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Contemporary Women of Abstraction 1

Contemporary Women of Abstraction July 11, 2026 - September 12, 2026

Donna Brookman Linda Fleming Sylvia Fragoso Nancy Genn Rebekah Goldstein Julia Goodman Hughen/Starkweather Mary Ijichi Grace Munakata Sono Osato Irène Pijoan Shantae Robinson Cornelia Schulz Laura Van Duren Andrea Way Karla Wozniak

PAUL THIEBAUD GALLERY 645 Chestnut Street, San Francisco, CA 94133 415.434.3055 | www.paulthiebaudgallery.com

Contents 7

Foreword Greg Flood

Fertile Ground Heidi Rabben

Plates 18

Donna Brookman

Linda Fleming

Sylvia Fragoso

Nancy Genn

Rebekah Goldstein

Julia Goodman

Hughen/Starkweather

Mary Ijichi

Grace Munakata

Sono Osato

Irène Pijoan

Shantae Robinson

Cornelia Schulz

Laura Van Duren

Andrea Way

Karla Wozniak

104

Exhibition Checklist

108

Credits

Foreword When art history books were written in the 19th century by Franz Kugler (1842) John Ruskin (1843), Karl Schnaase (1843), and Bernard Berenson (1894, 1896, 1987, 1907), they were following in the footsteps of Georgio Vasari, Benvenuto Cellini, and Johann Joachim Winckelmann who had written about specific artists or cultures in Europe’s past in the sixteen and seventeenth centuries. These new surveys began to fill in the picture of how art had evolved over thousands of years alongside the rise and fall of European civilizations. Throughout these books, and in many published alongside and after them, there is a very conspicuous absence of women artists in their pages. This is despite the fact that there were known women painters, including Artemisia Gentileschi (1593-1654), Sofonisba Anguissola (c. 1532-1629), and Rachel Ruysch (1664-1750), among others, stretching back to the Middle Ages. As the study of art history grew and expanded to include modern period, these omissions continued to happen with the historical painters and with the living ones who were overlooked in favor of their male peers. The reasons for this are many, with religious teachings, societal norms, and general prejudice being only three of the causes. In 1971, Linda Nochlin published her seminal work, titled “Why have there been no great women artists?”, which, along with the works of many others, has become a foundational text and clarion call of the Feminist movement. Since then, canon revision in all periods of art history has been ongoing to research, identify, and elevate women artists within the historical record, and to give greater recognition to living female artists as well. There is still much work to do, however. The creation of our exhibition Contemporary Women of Abstraction arose, in part, from a desire to celebrate women painters and sculptors working abstractly within the Bay Area. I have personally known some of them for many years and have the privilege of calling them friends. Others I had known the works of, but had not met before this project. Among the criteria for inclusion in the show was that the artists needed to live and work in the Bay Area between 1990 and today, or have had significant ties to the region if this was no longer the case. Another consideration was that much attention has been given to the female painters and sculptors of the post-war period, particularly those working between 1950 and 1980, so a contemporary focus seemed fitting. A third desire was that they all be living artists, to which an exception was made for the late Irène Pijoan (1953-2004), whose intricate cut-outs actively engage with multiple aesthetic conversations being had between several of the other artists. It was also important to include works by multiple generations of artists as a way of exploring how conceptual ideas and methods of working have been shared and transformed over time. A final goal was to include an array of styles and approaches to abstraction, as well as to include works by artists who have disabilities alongside those who do not. The Bay Area is home to three of the oldest non-profit art centers focused on supporting artists with disabilities in the United States. The artworks created by the artists working at these centers offer a compelling aesthetic proposition that follows a trajectory distinct from but also concurrent to those working in the

mainstream. The influence of these disabled artists on the mainstream has grown in recent years as the centers have become better known, so I felt their inclusion was important to give the fullest picture of what has been taking place in the Bay Area. A show as broadly defined as this one can go in many directions and have many more artists than the 16 who were selected. Refining the list was a tough and challenging task, but I am very pleased with the group of artists we have presented and the diversity of approaches their works embody. In addition to the multi-generational aesthetic and conceptual conversations that the exhibition highlights, there are other touchpoints that come into focus when comparing their lives and careers. One of the most evident is the importance of both education and teaching. Over half of the artists in the exhibition have a Master’s Degree in Fine Art and as many have taught or are currently teaching at the collegiate or University level. The impact of this on their art cannot be underestimated. An educational space offers exposure to new ideas being brought forward by students that can challenge the way an artist has been working. It also enables the creation of community, which is another related touchpoint that became evident as the exhibition came together. Several of the artists included in the show have known each other for many years. Some of them were the students of others, while others met while students themselves. Still others became friends and colleagues through being fellow faculty members at various institutions. These connections and friendships have been integral to their lives, careers, and their development as artists. In the following pages, you will find an insightful essay by Heidi Rabben, former Senior Curator at the Contemporary Jewish Museum, which delves further into the connections and throughlines between these artists and their works. I wish to thank Heidi Rabben for agreeing to write the essay and for her beautiful words about these sixteen significant artists. My greatest thanks go to Donna Brookman, Linda Fleming, Nancy Genn, Rebekah Goldstein, Julia Goodman, Amanda Hughen, Jennifer Starkweather, Mary Ijichi, Grace Munakata, Sono Osato, Cornelia Schulz, Laura Van Duren, Andrea Way, and Karla Wozniak for generously agreeing to be a part of the exhibition and for offering us such gorgeous works to include. I would also like to give great thanks to Craig Nagasawa from the Estate of Irène Pijoan for the loan of Pijoan’s cut-outs, and to Lucy Zimmerman from the NIAD Art Center in Richmond, CA, for generously agreeing to lend the paintings and ceramics of Sylvia Fragoso and Shantae Robinson to the show. Lastly, I would like to thank my colleagues Colleen Casey and Gregory Hemming for their hard work and tireless efforts in making this exhibition and catalogue a reality. Greg Flood, Director August 2026

Fertile Ground By Heidi Rabben

Abstraction should, by now, be exhausted. It has been declared finished, recycled, and superseded more times than perhaps any other language in American art since World War II. Yet, it remains a modality many artists continue to reach for, an instinct when something urgent needs expressing. Contemporary Women of Abstraction gathers sixteen Bay Area–based artists from across three generations — women who cumulatively have lived through the Great Depression, the Atomic Age, the Cold War, the Civil Rights Movement, the Sixties Counterculture, the Women’s Movement, the AIDS crisis, September 11th, the 2008 financial collapse, the murder of George Floyd, the January 6th insurrection, and the COVID-19 epidemic, among many other local and global events. Along the way, they have lived lives as daughters, friends, colleagues, students, teachers, mentors, and, for some, as wives, partners, mothers, and grandmothers. Against the backdrop of their collective life experience, they now are processing life in the tumultuous present — a time marked by political instability, climate change, post-pandemic recovery, and the rapid influx of machine-generated information and imagery — through a continued assertion of abstraction as a vital medium of expression capable of meeting the moment. The gathering of their paintings, sculpture, and works on paper in Contemporary Women of Abstraction has resulted in a rich intergenerational conversation where questions of matriarchy, human authorship, and the persistence of abstraction become newly pressing. For an exhibition featuring sixteen artists and works spanning thirty-five years (the oldest piece in the show dates to 1991), it feels natural to structure this essay much like the exhibition itself – a series of conversations in pairs, trios, and one true quintet, speaking to one another across, within, and between the three rooms of the gallery’s second floor. Entering the exhibition, the first and largest room displays works by Sono Osato, Cornelia Schulz, Grace Munakata, Donna Brookman, Nancy Genn, and Linda Fleming, and carries a gravity conveying the seriousness of the artists on view. Color is everywhere, yet restrained, grounded in an earthy palette. Gesture here seems to be working something out rather than performing it. The mood is serious, but warm and inviting. The first works encountered are a trio by Sono Osato that function both as a mini-retrospective of her own practice (pulled from three separate series, made roughly a decade apart from each other) and also arguably as a prologue to the ideas that unfold across all three rooms. Midden 9 (2025), the most recent and most representational piece in the show, renders gears and mechanical detritus in watercolor, floating free of any ground — an erosion Osato has connected directly to watching physical technology dissolve into the digital. The forms layer over one another in an almost cubist way, underlit like transparencies shifting atop an overhead projector. In Umma (2009), those mechanical allusions become physically real: actual gears, sprockets, and typewriter parts encrust a sanguine-red triptych. And “encrusting” is an especially appropriate word for Ku (1999), a monumental black canvas built up over several inches of oil, encaustic beeswax, and materials no longer identifiable beneath the depth of it. Taken together, these three works reveal a tension between what meaning gets buried and what gets surfaced, act as a rumination on deep time (geological, archaeological, layer folding into layer) and meditate on how technology is always perpetually outdated, its current hardware forever behind the pace of its own development. Osato now describes AI in the same terms she once reserved for archaeology: mining data the way an archaeologist mines strata, but without any accountability to context or meaning. These are, in many ways, the questions underpinning the whole exhibition, and Osato’s willingness to

