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Warburton Gallery EXHIBITION Painter, Poet, & Pacificist Lawrence Ferlinghetti DATES: SEP 17 - DEC 30 YEAR: 2022 Previously on view in the Warburton Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. "Boat People" Previous Next

Warburton Gallery EXHIBITION Identity Theft and Beyond Chukes DATES: JAN 20 - APR 14 YEAR: 2024 Previously on view in the Warburton Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. My creative journey started in Northern California in the early 1960’s. I was born in Vallejo, California and my family moved to San Jose, California when I was a year old. I grew up during the Civil Rights and Black Power movements, amidst the free-thinking Flower Children, Vietnam War, the killings of Black Power leaders and the assassination of a U.S. President. Even while all this was happening right at my doorstep, my childhood was a wonderland of creativity with no one in authority censoring my artistic freedom and thoughts. My parents did an incredible job of keeping our family safe yet always informed us of the impending dangers from the world around us! As I grew older, I began to understand the importance of a using my art as a meaningful educational and historical tool. The concept of the Identity Theft body of work started in 2016 where I witnessed and experienced the unprecedented televised violence on people of color. My social conscious could not be restrained and soon after my artistic instincts kicked in. I began to create this work based on a multitude of dreams and visions. As an African American living and working in Southern California, I am bound to my African roots. Each work of art expresses the importance of understanding my history, and the origins of creativity and knowledge. This exhibition counteracts the negative stereotypes that have led so many races to believe they have contributed nothing of importance to humanity. As I look back at my own family history, as well as researching world history, I reflected on what I have and have not been taught about myself, and other people and cultures of the world. This work is my artistic representation of what happens when people or nations of people are stripped of their indigenous identity and re-taught a history that historically filters the truth and presents an incorrect version of past and present injustices. This filtered history, as I call it, is being used against us as a weapon of self-destruction. Our existence on this planet depends on our perceptions and understanding of one another. An incorrect version of history should be viewed as a crime against humanity. The art in this exhibit reflects my truth! Here we are in the 21st century and it feels as if the world is going backwards. In today’s societies, vast numbers of people are becoming increasingly fearful to speak up and act against senseless hate crimes and injustices. Like so many others, I too have been personally victimized by racial ignorance. Instead of reacting through violence, I have chosen to use my artistic voice to speak out against hate. This exhibit also includes new and unseen works that is a continuation of Identity Theft. We must start conversations that include all voices and races. There is no time limit in creating the truth! I use the power of my art to express my voice! Chukes, Time Traveler , 2023, ceramic. Previous Next

AUG 16 - DEC 7Artist Dean Larson was raised in Palmer, Alaska where he first learned painting under the mentorship of Alaskan Artist Fred Machetanz. After graduating from Willamette University in Salem, Oregon Dean moved to Baltimore, Maryland for graduate studies at the Schuler's School of Fine Art and Towson University. In 1997 the artist moved to San Francisco, CA. He has long been associated with the resurgence of the American Contemporary Realist movement. Dean has written books, been featured in numerous art periodicals, has mounted over twenty-five solo exhibitions, and has been featured in over fifty group shows in museums and galleries across the U. S. He is a well-traveled artist who thrives on diversity and is constantly searching for new subjects. He is adept with cityscapes, landscapes, portraits, and interiors. Through the use of compelling compositions and harmonious colors he draws the viewer into his canvases. Dean's commissioned portraits and studio paintings can be found in museums and other public collections in the United States and Europe. Larson also has taught painting (mainly cityscape and landscape) at the Academy of Art University in San Francisco since 2006. He maintains a studio near Mission Dolores, the original Spanish Mission in San Francisco. Larson has painted the portraits of Senator Ted Stevens which hangs in the United States Capitol in Washington D.C. and Senator Mark Hatfield which hangs at Willamette University. Larson's work is also included in the collections of the United States Institute of Peace (USIP), the Alaska State Capitol, Triton Museum of Art and Smithsonian's National Portrait Gallery. For more information visit www.deanmlarson.com, or www.instagram.com/deanlarson07 Urban Visions: Life in Motion Dean Larson AUG 16 - DEC 7 Now on View in the Cowell Room Gallery Plan Your Visit < Back Marquee: Saturday in the Park, oil on canvas Overview Artist Dean Larson was raised in Palmer, Alaska where he first learned painting under the mentorship of Alaskan Artist Fred Machetanz. After graduating from Willamette University in Salem, Oregon Dean moved to Baltimore, Maryland for graduate studies at the Schuler's School of Fine Art and Towson University. In 1997 the artist moved to San Francisco, CA. He has long been associated with the resurgence of the American Contemporary Realist movement. Dean has written books, been featured in numerous art periodicals, has mounted over twenty-five solo exhibitions, and has been featured in over fifty group shows in museums and galleries across the U. S. He is a well-traveled artist who thrives on diversity and is constantly searching for new subjects. He is adept with cityscapes, landscapes, portraits, and interiors. Through the use of compelling compositions and harmonious colors he draws the viewer into his canvases. Dean's commissioned portraits and studio paintings can be found in museums and other public collections in the United States and Europe. Larson also has taught painting (mainly cityscape and landscape) at the Academy of Art University in San Francisco since 2006. He maintains a studio near Mission Dolores, the original Spanish Mission in San Francisco. Larson has painted the portraits of Senator Ted Stevens which hangs in the United States Capitol in Washington D.C. and Senator Mark Hatfield which hangs at Willamette University. Larson's work is also included in the collections of the United States Institute of Peace (USIP), the Alaska State Capitol, Triton Museum of Art and Smithsonian's National Portrait Gallery. For more information visit www.deanmlarson.com , or www.instagram.com/deanlarson07 About the Artist Over the past several years two central themes have consistently attracted and inspired my artist’s eye. The first motif is life in the city. Having relocated from Alaska and Maryland to California in 1997, the Bay area and in particular, San Francisco, became an instant source of diverse and compelling subject matter. From Russian Hill to North Beach, from Market Street to Golden Gate Park, the city that changes constantly presents new perceptions and subjects. The focus on what it means to be a contemporary realist is constantly at the forefront when planning new work. It’s never enough to simply copy what’s in front of you. There is a desire to go deeper and search for what is most significant and essential. Intentional soft blurs contrast with hard edges to have objects and figures come forth and recede and fuse to backgrounds within pictorial spaces. With my second subject, figures, I search for accidental moments where people reveal the variety of the human experience and also show glimpses of what it means to be living and working in modern society. Sometimes it is a lone figure and other times there is a group of figures where the relationships between the figures are closely observed, highlighting the gestures of each figure and the group as a whole. The search for mass shapes and abstract patterns that, by working through my painting process, eventually becomes more realistic, unique designs challenge and inspire me to keep painting each and every day. Previous Next

