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A group exhibition examining social dissolution through still life. A pause in dependency, a surrender of instantaneous access. A stagnant heatwave hangs over the city. Offline presents photographs from the 1970s-current as an examination of social dissolution over the passage of time, creating an exhibition as a homage to city...
Avatar-artist and curator LaTurbo Avedon introduces "Virtual Crush," a multi-disciplinary group exhibition featuring seven international artists: Melissa Broder, Arvida Byström, Claudia Hart, Kira Kutcher, Kim Laughton, Eva Papamargariti, and Signe Pierce. The selected works, spanning 2009 to present, focus largely on representations of the simulated body, identity, and intimacy across this period.
Founded in 1976 by sculptor Peter Voulkos, pioneering live-work community The Dome that has provided creative soil for generations of Bay Area artists. Once a dome-shaped food processing factory, Voulkos and his collaborators transformed the industrial architecture into a radical, communal site where boundaries between art, life, and labor dissolved. Voulkos and his early collaborators, including Clay Jensen, Bella Feldman, Ana Lisa Hedstrom, Tom Holland, Marilyn Levine, JoAnn Gillerman, and Ann Adair Voulkos, built not only studios but shared infrastructure: kilns, casting spaces, performance areas, and—most importantly—a communal culture sustained by experimentation. Today, that culture is sustained by artists including Jennifer Brazelton, Takming Chuang, Juan Santiago, and Leah Virsik. At a moment when many arts instutions face uncertainty, the exhibition highlights the resilience of artist-led communities and underscores their essential role as the cultural backbone of the Bay Area.
marks Kwong’s first installation in the Bay Area and her most ambitious work to date. Installed in Transamerica Redwood Park, it extends her practice into new material and technological territory. Developed in collaboration with a technology company pioneering 3D printing with organic materials, the work was constructed using two distinct methods: a large robotic arm printed the dome’s exterior structural forms, while a smaller machine created the interior seed-impregnated living soil. Fabrication began in January during San Francisco Art Week, with the dome emerging incrementally over several weeks. Visitors could witness this process both within a temporary onsite workshop and in situ in the park, foregrounding making as a central component of the work and situating advanced fabrication within a lineage of earth-based building practices.
(2026), adapts stills from Gibson’s of the same name, originally commissioned by ICA SF and presented at the institution in 2022. Drawing on footage captured in upstate New York and during site visits to California’s Bay Area, Gibson reconfigures stills from the original 60-foot-wide video installation into a tapestry-like field guided by pattern and rhythm. The work speaks to the urgency of our collective relationship to the planet while asserting the power of art to foster connection, reflection, and shared civic experience.
“My most recent sculpture series titled are deeply connected to skyscraper architecture, both in their immediate verticality and their surface appearance. When ICA SF invited me to be part of their evolution across the city, I could not imagine a more perfect site to bring these works than the soaring Transamerica Pyramid Center. I am always fixated on the ways that sculptures transform space and experience, and in this context, an intention of these sculptures to engage the understanding of urban architecture can be fully realized. The power of ICA SF’s new model is in the ability to situate objects like this in new contexts that can transform our understanding of space and art. I am so thrilled to be a part of this intervention into the city.” — Tara Donovan
Casemore Gallery presents a selection of Larry Sultan's 1978-1982 series Swimmers to commemorate the recent publication of the series by MACK. In addition to Swimmers, a selection of works by Jim Goldberg, Todd Hido, Raymond Meeks, Lindsey White, Suné Woods Viewing Room.
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Avatar-artist and curator LaTurbo Avedon introduces "Virtual Crush," a multi-disciplinary group exhibition featuring seven international artists: Melissa Broder, Arvida Byström, Claudia Hart, Kira Kutcher, Kim Laughton, Eva Papamargariti, and Signe Pierce. The selected works, spanning 2009 to present, focus largely on representations of the simulated body, identity, and intimacy across this period.
Founded in 1976 by sculptor Peter Voulkos, pioneering live-work community The Dome that has provided creative soil for generations of Bay Area artists. Once a dome-shaped food processing factory, Voulkos and his collaborators transformed the industrial architecture into a radical, communal site where boundaries between art, life, and labor dissolved. Voulkos and his early collaborators, including Clay Jensen, Bella Feldman, Ana Lisa Hedstrom, Tom Holland, Marilyn Levine, JoAnn Gillerman, and Ann Adair Voulkos, built not only studios but shared infrastructure: kilns, casting spaces, performance areas, and—most importantly—a communal culture sustained by experimentation. Today, that culture is sustained by artists including Jennifer Brazelton, Takming Chuang, Juan Santiago, and Leah Virsik. At a moment when many arts instutions face uncertainty, the exhibition highlights the resilience of artist-led communities and underscores their essential role as the cultural backbone of the Bay Area.
marks Kwong’s first installation in the Bay Area and her most ambitious work to date. Installed in Transamerica Redwood Park, it extends her practice into new material and technological territory. Developed in collaboration with a technology company pioneering 3D printing with organic materials, the work was constructed using two distinct methods: a large robotic arm printed the dome’s exterior structural forms, while a smaller machine created the interior seed-impregnated living soil. Fabrication began in January during San Francisco Art Week, with the dome emerging incrementally over several weeks. Visitors could witness this process both within a temporary onsite workshop and in situ in the park, foregrounding making as a central component of the work and situating advanced fabrication within a lineage of earth-based building practices.
