Tauba Auerbach was born in San Francisco in 1981 and earned her BA from Stanford University in 2003. A kind of structuralist, Auerbach uses her practice to explore systems such as language, math, and physics and push them to their limits.

Equal parts scientific and aesthetic, her work ranges across many mediums. One of her first shows consisted of an alphabetic reorganization of all the letters of the Bible. Since then, she has reworked images of static from television screens into fields of mesmeric dots and produced books that function as sculptures; her well-known Fold paintings mimic crumpled paper.

 Her 2011 series Plate Distortion involved crumpling aquatinted copper foil, and then etching the undulating foil. Once flattened and printed, the results suggest something between two- and three-dimensionality. Auerbach’s systematic approach and confident choices fit well with the process of printmaking, while also consistently challenging it.

 Auerbach has been exhibited at the Museum of Modern Art, the New Museum, the Whitney Museum of American Art, and MoMA PS1 in New York City, as well as the Broad in Los Angeles, among others. In 2011, she received the Smithsonian Institution’s Artist Research Fellowship Award. She lives and works in New York City.

For a complete list of available prints with price information please contact The Bott Collection.

Radcliffe Bailey is a contemporary African American artist known for his mixed-media practice that delves into his black heritage and childhood in the South. Employing materials that include paint, traditional African sculpture, tintype photographs of his family, clay, and piano keys, the artist conveys the powerful sentiment of a living memory. “I believe that by making things that are very personal they become universal,” he explained. “I am first and foremost an artist, a person of this world, and an artist of African descent who grew up in the South and has chosen to continue to live and work in the South. My art is about history and the mystery of history.” Bailey received his BFA from the Atlanta College of Art in 1991 and has gone on to have several solo exhibitions including “Memory as Medicine,” which opened in 2011 at the High Museum of Art. Today, his works are held in the collections of the Metropolitan Museum of Art in New York, the Museum of Fine Arts in Houston, the Art Institute of Chicago, and the Smithsonian Museum of American Art in Washington, D.C., among others.

For a complete list of available prints with price information please contact The Bott Collection.

William H. Bailey is a contemporary American painter known for his still lifes, landscapes, and figurative works. Emitting a quiet intensity, and appearing to be painted from observation, his works are composed from memory and sketches. “I don't like categories. I have been variously described as a realist and as a classicist. The paintings I do are not from life—they're made up, but they're made up from real situations,” Bailey has said. “All these things come from my memory really.” The artist is strongly influenced by the work of the Italian still-life painter Giorgio Morandi and the pre-Renaissance artist Piero della Francesca. Born on November 17, 1930, in Council Bluffs, IA, he studied at the University of Kansas, going on to receive his MFA under the Modernist painter Josef Albers at Yale University. He lives and works between Umbertide, Italy and New Haven, CT. Honored as a Professor Emeritus of Art at Yale University, Bailey’s work is represented in the collections of The Museum of Modern Art in New York, the Hirshhorn Museum and Sculpture Garden in Washington, D.C., and the Art Institute of Chicago.

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Hernan Bas is a contemporary American painter. Known for the romantic and humorous quality of his work, Bas’ paintings most often depicts interiors rendered in rich swatches of color that create a titled perspective, fluctuating between representation and abstraction. “I do like the idea that everything is contained—the entire narrative, within the frame of the canvas,” he has said. “But paintings that I consider to be successful are always on the verge of falling apart. To me, that’s the fun of it—the eminent collapse, and also the challenge.”Throughout his practice, viewers are offered snapshots of a world co-inhabited by personal and historic references, such as Nihilism, Romanticism, and literary allusion. He has been exhibited in the 2004 Whitney Biennial, as well as by Victoria Miro Gallery in Paris, The Moore Space in Miami, and the Brooklyn Museum. Born in 1978 in Miami, FL, Bas went on to study at the New World School of Arts in Miami, where he graduated in 1996. He currently lives and works in Detroit, MI.

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A self-styled “rural modernist,” McArthur Binion takes a uniquely personal approach to abstract painting. Combining collage, drawing, and painting, he overlays mementos from his own life with repeating patterns and forms. Pages from address books and journals, and even copies of Binion’s own passport and birth certificate, form a kind of template for layers of black, white, and brown grids. From afar, the work can appear conceptual; it is only on closer examination that the viewer realizes its intimate nature. In this way, Binion juxtaposes the individual and the collective to create a complex representation of selfhood.

