We are excited to participate in the 2024 San Francisco Art Fair. Our booth features work by 7 artists who will be part of upcoming exhibitions at Personal Space: Wilder Alison, Rebekah Goldstein, Albert Herter, Aida Lizalde, yétúndé olágbajú, Chris Thorson, and Hannah Wilke.
Wilder Alison, ferns toss&/nvolute, warn the gr/d to cold root, 2023.
Dyed wool and thread. 24.8 x 27.6 x 1”
Photo: Jordan Benton
Wilder Alison is an American interdisciplinary artist and a 2016 graduate of the Bard MFA Painting program. In recent years, Alison has exhibited work with Center for Maine Contemporary Art, Gordon-Robichaux, Gaa Gallery, Rachel Uffner, CUE Foundation, and 247365, among others. Recent solo shows include centrifugal plots at KAJE (Brooklyn), Lacunary Seeming at Lateral Roma (Rome), mirror air error hunger at Gaa Projects (Cologne), A Ripe Blackberry Murmurs to the Wall at FIERMAN (New York), the faucethe drain breach\ a new /ife at Gaa Gallery (Provincetown), and Slit Subjects at White Columns (New York). Alison was a fellow at Schloss Solitude in 2022-23 and the Fine Arts Work Center in 2016-17 and 2018-19. Alison has also participated in residencies at Triangle France-Astérides, Lighthouse Works, Fire Island Artist Residency, and Lower East Side Printshop, among others. In 2024, Alison will participate in SOFT POWER at Das Minsk Kunsthaus in Potsdam, Germany. Alison's work is also the subject of a forthcoming book to be published by KAJE.
@wilderalison
Rebekah Goldstein, No Need to Mention It, 2024
Oil paint and molding paste on canvas collage on linen. 30 x 22”
Photo: Jordan Benton
Rebekah Goldstein, My Own Devices, 2024
Oil paint, papier mache, molding paste and cardboard on panel. 14.5 x 11”
Photo: Jordan Benton
Rebekah Goldstein has recently had solo exhibitions at Denny Gallery New York, NY, Rosenbaum Contemporary in Boca Raton, FL and Cult Aimee Friberg, San Francisco, CA. Her work is part of the permanent collection of Berkeley Art Museum and Pacific Film Archive, McEvoy Foundation for the Arts, the Fidelity Collection, Google, as well as many notable private collections. Goldstein’s work has been featured in ArtForum, Art Plugged, Square Cylinder, and New American Paintings. She has been awarded residencies at the Sam and Adele Golden Center for the Arts and the Atlantic Center for the Arts. Goldstein received an MFA from California College of the Arts in 2012 and a BA from Sarah Lawrence College in 2004. Goldstein currently lives and works in San Francisco.
@rebekahgoldstein
Albert Herter, Insaturation #10, 2015
Ink on paper. 12 3/4 x 15 3/4” framed
Photo: Jordan Benton
Albert Herter, Insaturation #6, 2015
Ink on paper. 12 3/4 x 15 3/4” framed
Photo: Jordan Benton
Albert Herter holds a BFA in new genres from the San Francisco Art Institute, where he focused primarily on video, installation, and performance. His work has also been the subject of solo exhibitions at San Francisco City Hall and Partisan Gallery, San Francisco. Herter has participated in group exhibitions at: JOAN, Los Angeles; Art in General, New York; Derek Eller, New York; Spiral Gallery, Los Angeles; and Arthouse, McAllen, TX. A pairing of the artist’s drawings and writings were recently published by Comfortable On a Tightrope and Museums Press under the title “In the Curtyard: Orchestrated Reduction of the Fantasm”. His drawings have also been featured in The Third Rail and Lacanian Ink. In addition to his artistic practice, Herter is a practicing Lacanian psychoanalyst. He lives and works in Brooklyn.
