For our fall 2022 exhibition season, Themes+Projects gallery presents Altered Landscapes by Charlotte Schmid-Maybach. This exhibition showcases new mixed-media photographic works on Japanese Kozo paper, ranging in size from 70.5 x 55.5 to 12.25 x 15 inches. Thematically, the exhibition explores Charlotte’s interest in both natural and urban landscapes.

Jade Beall makes photos that reject negative barriers and stereotypes associated with breastfeeding, nudity, and aging. She has been heralded by her photo subjects and global media outlets alike, including the BBC, The Today Show, and Huffington Post. As an outspoken proponent of the true body beautiful, she has delivered two Tedx Talks.

For our summer exhibition season, Themes+Projects gallery presents Deep Time Digitality. This group exhibition is co-curated by Chris Trueman and Grant Vetter.

The artists included in this group exhibition are all dedicated to exploring the transformation in a myriad of different ways, from subverting the conventions associated with digital motifs to challenging what the “logic of culture” means in the age of neo-liberalism.

On view: July 15 to September 2, 2022
Artist Reception: Friday, July 15, from 4pm to 6pm

For the late spring 2022 exhibition season, Themes+Projects gallery presents Kodama, by artist duo of Base 10, Lindsey Muscato and Joshua Friedman.Drawing on the hand tools, joinery, methods, and precedents of traditional Japanese timber-framing, the pieces in the Kodama series are made with large-scale timbers culled from salvaged coastal redwood and douglas fir in order to construct sculptural interpretations of seating, shelving, consoles, and tables. The forms are imagined as distilled details, removed from architectural context and re-scaled to relate to the human body, interior space, and historical furniture standards.

In annex gallery space #211, Themes+Projects gallery presents Life Forms, by Klari Reis.

Life Forms are the latest in Klari’s ever-changing artistic exploration of the systems of biology and of the beauty and design displayed in nature. Her engagement with these systems has taken her from the microscopic workings of cells, as far afield as the uncanny re-envisioning of city maps as biological blueprints, to these newest, macro paintings of nature triumphant, imposing its own order on the world.

For the spring 2022 exhibition season, Themes+Projects gallery presents Superposition, new work by Carrie Ann Plank. Created during the pandemic, Carrie Ann Plank’s works from Superposition embraces science, data, and transformation. Working with visualizations of scientific datum as a base level, Plank explores the shape of the universe, the structures of the microcosm, visual phenomena, and Gordian Knots. Pulling from sources such as TEMS photography from electron microscopy, visual interferences such as moiré effects, revelations on three-torus shape of the universe, and historical forms, Plank strives to concrete the substructure of the universe and embrace the stability and truth of science.

One day event!

Joan Wulf views trees as record keepers, storing memory and time into their thick bark, their layered rings. They map out years of feast and famine, reflecting the state of the environment around them. They pass information through the mycelial mats of the forest floor, communicating and sharing resources with the trees around them. Out of these relationships and physical points of connection grows a community—the forest.

Wulf focuses on relationships between trees—and by extension between trees and people—in her series Echoes. The body of work charts a sort of dance between tree and human, where the artist aims not to depict, but rather to record.

Themes + Projects’ is thrilled to host Redefining the Creator Economy––a panel discussion on the impact that NFTs have on the art world from the perspective of an artist, an art consultant, a curator and an NFT Platform developer.

Join artist Camila Magrane, CreatoRanch Co-founder Chris Trueman, Art Consultant Claudia Hess, and curator Grant Vetter for an afternoon on how NFTs (Non-fungible Tokens) have taken the art and tech industries by storm.

“The love of the beauty of the world . . . involves . . . the love of all the truly precious things that bad fortune can destroy. . .”

— Simone Weil

Beauty had a struggle to survive the latter quarter of the 20th century. Artists who nonetheless found creative energy in the redemptive power of beauty were considered passé at best and patronized at worst. The “love of all the truly precious things” to which Simone Weil refers found no favor in the art establishment. Fortunately, the strength of beauty is such that—elusive and perhaps even undefinable—it has survived in all its mystery.

Adding to our fall 2021 season, Themes+Projects gallery in collaboration with MDG Art Advisory presents, "Paintings: 2016 to 2021 by John Bucklin." The paintings in the exhibition survey five years of work and thematically focusing on John’s inspiration from the nature around us as well as everyday objects, bringing beauty out of simplicity. His passion for painting can be seen in his use of color, patterns, lines, shape and movement of his brushstrokes.

The five large paintings titled Same Same, as well as the name of this exhibition, borrow their titles from the 2019 novel of the same name by Peter Mendelsund. The protagonist in the book attends an international artists’ residency of sorts in a far away desert. While there, he discovers the Same Same shop where the shopkeeper has the mysterious ability to replicate and even make better any item brought into the shop.

"Traces" explores the relationship between the past and the present with a focus on the process of transformation as the connecting thread. The work consists of a series of collages and a collection of polaroids that are accompanied by animations and video clips seen solely through the use of an augmented reality application (Virtual Mutations).

The scenarios presented in the static images act as literal stages for animated narratives. What once was a captured single moment echoes into motion, creating an additional layer as to what will come thereafter.

Is art the product of the actions required to make it or is it the actions themselves? ‘Primary Process’ draws on artist Laura Hapka’s art-making process to comment on the relative values of method and meaning in a painter’s work. Using tone-on-tone primary colors—2 reds, 2 yellows, 2 blues—this show reprises the simplification Hapka has pursued recently in her work by simplifying the colors used. Stripping down her technique to its essentials, she paradoxically adds layers of meaning.