Where Things Begin: 10 American Artists of the Asian Diaspora

Where Things Begin

Freddy Chandra Aaron Chung

Marc Katano

Yasuhide Kobashi

Joshua Moreno

Grace Munakata

Arthur Okamura

Sono Osato

Barbara Takenaga

Leo Valledor

Introduction and Foreword

Eastern and Western aesthetics have their origins in different philosophical, spiritual, and visual traditions. Contact between the Far East and the Mediterranean areas of Europe and Africa can be traced back to the 2nd century BCE, with the establishment of the network of overland trade routes that became known as the Silk Road (now referred to as the Silk Routes). In addition to the spices, metals, and other basic commodities that travelled back and forth, developments in knowledge, religious beliefs, and complex finished goods such as patterned silks, porcelains, and Damascus steel flowed west from Asian countries. The effects of this cultural interaction have not fully been studied in the West, but demand for these goods grew as they spread across the region. By the 17th Century CE, the continually growing demand in Europe for goods from the East was one of the main drivers behind the establishment of global shipping routes by sea, and with their growth came greater direct contact between European cultures and those of China, Japan, India, the Philippines, and Indonesia, among others.

In the United States, this interaction began primarily in the 19th century when populations began migrating from countries across Asia to what is now California, and it has continued ever since. In addition to their skills and labor, these migrants to the United States also brought their artistic culture with them. Many of the artists produced by this diaspora have found themselves at the intersection where the cultures of their family’s heritage and the dominant western traditions of this country meet, and have had to navigate this terrain when creating their art. This is true for not only the first-generation immigrant artists, but also for those who are second- and thirdgeneration. Each artist featured in this exhibition and catalogue has responded in their own way to the influence of Eastern and Western aesthetics in their work. For some, the traditions of Asian form the direct underpinnings of their work. For others, the embrace of western artistic developments was total. And, for still others, a blend of both influences infor ms their work.

During the creation of this exhibition, we asked the living artists to share in writing whether or not they felt the cultural heritage of their family has influenced how and why they make their work.

In the following pages we have included their responses alongside their artwork. For those who are deceased, research was conducted to locate any statements by the artist about their work. In the case of Yasuhide Kobashi, we were unable to locate any direct statements and have instead elected to include a short biography of his life drawn from available sources. For Arthur Okamura, we are reprinting a text written by the artist in 1972 for a catalogue accompanying an exhibition of his works at Charles Feingarten Galleries in Los Angeles. Finally, for Leo Valledor we are reprinting a statement the artist wrote for a solo exhibition of his paintings in the Emanuel Walter Gallery at the San Francisco Art Institute in 1971, as well as excerpts from an interview conducted by fellow painter Dean Fleming that was published in Ocular magazine in 1981.

I wish to thank the artists Freddy Chandra, Aaron Chung, Marc Katano, Joshua Moreno, Grace Munakata, Sono Osato, and Barbara Takenaga for agreeing to be a part of this exhibition and catalogue. I would also like to thank the Estate of Arthur Okamura and the Estate of Leo Valledor for generously agreeing to the inclusion of works by these historically important artists. Lastly, I wish to thank the private collection from which we borrowed the works of Yasuhide Kobashi for agreeing to let us exhibit his exquisite drawings.

An exhibition and its accompanying catalogue are rarely a singular effort, and more often the work of a devoted group of individuals. I give great thanks to the team at Paul Thiebaud Gallery – Colleen Casey, Matthew Miller, and Gregory Hemming – for their hard work and dedication to making this catalogue and exhibition a reality. I also give my thanks to Jeff Gunderson and Becky Alexander at the SFAI Legacy Foundation + Archive for their invaluable assistance in researching aspects of this catalogue, and to Yukako Izutani for their help translating texts for us.

Greg Flood, Director May 2025

Freddy Chandra

My work is rooted equally in the language of geometric abstraction and in the temporal nature of the moving image. Using translucent layers of acrylic paint on Plexiglas panels, I repeat, pair, overlap, reverse, and re-sequence ensembles of chromatic areas and seamless shifts of lines and values. These works are rhythmic compositions of discrete frames in which the intrinsic relationship between parts inherently informs the logic of a continuous whole. These painting installations –from the modestly scaled to the panoramic – use the structure of filmic space to link the concrete and the atmospheric through a sequence of encounters. Through shifts in color temperature, light and shadow, and structural geometry, an apparent movement is created within stasis, and a fleeting rhythm resonates in an abstracted stream of information. In my work, I try to make more tangible the act of recognition, recollection, and anticipation, driven by a desire to understand the present moment in the space between attentive perceiving and the peripheral subconscious.

The primary driver of my art making and thinking process is a commitment to abstraction as a language that distills and translates the feeling — and in a way the truth — of an experience into physical form. This physical form, in turn, is a locus that triggers a new set of experiences. Over the years, I’ve come to realize that I am pretty stubborn in not wanting to close off my work by defining what the work is. In this sense, I find some intrigue in asking myself how my cultural heritage as an Asian/American/Asian-American artist relates to my insistently abstract work. It is probably safe to say that I never explicitly think of this relationship in the conception of the work. It is also correct to say that I cannot escape the accumulative responses that I have had in existing within this cultural identity. More than anything, it is in having to constantly shift between morphing cultural identities, the east and the west, one and the other, that I find comfort in creating work that resists being circumscribed within specificity. An open space forms when one thing morphs into another, when one moment succeeds another. These spaces in between feel alive and real.

May 2025

opposite: Mists (detail)

Plate 1:

Freddy Chandra, Mists, 2016

acrylic and UV-stabilized resin on cast acrylic with varnish, 16 3/4 x 64 x 1 1/2 inches

Plate 2:

Freddy Chandra, Clearing, 2016

acrylic and UV-stabilized resin on cast acrylic with varnish, 20 x 84 x 1 1/2 inches

Aaron Chung

My work’s relationship with Eastern aesthetics is rooted in Korean iconography and traditional compositions from literati painting. Conversely, the material and textures in my work come from Western acrylic paints, brushes, and canvas.

As a diasporic artist raised by immigrants from South Korea, I explore Korean history and culture to understand my family’s homeland. I transform traditional elements like hangeul or floral motifs into flattened designs on multilayered scrolls. I push their appearance by abstracting the work’s surface, introducing paint textures as narrative devices often explored in Western modern painting.

May 2025

Through obscuring symbols tied to my family’s culture, I aim to convey a sense of familiarity and distance–a parallel experience to my Korean American upbringing. By examining and interpreting traditional culture, I can connect with my ancestral roots while reflecting on the influences inherited from living in the States. opposite: Stream of Thought (detail)

Plate 3:

Aaron Chung, Remembrance, 2021

acrylic on cut canvas on mesh with custom brackets, 104 x 48 x 8 inches opposite: Remembrance (detail)

4:

Plate

Aaron Chung, Stream of Thought, 2024 acrylic on cut canvas on mesh with custom brackets, 104 x 48 x 8 inches opposite: Stream of Thought (detail)

Plate 5:

Aaron Chung, Distill, 2021

acrylic on cut canvas on mesh with custom brackets, 72 x 48 x 8 inches opposite: Distill (detail)

Marc Katano

“The basis of my work is the act of inscription. While my compositions are organic in form, they are not intended to emulate nature. Instead, they are inspired by the physicality of human expression, such as the precise motions of Japanese calligraphy. I use the simplest, most natural movements of the hand and arm to reflect the physical activity of mark making. Each line and form represents nothing more than its own creation, and each piece finds meaning in the harmony of its own structure.”

May 2025

opposite: Starling (detail)

Plate 6:

Marc Katano, Runaway, 2024 paintstik and acrylic on Nepalese paper, 32 x 21 inches opposite: Runaway (detail)

Plate 7:

Marc Katano, Starling, 2024

paintstik and acrylic on Nepalese paper, 33 x 22 inches opposite: Starling (detail)

Yasuhide Kobashi

Yasuhide Kobashi (American, born in Japan, 1931-2003) was born in Kojima, Okayama Prefecture, Japan into a family of artists. His father was a recognized ceramic artist and head of the Kyoto Industrial Craft Company. Kobashi learned printmaking from Unichi Hiratsuka, a master in sōsaku hanga (creative prints) genre of Japanese prints. In 1955 Kobashi graduated from the Kyoto College of Crafts and Textiles, and in 1959 moved to New York City, seeking an international perspective. In a career spanning over five decades, Kobashi became well known for his woodblock prints, sculpture, stage set designs, and paintings. His works have been collected by The Museum of Modern Art, NY, The Metropolitan Museum of Art, and the Cleveland Museum of Art, among others.

Plate 8:

9 1/2 inches opposite: Untitled Drawing IV (Matsuri) (detail)

Yasuhide Kobashi, Untitled Drawing IV (Matsuri), c. 1965 ink on paper, 6 1/2 x

Plate 9:

Yasuhide Kobashi, Untitled Drawing II (Mushi), c. 1965 ink on paper, 6 1/2 x 9 1/2 inches opposite: Untitled Drawing II (Mushi) (detail)

Plate 10:

Yasuhide Kobashi, Untitled Drawing III (Ame), c. 1965 ink on paper, 6 1/2 x 9 1/2 inches opposite: Untitled Drawing III (Ame) (detail)

11:

Plate

Yasuhide Kobashi, Untitled Drawing V (Hana), c. 1965 ink on paper, 6 1/2 x 9 1/2 inches opposite: Untitled Drawing V (Hana) (detail)

Joshua Moreno

In these drawings, I explore efficiency by repetitively creating countless circular shapes, a form that I can produce effortlessly without tools. The circle, abundant in nature from microscopic atoms to celestial bodies, symbolizes unity and the infinite cycle of life. This process emphasizes the efficiency of circular shapes and forms and reflects its profound presence in both the natural world and human experience.

During high school, a visit to Mount Madonna provided me with a panoramic view of my hometown, Watsonville, a small agricultural town in the center of Monterey Bay. From this vantage point, I observed the regimented grids of strawberry, lettuce, and apple fields intersected by the meandering Pajaro River and surrounding geological formations. The river’s winding path disrupted the rigid geometry of the agricultural layouts, highlighting the dynamic interaction between human-made structures and the natural environment and illustrating how each influences and reshapes the other.

My family’s history is deeply intertwined with this landscape; both my Filipino and Mexican ancestors labored in these fields. I perceive myself as a product of their enduring labor, embodying the convergence of diverse cultural backgrounds.

May 2025

Plate 12:

Joshua Moreno, Such Great Heights I, 2013 graphite and pencil on paper, 44 x 30 inches opposite: Such Great Heights I (detail)

Plate 13:

Joshua Moreno, Such Great Heights II, 2013 graphite and pencil on paper, 44 x 30 inches opposite: Such Great Heights II (detail)

Grace Munakata

My process of making work definitely relates to growing up in a particular nisei Japanese American family. A dictionary definition of ‘bricoleur’ describes our home, and in particular my mother’s sensibility: “Something made or put together using whatever materials happen to be available.”

Going to college at UC Davis, my academic study was within the western tradition. But at home Japanese calligraphy, folk art and painting were simply there in an inextricable mix. As a small child I watched my father practice Japanese brush painting with a sensei (teacher) and several other nisei men at our kitchen table. I didn’t notice the specific sequence of brush strokes or technique, but one fluid stroke became a darting fish glistening with light and dark. A supple line varying in width became the animated curve of a horse’s back, graceful thin strokes were grasshopper’s antennae. My maternal grandfather’s senryū1 poetry boards hung on the walls. I never knew their meaning; the ‘grass’ style writing is very difficult to decipher, even for someone fluent in written Japanese. I heard he carried scraps of paper in his pockets to jot down lines. As an immigrant to Washington around 1914, he was a member of a Yakima, WA ‘reading circle’, reportedly the first established for Japanese poets in the U.S.

“…What distinguished the Yakima group from the rest was that senryu activities there were organized and lasting..” “Collectively, they tell of the life and sentiments of the immigrants. The poems express how Japanese immigrants felt about homesickness, sense of non-belonging, labor, discrimination, marriage, community, (their) children, cultural collisions, Japanese national pride, U.S.-Japan relations, and their new land”. Teruko Kumei

My mixed media paintings combine abstraction with images recognizable in varying degrees. The work is connected to ecology, literature, myth, Japanese folktales and personal memory. They all contain pattern, sometimes coming from 19th c. Japanese designs. Somehow I feel they belong to me, they feel familiar: motifs of water, chrysanthemums, particular colours from my mother’s kimonos and obis. She was a seamstress, and naturally leaves patterned like fabric may appear

1 The first senryū circle in the United States was reportedly started by Japanese immigrants in Yakima, Washington, during the early 1900s. Over time, other senryū circles were established in Seattle and other Japanese communities in the Pacific Northwest. In 1938, the Los Angeles–based Kashu Mainichi Shimbun published its first senryū section.

During the incarceration of Japanese Americans during World War II, senryū was a popular activity in the camps.

in a painting. I watched her assemble abstract pattern pieces across the linoleum floor. Stacks of coloured and printed fabrics filled drawers; a blue and persimmon box held every kind of button, spools of thread in every imaginable hue.

I’ve learned more about Japanese culture and festivals from Japanese friends than from my family. Tanabata is the wish festival. A celestial weaver and shepherd fall in love and forget their work. Her father banished them to opposite sides of the galaxy. She is so sad that he relents, letting them meet once a year, on the 7th day of the 7th month, crossing a bridge across the Milky Way. People write wishes on strips of coloured paper tied to bamboo. They may simply wish to pass a test, or wish for a clear night so the lovers can meet. In multiple paintings, multi-pronged stars float and strips twist. There are so many ways to suggest things: flat shapes, descriptive rendering, gestural lines, printed textures, but the process is always physically tactile. I love wordplay in literature, and similarly, shifts of perception occur in the paintings. Something can be one thing and another.

Making work from scraps of dissimilar things has always felt right. The nisei were famously silent about their internment experiences and family that remained in Japan. Perhaps using fragments to assemble narratives comes instinctively.

What were the narratives in our house? On the living room mantel were golf trophies, a ceramic boy in kimono holding a rabbit in a basket. Slender glass bottles with Japanese doll heads wore taffeta ball gowns that my mother made from fabric scraps. A small Statue of Liberty stood adjacent a Buddha. There was a cast iron garden lantern shaped like a pagoda on the floor. As a child I put stuffed animals inside through its hinged door. There was a painting of the Golden Gate Bridge, a watercolour of the internment camp, of calla lilies, and white, lacy covers draped the arms and backs of sofas. A wind bell hung from a flat plastic teepee whose strip changed color to predict the weather. This way of seeing, finding and putting together is just part of my vocabulary.

May 2025

Plate 14:

Grace Munakata, Will you ride, late At my side, 2022

acrylic on panel, 48 x 41 inches opposite: Will you ride, late At my side (detail)

15:

Plate

Grace Munakata, Dippers, 2022

acrylic on panel, 36 x 48 inches opposite: Dippers (detail)

Arthur Okamura

The following excerpted text was written by Arthur Okamura for a catalogue accompanying an exhibition of his Books, Prints, and Paintings at Charles Feingarten Galleries in 1972:

“This exhibit of books, prints, and paintings forms, in sequence, some of the last five years; showing, perhaps, some relationship to my zazen practice, which has gone on for three years with my wife, some friends, some students and a teacher - Shunryu Suzuki Roshi who died in December 1971.

A few years ago, I felt a need to stop painting, but my habit (Instinct? Intuition? Pleasure?) is to make art, so I began to work at some new forms for me such as sewn banners, etchings, small cast bronze sculptures, polaroid lights and a series of drawings for a book. In each case close collaboration with other people was essential.

The drawings were of clusters of tiny people - something to be held in a space, a breath. The original drawings were exhibited at the San Francisco Museum of Art in April - May 1968. Publishers were interested but it ended there until Shambala Publications, Berkeley, made a commitment to publish them. About then my old friend Robert Creeley was in town. The occasion was warm and close. I asked Bob to look at the drawings & consider writing something to be with them. He sent a poem that delighted me in the way it paralleled and extended the scope of the drawings and set the book...

The oil paintings are recent. They come from the energy and vibration of this western spirit place where I live.”

Okamura, Arthur. “Catalog Introduction.” Arthur Okamura: an exhibition of Books, Prints & Paintings Novemebr 21 – December 23, 1 972. Los Angeles: Charles Feingarten Galleries, 1972.

opposite: Floral Constructions (detail)

Plate 16:

Arthur Okamura, Sky Happening, c. 1967 ink and watercolor on paper, 16 3/8 x 11 3/4 inches opposite: Sky Happening (detail)

Plate 17:

Arthur Okamura, Floral Constructions, 1966 ink on paper, 10 5/8 x 14 inches

Sono Osato

My take on the fissure of Eastern and Western aesthetics as a Japanese-American Artist

As a little kid, going back as far as I can remember, I grew up around Japanese Art. My grandfather, Shoji Osato, stowed away on a ship from Japan to San Francisco in 1900, when he was 14. It’s a long and colorful story as to how that lead to meeting my grandmother, (who was of Irish and French-Canadian decent), in Omaha Nebraska in 1917, having kids, including my dad, and my being Sensei and a Japanese-American.

To stay on point, Shoji managed to bring his collection of paintings, kakemonos, screens, sculpture, etc., over, one way or the other. Many of them dated back to the 19th century and before. He was also close friends with Foujita, among others. More long stories, many of which I’m not intimately privy to as his grandchild who never met him. He died about 10 years before I was born.

But I grew up around his collection and stared at it as a toddler until I left for college,

A salient vignette is there was one of his kakemonos that had a single vertical line of exquisite calligraphy always prominently displayed in our house. When I was about seven, I asked what it meant. I was told that it had something to do with “arrogant, schmucky and selfish people have a hard time cultivating lasting friendships,” which I took as an allegorical form of parenting.

I am quite certain that staring at all that understated and succinct elegance, and reverence for ancestors, nature and quiet beatitude, to the point of pious severity, had an effect on me, even as a little kid who stared a lot as part of their processing. And it was there that I fell in love with fluid line and being able to feel that it conveyed meaning even though I couldn’t decipher what the characters meant.

The other thing about gazing at my grandfather’s collection that later influenced my attitude as an artist was the relationship that historical Japanese art had to space and perception, particularly with landscape. Rather than the European convention of perspective from a single vantage point which dominated Western Art from the Renaissance onwards, Japanese art synthesized the field of vision from higher up, where you could see everything that was happening in any given moment simultaneously. It was more expansive and less self-centered.

Along these lines, there’s also the ethos of Shinto and Wabi-sabi. Both emphasize an obeisance to nature, being part of a larger fabric, and ephemeral and simple existence.

To be equitable, this cultural stance isn’t exclusively Japanese and its heritage is comparatively young within Asian history. The original inhabitants were the Ainu and the Japanese culture as we know it today was instigated by the Chinese Imperial Court of Nara on the Yamato Plain around 1500 years ago. Korean influence is equally significant stemming from migrations during Japan’s Neolithic period, over 2000 years ago. Jumping forward, The Chinese Imperial court in Nara began to give farmers land grants to move north, fight the Ainu, settle and gain territory. This eventually gave birth to the Samurai class of which the Osato clan was a minor part. There are drawn parallels between the spread of Japan from south to north through conquest and American Manifest Destiny. The direct influence of Akira Kurosawa’s Seven Samurai on the Western classic The Magnificent Seven and eventually, Star Wars is a demonstrative example.

I digress, but I can’t talk about the spacial relationships and cultural ethos within Japanese art without giving due credit to its origins.

Anyhow, for me, as an artist who is answering Greg’s question about where I’m located in the fissure between Eastern and Western aesthetics as a descendent of Asian Diaspora in the US as specifically as I can…there’s something about allowing simultaneity, a panorama that extends beyond what is singularly perceived to not only be there, but worthy of contemplative consideration, that’s the shift. In a word it’s about humility: seeing myself as an infinitesimal part of a much larger pattern that existed long before me and will continue long after I’m gone. And it has to do with my relationship to ego, that being an artist somehow makes me special, which it doesn’t.

And I dare to be a touch snarky when I opine that Western Art didn’t really start to get interesting until it got over hammering on about personal property, real estate and heroics, somewhere around the advent of “Modern Art” in the 1870s and 80s; when Eastern (and African -among others if we talk Pollock-right around the corner) influences started to creep into its canon. It was self-entitled appropriation, obviously - another long story that’s still playing out …but the long and short of it is…it sure as hell helped.