state them so plainly in her own work is what makes her paintings function as a kind of prologue. Cornelia Schulz picks up Osato’s tension between what is buried and what surfaces, but renders it through the organic against the geometric rather than the historical against the technological. Her surfaces have a tactile physicality. Thick, lushly applied impasto gives way to long scrapes that read like roads cut through the topography of the paint. For Schulz, freedom of gesture extends past the canvas itself and into its support: her uniquely shaped panels resemble slightly torqued custom geometric shapes, as though rectangular geometries have been physically compressed into their final forms. The paint operates within the boundaries of these structures but also has an independent quality, as if the once rectangular form naturally extended in areas where the paint outgrew it. Where Osato buries technology inside layered material, Schulz buries geometry inside gesture. The next duet begins with Grace Munakata’s sublime paintings, which hint at landscape through form and color, and then contradict it through shapes that float, stack, and are devoid of horizon or gravity. Her visual vocabulary comes from a specific inheritance — her father’s sumi-e ink practice at the kitchen table, her mother’s drawers of patterned cloth scraps, and a philosophy of “nothing ever wasted.” Equally important is Munakata’s love of boro, the Japanese tradition of patching worn garments across generations, embedding in the textile a family’s history. This Eastern model of the “marks” carrying memory is different and sets her apart from the postwar American inheritance on the walls around her. Her titles are among the few in this room to name nature outright — Stack of Trees, Blue Sentinel — confirming what the eye already suspects: that landscape and environment, however fragmented, are core inspirations. Donna Brookman shares that direct relationship to landscape and environment. Her fullflood paintings come in thick strokes that render topographies as dynamic bodies — vulnerable, in motion — and she has described the mess and touch of oil paint as a wonderful antidote to a disembodied contemporary life. Where Munakata’s landscapes arrive fragmented, coded through inherited pattern, Brookman’s arrive like cropped close-ups of flowing rivers, or the silt they leave behind. Between the two of them, Brookman’s and Munakata’s palettes turn most fully toward the earthy and organic, standing in contrast to the small nods elsewhere toward the manufactured. Transitioning to the final pairing in the first gallery, Nancy Genn’s collaged paper works carry a persistent architectural concern, both literal and metaphorical, which has been consistently present through decades of her studio practice. Layered arching, angled, and rectangular geometric forms appear within the interior perimeters of her compositions. These structural devices coalesce to form portal like entrances akin to the way a window, doorway, or portico frames what lies beyond it. Beyond that, the associations to architecture become internal, a way of holding memory and experience inside a structure the mind can return to, a safe haven built not of material but of form. Genn’s process throughout the creation of these works is tied to the hand: pigment mixed into the pulp, squeezed, transferred, formed using her fingers, laid down, and embellished with memory. Shifting this structural conversation from paper to steel and wood, Linda Fleming describes her sculptures as diagrams of thought — attempts to give tangible form to the strangeness beneath the ordinary. Where Genn’s architecture is remembered, Fleming’s is more speculative and

metaphysical. Her lace-like, latticework forms, full of apertures and openings, behave optically, mixing color, light and shadow within the viewer’s eye. Their intimate forms appear to have been grown or stitched rather than built. Here, line suddenly becomes a core element and flexible in ways it has been absent elsewhere in the room, particularly in the undulating pastel drawing Glide (2025). Fleming’s sculptures also seem to defy their materials. Heavy, laser-cut stainless steel appears weightless through the origami, winglike folds and pockets Fleming creates. Her titles reinforce the more ethereal intention behind these works – Crinoline (2008), Wisp (2019) and Glide – and compliment their airy, spacious qualities. Their shift in palette and focus on structure also acts as a bridge to the next room of artists. In the second exhibition space, the scale of the works becomes more intimate even as their intensity heightens. Here the conversation becomes a dialogue between Andrea Way, Mary Ijichi, and Irène Pijoan (1953-2004), three artists whose devout rigor to their detail-oriented practices produces something close to serenity. For over four decades, Andrea Way has layered patterns borrowed from the natural world into intricate networks, mosaic-like fields, small circles, and subtle contours that recall labyrinths and cellular structures. She creates according to a set of rules, though they are negotiated rather than imposed. She begins each composition creating a pattern and then lets the boundaries of the paper itself determine how it is set down on the page. In her screenprint Bingo (1991), it led to an array of blue and green circular forms with pointillist-level textural details. On the one hand, it reads like a landscape architect’s birds-eye rendering of a forest and its pathways, on the other it resembles viewing a community of microorganisms through a microscope. In both cases, a sense of calm and logical completeness emerges and set the tone for the other two artists sharing the room. Mary Ijichi’s Assemblage works are built from a genuinely uncommon grouping of materials — colored pencil, mylar, a field of glass and plastic beads set at exact intervals, a painted plastic architectural grid, and museum board. They are arranged and layered to create compositions that vibrate faintly with every shift of light. She has named Agnes Martin, Yayoi Kusama, and Isamu Noguchi as touchstones, and that inheritance comes through in her signature precision with just enough of the human hand showing through to prove it was made by someone, not something. Ijichi has described the process of their creation as a disciplined, but joyous meditative repetition so immersive that time and place seem to disappear. They also embody a search for peace and simplicity in a complicated world, both for her own benefit as well as the viewer’s. Irène Pijoan, the only artist in this show no longer living, arrived at her paper-cuts by accident — a 1993 impulse to slash a painting’s surface that grew into a practice of papercutting lasting until her death in 2004. Shaped by a Buddhist meditation practice, the extreme detail in these works communicates a level of focus, patience, and dedication that few of us have achieved, and even fewer are destined to as our attention spans fray under technological capitalism. Her cutout overlays of gampi and other thin papers impart the illusion of elasticity, with each floating in front of a painted atmospheric background. They are spontaneous, organic, laborious forms, cosmological in their ambition, and showcase a mastery of technique.

What unites all three of these artists in conversation is a kinship of systems and plans, a discipline of close, careful attention that Fleming’s delicate latticework in the previous room already anticipated. What all three prove is that the outcome of such rigor need not be cold. It can be light, airy, tangibly intangible — proof that we can rejoice in the intimacy of abstraction, that smaller and more controlled can be just as impactful as the monumental and loose. The third room announces itself with yet another temperature change, this time a bold, electric, confident palette. Most of the artists here belong to the youngest generation, one that, thanks to the women who came before them, inherited abstraction as an open language. Julia Goodman, Karla Wozniak, and Rebekah Goldstein form this room’s first conversation, united by harmonic bold colors and also by having each arrived at their bodies of work through the experience of recent motherhood. Foregrounding cycles of care, grief, and transformation, Julia Goodman connects intimate experience (personal loss, motherhood, partnership) to larger social and cosmic systems. Her pulped-paper reliefs begin with repurposed bedsheets and t-shirts – fabrics that have lived close to the body – gathered and pulped by hand. This element of Goodman’s practice extends the history of rag paper itself, which has been historically dependent on women’s uncredited labor. What distinguishes her works Bridge (i) and Bridge (ii) (both 2024) is what happens on their backsides. Lined with neon sunset-toned fabric, Goodman has elevated her reliefs away from the wall so that a soft glow radiates against it, shifting as light changes across the day. This glow reads less like a formal effect than scaffolding made visible, a metaphor for the quiet, largely unnoticed structures of care that support life. This undertone is also echoed in the layered oval impressions terracing Goodman’s surfaces, with the shape of their negative spaces complementing one another and imparting the works with their titles. Karla Wozniak’s recent paintings work with a playful complexity, existing on the edge of representation — a line becomes a string, a flower, a stick, moving from a single gesture to a compositional device. The paintings feel joyful and free, anchored by a linear structure that crisscrosses to create pockets of visual experience — some porous and thin, others dense with opacity and built-up paint. Color appears to be both intuitive and intentional, the whole surface holding a kind of contradictory harmony. In this way, the paintings relay a tactile quality as much as a visual one. They are also emotive as much as cerebral, picking up on the textural complexity of Goodman’s formations on her left, and giving way to Rebekah Goldstein’s armature-like compositions on her right. Goldstein has described her paintings as a kind of self-portraiture, even at their most abstract. Her turn toward shaped canvases arrived after nine months of her own body transforming during pregnancy, which allowed her to imagine the format of a canvas as a shapeshifter too. Starting with the idiosyncratic form, she then intuitively reaches for the right lines, planes, and colors to fill it. With Almost Patient (2026), bold shades of blue anchor the oddly asymmetric, partly sharp, partly round canvas shape, appearing for a moment to fold in on itself like a mobius strip or an edgier infinity symbol. In one corner an energetic accumulation of pink, peach and chartreuse

brushstrokes are contained by a bold, graphic white line that looks like it is marking out a basketball or tennis court. Goldstein’s pseudo-trompe l’oeil approach to the shaped canvas also points back to Schulz’s more subtly shaped canvases in the first room, reminding us that the conversations to be found in the exhibition are not linear or confined by proximity. The second conversation in the final room is perhaps the most unexpected, between Laura Van Duren and the collaborative pair Hughen/Starkweather, each giving material form to systems that are often invisible. Van Duren grounds her ceramic and mixed-media forms in a legacy of feminist interoception, the subtle awareness of internal bodily sensation. She is invested in the way internal states ripple outward to forge bodies, color emotion, and shape perception. Clay, glycerin, and found material become metaphors for tissue, cells, nerves, and synapses, held in the same delicate, interdependent tension as the body’s own architecture. Her process of coiling, casting, and reassembling is deliberately intuitive, an adaptive negotiation between body and thought that lets the irrational take precedence over the rational. The artist duo Hughen/Starkweather do something structurally similar, but instead apply it to the scale of the land. For nearly twenty years, Jennifer Starkweather and Amanda Hughen have researched where engineered infrastructure meets natural systems — interviewing specialists, visiting water systems and archives, tracking data into possible futures — then build what they learn directly into the work. River water, wildfire ash, desert sand, salt, borax, and dirt become material components of paintings whose titles name flood, drought, and fire, without evasion; Flanking Erosion (2026), Spreading in Big Water (2025), and Prevailing Weather (2025). The organic and site-specific materials embedded in the works, coupled with the formal qualities of their compositions, read like topographies and maps where discernable waterways dance across the visual plane. They have posed their governing question plainly: whether art, faced with a crisis capable of producing only anxiety and helplessness, might also offer imagination, hope, and collaboration through the uncertainty. Van Duren listens inward to a body’s hidden signals; Hughen/Starkweather listens outward to the foundation holding our bodies on earth. Both treat their material as evidence of systems under strain, rendered legible through the act of making. Shantae Robinson and Sylvia Fragoso close both the room and the show, their ceramics and paintings being built through the act of accumulation rather than a single gesture. Robinson’s ceramic vessels and canvases work in swells and swarms. Hand-rolled spirals, slivers, and orbs overflowing from vessels, stacks of her signature “S” letterform gather across her surfaces, rendered in confident line, vivid color, and layered in until a whole body of work accumulates almost by its own momentum. Sylvia Fragoso’s ceramic sculptures sit slightly apart from the abstraction around them, and it is worth saying so plainly. Her work picks up on the architectural thread begun by Genn and Fleming, but has an entirely unstructured, freeform aesthetic. Fragoso’s sculptures are constructed of repeated small, hand-formed rolls of clay that are then stacked and assembled into temple-like structures glazed bright purple, blue, and aqua. What she shares with Robinson, and with the room, is not a commitment to non-objective form but the same wager the whole show makes — a form built uniquely, vulnerably, intuitively, and insistently, by a hand with something specific to explore, question, or honor is worth celebrating.

