October 17th – November 28th Reception Saturday, October 23rd 6 – 9pm
The Great Highway Gallery is thrilled to present Rupturre Reduxx, a window installation and paintings by San Francisco artist Jenifer K Wofford.
Exhibition Statement October 17, 1989 at 5:04 was a moment of profound rupture in the Bay Area. The Loma Prieta earthquake that day reshaped much of the culture and landscape on a local scale during a year of upheaval on a global scale, from Tiananmen Square to the fall of the Berlin Wall.
Rupturre Redux is the latest incarnation of artist Jenifer K Wofford’s keen interest in retracing what broke in 1989, and what has been rebuilt in its place. Working in an aesthetic loosely inspired by the design palette of that era, Wofford investigates a broader array of dates and sites of calamity and collapse, both public and personal. The window display presents Wofford’s 2019 video, Klub Rupturre!! in a new immersive installation. The video, taking the form of a 1989 regional TV Dance Party, shows a creepy television hostess and dancers presenting each song on a top ten countdown leading up to the moment of the Loma Prieta earthquake. Inside the gallery, Wofford presents a selection of works on paper from her ongoing Rupturre series.
About the Artist Jenifer K Wofford is a San Francisco-based artist and educator whose work investigates hybridity, history, calamity and global culture, often with a humorous bent. She is also 1/3 of the Filipina-American artist trio M.O.B. Her work has been exhibited in the Bay Area at the Asian Art Museum, Berkeley Art Museum, Oakland Museum of California, YBCA, San Jose Museum of Art, Southern Exposure, and Kearny Street Workshop. Further afield, she has shown at New Image Art (Los Angeles), Wing Luke Museum (Seattle), DePaul Museum (Chicago), Silverlens Galleries (Philippines), VWFA (Malaysia), and Osage Gallery (Hong Kong).
Wofford is a 2017 recipient of the Joan Mitchell Foundation Painters and Sculptors Grant. Her other awards include the Eureka Fellowship, the Murphy Fellowship, and grants from the San Francisco Arts Commission, the Art Matters Foundation, and the Center for Cultural Innovation. She has also been artist-in-residence at The Living Room (Philippines), Liguria Study Center (Italy) and KinoKino (Norway).
A well-known arts educator, Wofford is part-time faculty in Fine Arts and Philippine Studies at the University of San Francisco. She has also taught at UC Berkeley, Mills College, the San Francisco Art Institute, California College of the Arts and San Francisco State University. She holds degrees from the San Francisco Art Institute (BFA) and UC Berkeley (MFA).
Born in San Francisco and raised in Hong Kong, Dubai, Malaysia and the California Bay Area, Wofford has also lived in Oakland and Prague. She lives and works in San Francisco.
Artist Links instagram – @woffsilog web – wofflehouse.com
The Great Highway Gallery is excited to present The Stampede a window installation by San Francisco artist Margaret Timbrell.
Exhibition Statement Upon graduation from NYU I entered a photography based art career. However, after a very bad accident, I could no longer work in the darkroom so I began needlepointing. This practice soon expanded to other fields of technically advanced needlework, including embroidery, cross stitch, as well as needlepoint. I consider myself a conceptual needlework artist who uses the craft to reflect vulnerability, failure, and perseverance. An overarching source of inspiration with my work is the influence of the external. In the middle ages the Unicorn was universally believed to exist. This made me wonder, what in contemporary times do we believe that is not real?
My visual and technical inspiration for creating The Unicorn series draws from two sources: The Hunt of the Unicorn (a seven panel series of medieval tapestries that now hang at the Cloisters) and The Lady and the Unicorn (a six panel series of French medieval tapestries that hang in Musee de Cluny). The Unicorn tapestries of both the Cloisters and the Cluny appealed to me because of the magic of the unicorns and that both these narrative pieces of history have survived all this time. I then sourced vintage needlepoint canvases from eBay and used a variety of stitches in Bargello, Redwork, and Blackwork needlework techniques to unify the work and highlight important elements.
About the Artist Margaret Timbrell is a conceptual needlework artist with a multi-disciplinary degree from NYU. Her work is inspired by various influences (such as technology, parenthood, perseverance and failure) that alter language and engagement. Timbrell has exhibited at the De Young Museum, San Jose Museum of Quilts & Textiles, Eleanor Harwood Gallery, Marin Museum of Contemporary Art and other galleries. She was featured in the SF Examiner, LA Times, Bust Magazine. In 2012 she was selected as a Heart Artist for SF General’s annual fundraiser. From 2015 to 2017 Timbrell participated in the StARTup Fair. She participated in Lenka Clayton’s Artist Residency in Motherhood and, in 2018, Timbrell was the Artist in Residence at the San Jose Museum of Quilts & Textiles. Currently Timbrell is a Facility Artist at 1240 Minnesota Street Project, and Studio Artist at Pacific Felt Factory. In Fall of 2019 she completed a 15’ latch hook portrait of Minnie Pearl for the Graduate Hotel in Nashville.