April 2025

Plate 18:

Sono Osato, Diluvia #6, 2024

tinted rabbit-skin glue ground and oil on panel, 10 x 30 inches

19:

Plate

Sono Osato, Diluvia Study #14, n.d. graphite on paper, 11 5/8 x 8 1/4 inches opposite: Diluvia Study #14 (detail)

Plate 20:

Sono Osato, Diluvia Study #15, n.d. graphite on paper, 11 5/8 x 8 1/4 inches opposite: Diluvia Study #15 (detail)

Barbara Takenaga

The following text is a condensed version of an artist talk Barbara Takenaga presented at an event held at Robischon Gallery in Denver for the Sakura Foundation in May 2019:

When my friend DJ Ida asked me to make some comments about being Japanese American, I told her I was not a good candidate for this – I said, you know, I am not very Asian. And my work is not really about being Asian. Both of those statements are a little iffy it turns out…

My father was born in Hawaii. He could swim like a fish and went abalone diving even when he was an adult. His family returned to Japan when he was 14, but he stayed, poor but worked his way through med school. My mother was born in Wyoming and like my grandfather was wild and funny and full of contradictions – was she a wisecracking/story telling fisherperson or a proper doctor’s wife, building a nice china set and crystal. I grew up as one of a few Japanese Americans in central Nebraska, the Great Plains, farming and ranching country, deeply Republican and Christian. I loved my childhood. My sister says my memory is wack, but I remember it with great fondness. As a kid, I wanted to live there forever, become a grade school teacher and have students named Trixie, Melanie, and Philip. I would call roll and write on the blackboard and it would be too fabulous. That did not happen.

To the question of my own Asianness…. I grew up wanting desperately to assimilate. My ambition to do so was huge and I was mostly successful. All my friends were white, and I actually do not remember experiencing racism from them. We had grown up together since we were 5 years old. Racism from their parents, well, that is another story. When I came to Colorado to go to college, there was much more of a Japanese American community here as well as activists and Asian groups. I felt the odd person out, I felt very guilty that I was not more political in terms of identity and race. I pretended to be more political than I was, but it was a poor act. Now, as an old person, I can see that things do not need to be so black and white…or yellow and white. I think there is a spectrum of where one places oneself and that it is good to acknowledge and respect the range of that spectrum. My first inkling of this was reading a statement from an artist from Washington D.C. He basically said that he did not feel guilty about not being Asian enough, he grew up in a

white community and that he was totally fine with his own particular personal history and he did not have to have cultural tropes in his work. Defiantly so. I thought, hey, that is what I think. It is okay to think that.

Having said that, at this point in 2019, my artwork does have clear Asian references. Why is that? I do not really know. Part of it must be choice. Part of it is that even though I studied western art history, it never reached out and grabbed me the way it did most artists. Caravaggio, Manet, Picasso even – artists love them so much, but they never resonated for me. But I always loved Japanese wood block prints, Indian miniatures, those great simple mandalas and yantras of the Rajasthan period. I loved the flatness and the abstraction, the flip between positive and negative space – it is a cloud or a river, is it a great flat black shape or a warlord’s robe or geisha’s elaborate hair style. The way perspective is stacked up, from the foreground of the lower part of the image, to the background of the top of the image. Rivers silhouettes become dragons, and gold leaf sits up and separates from the illusion to be an object. Those are the things that interest me and they are kind of Asian. I told a friend that I was thinking of titling a show in 2018 “I think I am turning Japanese” after the old Vapors song, and that weirdly enough, my recent work had become very Asiany. She replied, hahahah, your work has always been Asiany.

I could blather on forever, but let me touch upon a couple of things about the work. I am interested in that place where an image is almost a thing, almost representational but almost just paint or just shape. Is it a creature with a big belly or a peeling bit of paint. Is it a pile of crap or a Philip Guston/ Bart Simpson head? It is an in between space, standing in the middle. Lots of philosophies and religions have alluded to that place: the reconciliation of opposites in the Romantic movement in English literature, the yin and yang, T.S. Eliot and the still point. It is supposed to be a desired place, a place one aspires to. Why is that? For me, I think it implies a kind of visual tolerance, being able to hold onto two opposing things at the same time. It is a kind of understanding of difference, without getting too gooey or treacly about it – a kind of non-verbal empathy and understanding, like grokking in Robert Heinlein’s Stranger in a Strange Land.

Takenaga, Barbara. Artist Talk for the Sakura Foundation. Held at Robischon Gallery, Denver, CO, May 17, 2019.

Plate 21:

Barbara Takenaga, Cirrus, 2023

acrylic on linen, 24 x 30 inches opposite: Cirrus (detail)

Plate 22:

Barbara Takenaga, Blue Gold Leaf, 2012

acrylic on wood panel, 30 x 24 inches opposite: Blue Gold Leaf (detail)

Plate 23:

Barbara Takenaga, Downward, 2012 acrylic on wood panel, 30 x 24 inches opposite: Downward (detail)

Plate 24:

Barbara Takenaga, Falling (black tracings), 2015

acrylic on wood panel, 24 x 30 inches opposite: Falling (black tracings) (detail)

Leo Valledor

Reproduced to the opposite page is an artist statement Leo Valledor wrote for an exhibition of his paintings at the Emmanul Walter Gallery at the San Francisco Art Institute in 1971. The quotes Valledor selected give insight into how he viewed the creation of his work.

Ten years later, Valledor was interviewed by his friend and fellow artist Dean Fleming for Ocular magazine in 1981. Among Valledor’s responses to Fleming’s questions, the following excerpts stand out:

“One of the main reasons why I turned to abstract expressionism was that I could spontaneously improvise like a jazz musician. The gestured linear brushstroke was like a melody executed in rhythmic calligraphy. Now I feel much more like a composer. Abstraction is the most direct approach to plastic form.”

“It seems to me that the color spectrum is a visual analog to musical scales (the chromatic scale?). I think many artists have explored this correlation. Kandinsky immediately comes to mind, also Klee, and for some reason, Albers. Combinations of colors are like visual chords producing constant or dissonant spatial harmonies. I should’ve mentioned Hans Hoffman.”

“I feel good about my latest pieces and current ideas. They seem to realize the paradox of a simultaneous impression of depth and plane more clearly than in my earlier work. Color determines the degree of balance and/or emphasis. I want a painting that is put together in such a way as to cause a spatial fusion between it and myself – and so reveal an aspect of the One Mind.”

As well as the following exchange:

Dean: What do you think this life means?

Leo: Work. Cosmic knowledge toward understanding, love and fulfillment.

Dean: Are you into any spiritual studies?

Leo: Yes. It is an aspect of my work.

Dean: Can you elaborate?

Leo: When I was young I blew my soul. Then I contemplated the Godhead. Now I do both!

Dean: How do politics enter the picture?

Leo: In need of Art.

Dean: How about your own ideas?

Leo: Utopian. Let me quote Barnett Newman, “Almost fifteen years ago Harold Rosenberg challenged me to explain what one of my paintings could possibly mean to the world. My answer was that if he and other could read it properly it would mean the end of all state capitalism and totalitarianism. The answer still goes.” 1 (1962). My answer to that question would be that if my paintings were read properly it would mean the end of racism, totalitarianism, and man’s inhumanity to man. 2

1 Newman, Barnett. Filmed interview by Lane Slate. Broadcast by CBS Television as part of the Contemporary American Painters series, 10 March, 1963. A condensed transcript the interview was published in Barnett Newman: Selected Writings and Interviews. John P. O’Neill (ed.). New York: Alfred A. Knopf, 1990, p. 251.

2 Fleming, Dean. “Interview with Leo Valledor.” Ocular, Vol. 6, No. 3 (Fall 1981): pp. 28-38.

Leo Valledor, Artist Statement for Leo Valledor/Selected Paintings/East-West Series, Emanuel Walter Gallery, San Francisco Art Institute, 16 December 1971 – 22 January 1972.

Plate 25:

Leo Valledor, Untitled Drawing (Study for door skin painting), c. 1986 marker on graph paper, 11 x 8 1/2 inches opposite: Untitled Drawing (Study for door skin painting) (detail)

Plate 26:

Leo Valledor, Untitled Drawing, c. 1981 marker on graph paper, 11 x 8 1/2 inches opposite: Untitled Drawing (detail)

Plate 27:

Leo Valledor, Untitled Drawing (Study for To the Point), c. 1986 marker on graph paper, 11 x 8 1/2 inches opposite: Untitled Drawing (Study for To the Point) (detail)

Plate 28:

Leo Valledor, Untitled Drawing (Study for Aslantis), c. 1986 marker on graph paper, 11 x 8 1/2 inches opposite: Untitled Drawing (Study for Aslantis) (detail)

Exhibition Checklist

Plate 1: Freddy Chandra Mists

2016

acrylic and UV-stabilized resin on cast acrylic with varnish 16 3/4 x 64 x 1 1/2 inches

Plate 3: Aaron Chung Remembrance 2021

acrylic on cut canvas on mesh with custom brackets 104 x 48 x 8 inches

Plate 14: Marc Katano Runaway 2024

paintstik and acrylic on Nepalese paper 32 x 21 inches

Plate 6: Yasuhide Kobashi

Untitled Drawing IV (Matsuri) c. 1965 ink on paper 6 1/2 x 9 1/2 inches

Plate 21: Yasuhide Kobashi

Untitled Drawing II (Mushi) c. 1965 ink on paper 6 1/2 x 9 1/2 inches

Plate 16: Joshua Moreno Such Great Heights II

2013 graphite and pencil on paper 44 x 30 inches

Plate 18: Grace Munakata

Will you ride, late At my side 2022

acrylic on panel 48 x 41 inches

Plate 26: Arthur Okamura Sky Happening c. 1967 ink and watercolor on paper 16 3/8 x 11 3/4 inches

Plate 26: Sono Osato Diluvia #6 2024

tinted rabbit-skin glue ground & oil on panel 10 x 30 inches (triptych)

Plate 13: Barbara Takenaga Cirrus 2023

acrylic on linen 24 x 30 inches

Plate 8: Leo Valledor

Untitled Drawing (Study for door skin painting) c. 1986 marker on graph paper 11 x 8 1/2 inches

Plate 9: Leo Valledor

Untitled Drawing c. 1981 marker on graph paper 11 x 8 1/2 inches

Works not Exhibited

Plate 2: Freddy Chandra Clearing 2016

acrylic and UV-stabilized resin on cast acrylic with varnish 20 x 84 x 1 1/2 inches

Plate 5: Aaron Chung Distill 2021

acrylic on cut canvas on mesh with custom brackets 72 x 42 x 8 inches

Plate 4: Aaron Chung Stream of Thought 2021

acrylic on cut canvas on mesh with custom brackets

104 x 48 x 8 inches

Plate 7: Marc Katano Starling 2024

paintstik and acrylic on Nepalese paper 33 x 22 inches

Plate 10: Yasuhide Kobashi Untitled Drawing III (Ame) c. 1965 ink on paper

6 1/2 x 9 1/2 inches

Plate 11: Yasuhide Kobashi

Untitled Drawing V (Hana) c. 1965 ink on paper

6 1/2 x 9 1/2 inches

Plate 12: Joshua Moreno Such Great Heights I 2013

graphite and pencil on paper 44 x 30 inches

Plate 15: Grace Munakata Dippers 2022

acrylic, wax pastels, and graphite on panel 36 x 48 inches

Plate 17: Arthur Okamura Floral Constructions 1966 ink on paper 10 5/8 x 14 inches

Plate 19: Sono Osato

Diluvia Study #14 n.d.

graphite on paper 11 5/8 x 8 1/4 inches

Plate 20: Sono Osato

Diluvia Study #15 n.d.

graphite on paper 11 5/8 x 8 1/4 inches

Plate 22: Barbara Takenaga Blue Gold Leaf 2012

acrylic on wood panel 30 x 24 inches

Plate 23: Barbara Takenaga Downward 2012

acrylic on wood panel 30 x 24 inches

Plate 24: Barbara Takenaga Falling (black tracings) 2015

acrylic on wood panel 24 x 30 inches

Plate 27: Leo Valledor

Untitled Drawing (Study for Aslantis) c. 1986

marker on graph paper 11 x 8 1/2 inches

Plate 28: Leo Valledor

Untitled Drawing (Study for To the Point) c. 1986

marker on graph paper 11 x 8 1/2 inches

FREDDY CHANDRA

Born 1979 in Jakarta, Indonesia

EDUCATION

2004 MFA, Studio Art, Mills College, Oakland, CA

2002 BA, Architecture & Art Practice, University of California, Berkeley

AWARDS AND RESIDENCIES

2012 Art in Embassies Program, US Consulate, Surabaya, Indonesia

2010 Nominee, SECA Award, San Francisco Museum of Modern Art, San Francisco, CA

2009 Joan Mitchell Foundation Grant Nominee Artist in Residence, Djerassi Resident Artists Program, Woodside, CA

2008 Joan Mitchell Foundation Grant Nominee

2007 Artist in Residence, Headlands Center for the Arts, Sausalito, CA

2006 Kala Art Institute Fellowship Award & Residency, Kala Art Institute, Berkeley, CA

2004 Herringer Prize for Excellence in Studio Art

2003 Catherine Morgan Trefethen Fellowship, Mills College

2002 Eisner Prize in Art, University of California, Berkeley

1997 Regents’ Scholarship, University of California, Berkeley

SELECTED SOLO EXHIBITIONS

2018 In Open Spaces, Walter Maciel Gallery, Los Angeles, CA

2016 Slipstream, Brian Gross Fine Art, San Francisco, CA Spectral Flux, Margaret Thatcher Projects, New York, NY

2015 Interstices, Walter Maciel Gallery, Los Angeles, CA

2014 Tuning In, Brian Gross Fine Art, San Francisco, CA

2013 Drift Expanse, Walter Maciel Gallery, Los Angeles

2011 Synthetoc Resonance, Margaret Thatcher Projects, New York, NY Coalesce, Fabbri Contemporary Art, Milan, Italy

2010 In Place of Equivalence, Galerie Bernd A. Lausberg, Duesseldorf, Germany Verge, Walter Maciel Gallery, Los Angeles, CA

2009 Listening Sequence, Brian Gross Fine Art, San Francisco, CA

2007 Fugitive Horizons, Project Space, Headlands Center for the Arts, Sausalito, CA

Residency Projects I: Three Minutes from Now, Kala Art Institute, Berkeley, CA

2001 Three-Part Installation, Worth Ryder Gallery, University of California, Berkeley, CA

SELECTED GROUP EXHIBITIONS

2025 Where Things Begin: 10 American Artists of the Asian Diaspora, Paul Thiebaud Gallery, San Francisco, CA

2022 GESTURE/COLOR/FORM, Brian Gross Fine Art, San Francisco, CA Sensate Objects, Schneider Museum of Art, Ashland, OR

2021 In the Groove: Persistence and Endurance, 15 Year Anniversary Exhibition, Walter Maciel Gallery, Los Angeles, CA

2020 30th Anniversary Exhibition, Brian Gross Fine Art, San Francisco, CA

2018 In This Together, Embracing Diversity, curated by Sagi Refael and Brenda G. Williams, Castelli Art Space, Los Angeles, CA

2017 Spectral Hues: artists + color, Palo Alto Art Center, Palo Alto, CA

2016-2018 Art in Embassies, United States Embassy, Panama

2016 A Star Is Born: Ten Years Later, Walter Maciel Gallery, Los Angeles, CA

Newton’s Prisms, Cypress College Art Gallery, Cypress, CA

Precision: Freddy Chandra, Brian Wills, Patrick Wilson and Richard Wilson, Southern California Art Projects and Exhibitions I SCAPE, Corona Del Mar, CA

2015 Seeing Time, Kala Art Institute, Berkeley, CA

2013

2012

Fields of Abstration, Galerie Du Monde, Hong Kong, China

New Year 2013, Margaret Thatcher Projects, New York, NY

Surface Tension, Margaret Thatcher Projects, New York, NY

2011 White-Hot, Margaret Thatcher Projects, New York, NY

2010 Beyond Painting, Lausberg Contemporary, Toronto, Canada

Identity Based Vertigo, Walter Maciel Gallery, Pacific Design Center, West Hollywood, CA

Inspiration Unlimited, Walter Maciel Gallery, Pacific Design Center, West Hollywood, CA

2009 Metaphysical Abstraction, Berkeley Art Center, Berkeley, CA. Curated by Jamie Brunson and Michelle Mansour

Ri | Generazione Astratta, Fabbri Contemporary Art, Milan, Italy

2008 The Space Between, San Jose Institute of Contemporary Art, San Jose, CA

Pattern reDefined, Walter Maciel Gallery, Los Angeles, CA

Artists from the Headlands: Freddy Chandra, Gretchen Jane Mentzer, Jen Shifflet, Donna Seager Gallery, San Rafael, CA

2007 Chain Reaction, Garage Biennale, The Garage, San Francisco, CA

Chain Reaction II, Art Engine Gallery, San Francisco, CA

WorkADay, Blankspace Gallery, Oakland, CA

Three Minutes from Now, Kala Art Institute, Berkeley, CA

Root Division’s 6th Annual Art Auction, Root Division, San Francisco, CA

Close Calls: 2007, Headlands Center for the Arts, Sausalito, CA

RIPPLE, Oakland Art Gallery, Oakland, CA

2006

Fresh, Kala Art Institute, Berkeley, CA

Community Virology, Lobot Gallery, Oakland, CA

Sketch, Memorial Union Art Gallery, UC Davis, Davis, CA

2005 Emerge, 8th Annual GenArt Exhibition, San Francisco, CA

Cream: From the Top, ArtsBenicia, Benicia, CA

Introductions 2004, b. sakata garo, Sacramento, CA (three-person)

2004

M.F.A. Thesis Exhibition: Counterpoise, Mills College Art Museum, Oakland, CA

2003 Art Bowl III, b. sakata garo, Sacramento, CA

2002 Honors Studio Show, Worth Ryder Gallery, University of California, Berkeley, CA

2001 Annie Hui, Freddy Chandra, Jacob Wong, Worth Ryder Gallery, University of California, Berkeley, CA Honors Studio Show, Worth Ryder Gallery, University of California, Berkeley

ACADEMIC POSITIONS

2004-2017 Mills College, Oakland, CA. Department of Art. Adjunct Faculty

2004-2005 University of California, Berkeley. Department of Art Practice. Summer Session Lecturer

LECTURES

2007 Expressive Textures, Headlands Center for the Arts, with experimental composer Hubert Ho. Freddy Chandra & Su-Chen Hung, Kala Art Institute

SELECTED PUBLIC AND CORPORATE COLLECTIONS

Art in Embassies Collection, Surabaya, Indonesia

Alameda County Art Collection, Oakland, CA

Neiman Marcus, Los Angeles, CA

Capital Group, Los Angeles, CA

SELECTED BIBLIOGRAPHY

Schneider Museum of Art. Sensate Objects. Foreword by Scott Malbaurn. Essays by Mel Prest and Sue Taylor. Ashland, OR: Schneider Museum of Art, 2022. Morris, Barbara. “Freddy Chandra ‘Slipstream’ at Brian Gross Fine Art,” Art Ltd, Jan-Feb 2017. Hoover, Justin. “Fields of Abstraction,” exhibition catalog, Galerie du Monde, September 2015. Cheng, DeWitt. “Tuning In,” East Bay Express, February 2014. Baker, Kenneth. “Tuning In,” sfgate.com, January 2014.

Hallard, Brent. “A Reflection of the Synthetic,” Visual Discrepancies, September 2011. Kluth, Mary Anne. “Listening Sequence,” Shotgun Review, October 2009. Cheng, DeWitt. “Metaphysical Abstraction,” East Bay Express, October 2009. Levy, Mark. “Metaphysical Abstraction,” Exhibition Catalogue, October 2009. Cebulski, Frank. “The Space Between,” Artweek, June 2008, vol.39, Issue 5. Selz, Peter. “Compositions of Space and Light,” Berkeley Daily Planet, June 22, 2007. Van Proyen, Mark. “Close Calls: 2007 at the Headlands Center for the Arts,” Artweek, March 2007. Baker, Kenneth. “Nice surprises at this year’s Emerge,” SF Chronicle, November, 2005.

Helfand, Glen. “Introduction to the Master of Fine Arts Exhibition at Mills College,” May 2004.