Absorbing all these individual offerings and the generative conversations between them, returns us to the question of why women (and specifically women here in the Bay Area) have found and continue to find such fertile ground in abstraction. Is working without a fixed referent, in a language art history has been slow to credit them for inventing — with Hilma af Klint’s 19th century practice only recently correctively acknowledged as a starting point — itself a form of defiance? This exhibition does not answer this question directly, but offers a range of ways to think about what abstraction means today and why it matters, through the work of sixteen women, three generations, spanning postwar gravity to contemporary optimism. In 1971, the art historian Linda Nochlin asked why there had been no great women artists, intending the question as an indictment of the institutions that manufactured that absence, not as validation of it. More than fifty years later, in a moment when longstanding Bay Area institutions are announcing closures, this exhibition is a rich occasion to discover artists who have been living and working here for decades, honing a practice, and contributing to an arts community that remains innovative, experimental, and vital. There is much still to see, feel, and learn from these women, some of which unfolds only in the visual conversations within and between these three rooms. Their works insist on being experienced in person. One cannot comprehend the complexity and depth of Osato’s Ku, Pijoan’s paper-cuts, or Hughen/Starkweather’s materials, just to name a few, through an image on a screen. They challenge us to get out there and remember that we exist, and are meant to experience life, in three dimensions. Machine-generated images can now mimic abstraction at a mere prompt. What they cannot produce is what nearly every artist here has, in her own way, committed to: a unique perspective created by the human mind and hand. These women are conduits through which the whole of life’s offerings — beauty, horror, sorrow, joy, fear, and excitement among them — pass through and spill out onto canvas and armature, in paint, clay, paper, wood, and metal. Each room is in conversation with the last, each making the same assertion in a different key: that a mark made by a human interpreting and reacting to the present will always be relevant. In an increasingly monopolized, data-driven world, this is the need art, and especially abstract art, will always be there to fill. * Heidi Rabben is an independent curator, writer, and editor based in San Francisco. She was formerly Senior Curator at The Contemporary Jewish Museum and has recently worked with the Manetti Shrem Museum of Art, Marin MOCA, and held positions with California College of the Arts, the San Francisco Art Book Fair, and KADIST, San Francisco. An alumna of UC Berkeley (BA, Art History) and California College of the Arts (MA, Curatorial Practice), Rabben consistently champions the role of art in navigating complex local, national, and global conversations.

Plates

Plate 1 Donna Brookman, fullflood #13, 2012 oil on canvas over panel, 72 x 42 inches 18

Plate 2 Donna Brookman, fullflood triptych #1, 2011 oil on panel, 18 x 36 inches 19

Plate 3 Donna Brookman, fullflood triptych #2, 2011 oil on panel, 18 x 36 inches 20

DONNA BROOKMAN Born 1949 EDUCATION MFA, Painting, San Francisco Art Institute BA, Art, University of California, Berkeley Northwestern University, Evanston, IL SOLO EXHIBITIONS 2013 fullflood Paintings, Thomas Paul Fine Art, Los Angeles, CA 2010 Ragini Paintings, Thomas Paul Fine Art, Los Angeles, CA Ragini Paintings and Works on Paper, 455 Market Gallery, San Francisco, CA 2005 Metamorphosis, 5+5 Gallery, Brooklyn, NY 1993 Donna Brookman/Mary King/Chikako Okada, San Francisco Museum of Modern Art Artists’ Gallery, San Francisco, CA 1991 New Works, Spectrum Gallery, San Francisco, CA SELECTED GROUP EXHIBITIONS 2026 Contemporary Women of Abstraction, Paul Thiebaud Gallery, San Francisco, CA 2025 TWENTY-FIVE TREASURES 2025, Paul Thiebaud Gallery, San Francisco, CA 2018 Time & Place: Human Impact and our Changing Environment, Kim Anno, Donna Brookman, Lewis de Soto, Andrew Moore, Museums of Sonoma County, Santa Rosa, CA Way Bay, and Way Bay 2, Berkeley Art Museum, Berkeley, CA 2017 About Abstraction: Bay Area Women Painters, Bedford Gallery, Walnut Creek, CA 2012 Gender Specific: Take it or Leave It, Smith Anderson Editions, Palo Alto, CA 2011 Abstract Visions: Selections by Peter Selz, Berkeley Art Center, Berkeley, CA 2005 Thirty Something: Three Decades of Innovative Work from the Kala Institute, San Francisco Museum of Modern Art Artists’ Gallery, San Francisco, CA 2004 The Essence of Nature, Paintings by Jennifer Bain, Eva Bovenzi, Gary Brewer, Donna Brookman and Tara Cooper, Bedford Gallery, Lesher Center for the Arts, Walnut Creek, CA 2003 Earthly Matters, San Francisco Museum of Modern Art Artists Gallery at Fort Mason, San Francisco, CA Kala in Uzbekistan, Center for Modern Art, Tashkent, Uzbekistan Grabados sin Fronteras, Mission Cultural Center, San Francisco, CA La Estamperia/ Kala Exchange exhibit, Quito, Ecuador 2002 Kala in Belarus, National Museum of Belarus/Kala Exchange Exhibit, Minsk, Belarus 1997 Women in Abstraction, San Francisco Museum of Modern Art Raindance: New Paintings for the Spring, Terrain Gallery, San Francisco, CA 1994 20th Anniversary Kala Institute Exhibition, Butterfield & Butterfield Gallery, San Francisco, CA 1986 Kala Institute/Trace Exchange Exhibition, Foyer International d’Accueil de Paris, France 1983 Three-person show of monotypes, Berkeley Art Center, Berkeley, CA 1981 Selected Gallery Artists: Works on Paper, Tom Luttrell Gallery, San Francisco, CA SELECTED COLLECTIONS Berkeley Art Museum & Pacific Film Archive, Berkeley, CA UC Bancroft Library, University of California, Berkeley KALA Institute, Berkeley, CA Museum of Sonoma County, Santa Rosa, CA The Flood Family Collection, San Francisco, CA 21

Plate 4 Linda Fleming, Crinoline, 2008 laser cut plywood, 11 1/2 x 24 x 22 inches 24

Plate 5 Linda Fleming, Glide, 2025 Nu pastel on rag paper with museum plexi frame, 44 x 55 inches 25

Plate 6 Linda Fleming, Wisp, 2019 powder coated stainless steel on steel base with wheels, 34 x 40 x 19 inches 26

LINDA FLEMING Born 1945, Pittsburg, PA EDUCATION 1966-1967 1963-1966

San Francisco Art Institute, San Francisco, CA Carnegie Mellon University, Pittsburgh, PA

SELECTED TEACHING 1986-2017

Professor, California College of the Arts, Oakland, CA

SELECTED AWARDS AND GRANTS 2016 2007 1994 1993 1983

International Sculpture Center’s 2016 Outstanding Educator Award Peter S. Reed Foundation, NY Adolph & Esther Gottlieb Foundation, Inc., NY Pollock-Krasner Foundation, New York, NY Athena Foundation, Long Island City, NY

SELECTED SOLO EXHIBITIONS 2023 2018 2017 2013 2012 2011 2007 2001 2000 1995 1988 1983 1979

Linda Fleming: Experimenta De Vacuo Spatio, Kaneko, Omaha NE Confluence, Galleries of Contemporary Art, University of Colorado, Colorado Springs, CO In Context, Drawing, Models: Works by Linda Fleming and Roger Berry, Art and Art History Building Gallery, Santa Clara University, Santa Clara, CA Making Places, Center for Contemporary Art, Santa Fe, NM Drawn To/Drawn From: A 45 Year Survey, Oats Park Arts Center, Fallon, NV Linda Fleming: Modeling the Universe, Nevada Museum of Art, Reno, NV. Refugium: Works from 1980 -2007, Sonoma Valley Museum of Art, Sonoma, CA Phosphene, Nevada Art Museum, Reno, NV Perishable Industry, Laumeier Sculpture Park, Saint Louis, MO Wilderness Study Area, Oakland Museum Sculpture Court, Oakland, CA Linda Fleming: Monumental Sculpture, 1985-88, Esprit Sculpture Garden, San Francisco, CA Linda Fleming: Sculpture and Drawings, Hudson River Museum, Yonkers, NY University of Colorado, Boulder, CO

SELECTED COLLECTIONS Albuquerque Museum, Albuquerque, NM American Embassy, Baghdad, Iraq Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, CA Berkeley Art Museum and Pacific Film Archive, University of California Berkeley, CA Iris and b. Gerald Cantor Center for the Arts, Stanford University, Stanford, CA Hines and Morgan Stanley Real Estate Fund, Gateway Campus, South San Francisco, CA Laumeier Sculpture Park, St Louis, MO Michigan State University, East Lansing, MI Neiman Marcus, San Francisco, CA Oakland Museum of California, Oakland, CA Santa Clara University, Santa Clara, CA Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, NE Twitter, San Francisco, CA 27

Plate 7 Sylvia Fragoso, Untitled, 2016 glazed ceramic, 9 x 7 x 6 inches 28

Plate 8 Sylvia Fragoso, Untitled, 2017 glazed ceramic, 13 x 10 x 9 inches 29

Plate 9 Sylvia Fragoso, Untitled, 2016 glazed ceramic, 13 x 8 x 7 inches 30

SYLVIA FRAGOSO Sylvia Fragoso (b. 1962) is a San Francisco Bay Area artist who has been working at NIAD Art Center in Richmond, CA, since 1984. For Fragoso, making art is deeply tied to family, faith, and community. Many of her ceramics, drawings, and embroideries are homages to spiritual spaces, modeled after her grandmother’s home in Mexico or her family’s church. Her late mother and father often appear as “guardian angels” floating in kaleidoscopic drawings or perched atop sculpted steeples. A solo show of Fragoso’s architectural clay structures was presented by The Good Luck Gallery, LA in 2017. More recently, her work has been featured in two-person and group exhibitions at Paul Thiebaud Gallery in San Francsico, CA; Off Paradise in New York, NY; Adams and Ollman in Portland, OR; Pt. 2 Gallery in Oakland, CA; Left Field Gallery in Los Osos, CA; Oakland Museum of California, Oakland, CA; Personal Space in Vallejo, CA; Berkeley Art Center in Berkeley, CA; MarinMOCA in San Rafael, CA; and Tierra Del Sol in Los Angeles, CA. In 2025, Fragoso’s sculptures were prominently featured in Off Paradise Gallery’s booth at Independent Art Fair in New York. Fragoso’s work is held in numerous private collections, and in 2024 the Oakland Museum of California acquired three of her ceramic sculptures for their permanent collection.