July 17th – August 29th RECEPTION – Saturday, July 24th 5 – 8PM
The Great Highway Gallery is thrilled to present Disarticulated Production, installation and mixed media works by artist Alicia Escott.
Disarticulated Production A sculpture of individual handmade drawings of Live Oak Acorns rendered on scraps of plastic gathered from construction sites throughout the city (and recology.) The plastic used on this is often used to cover sites of construction. Its clean, glossy, shrink wrapped aesthetic glossing over construction belies a material that off gasses terribly, creating an additional hazard for workers. Escott acquired a great amount of this material at recology, later during the pandemic and a subsequent injury that limited her mobility began cutting scraps of it down to make individual drawings of acorns, disarticulated from the larger piece as a way to continue making amid the interruptions of the pandemic, the work was in dialogue with daily walks though live oak tree habitat in a nearby park which she is helping to restore. Each drawing is a meditation on the possibility inherent in a single seed or acorn: the possibility of an entire oak tree, and all the entangled lives it supports. Thinking about the clearing of time and dismantling of systems during the pandemic in relationship to the clearing of space that fire or fallen trees create, opening up sun for new growth to emerge. Both byproducts of crisis. Each acorn was a meditation on slowness, intention, transformation and inherent possibility that only needs the right circumstances to manifest.
In the reverse of the possibility of a single tiny acorn or seed the messy accumulation and production in this work references the plethora of acorns produced by any given tree and the generosity of nourishment it returns to the multispecies community it is entangled within. Should only one acorn mature in all its years— it is success, a continuation of all of these efforts— if we should try to measure success in that way, genetically— and not in the squirrels, fungi or other entangled lives it nourishes.
As the fire season accelerates the meditation on these fire evolved trees, turns from possibly to desperation. The plastic used to cover construction sites for homes, melted to form a new join of things torn apart, the unsettled convergence of human homes and non-human homes amid land coevolved with fire. Referencing human participation in both historic Native collaboration with fire to shape the landscape and the subsequent suppression of fire by settlers over the last century, coupled with the production of fixed inhabitation. The fluid rigidity of the melted plastic references the artists unease and sense of collective precarity. By being each unique hand made drawings drawn from only 20 or acorns, this work also meditates on reproduction and mutation. The drawings of acorns remain what they are: images of the nut, entirely disassociated with the functions and realities of what each portrays. As with all of my work, this plays with the exploration of humans as image makers using the production and reproduction of images of “natural” or other-human life as a self-soothing device to cope with living amid omnicide.
About the Artist Alicia Escott is an interdisciplinary artist based in The Outer Sunset district of San Francisco. She/they practice in solidarity with thinkers across fields undoing the construct of “nature” as a thing separated from us and our world. Escott work is informed by how we each are negotiating our immediate day-today realities and responsibilities amid an awareness of the overarching specter of climate change, massextinctio and the subsequent unspoken individual and collective experience of loss, heartbreak and\longing — as well as the related social and political unrest this rapid change, unprocessed grief and latent anxiety produces. She/they approach these issues with an interstitial practice that encompasses writing, drawing, painting, photography, video, sculpture, social-practice, and activism. Escott’s work has been shown in over 90 art institutions, galleries, and alternative spaces — including exhibitions at the Headlands Center for the Arts, the Berkeley Arts Center, Yerba Buena Center for the Arts, The San Francisco Maritime Museum, The Berkley Art Museum and Pacific Film Archive, and The Museum of Contemporary Art Santa Barbra. She/they have been an Artist in Residence at Recology, The Growlery, Djerassi Artist Residency, Anderson Ranch Arts Center, Irving Street Projects and The JB Blunk Artist Residency. Escott is a founding member of the collective 100 Days Action and half of the Social Practice Project The Bureau of Linguistical Reality. Her work has been featured in the Economist, The New Yorker, KQED, MOMUS, The San Francisco Chronicle, and many others. Her She holds an MFA from California College of the Arts, where she received the Richard K. Price Scholarship and a BFA from the Art Institute of Chicago.
The Great Highway Gallery 3649 Lawton St. San Francisco, CA 94122 phone: (415) 680-3891 email: firstname.lastname@example.org