AARON CHUNG

Born 1990 in San Francisco, CA

EDUCATION

BFA, Painting Major and Art History Minor, Summa Cum Laude, Maryland Institute College of Art (MICA) Baltimore, MD

Studio Art Center International (SACI), Semester Abroad, Florence Italy

AWARDS AND RESIDENCIES

2013 National Fulbright Fellowship, Seoul, South Korea

2012 Morris Louis Scholarship, Baltimore, MD

Juried Undergraduate Merit Award, Baltimore, MD

SACI Merit Scholarship, Florence, Itay

2011 Nora and Eugene Leake Scholarship, Baltimore, MD

2010 MICA Academic Scholarship, Baltimore, MD

2009 MICA Academic Scholarship, Baltimore, MD

MICA Presidential Scholarship, Baltimore, MD

Dr. Robert Squeri Honors Reward, San Francisco, CA

Elk’s Lodge Scholarship, San Francisco, CA

Gold Medal Winner Youth Arts Festival, Fine Arts Museums of San Francisco, San Francisco, CA

SELECTED EXHIBITIONS

2025 Where Things Begin: 10 American Artists of the Asian Diaspora, Paul Thiebaud Gallery, San Francisco, CA

2024 Tradition, Identity, and Future Narrative, Salmagundi Gallery, New York, NY

2023

Han Culture House, Washington DC, MD

2021 Brooklyn Seoul, Brooklyn Waterfront Artist Coalition

2016 Kana Art Festival, Shiro Oni Studios, Japan

2014 Between Translations, United Gallery, Seoul, South Korea

2013

2012

Written Perception, TOPOHAUS Art Center, Seoul, South Korea

Reconstructing Meaning, Gateway Gallery 2, Baltimore, MD

MICA Senior Thesis Show, Fox Gallery, Baltimore, MD

Nature’s Song, Subbasement Artists Studio, Baltimore, MD

MICA Open Studio Show, Alvin and Louise Myerberg, Baltimore, MD

2011 Wunderkammer, Subbasement Artists Studio, Baltimore, MD

Insourced, Contemporary Gallery, Baltimore, MD

Current Work at Current Space, Current Space Gallery, Baltimore, MD

MICA Show, SACI Studio, Florence, Italy

MICA Senior Painting Show, FOX 2 Gallery, Baltimore, MD

MICA Juried Exhibition, Decker Gallery, Baltimore, MD

2010

MICA Junior Painting Show, Decker Gallery, Baltimore, MD

MICA Digital Painting, FOX 2 Gallery, Baltimore, MD

2009 Youth Art Festival, Fine Arts Museums of San Francisco, San Francisco, CA

ART-RELATED EXPERIENCES

2016 Artist Resident, Shiro Oni Studio, Japan

2014 Artist Assistant and Researcher, Gogum Art Institute, Seoul, South Korea

Researcher and Artist in Residence, Fulbright Fellowship, Seoul, South Korea

2013 Gallery and Artist Assistant, Subbasement Artist Studios, Baltimore, MD

2011 Artist Assistant, Gaia Street Art, Baltimore, MD

MARC KATANO

Born 1952 in Tokyo, Japan

EDUCATION

1975 BFA, with Distinction, California College of Arts and Crafts, Oakland, CA

SELECTED SOLO EXHIBITIONS

2025 Paper Cut, Leslie Sacks Gallery, Santa Monica, CA

2024 Common Knowledge, Jack Fischer Gallery, San Francisco, CA

2023 Longhand, Leslie Sacks Gallery, Santa Monica, CA

2022 Manner of Speaking, Jack Fischer Gallery, San Francisco, CA

2021 In Retrospect, Stremmel Gallery, Reno, NV

2019 Leslie Sacks Gallery, Santa Monica, CA

B. Sakata Garo, Sacramento, CA

2018 Wirtz Art/Minnesota Street Project, San Francisco, CA

Leslie Sacks Gallery, Santa Monica, CA

SELECTED SOLO EXHIBITIONS (cont.)

2017 Outside Voice, Sonoma County Museum of Art, Santa Rosa, CA

2016 Stremmel Gallery, Reno, NV

2015 Still Water, Leslie Sacks Gallery, Santa Monica, CA

2014 Angels‘ Share, Wirtz Gallery, San Francisco, CA

2012

Marc Katano: Penumbra, Wirtz Gallery, San Francisco, CA

Incisions, paintings on wood, 1990-91, 455 Market, San Francisco, CA, curated by Bonnie Earls-Solari

2009 Marc Katano: Half Light, Wirtz Gallery, San Francisco, CA

2008

Marc Katano: Eurhythmic, Cheryl Pelavin Fine Art, New York, NY

2006 Costello Childs Art, Phoenix, AZ

2005 Tadu Contemporary Art Downtown, Santa Fe, NM

Stephen Wirtz Gallery, San Francisco, CA

2004 Bryan Ohno Gallery, Seattle, WA

2003 Stremmel Gallery, Reno, NV

The Contemporary Museum at First Hawaiian Center, Honolulu, HI

Pulliam Deffenbaugh Gallery, Portland, OR

2002 Line Drawing, Cheryl Pelavin Gallery, New York, NY

2001 New Paintings, Stremmel Gallery, Reno, NV

2000 New Paintings, Pulliam & Deffembaugh Gallery, Portland, OR

1999 Palimpsest, Cheryl Pelavin Fine Arts, New York, NY

Pulliam & Deffenbaugh Gallery, Portland, OR

Stremmel Gallery, Reno, NV

Stephen Wirtz Gallery, San Francisco, CA

1997 Dusk and Dawn, Stremmel Gallery, Reno, NV

1995 Light and Shadows, Elizabeth Leach Gallery, Portland, OR

Thomas Babeor Gallery, La Jolla, CA

Stephen Wirtz Gallery, San Francisco, CA

Penumbra, Bentley Gallery, Scottsdale, AZ

Art Salon II, Chiba, Japan

1994 Gallery Fresca, Tokyo, Japan

Stephen Wirtz Gallery, San Francisco, CA

1993 Sharon Truax Fine Art, Venice, CA

1992

ßGH2 Gallery, Los Angeles, CA

1991 Richard Green Gallery, Santa Monica, CA

Stephen Wirtz Gallery, San Francisco, CA

1989 Richard Green Gallery, Los Angeles, CA

1988 Richard Green Gallery, New York, NY

1987 Mary Wright Gallery, Dallas, TX

1986 Richard Green Gallery, New York, NY

Stephen Wirtz Gallery, San Francisco, CA

1985 San Jose Institute of Contemporary Arts, San Jose, CA

1984 Bank of America Plaza Gallery, San Francisco, CA

Hodges/Banks Gallery, Seattle, WA

1983 Studio Marconi, Milan, Italy

Stephen Wirtz Gallery, San Francisco, CA

1982 California State University, Hayward, CA

1980 Stephen Wirtz Gallery, San Francisco, CA

1979 Introductions, Stephen Wirtz Gallery, San Francisco, CA

SELECTED GROUP EXHIBITIONS

2025 Where Things Begin: 10 American Artists of the Asian Diaspora, Paul Thiebaud Gallery, San Francisco, CA

2024 Contemporary Discoveries, Leslie Sacks Gallery, Santa Monica, CA

2022 Self-Portraits, Marc Katano & Kyoko Asano, Cirrus Gallery, Los Angeles, CA

2019 Sonoma Modern/Contemporary Sonoma Valley Museum of Art, Sonoma, CA

2015 Sonoma State University Art Gallery, Sonoma, CA

2013 AKIN: The Art of Nicole and Marc Katano, Sonoma Valley Museum of Art, Sonoma, CA, curated by Kate Eilertsen

2010 One by the Other, Marc Katano and Nicole Katano, The EDGE Gallery, Santa Fe, NM

2009 Stremmel Gallery, Reno, NV

2008

Inaugural Exhibition, The Edge Gallery, Santa Fe, NM

Inaugural Exhibition, Costello Childs Gallery, Scottsdale, AZ

Friends, Cheryl Pelavin Fine Art, New York, NY

2007 18 Painters, Visual Arts Gallery, Mt. Hood Community College, Gresham, OR

CCA Artists at Wirtz Gallery, Stephen Wirtz Gallery, San Francisco, CA

2006 Inaugural Exhibition, Costello/Childs Contemporary, Phoenix, AZ

Paintings on Paper 1998-2006, Costello/Childs Contemporary, Phoenix, AZ

3 Painters, Tadu Contemporary Art, Santa Fe, NM

Black and White, Pulliam Deffenbaugh Gallery, Portland, OR

2004 Marc Katano Paintings/Minoru Ohira Sculpture, Sabina Lee Gallery, Los Angeles, CA

Summer Painting Show, Bryan Ohno Gallery, Seattle, WA

2002 In Context: Pattern in Contemporary Printmaking, Zimmerli Art Museum, Rutgers University, NJ

2001 Marc Katano and Minoru Ohira, Bryan Ohno Gallery, Seattle, WA

Contemporary Prints, Pulliam Deffenbaugh Gallery, Portland, OR

Collecting Our Thoughts: The Community Responds to Art in the Permanent Collection, San Jose Museum of Art, San Jose, CA

2000 Past and New Print Publications: Works by Marc Katano, Brad Durham, Charles C. Hill and Craig Kauffman, Cirrus Gallery, Los Angeles, CA

1999 LA NY LA, Cheryl Pelavin Fine Art, New York, NY

1998 Works on Paper, Stephen Wirtz Gallery, San Francisco, CA

1997 California Painting Sampler: Selections from BankAmerica Corporation Art Collection, Bank of America World Headquarters, San Francisco, CA

Two Person Exhibition, Katano/Sakata, L.A. Artcore, Los Angeles, CA

1996 NEWances, Stephen Wirtz Gallery, San Francisco, CA

New Beginnings, Skirball Museum, Los Angeles, CA

Fifteenth Anniversary Exhibition, Elizabeth Leach Gallery, Portland, OR

Group Exhibition, Thomas Babeor Gallery, La Jolla, CA

1994 Elizabeth Leach Gallery, Portland, OR

A Common Language: Marc Katano and Minoru Ohira, Sharon Truax Fine Art, Venice, CA

Nature Organized, Korean Cultural Center, Los Angeles, CA

Inaugural Exhibition, L.A. Artcore, Los Angeles, CA

1993 Gallery IV, Los Angeles, CA Gallery Finarte, Nagoya, Japan

1991 The Artist’s Hand: Drawings from the BankAmerica Art Collection, San Diego Museum of Contemporary Art, La Jolla, CA

Maruzen Gallery, Sendai, Japan

1990 Entetsu Art Theater Rose, Hamamatsu, Japan

1989 Order and Intuition, Palo Alto Cultural Center, Palo Alto, CA

1988 Mind Over Matter: New American Abstraction, International Art Project, San Francisco, CA

Then and Now, Palo Alto Cultural Center, Palo Alto, CA

1987 Shaklee Building, San Francisco, CA

1985 Cultural Frontiers Across the Pacific, Dominican College, San Rafael, CA

California Directions in Painting, Visual Arts Center of Alaska, Anchorage, AK

1984 Traditions Transformed, Oakland Museum, Oakland, CA

American Woodcuts Revival and Innovation, organized by World Print Council; traveling exhibition throughout Europe, sponsored by U.S.I.S. Mary Porter Sesnon Art Gallery, Porter College, University of California, Santa Cruz, CA

1983 Oriental Art, The St. Paul Company Headquarters, St. Paul, MN

SELECTED PUBLIC COLLECTIONS (cont.)

The Japanese Artist in Hawaii ‘83, Amfac Center Plaza Gallery, Honolulu, HI

1981 Bay Arts ‘81, juried by Jan Butterfield, Belmont, CA

February: A Group Exhibition, Stephen Wirtz Gallery, San Francisco, CA

Crocker-Kingsley Annual Exhibition, juried by Betty Turnbull, E.B. Crocker Art Museum, Sacramento, CA

Three at Stephen Wirtz, Stephen Wirtz Gallery, San Francisco, CA

1981 SECA Award Exhibition, San Francisco Museum of Modern Art, San Francisco, CA

1980 Sculpture, Berkeley Arts Center, Berkeley, CA

1978 Alumni Invitational, California College of Arts and Crafts, Oakland, CA

1977 Group Exhibition, Sun Gallery, Hayward, CA

1975 Hayward Area Festival of the Arts, Hayward, CA

1974 Bay Area Contemporary Artists, Palace of the Legion of Honor, San Francisco, CA

Group Exhibition, University of Washington, Seattle, WA

SELECTED PUBLIC COLLECTIONS

Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, CA Crocker Art Museum, Sacramento, CA

Honolulu Museum of Art, Honolulu, HI

Renown Regional Medical Center, Art Collection, Reno, NV

Sacramento Regional Transit District, Sacramento, CA

San Francisco International Airport Museum, San Francisco, CA

San Francisco Museum of Modern Art, San Francisco, CA

San Jose Museum of Art, San Jose, CA

The Flood Family Collection, San Francisco, CA

Zimmerli Art Museum, Rutgers University, New Brunswick, NJ

SELECTED BIBLIOGRAPHY

2008 Creative Quarterly, Fall 2008

1984 San Francisco Bay Area Painting, Group Exhibition, Sheldon Memorial Art Gallery, University of Nebraska-Lincoln, Lincoln, NE

1984 Traditions Transformed, Group Exhibition, Oakland Museum, Oakland, CA

1984 Doizaki Gallery, Los Angeles, CA

1984 American Woodcuts: Revival and Innovation, World Print Council / U.S.I.S.

Born 1988 in Watsonville, CA

EDUCATION

2022 MFA, Studio Art, Stanford University, Palo Alto, CA

2011 BFA, Studio Art, University of California, San Diego, CA

JOSHUA MORENO

EXPERIENCE

2022 Instructor, Drawing, Stanford University, Palo Alto, CA

2020 Co-founded, “all of us” art collective

SELECTED RESIDENCIES

2023 Cité Internationale des Arts, Paris France

Headlands Centre for the Arts, Sausalito, CA

2022 Headlands Centre for the Arts, Sausalito, CA

SELECTED SOLO EXHIBITIONS

2023 The Nature of Things Here, Headlands Centre for the Arts, Sausalito, CA

Composition G, East Palo Alto, CA

2022 Shifting Heights, Upper Market Gallery, San Francisco, CA

Things I’ve Seen Since We’ve Been Together Apart, Bleeker Hall, Stanford University, Palo Alto, CA

Impressions Lasting, Bleeker Hall, Stanford University, Palo Alto, CA

2021 Everything is Temporary, ICE Gallery, Logan Heights, CA

2018 Swoop In Out Back, Space4Art, San Diego, CA

Light as a Feather, Stiff as a Board, Helmuth Projects, San Diego, CA

SELECTED GROUP EXHIBITIONS

2025 Where Things Begin: 10 American Artists of the Asian Diaspora, Paul Thiebaud Gallery, San Francisco, CA

2024 Contemporary Asian American Abstraction, Paul Thiebaud Gallery, San Francisco, CA

2023 Eco Echoes, Headlands Center for the Arts, Sausalito, CA

Shifting Trajectories, Cite Internationale Des Arts, Paris, Fr

Pictures of You, The Lab, San Francisco, CA

All the Troubles, Upper Market Gallery, San Francisco, CA

Pyramid Scheme, Bass Reiner, San Francisco, CA

2022 Memory Traces, La Jolla Historical Society, San Diego, CA

Inflorescence Scaffold, Headlands Center for the Arts, Sausalito, CA

Ultraviolent, Patricia Sweetow Gallery, San Francisco, CA

Let Them Eat Cake, University Gallery, Stanford, CA

2021 Lava Cake, University Gallery, Stanford, CA

Constructive Eviction, 2 Swinson Gallery, Oakland, CA

In These Uncertain Times, The Museum of Art and History, Santa Cruz, CA

2020 Another Day OK, all of us, online exhibition, www.allofusprojects.com

Layer Cake, Coulter Gallery, Stanford, CA

2019 Takeaways, Pajaro Valley Art Gallery, Watsonville, CA

2018 High Key: Color in Southern California, San Diego Art Institute, San Diego, CA

Marine Layer, Helmuth Projects, San Diego, CA

Distant Light, Quint Projects, San Diego, CA

2017 Diverge/Convene, San Diego Art Institute, San Diego, CA

2016 The Frequency of Something Happening, Space4Art, San Diego, CA

SELECTED PUBLICATIONS AND REVIEWS

2024 Van Proyen, Mark. “Contemporary Asian American Abstraction @ Paul Thiebaud,” Squarecylinder.com, June 26, 2024.

GRACE MUNAKATA

Born 1957 in Monterey, CA

EDUCATION

1985 MFA, Studio Art, University of California, Davis, CA

1984 Skowhegan School of Painting and Sculpture, Skowhegan, ME

1980 BA, Studio Art, University of California, Davis, CA

PROFESSIONAL EXPERIENCE

1988-2021 Professor of Painting & Drawing, California State University East Bay, Hayward, CA

SELECTED AWARDS AND RESIDENCIES

2022 Morris Graves Foundation, Loleta, CA

2020 Sitka Centre for Art and Ecology, Cascade Head, OR

2019 Monson Artist Residency, Monson, ME

2018 Skaftfell Artist Residency, Center for Visual Arts, Seydisfjordur, Iceland

2017 Lucid Art Residency, Lucid Art Foundation, Inverness, CA

2015 Sabbatical leave award CSU East Bay

2009 Sabbatical leave award CSU East Bay

1998 Sabbatical leave award CSU East Bay

1992 Faculty Development Award CSU Hayward

1985 Graduate Teaching Award, University of California, Davis

1984

Regents Fellowship, University of California, Davis

Andy Warhol Scholarship, Art Department, University of California, Davis

Skowhegan Summer School Scholarship

Humanities Research Grant, University of California, Davis

Travel Grant, Art Dept., University of California, Davis

1983 Graduate Opportunity Fellowship, University of California, Davis

Humanities Research Grant, University of California, Davis

SELECTED SOLO AND TWO PERSON EXHIBITIONS

2023 Grace Munakata: Biology of Flight, Anglim Trimble Gallery, San Francisco, CA

2016 Paintings & Collages, Paul Thiebaud Gallery, San Francisco, CA

2014 Paintings, Paul Thiebaud Gallery, San Francisco, CA

2013 Paintings, b. sakata garo, Sacramento, CA

2012 Habitation, St. Supéry Vineyards & Winery, Rutherford, CA

2011 It’s Never Too Late to Have a Happy Childhood, Braunstein/Quay Gallery, San Francisco, CA, two-person show

2009 Recent Works, b. sakata garo, Sacramento, CA.

2008 New Work, Braunstein/Quay Gallery, San Francisco, CA

2005 Near at Hand, Braunstein/Quay Gallery, San Francisco, CA

2003 A Thousand Layers of Self, James Kaneko Gallery, Sacramento, CA

2002 Paintings & Collages, Braunstein/Quay Gallery, San Francisco, CA.

2000 Paintings, Gregory Kondos Gallery, Sacramento City College, Sacramento, CA

1999 Shasta College Gallery, Redding, CA, two-person show

Recent Artists: Paintings and Drawings, Artists Contemporary Gallery, Sacramento, CA, two-person show

1997 Recent Work, Braunstein/Quay Gallery, San Francisco, CA

1994 New York, Braunstein/Quay Gallery, San Francisco, CA

1992 Recent Paintings, Artists Contemporary Gallery, Sacramento, CA

1991 Mixed Media on Paper, Natsoulas-Novelozo Gallery, Davis, CA

1989 Recent Work, Jeremy Stone Gallery, San Francisco, CA

1988 Artists Contemporary Gallery, two-person show, Sacramento, CA

1986 Introductions ‘86, Allrich Gallery, San Francisco, CA

1985

Landscape Drawings, Shackelford & Sears, Davis, CA

MFA Exhibition, Nelson Gallery, UC Davis, CA

Artworks Gallery, Fair Oaks, CA

1984 Davis Art Center, Davis, CA

SELECTED GROUP EXHIBITIONS

2025 Where Things Begin: 10 American Artists of the Asian Diaspora, Paul Thiebaud Gallery, San Francisco, CA

2024 Contemporary Asian American Abstraction, Paul Thiebaud Gallery, San Francisco, CA

Summer Group Exhibition: Find the Connections, Anglim/Trimble, San Francisco, CA

2023 An exhibition of women artists, Anglim Trimble Gallery, San Francisco, CA

2022 Dancing with Charlie: Bay Area Art from the Campbell Collection, Sonoma Valley Museum of Art, Sonoma, CA

2021 Wayne Thiebaud Influencer: A New Generation, Manetti Shrem Museum, Davis, CA

Making Their Mark, Anne Loucks Gallery, Glencoe, IL

2019 Three Views, Ann Loucks Gallery, Glencoe, IL

2018 Lucid Art Residency Annual Exhibition, Gallery Route One, Point Reyes Station, CA

Faculty and Staff Exhibition, University Gallery, CSU East Bay, Hayward, CA

2016 Celebrating Ruth, Fouladi Projects, San Francisco, CA

2015

2014

Faculty and Staff Exhibition, University Gallery, CSU East Bay, Hayward, CA

EXPO Chicago, Festival Pavilion, Navy Pier, Chicago, IL

Collage: New Directions, Cherry Center for the Arts, Carmel, CA

artMRKT San Francisco, Festival Pavilion, Fort Mason Center, San Francisco, CA

Art Silicon Valley/San Francisco, San Mateo County Event Center, San Mateo, CA

EXPO Chicago, Festival Pavilion, Navy Pier, Chicago, IL

artMRKT San Francisco, Festival Pavilion, Fort Mason Center, San Francisco, CA

Art Miami, The Art Miami Pavilion, Wynwood Arts District, Miami, FL

2013 artMRKT San Francisco, Festival Pavilion, Fort Mason Center, San Francisco, CA

Art Miami, International Contemporary and Modern Art Fair, Miami, FL

EXPO Chicago, Festival Pavilion, Navy Pier, Chicago, IL

Palm Springs Fine Art Fair, Palm Springs Convention Center, Palm Springs, CA

LA Art Show, Los Angeles Convention Center, Los Angeles, CA

2012 artMRKT San Francisco, Festival Pavilion, Fort Mason Center, San Francisco, CA

Art Miami, The Art Miami Pavilion, Wynwood Arts District, Miami, FL

EXPO Chicago, Festival Pavilion, Navy Pier, Chicago, IL

artMRKT San Francisco, Concourse Exhibition Center, San Francisco, CA

Palm Springs Fine Art Fair, Palm Springs Convention Center, Palm Springs, CA

Transcendental Visions, The Independent, Sand City, CA (exhibition catalog)

2011 Collage, Cherry Center, Carmel, CA

Beyond Tradition: Art Legacies at the Richmond Art Center, Part 2, Richmond Art Center, Richmond, CA

Crosscurrents, Togonon Gallery, San Francisco, CA

Faculty Show, University Gallery, CSU East Bay, Hayward, CA

2010 Figures, b. sakata garo, Sacramento, CA

2009 Assemblage + Collage + Construction: A Collective View of Art from Multiple Santa Cruz County Venues, The Museum of Art & History, Santa Cruz, CA

Gallery Group Show, Braunstein/Quay Gallery, San Francisco, CA

2008 Contemporary Drawings and Works on Paper, Center for Contemporary Art, Sacramento, CA

2007 Coming Attractions: Gallery Group Show, Braunstein/Quay Gallery, San Francisco, CA

SELECTED GROUP EXHIBITIONS (cont.)