Plate 10 Nancy Genn, Roma #83, 1998 mixed media on paper, 31 x 20 inches 34

Plate 11 Nancy Genn, Luce di Novembre #19, 2003 mixed media on paper mounted on stretched linen, 42 x 27 1/2 inches 35

Plate 12 Nancy Genn, Banner #6, 2002 mixed media on paper, 44 1/2 x 30 inches 36

NANCY GENN EDUCATION University of California, Berkeley, CA California School of Fine Arts (later known as San Francisco Art Institute) SELECTED AWARDS 2014 1978 1968 1964 1963 1962 1957 1952 1944

Visiting Artist, American Academy in Rome (also 1989 and 1994) United States/Japan Creative Arts Fellowship, NEA and Agency for Cultural Affairs of Japan U.S. Dept. of Housing and Urban Development, Award for Design Excellence Honor Award First Prize, Sculpture, San Francisco Women Artists, San Francisco Museum of Art Phelan Award, De Young Museum, San Francisco, Arts Council Prize Emelie Sievert Weinbery Memorial Prize in Painting, San Francisco Museum of Art Purchase Award, Oakland Art Museum, CA Elen Branstein Award, San Francisco Museum of Art California School of Fine Arts, San Francisco, CA Award of Merit (also 1946 and 1947)

SELECTED SOLO SHOWS 2025 2023 2019 2018 2004 2003 1999 1994 1983 1976 1971 1970 1963 1961 1955 1951

The Nature of Being, Sonoma Valley Museum of Art, Sonoma, CA Nancy Genn Beyond the Grid, Palazzo Collicola- Galleria d’Arte Moderna G. Carandente, Spoleto, Italy Museo di Ca’ Pesaro, Galleria Internazionale d’ Arte Moderna, Venice, Italy Architecture from Within, Palazzo Ferro Fini, Venice, Italy Istituto Italiano di Cultura Chicago/The Art Institute of Chicago, IL Fresno Art Museum, Fresno, CA Mills College Art Museum, Oakland, CA America Association for Advancement of Science, Washington D.C. Double Leaf, Kala Institute Gallery, Berkeley, CA Los Angeles Institute for Contemporary Art, Los Angeles, CA Nancy Genn: New Works, The Oakland Museum, Oakland, CA Three One Man Shows by Three Women, Richmond Art Center, Richmond, CA Paintings and Bronze Sculpture, M. H. De Young Museum of Art, San Francisco, CA Five Thoughts on Seeing, San Francisco Museum of Art, San Francisco, CA DeYoung Museum, San Francisco, CA Drawings and Watercolors, The New School, New York, NY

SELECTED COLLECTIONS Albright-Knox Art Gallery, Buffalo, NY American Craft Museum, New York, NY Auckland Museum, Aukland, New Zealand Berkeley Art Museum and Pacific Film Archive, University of California Berkeley, CA Brooklyn Museum, Brooklyn, NY Des Moines Art Center, Des Moines, IA Fine Arts Museums of San Francisco, San Francisco, CA Los Angeles County Museum of Art, Los Angeles, CA Museo di Ca’ Pesaro, Venice, Italy Museo Fortuney, Venice, Italy Oakland Museum of California, Oakland, CA Portland Art Museum, Portland, OR San Francisco Museum of Modern Art, San Francisco, CA Smithsonian American Art Museum, Washington, D.C. The Museum of Modern Art, New York, NY 37

Plate 13 Rebekah Goldstein, Saw It Coming, 2026 oil and collaged canvas on linen in artist's frame, 16 1/2 x 21 3/4 inches 40

Plate 14 Rebekah Goldstein, Almost Patient, 2026 oil and linen collaged on shaped canvas, 38 x 32 inches 41

Plate 15 Rebekah Goldstein, Never Said Nothing, 2026 oil and collaged canvas on linen in artist's frame, 16 1/4 x 21 1/4 inches 42

REBEKAH GOLDSTEIN EDUCATION 2012 2004 2003

MFA, California College of the Arts, San Francisco, CA BA, Sarah Lawrence College, Bronxville, NY, Painting Major Académie Port-Royal Painting and Drawing Studio, Paris, France

AWARDS AND HONORS 2016 2015 2012 2011 2005

Minnesota Street Project Studio Program - Charter Resident Sam and Adele Golden Foundation for the Arts, Artist Residency, New Berlin, NY Atlantic Center for the Arts Artist Residency, with Master Artist Joanne Greenbaum, New Smyrna, FL New York Studio Program, AICAD Studio, Brooklyn, NY Arad Arts Project, Artist Residency Program, Negev Desert, Isreal

SOLO EXHIBITIONS 2025 2023 2023 2022 2018 2016 2016 2015 2014 2013

Full Length Mirror, Gallery 16, San Francisco, CA My Reflection In The Water, Denny Gallery, New York, NY Paintings and Sculptures, Rosenbaum Contemporary, Boca Raton, FL Welcome Home Stranger, Cult Aimee Friberg Exhibitions, San Francisco, CA See You On The Flipside, Cult Aimee Friberg Exhibitions, San Francisco, CA Release Me, Friberg Exhibitions, San Francisco, CA Either Way, 100% Gallery, San Francisco, CA Another Way In, Jack Geary Contemporary, New York, NY Passenger, Cult Aimee Friberg Exhibitions, San Francisco, CA Casual Separates, City Limits Gallery, San Francisco, CA

SELECTED GROUP EXHIBITIONS 2026 2025 2024 2022 2021 2019 2017

The Shape of Looking, Haines Gallery, San Francisco, CA Contemporary Women of Abstraction, Paul Thiebaud Gallery, San Francisco, CA Instrumentals, Personal Space, Vallejo, CA The Abstract Now, Studio E Gallery, Seattle, WA Warp and Weft, Gallery 16, San Francisco, CA California Jewish Open, The Contemporary Jewish Museum, San Francisco, CA Material Instincts, 120710, Berkeley, CA Sensate Objects, The Schneider Museum, Ashland, OR Janus, Cult Aimee Friberg Exhibitions, San Francisco, CA CCA’s People’s Party Exhibition Honoring Wayne Thibaud, California College of the Arts, San Francisco, CA Shabbat: Dorothy Saxe Invitational, Contemporary Jewish Museum, San Francisco, CA About Abstraction; Bay Area Women Painters, Bedford Gallery, Walnut Creek, CA Dream House, Eleanor Harwood, San Francisco, CA

COLLECTIONS Berkeley Museum of Art and Pacific Film Archive, University of California Berkeley, CA The Schneider Museum, Ashland OR Google Collection, San Francisco, CA MacEvoy Collection, San Francisco, CA Fidelity Collection, Boston, MA The Wing Collection, San Francisco, CA Nordstrom Collection, Seattle, WA 43

Plate 16 Julia Goodman, Bridge (ii), 2024 watercolor on hand formed paper made from different color bedsheets and t-shirts with torn fabric inclusions, 41 1/2 x 26 x 1 1/2 inches 44

Plate 17 Julia Goodman, Bridge (i), 2024 watercolor on hand formed paper made from different color bedsheets and t-shirts with torn fabric inclusions, 37 1/2 x 24 x 1 1/2 inches 45

Plate 18 Julia Goodman, Fragment (ii), 2025 watercolor on hand formed paper made from different color bedsheets and t-shirts, 12 1/2 x 11 inches

JULIA GOODMAN Born in Atlanta, GA Lives and works in the San Francisco Bay Area EDUCATION 2009 2003-2007 2001

MFA, California College of the Arts, San Francisco, CA Santa Monica College, Santa Monica, CA BA, Cum Laude, International Relations and Peace & Justice Studies, Tufts University, Medford, MA

AWARDS AND GRANTS 2026 2025 2024 2022 2020 2018 2016 2014 2013 2012 2009 2007-2009 2004 2003

SECA Award Nominee, San Francisco Museum of Modern Art, San Francisco, CA Nominee, Euerka Fellow, Fleishacker Foundation, San Francisco, CA SECA Award Nominee, San Francisco Museum of Modern Art, San Francisco, CA SECA Award Nominee, San Francisco Museum of Modern Art, San Francisco, CA Nominee, Tosa Studio Award, Minnesota Street Projects, San Francisco, CA SECA Award Nominee, San Francisco Museum of Modern Art, San Francisco, CA Nominee, Joan Mitchell Foundation, New York, NY Full Time Faculty Grant, Columbia College Chicago, Chicago, IL San Francisco Art Award Semi Finalist, Gallery Wendi Norris, San Francisco, CA SECA Award Nominee, San Francisco Museum of Modern Art, San Francisco, CA Gordon Onslow Ford Scholarship, Lucid Art Foundation, Inverness, CA 2nd Place Smart Art Competition, San Francisco, CA Toby Devan Lewis Fellowship Nominee, California College of the Arts, San Francisco, CA Lowenthal Scholarship, California College of the Arts, San Francisco, CA 2nd Place, Long Beach Arts Open National Exhibition, Long Beach, CA Santa Monica College Mentor Program, Santa Monica, CA