< Back Priyanka Rana AUG 30 - JAN 11 Our Stories Live Underground Born in India in 1980 and now based in San Francisco's Bay Area, I established my full-time sculpture practice in 2018 after serving as Vice President in the exhibitions industry and working as a market research consultant. My practice centers on an intimate dialogue with wood—specifically naturally felled trunks that I transform into abstract sculptures exploring ecology, memory, and cross-cultural connection. Largely self-taught, I have developed a distinctive sculptural language through direct experimentation with materials, allowing me to create techniques that emerge organically from the wood itself rather than from prescribed methodologies. My technical approach lies in a unique process I have developed with fire. Drawing from my Indian heritage, where fire represents sacred transformation, I use controlled charring to "paint" wooden surfaces, revealing the hidden architecture of growth rings and grain. This technique—exemplified in my redwood sculptures—involves expanding the wood's surface area threefold through careful carving, then applying fire to create rich, textured finishes that speak to cycles of destruction and renewal. The resulting works transform solid mass into something ethereal, making visible the temporal layers embedded within the material. Beyond wood, I incorporate culturally significant textiles—saris and lungis from my multicultural community, as well as individual sari threads that I weave into carved surfaces—that bridge themes of migration and intimate history with larger environmental narratives. Recent explorations have expanded into aluminum, metal casting of wood forms, and 3D printing, maintaining my focus on the intersection of traditional craft and contemporary concerns. My work has been widely exhibited across California, featured in prominent arts festivals, and realized through public art commissions that engage directly with local communities. I hold degrees in Mathematics and Economics and an MBA. Artist Statement: It took me a long time to own that I am an artist. Beginning my sculpture practice late in life, I discovered in wood a collaborative partner willing to tell stories—both mine and its own. The title of this exhibition, borrowed from Terry Tempest Williams' "When Women Were Birds," speaks to the hidden narratives that live beneath the surface, waiting for the right conditions to emerge. This exhibition spans several series from my practice, exploring themes of memory, nostalgia, and destiny while reflecting on healing, human behavior, and our relationships with the natural world. It bridges the cultural heritage of my Indian origins with the multicultural fabric of my Bay Area home. In our increasingly disconnected world, trees offer profound lessons about interdependence—their underground networks remind us that isolation is an illusion, that we are constantly in relationships through unseen connections. As you encounter these works, I invite you to pause and reflect: Which of your own stories live underground? What narratives are waiting to be revealed? These sculptures ask for slower looking, deeper listening, reminding us that the most profound stories—like the most resilient forests—grow their strongest connections underground, in the dark, patient spaces where transformation quietly takes root. Previous Next

Digital Gallery EXHIBITION EDRC's 2024 Be-You-tiful Contest and Exhibit Various Artists DATES: MAY 25 - SEP 8 YEAR: 2024 Previously on view in the Digital Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. EDRC logo. Previous Next

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Unknown EXHIBITION Let's Face It! Various Artists DATES: MAY 14 - JUL 17 YEAR: 2022 Previously on view in the Unknown < Back OVERVIEW ADDITIONAL INFORMATION Previous Next