@teena_adibato
Aida Lizalde, Ripe fruit / bifurcación, 2023
Ceramic, vintage buttons, irrigation hose, fire hose, carabiner
16 x 8.5 x 4”
Photo: Jordan Benton
Aida Lizalde, Capullo del Caribe, 2023
Ceramic, wire, hay bale raffia, fire hose, carabiner
17.5 x 4.5 x 4.5”
Photo: Jordan Benton
Aida Lizalde is a multi-media artist based in Mexico City, originally from Aguascalientes, Mexico. They immigrated to the Central Valley of California with their family at fifteen. Lizalde obtained a Bachelor's degree in Studio Art with a minor in Art History from the University of California, Davis, and earned an MFA in Sculpture + Extended Media from Virginia Commonwealth University in Richmond, completing their studies in 2023.
Throughout their career, Lizalde has received many awards and fellowships, including the Dedalus Foundation Master of Fine Arts Fellowships in Painting and Sculpture, the 2023 Miami University Young Sculptors Competition's William and Dorothy Yeck Award, the Virginia Museum of Fine Arts Fellowship, the Vermont Studio Center Fellowship, the Young Space Grant, the Hopkins Endowment for Studio Art Students, the Crocker Kingsley Art Award, and the Herb Alpert Scholarship for Emerging Young Artists. They have also been a resident artist at Archie Bray, MASS MoCA, AZ West, the Vermont Studio Center, and Casa Lu. Lizalde's work has been exhibited at several galleries and museums, including Alfred University, The Dairy Center in Denver, Axis Gallery in Sacramento, Galeria 54 in Mexico City, The School of Visual Arts Curatorial Project Space in New York, the Sierra Nevada University Gallery in Tahoe, Holland Project Gallery in Reno, CCA Hubbell Street Galleries, Southern Exposure, and SOMArts in San Francisco, Chandra Cerrito Contemporary in Oakland, the Torrance Art Museum in Los Angeles, and the Marin Museum of Contemporary Art in Novato among others.
@Aida_Lizalde
yétúndé olagbaju
Framed: 17.5 x 9.5 x 1.5”
Photo: Jordan Benton
Custom frame by Nicholas Zefeldt
yétúndé olagbaju is a research-based artist, organizer, and residency director living on Ohlone and Tongva lands (Bay Area & Los Angeles, CA). Their work roots in a single question: What must we reckon with as we build a future, together? With no set answers or expectations, olagbaju unravels intricate connections as a means of highlighting our interdependence.
They are interested in how our familial, platonic, romantic, and ecological bonds are affected by what we confront in the reckoning. Inspired by the divine and the everyday within Blackness, they use the moving-image, the sculptural, and the collaborative in order to explore possible futures. Through their social practice they have co-founded and are a member of numerous artist and worker-led collectives, each with liberatory missions and values. An advocate for non-hierarchical working structures, they embrace shared leadership models that challenge white supremacy, by actively rejecting disposability and power hoarding — two of its guiding tenets.
They hold an MFA from Mills College and are the recipient of multiple awards including a LACE Lightening Fund award [Los Angeles, CA]. They were a recent resident at Haystack Mountain School of Crafts [Deer Isle, ME] and Center for Afrofuturist Studies [Iowa City, IA]. They began a commission and year long residency at 500 Capp Street in winter 2023.
@ye.tunde
Chris Thorson, Balance Transfer (Sleep), 2024
Credit card fragment, vitreous enamel, copper
Photo: Jordan Benton
Chris Thorson, Balance Transfer (Denzil), 2024
Credit card fragment, vitreous enamel, glass, copper
Photo: Jordan Benton
Chris Thorson, Balance Transfer (Skyline), 2024
Credit card fragment, vitreous enamel, copper
Photo: Jordan Benton
Chris Thorson’s work has been presented in solo and two person exhibitions at Quint Gallery in San Diego, CA; Rena Bransten Gallery in San Francisco, CA; Mama’s in Vallejo, CA; and the Des Lee Gallery at Washington University in St. Louis, among others. Group exhibitions include Personal Space, Vallejo,CA, Paul Thiebaud Gallery, San Francisco, CA; Subsidiary Projects, London, UK; The Hessel Museum at Bard College; and Headlands Center for the Arts, Sausalito, CA. Her work has been featured in The San Francisco Chronicle, The Riverfront Times, Art Practical, KQED, SFAQ, and New American Paintings. She received a BFA from Washington University in St. Louis and an MFA from the San Francisco Art Institute. She lives and works in Vallejo, CA.