2003 The Miniature Show, Graystone Gallery, San Francisco, CA

Branching Out, Braunstein/Quay Gallery, San Francisco, CA

Cut, Copy, Paste: The Art of Contemporary Collage, De Saisset Museum, Santa Clara University, Santa Clara, CA

2001 San Francisco International Art Exposition, Ft. Mason, San Francisco, CA

A Private Need: Manual Neri’s art collection, Arts Benicia Gallery, CA

Invitational Exhibition, Richard Nelson Gallery, University of California, Davis, CA

2000

Annual Faculty Exhibition, University Art Gallery, CSU Hayward, CA

Self Portraits, Artists Contemporary Gallery, Sacramento, CA

Selected Recent Acquisitions, Richard Nelson Gallery, Fine Arts Collection, University of California, Davis, CA

Simply Drawing, Artists Contemporary Gallery, Sacramento, CA

Artists in Embassies Program (AIEP) Exhibition, Lima Peru (exhibition catalog)

Artists Valentines, Nelson Gallery, University of California, Davis, CA

1999 New Space, New Work, Braunstein/Quay Gallery, San Francisco, CA

They hold up half the sky, South of Market Cultural Center, San Francisco, CA

Inaugural Exhibition, Campbell-Thiebaud Gallery, Laguna Beach, CA

Group Exhibition, Braunstein/Quay Gallery, San Francisco, CA

Faculty Exhibition, University Gallery, CSU, Hayward, CA

Off the Wall, Artists Contemporary Gallery, Sacramento, CA

1997 Invitational Valentine Exhibition, Nelson Gallery, University of California, Davis, CA

1994 Spring Exhibition, Joan Roebuck Gallery, Lafayette, CA

Good things come . . ., Braunstein/Quay Gallery, San Francisco, CA

SOMAR Gallery, San Francisco, CA

North by Northeast 2, Richmond Art Center, Richmond, CA (exhibition catalog)

Landscapes & Still Lifes of the Sacramento Valley School, John Natsoulas Gallery, CA

Off the Wall, Artists Contemporary Gallery, Sacramento, CA

Artists for Amnesty, John Natsoulas Gallery, Davis, CA

1993 Contemporary Artists of the California Landscape, John Natsoulas Gallery, Davis, CA

Off the Wall, Artists Contemporary Gallery, Sacramento, CA

1992 East is East, Pence Gallery, Davis, CA

Northern California to Northern Italy, Joan Roebuck Gallery, Lafayette, CA

Looking Out/Looking In, Selections of Bay Area Drawings, Richmond Art Center, Richmond, CA

Rodeo, A Studio Community, Bedford Gallery, Regional Center for the Arts, Walnut Creek, CA

1990 Jeremy Stone Gallery, San Francisco, CA

1990 Artists of Contra Costa County, Hearst Art Gallery, St. Mary’s College of CA Artists for Amnesty, Natsoulas-Novelozo Gallery, Davis, CA

1989 Landscape Visions, California State University, Long Beach, CA

Landscapes 14 California Artists, Natsoulas-Novelozo Gallery, Davis, CA

1988 The Contemporary Romantic Landscape, Jeremy Stone Gallery, San Francisco, CA

West Coast Collage, University of Oregon Museum of Art, Eugene, OR West Coast Collage, University of Oregon Museum of Art, Eugene, OR

Artists Contemporary Gallery, Sacramento, CA

Shackelford and Sears, Davis, CA

1986 All California 86, Laguna Art Museum, Laguna Beach, CA Pence Gallery, Davis, CA

Faculty Show, Sierra College, Winstead Gallery, Rocklin, CA

1985 A Place Apart, Allrich Gallery, San Francisco, CA

Davis at Berkeley, Heller Gallery, University of California, Berkeley, CA

Post 84 Show, Davis Art Center, Davis, CA

4th Annual Cowtown, Chann Elliott Gallery, Sacramento, CA

Collage, Winstead Gallery, Sierra College, Rocklin, CA

1984 American Works on Paper, Zaner Gallery, Rochester, NY

1982 Hayward Area Forum for the Arts, Hayward, CA

Northern California Art Association, Sacramento, CA

Five from Davis, White Gallery, Sacramento, CA

SELECTED PUBLICATIONS AND REVIEWS

2024 Van Proyen, Mark. “Contemporary Asian American Abstraction @ Paul Thiebaud”, Squarecylinder.com, June 26, 2024.

2016 Chun, Kimberly. “Group show to honor gallery owner Ruth Braunstein,” San Francisco Chronicle, January 27, 2016.

2014 Baker, Kenneth. “Munakata’s Abstracts – At 1st Glance”, San Francisco Chronicle, March 8, 2014.

2013 Dalkey, Victoria. “Artist Mixes Abstraction, Pattern, Imagery”, San Francisco Chronicle, June 2013.

2011 Baker, Kenneth. “Simulations, Substances and Humor. Munakata’s Graces”, San Francisco Chronicle, July 2, 2011.

2010 Dalkey, Victoria. “Second Saturday picks: It Figures.”, Sacramento Bee, February 12, 2010.

2009 Roth, David. “Grace Munakata at b. sakata garo”, Squarecylinder.com, April 19, 2009.

Dalkey, Victoria. “A Dogged Search . . . for Home”, Sacramento Bee, April 10, 2009.

2005 Jordan Essoe. “Grace Munakata at Braunstein/Quay Gallery,” Artweek, cover image, May 2005.

2003 Dalkey, Victoria. “Critic’s Pick, James Kaneko Gallery.” Sacramento Bee, Dec. 7, 2003.

2000 Dalkey, Victoria. “Rich Study in Contradictions...”, Sacramento Bee, November 5, 2000. Jenkins, Steven. “2000 Faculty Exhibition”, Artweek, March 2000.

1999 Dalkey, Victoria. Exhibition essay, Shasta College, Redding, CA, 1999.

1994 Gordon, Alan M. “Flatlanders: Sacramento Valley School”, Artweek, February 3, 1994. Allen, Julie. Art Programming Producer, “Expressions,” PBS, KRCB, Rohnert Park, CA, 1994.

1992 Dreher, Warren. Linker, Martin. Fowler, Carol. “Rodeo, A Studio Community”, Bedford Gallery, Regional Center for the Arts, Walnut Creek, 1992.

Steel, Nancy. “Strait Reflections”, Diablo Arts Magazine, May 1992.

1991 Moyle, Marilyn. Art Review, Davis Enterprise, March 24, 1991.

Fowler, Carol. “Artists’ Enclave”, West County Times, Aug. 4, 1991.

1989 Baker, Kenneth. “Painters Attack Images from Different Angles”, San Francisco Chronicle, Sept. 1, 1989.

Nixon, Bruce. “The Constant Light”, Artweek. July 1, 1989. Chan, Tony. “Another Day in America”, Video.

1987 McColm, Del. Review, Davis Enterprise, Feb. 19, 1987.

Dalkey, Victoria. “Varying Visions”, Sacramento Bee, March 20, 1987.

1986 Dalkey, Victoria. “Meetings by the Bay”, Sacramento Bee, July 6, 1986.

Dalkey, Victoria. “Memories Sifted”, Sacramento Bee, Oct. 5, 1986.

McColm, Del. “Rare Landscape Exhibits”, Davis Enterprise, Sept. 25, 1986.

1985 Hays, Joanne Burstein. “Visions from Special Places”, Artweek, May 1985. Schlesinger, Ellen. “Basking in Basics: Exhibits of Hard-won Mastery in Davis,” Sacramento Bee, June 1985.

SELECTED COLLECTIONS

Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, CA

Bank of America, San Francisco, CA

Crocker Art Museum, Sacramento, CA

Estate of Jess Collins and Robert Duncan

Estate of Ruth Braunstein, San Francisco, 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

Jeremy Stone, San Francisco, CA

Joan Roebuck, Lafayette, CA

Jonathon Wells, Chicago IL

SELECTED

COLLECTIONS (cont.)

Lifelong Medical Care, Berkeley CA

Linda Aldrich, San Francisco, CA

Manuel Neri, Benicia, CA

Mr. & Mrs. Trevor Foster, St. Helena, CA

Nancy & Paul Pelosi, Washington, D.C.

Paul Thiebaud Foundation, San Francisco, CA

Peggy and Willis Newton, San Francisco, CA

San Francisco Federal Savings San Francisco, CA

Sarah Blaffer Hrdy, Winters, CA

Silicon Valley Bank, San Jose, CA

Thom W. Weisel, San Francisco, CA

Tom Konopiots, Chicago, IL

ARTHUR OKAMURA

Born in 1932 in Long Beach, CA

Died in 2009 in Bolinas, CA

EDUCATION

1954 Yale University Summer Art Seminar, New Haven, CT

1951, 1953 University of Chicago, Chicago, IL

1950-54 The Art Institute of Chicago, Chicago, IL

SCHOLARSHIPS

1954 Edward L. Ryerson, Foreign Travel Fellowship

1954 Yale University Summer Art Seminar 1950-1954 Chicago Art Institute (four years)

TEACHING

1966-1997

California College of Arts & Crafts (Professor of Fine Arts) 1989, 1991 Watercolor Painting in Bali (Sponsored by Wilderness Journeys/Art Trek & University of California, Santa Cruz)

1987 Watercolor Painting in Tahiti

1977 Humboldt State College, Arcata, CA

1976 University of California, Santa Cruz, CA

1972

Fort Wright College, Spokane, WA

Guest Lecturer, University of Utah, Salt Lake City, UT

1964 Guest Lecturer, University of Utah, Salt Lake City, UT

1962

1959

Saugatuck Summer Art School, Saugatuck, MI

Saugatuck Summer Art School, Saugatuck, MI

California College of Arts & Crafts, Oakland, CA

1958 Academy of Art, San Francisco, CA

California College of Arts & Crafts, Oakland, CA

Director, San Francisco Studio of Art

1957 Central YMCA College of Chicago, Chicago, IL

Evanston Art Center, Evanston, IL

The School of the Art Institute of Chicago, Chicago, IL

North Shore Art League, Winnetka, IL

1956 Central YMCA College of Chicago, Chicago, IL

Evanston Art Center, Evanston, IL

SELECTED SOLO EXHIBITIONS

2024 Arthur Okamura: Buddha’s Garden, Paul Thiebaud Gallery, San Francisco, CA

2023 Returnings, House of Seiko, San Francisco, CA

2009

2006

Arthur Okamura: Then, Now, and Beyond, Braunstein Quay Gallery, San Francisco, CA

Arthur Okamura: Paintings, Braunstein/Quay Gallery, San Francisco, CA

2003 Paintings & Monoprints, Braunstein/Quay Gallery, San Francisco, CA

2001 Commonweal, Bolinas, CA

2000 Home With New Light, Braunstein/Quay Gallery, San Francisco, CA

1997 Fishes, Crows, Dogs, and People, Braunstein/Quay Gallery, San Francisco, CA Miniature Show, Bolinas Museum, Bolinas, CA

As Seen At The Beach, Bolinas Museum, Bolinas, CA

1996 Early Paintings, Vorpal Gallery, San Francisco, CA

1995 Recent Bolinas Landscapes, Commonweal -20th Anniversary Celebration, Bolinas, CA

FOCUS: Arthur Okamura (retrospective); Concurrently at the Bolinas Museum, Bolinas, CA, and Claudia Chaplin Gallery, Stinson Beach, CA

1994 Braunstein/Quay Gallery, San Francisco, CA

1990 Braunstein/Quay Gallery, San Francisco, CA

1988 Braunstein/Quay Gallery, San Francisco, CA

1987 Braunstein/Quay Gallery, San Francisco, CA

1986 201 Fish, Braunstein/Quay Gallery, San Francisco, CA

1985 Dog Paintings, Braunstein/Quay Gallery, San Francisco, CA

1984 Canyon Paintings, Braunstein/Quay Gallery, San Francisco, CA

1983 Stinson Beach Art Center, Stinson Beach, CA

1982 Fruit Paintings, Braunstein/Quay Gallery, San Francisco, CA

1981 Bali Paintings, Braunstein/Quay Gallery, San Francisco, CA

1980 Commonweal, Bolinas, CA

1977 Hanson Fuller Gallery, San Francisco, CA

1973 Kent State University, Kent, OH

Honolulu Academy of Arts, Honolulu, HI

Charles Feingarten Gallery, Los Angeles, CA

1972 California College of Arts & Crafts, Oakland, CA University of Southern Idaho, Twin Falls, ID

1971 Hanson Fuller Gallery, San Francisco, CA

Govett Brewster Gallery, New Plymouth, New Zealand

1968 Drawings, San Francisco Museum of Art, San Francisco, CA

Hanson Gallery, San Francisco, CA

1966 College of Holy Names, Oakland, CA

1965 M. Knoedler & Company, New York, NY

1964 Hanson Gallery, San Francisco, CA

University of Utah, Salt Lake City, UT

1963 La Jolla Museum, La Jolla, CA

1962 Calhoun Gallery, Dallas, TX

1961 California Palace of the Legion of Honor, San Francisco, CA

1959 Oakland Museum of Art, Oakland, CA

1958 Santa Barbara Museum of Art, Santa Barbara, CA

1956-1976

Feingarten Galleries, Chicago, New York, San Francisco, Los Angeles

1954 La Boutique, Chicago, IL

1953 Frank Ryan Gallery, Chicago, IL

La Boutique, Chicago, IL

SELECTED GROUP EXHIBITIONS

2025 Where Things Begin: 10 American Artists of the Asian Diaspora, Paul Thiebaud Gallery, San Francisco, CA 2023 TWENTY FIVE TREASURES 2023, Paul Thiebaud Gallery, San Francisco, CA

2008 A Body of Work, Bolinas Museum, Bolinas, CA

Holiday Special: Gallery Group Show, Braunstein/Quay Gallery, San Francisco, CA

2007 Coming Attractions: Gallery Group Show, Braunstein/Quay Gallery, San Francisco, CA

2003 Branching Out, Braunstein/Quay Gallery, San Francisco, CA

2001 Leading the way: visionary Asian American artists of the older generation, Gordon College, Waltham, MA

1997 Making Art Histories: On the Trail of David Park, San Francisco Museum of Modern Art, San Francisco, CA

As Seen At The Beach, Bolinas Museum, Bolinas, CA

Miniature Show, Bolinas Museum, Bolinas, CA

1996 Hand Made Books (Opening Exhibition), San Francisco Public Library, San Francisco, CA

1995 Chaos in the Backroom, Braunstein/Quay Gallery, San Francisco, CA

With New Eyes, San Francisco State University, San Francisco, CA

1994 Braunstein/Quay Gallery Artists, Shasta College Gallery, Redding, CA

Seas, Lakes and Rivers, San Francisco International Airport, San Francisco, CA

1993 60 Plus: Older Artists of West Marin, Bolinas Museum, Bolinas, CA

Gallery Route One, Pt. Reyes Station, CA

Sea Fever, Transamerica Pyramid, San Francisco, CA

Cats, Bolinas Museum, Bolinas, CA

1991 In The Garden, Bolinas Museum, Bolinas, CA

1990 Miniature Show, Bolinas Museum, Bolinas, CA

1988 Opening Show, Bolinas Museum, Bolinas, CA

Tropical Topics, Monterey Peninsula Museum of Art, Monterey, CA

1987 Art is…, The Art Museum of Santa Cruz County, Santa Cruz, CA On The Trail, Claudia Chaplin Gallery, Stinson Beach, CA

1986 Tropical Visions, St. Mary’s College, Moraga, CA

Tropic Exotic, TransAmerica Pyramid, San Francisco, CA

1984 The Subject is Objects, St. Mary’s College, Moraga, CA

1983 Oversize Watercolors, Jane Haslam Gallery, Washington, DC

University of Illinois, Champaign, IL

1982 7th Anniversary Faculty Exhibition, California College of Arts & Crafts, Oakland, CA

1981 20th Anniversary Exhibition, Braunstein Gallery, San Francisco, CA

1979 Braunstein Gallery, San Francisco, CA

1976 Zen Gardens, San Jose State University, San Jose, CA

1975 Falkirk Community Cultural Center, San Rafael, CA

Two-Person Show with Joan Rosenbaum, Walnut Creek Art Center, Walnut Creek, CA

1974 Four from CCAC, Berkeley Art Center, Berkeley, CA

1973 A Sense of Place, Joslyn Art Museum, Omaha, NE

1972 Imaginary Painting from SF California State University, San Jose, CA

1971 Asian Artists, Oakland Museum of California, Oakland, CA

1970 Takashima 1970 Exposition, Osaka/Tokyo, Japan

Bay Area Art Faculties, College of Marin, Kentfield, CA

1967 Painters Behind Painters, California Palace of the Legion of Honor, San Francisco, CA SELECTED

Pittsburgh International, Carnegie Institute, Pittsburgh, PA

1966 SECA Exhibits, San Francisco Museum of Art, San Francisco, CA

1965

Crocker Art Museum, Sacramento, CA

Pacific Heritage, Los Angeles County Museum of Art, Los Angeles, CA

1964 Recent Collections by Friends of the Whitney, Whitney Museum of American Art, New York, NY

Whitney Annual, Whitney Museum of American Art, New York, NY

Ravinia Art Festival, Lake Forest, IL

Corcoran Gallery, Washington, D.C.