Warburton Gallery EXHIBITION Palace of Leaves Michelle Gregor DATES: APR 27 - SEP 15 YEAR: 2024 Previously on view in the Warburton Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. While working on this exhibition, I was thinking about trees. Because they often experience life in a longer time scale than humans, trees can be felt as witnesses to our human achievement and our folly, our appreciation and our exploitation. With this new body of work, my abstracted human figures have taken on evolving shapes referencing arboreal forms. Before the silicon age, the Santa Clara Valley was blanketed with some of the most fertile orchards in the world and dubbed “the Valley of Heart’s Delight.” Before that, it was home to ancient native oaks and redwoods. Trees have accompanied us, and I have taken inspiration from our bonds with them. Beyond our tangible relationship with trees, I also think of my artistic practice itself as a ‘palace of leaves.’ For me it is a canopy of focus, rooted in purpose. The phrase is from a poem by Mary Oliver, “Crossing The Swamp” which emphasizes resilience and creative potential. My approach is improvisational. The materials/processes (clay, pigments, kiln firings, etc.) are partners in dialogue with me, rather than merely subject to my preconceived ideas. With each round of decisions I make during the forming, surface coloration, firings, I am responding to the changes the material presents. I highly value the geological impressions and subtle tonal changes as the clay body matures with each firing. The seasons pass very quickly and it’s important to enjoy what is there in front of you. You have to have a certain amount of faith that your process will reveal a path or a direction, even if you don’t know what the end point will be. You have to have faith that the water will be deep enough when you jump into it. Michelle Gregor, 2024 Michelle Gregor, Paloma , ceramic, 2023 (photo by J. Jones). Previous Next

Permanent Collection and Rotunda Gallery EXHIBITION Salon at the Triton: A 2D Art Competition and Exhibition Various Artists DATES: MAY 25 - SEP 8 YEAR: 2024 Previously on view in the Permanent Collection and Rotunda Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. NA Salon at the Triton Museum, 2023 Previous Next

Unknown EXHIBITION Unsettled and Miles Away Dora Duan DATES: SEP 18 - JAN 16 YEAR: 2021 Previously on view in the Unknown < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. Previous Next

Cowell Gallery EXHIBITION Dis/Armed Julie Grantz DATES: AUG 26 - DEC 30 YEAR: 2023 Previously on view in the Cowell Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. As I initially began to conceptualize this body of work, my working title was “Smaller.” In our society, I strongly believe that women feel pressure to limit their self-expression. This resonates deeply with my own journey. Throughout my life, I've carried the weight of constantly needing to make myself smaller, fading into the background and silencing my voice—not only to navigate the world but also to fit into the lives of others. I've often felt like a burden, unintentionally occupying the space meant for others. This idea of becoming smaller for survival is woven from a narrative that highlights the importance of conforming to the role of a compliant and well-behaved “good girl” as the only way to be accepted and successful. According to this archetype, the “good girl” should be quiet, polite, and avoid seeking her own desires. The drive to shrink oneself isn't just rooted in the “good girl” philosophy; it's also fueled by a desire for control propagated by a society that expects women to be unassuming, obedient, and rule-abiding. These tight boundaries stifle our potential, suppress our ambitions, and mute our voices, diminishing our dreams and muting the vibrance of our imaginations. Over the past year, as I dedicated myself to creating more and more drawings for this body of work, I noticed a distinct change: a shift in the story being told. The narrative extended beyond just my sense of Smaller . Some of the pieces, gestures, and symbols began conveying something entirely different—some even grew louder, asserting themselves. I started to feel the emergence of my voice, rising distinctly, confidently, and audibly. As this evolution unfolded before me, I aimed to find a title that captured the juxtaposition between past trauma and current growth, along with the duality of living a life of both merely surviving and flourishing within each day. My aim is to reveal and share the emotional spaces where I've felt disarmed by life's challenges, as well as how I've learned to arm myself, to protect and empower myself. My experiences of feeling disarmed exposed me to vulnerability and defenselessness in the face of life's trials. While my journey has included trauma, my journey hasn't only been about vulnerability; it's been a path to empowerment. Through my artistic expression, I want to highlight the moments of transformation where I've intentionally armed myself against both internal and external adversaries. I have strived to capture not only the conflicts but also the victories—instances when I've crafted my own armor from resilience, self-awareness, and determination. As I have come to realize that my voice isn't quiet or “smaller," it confidently reverberates within my work. As my confidence in my voice grows, so too has the scale of my drawings. By exploring these emotional landscapes, I hope for the work to connect with others on their own paths through disarmed vulnerability to armed self-empowerment as new voices grow from within. Julie Grantz 2023 "I am Milk" Previous Next

Permanent Gallery EXHIBITION Tall Tales John Cerney DATES: SEPT 9 - JAN 14 YEAR: 2023 Previously on view in the Permanent Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. My work is meant for an audience that is not prepared to view art, or who may not even have an opinion about art, but people who are held captive in their cars while heading someplace. It doesn’t matter to me that they know who created the pieces or have any notion of how it came to be. I’m satisfied that for a few miles down the road they are left with some wonderment. In the rare event of showing my work in the confines of a gallery, I’m able to create little stories that invite a slower pondering of what’s taking place. I tend towards the theatrical, and I consider my pieces one act plays. I’m grateful for the generous size of the gallery so I can fill up the space with my oversized ‘actors’. John Cerney 2023 "Dance" Previous Next