(2026), adapts stills from Gibson’s of the same name, originally commissioned by ICA SF and presented at the institution in 2022. Drawing on footage captured in upstate New York and during site visits to California’s Bay Area, Gibson reconfigures stills from the original 60-foot-wide video installation into a tapestry-like field guided by pattern and rhythm. The work speaks to the urgency of our collective relationship to the planet while asserting the power of art to foster connection, reflection, and shared civic experience.
“My most recent sculpture series titled are deeply connected to skyscraper architecture, both in their immediate verticality and their surface appearance. When ICA SF invited me to be part of their evolution across the city, I could not imagine a more perfect site to bring these works than the soaring Transamerica Pyramid Center. I am always fixated on the ways that sculptures transform space and experience, and in this context, an intention of these sculptures to engage the understanding of urban architecture can be fully realized. The power of ICA SF’s new model is in the ability to situate objects like this in new contexts that can transform our understanding of space and art. I am so thrilled to be a part of this intervention into the city.” — Tara Donovan
Avatar-artist and curator LaTurbo Avedon introduces "Virtual Crush," a multi-disciplinary group exhibition featuring seven international artists: Melissa Broder, Arvida Byström, Claudia Hart, Kira Kutcher, Kim Laughton, Eva Papamargariti, and Signe Pierce. The selected works, spanning 2009 to present, focus largely on representations of the simulated body, identity, and intimacy across this period.
Founded in 1976 by sculptor Peter Voulkos, pioneering live-work community The Dome that has provided creative soil for generations of Bay Area artists. Once a dome-shaped food processing factory, Voulkos and his collaborators transformed the industrial architecture into a radical, communal site where boundaries between art, life, and labor dissolved. Voulkos and his early collaborators, including Clay Jensen, Bella Feldman, Ana Lisa Hedstrom, Tom Holland, Marilyn Levine, JoAnn Gillerman, and Ann Adair Voulkos, built not only studios but shared infrastructure: kilns, casting spaces, performance areas, and—most importantly—a communal culture sustained by experimentation. Today, that culture is sustained by artists including Jennifer Brazelton, Takming Chuang, Juan Santiago, and Leah Virsik. At a moment when many arts instutions face uncertainty, the exhibition highlights the resilience of artist-led communities and underscores their essential role as the cultural backbone of the Bay Area.
marks Kwong’s first installation in the Bay Area and her most ambitious work to date. Installed in Transamerica Redwood Park, it extends her practice into new material and technological territory. Developed in collaboration with a technology company pioneering 3D printing with organic materials, the work was constructed using two distinct methods: a large robotic arm printed the dome’s exterior structural forms, while a smaller machine created the interior seed-impregnated living soil. Fabrication began in January during San Francisco Art Week, with the dome emerging incrementally over several weeks. Visitors could witness this process both within a temporary onsite workshop and in situ in the park, foregrounding making as a central component of the work and situating advanced fabrication within a lineage of earth-based building practices.
(2026), adapts stills from Gibson’s of the same name, originally commissioned by ICA SF and presented at the institution in 2022. Drawing on footage captured in upstate New York and during site visits to California’s Bay Area, Gibson reconfigures stills from the original 60-foot-wide video installation into a tapestry-like field guided by pattern and rhythm. The work speaks to the urgency of our collective relationship to the planet while asserting the power of art to foster connection, reflection, and shared civic experience.
“My most recent sculpture series titled are deeply connected to skyscraper architecture, both in their immediate verticality and their surface appearance. When ICA SF invited me to be part of their evolution across the city, I could not imagine a more perfect site to bring these works than the soaring Transamerica Pyramid Center. I am always fixated on the ways that sculptures transform space and experience, and in this context, an intention of these sculptures to engage the understanding of urban architecture can be fully realized. The power of ICA SF’s new model is in the ability to situate objects like this in new contexts that can transform our understanding of space and art. I am so thrilled to be a part of this intervention into the city.” — Tara Donovan
Avatar-artist and curator LaTurbo Avedon introduces "Virtual Crush," a multi-disciplinary group exhibition featuring seven international artists: Melissa Broder, Arvida Byström, Claudia Hart, Kira Kutcher, Kim Laughton, Eva Papamargariti, and Signe Pierce. The selected works, spanning 2009 to present, focus largely on representations of the simulated body, identity, and intimacy across this period.
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Founded in 1976 by sculptor Peter Voulkos, pioneering live-work community The Dome that has provided creative soil for generations of Bay Area artists. Once a dome-shaped food processing factory, Voulkos and his collaborators transformed the industrial architecture into a radical, communal site where boundaries between art, life, and labor dissolved. Voulkos and his early collaborators, including Clay Jensen, Bella Feldman, Ana Lisa Hedstrom, Tom Holland, Marilyn Levine, JoAnn Gillerman, and Ann Adair Voulkos, built not only studios but shared infrastructure: kilns, casting spaces, performance areas, and—most importantly—a communal culture sustained by experimentation. Today, that culture is sustained by artists including Jennifer Brazelton, Takming Chuang, Juan Santiago, and Leah Virsik. At a moment when many arts instutions face uncertainty, the exhibition highlights the resilience of artist-led communities and underscores their essential role as the cultural backbone of the Bay Area.
Emmit Fenn at The Midway, San Francisco.