Allan deSouza, chair of UC Berkeley’s Department of Art Practice, presents an exhibition that reenacts and upends the traditional colonial relationship, positioning modern-day England as the object of investigation by an explorer from Africa.
This selection of digital prints, drawn from the collection of the Bancroft Library to mark the 80th anniversary of the Spanish Civil War (1936-39), showcases political posters designed by leading graphic artists of the era. Harnessing the communicative capacity of imagery and text, these pieces give striking expression to the anti-fascist Republican cause in its fight against Francisco Franco and the Nationalists.
Abstract expressionist Jerry Carniglia found in aerial landscapes of the American West a point of departure to create layered, spiritually evocative paintings.
Andrés Waissman is an emblematic figure in the world of contemporary art. His work conveys not only a visual but also a deep philosophical and political statement—a whole body of thought rendered through images.
Craig Nagasawa’s work combines the technical aspects of Japanese/Nihonga painting techniques with the personal vision of a third-generation Japanese American.
For the past forty years Peter Koch has cultivated a cross-media dialogue between art, philosophy, and literature. HARD WORDS is thirty-seven prints assembled from re-configured photographs, historical documents; manuscript journals and newspaper engravings; accompanied by short legends (one and two syllable messages) by the artist and hand-set in antique lead and wood type. The prints are accompanied by selected texts appropriated from the journals and letters of Meriwether Lewis, William Clark, Ross Cox, William T. Hornaday, L.A. Huffman, Elers Koch, and others.
Imaginations features the paintings of Oakland artist and UC Berkeley alumnus Bill A. Dallas. Often incorporating a mixture of calligraphy, figure studies, and abstract painting, Dallas’ work is also heavily influenced by jazz music.
David Linger's work takes the form of thin, translucent porcelain panels, often in large-scale works composed of multiple elements. The panels contain halftone photographs in black underglaze, overprinted with intaglio embossment of original text. His 1968 trip to Leningrad introduces us to the fragility of the human condition and opens up the viewers’ mind to the fundamental elegance of the un-extraordinary.
As staff photographer for the Oakland Tribune between 1968-1982, Kenneth P. Green Sr. captured in the still image some of the most dramatic and dynamic social changes occurring not only in Oakland, but in our time. His work reflects the best of both photojournalism and photography – a chronicle of the here and now, and a collection of personal portraits that illustrate the timeless, human side of the people involved. This exhibition highlights early photographs taken at DeFremery Park in Oakland, a center for community organizing, an important base for the Black Panther Party and for the nascent Black student movement that was taking place at Laney and Merritt Colleges.
With their iridescent shapes emerging from blue or red backgrounds, Eva Bovenzi’s paintings at one moment suggest outer space, at another the sea. The forms described are similarly ambiguous: they could be tiny or enormous. Like apparitions from a world that is both familiar and unfamiliar, these forms seem caught in the ephemeral moment between appearing and disappearing. They are mysterious messages: letters from emptiness.