 McArthur Binion lives and work in Chicago. He received his BFA from Wayne State University, Detroit, in 1971, and his MFA from the Cranbrook Academy of Art in Bloomfield Hills, Michigan, in 1973. He has been a professor of art at Columbia College in Chicago since 1992. His work is held in the collections of the Kemper Museum of Contemporary Art in Kansas City, the Metropolitan Museum of Art and the Whitney Museum of American Art in New York City, and the National Museum of African American History and Culture in Washington, D.C., among others.

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Ross Bleckner gained renown as a painter during the 1980s AIDS crisis in America. His series of paintings portraying white blood cells, a kind of memento mori, would prove indicative of much of his work to follow. Bleckner wields symbolic imagery (often anatomical) rather than direct representation to evoke themes of loss, change, memory, and morality. His oeuvre is full of suggestive forms that constantly shift and change their focus.

 Bleckner received his BFA from New York University and his MFA from the California Institute of the Arts. A number of institutions include his work in their permanent collections, such as the Museum of Modern Art, the Whitney Museum, and the Guggenheim Museum in New York City. He is represented by the Mary Boone Gallery in New York City.

 For a complete list of available prints with price information please contact The Bott Collection.

Engaged in dialog with the Pop Art movements of both Great Britain and the United States, Christopher Brown draws on culturally iconic imagery and reuses personal graphic motifs. Primarily figurative in nature, his work walks a line between representational and abstract art, incorporating his own photographs and recollections, images from movies and other media, and natural and manmade landscapes.

Brown received his MFA from the University of California, Davis, where he was influenced by then-professors Wayne Thiebaud and Manuel Neri. Brown himself has since served as a professor at the University of California, Berkeley, and at the California College of the Arts in Oakland. A variety of museums include his work in their collections, such as the de Young Museum in San Francisco, the Walker Art Center in Minneapolis, and the Museum of Modern Art in New York City. He currently lives and works in Berkeley, California, and is represented by the John Berggruen Gallery in San Francisco.

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Squeak Carnwath constructs a unique vocabulary of pictographs and hieroglyphs that constitute a personal index of meaning. The repetition of these symbols, shapes, and colors, within each painting and across her body of work, is meditative; her simple objects become mantras through the act of painting them over and over. As Carnwath explains, “Painting is a philosophical enterprise in which through a kind of alchemy, inert material becomes something else — a document of being, a repository of the human spirit.” Carnwath’s paintings were the focus of a major exhibition surveying the past 15 years of her career at the Oakland Museum of California in the summer of 2009. Her work is included in the permanent collections of the San Francisco Museum of Modern Art, and the American Academy of Arts and Letters in New York, among others. She is represented by the John Berggruen Gallery in San Francisco.

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Born in 1952 in Naples, Italy, Francesco Clemente studied architecture in Rome, where he met his friend and mentor Alighiero e Boetti, who persuaded him to pursue a career in art. Clemente has since worked in a variety of fine-art media, including drawing, printmaking, oils, graphics, sculpture, mosaic, and fresco. In the mid-1970s, Clemente established a studio in Chennai, India, where he became fascinated by the traditional art and crafts of the region and by religious and folk traditions. An enthusiastic member of the neo-expressionist art movement in Western Europe, he features a number of motifs in his work, including the human form; sexuality; mythic and spiritual imagery; dreams; and childhood memories.

Clemente’s work is displayed internationally, at the Guggenheim Museum, both in New York City and Bilbao; the Museum of Modern Art in New York City, and the Tate Modern in London. He lives in Greenwich Village in New York City and is represented by Maruani Mercier in Brussels, Belgium.

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Greg Colson’s art explores the tensions between different kinds of gestures, conflicting notions of order and accident, the big picture and small details. His works often reveal the condition of our lives in the information age, where, in Colson’s words, “the trivial and significant are put on equal footing.” Colson’s work is in many public collections, including the Metropolitan Museum of Art, New York, the Whitney Museum of American Art, New York, and the Museum of Contemporary Art, Los Angeles, California. He is represented by Patrick Painter Gallery, Los Angeles, California.