1963

1962

Whitney Annual, Whitney Museum of American Art, New York, NY

Forty Artists Under Forty, Whitney Museum of American Art, New York, NY

Bay Area Artists, San Francisco Museum of Art, San Francisco, CA

Whitney Annual, Whitney Museum of American Art, New York, NY

1961 Great by Greats, Time Life Building, New York, NY

1960

Sculpture and Drawing, San Francisco Museum of Art, San Francisco, CA

Whitney Annual, Whitney Museum of American Art, New York, NY

San Francisco Annual, San Francisco Museum of Art, San Francisco, CA

1959 New Talent, American Federation of Art, CA

Dallas Museum of Art, Dallas, TX

Fresh Paint, M. H. De Young Memorial Museum, San Francisco, CA

Knoedler Gallery, New York, NY

Winter Invitational, California Palace of the Legion of Honor, San Francisco, CA

West Coast Painters, American Federation of Art, CA

San Francisco Annual, San Francisco Museum of Art, San Francisco, CA

American Exhibition, Art Institute of Chicago, Chicago, IL

1958-1959 Drawings of California Artists, Sponsored by U.S. Information Center, Berlin, Germany

1958 Contemporary Americans, University of Nebraska, Lincoln, NE

Recent Acquisitions, Denver Art Museum, Denver, CO

San Francisco Annual, San Francisco Museum of Art, San Francisco, CA

West Coast Painters, American Federation of Art, New York, NY

Fresh Paint, M. H. de Young Memorial Museum, San Francisco, CA

1957 Society of Contemporary Art, Art Institute of Chicago, Chicago, IL

Art In Asia and the West, San Francisco Museum of Art, San Francisco, CA

Contemporary American Painting, Art Institute of Chicago, Chicago, IL

Contemporary Americans, Los Angeles County Museum of Art, Los Angeles, CA

American Exhibition, Art Institute of Chicago, IL

1956 Ravinia Art Festival, Highland Park, IL

1955 University of Washington, Seattle, WA

1954 Pennsylvania Academy of Fine Art

Downtown Gallery, New York, NY

The Museum of Modern Art, New York, NY

The Art Institute of Chicago Annual, Chicago, IL

1953 The Art Institute of Chicago Annual, Chicago, IL

1952 The Art Institute of Chicago Annual, Chicago, IL

1951 The Art Institute of Chicago Annual, Chicago, IL

AWARDS

1976 San Francisco Art Commission - Purchase Prize

National Society of Arts & Letters, New York, Purchase Award

1960 Whitney Museum of Art – Neysa McMein Purchase Award

79th Annual, San Francisco Museum - Schwabacher-Frey Award

1959 University of Illinois - Purchase Award

1957 Contemporary American Paintings, Art Institute of Chicago - Martin Cahn Award

1953 Religious Arts, University of Chicago - 1st Prize

BOOKS

1995 Magic Rabbit, Publisher: Jungle Garden Press

1993 10 Poems by Issa - Co-Author Robert Bly, Publisher: Floating Island Publications

1984 Passionate Journey - Co-author Steve Kowit, Publisher: City Miner Books

1972 Basho - Co-author Robert Bly, Publisher: Mudra

1971 Ox Herding - Co-Author Joel Weishaus, Publisher: Cranium Press 1,2,3,4,5,6,7,8,9,0 - Co-Author, Robert Creeley, Publisher: Shambala/Mudra

VIDEO

1980 The Art of Oil Painting, Sharyle Patton, Director, made in collaboration with Marin County Video

1978 Screen Printing, Magda Cregg Productions

1977 The Art of Pastel, Sharyle Patton, Director

TELEVISION

1972 Pastel Drawings for Television Movie “The People,” John Korty, Director

SET DESIGN

1998 Watershed Environmental Poetry Festival, Martin Luther King Park, Berkeley, CA

1997 Watershed Environmental Poetry Festival, Bandshell - Golden Gate Park, San Francisco, CA

SELECTED BIBLIOGRAPHY

2003 Nagin, Carl. “Magic Markings”, SF Weekly, November 12, 2003.

1987 Mancuso, Jo. “Fish Out of Water”, Image, January 4, 1987.

1986 “Tropical Visions”, TransAmerica Pyramid Announcement, January 13, 1986.

1984 Hays, Joanne Burstein. “Beyond Ceramic Traditions”, Artweek, October 27, 1984.

1982 Boettger, Suzaan. “Broom’s Sculpture: Whimsical Art Providing Something to Chew”, San Francisco Chronicle, June 29, 1982.

March, Al. “Okamura’s still‐lifes are on the move”, S.F. Examiner, June 14, 1982.

1981 Shere, Charles. “Okamura’s art reflects visit to Bali”, Tribune/Today, February 24, 1981. “The Primitive and the Tropical”, Artweek, February 21, 1981. Stiles, Knute. “Art”, The Voice February 13, 1981.

Albright, Thomas. “Exotic Subjects in Abstract Realism”, San Francisco Chronicle, February 10, 1981.

1975 Thompson, Peter, ed.; “John Rosenbaum and Arthur Okamura”, Catalogue, The Civic Arts Gallery, May 21 ‐ June 28, 1975.

LISTINGS

Who’s Who in America

Who’s Who in the West

Who’s Who in American Art

Who’s Who Among Asian Americans

SELECTED PUBLIC COLLECTIONS

Alta Bates Hospital, Berkeley, CA

Art Institute of Chicago, Chicago, IL

Achenbach Foundation for Graphic Arts, San Francisco, CA

Borg Warner Collection, Chicago, IL

California College of the Arts, San Francisco, CA

Cincinnati Art Museum, Cincinnati, OH

Container Corporation of America

Corcoran Gallery of Art, Washington D.C.

Crocker Art Museum, Sacramento, CA

Denver Art Museum, Denver, CO

di Rosa Center for Contemporary Art, Napa, CA

Fine Arts Museums of San Francisco, San Francisco, CA

HKNY Hotel, Okinawa, Japan

Hirshhorn Museum and Sculpture Garden, Washington, D.C.

Illinois Bell Telephone

Illinois State University, Normal, IL

Iris and B. Gerald Cantor Center for the Arts, Stanford University, Stanford, CA

Johnson Wax Collection, Racine, WI

Kalamazoo College, Kalamazoo, MI

J. Willard Marriot Library Special Collections, University of Utah, Salt Lake City, UT

Miles Laboratory, Pittsburgh, PA

National Gallery of Art, Washington, D.C.

National Society of Arts and Letters, Germantown, Washington, D.C.

Oakland Museum of California, Oakland, CA

Phoenix Art Museum, Phoenix, AZ

Rockefeller Chapel, University of Chicago, Chicago, IL

San Francisco Museum of Modern Art, San Francisco, CA

San Jose Museum of Art, San Jose, CA

Santa Barbara Museum, Santa Barbara, CA

Smithsonian American Art Museum, Washington D.C.

The Flood Family Collection, San Francisco, CA

United Gas and Pipeline Company, Dallas, TX

University of Illinois, Urbana-Champaign, IL

University of Southern Idaho, Twin Falls, ID

US Steel Service Institute

Whitney Museum of American Art, New York, NY

Born 1960 in Baden Baden, Germany

EDUCATION

1986 MFA, California College of Art, Oakland, CA

1983 BFA, Arizona State University, Tempe, AZ

SONO OSATO

PROFESSIONAL EXPERIENCE

2001 Intermediate Painting, & Foundation 2-D, University of Georgia, Athens

2000 Intermediate Painting, & Foundation 2-D, University of Georgia, Athens

Independent Graduate Studies, California College of Art

1999 Open Seminar, Graduate Studies, California College of Art Through the Body; Paint as Substance, Anderson Ranch

1996 The Circle as Paradigm, Interdisciplinary Graduate Seminar, California College of Art

1995 Interdisciplinary Critique team taught w/ William Farley, California College of Art

1994 Interdisciplinary Graduate Seminar, California College of Art

1993 Graduate Seminar-New Genre, San Francisco Art Institute

1992 Interdisciplinary Sculpture, San Francisco Art Institute

Beginning Drawing, Mills College

1990 Beginning Drawing & Advanced Painting, Kansas City Art Institute

SELECTED AWARDS AND RESIDENCIES

2008 Pollock-Krasner Grant

2000 CHANGE INC.

1999 Pollock-Krasner Grant

1997 Djerassi Foundation Artist in Residency

1995 Contemporary Art Center of Herblay, Artist in Residency, Pontoise, France

1994 ART MATTERS INC.

1989 Pollock-Krasner Grant

1988 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 SPEAKING

2004 Panelist, The Way Things Are; Tribute to David Ireland, Headlands Center for the Arts, Marin County, CA

2000 UC Berkeley

1999 Video Interview for The Meaning and the Message, Oakland Museum Anderson Ranch, Colorado

1998 San Jose State University, San Jose, CA.

1996 Interview, Women in the Arts, KALX, Berkeley, CA

Panelist, All Else....Being Equal?, CCA

1994 Sonoma State University

UC Berkeley

1992 Excerpts from Stone Soup, broadcast on Word and Image, KPFA 94FM Public Radio, Berkeley, CA

Stone Soup, producer and hostess of a private reading and performance series

1992 Panelist, Asian American Arts Conference, UC Berkeley

1991 Key Speaker, Pro Arts Open Studios: Collecting Art in the Bay Area, Pro Arts

1990 Kansas City Art Institute

Panelist, Culture Under Fire, Greater Kansas City Coalition Against Censorship, KCAI

1989 Panelist, N. California Sculpture Symposia, The Art of Place, Sonoma State University

Woman’s Image Now, Arizona State University

Interview, State of the Arts, KUSP 89 FM Public Radio, Santa Cruz, CA.

SELECTED SOLO EXHIBITIONS

2023 Diluvia, Brian Gross Fine Art on Artsy.com

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, San Francisco, CA

2007 Silent Language, GALLERYtwenty-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

2002 Paintings/Assemblages, BGFA at One Post Street, San Francisco, CA

2001 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 Painting as Sculpture Installation, UC Davis Art Center, Davis, CA New Work, Terrain Gallery, San Francisco, CA

1989 Innojo Eard Onwaecna, Fuller Gross Gallery, San Francisco, CA

SELECTED GROUP EXHIBITIONS

2025 Where Things Begin: 10 American Artists of the Asian Diaspora, Paul Thiebaud Gallery, San Francisco, CA

2024 Contemporary Asian American Abstraction, Paul Thiebaud Gallery, San Francisco, CA

2023 To the Max, di Rosa Center of Contemporary Art, Napa, CA

2022 GESTURE/COLOR/FORM, Brian Gross Fine Art, San Francisco, CA

2020 30th Anniversary Exhibition, Brian Gross Fine Art, San Francisco, CA

……. Mask Collection, curated by GD Wright, Vault Stone Shop, Austin, TX

2019 Open Space, curated by Leslie Moody-Castro, ICOSA Collective, Austin TX

2014 The Right Amount of Wrong, Curated by Lovina Purple, ISE Foundation, New York, NY

Traces, curated by ARMCHAIR/SHOTGUN, 7 DUNHAM, Brooklyn, NY

2013 A Cage Went in Search of a Bird, curated by Sarah Walko, Radiator Arts, New York, NY

2011 Piece of Mind, curated by FIT MA program, Elga Wimmer Gallery, New York, NY

2008 Beauty’s Burden, curated by David Gibson, Educational Alliance, New York, NY

2007 Honoring CCA at 100: Works by Arneson, De Forest, Fleming, Osato, & Solomon, Brian Gross Fine Art, San Francisco, CA

CCA(C) @ Di Rosa Preserve: Celebration of CCA’s Centennial with Prominent Alumni in the Collection, Napa, CA

Tuttavia Povera, Shore Institute for Contemporary Art, Long Branch, NJ

2006 International Assemblage Art Exhibition, GALLERY twenty-four, Berlin, Germany

Remnants, Lemmons Contemporary, New York, NY

Three Person Show (with Tatiana Parcero & Oscar Muñoz), Gaviria-Lorduy Fine Arts, Brooklyn, NY

Egg Drop Soup, curated by Kat Kriefen, Salon on South Second, Brooklyn, NY

Rumble-20 DUMBO Artists, curated by David Krepfle, Tribes Gallery, New York, NY

2006 2000 Time Capsule, Refusalon, San Francisco, CA

1999 Meaning and Message: Contemporary Art from the Museum Collection, The Oakland Museum, Oakland, CA

San Francisco, Los Angeles, Tel Aviv, Refusalon, San Francisco, CA

Requiem: Living Artists Eulogize a Dying Century, Atlanta Contemporary Art Center, Atlanta, GA

1997 The Art Orchestra (A Sculptor’s Ensemble), performed at Florence Gould Theater, San Francisco Palace of Fine Arts, San Francisco, CA

1996 Trace, The Dead Space Gallery, Portland, ME

Samplings, Rena Bransten Gallery, San Francisco, CA

Public Art/Public Space/Public Process, South of Market Cultural Center, San Francisco, CA

SELECTED GROUP EXHIBITIONS (cont.)

Roots in Asia, Richmond Art Center, Richmond, CA

Facing Eden: 100 Years of Landscape Art in the Bay Area, De Young Museum, San Francisco, CA

1994 Wunderkammer, curated by Maria Porges, Rena Bransten Gallery, San Francisco, CA

1993 Trash, Southern Exposure Gallery, San Francisco, CA

1991 Ad Majorem Dei Glorium, Grace Cathedral, San Francisco, CA

1990 Ymbspr C Rhymet, The Left Bank Gallery, Kansas City, MO

Wall Sculpture: The Art of Found Objects, Yerba Buena Center for the Arts, San Francisco, CA

Oakland Artists ‘90, Oakland Museum, Oakland, CA

Chain Reaction, San Francisco Arts Commission Gallery, San Francisco, CA

1989 Fresh Views, San Jose Museum of Art, San Jose, CA

Eye Sores, curated by Nayland Blake, New Langton Arts, San Francisco, CA

1988 LOCI, 3 honored artists selected by SFMOMA, curated by Graham Beal, Pro Arts, Oakland, CA

1987 Monumental Women, curated by Jo Babcock & Michael Bell, South of Market Cultural Center, San Francisco, CA

X the Unknown, curated by Michelle Ellis Pracy, at an independent site, San Francisco, CA

PUBLICATIONS AND REVIEWS

2024 Van Proyen, Mark. “Contemporary Asian American Abstraction @ Paul Thiebaud”, Squarecylinder.com, June 26, 2024

2022 Amin, Lakshmi Rivera. “A View from the Easel”, Hyperallergic, November 16, 2022.

2017 Roth, David. “Sono Osato @ Brian Gross Fine Art”, Squarecylinder.com, July 18, 2017. DeWitt Cheng. “Sono Osato @ Brian Gross Fine Arts”, Visual Art Source, July 28, 2017.

2012 Featured Artist, Armchair/Shotgun, Volume 2.

2009 Baker, Kenneth. “Sono Osato-Babylon: the Buried Language Series”, San Francisco Chronicle, April 4, 2009.

Swanhuyser, Hiya. “Danger Beauty Goo”, San Francisco Weekly, March 4-10, 2009. Cerbini, Lorenza. “Creativity at Work”, SpeakUp, Milan, Italy.

2005 Baker, Kenneth. “Sono Osato-Angels in Dust”, San Francisco Chronicle, April 2, 2005.

2003 Baker, Kenneth. “Objects Speak a Private Code in ‘Silent Language’”, San Francisco Chronicle, April 19, 2003.

2002 Baker, Kenneth. Critics Picks, San Francisco Chronicle, June 7, 2002.

2000 Porges, Maria. Review of the Sound of Ku, Artforum, March, 2000. Bonetti, David. “Charting 35 years of California Art”, San Francisco Examiner, January 6, 2000. “Home is Inside Me”, Stretcher.Org

1999 Baker, Kenneth. “Bearable Weightlessness of Being”, San Francisco Chronicle, December 18, 1999. Sherman, Ann Elliot. “Second Impressions, Meaning and Message in Contemporary Art”, The Museum of California, Fall 1999.

Cullum, Jerry. “What’s on the Surface isn’t the Whole Story”, The Atlanta JournalConstitution, April 16, 1999.

Southern Exposure 25 Year Silver Anniversary Box Set. “di-ROSA Preserve/Art & Nature”, Local Color-ing Book first edition.

1998 Miller, Alicia. “The Secrets of Nature at Paradise Wood Sculpture Grove”, Artweek, July/August 1998

1995 “Facing Eden-100 Years of Landscape Art in the Bay Area”, edited by Steven Nash.

1993 Litfin, Katy. “Profile: Sono Osato”, City Life Magazine, July/August 1993. Thym, Jolene. “Sculpture Offers Visitors to Peek Inside Oakland’s ‘Drawers”, Oakland Tribune, June 7, 1993.

Hull-Webster, Mary. “A Conversation with Sono Osato”, Artweek, May 20, 1993.

1992 Jan, Alfred. “Sono Osato at Terrain”, New Art Examiner, December 3, 1992. Cohn, Terri. “The Forgotten and the Familiar”, Artweek, October 22, 1992.

Baker, Kenneth. “Scavenged Material Becomes Sculpture”, San Francisco Chronicle, September 15, 1992.

1991 Sherman, Ann Elliott. “Detritus and True”, The Metro, San Jose, November 7, 1991.

Burkhart, Dorothy. “Poetry from Piles of Stuff”, San Jose Mercury News, November 1, 1991. Bonetti, David. “Sono Osato at Terrain Gallery”, Artnews, October 1991.

Littlefield, Kinney. “Oakland Artist Explores a Deeper Shade of Black”, The Orange County Register, August 30, 1991.

Curtis, Cathy. “There’s More Than Meets the Eye at Offbeat Laguna Museum Exhibit”, LA Times, August 25, 1991.

Baker, Kenneth. “Osato’s Salvage Show at Terrain”, San Francisco Chronicle, April 4, 1991. Bonetti, David. “Artist with a Cinderella Touch”, San Francisco Examiner, March 29, 1991. “Spirituality and the Avant-Garde”, Five Fingers Review

1990 Baker, Kenneth. Review of Fuller- Gross Exhibition, San Francisco Chronicle, June 13, 1990. Baker, Kenneth. “Installation Explores ‘Art/Non Art’ Question”, San Francisco Chronicle, May 2, 1990.

1988 “A Lot of People Just Don’t Get it”, CRACK 3.

1987 Solnit, Rebecca. “A Sense of Presence”, Artweek, July 25, 1987.

Baker, Kenneth. “Different Kinds of Raw Art”, San Francisco Chronicle, January 17, 1987.