SELECTED SOLO/TWO PERSON EXHIBITIONS 2025 Unimaginable Units of Time, San Luis Obispo Museum of Art, San Luis Obispo, CA 2023 Vessel, Julia Goodman & Klea McKenna, Euqinom Gallery, San Francisco, CA 2021 Falling apart to hold together / Holding together to fall apart, Euqinom Gallery, San Francisco, CA 2017 Gravities, St. Mary’s College, Notre Dame, IN Above and Below, Jewish Community Center San Francisco, San Francisco, CA Unearthed, San Jose Institute for Contemporary Art, San Jose, CA 2013 Skinscapes, Lost Coast Culture Machine, Fort Bragg, CA Well Worn, w/ Drew Cameron of Combat Paper, Z Space, San Francisco, CA Rag Sorters and Star Gazers, Recology Artist in Residence, San Francisco, CA 2012 A Different Kind of Warmth, The Present Group #20, Oakland, CA Radicle Papyrus, 18 Reasons, San Francisco, CA 2011 Everything is Always Moving, Performance Art Institute, San Francisco, CA 2010 Transparent Substrate, w/ Scott Cazan, Machine Project, Los Angeles, CA Mass Ventriloquism, w/ Brindalyn Webster, Gothenburg Museum of Natural History, Gothenburg, Sweden Navigating Blindly, Stellina’s and Blunk Residency, Pt. Reyes Station, CA SELECTED COLLECTIONS DePaul Art Museum, DePaul University, Chicago, IL Google, San Francisco, CA National Museum of Women in the Arts, Washington, D.C. Recology San Francisco, San Francisco, CA 47

Plate 19 Hughen/Starkweather, Flanking Erosion, 2026 acrylic paint, ink, gouache, salt, dirt, sand, and river water on paper and wood panel, 30 x 47 1/2 inches 50

Plate 20 Hughen/Starkweather, Spreading in Big Water, 2025 gouache, ink, sand, paper, and river water on wood panel, 10 x 10 inches 51

Plate 21 Hughen/Starkweather, Prevailing Weather, 2025 ink, gouache, graphite, dirt, river water, and salt on wood panel, 10 x 8 inches 52

HUGHEN/STARKWEATHER EDUCATION MFA MFA

Tyler School of Art at Temple University, Elkins Park, PA (Jennifer Starkweather) University of California Berkeley, Berkeley, CA (Amanda Hughen)

AWARDS / HONORS / RESIDENCIES 2023 2023 2022 2021 2020 2019 2018 2012 2012 2010 2005 2003 2003 2002 2002 2001 2000 1998-2001 1997 1996 1995 1994 1993

Vashon Artist Residency, Vashon Island, WA The Space Program Artist-in-Residence, San Francisco, CA Google X, Artist-in-Residence, Mountain View, CA Vashon Artist Residency, Vashon Island, WA Individual Artist Grant, San Francisco Arts Commission SFMOMA Commission for Chase Center, San Francisco, CA Local Language Artist-in-Residence, Oakland, CA Recology Artist-in-Residence, San Francsico, CA SFMOMA Open Space commissioned Series, Traverse, San Francisco, CA Juror Prize, Oakland Museum, From the Golden Gate Bridge to Oakland, Oakland, CA Oxbow Artist-in-Residence, Napa, CA Headlands Center for the Arts Artist-in-Residence, Sausalito, CA (Hughen) Ragdale Foundation, Lake Forest, IL (Starkweather) Yaddo, Saratoga Springs, NY (Hughen) Visiting Artist, Colby College, Waterville, ME (Hughen) Elizabeth Foundation, Grant Recipient (Starkweather) Ucross Foundation Residency Program, Ucross, WY (Starkweather) Eisner Prize, Full Block Grant Fellowship, UC Berkeley, Berkeley, CA (Hughen) Vermont Studio Center, Artists Grant Recipient, VM (Starkweather) DeYoung Museum, San Francisco, CA (Hughen) Headlands Center for the Arts Affiliate Studios, Sausalito, CA National Endowment for the Arts Scholar, California College of Arts and Crafts, San Francisco, CA (Hughen) Pennsylvania Council for the Arts, Grant Recipient (Starkweather) Pew Charitable Trust, Discipline Winner (Starkweather) Leonard B. Belber Award, Abington Art Center (Starkweather) Skowhegan School of Painting and Sculpture, Skowhegan, ME (Starkweather)

SELECTED SOLO EXHIBITIONS 2026 2024 2023 2019 2018 2017 2017 2016 2015 2014 2013 2013 2011 2010 2010 2007

The Mining Exchange Museum, “Water as Currency” San Francisco, CA Water Education Foundation, “Reflecting on Silver Linings” Sacramento, CA For-Site Foundation, “Water” Fort Point, San Francisco, CA Local Language, “Trajectories” Oakland, CA Recology, “Black Gold”, San Francisco, CA Bolinas Museum, “Where Water Meets Land”, Bolinas, CA Electric Works at Minnesota Street Projects, “Adapt, Retreat, Defend, Abandon”, San Francisco, CA University of San Francisco, Thacher Gallery, “Adjacent Shores”, San Francisco, CA Public Policy Institute of California “Shifting Shorelines”, San Francisco, CA Asian Art Museum, “Re:depiction”, San Francisco, CA Dominican University, “Tract”, San Rafael, CA Electric Works, “Valediction (The Bay Bridge Project)”, San Francisco, CA Electric Works, “Approach, Transition, Touchdown (The Bay Bridge Project)”, San Francisco, CA Brenau University, “Short Fuses and Long Streets: A Logical Lapse”, Gainesville, GA Electric Works, “The Airport Project”, San Francisco, CA Electric Works, “Between Above and Below”, San Francisco, CA

Plate 22 Mary Ijichi, Assemblage #37, 2026 colored pencil, mylar, plastic, beads, acrylic, linen tape, and museum board, 15 3/4 x 15 3/8 inches framed 56

Plate 23 Mary Ijichi, Assemblage #34, 2026 colored pencil, mylar, plastic, beads, acrylic, linen tape, and museum board, 27 5/8 x 27 3/8 inches framed 57

Plate 24 Mary Ijichi, Assemblage #36, 2026 colored pencil, mylar, plastic, beads, acrylic, linen tape, and museum board, 15 5/8 x 15 3/8 inches framed 58

MARY IJICHI Born in Oakland, CA EDUCATION B.S. University of California, San Francisco, CA A.B. University of California, Berkeley, CA RESIDENCIES 2022 2001 1998 1996

Visiting Artist, University of Massachusetts, Amherst, MA, in conjunction with 60 Years of Collecting The MacDowell Colony, Peterborough, NH Vermont Studio Center, Johnson, VT Ragdale Foundation, Lake Forest, IL

SELECTED SOLO EXHIBITIONS 2025 2022 2017 2014 2011 2008 2005

Mary Ijichi: Upon Reflection, Paul Thiebaud Gallery, San Francisco, CA Mary Ijichi: Assemblages, Brian Gross Fine Art, San Francisco, CA Frottage: The Changing Surface, Artspace Edition Shimizu, Shizuoka, Japan Mary Ijichi, George Billis Gallery, New York, NY Homage to Yayoi Kusama, George Billis Gallery, Los Angeles, CA (Text)ure, George Billis Gallery, Los Angeles, CA Extrusions, Takada Gallery, San Francisco, CA

SELECTED GROUP EXHIBITIONS 2024 2022 2021 2018 2015 2014 2013 2007

Contemporary Asian American Abstraction, Paul Thiebaud Gallery, San Francisco, CA 60 Years of Collection, University Museum of Contemporary Art University of Massachusetts, Amherst, MA Echigo-Tsumari International Mail Art Exhibition 2022, Gallery Yuyama, Niigata Pref., Japan California Girls 2, Richmond Art Center, Richmond, CA 21 Expressions, National Academy of Arts, Culture and Heritage (ASWARA) Kuala Lumpur, Malaysia and Art Fort India (online exhibition) Way Bay 1 and Way Bay 2, Berkeley Art Museum and Pacific Film Archive, University of California Berkeley, CA AU International Contemhibition in Naples from Japan port Art Ex, Museo Hermann Nitsch, Fondazione Morra, Naples, Italy Focus Latin America: Art is Our Last Hope, Phoenix Art Museum, AZ Arkansas 45th Collectors Exhibition, Arkansas Art Centre, Little Rock, AR What is a Line? Yale University Gallery, New Haven, CT

SELECTED COLLECTIONS Archives of American Art at the Smithsonian Institution (John Held papers), Washington, D.C. Berkeley Art Museum and Pacific Film Archive, Berkeley, CA Blanton Museum of Art, Austin, TX Oakland Museum of California, Oakland, CA (Sol) LeWitt Collection University of Massachusetts, Amherst, MA Yale University Art Gallery, New Haven, CT

Plate 25 Grace Munakata, Stack of Trees, 2022 acrylic, graphite, and collaged paper on paper, 8 1/2 x 6 1/2 inches 62

Plate 26 Grace Munakata, Blue Sentinel, 2020 acrylic on panel, 30 x 24 inches 63

Plate 27 Grace Munakata, King of Thrushes - holding the rain, 2020 acrylic, charcoal, and wax pastels on panel, 48 x 37 1/2 inches 64

GRACE MUNAKATA EDUCATION 1985 1984 1980

MFA, Emphasis-Painting/Drawing, University of California, Davis, CA Skowhegan School of Painting & Sculpture, Skowhegan, ME BA, Studio Art, Phi Beta Kappa, University of California, Davis, CA

TEACHING Professor Emerita, Painting & Drawing, CSU East Bay, Hayward, CA AWARDS AND RESIDENCIES 2022 2020 2019 2018 2017

Morris Graves Foundation, Loleta, CA Sitka Center for Art and Ecology, Cascade Head, OR Monson Arts Residency, Monson Arts, Maine Skaftfell Artist Residency, Center for Visual Arts, Seyðisfjörður, Iceland Lucid Art Residency, Inverness, CA

SELECTED SOLO EXHIBITIONS 2023 2016 2014 2012 2011 2009 2008 2005 2003 2002 2000 1999 1997 1994 1992 1989 1988 1986 1985 1984