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American painter and printmaker Richard Diebenkorn is widely regarded for having transitioned seamlessly between different artistic media, styles, and movements as varied as abstract expressionism and the Bay Area Figurative Movement. While studying at Stanford University in the early 1940s, he was inspired by the work of the realist painter Edward Hopper, whose influence is apparent in Diebenkorn’s use of color in landscape and figure painting. Diverging from Hopper’s realism, Diebenkorn’s landscape paintings walk a particularly fine line between representational and abstract art, translating the world around him to the canvas in a nonliteral fashion.

Diebenkorn’s work can be found in public collections all over the United States and Western Europe, including at the Albertina in Vienna, Austria; the Art Institute of Chicago; the San Francisco Museum of Modern Art; and the Guggenheim and Whitney Museums in New York City.

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Liam Everett’s abstract, mixed-media paintings explore the process of art making. Inspired by dance and theatre, his gestural smears, smudges and strokes on panel and fabric are frenetic. He engages in an elaborate, labor-intensive method, in which he alternately builds up and erases layers of pigment. He uses such caustic, everyday substances as salt, lemon juice, and alcohol to remove sections of color leaving diffused, ethereal abstractions that radiate with life. The artist is represented by Altman Seigel Gallery, San Francisco, California.

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A Japanese-German artist born in Cologne, Germany, Kota Ezawa relies on digital technology to create his own versions of historically iconic imagery in a variety of media, ranging from collages to light boxes to prints. By flattening and streamlining these historical images in his distinctive style, he recontextualizes them and calls into question our relationship to our collective memory.

 Mr. Ezawa currently lives and works in San Francisco. His work can be found in the permanent collections of the Museum of Modern Art and the Metropolitan Museum of Art, both in New York, the San Francisco Museum of Modern Art, and elsewhere. He is represented by the Cheryl Haines Gallery in San Francisco and the Christopher Grimes Gallery in Los Angeles.

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Spencer Finch takes a deconstructionist approach to the representation of time and space. Focused especially on light and water, he attempts to recreate these in a variety of mediums, including watercolor, photography, glass, electronics, video, and fluorescent lights. He is perhaps best known for his light installations, which recreate exactly the light that existed in a given time and place, an act of preservation that acknowledges its source’s impermanence. The theme of memory and its elusiveness runs throughout his oeuvre, as does the process of conceptualizing space.

The Hirshhorn Museum and Sculpture Garden in Washington, D.C.; the High Museum of Art in Atlanta; the Museum of Contemporary art in Chicago; and the Solomon R. Guggenheim Museum in New York City all include Finch’s work in their permanent collections. He is represented by James Cohan Gallery in New York. 

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Described alternatively as a modernist and an abstract expressionist, American painter Caio Fonseca layers forms and slabs of color on his canvasses to create works of fundamental energy. Fonseca’s paintings are often suggestive of the lids of pianos or of the curves of stringed instruments. A pianist himself, he has said that he paints Baroque music, and there is a Baroque sense of order and harmony to his work. The blocking of different coats and textures strikes a tension between the ordered and the lively, a contrast that forms the core of Fonseca’s oeuvre.

The Museum of Modern Art and the Whitney Museum of American Art in New York City, the Brooklyn Museum of Art in Brooklyn, and the Hirshhorn Museum and Sculpture Garden in Washington, D.C., among others, all include selections of the artist’s work in their permanent collections. He is represented by Paul Kasmin Gallery in New York City. 

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Louisiana Bendolph is a member of the Gee’s Bend quilters, a group of African-American women who live and make quilts in Gee’s Bend, Alabama. Many of the residents in the community can trace their ancestry back to slaves from the Pettway Plantation. The quilts themselves are noted for their improvisational geometry and unorthodox approach to formal quilt compositions.

After making an initial sketch, usually beginning with a standard “housetop” pattern—a series of concentric squares—she begins quilting, improvising and modifying as she sews. In 2015, Louisiana was awarded a public art commission from the San Francisco Art Commission to create a 9' x 16' ceramic tile installation at the San Francisco International Airport. 

The artist has been featured in exhibitions at the Addison/Ripley Gallery in Washington, D.C. and Greg Kucera Gallery in Seattle. The Museum of Modern Art in New York, the U.S. Department of State, and the Foundation for Art and Preservation in Embassies all include her work in their permanent collections. She is represented by the Elizabeth Leach Gallery in Portland, Oregon. 