1986 Baker, Kenneth. “Sono Osato at New Art”, San Francisco Chronicle, July 4, 1986.

SELECTED COLLECTIONS

Contemporary Arts Center, Cincinnati, OH

Fine Arts Museums of San Francisco, San Francisco, CA di Rosa Center for Contemporary Art, Napa, CA Laguna Art Museum, Laguna Beach CA Oakland Museum of California, Oakland, CA Stanford University Law School, Stanford, CA The Flood Family Collection, San Francisco, CA

BARBARA TAKENAGA

Born 1949 in North Platte, NE

EDUCATION

1978 MFA, University of Colorado at Boulder

1972 BFA, University of Colorado at Boulder (Art and English)

1969 Summer, University of Hawaii, Honolulu

TEACHING EXPERIENCE

1985-2018 Mary A. & William Wirt Warren Professor of Art, Williams College, Williamstown, MA, (Emeritus)

1982-1985

Assistant Professor, University of Denver, Denver, CO

1981-1982 Lecturer and Research Associate, Washington University, St. Louis, MO

FELLOWSHIPS, AWARDS, AND RESIDENCIES

2020 John Simon Guggenheim Memorial Foundation Fellowship, New York, NY

2013 Elected Academician of the National Academy of Art, New York, NY

2012 Printmaking workshop residency, Smith College, Northampton, MA

2009 Wauson Fellowship, FOR-SITE Foundation, San Francisco, CA

2008 Eric Isenburger Annual Award, National Academy Museum, New York, NY

2005 Hassam, Speicher, Betts, and Symons Purchase Awards, American Academy of Arts & Letters, New York, NY

2004 Workspace Program, Dieu Donne Papermill, New York, NY

2000 Printmaking Residency, Vermont Studio Center Press

1998 Massachusetts Artist Fellowship in painting, Massachusetts Cultural Council and the New England Foundation for the Arts

1993 Artist’s Residency Grant, Art In General, NY State Council on the Arts New England Foundation for the Arts Fellowship (regional NEA) in painting

1992 Studio Grant, Space Program in New York City, Marie Walsh Sharpe Art Foundation

1992 Asian Women United Grant for collaborative video with Christine Choi

Alice Baber Art Fund Grant, New York, NY

SELECTED SOLO EXHIBITIONS

2024 Whatsis, DC Moore Gallery, New York, NY (catalogue)

2023 Two Storied, Pamela Salisbury Gallery, Hudson, NY (catalogue)

2022 Outliers, Robischon Gallery, Denver, CO

Odyssey: Rob Wynne & Barbara Takenaga (2 person show), Locks Gallery, Philadelphia, PA

2021 Tracers, Pamela Salisbury Gallery, Hudson, NY

2019 Barbara Takenaga: Manifold, Robischon Gallery, Denver, CO

2018

Barbara Takenaga: Looking at Blue, Brattleboro Museum & Art Center, Brattleboro, VT

Barbara Takenaga: Outset, DC Moore Gallery, New York, NY (catalogue)

Barbara Takenaga, Huntington Museum of Art, Huntington, WV

2017 Barbara Takenaga, a 20-year survey curated by Debra Bricker Balken, Williams College Museum of Art, Williamstown, MA (catalogue)

Barbara Takenaga: Outburst, SPACE 42, Neuberger Museum of Art in New York City, NY

Barbara Takenaga, Gregory Lind Gallery, San Francisco, CA

2016 Barbara Takenaga: Recent Work, Bannister Gallery, Rhode Island College, Providence, RI

Barbara Takenaga, Lithographs, Goodwin Fine Art, Denver, CO

Waiting in the Sky II, Kalamazoo Institute of Arts, Kalamazoo, MI

Waiting in the Sky, DC Moore Gallery, New York, NY (catalogue)

2015-2017 Nebraska, wall project, Hunter Center Lobby, MASS MoCA, North Adams, MA

2014 Barbara Takenaga, Gregory Lind Gallery, San Francisco, CA

Barbara Takenaga, Bennington Art Museum, Bennington, VT

2013 New Paintings, DC Moore Gallery, New York, NY (catalogue)

2012 Barbara Takenaga, Gregory Lind Gallery, San Francisco, CA

2011 New Paintings, DC Moore Gallery, New York, NY (catalogue)

2010 Barbara Takenaga: Paintings, Gregory Lind Gallery, San Francisco, CA

2009 Barbara Takenaga: last blue wheel, DC Moore Gallery, New York, NY (catalogue)

Barbara Takenaga: Fade Away and Radiate, Rule Gallery, Denver, CO

2008 Barbara Takenaga: Paintings, Gregory Lind Gallery, San Francisco, CA

2007 Brattleboro Art Museum, Brattleboro, VT

McKenzie Fine Art, New York, NY (catalogue)

Museum of Nebraska Art, Kearney, NE (catalogue)

Gallery of Camino Real, Boca Raton, FL

2006 Museum of Outdoor Art, Englewood, CO

Gregory Lind Gallery, San Francisco, CA

2005 McKenzie Fine Art, New York, NY (catalogue)

2004

CU Museum, University of Colorado, Boulder (brochure)

New Works Space, McKinney Avenue Contemporary, Dallas, TC

2003 Gregory Lind Gallery, San Francisco, CA

McKenzie Fine Art, New York, NY

2001 James Graham & Sons, New York, NY

1997 Franklin & Marshall College, Lancaster, PA

1993

Cambridge Mulitcultural Center, Cambridge, MA

College of Wooster Art Museum, Wooster, OH

Art in General, New York, NY

1992 Marymount Manhattan College, New York, NY

Mary H. Dana Women Artists Series, Mabel Douglass College, Rutgers University, New Brunswick, NJ

1991 A.I.R. Gallery, New York, NY

1990 Watson Gallery, Wheaton College, Norton, MA

Williams College Museum of Art, Williamstown, MA

SELECTED GROUP EXHIBITIONS

2025 Where Things Begin: 10 American Artist of the Asian Diaspora, Paul Thiebaud Gallery, San Francisco, CA

2024 Godzilla: Echoes from the 1990’s Asian American Arts Network, Eric Firestone, NY

2023 The Fall of ’23, Philip Slein Gallery, St. Louis, MO

Visible Rhythms: Pattern and Color, Grace Ross Shanley Gallery, Center for Contemporary Printmaking, Norwalk, CT

45+ Anniversary Exhibition Series Part II, Robischon Gallery, Denver, CO

Come A Little Closer, DC Moore Gallery, New York, NY

2022 Inspired Encounters, organized by the Rockefeller Brothers Fund and the National Academy of Design, D. Rockefeller Creative Arts Center, Poncantico, Tarrytown, NY

A Point Stretched in Time, San Jose Museum of Art, San Jose, CA

All Small, Pamela Salisbury Gallery, Hudson, NY

Gravity of Beauty, Zuckerman Museum of Art, Kennesaw, GA

Cosmic Geometries, organized by Hilma’s Ghost, Elizabeth Foundation for the Arts Project Space, New York, NY

Askew, DC Moore Gallery, New York, NY

Mining Form and Meaning, Robischon Gallery, Denver, CO

Onward and Upward: Shark’s Ink, CU Museum, Boulder, CO

Form, Figure, Abstraction, DC Moore Gallery, New York, NY

2021 Positive Fragmentation, National Museum of Women in the Arts, Washington, DC

Global Asias, Contemporary Asian and Asian American Art from the Collections of Jordan D. Schnitzer and Family Foundation, Palmer Museum of Art at Penn State University, State College, PA and the Knoxville Museum of Art, Knoxville, TN

Applied Matter, Robischon Gallery, Denver CO

Love Devotion Surrender Dedication, Rick Wester Fine Arts, New York, NY

In Conversation, curated by Katie DeGroot, Markel Fine Arts, New York, NY

2020 Never Done: 100 Years of Women in Politics and Beyond, the Tang Teaching Museum, Saratoga Springs, NY

2019 Blue in Green, curated by Alyssa Fanning, Platform Projects, Brooklyn, NY

Stars, Philip Slein Gallery, St. Louis, MO

The Unusual Suspects: A View of Abstraction, curated by Richard Kalina, DC Moore Gallery, NY

The “X” Factor, Bernay Fine Arts, Great Barrington, MA

Dance with Me, a group show curated by Kyle Staver, Zurcher Gallery, New York, NY

Labyrinths of the Mind, a group show curated by Sara Lynn Henry, Kleinert/James Center for the Arts, Woodstock, NY

2018

Chaos and Awe: Painting for the 21st Century, Frist Center for the Visual Arts, Nashville, TN beginning. break. rapid, Kenji Fujita and Barbara Takenaga, curated by Sheila Pepe,

SELECTED GROUP EXHIBITIONS (cont.)

Bemis Center for Contemporary Arts, Omaha, NE

2017 Unfamiliar Again: Contemporary Women Abstractionists, Newcomb Art Museum of Tulane University, New Orleans, LA

Victory Over the Sun: The Poetics and Politics of Eclipse, KMAC Museum, Louisville, KY

Expanding Abstraction: New England Women Painters, 1950 to Now, deCordova Museum, Lincoln, MA

Art on Paper: 10 Women Artists from the Collection of Jordan D. Schnitzer and his Family Foundation, Schneider Museum of Art, Southern Oregon University New New York Continuum, the Curator Gallery, New York, NY

2016 105th Annual Exhibition of Contemporary Art: Threatening Beauty, Maier Museum of Art, Randolph College, Lynchburg, VA

Bedazzled: The Glitter and Gold in Contemporary Art, Lehman College Art Gallery, Bronx, NY

Representing Rainbows, curated by Lisa Corinne Davis, Gerald Peters Gallery, New York, NY

Staying Power, Art & Culture, Albany International Airport Galleries, Albany, New York, NY

Introductions, La Mama Galleria, curated by Roberto Juarez, New York, NY

Red @ Rule, Rule Gallery, Denver, CO

It Was Never Linear…Recent Painting, Sheldon Memorial Art Gallery, Lincoln, NE

Overgrowth, DeCordova Museum, Lincoln, MA

The Swerve, Ortega y Gasset, curated by Jennifer Coates, Brooklyn, NY

2015 Printer’s Proof: 30 Years at Wingate Studio, Stone Gallery, Boston University, Boston, MA

Alchemy, DC Moore, New York, NY

Painting Is Not Doomed to Repeat Itself, curated by John Yau, Hollis Taggart Gallery, New York, NY

This Big Land, Museum of Nebraska Art, Kearney, NE

New New York: Abstract Painting in the 21st Century, Manoa Gallery, University of Hawaii, Honolulu, HI

Tiny but Mighty, Pennsylvania Academy of Art, Philadelphia, PA

Multiverse, DC Moore, New York, NY

Selection from the Collection 1981-2015, Museum of Outdoor Art, Denver, CO

40 Years of the Vermont Studio Center, Spencer Brownstone Gallery, New York, NY

20 x 16, curated by Geoffrey Young, Morgan Lehman Gallery, New York, NY

2014 Strut: The Peacock and Beauty in Art, Hudson River Museum, Yonkers, NY #2: A Graphite Exhibition, DC Moore Gallery, New York, NY

Summer Shuffle: Contemporary Art @ PAFA Remixed, Pennsylvania Academy of the Fine Arts, Philadelphia, PA

Restless Universe, David Findlay Gallery, New York, NY

Authentic Form, Loveland Museum, Loveland, CO

MAC @20 Part I, The McKinney Avenue Contemporary, Dallas, TX

Repetitive Motion, curated by Jennifer Samet, Steven Harvey Fine Art Projects, New York, NY

Shark’s Ink: Collaborations, Pattern Shop Studio, Denver, CO

2013 Congregation, curated by Sheila Pepe, 106 Green Street, Brooklyn, NY

Approaching Infinity: The Collection of Richard Green, The Crocker Museum of Art, Sacramento, CA (catalogue)

Ink Paper Scissors, the Kimball Art Center, Park City, UT

2012 Affinity Atlas, Wellin Museum of Art, curated by Ian Berry, Hamilton College, Clinton, NY (catalogue)

The Female Gaze: Women Artists Making Their World, Pennsylvania Academy of Fine Art, Philadelphia, PA (catalogue)

Hat Trick, DC Moore Gallery, New York, NY

2011

Cosmologies, Williams College Museum of Art, Williamstown, MA

Liminality, Luminosity, and the Everyday, CU Museum, Boulder, CO

Local Color, San Jose Museum of Art, San Jose, CA

Size Matters: Small Works from the Fine Art Collection, New Jersey State Museum, Trenton, NJ

Cut, Drawn, Painted: Works on Paper, Margaret Thatcher Projects, New York, NY

CTRL+P, New Directions in Printmaking, curated by Julie Chae, Arlington Arts Center, Arlington, VA

San Antonio Collects: Contemporary, San Antonio Museum of Art, San Antonio, TX

Grey Full, curated by Geoffrey Young, Jeff Bailey Gallery, New York, NY

Emergence and Structure, curated by Daniel Hill and Ron Janowich, Lafayette College, Easton, PA (catalogue) Also traveled to: Miami Dade College, Miami, Fl; University Gallery, University of Florida, Gainesville, FL

More or Less, Art & Culture at the Albany International Airport Galleries

Shapeshifters, curated by Laurel Sparks, 443 PAS, New York, NY

White-Hot, Margaret Thatcher Projects, New York, NY

Major Grey, Geoffrey Young Gallery, Great Barrington, MA

Never the Same Twice, DC Moore Gallery, New York, NY

Paper A-Z, Sue Scott Gallery, New York, NY

Goldmine, Works from the Contemporary Collection of Michael and Sirje Gold, University Art Museum, California State University, Long Beach (catalogue)

2010 Inscrutable, University of Delaware @Crane, Philadelphia, PA

I Am the Cosmos, curated by Sara Lynn Henry, New Jersey State Museum, Trenton, NJ

Vivid: Female Currents in Painting, curated by Janet Phelps, Schroeder Romero & Shredder, New York, NY

Wall to Wall, Daniel Weinberg Gallery, Los Angeles, CA

Elements of Nature: Selections from the Frederick R. Weisman Art Foundation, City of Lancaster Museum/Art Gallery, Lancaster, CA and Carnegie Art Museum, Oxnard, CA

Shark’s Ink, Creative Arts Center, Wright State University, Dayton, OH

2009 Vortexhibition Polyphonica, Henry Art Gallery, Seattle, WA

Economies of Scale, Miller Block Gallery, Boston, MA

New Prints, Winter, International Print Center New York. Traveled to Columbia College Chicago, Chicago, IL

2008 183rd Annual Invitational Exhibition, National Academy Museum, New York, NY

Horror Vacui, McKenzie Fine Art, New York, NY

Midnight Full of Stars, curated by Sara Lynn Henry, Visual Art Center of New Jersey, Summit, NJ (catalogue)

It’s Gouache and Gouache Only, curated by Geoffrey Young, Andrea Meislin, NYC

RSVP, Invitational Exhibition, Museum of Nebraska Art, Kearney (catalogue)

2007 Workspace Program, 2001-07, Dieu Donne, New York, NY

Prelude, Julie Chae Gallery, Boston, MA

Cut, Copy, Fold, Cover, curated by Kim Beck, Artists Image Resource, Pittsburgh, PA

Block Party II, Daniel Weinberg Gallery, Los Angeles, CA

To the Left, CTRL Gallery, Houston, TX

Natured Anew, Bell Gallery, Brown University, Providence, RI (brochure)

Big Bang! Paintings for the 21st Century, DeCordova Museum, Lincoln, MA (catalogue)

2006 Patternings: Ed Epping and Barbara Takenaga, Williams College Museum of Art, Williamstown, MA

ZusammenKunst, Galerie Hafemann, Wiesbaden, Germany

Dieu Donne: 30th Anniversary Exhibition, CG Boerner Gallery, New York, NY

Block Party, Daniel Weinberg Gallery, Los Angeles, CA

Decades of Influence, Museum of Contemporary Art, Denver, CO (catalogue)

Selection from the Cultural Corridor, Storefront Projects, Pittsfield, MA,

Jack, Roberts & Tilton, Los Angeles, CA

2005 A Cooperation of Pleasures: Barbara Takenaga and Julie Evans, Halsey Gallery, College of Charleston, SC

National Drawing Invitational, Arkansas Arts Center, Little Rock, AR (catalogue)

SELECTED GROUP EXHIBITIONS

(cont.)

How Bad Do You Want It? Geoffrey Young Gallery, Great Barrington, MA

Collecting Contemporary Prints, Ackland Art Museum, Chapel Hill, NC

Good Vibrations, McKenzie Fine Art, New York, NY

2005

Annual Invitational Exhibition, DeCordova Museum, Lincoln, MA (catalogue)

Group Exhibition, Gallery Camino Real, Boca Raton, FL

Invitational Exhibition of Painting and Sculpture, American Academy of Arts & Letters, New York, NY

From Natural to Techno Universes: Our Brave New Worlds, curated by Sara Henry, Dorsky Gallery

Curatorial Program, Long Island City, NY (brochure)

Eye Tattoos, Quint Contemporary Art, La Jolla, CA

2004 and now they aren’t, but they are. Gregory Lind Gallery, San Francisco, CA

The Anxious Image, The Painting Center, New York, NY (catalogue)

Good Fortune, benefit exhibition, Dieu Donne, New York, NY

About Painting, Tang Teaching Museum, Skidmore College, Saratoga Springs, NY (catalogue)

Mindscape, Pavel Zoubok Gallery, New York, NY

I Want to Take You Higher, McKenzie Fine Art, New York, NY

Border Crossing: Artists from the Mary H. Dana Women Artists Series, Rutgers University, New Brunswick, NJ (catalogue)

179th Annual: An Invitational Exhibition of Contemporary American Art, National Academy of Design, New York, NY (catalogue)

Radial Gradient, Gregory Lind Gallery, San Francisco, CA (brochure)

Hard and Soft, Margaret Thatcher Projects, New York, NY

Four Abstract Paintings, Miller Block Gallery, Boston, MA

2003 Works on Paper: Variations and Themes, Pace University Gallery, Pleasantville, NY

Round, George Billis Gallery, New York, NY

Obsessive Pleasures, Pavel Zoubok, New York, NY

Flicker, Jeffrey Coploff Fine Art, New York, NY

New Prints 2003/Winter, International Print Center, New York, NY

Beautiful Recession, Red Dot, New York, NY

2002 Accumulations, Islip Art Museum, East Islip, NY (catalogue)

Vermont Studio Center Press, Robert Hull Fleming Museum, Burlington, VT (catalogue)

Artists to Artists, A Decade of the Sharpe Space Program, Ace Gallery, New York, NY (catalogue)

Cascade of Scales, James Graham & Sons, New York, NY

2001 Alterations, James Graham & Sons, New York, NY

Revival, Bridewater/Lustberg & Blumenfeld Gallery, New York, NY

Figstract Explosionism, Bridgewater/Lustberg & Blumenfeld Gallery, New York

2000 Elbows and Tea Leaves, Boulder Museum of Contemporary Art, Boulder, CO. (catalogue)

Small Pleasures in Idleness, Gallery 456, New York, NY

Battenfield, Harder, Lambert, Takenaga, Nightingale-Bamford School, New York

1999 Xmas Show, Kent Gallery, New York, NY

Trippy World, Baron/Boisante Gallery, New York, NY

Size Matters, Gale Gates, Et. Al., Brooklyn, NY

NEFA Fellowship Recipients, University Art Gallery, University of Massachusetts, Dartmouth

Split/Shift: Williams and Bennington Faculty Show, Mass MOCA, North Adams, MA

1998 Group Exhibition, DNA Gallery, Provincetown, MA

Contemporary Asian Women Artists, the Taipei Gallery, New York, NY (catalogue)

1997 Threshold: Limits of Perception, Eighth Floor Gallery, New York, NY (catalogue)

Fermented, Parsons School of Design, New York, NY

1:One, University of Massachusetts, Amherst, MA

The Intimate Brush, Palo Alto Arts Center, Palo Alto, CA

1996 Pulse: Works on Paper, No.B.I.A.S., Bennington, VT

Repetition Compulsion, Eighth Floor Gallery, New York, NY

25th Anniversary Exhibition, Mary H. Dana Women Artists Series, Douglass College, Rutgers University, New Brunswick, NJ (catalogue)

1995 In and Out of Character, Roger Smith Gallery, New York, NY

Redefining Legacies, 1203 Art Space, San Antonio, TX

Beyond Boundaries and Traditions, Central Michigan University, Mt. Pleasant, MI

1994 Pasando La Mano, (5 person show) Soho 20 Gallery, New York, NY

Art to Art: Expressions by Asian American Women, Asia Society, New York, NY

1993 Art to Art: Expressions by Asian American Women, Asian Art Museum, San Francisco, CA

Visible Meaning, Ise Art Foundation, New York, NY (2 person)

The Choice of Painting, Lyman Allyn Art Museum, New London, CT (brochure)

And He Was Looking for Asia: Alternatives to the Christopher Columbus Story, Asian American Arts Center, New York, NY

NEFA Painting Fellows, Boston Center for the Arts, Boston, MA

1992 Rudolfo Abularach, Nachume Miller, Barbara Takenaga, Brattleboro Art Museum, Brattleboro, VT

1990-94 Ancestors Known and Unknown: Boxworks, Islip Art Museum, Long Island, NY. (catalogue) Itinerary includes: Art in General, New York, NY

The Wooster College Museum, Wooster, OH

Kean College, New Jersey

Bruce Watkins Center, Kansas City, MO

Roswell Museum, Roswell, NM

1991 Inaugural Awards by the Alice Baber Art Fund: Carnwath, Gillespie, McCoy, Pitt, Takenaga, Helander Gallery, New York, NY

1990 In the Spirit, Howard Yezerski Gallery, Boston, MA

SELECTED BIBLIOGRAPHY

McCarthy, Jeremiah William. “One Thing to Another,” catalogue exhibition essay, DC Moore Gallery, New York, NY.

Bloodworth, Sandra and Hageman, Cheryl. Contemporary Art Underground, MTA Arts Design, Phaidon Press, Monacelli Press, April 2024.

Schwendener, Martha. “Godzilla: Echoes from the 1990’s Asian American Arts Network, “New York Times, Feb 1, 2024.

London, Katrina and McCarthy, Jeremiah William. “Inspired Encounters: Women Artists and the Legacies of Modern Art,” Dancing Foxes Press, 2023.

Allen, Brian. “NYC’s Annual Print Fair Stars Known and Unknown Artists,” National Review, Nov. 2, 2023. Mintz, Donna. “Zuckerman Exhibit Celebrates Beauty Now, When We Need It Most,” ArtsATL, Nov. 3, 2022. Rinaldi, Mark. “Float Through Barbara Takenaga’s Dream Worlds at Robischon Gallery Show,” Denver Post, May 2, 2022.

Dearnley, Grace. “Barbara Takenaga’s Got Art on the Brain,” Coloradan, July 2, 2021. Tan, Chang. “Global Asias, Contemporary Asian and Asian American Art from the collections of Jordan D. Schnitzer and his family foundation,” Palmer Museum of Art at Penn State, 2021. Stanmeyer, Anastasia. “Openness of Possibilities,” Berkshire Magazine, August 2021. Lopez, Marysia. “Guggenheim-winning alum reflects on her career and time at CU Boulder” Colorado Arts & Sciences Magazine, Feb. 2, 2021.

