolor and ink on paper
    30 x 22 1/2 in
    76.2 x 57.1 cm
  • Multi-colored paint layered to create pink blue and green circular moiré effects
    Anoka Faruqee & David Driscoll
    2018P-02, 2018
    acrylic on linen on panel
    45 x 45 in
    114.3 x 114.3 cm
  • Streetlamp on a hill on the left side of the canvas is set against cityscape on the lower right and stormy blue sky in the background.
    Ben McLaughlin
    The Three Evangelists, 2021
    oil on panel
    6 x 4 in
    15.2 x 10.2 cm
  • Multiple silkscreen layers of black blue green and yellow paint form a constructed landscape of a blurred and heavily pixelated river bank In the foreground curving from the bottom right corner to the upper left is a silhouette of a large tree branch
    Birgit Jensen
    FOG V, 2021
    acrylic on linen
    66 7/8 x 55 1/8 in
    170 x 140 cm
  • Maroon felt ink pen creates intricate blobs ranging in sizes on paper to form abstract patterning Negative space is left in between each blob and in some areas the white of the paper creates its own unique shapes
    Bruce Conner
    UNTITLED, 1968
    ink on paper
    image 14 3/8 x 10 1/8 inches/36.5 x 25.7 cm
    sheet 14 1/2 x 10 1/2 inches/36.8 x 26.7 cm
  • Five dark fuschia flower petals float over glowing blurry background in neon green, fuschia and black.
    Cornelius Völker
    Blüten/Petals, 2021/2019
    oil on canvas
    102 3/8 x 78 3/4 in
    260 x 200 cm
  • Colorful abstract landscape alludes to several distorted high rise buildings amongst garden space Several thin vertical black lines are painted on top of the landscape
    Driss Ouadahi
    Retour aux Sources, 2020
    oil on canvas
    27 1/2 x 31 1/2 in
    70 x 80 cm
  • Seated woman with black sandals, white pants and green shirt sits on wood structure with hands in her lap. Her body above the elbows is cropped out of the composition.
    Gideon Rubin
    Black Sandals, 2018
    oil on board
    9 7/8 x 8 1/8 in
    25 x 20.5 cm
  • Harry Bertoia, Untitled, c. 1960s
    Harry Bertoia
    Untitled, c. 1960s
    melt-pressed and patinated bronze
    5 1/4 x 6 1/4 x 5 1/4 in
    13.3 x 15.9 x 13.3 cm
  • Light colored stone with orange lichens and green sprouting plant.
    Isabella Kirkland
    Graveyard Lichens VI, 2018
    oil on panel
    8 x 8 in
    20.3 x 20.3 cm
  • Black ink on paper creates a thinly illustrated and abstract scene of flowing and hatching lines with some recognizable forms such as four candles at the top of the piece and a skeleton at the lower right
    Jean Conner
    UNTITLED, 1962
    ink on paper
    12 x 8 7/8 in
    30.5 x 22.5 cm
  • Still image of a rectangular piece with multi-colored LEDs behind angled Plexiglass that display pixelated scenes from the twenty seventeen Women’s March in Washington DC To the right side the scene is burry due to the Plexi being farther away while at the left is it more pixelated due to the Plexiglass being closer
    Jim Campbell
    Slur IV, 2017
    custom electronics, LEDs, treated Plexiglas
    18 x 48 x 8 inches/45.7 x 121.9 x 20.3 cm
  • Polaroid montage of several scenes of war (including fighter jets, a town on fire and soldiers poised for battle). Layered with these polaroids are images of the Washington Monument, a man licking a hairy surface, another man’s worried expression and a man’s arm.
    John O'Reilly
    War Series #29, 1991
    polaroid montage
    9 x 12 inches/22.9 x 30.5 cm
  • Multi-colored symbols from a variety of different cultures and ethnicities are layered on top of each other against a bright gold painted panel
    Julie W. Chang
    Untitled, 2020
    acrylic on panel
    11 1/2 x 11 1/2 in
    29.2 x 29.2 cm
  • Small lines made of multicolored dots criss-cross the tan canvas, creating chaos over a background of orange, blue, yellow, dark purple and exposed burlap canvas.