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Mary Lee Bendolph is one of the central figures of the Gee’s Bend quilters, a group of African-American women who carry on the long tradition of quilt-making in Gee’s Bend, Alabama, and are known for their unique styles. Many of the residents in the community can trace their ancestry back to slaves from the Pettway Plantation. The quilts themselves are noted for their improvisational geometry and are considered to be a foundational example African-American visual art.

 Mary Lee has long been regarded as one of the matriarchs of the group, not only because of her own work but also because she has been teaching a newer generation to continue the legacy. She was featured in a Pulitzer-winning article called “Crossing Over,” in the Los Angeles Times. In 2015, she received the highest honor in the folk and traditional arts in the United States—the National Heritage Fellowship, awarded by the National Endowment for the Arts. The Philadelphia Museum of Art and the Minneapolis Institute of Art in Minneapolis include her work in their permanent collections. She is represented by the Elizabeth Leach Gallery in Portland, Oregon.

For a complete list of available prints with price information please contact The Bott Collection.

Lorretta Bennett is a member of the Gee’s Bend quilters, a group of African-American women who carry on the long tradition of quilt-making in Gee’s Bend, Alabama, and are known for their unique styles. Many of the residents in the community can trace their ancestry back to slaves from the Pettway Plantation. The quilts themselves are noted for their improvisational geometry and are considered to be a foundational example African-American visual art.

 Bennett, who still utilizes traditional Gee’s Bend hand-stitching, imparts her own style through the use of vibrant colors. She has said that her palette is inspired in part by the many cultures she saw traveling with her husband while he was in the military. Having learned quilting from her mother as a child, Bennett is now carrying the Gee’s Bend legacy into the future. She is represented by the Greg Kucera Gallery in Seattle.

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A member of the Gee’s Bend quilters, Loretta Pettway carries on the long quilt-making tradition of the African-American women who live in the remote community of Gee’s Bend, Alabama. Many Gee’s Bend residents can trace their ancestry back to slaves from the Pettway Plantation. The quilts themselves are noted for their improvisational geometries and are considered to be a foundational example of African-American visual art. Pettway in particular is recognized for the liveliness of her designs, inventively combining simple squares and rectangles in sophisticated ways.

 In 2015, Pettway was the recipient of the NEA National Heritage Fellowship. Her quilts are featured in the permanent collections of the Museum of Fine Arts in Houston, the Metropolitan Museum of Art in New York, the Philadelphia Museum of Art, and elsewhere. She is represented by the Greg Kucera Gallery in Seattle.

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Isca Greenfield-Sanders builds her paintings from anonymous film photographs she purchased on eBay. While maintaining the warm colors and feeling of the old images, she reworks aspects to reconstitute them in a new light. The process is evocative of the workings of memory, as the essential trappings of the images she creates suggests the universal nature of nostalgia. Her work implies a subtle questioning of the accuracy of photography, of memory, and of representation in general.

 Isca Greenfield-Sanders was born to a family of artists in 1978 in New York City's East Village, where she also currently lives and works. After graduating from Brown University in 2000 with a double-major in Fine Arts and Mathematics, she was a visiting artist at the American Academy in Rome in 2001. Her work has been displayed in many solo exhibitions in the United States and Europe and is part of the permanent collections of the Guggenheim Museum, the Brooklyn Museum, the Museum of Fine Arts in Houston, the Victoria and Albert Museum in London, and the Fine Arts Museums of San Francisco. She is presented by the John Berggruen Gallery in San Francisco and the Wetterling Gallery in Sweden.

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After studying in New York and Paris, Al Held began his painting career by exhibiting Abstract Expressionist works in New York; he later turned to hard-edged geometric paintings that were dubbed “concrete abstractions”. In the late 1960s Held began to challenge the flatness he perceived in even the most modernist painting styles, breaking up the picture plane with suggestions of deep space and three-dimensional form; he would later reintroduce eye-popping colors into his canvases. In vast compositions, Held painted geometric forms in space, constituting what have been described as reinterpretations of Cubism. “We’re not going to get rid of chaos and complexity,” Held said, “but we can find a way to live with them.” Despite the clean precision of his forms, Held would begin his paintings with loose improvisation, then erase his re-workings with an electric sander.