Rosen, Aaron. “In the Studio, Barbara Takenaga,” Image Journal, Issue 07, 2020. Lopez, Juliana. “5 Artists to Follow if You Like Yayoi Kusama” Artsy, Sept. 15,2020. Maine, Stephen. “Artists quarantine with their art collections”, by Barbara Takenaga, Hyperallergic, Dec. 2020. Harper, Daria. “Clifford Owens, Zoe Leonard, and more artists won 2020 Guggenheim Fellowships,” Artsy, April 10, 2020.

Paglia, Michael. “12 Best Art Shows in Denver 2019”, Westword, December 2019. Fanning, Alyssa. Blue in Green catalogue, Dec. 2019.

Barcio, Philip. “Richard Kalina Curates an Abstract Show at DC Moore,” Ideel Art, July 2, 2019. Wei, Lilly. “Barbara Takenaga, Linda Fleming, Jac Chartier, Alison Hall at Robischon Gallery, Studio International, June 27, 2019.

Paglia, Michael. “Four Solos Create a Beautiful Pattern at Robischon,” Westword, June 12, 2019. Jones, Mary. “Sliding Away in Space: Barbara Takenaga at DC Moore,” Artcritical, Sept. 27, 2018.

Barcio, Phillip. “Barbara Takenaga’s Fluctuations of Space, “Ideel Art, Sept. 19, 2018. Alfred, Brian. “Barbara Takenaga,” Sound and Vision Podcast, Sept. 2018.

SELECTED BIBLIOGRAPHY (cont.)

Tilley, John Martin. “The Edge,” Office Magazine, Sept. 14, 2018.

“DC Moore Gallery Opens an Exhibition of New Paintings by Barbara Takenaga,” ArtDaily Sept. 11, 2018.

Scoll, Andrea K. “Five Female Painters to See in New York Art Galleries,” The New Yorker, Sept. 8, 2018.

Yau, John. “Demotic Abstraction with a Twist,” Hyperallergic, Sept. 8, 2018.

Cascone, Sarah & Goldstein, Caroline. “…45 Can’t-Miss Gallery Shows in NY This September,” Artnet, Aug 30, 2018.

Wei, Lilly. “Outset,” DC Moore Gallery, 2018.

Wayne, Leslie. “Studio Interview with Barbara Takenaga,” Two Coats of Paint, Sept. 2, 2018. “Barbara Takenaga’s Outset at DC Moore,” Blouin Artinfo, Aug. 13, 2018. Cohen, Nancy Israel. “Barbara Takenaga,” Patron Magazine, April/May 2018. Farber, Janet. “Irregular Artbeat,” The Reader, May 1, 2018.

Cheng, Scarlet. “Barbara Takenaga at Williams College Museum of Art,” Artillery Magazine, Jan. 2, 2018.

Kane, Tim. “Journey Through Galaxy of Imagination,” Albany Times Union, Jan. 18, 2018.

“Exhibition of Paintings by Barbara Takenaga…”Artdaily.org, Jan. 27, 2018.

Cover art for album Extralife, Darlingside, 2018.

Critics’ Pick, Boston Globe, Oct. 8, 2017.

Munemo, Julia. “Open to Interpretation,” Williams Magazine, Fall 2017.

Yau, John. “The Wild Children of William Blake,” Essays on Art and Poetry, Autonomedia 2017. Balken, Debra Bricker, Jim Shepard and Geoffrey Young. “Barbara Takenaga,” Williams College Museum of Art in association with Prestel/Delmonico (catalogue) 2017.

Paglia, Michael. “Psychedelic Circles and Natural Spheres at Goodwin Fine Art,” Westword, Dec. 22, 2016. Dalton, Trinie. “Powerful Lineage,” Art on Paper: 10 Women Artists from the Collection of Jordan D Schnitzer and his Family Foundation, Schneider Museum of Art, Southern Oregon University, Oct. 2016. (catalogue) “Barbara Takenaga,” Kalamazoo Art Institute, Artdaily, July 26, 2016.

Johnson, Ken. “Waiting in the Sky,” the New York Times, April 14, 2016. Yau, John. “Abstract Enigmas,” Barbara Takenaga: Waiting in the Sky, DC Moore Gallery (catalogue), 2016. Laster, Paul. Weekend Edition, Observer/Culture, April 28, 2016.

Good, Brittany. “This Week’s Major Events…” InCollect, April 19, 2016. Piepenbring, Dan. “Waiting in the Sky,” the Paris Review, March 30, 2016. O’Brien, Barbara and Mary Walsh, Kinetic: Highlights from the Polsinelli Art Collection, 2015. O’Rourke, John. “Three Decades of Master Printing,” Wingate Studio, BU Today, Nov. 30, 2015. Antonini, Marco. “New New York: Abstract Painting in the 21st Century,” University of Hawaii, 2015. Tanigawa, Noe. “Welcome to the Sentient World: The New Abstraction,” Hawaii Public Radio, Nov. 10, 2015. Resurgence of Abstract Art Examined at UH Manoa Exhibit, University of Hawaii News, Oct. 19, 2015. Goldberg, David A.M. “An Examination of Abstract Art,” Honolulu Star Advertiser, Nov. 15, 2015. Yau, John. “Painting Is Not Doomed to Repeat Itself,” Hollis Taggart Gallery, (catalogue) 2015. Rooney, Kara. “Barbara Takenaga, Nebraska,” The Brooklyn Rail, Sept. 8, 2015. Griffin, Amy. “Takenaga’s Art at MASS MoCA Big as Prairie Itself,” Albany Times-Union, Sept. 24, 2015. O’Brien, Barbara and Mary Walsh, Kinetic: Highlights from the Polsinelli Art Collection, 2015. Rubin, David. “Editors’ Roundtable,” Visual Art Source, June 12, 2015.

“Multiverse: DC Moore Gallery…” Artdaily.org, August 4, 2015. Bland, Bartholomew. “Strut: The Peacock and Beauty in Art,” (catalogue), the Hudson River Museum, Yonkers, NY, 2014.

Katz, Anita. “Barbara Takenaga Abstracts Combine Science, Magic,” The Examiner, San Francisco, Sept. 18, 2014.

Roth, David M. “Barbara Takenaga@ Gregory Lind,” SquareCylinder.com, Sept. 18, 2014. Belcove, Julie “Barbara Takenaga,” Elle Décor, Best of the Best, A-list Issue, June/July 2014. Takenaga, Barbara, Painters on Painting, blog by Julie Heffernan and Virginia Wagner Barbara Takenaga, Bennington Art Museum, Art New England, July 2014.

Keeting, Zachary and Christopher Joy. “Barbara Takenaga: Studio Visit,” 28 min video interview, Gorky’s Granddaughter, January 2014.

Rinaldi, Ray Mark. “RedLine…”, Denver Post, Jan. 19, 2014.

Edwards, Robin. “The Transit of Venus chronicles four decades of Front Range Women in the Visual Arts,” Westword, Jan. 7, 2014.

White, Alan. “Toward a Philosophical Theory of Everything,” Bloomsbury, 2014. (cover art) Coffin, Anne “A Decade of New Prints,” International Print Center New York, 2013. Church, Amanda. “Barbara Takenaga, New Paintings,” Art News, November 2013. Berlind, Robert. “Barbara Takenaga, New Paintings,” The Brooklyn Rail, Oct. 3, 2013. Yau, John. “The Face of Infinity Is Not A Picture,” Hyperallergic, September 22, 2013. “Barbara Takenaga, New Paintings,” Wall Street Journal, November 25, 2013. “Exhibition of New Paintings by Barbara Takenaga,” Art Daily, November 24, 2013. Kushner, Robert. “Micro:Macro::Macro:Micro,” DC Moore Gallery (catalogue), October 2013. Dalkey, Victoria. “Crocker’s ‘Approaching Infinity’ Comes Full Circle”, Sacramento Bee, March 28, 2013. Daniels, Diana. “Approaching Infinity: The Richard Green Collection of Meticulous Abstraction,” Crocker Art Museum, 2013, Sacramento, CA.

Scherer, Matthew. “Beyond Church and State, Democracy, Secularism, and Conversion” Cambridge University Press, 2013.

Epstein, Edward M. “…that women tend to make”: The Female Gaze at the Pennsylvania Academy of Art, Artcritical, Feb. 6, 2013.

Griffin, Amy. “More than a flyover spot,” Time Union, Albany NY, September 12, 2012.

Cozzolino, Robert. “The Linda Lee Alter Collection of Art by Women,” (catalogue) Pennsylvania Academy of Fine Art, 2012.

Johnson, Elizabeth. “Processing Art at Margaret Thatcher Projects,” The Artblog, August 4, 2012. Phillips, Stephen Bennett. “Acquisitions 2009-2011,” Board of Governors of the Federal Reserve System, Washington D.C.

Cheng, Dewitt. “Critic’s Pick, SF Bay Area,” Art Ltd. Magazine, May 2012.

Baker, Kenneth. “Takenaga’s Visionary Abstraction,” SF Gate, San Francisco Chronicle, May 26, 2012.

Einspruch, Franklin. “Energies Illustrated, Barbara Takenaga at Gregory Lind,” The New York Sun, May 15, 2012.

Hill, Daniel and Ron Janovich. “Emergence and Structure,” (catalogue), Layfayette College, Easton, PA. Diehl, Carol. “Barbara Takenaga at DC Moore, “Art in America, February 2012. Yau, John. “Barbara Takenaga, New Paintings,” The Brooklyn Rail, Nov. 2011. Naves, Mario. “Pioneers in Shadows: Scaling Braque and Takenaga,” CityArts, October 26, 2011. Editors’ Pick: “Barbara Takenaga at DC Moore,” artcritical.com, Winter 2011. The Lookout, Art in America, Nov. 27, 2011.

Princenthal, Nancy. “Barbara Takenaga, New Paintings,” (catalogue), DC Moore Gallery, New York, NY 2011. Ploughshares, (cover art), Winter 2011-12.

Mansfield, Sally. Art in Embassies Exhibition, (catalogue) Belmopan, Belize 2011. Scoates, Miles, and Melrod, Goldmine. “From the Collection of Sirje and Michael Gold,” University Art Museum, California State University, Long Beach, 2011. Potter, Ben and Kathryn Miles. editors, Hawk & Handsaw Vol 4, 2011, Unity College. Smith, Roberta. “Vivid and Pavers,” The New York Times, Jan. 21, 2011. Miranda, Carolina. “This Week: Must-See Arts in the City,” WNYC Arts Datebook, November 18, 2010. Henry, Sarah Lynn. “I Am the Cosmos,” Treton, NJ: New Jersey State Museum, 2010. Eclipse. Miami, FL: International Corporate Art, 2010. Rubin, David S. “Psychedelic: Optical and Visionary Art since the 1960s,” San Antonio Museum of Art and MIT Press, 2010.

Brown, Brice and Mark Shortliffe. The Sienese Shredder, Issue 4, 2010, p.125. Baker, Kenneth. “Takenaga’s Trances,” San Francisco Chronicle, March 13, 2010.

Swanhuyser, Hiya. “Takenaga’s Trip Out,” SF Weekly, March 10-16, 2010. Sheets, Hilarie M. “Where Women Are the Majority,” (photograph p 97) Art News, Dec. 2009.

Cross, Susan. “Barbara Takenaga, Last Blue Wheel,” (catalogue) DC Moore Gallery, New York, NY 2009. Paglia, Michael. “There’s Natural Beauty in the Abstract Work of These Four Artists,” Denver Westword, June 2, 2009.

MacMillan, Kyle. “Beauty’s Bold Comeback,” The Denver Post, May 22, 2009. “Agenda,” New York Magazine, Jan. 19, 2009. (photograph)

Macmillan, Kyle. “Winter Arts Preview,” The Denver Post, Jan. 11, 2009. “Goings on About Town: The National Academy Museum,” The New Yorker, July 7, 2008.

Rosenberg, Karen. “Where Have All The Paintings Gone? To the National Academy,” The New York Times, May 30, 2008.

SELECTED BIBLIOGRAPHY (cont.)

Bischoff, Dan. “Stars in Their Eyes,” The Star-Ledger, New Jersey, April 20, 2008. Henry, Sara Lynn. “Midnight Full of Stars,” Visual Arts Center of New Jersey, 2008. Castillo, Jane. “Line: 7 Elements of Art,” Reina Publishing and Morgan James Publishing, NY, NY 2008. Jancar, Ava. “Op Parts,” ArtSlant, San Francisco, March 14, 2008. Brown, Brice. “Barbara Takenaga,” (catalogue), McKenzie Fine Art, NY, NY 2007. Phillips, Patricia C. “In the Making,” Workspace Program 2001-07, Dieu Donne, 2007. Nagorka, Stefanie. “Cosmic Weaver,” Gay City News, Dec. 12, 2007. MacMillan, Kyle. “1 More Art Show,” The Denver Post, Oct. 27, 2007. Krug, Margaret. “An Artist’s Handbook,” Abrams, 2007. McQuaid, Cate. “At Three Sites, New Management and Fresh Ideas” Boston Globe, Oct. 4, 2007. Cohen, David. “Gallery Going,” The New York Sun, Sept. 19, 2007. Lake, Eva. interview and podcast, Voice America, August 22, 2007. Petersen, Amy. “To the Left” Houston Press, July 19, 2007. Stickney, Dane. “Artist Takenaga Revels in Colorful Circles,” Omaha World-Herald, June 14, 2007. Cook, Greg. “Act Natural,” The Boston Phoenix, June 12, 2007. McQuaid, Cate. “Revealing Creative Nature,” The Boston Globe, June 21, 2007. Van Siclen, Bill. “Forces of Nature and Art,” The Providence Journal, RI, June 21, 2007. MacAdam, Barbara A. “The New Abstraction,” Art News, April 2007. Johnson, Ken. “Seeing a Pattern,” Boston Globe, February 2, 2007. Cook, Greg. “Ah, Painting!” The Boston Phoenix, January 29, 2007. Whitman, Arthur. “Big Bang! Abstract Paintings…,” Big Red & Shiny, Issue 61. Capasso, Nick. “Big Bang! Painting in the 21st Century,” (catalogue), DeCordova Museum, Lincoln, MA, January 2007.

Lord, Jennifer. “Canvas Cosmology” Metrowest Daily News Tribune, Boston, Jan. 24, 2007. Dantzic, Cynthia. “100 New York Painters,” Schiffer Books, 2007.

Paglia, Michael. “Basis Loaded, Decades of Influence,” Westword, June 29, 2006. Berlind, Robert & David Cohen, Eleanor Heartney, Mark Stevens, (panel discussion) The Review Panel: Nancy Spero, Hans Haacke, Barbara Takenaga, Duncan Hannah, National Academy of Art, New York, NY, December 2, 2005, documented on ArtCritical.com MacMillan, Kyle. “Art of the State,” The Denver Post, June 25, 2006. (photograph) MacMillan, Kyle. “Decades of Influence: Colorado 1985 – Present,” The Denver Post, June 8, 2006. (photograph) Baker, R.C. The Village Voice, November 7-14, 2005.

Cohen, David. “Barbara Takenaga,” New York Sun, November 17, 2005. Kushner, Robert. “Barbara Takenaga,” (catalogue essay) McKenzie Fine Art, 2005. Perry, Vicky. “Abstract Painting,” Watson-Guptali, 2005. Young, Bryan. “National Drawing Exhibition,” Arkansas Art Center, 2005. Smith, Nick. “Rave Party,” Charleston City Paper, Nov. 2, 2005. Drake, Nicholas. Interview: Julie Evans, Brian Rutenberg, Barbara Takenaga, “Talk About” WSCI radio (NPR affiliate), Charleston, SC, October, 2005.

Hagood, Catherine. “Cooperation of Pleasures,” The Post and Courier, Charleston, SC, October 20, 2005. Johnson, Ken. “Good Vibrations,” New York Times, July 15, 2005. Chandler, Mary Voelz. “Art by Numbers,” Rocky Mountain News, July 14, 2005. Cohen, David. “Gallery Going” The New York Sun, July 7, 2005. Marglin, Elizabeth. “Artful Transformation,” Boulder Daily Camera, July 3, 2005. Becker, Lisa Tamiris. “Micro/Macro: Barbara Takenaga,” (brochure) CU Museum, University of Colorado, Boulder 2005.

Lynch, Mark. 2005 DeCordova Artist Interview, WICN radio, October, 2005. Temin, Christine. “Variety blooms at DeCordova Annual,” Boston Globe, May 27, 2005. Millis, Christopher. “The 2005 DeCordova Annual Exhibition,” Boston Phoenix, May 16, 2005. Hopkins, Randi. “Perennials and Obsessions,” Boston Phoenix, April 22, 2005. “DeCordova Annual Exhibit,” Lincoln Journal, Acton, MA, April 21, 2005.

Novina, Alexandra. The 2005 DeCordova Annual Exhbition, (catalogue) curated by Rachel Lafo, Nick Capasso, & others, DeCordova Museum, Lincoln, MA.

Meyers, Laura. “LA Hosts Art Fairs Trifecta,” Art Business News, April 2005. Thompson, Joe and others, Ten Years of Artist’s Resource Trust, 2005. Baker, Kenneth. “Radial Gradient,” Art News, February 2005. Johnson, Ken. “179th Annual,” New York Times, May 14, 2004.

Kushner, Robert. “Barbara Takenaga,” Art In America, February 2004. Henry, Sara Lynn. “Brave New Worlds,” (brochure) Dorsky Curatorial Programs, Long Island City, NY 2004. The Anxious Image, (catalogue) curated by Jimmy Wright and David Sharpe, The Painting Center, New York, NY 2004.

The 179th Annual: An Invitational Exhibition of Contemporary American Art. (catalogue) Nancy Malloy. The National Academy of Design, New York, NY, 2004. Berry, Ian. “About Painting,” (catalogue) Tang Teaching Museum, 2004. Walker, Sarah. “Radial Gradient,” (brochure) Gregory Lind Gallery, San Francisco, 2004. Buhman, Stefanie. “Barbara Takenaga,” Artcritical.com, October, 2003.

Schmerier, Sarah. “Affordable Art Fair,” Time Out, New York, October 30, 2003. “Affordable Art Fair,” In New York, October 2003. Johnson, Ken. “Obsessive Pleasures,” The New York Times, May 9, 2003. Hirsch, Faye. “Working Proof: Print Reviews,” Art on Paper, April 2003. Korotkin, Joyce. “Beautiful Recession,” The New York Art World, April 2003. Artists to Artists. “A Decade of the Marie Walsh Sharpe Space Program,“ (catalogue) 2002. Shaw, Karen. Accumulations, (catalogue) Islip Art Museum, 2002. Newhall, Edith. “Night in the City,” New York, January 7, 2002. Johnson, Ken. “Barbara Takenaga,” The New York Times, December 28, 2001. Johnson, Ken. “Alterations,” The New York Times, August 10, 2001. “Figstract Explosionism,” The New Yorker, February 19 & 26, 2001. Vermont Studio Center Press Catalog 3, 2001. Gluckstern, J. “Frontrange Women,”Daily Camera, Boulder, CO, June, 2000. Payton, Cydney, Marsha Semmel, Lucy Lippard, Margo Espenlaub, Elbows and Tea Leaves, Frontrange Women in the Visual Arts, Boulder Center for Contemporary Art, 2000. Johnson, Ken. “Trippy World,” The New York Times, October 22, 1999. Levin, Kim. “Choices,” Village Voice, October 19, 1999.

“People Are Talking About.”., Vogue Magazine, September, 1999. (photograph) “Trippy World,” Shout Magazine, New York, NY, September, 1999. Cotter, Holland, “Art in Review,” The New York Times, April 24, 1998.

Lien, Fu-Chia-Wen. “Contemporary Asian Women Artists,” (catalogue) Taipei Gallery, 1998. Pelli, Denis. “Seeing Is Easy,” New York Arts Magazine, October 1997.

Pelli, Denis & Ana Maria Torres. “Threshold: Limits of Perception,” (catalogue), New York University, 1997. Cheng, Amy. “Would You Mind Repeating That Again?” NY Soho Arts Magazine, Oct 1996. Mary H. Dana Women Artists Series: 25 Years of Feminism, Rutgers University, 1996. Broude, Norma and Mary Garrard. “The Power of Feminist Art,” Abrams, 1994 (group photograph), p. 114. “Gathering Medicine,” Manual, Art In General, 1994, p. 47, 100.