Grace Munakata: Biology of Flight, Anglim Trimble Gallery, San Francisco, CA Grace Munakata: Recent Paintings and Collage, Paul Thiebaud Gallery, San Francisco, CA Grace Munakata: Paintings, Paul Thiebaud Gallery, San Francisco, CA Grace Munakata: Habitation, St. Supery Estate Art Gallery, Rutherford, CA It’s never too late to have a happy childhood, Braunstein Quay Gallery, San Francisco, CA Grace Munakata, b. Sakata Garo, Sacramento, CA Grace Munakata: New Work, Braunstein Quay Gallery, San Francisco, CA Grace Munakata: Near at Hand, Braunstein Quay Gallery, San Francisco, CA Grace Munakata: A Thousand Layers of Self, James Kaneko Gallery, Sacramento, CA Grace Munakata: New Work, Braunstein Quay Gallery, San Francisco, CA Gregory Kondos Gallery, Sacramento City College, Sacramento, CA Shasta College Gallery, Redding, CA Grace Munakata: Recent Work, Braunstein Quay Gallery, San Francisco, CA Grace Munakata: New Work, Braunstein Quay Gallery, San Francisco, CA Recent Artists: Paintings and Drawings, Contemporary Gallery, Sacramento, CA Grace Munakata: Recent Work, Jeremy Stone Gallery, San Francisco, CA Artists Contemporary Gallery, Sacramento, CA Introductions ‘86, Allrich Gallery, San Francisco, CA MFA Exhibition, Nelson Gallery, UC Davis, CA Davis Art Centre, Davis, CA

SELECTED COLLECTIONS Bank of America, San Francisco, CA Crocker Art Museum, Sacramento, CA Hewlett-Packard Co., Roseville, CA Hyatt Regency, San Francisco, CA Jan Shrem and Maria Manetti Shrem Museum of Art, University of California Davis, CA Lifelong Medical Care, Berkeley CA San Francisco Federal Savings San Francisco, CA Silicon Valley Bank, San Jose, CA 65

Plate 28 Sono Osato, Midden 9, 2025 dry pigment, graphite, watercolor, and gouache on Stonehenge paper, 22 1/2 x 21 3/4 inches 68

Plate 29 Sono Osato, Ku, 1999 oil and encaustic on canvas over panel, 99 x 66 inches 69

Plate 30 Sono Osato, Umma, 2009 tinted rabbit-skin glue ground, oil, and reclaimed objects on panel, 14 x 36 inches (triptych) 70

SONO OSATO Born 1960, Baden Baden, Germany EDUCATION 1986 1983

MFA, California College of Arts and Crafts, Oakland, CA (later known as California College of the Arts) BFA, Arizona State University, Tempe, AZ

AWARDS AND RESIDENCIES 2008 2000 1999 1997 1995 1994 1989 1988

Pollock-Krasner Grant CHANGE INC. Pollack-Krasner Grant Djerassi Foundation Artist in Residency Contemporary Art Center of Herblay, Artist in Residency, Pontoise, France ART MATTERS INC. Pollack-Krasner Grant Djerrassi Foundation Fellowship in Visual Arts, Ridge Vineyards LOCI, Award Exhibition, “Best of Show” from 1988 Pro Arts Annual Djerassi Foundation Artist in Residency

SELECTED SOLO EXHIBITIONS 2026 Midden, Ivester Contemporary Project Space, Austin, TX 2025 Evolution of an Idea: Diluvia to Midden, Paul Thiebaud Gallery, San Francisco, CA Stratum, Ivester Contemporary Project Space, Austin, TX 2022 Silent Language, ICOSA Window Dressing Series, Austin TX 2017 Submergence, Brian Gross Fine Art, San Francisco, CA 2009 Babylon: The Buried Language Series, Brian Gross Fine Art, CA 2007 Silent Language, GALLERY twenty-four, Brooklyn, NY 2006 Revenant, Art in Odd Places (Outdoor Projections), curated by Jeremy Helton, New York, NY 2005 Angels in Dust, Brian Gross Fine Art, San Francisco, CA 2003 Echo, Brian Gross Fine Art, San Francisco, CA 2001 Sono Osato: New Work, Lowery Gallery, Athens, GA 1999 The Sound of Ku: New Paintings, Brian Gross Fine Art, San Francisco, CA 1998 S(O)UND, Natalie & James Thompson Gallery, San Jose State University, San Jose, CA 1994 S(P)OO(O)R, Terrain, San Francisco, CA 1993 Oakland Drawers, Oakland Museum Sculpture Court @ Civic Center, Oakland, CA 1992 New Sculpture by Sono Osato, Terrain Gallery, San Francisco, CA 1991 Utland, San Jose Institute for Contemporary Art, San Jose, CA Exploded Crate, Laguna Art Museum Satellite @ South Coast Plaza, Costa Mesa, CA New Work, Terrain Gallery, San Francisco, CA 1989 Innojo Eard Onwaecna, Fuller Gross Gallery, San Francisco, CA SELECTED COLLECTIONS Contemporary Arts Center, Cincinnati, OH di Rosa Center for Contemporary Art, Napa, CA Fine Arts Museums of San Francisco, San Francisco, CA Laguna Art Museum, Laguna Beach CA Oakland Museum of California, Oakland, CA Stanford University Law School, Palo Alto, CA The Flood Family Collection, San Francisco, CA 71

Plate 31 Irène Pijoan, Untitled, 2002 mixed media on cut-out paper, 11 1/4 x 17 1/8 inches 72

Plate 32 Irène Pijoan, Untitled, 2003 mixed media on cut-out paper, 15 x 11 inches 73

Plate 33 Irène Pijoan, Untitled, 2002 mixed media on cut-out paper, 12 1/4 x 16 1/2 inches 74

IRÈNE PIJOAN Born 1953 Lausanne, Switzerland Died 2004 Berkeley, California SELECTED EDUCATION 1980 1978

MFA, University of California Davis, CA BFA, University of California Davis, CA

TEACHING 1983 -2004

San Francisco Art Institute, San Francisco, CA

RESIDENCIES, GRANTS, AND HONORS 2000 1998 1996 1993 1990 1982 1981-1982 1980-1981 1981 1980 1979-80 1979

Faculty Travel Grant, San Francisco Art Institute, San Francisco, CA Artist in Residence, California State University Sacramento, CA Individual Artist Grant, Art Matters, New York, NY Faculty Travel Grant, San Francisco Art Institute, San Francisco, CA Djerassi Foundation Residency for 1991 Faculty Development Grant, San Francisco Art Institute, San Francisco, CA Individual Artist Grant, National Endowment for the Arts, Washington, D.C. Artist in Residence, The Roswell Museum and Art Center, Roswell, NM Artist in Residence, Ford Foundation Grant, The University of Georgia, Athens, GA SECCA Southeast VII Fellowship Award, Winston-Salem, NC Inter-Campus Research Grant, The University of California Davis, CA Regents’ Graduate Fellowship, The University of California Davis, CA Scholarship, Skowhegan School of Painting and Sculpture, Skowhegan, ME Purchase Award, Skowhegan School of Painting and Sculpture, Skowhegan, ME

SELECTED SOLO EXHIBITIONS 2009 Irene Pijoan (Full Retrospective), Aspace, Lausanne, Switzerland 2003 Donna Beam Gallery, University of Nevada, Las Vegas NV 2002 Rena Bransten Gallery, San Francisco, CA Wannabe, Forum d’Art Contemporain, Sierre, Switzerland 20 year survey, Bedford Gallery, Walnut Creek, CA Made of Non-Space Elements, Institute of Contemporary Art, San Jose, CA 1998 Rena Bransten Gallery, San Francisco, CA California State University, Sacramento, CA 1996 U.C. Davis Memorial Union Gallery, Davis, CA 1995 Rena Bransten Gallery, San Francisco, CA 1992 Rena Bransten Gallery, San Francisco, CA 1991 3 into 3, Contemporary Arts Forum, Santa Barbara, CA 1990 Rena Bransten Gallery, San Francisco, CA 1989 Vena Cava, Artspace, San Francisco, CA 1988 Rena Bransten Gallery, San Francisco, CA The Body Visited, California State University Sacramento, CA 1984 Quay Gallery, San Francisco, CA De Saisset Museum, Santa Clara University, Santa Clara, CA 1983 American River College, Sacramento, CA 1982 Roswell Museum and Art Center, Roswell, NM 1981 Gallery Paule Anglim, San Francisco, CA 75

Plate 34 Shantae Robinson, Untitled, 2015 glazed ceramic, 9 x 6 x 1 inches 78

Plate 35 Shantae Robinson, Untitled, 2019 glazed ceramic, 8 x 2 x 3 1/2 inches 79

Plate 36 Shantae Robinson, It's my Work (II), 2026 acrylic and marker on canvas, 30 x 24 inches 80

SHANTAE ROBINSON Shantae Robinson (b. 1988) is an interdisciplinary artist based in the San Francisco Bay Area. Her work is tactile and vibrant, often featuring symbols grouped together in swells and swarms: ceramic vessels overflow with hand-rolled spirals, slivers, and orbs; canvases fill with stacks of her signature “S” form. Regardless of material, each finished surface bears her confident line-work and striking color palette. Since joining NIAD Art Center in Richmond, CA, in 2015, Robinson has expanded her practice to include soft sculpture and hand-stitched, couture garments adorned with embroidery, pompoms, beads, and drawn designs. She describes her process: “I sew all the lines down first, and then I add different threads and colors — different red colors. I sew them in. I made a dress and another dress. I made a whole box of clothes. I love it!” Through her work with the collaborative garment-construction project, SOFT MATERIAL, Robinson demonstrated embroidery techniques for the Textile Society of America and the Museum of the African Diaspora in San Francisco. Robinson has participated in exhibitions at Paul Thiebaud Gallery, Chico Art Center, Eddie Rhodes Gallery, Berkeley Art Center, and the Oakland Museum of California. Her work is in numerous private collections across the country, from the Bay Area to the Hamptons, NY. In 2024, she was one of 20 artists profiled in the print publication, “We Make Art in Richmond,” co-published by NIAD Art Center and Richmond Arts & Culture Commission.