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Lonnie Holley is an internationally renowned artist and performer whose three decade long career has encompassed drawing, painting, sculpture, and music. Holley’s paintings and found-object sculptures and environments are made of both natural and manmade elements. The densely constructed pieces reference current events and African American History and like his musical lyrics, refer to slavery, the church and universal ecology. Holley’s work is included in numerous museum collections, including the Smithsonian American Art Museum, Philadelphia Museum of Art, New Orleans Museum of Art, Museum of Fine Arts, Houston and the High Museum of Art, among others. He is represented by the James Fuentes Gallery, NY.

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Salomón Huerta is a contemporary painter and print maker currently based in Los Angeles, California. He was born in Tijuana, Mexico, and grew up in the Boyle Heights Projects in East Los Angeles. Renowned for his colorful, finely detailed portraits of the backs of people’s heads, he has also produced minimalist paintings of suburban homes; traditional, front-facing portraits of professional boxers and masked lucha libre wrestlers; and still life compositions that juxtapose handguns with household objects. He applies a rudimentary vocabulary of geometric shapes and just a few colors of varying shades, confronting the viewer with a disturbing sense of homogeneity and sterility.

 Huerta’s work was included in the 2000 Whitney Biennial and has been featured in numerous exhibitions around the United States, Europe, and Latin America. His work can be found in the permanent collections of the Los Angeles County Museum of Art and the Museum of Contemporary Art in San Diego, among others. He is currently represented by There There in Los Angeles and the Louise Alexander Gallery in Porto Cervo, Italy.

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Chris Johanson was born in San Jose and eventually became a member of the San Francisco Mission School art movement. With no formal artistic training, he developed his technique painting on skateboards and houses. His work is highly colorful, personalized by a positivist philosophy, and often site specific. Like many of the members of the Mission School movement, Johanson practices a kind of urban realism, and his paintings often engage in social commentary. There is a distinct anticapitalist tenor to Johanson’s oeuvre, a desire to exist outside the corporate world of galleries.

 Well-known in San Francisco from the 1990s on, Johansson achieved international fame after his site-specific installation was featured in the 2002 Whitney Biennial. A number of permanent collections, including those of the San Francisco Museum of Art, the Whitney Museum of American Art in New York City, and the Museum of Modern Art in New York City, include his work. The artist is represented by the Altman Siegel Gallery in San Francisco and Mitchell-Innes & Nash in New York City. He currently lives in Portland, Oregon.  

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Maira Kalman is an artist, an illustrator, and the author of 18 children’s books. She works frequently for the New Yorker, producing both covers and monthly columns, and has collaborated with several well-known authors, including Michael Pollan and Daniel Handler. Her illustrated version of The Elements of Style revitalized the iconic writing guide. She was awarded the AIGA Medal in 2017 for her work in “storytelling, illustration, and design while pushing the limits of all three.”

Kalman has had several solo exhibitions. In 2010, the Institute of Contemporary Art in Philadelphia organized a retrospective of Kalman’s work entitled Maira Kalman: Various Illuminations (of a Crazy World), which also traveled to the Contemporary Jewish Museum in San Francisco, the Skirball Cultural Center in Los Angeles,  and the Jewish Museum in New York City. She is represented by the Julie Saul Gallery.

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Amy Kaufman’s paintings explore a visual language of pattern based abstraction pushing the relationship between linear repetitions, blocks of color, broad loops and the grounds on which they are carefully placed. The works are studies of scale, proportion, color and media. Her work is included in numerous public and private collections including the Hammer Museum, Los Angeles, CA; San Jose Museum of Art, CA; Fine Arts Museums, San Francisco, CA; The Fogg Art Museum, Harvard University, Cambridge, MA; Yale University Art Gallery, New Haven, CT; and United States Embassies in Hong Kong and Singapore. She is represented by Traywick Contemporary in Berkeley, CA.

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Margaret Kilgallen created bold and stylized images that drew on the influences of folk art and typography. She rose to prominence after moving to California in the early 90’s as an integral part of the “Mission School”, based out of the Bay Area. Employing flat iconic images in muted colors, she drew her influences from hand painted signs, past Americana and murals to create an unmistakable style. Kilgallen passed away in 2001 at the young age of 33. In 2002 her artwork was included in the Whitney Biennial. Later her work also toured with “Beautiful Losers,” an exhibition showcasing many of her peers including: Cheryl Dunn, Shepard Fairey, Chris Johanson, Barry McGee, Steve Powers and Ed Templeton. Her work is included in the permanent collection of the SF Moma.