Raven, Arlene, “The Conversation: Barbara Takenaga,” Manual, Art In General, 1993. The Choice of Painting, Lyman Allen Art Museum, Natalie Coletta-Sanford, 1993. “Five Chapters: Barbara Takenaga,” video by Christine Choy, 1993. Cloud, Laura. “Lyman Allyn Art Museum...,” Art New England, June/July 1993. Zimmer, William. “Invention Hews to Yankee Tradition,” The New York Times, March 14, 1993. Sherman, Mary. “Fellowship Recipients...”, Boston Herald, Sept. 13, 1992. Becker, Jacqueline. “Visions of Nature and Culture,” Art New England, Oct/Nov 1992. Spence, Pamela Richards. Retrospective Catalog of the Mary H. Dana Women Artists Series, The Journal of the Rutgers University Libraries, 1992.

Smith, Beryl, Mary H. Dana Women Artists Series, (catalogue) Douglass College, New Brunswick, NJ, 1991.

SELECTED PUBLIC COLLECTIONS

The Ackland Art Museum, University of North Carolina, Chapel Hill, NC Arkansas Art Center, Little Rock, AR

SELECTED PUBLIC COLLECTIONS

(cont.)

CU Art Museum, University of Colorado, CO

The Crocker Art Museum, Sacramento, CA

The DeCordova Museum, Lincoln, MA

Dieu Donne Papermill, New York, NY

The Fine Art Program at the Federal Reserve Board, Washington D,C, Frederick R. Weisman Art Foundation, Los Angeles, CA

The Henry Art Gallery, University of Washington, Seattle, WA

The Library of Congress, Washington DC

Mt. Holyoke College Art Museum, South Hadley, MA

Museum of Outdoor Art, Englewood, CO

Museum of Texas Tech University, Lubbock, TX

Museum of Nebraska Art, Kearney, NE

New Jersey State Museum, Trenton, NJ

Neuberger Museum, Purchase College SUNY, NY

Pennsylvania Academy of Fine Art, Philadelphia, PA

San Jose Museum of Art, San Jose, CA

Sheldon Art Museum, University of Nebraska, Lincoln, NE

Smith College Museum of Art, Northampton, MA

United States Embassy in Algeria

UNL/University of Nebraska Medical Center Health Science Education Building Yale University Art Gallery, New Haven, CT

Williams College Museum of Art, Williamstown, MA

CORPORATE COLLECTIONS

Bank of American, Boston, MA

Bank of America, San Francisco, CA

The Capital Group Companies, Los Angeles, CA

Citibank, New York, NY

Citigroup, New York, NY

Fidelity Investments, Boston, MA

The Four Seasons Hotel, Maui, HI

The Hallmark Fine Arts Program, Kansas City, MO

The Jackson Laboratory, Bar Harbor, ME

Mandalay Bay Hotel, Las Vegas, NE

Neuberger Berman, New York, NY

The News Corporation, New York, NY

Polsinelli Art Collection, USA

Progressive Corporation, Cleveland, OH

UBS Art Collection, USA

The Oculus, an installation at Williams and Connolly, Washington DC

PERMANENT PUBLIC COLLECTIONS

Cascade (caeruleus), glass mosaic, NYU Langone Art Collection, New York, NY

MTA Metro-North Railroad Station, White Plains, MTA Arts & Design, mosaic: Forte: Quarropas 2020, glass railings: Blue Rails (White Plains) 2020

LEO VALLEDOR

Born 1936 in San Francisco, CA

Died 1989 in San Francisco, CA

EDUCATION

1953-1955 California School of Fine Arts (now San Francisco Art Institute)

AWARDS AND RESIDENCIES

1982 National Endowment for the Arts Artist Fellowship Grant

1981 National Endowment for the Arts Artist Fellowship Grant

TEACHING

1987 San Francisco Art Institute

1978 University of California, Berkeley, CA

1977 Art Exhibition Director & Instructor, Lone Mountain College, San Francisco, California

SELECTED SOLO AND TWO PERSON EXHIBITIONS

2024 Leo Valledor: At First Sight, Silverlens, Manila, Philippines

2023 Remains of Surface, Silverlens, Manila, Philippines

2020 East-West Series 1968–71, Brian Gross Fine Art, San Francisco, CA; Exhibition catalog

2019

Leo Valledor: Dimensional Space, David Richard Gallery, New York, NY

Leo Valledor, The Bridge (To Sonny Rollins), Kadist, San Francisco, CA

Dliexi Gallery: The Early Years, Brian Gross Fine Art, San Francisco, CA

2018 A New Slant, Brian Gross Fine Art, San Francisco, CA

Leo Valledor: Color As Space, White Box, New York, NY

Leo Valledor: Curved, David Richard Gallery, New York, NY

2016 Leo Valledor: Color Space, Brian Gross Fine Art, San Francisco, CA

2012 Shapin’ Up, David Richard Gallery, Santa Fe, NM

2011 Play It By Eye, Togonon Gallery, San Francisco, CA

2008 Between Sound & Space: The Paintings of Leo Valledor, Togonon Gallery, San Francisco, CA

2006 Leo Valledor Selected Works, Togonon Gallery, San Francisco, CA

Leo Valledor & Carlos Villa, Mendenhall Sobieski Gallery, Pasadena, CA

The Filipino Roots of Minimalism: Leo Valledor and Mario Yrisarry, Mitchell Algus Gallery, New York, NY

1982-1983 Leo Valledor: New Paintings, Modernism, San Francisco, CA

1980 Leo Valledor: Paintings, Modernism, San Francisco, CA

1976 Daniel Weinberg Gallery, San Francisco, CA

Los Angeles Institute of Contemporary Art, Los Angeles, CA

1974 M.H. de Young Memorial Museum, San Francisco, CA

1973 Daniel Weinberg Gallery, San Francisco, CA

1971 San Francisco Museum of Modern Art, San Francisco, CA

San Francisco Art Institute, San Francisco, CA

1966 Valledor, Graham Gallery, New York, NY

Robert Grosvenor Sculpture/Leo Valledor Paintings, Park Place Gallery, New York, NY

1965 Leo Valledor/Robert Smithson/Sol LeWitt, Park Place Gallery, New York, NY

SELECTED GROUP EXHIBITIONS (cont.)

1959 Blue & Black Series, Dilexi Gallery, San Francisco, CA

1958 California School of Fine Arts, San Francisco, CA

1957 Jazzus Series, 6 Gallery, San Francisco, CA

1956 Compositions, 6 Gallery, San Francisco, CA

SELECTED GROUP EXHIBITIONS

2025 Where Things Begin: 10 American Artists of the Asian Diaspora, Paul Thiebaud Gallery, San Francisco, CA East of the Pacific: Making Histories of Asian American Art, Amon Carter Museum of American Art, Fort Worth, TX

2024 Legacies: Asian Amercan Art Movements in NYC (1969-2001), 8OWSE, New York, NY

2022 East of the Pacific: Making Histories of Asian American Art, Cantor Arts Centre, Stanford, CA

Gesture/Color/Form, Brian Gross Fine Art, San Francisco, CA

Dead Lecturer / distant relative: Notes from the Woodshed, 1950-1980, Wallach Art Gallery, Columbia University, NY

2021 Break + Bleed, San Jose Museum of Art, San Jose, CA

2020 30th Anniversary Exhibition, Brian Gross Fine Art, San Francisco, CA; exhibition catalog

2019 Dilexi Gallery: The Early Years, Brian Gross Fine Art, San Francisco, CA; exhibition catalog Building the Building: SOMArts 40th Anniversary Exhibition, SOMArts Cultural Center, San Francisco, CA

2018 Way Bay 2, Berkeley Art Museum, University of California, Berkeley, CA

Way Bay, Berkeley Art Museum, University of California, Berkeley, CA

2017 Inventing Downtown: Artist-Run Galleries in New York City, 1952-1965, Grey Art Gallery, New York University, New York, NY

Park Place Gallery: Founders and Friends, Then and Now, David Richard Gallery, Santa Fe, NM

Altered Spaces: A Psychedelic Legacy, David Richard Gallery, Santa Fe, NM

2016 Mustard Road, The Battery SF, San Francisco, CA

The Butterfly Effect: Art in 1970s California, Palo Alto Art Center, Palo Alto, CA

2014 Sensation, David Richard Gallery, Santa Fe, NM

2011-2012 Abstract Art in the U.S. 1955-65, 75th Anniversary show from the Permanent Collection, San Francisco Museum of Art, San Francisco, CA 2008-2009

Reimagining Space: The Park Place Gallery Group in 1960s New York, Blanton Museum of Art, Austin, TX

Asian/American/Modern Art: Shifting Currents 1900–1970, Fine Arts Museums of San Francisco, San Francisco, CA 2006-2010

Togonon Gallery, San Francisco, CA

1995 Mitchell Algus Gallery, New York, NY

1988 Bluxome Gallery, San Francisco, CA

871 Fine Arts, San Francisco, CA

1987 Bluxome Gallery, San Francisco, CA

1985 San Francisco Art Institute, San Francisco, CA

Redding Museum and Art Center, Shasta College, Redding, CA

John Berggruen Gallery, San Francisco, CA

San Jose Institute of Contemporary Art, San Jose, CA

Sun Gallery, Hayward, CA

1984 Oakland Museum of California, Oakland, CA

Public Image, New York, NY

San Francisco Arts Commission Gallery, CA

1982 Belca House, Kyoto, Japan

1978 Mills College Art Gallery, Oakland, CA

Worth Ryder Gallery, University of California, Berkeley, CA

1977 San Francisco Museum of Modern Art, CA

Lone Mountain College, San Francisco, CA

1976 San Francisco Art Institute, San Francisco, CA

1974 San Francisco Art Institute, San Francisco, CA

1971

East-West Series, San Francisco Museum of Modern Art, San Francisco, CA

1970 San Francisco Art Institute, San Francisco, CA

1968 Park Place Group, Hayden Gallery, MIT, Cambridge, MA

Philips Exeter Academy, Exeter, NH

San Francisco Art Institute, CA

1967 Denver Art Museum, Denver, CO

Park Place Gallery, New York NY

Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA

Dallas Museum of Art, Dallas, TX

Long Beach Island Foundation of the Arts and Sciences, Loveladies, NJ

Georgia Museum of Art, University of Georgia, Athens, GA

Instituto Torcuato de Tella, Buenos Aires, Argentina

Museo del Arte, Caracas, Venezuela

Drew University, Madison, WI

New York University, NY

Bykert Gallery, New York, NY

Heath Gallery, Atlanta, GA

1966 Larry Aldrich Museum, Ridgefield, CT

Jacksonville Museum of Art, FL

Lannan Foundation Museum, Palm Beach, FL

Bykert Gallery, New York, NY

1965 Art’65, American Express Pavilion, New York’s World’s Fair, Queens, NY

San Francisco Museum of Modern Art, CA

Smithsonian Institution Traveling Exhibition, Latin America

World House Galleries, New York, NY

Young Masters, Graham Gallery, New York, NY

John Daniels Gallery, New York, NY

Van Bovenkamp Gallery, New York, NY

1964 Eleven Artists, Kaymar Gallery, New York, NY

Noah Goldowsky Gallery, New York, NY

Park Place Group, New York, NY

1961 San Francisco Museum of Modern Art, CA

1959

Dilexi Gallery, San Francisco, CA

1958 Dilexi Gallery, San Francisco, CA

1955 Walker Art Center, Minneapolis, MN

1954-1957 Six Gallery, San Francisco, CA

SELECTED PUBLIC COLLECTIONS

Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, CA

Allentown Art Museum, Allentown, PA

Berkeley Art Museum, University of California, Berkeley, CA

Crocker Art Museum, Sacramento, CA

The Daum Museum of Contemporary Art, State Fair Community College, Sedalia, MO

The Dorothy and Herbert Vogel Collection: “Fifty Works for Fifty States” Fine Arts Museums of San Francisco, CA

Nora Eccles Harrison Museum of Art, Utah State University, Logan, UT

Oakland Museum of California, Oakland, CA

SELECTED PUBLIC COLLECTIONS (cont.)

Philadelphia Museum of Art, Philadelphia, PA

San Francisco Museum of Modern Art, San Francisco, CA

San Jose Museum of Art, San Jose, CA

Saint Louis Art Museum, St. Louis, MO

Seattle Art Museum, Seattle, WA

The Flood Family Collection, San Francisco, CA University of Agder, Kristiansand, Norway

US Department of State Art in Embassies Program, Washington D.C. Whitney Museum of American Art, New York, NY

Yale University Art Gallery, New Haven, CT

SELECTED BIBLIOGRAPHY

Paik, Alex. “When Asian-American Artists Are Unburdened by Identity”, Hyperallergic, Nov 15, 2022. Roth, David. “Outward Bound,” Squaercylinder.com, Oct 2, 2022.

Heinrich, Will. “Dead Lecturer/Distant Relative: Notes from the Woodshed, 1950-1980,”

The New York Times, September 16, 2022. Yau, John. “What Do We Mean When We Say ‘Postwar American Art?’” Hyperallergic, March 14, 2020. Shere, Charles. “Ideal Geometry,” The East Side View (February 12, 2018.)

Cotter, Holland. “When Artists Ran the Show: ‘Inventing Downtown,’ at N.Y.U.,” The New York Times, January 12, 2017.

Rachleff, Melissa. “Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965,” Essays by Lynn Gumpert, Billy Kluver, and Julie Martin. Grey Art Gallery, New York University, 2017. Roth, David M. “Leo Valledor @ Brian Gross,” Squarecylinder.com, February 22, 2016.

Chun, Kimberly. “Art that Speaks to S.F.’s Past,” sfgate.com, January 20, 2016.

Morris, Barbara. “Leo Valledor: Play It By Eye at Togonon Gallery,” Art Ltd Magazine, Jan/Feb 2012. Henderson Dalrymple, Linda. “The Fourth Dimension and Non-Euclidean Geometry in Moder n Art,” MIT Press, 2012.

Colpitt, Francis. “Space Explorers,” Art in America, February 2009, p 61.

Baker, Kenneth. “Forakis and Valledor at Togonon,” San Francisco Chronicle, October 25, 2008.

Gordon Chang, Mark Dean Johnson & Paul Karlstrom. “Asian American Art, A History, 1850-1970,” Stanford University Press, 2008.

Henderson Dalrymple, Linda. “Park Place: Its Art and History,” Reimagining Space: The Park Place Gallery Group in 1960s New York, Blanton Museum of Art, 2008.

Daniell Cornell & Mark Dean Johnson (editors). “Asian/American/Modern Art—Shifting Currents, 1900-1970,” Fine Arts Museums of San Francisco, 2008.

Amy, Michaël. “Leo Valledor and Mario Yrissary at Mitchell Algus,” Art in America, March 2007, p 178.

Schwendener, Martha. “ART AND SPACE: Park Place and the Beginning of the Paula Cooper Gallery,”

The New York Times, February 19, 2007.

Long, Jim. “The Filipino Roots of Minimalism: Leo Valledor and Mario Yrisarry at Mitchell Algus Gallery,”

The Brooklyn Rail, November 2006. Cotter, Holland. “The Filipino Roots of Minimalism” The New York Times, September 29, 2006.

Loleng, Stephanie Grace. “Provocative colors in Leo Valledor’s art,” Philippine News, April 26, 2006. Mizota, Sharon. “Selected Works: Paintings by Leo Valledor,” SF Weekly, March 29, 2006. Karlstrom, Paul J. “Leo Valledor/Carlos Villa,” MSG Gallery, Los Angeles and Shanghai, 2006. Rinder, Lawrence. “Leo Valledor: Selected Works,” Togonon Gallery, San Francisco, 2006.

Elaine Kim, Margo Machida & Sharon Mizota. “Fresh Talk, Daring Gazes,” University of California Press, 2003. Humblet, Claudine. “The New American Abstraction,” Skira/Seuil, 2003, Vol 3, pp 1893-1937. Fitz Gibbon, John. “The Pilot Hill Collection,” Crocker Art Museum, 2002.

Seymour Howard and John Natsoulas. “The Beat Generation Galleries and Beyond,” John Natsoulas Press, 1996.

Albright, Thomas. “Art in the San Francisco Bay Area, 1945-1980: An Illustrated History,” University of California Press, 1985.

Fleming, Dean. “Interview: Leo Valledor,” Ocular, Vol. 6, No. 3, Fall 1981, pp 28-38. Hopkins, Henry. “50 West Coast Artists,” Chronicle Books, 1981.

Boettger, Suzaan. “Geometric Surfaces with Illusory Depth,” Art Week, August 16, 1980, p 5.

Stiles, Knut, “Leo Valledor at Modernism Gallery,” Art in America, Nov-Dec 1976.

Martin, Fred. “Leo Valledor in Retrospect.” Art Week, September 4, 1976, p 18.

Frankenstein, Alfred. “The Man the Museum Overlooked,” San Francisco Chronicle, August 20, 1976.

Ballatore, Sandy. “Four Solo Exhibitions: Nancy Genn, John Okulick, Jack Scott, Leo Valledor,” Los Angeles Institute of Contemporary Art, 1976.

Frankenstein, Alfred. “Valledor’s Masterly Art/Clarity and Aloofness,” San Francisco Chronicle, February 21, 1974.

Dunham, Judith L. “Leo Valledor Paintings,” Art Week, November 17, 1973, p 3.

Valledor, Leo. “Leo Valledor/Selected Paintings/East-West Series,” Exhibition brochure, San Francisco Art Institute, 1971.

Nordland, Gerald. “Leo Valledor: East-West Series,” Exhibition Brochure, San Francisco Museum of Art, 1971. Battcock, Gregory (editor). “Minimal Art: A Critical Anthology,” E.P. Dutton, 1968.

Lippard, Lucy R. “Perverse Perspectives,” Art International, March 1967.

Green, Samuel Adam. “Art For the City,” Institute of Contemporary Art, University of Pennsylvania, PA, 1967. Glueck, Grace. “ABC to Erotic,” Art in America, Fall, 1966, p 107.

Berrigan, Ted. “Leo Valledor,” Art News, October 1966, p 65.

Hutchinson, Peter. “Mannerism in the Abstract,” Art and Artists, September 1966. Aldrich, Larry. “Highlights of 1965–66 Art Season,” The Larry Aldrich Museum, July 1966.

Smithson, Robert. “Entropy and the New Monuments,” Artforum, June 1966.

Bourdon, David. “E=Mc2 a Go-Go.” Art News, January 1966, ill.

Swain, Richard. “Robert Grosvenor, Leo Valledor,” Art News, December 1965.

O’Doherty, Brian. “Art 65: Lesser Known and Unknown Painters: Young American Sculpture – East to West,” American Express Corporation, NY, 1965.

O’Doherty, Brian. “Art: Avant – Garde Deadpans on Move. Kaymar Gallery Shows Recent Works,” The New York Times, April 11, 1964, p 22.

Lenders

Anglin/Trimble Gallery

DC Moore Gallery

Estate of Leo Valledor

Private Collection, Berkeley, CA

Cover: Marc Katano, Starling (detail), 2024

Rear Cover: Aaron Chung, Remembrance (detail), 2021

Copyright 2025 Paul Thiebaud Gallery. All Rights Reserved.

pgs. 11-15 - Copyright 2025 Freddy Chandra.

pgs. 17-23, back cover - Copyright 2025 Aaron Chung. pgs. cover, 25-29 - Copyright 2025 Marc Katano. pgs. 32-39 - Copyright 2025 Estate of Yasuhide Kobashi. pgs. 43-47 - Copyright 2025 Joshua Moreno. pgs. 50-53 - Copyright 2025 Grace Munakata. pgs. 55-59 - Copyright 2025 Estate of Arthur Okamura. pgs. 62-67 - Copyright 2025 Sono Osato. pgs. 72-79 - Copyright 2025 Barbara Takenaga. pgs. 84-91 - Copyright 2025 Estate of Leo Valledor.

pg. 82 - text Copyright The Barnett Newman Foundation. pg. 82 - text Copyright Dean Fleming. pg. 83 - text Copyright Estate of Leo Valledor, courtesy SFAI Legacy Foundation + Archive. pgs. 30, 32, 35, 36, 39, 94-95 - Japanese translation by Yukako Izutani

Design: Greg Flood and Matthew Miller. cover, pgs. 25-29, photo: Nicole Katano. pgs. 11-15, photo: courtesy of the artist. All other images, photo: Matthew Miller.

No portion of this document may be reproduced or stored without the express written permission of the copyright holder(s).

PAUL THIEBAUD GALLERY