    Jutta Haeckel
    Micro Map II, 2021
    acrylic on jute
    59 1/8 x 47 1/4 in
    150 x 120 cm
  • Digital photograph of an installation piece of a metallic bronze and copper gear clock. At the center of the clock on top of several gears a tiny human figurine stands and appears to be pulling on a tall lever
    Liliana Porter
    To Fix It (Wall Clock IV), 2018
    metal and figurine
    4 3/4 x 6 x 3 1/2 inches/12.1 x 15.2 x 8.9 cm
  • Marco Maggi, Waiting to Surface (South), 2020
    Marco Maggi
    Waiting to Surface (South), 2020
    cut paper mounted on Dibond
    24 x 18 inches/61 x 45.7 cm
  • Black ink hasty brush stroke that forms an upside down Y shape at the center of the beige paper
    Max Gimblett
    Untitled, 2017
    sumi ink on Thai garden 100% kozo plain smooth handmade paper
    30 x 22 inches/76.2 x 55.9 cm
  • Three glass blown sculptures arranged on a white floor.
    Patricia Piccinini
    Tender Foam, 2021
    hand blown glass, Britannia metal
    7 7/8 x 14 3/4 x 13 3/4 in
    20 x 37.5 x 35 cm
  • Black and white ballpoint pen and pencil astronomical drawing with supernova remnant known as the Veil Nebula at the center of the piece
    Russell Crotty
    The Veil Nebulae, Super Nova Remnant in Cygnus, 2002
    ink and pencil on paper
    38 1/2 x 38 1/2 inches
    45 x 45 inches framed
  • Geometric sculpture of the artist’s cast body parts namely fingers, elbows, and knees. Various denim fabrics cover the cast parts and frayed holes form at the sculpture’s joints
    Tim Hawkinson
    Knob and Tube, 2021
    fabric and urethane
    18 x 38 x 20 in
    45.7 x 96.5 x 50.8 cm
  • William T. Wiley, So Long Sol, 2007
    William T. Wiley
    So Long Sol, 2007
    mixed media on paper
    46 x 34 in
    116.8 x 86.4 cm
  • Purple and blue paint layered to create several circular moiré effects with some large dark purple blotches towards the bottom of the piece
    Anoka Faruqee & David Driscoll
    2018P-06, 2018
    acrylic on linen on panel
    22 1/2 x 22 1/2 inches/57.1 x 57.1 cm
  • Child stands next to woman seated in beach chair on an expansive plain with blue sky in the background.
    Ben McLaughlin
    The Two Bears, 2017
    oil on panel
    6 x 4 inches/5.2 x 10.2 cm
  • Textured brown brushstrokes are superimposed over cloudy pastel background.
    Bernard Lokai
    Untitled, 2017
    acrylic on canvas
    55 1/8 x 78 3/4 in
    140 x 200 cm
  • Birgit Jensen, GREENLIGHT, 2020
    Birgit Jensen
    GREENLIGHT, 2020
    acrylic on canvas
    27 1/2 x 24 1/8 in
    70 x 61 cm
  • Cornelius Völker, Five Plums, 2018
    Cornelius Völker
    Five Plums, 2018
    oil on canvas
    15 3/4 x 23 5/8 inches/40 x 60 cm
  • Mixed media landscape with tall black and white marbled mountains which become obscured towards the top of the piece as silver metallic pointillism clouds cover its peaks. At the bottom of the piece a small gold metallic moon hovers above a row of bare birch trees
    Crystal Liu
    the mountains, 'the wait', 2016
    gouache, watercolor and ink on paper
    30 x 30 in
    76.2 x 76.2 cm
  • Bubble wrap indents cast into plaster and painted in various colors
    Emil Lukas
    soft cluster #1612, 2018
    paint, plaster, aluminum
    46 x 46 x 2 in
    116.8 x 116.8 x 5.1 cm
  • The tops of two palm trees rise into blue cloudless sky behind a red and green tree.
