Reviews

David Trautrimas makes digitally manipulated photos from yesteryear’s appliances; Kristina Lewis builds futuristic objects from spike-heeled shoes. Wham! Zap! Kapow!

The sculptures and drawings of Mari Andrews and Sheila Ghidini aim at what Suzi Gablik called a “resacralization” of the world: a reclamation of all that has been lost on our beleaguered planet.

Whether he’s sneering at bourgeoisie social conventions or savaging institutional powers that feed on human suffering, painter Luc Tuymans is all about exposing the things that carefully crafted appearances are designed to disguise.

In their collaborative works, Harvey and Koo wrest order from manufactured chaos. Their wall-sized montages, built from thousands of images, show painting at its maximally expressive.

Eleanor Wood’s hermetic Minimalism embraces a sense of infinitely plotted spatial extensions while instantiating an intricate, insistent, rigidly contained, eye-catching, hypnotic singularity.

After the exhaustively hagiographical 2003 Diane Arbus retrospective, Revelation, at SFMOMA, what more can there be to say or look at? Plenty, as this show of around 30 early works and outtakes.

Markus Linnebrink doesn’t compose in the conventional sense; his works are a kind of visual archeology: an exploratory process in which the artist is both creator and excavator.

Can Minimalism’s geometry, impenetrable surfaces and modular units be recast with feeling? Theodora Varnay Jones answers with an emphatic yes.

Richard Gilles’ photo aren’t just about our wrecked economy. They document the void that exists between cities, suburbs, mountains and farmland.

David Wetzl’s paintings attempt to make sense of the anarchy of human history. You may disagree with his positive forecast, but you can’t help but marvel at his inventiveness.

This show of “re-purposed” junk demonstrates how socially relevant art can spring from idiosyncratic, personal investigations and material invention.

Bob Brady works with the figure, but the figure hasn’t really his subject. Like a jazz instrumentalist who uses song structure for self-expression, Brady is all about stretching his materials.