Plate 37 Cornelia Schulz, Slip #5, 2018 oil on canvas over wood, 14 x 12 x 2 7/8 inches 82

Plate 38 Cornelia Schulz, Across the Pond, 2018 oil on canvas over wood, 22 1/4 x 13 1/2 x 2 1/2 inches 83

Plate 39 Cornelia Schulz, Fifty Late, 2026 oil on canvas over wood, 23 1/2 x 18 1/2 x 2 1/2 inches 84

CORNELIA SCHULZ Born 1936, Pasadena, CA EDUCATION 1962 1960 1958 1957 1955

MFA, in welded steel sculpture, San Francisco Art Institute, San Francisco, CA BFA in painting, California School of Fine Arts (later San Francisco Art Institute), San Francisco, CA Los Angeles County Art Institute (now Otis College of Art and Design),Los Angeles, CA University of Southern Califrornia (summer session with Richard Diebenkorn) Associates Degree, Pasadena City College, Pasadena, CA

SELECTED TEACHING 1973-2002

University of California Davis, CA

AWARDS 2000 1994 1985 1981 1975

Distinguished Service Award, University of California, Davis, CA Individual Artists Grants for Painting, Marin Arts Council, San Rafael, CA Distinguished Teaching Award, University of California, Davis, CA Individual Artist Grant, National Endowment for the Arts, Washington, D.C. SECA Grant Award, San Francisco Museum of Modern Art, San Francisco, CA

SELECTED SOLO EXHIBITIONS 2024 2017 2015 2012 2009 2004 2001 1997 1985 1983 1981 1979 1975 1974 1973 1962

Synthesis, Paul Thiebaud Gallery, San Francisco, CA Cornelia Schulz: paintings, Patricia Sweetow Gallery, Los Angeles, CA Piece A Cake, Spun Smoke, Oakland, CA In Conversation, Robert Hudson & Cornelia Schulz, Patricia Sweetow Gallery, San Francisco, CA Cornelia Schulz: Recent Paintings, Patricia Sweetow Gallery, San Francisco, CA Patricia Sweetow Gallery, San Francisco, CA Recent Paintings, Patricia Sweetow Gallery, San Francisco, CA Patricia Sweetow Gallery, San Francisco, CA Janet Steinberg Gallery, San Francisco, CA Matrix Gallery, Sacramento, CA Fuller Goldeen Gallery, San Francisco, CA Hansen Fuller Goldeen Gallery, San Francisco, CA Hansen Fuller Gallery, San Francisco, CA Mills College Art Gallery, Mills College, Oakland, CA University Art Museum, University of California, Berkeley, CA Richmond Art Center, Richmond, CA

SELECTED COLLECTIONS Alta Bates Summit Medical Center, Berkeley, CA Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley, CA Crocker Art Museum, Sacramento, CA di Rosa Center for Contemporary Art, Napa, CA Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis, CA San Francisco Museum of Modern Art, San Francisco, CA SFO Museum at the San Francisco International Airport, San Francisco, CA The Flood Family Collection, San Francisco, CA 85

Plate 40 Laura Van Duren, Willing, 2023 ceramic, recycled wood, inner tube, and casters, 14 x 13 1/4 x 11 1/2 inches 88

Plate 41 Laura Van Duren, Rendering, 2020 ceramic, recycled furniture, glycerin vinyl, and thread, 32 x 20 1/2 x 5 1/4 inches 89

Plate 42 Laura Van Duren, Stitch, 2025 ceramic, recycled wood, and thread, 18 x 12 x 8 inches 90

LAURA VAN DUREN Born 1959 EDUCATION 2017 1981

MFA, Sculpture, San Francisco State University, San Francisco, CA BFA, Studio Art, Carnegie Mellon University, Pittsburgh, PA

SELECTED EXHIBITIONS 2026 The Language of Abstraction, Pence Gallery, Davis, CA Vessel, Group Exhibition, Transmissions Gallery, Oakland, CA Forms in Flux, Kerry Vander Meer & Laura Van Duren, Hammerfriar Gallery, Healdsburg, CA Ceramic Abstraction, Pence Gallery, Sacramento, CA 2025 House/Hold, Mittie Cuetara & Laura Van Duren, Gear Box Gallery, Oakland, CA Making Moves: A Collection of Feminism, Crocker Art Museum, Sacramento, CA 2024 A Question of Balance, Pacific Rim Sculptors, Museum of Sonoma County, Santa Rosa, CA Solo Show, Revelers, Gallery 825, Los Angeles, CA 2023 Pyramid Scheme, Bass & Reiner Gallery, San Francisco, CA Afterimage, Gallery 825, Los Angeles, CA Morphologies, Your Mood Gallery, San Francisco, CA 2022 Cedar Street Gallery, Berkeley, CA Solo Exhibition, Gut Feeling , Transmission Gallery SF, San Francisco, CA “did you make this, how long did it take?” Jack Fischer Gallery, San Francisco, CA In Tension, Incline Gallery, San Francisco, CA Tap Roots: Art Educators of Northern California, Arts Benicia, Benicia, CA 2021 Constructed Ceramics, Applied Contemporary Gallery, Oakland, CA XX@XV: 15th Anniversary, Mercury 20 Gallery, Oakland, CA 2020 Solo Exhibition, Drawn to Resilience, City College of San Francisco Art Gallery, San Francisco, CA Some Speachless Thing, Berkeley Art Center, Berkeley, CA 2019 Matter of Form, Shoh Gallery, Berkeley, CA Art + Movement, GearBox Gallery, Oakland, CA 2018 The Open Book Show V, Root Division, San Francisco, CA The Magic of Collaboration, Adobe Art Gallery, Castro Valley, CA Room for Thought, Space 151, San Francisco, CA 2017 AbstrAction, Marin Museum of Contemporary Art, Novato, CA Thesis Exhibition, San Francisco State University Fine Art Gallery, San Francisco, CA 2016 Celebrating 40 Years, An Exhibition from Peter Voulkos’ The Dome, Oakland, CA 2015 Stillwell, San Francisco State University Art Gallery, San Francisco, CA 2014 Sky, Bedford Gallery, Walnut Creek, CA 2011 Transits and Returns: Alumni Show, Mercury 20 Gallery, Oakland, CA 2010 Solo Exhibition, Not for Sale, Mercury 20 Gallery, Oakland, CA Twisted-Chiseled-Fired, Village Art Gallery, Danville, CA 2009 Solo Exhibition, Blue Sky, McCue Gallery 83, Orinda, CA Las Cadre: Craft Masters, Richmond Art Center, Richmond, CA Solo Exhibition, Confluence, Mercury 20 Gallery, Oakland, CA Meet the Ironkids, Studio Quercus, Oakland, CA 2008 Pequenitos: A Las Cadre Exhibition, Ruby’s Clay Studio, San Francisco, CA Solo Exhibition, The Dress Form Dialogues, Mercury 20 Gallery, Oakland, CA, 2007 All Fired Up, City of Santa Clara Sculpture Exhibition, Santa Clara City Hall, CA Sculpture in the Garden, Ruth Bancroft Garden, Walnut Creek, CA Two-Person Exhibition, Two Worlds, Mercury 20 Gallery, Oakland, CA, 2006 Mercury Rising, Tomlinson Gallery, Oakland, CA 100% Centennial: CFA Alumni Exhibition, Regina Gouger Miller Gallery, Carnegie Mellon University, Pittsburgh, PA 91

Plate 43 Andrea Way, One, 2001 silkscreen on paper, ed. 20/40, 22 1/2 x 28 1/2 inches 94

Plate 44 Andrea Way, Bingo, 1991 silkscreen on paper, ed. 48/51, 22 1/2 x 28 inches 95

Plate 45 Andrea Way, Gravity's Law, 1998 silkscreen on paper, ed. 30/50, 11 x 13 3/4 inches 96

ANDREA WAY Born 1949, San Francisco, CA Lives and works in Washington, D.C. EDUCATION 1971

B.A. Indiana University, Bloomington, IN

GRANTS 2007

The Pollock-Krasner Foundation Grant

SELECTED SOLO EXHIBITIONS 2026 Paul Thiebaud Gallery, San Francisco, CA 2018 A Delicate Crossing, Brian Gross Fine Art, San Francisco, CA 2015 Off the Grid: Recent Works on Paper, Brian Gross Fine Art, San Francisco, CA 2014 The 365 Calendar Drawings, The Adkins Arboretum, Ridgely, MD 2013 Retrospective 1982–2012, American University Museum, Washington, D.C. Venetian Dream, Curator’s Office, Washington, D.C. 2011 Venetian Dream, Brian Gross Fine Art, San Francisco, CA 2008 The 365 Paintings of 2007, Pierogi Gallery, Brooklyn, NY 2005 Drawings, Brian Gross Fine Art, San Francisco, CA 2004 Recent Works on Paper, Pierogi Gallery, Brooklyn, NY 2003 Recent Works on Paper, Brian Gross Fine Art, San Francisco, CA 2000 New Paintings, Marsha Mateyka Gallery, Washington, D.C. 1998 New Work: Gravity Pools, Marsha Mateyka Gallery, Washington, D.C. 1994 In Black and White, Nancy Drysdale Gallery, Washington, D.C. 1991 Retrospective 1981–91, Brody’s Gallery, Washington, D.C. 1989 Brody’s Gallery, Washington, D.C. Fendrick Gallery, New York, NY 1986 Brody’s Gallery, Washington, D.C. 1983 Fendrick Gallery, Washington, D.C. 1982 Barbara Kornblatt Gallery, Washington, D.C. 1980 Barbara Fiedler Gallery, Washington, D.C. SELECTED COLLECTIONS Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, CA City Art Collection, John A. Wilson Building, Washington, D.C. Cleveland Museum of Art, Cleveland, OH Continental Corporation, Richmond, VA Corcoran Gallery of Art, Washington, D.C. Federal Reserve Board, Washington, D.C. Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Honolulu Museum of Art, Honolulu, HI National Gallery of Art, Washington, D.C. The Phillips Collection, Washington, D.C. Sallie Mae Corporation, Washington, D.C. Smithsonian American Art Museum, Washington, D.C. Southeast Banking Corporation, Miami, FL The Washington Post, Washington, D.C. 97

Plate 46 Karla Wozniak, Wire and Flame, 2026 acrylic and oil on linen, 14 x 11 inches 98

Plate 47 Karla Wozniak, Down in It, 2026 acrylic and oil on linen, 14 x 11 inches 99

Plate 48 Karla Wozniak, Whirl, 2026 acrylic and oil on canvas, 48 x 38 inches 100

KARLA WOZNIAK EDUCATION MFA, Painting and Printmaking, Yale University, New Haven, CT Skowhegan School of Painting and Sculpture, Skowhegan, ME BFA, Painting Major, Art History Minor, Rhode Island School of Design, Providence, RI TEACHING Associate Professor, California College of the Arts, San Francisco, CA AWARDS / GRANTS / FELLOWSHIPS / RESIDENCIES 2022 2019 2014 2013 2012 2011 2011 2009 2007 2005 2005 2003 2003