    Gideon Rubin
    Palm Tree, 2019
    oil on canvas panel
    15 3/4 x 15 3/4 in
    40 x 40 cm
  • Harry Bertoia, Untitled, c. 1960-65
    Harry Bertoia
    Untitled, c. 1960-65
    bronze
    7 1/2 x 14 1/2 x 2 1/2 in
    19.1 x 36.8 x 6.3 cm
  • Highly detailed and realistic oil painting on panel of a two by three grid of several different kinds of sea slugs against a black background The individuals painted in this piece all exemplify different methods a sea slug can defend itself
    Isabella Kirkland
    Self Defense, 2014
    oil and alkyd on wood panel
    7 3/4 x 7 3/4 inches/19.7 x 19.7 cm
  • Paper collage of various cut outs from early nineteen seventies magazines create the surreal scene of a wealthy couple being driven by their chauffeur with a Humpty Dupty like figure in the back seat. On top of the car a young woman in yellow holds up a large spider with trails of smoke coming from her left in the background
    Jean Conner
    UNSOLVED MYSTERY, 1978
    paper collage
    14 3/4 x 9 1/8 in
    37.5 x 23.2 cm
  • Still image of rectangular piece with multiple LEDs behind blurred photographic image mounted on Plexiglass that displays a scene of people moving about in entrance to the BART and Muni station on Powell Street in San Francisco
    Jim Campbell
    Powell Street, 2009
    768 LEDs, photograph mounted on plexiglas, custom electronics
    22 1/2 x 29 1/2 x 2 inches/57.1 x 74.9 x 5.1 cm
  • Several silkscreen layers of multi-colored acrylic paint overlap to display several patterns on black paper The patterns depict vegetal designs, luxury brand icons, and elements from the artist’s own Asian American upbringing in the primarily white suburb of Orange County California
    Julie W. Chang
    Untitled #5, 2012
    acrylic on paper
    22 1/8 x 30 in
    56.2 x 76.2 cm
  • Jutta Haeckel, Pattern of Chance I, 2021
    Jutta Haeckel
    Pattern of Chance I, 2021
    acrylic on jute
    59 1/8 x 47 1/4 in
    150 x 120 cm
  • Digital photograph of an installation piece of a thick white wooden shelf which holds a broken and dismantled round wooden and metal clock. On top of the clock is a tiny human figurine who is crouched down with a tool in hand
    Liliana Porter
    To Fix It II (round clock), 2016
    metal clock, figurine on painted shelf
    6 x 12 x 10 1/4 in
    15.2 x 30.5 x 26 cm
  • Marco Maggi, RED significa ROJO en Inglés, Translation Series, 2018
    Marco Maggi
    RED significa ROJO en Inglés, Translation Series, 2018
    paper on dibond
    24 x 18 inches/61 x 45.7 cm
  • Hasty dripping platinum leaf brush stroke horizontally painted across the center of the canvas In the background are two unevenly horizontally divided sections of blue taking up the top of the piece and black on the bottom
    Max Gimblett
    Vigil, 2020
    acrylic, water-based size and platinum leaf on canvas
    70 x 70 in
    177.8 x 177.8 cm
  • Hanging sphere covered with a drawing of a red rock mountainous landscape and a starry skyscape with a milky white band.
    Russell Crotty
    Extreme High Desert Boulder Problems, 2006-2022
    ink and gouache on paper on fiberglass sphere
    12 x 12 x 12 in
    30.5 x 30.5 x 30.5 cm
  • Tim Hawkinson, Big Agnes, 2022
    Tim Hawkinson
    Big Agnes, 2022
    oil on panel
    8 7/8 x 6 5/8 in
    22.5 x 16.8 cm
  • Watercolor of poster on plank in fair ground. Poster reads in symbols " & so Eye ASS Q, Is this Fair?" Watercolor has small blurb written underneath it.
    William T. Wiley
    Is This Fair?, 2000
    watercolor and ink on paper
    30 x 22 in
    76.2 x 55.88 cm
  • Dark and light brown with forest green paint layered to create multiple wavy moiré effects
    Anoka Faruqee & David Driscoll
    2013P-72, 2013
    acrylic on linen on panel
    22 1/2 x 22 1/2 inches/57.1 x 57.1 cm
  • A small portable grill with a lit fire stands on grass in front of a white fence. The scene is depicted in primarily turquoise hues.
    Ben McLaughlin
    The Young Alfred The Great, 2019
    oil on panel
    6 x 4 in
    15.2 x 10.2 cm
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