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Robert Kushner is a contemporary painter, printmaker, and collage artist. He is a leading figure of the Pattern and Decoration movement, which champions decorative and craft-based arts as equivalent in significance and value to fine art. During the early 1970s, he was known for his performance art, particularly his costume designs and embroidery work. His incorporation of edible clothing, audience participation, and nudity in his performances was particularly radical.

Inspired by artists such as Henri Matisse, Georgia O’Keeffe, Qi Baishi, and Ito Jakuchu, Kushner richly layers depictions of flowers, fruits, and vegetables. Skillfully implementing a variety of media, including paint, ink, paper, and fabric collage, he combines natural, representational elements with abstract, geometric forms using bold color harmonies and fluid lines.

Kushner’s work has appeared in exhibitions across the globe, including at the Philadelphia Institute of Contemporary Art, the Venice Biennale, and the Whitney Biennial. The Brooklyn Museum, the Los Angeles County Museum, the Metropolitan Museum of Art in New York CIty, the San Francisco Museum of Modern Art, the Tate Gallery in London, and the Whitney Museum in New York City all include pieces of his in their permanent collections.

Kushner is represented by D.C. Moore Gallery in New York City.

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Sherrie Levine is an American appropriation artist and member of the Pictures Generation movement, a group of artists reworking familiar imagery from the mass media. Levine incorporates several different media in her artistic practice, including photography, painting, and sculpture. In her examination of the codes of representation and authenticity, Levine photographs the work of historically significant artists, such as Walker Evans, Eliot Porter, Fernand Léger, and Van Gogh.

Subsequently, Levine’s work has been the subject of legal disputes concerning the appropriation of content protected by intellectual property law. Her primary strategies for producing conceptual art include quoting, excerpting, staging, and recontextualizing. She interrogates notions of ownership and meaning by directly confronting audiences with reproductions of canonical works––such as Marcel Duchamp’s 1917 ready-made sculpture, Fountain––in gallery or museum contexts.

Levine has exhibited with David Zwirner Gallery in New York City, and her work is in the permanent collections of the Art Institute of Chicago, the Guggenheim Museum in New York City, the Tate Gallery in London, the Centre Pompidou in Paris, and the Museum of Modern Art in New York City, among others. She divides her time between New York City and Santa Fe, New Mexico.

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Hung Liu is a contemporary Chinese painter. Widely recognized for her large, painterly depictions of traditional and contemporary Chinese women, children, and refugees in muted, earthy hues, Hung has been producing art since the early 1970s, experimenting with painting as a method for social change and critique. Her artwork is often described as a hybrid of her own personal experience with the Cultural Revolution and the Maoist regime, as well as an appropriation of the themes and styles of historic and contemporary Chinese painting. Her work notably draws from both the imagery of ancient Chinese art, as well as the Chinese Socialist Realist style of painting in which she was originally trained. She has received extensive honors and awards for her work, including two painting fellowships from the National Endowment for the Arts, and a Joan Mitchell Fellowship. She was born in Changchun, China on February 17, 1948, and currently lives and works in Oakland, CA.She is included in the collection of The Oakland Museum of Art and is represented by the Rena Bransten Gallery, SF.

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Enrique Martinez Celaya is a Cuban American artist whose work consists of painting, sculpture, photography, and poetry. Martínez Celaya uses the human figure in the landscape as a means to explore the nature of human experience and themes surrounding and memory, identity and displacement. His work is included in the public collections of the Metropolitan Museum of Art, New York, The Whitney Museum of American Art, New York and the Los Angeles County Museum of Art, California among others. He is represented by LA Louver, Los Angeles, California, Jack Shainman Gallery, New York, and Simon Lee Gallery, London.

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A member of San Francisco’s Mission School movement, Alicia McCarthy utilizes a punky aesthetic to create vibrant, gridded patterns on wood and other found objects. She employs unconventional media, such as spray paint, and mixes blocks of text into the bursts and weaves of color that make up many of her paintings. Deceptively simple, her work is playful, but also bears an acute fierceness and an acknowledgment of the artist’s emotional presence. Indeed, McCarthy’s pieces are frequently marked by her creative process, showing the ring of a coffee cup stain or the imprint of a boot.