@turnalittletowardsme
Hannah Wilke, Untitled, 1981
Glazed ceramic. 4.5 x 4 x 3”
Courtesy of the Hannah Wilke Collection & Archive. Photo: Jordan Benton
Hannah Wilke, Untitled, 1976
Chewing gum sculpture in Plexiglas box, 2.5 x 2.5 x 1”
Courtesy of the Hannah Wilke Collection & Archive.
Photo: Jordan Benton
Hannah Wilke (1940-1993) Born Arlene Hannah Butter in New York, Wilke attended the Tyler School of Art at Temple University in Philadelphia from 1956 to 1961, graduating with a BFA and a teaching certificate. Although she is best known as a feminist artist, she was also a teacher for approximately 30 years. From the year of her graduation from Temple University until 1970, she taught art at two high schools, one in Plymouth Meeting, Pennsylvania (1961–65), and the other in White Plains, New York (1965–70), and between the years 1972 and 1991, she taught sculpture at the School of Visual Arts, New York.
Wilke used the various mediums of photography, performance, sculpture, and video to examine and challenge prevailing notions of femininity, feminism, and sexuality. She was one of the first artists to use vaginal imagery in her work with the purpose of directly engaging with feminist issues. During the late 1950s through the early 1970s, Wilke worked on creating a type of female iconography based on the body, constructing abstract, organic forms that closely resembled female genitalia. She displayed these forms on the floor or wall in a highly organized and repetitious manner that recalled Minimalism. During the 1970s, she began to use her own body for performance pieces that she called her "performalist self-portraits." These performances, immortalized on video or in photographs, confront erotic stereotypes by calling attention to and making ironic the conventional gestures, poses, and attributes of the female body. In one well-known piece, the S.O S. Starification Object Series (1974–79), Wilke posed half-naked for a series of black-and-white photo stills, adopting the accoutrements and attitudes of female celebrities, but with her torso literally "scarred" with chewing gum shaped into tiny vulvas. The chewing gum interrupts the viewer's desiring gaze, calling attention to the objectification of woman's bodies.
Wilke received several major grants, including the National Endowment for the Arts (1976), John Simon Guggenheim Foundation (1982), and Pollock-Krasner Foundation (1987, 1992). She exhibited widely both in the United States and abroad during her lifetime, and though considered somewhat controversial for the use of her own (generally considered) attractive body in works meant to challenge traditional notions of feminine desirability, continues to figure centrally in accounts of feminist art history. Her works have appeared in numerous exhibitions at Ronald Feldman Fine Arts, New York (starting in 1972 and continuing on to the present), and in shows at the Washington Project for the Arts, Washington, D.C. (1979), and Kunsthalle Wien, Vienna (2002). Her work was also included in a major exhibition of feminist art, WACK!: Art and the Feminist Revolution, which traveled to the Museum of Contemporary Art, Los Angeles; National Museum of Women in the Arts, Washington D.C.; P.S. 1 Contemporary Art Center, Queens, New York; and Vancouver Art Gallery, Canada (2007–09), and the Jewish Museum, New York (2010–11).
In the late 1980s Wilke was diagnosed with cancer and struggled with the illness for the last years of her life. Shortly before she died, she photographed herself naked in the hospital, her emaciated body connected to an intravenous drip and her head bald from her treatments. These large, color photographs were Wilke's last testament to the art world before she died on January 28, 1993, in Houston, Texas.