Virginia Centre for the Creative Arts, Amherst, VA SECA Award Finalist, San Francisco Museum of Modern Art Millay Colony Residency, Austerlitz, NY Virginia Center for the Creative Arts, Amherst, VA UCross Foundation, UCross, WY New York Foundation for the Arts Fellowship Artist in the Marketplace Program, Bronx Museum, Bronx, NY Marie Walsh Sharpe, The Space Program, New York, NY MacDowell Colony, Peterborough, NH MacDowell Colon Peterborough, NH Alice Kimball English Traveling Fellowship, Yale University School of Art Skowhegan School of Painting and Sculpture, Skowhegan, ME Vermont Studio Center, Johnson, VT, 2003

SELECTED SOLO EXHIBITIONS 2025 Pleasures and Days, Guerrero Galley, Los Angeles, CA 2024 Sunshower, Et. al, San Francisco, CA Karla Wozniak: Heavy Weather, Paul Thiebaud Gallery, San Francisco, CA 2022 Cat’s Cradle, Roll Up Projects, Oakland, CA 2018 I Often Dream of Mountains, Schneider Museum of Art, Ashland, OR Living Room Days, Gregory Lind Gallery, San Francisco, CA (catalog) 2015 The Valley Electric, Gregory Lind Gallery, San Francisco, CA (catalog) 2013 This Weather Is Cosmic, Gregory Lind Gallery, San Francisco, CA (catalog) Magic Mountain, Colburn Gallery, University of Vermont, Burlington, VT Blue Highway, Trailer Park Proyectos, San Juan, PR 2011 Significant Landscapes, Gregory Lind Gallery, San Francisco, CA 2010 Your Ad Here, Rebecca Ibel Gallery, Columbus, OH (catalog) 2008 Road Works, Gregory Lind Gallery, San Francisco, CA SELECTED PUBLIC COLLECTIONS Boston Museum of Fine Arts, MA Knoxville Museum of Art, TN

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Exhibition Checklist Plate 1: Donna Brookman fullflood #13 2012 oil on canvas over panel 72 x 42 inches

Plate 9: Sylvia Fragoso Untitled 2025 glazed ceramic 13 x 8 x 7 inches

Plate 2: Donna Brookman fullflood triptych #1 2011 oil on panel 18 x 36 inches

Plate 10: Nancy Genn Roma #83 1998 mixed media on paper 31 x 20 inches

Plate 4: Linda Fleming Crinoline 2008 laser cut plywood 11 1/2 x 24 x 22 inches

Plate 11: Nancy Genn Luce di Novembre #19 2003 mixed media on paper mounted on stretched linen 42 x 27 1/2 inches

Plate 5: Linda Fleming Glide 2025 Nu pastel on rag paper with museum plexi frame 44 x 55 inches

Plate 13: Rebekah Goldstein Saw It Coming 2026 oil and collaged canvas on linen in artist's frame 16 1/2 x 21 3/4 inches

Plate 6: Linda Fleming Wisp 2019 powder coated stainless steel on steel base with wheels 34 x 40 x 19 inches Plate 7: Sylvia Fragoso Untitled 2016 glazed ceramic 9 x 7 x 6 inches Plate 8: Sylvia Fragoso Untitled 2017 glazed ceramic 13 x 10 x 9 inches

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Plate 14: Rebekah Goldstein Almost Patient 2026 oil and linen collaged on shaped canvas 38 x 32 inches Plate 16: Julia Goodman Bridge (ii) 2024 watercolor on hand formed paper made from different color bedsheets and t-shirts with torn fabric inclusions 41 1/2 x 26 x 1 1/2 inches Plate 17: Julia Goodman Bridge (i) 2024 watercolor on hand formed paper made from different color bedsheets and t-shirts with torn fabric inclusions 37 1/2 x 24 x 1 1/2 inches

Plate 19: Hughen/Starkweather Flanking Erosion 2026 acrylic paint, ink, gouache, salt, dirt, sand, and river water on paper and wood panel 30 x 47 1/2 inches Plate 20: Hughen/Starkweather Spreading in Big Water 2025 gouache, ink, sand, paper, and river water on wood panel 10 x 10 inches Plate 21: Hughen/Starkweather Prevailing Weather 2025 ink, gouache, graphite, dirt, river water, and salt on wood panel 10 x 8 inches Plate 22: Mary Ijichi Assemblage #37 2026 colored pencil, mylar, plastic, beads, acrylic, linen tape, and museum board 15 3/4 x 15 3/8 inches framed Plate 23: Mary Ijichi Assemblage #34 2026 colored pencil, mylar, plastic, beads, acrylic, linen tape, and museum board 27 5/8 x 27 3/8 inches framed Plate 25: Grace Munakata Stack of Trees 2022 acrylic, graphite, and collaged paper on paper 8 1/2 x 6 1/2 inches

Plate 26:

Grace Munakata Blue Sentinel 2020 acrylic on panel 30 x 24 inches Plate 28: Sono Osato Midden 9 2025 dry pigment, graphite, watercolor, and gouache on Stonehenge paper 22 1/2 x 21 3/4 inches Plate 29: Sono Osato Ku 1999 oil and encaustic on canvas over panel 99 x 66 inches Plate 30: Sono Osato Umma 2009 tinted rabbit-skin glue ground, oil and reclaimed objects on panel 14 x 36 inches (triptych) Plate 31: Irène Pijoan Untitled 2002 mixed media on cut-out paper 11 1/4 x 17 1/8 inches Plate 32: Irène Pijoan Untitled 2003 mixed media on cut-out paper 15 x 11 inches Plate 33: Irène Pijoan Untitled 2002 mixed media on cut-out paper 12 1/4 x 16 1/2 inches

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Exhibition Checklist (cont.) Plate 34: Shantae Robinson Untitled 2015 glazed ceramic 9 x 6 x 1 inches

Plate 42: Laura Van Duren Stitch 2025 ceramic, recycled wood, and thread 18 x 12 x 8 inches

Plate 35: Shantae Robinson Untitled 2019 glazed ceramic 8 x 2 x 3 1/2 inches

Plate 43: Andrea Way One 2001 silkscreen on paper, ed. 20/40 22 1/2 x 28 1/2 inches

Plate 36: Shantae Robinson It's my Work (II) 2026 acrylic and marker on canvas 30 x 24 inches

Plate 44: Andrea Way Bingo 1991 silkscreen on paper, ed. 48/51 22 1/2 x 28 inches

Plate 37: Cornelia Schulz, Slip #5 2018 oil on canvas over wood 14 x 12 x 2 7/8 inches

Plate 46: Karla Wozniak Wire and Flame 2026 acrylic and oil on linen 14 x 11 inches

Plate 38: Cornelia Schulz Across the Pond 2018 oil on canvas over wood 22 1/4 x 13 1/2 x 2 1/2 inches

Plate 47: Karla Wozniak Down in It 2026 acrylic and oil on linen 14 x 11 inches

Plate 40: Laura Van Duren Willing 2023 ceramic, recycled wood, inner tube, and casters 14 x 13 1/4 x 11 1/2 inches

Plate 48: Karla Wozniak Whirl 2026 acrylic and oil on canvas 48 x 38 inches

Plate 41: Laura Van Duren Rendering 2020 ceramic, recycled furniture, glycerin vinyl, and thread 32 x 20 1/2 x 5 1/4 inches

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Works not Exhibited Plate 3: Donna Brookman fullflood triptych #2 2011 oil on panel 18 x 36 inches

Plate 39: Cornelia Schulz Fifty Late 2026 oil on canvas over wood 23 1/2 x 18 1/2 x 2 1/2 inches

Plate 12: Nancy Genn Banner #6 2002 mixed media on paper 44 1/2 x 30 inches

Plate 45: Andrea Way Gravity's Law 1998 silkscreen on paper, ed. 30/50 11 x 13 3/4 inches

Plate 15: Rebekah Goldstein Never Said Nothing 2026 oil and collaged canvas on linen in artist's frame 16 1/4 x 21 1/4 inches Plate 18: Julia Goodman Fragment (ii) 2025 watercolor on hand formed paper made from different color bedsheets and t-shirts 12 1/2 x 11 inches Plate 24: Mary Ijichi Assemblage #36 2026 colored pencil, mylar, plastic, beads, acrylic, linen tape, and museum board 15 5/8 x 15 3/8 inches framed Plate 27: Grace Munakata King of Thrushes - holding the rain 2020 acrylic, charcoal,W and wax pastels on panel 48 x 37 1/2 inches

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Cover: Linda Fleming, Glide (detail), 2025 Rear Cover: Karla Wozniak, Whirl (detail), 2026 Copyright 2026 Paul Thiebaud Gallery. All Rights Reserved. pgs. 20-22 - Copyright 2026 Donna Brookman. pgs. cover, 26-28 - Copyright 2026 Linda Fleming. pgs. 30-32 - Copyright 2026 Sylvia Fragoso. pgs. 34-36 - Copyright 2026 Nancy Genn. pgs. 40-42 - Copyright 2026 Rebekah Goldstein. pgs. 44-46 - Copyright 2026 Julia Goodman. pgs. 50-52 - Copyright 2026 Hughen/Starkweather. pgs. 56-58 - Copyright 2026 Mary Ijichi. pgs. 62-64 - Copyright 2026 Grace Munakata. pgs. 68-70 - Copyright 2026 Sono Osato. pgs. 72-74 - Copyright 2026 Estate of Irène Pijoan. pgs. 78-80 - Copyright 2026 Shantae Robinson. pgs. 82-84 - Copyright 2026 Cornelia Schulz. pgs. 88-90 - Copyright 2026 Laura Van Duren. pgs. 94-96 - Copyright 2026 Andrea Way. pgs. 98-100, rear cover - Copyright 2026 Karla Wozniak. Essay copyright 2026 Heidi Rabben. Design: Greg Flood and Matthew Miller. All images, photo: Matthew Miller. No portion of this document may be reproduced or stored without the express written permission of the copyright holder(s). 108

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PAUL THIEBAUD GALLERY