McCarthy earned a BFA in 1994  from the San Francisco Art Institute and an MFA in 2007 from the University of California, Berkeley. She was the recipient of the 2013 San Francisco Artadia Award and has been a resident artist at the Skowhegan School of Painting and Sculpture in Madison, Maine. She is represented by the Jack Hanley Gallery in New York City.

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As a painter, sculptor, choreographer, and musician, Keegan McHargue is concerned with the tension between tragedy and comedy that lies behind the banality of everyday life. With precursors like Karl Wirsum, McHargue’s semi-abstract and manic, mixed-media paintings blend identifiable figures with objects of the artist’s imagination. His works are included in numerous museum collections including the Deste Foundation of the Contemporary Arts, Athens, The Museum of Modern Art, NY, and the San Francisco Museum of Modern Art, among others. McHargue is represented by Fredericks & Freiser Gallery in NY.

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Originally trained in painting at Alfred University and the University of California, Deborah Oropallo uses a variety of media in her practice, including photomontage, computer editing, print techniques, and paint. Many of the images she generates resemble photographs created using multiple exposures. But Oropallo’s surreal pastiches blend figures from multiple spaces and temporalities, such as 17th century portraits and contemporary fashion photos, disrupting the temporal and spatial specificity of film. Besides whimsically conflating histories, her work frequently challenges the viewer’s ideas of gender and symbols of power. The density of meanings contained within Oropollo’s veil-like images evokes the accelerated pace of the production, consumption, and proliferation of information in the digital age.

Her work is in the permanent collections of the Museum of Fine Arts in Boston, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art in New York City. Oropallo is represented by the Catherine Clark Gallery in San Francisco.

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Judy Pfaff is a British-born American artist known for her ambitious installation works which combine the media of sculpture, painting, and architectural alterations to create airy and lyrically tangled environments. Pfaff is considered an early participant in the Process Art movement of the mid-1960s along with Lynda Benglis, Bruce Nauman , and Richard Serra. Her unique style is informed by a variety of disciplines, including mapmaking, medical illustration, botany, physics, zoology, and set design for theater. The artist was born in 1946 in London, United Kingdom and moved to the United States at the age of 13. She received her BFA from Washington University in St. Louis and later her MFA from the Yale University School of Art, where she studied under the influential American abstract painter Al Held. As her career gained momentum, Pfaff was awarded both the John D. and Catherine T. MacArthur Foundation Fellowship (2004) and a Guggenheim Memorial Foundation Fellowship (1983). Today, Pfaff lives and works in New York, NY. Her works are in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Philadelphia Museum of Art, and the High Museum of Art in Atlanta.

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Martin Puryear, who will represent the United States at the 2019 Vennice Biennale, is a contemporary African American artist best known for his large-scale sculptures and incisive works on paper. Fusing abstraction with an emphasis on traditional craftsmanship, the artist utilizes wood and stone, along with other ordinary objects, to create forms that are both suggestive and mutable in their exact origin. His pieces regularly involve the integration of organic and geometric shapes, with a focus on promoting an awareness of their construction. Continually at play along the boundary between abstraction and representation, his art seems to actively promote multiple interpretations of what remain its central themes, namely identity, race, culture and history.

Born in 1941 in Washington, D.C., Puryear spent his youth studying and learning the techniques of various traditional cultures. After attending the Royal Swedish Academy of Arts in Stockholm, he received his M.A. from Yale University. His first solo exhibition opened in 1968, and he has since held public commissions in Europe, Asia, and the United States.

For a complete list of available prints with price information please contact The Bott Collection.

Clare Rojas’s sparse but striking paintings are partly inspired by traditional quilt making. She plots her canvasses with crisp geometric shapes and brilliant colors. Her work often features folkloric tableaus, which she uses to deconstruct traditional gender roles. Also prevalent in her practice are series that meditate on a particular, repeated form. Rojas also illustrates children’s books and creates photobooks of her work. She is a member of the Mission School in San Francisco, where she lives with her husband, artist Barry McGee.

Rojas received her BFA in Art from the Rhode Island School of Design and her MFA from the School of the Art Institute of Chicago. She has been the recipient of the Project Space Residency and Tournesol Award from the Headlands Center for the Arts, an Artadia Award, a Eureka Fellowship Award, and a Louis Comfort Tiffany Foundation Grant. Recent projects include a site-specific commission for the Art in Embassies Program in Nuevo Laredo, Mexico; a two-person exhibition with Barry McGee at the Watari Museum in Tokyo; and a solo exhibition at the Alice Gallery in Brussels. The artist’s work is featured in the permanent collections of the San Jose Museum of Art, the Museum of Modern Art in New York City, and the Berkeley Art Museum, among others.

For a complete list of available prints with price information please contact The Bott Collection.

Pat Steir is an influential American painter. Best known for her Waterfall series of splashed, dripping pigment on canvas, her work is influenced by Color Field painting, Abstract Expressionism, and Taoist philosophy. Steir’s eclectic practice is characterized by an interest in aesthetic degradation, wherein she frequently breaks down her large, washy paintings into semblances of itself. "I wanted to destroy images as symbols,” the artist has said. “To make the image a symbol for a symbol. I had to act it out, make the image, and cross it out. No imagery, but at the same time endless imagery. Every nuance of paint texture worked as an image.” Born in 1938 in Newark, NJ, she received her BFA from the Pratt Institute in New York in 1962 and befriended and studied with many influential Conceptual and Minimalist artists of the day, including Sol Lewitt, Agnes Martin, and Lawrence Weiner. Steir has gained widespread acclaim for her representational and abstract works, holding solo exhibitions at institutions such as the Brooklyn Museum in 1984, and being represented in the collections of The Museum of Modern Art in New York and the Walker Art Center in Minneapolis, among others.

For a complete list of available prints with price information please contact The Bott Collection.

Gary Simmons creates large-scale works that portray figures and themes from historical American iconography. Many of his subjects are symbolically loaded with themes of race and class. His well-known “erasure” series consists of white chalk drawings that he has smeared with his hands to eerie effect. By choosing chalk and slate-painted panels as his medium, he recalls school blackboards, calling attention to the limitations and failings of the American educational system; the series serves to erase and redraw the lines of power. The “erasure” of racial iconography also suggests America’s own propensity to gloss over its history of racial divide. In this way, Simmons both recognizes and criticizes America’s dark past.

 Gary Simmons was born in New York, where he still lives. His work is in the permanent collections of the Hirshhorn Museum in Washington D.C., the Museum of Modern Art in New York, the MCA Chicago, the Walker Art Center, the Whitney Museum of American Art, and elsewhere. He is represented by Metro Pictures Gallery in New York, Simon Lee Gallery in London, Regen Projects in Los Angeles, and Anthony Meier Gallery in San Francisco.

For a complete list of available prints with price information please contact The Bott Collection.

Born Marietta, Ohio
BFA Ohio University 1966
MFA Ohio University 1967

David began to gain prominence as an artist when he was included in 1978 in the New Image Painting exhibition at the Whitney Museum of American Art. Like True, most of the included artists were young and were influenced by Minimal Art. They all worked figuratively, with recognizable images pared down to bold, simple shapes. True’s shapes were those of boats on rocky sea.

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Darren Waterston has been exhibiting his paintings, works on paper, and installations in the U.S. and abroad since the early 1990s. Recent exhibition highlights include: Forest Eater at The Contemporary Museum, Honolulu (2011); Splendid Grief: The Afterlife of Leland Stanford Jr. (2009), an installation at The Cantor Arts Center at Stanford University, CA; and The Flowering (The Fourfold Sense) (2007), at the Hoffman Gallery of Contemporary Art, Lewis & Clark College, Portland, OR.

In 2007 CHARTA published a monograph on the artist, “Darren Waterston: Representing the Invisible”, and in 2013 Prestel published a collaboration between the artist and poet Mark Doty, “A Swarm, A Flock, a Host: A Compendium of Creatures.” “Darren Waterston: Filthy Lucre,” was published by Skira Rizzoli in association with MASS MoCA and the Freer/Sackler in 2014.

Waterston’s paintings are included in numerous permanent collections including the Los Angeles County Museum of Art, Los Angeles; Fine Arts Museums of San Francisco; New York Public Library, New York City; The Getty Research Institute, Los Angeles; Seattle Art Museum, Seattle; and Museum of Fine Arts, Houston.

Waterston lives and works in New York City.

For price information for: A Swarm, A Flock, a Host: A Compendium of Creatures, please contact The Bott Collection.