FOG Design + Art

Booth 211 | San Francisco, CA | January 18 - 22, 2023

  • For the 2023 edition of FOG Design + Art, James Cohan will present a selection of new and important work by Yun-Fei Ji, Lee Mullican, Christopher Myers, Jordan Nassar, Eamon Ore-Giron, Elias Sime, and Toshiko Takaezu. The fair is open to the public from January 19th through the 22nd,  with an opening preview gala on January 18th. 

     

    View a selection of works from our booth ahead of the fair below.

  • LEE MULLICAN
  • Lee Mullican’s 1980s paintings represented a striking evolution in his visual language yet remain grounded in the natural world. In these works, the rich, elemental tones of his earlier work gave way to a pared-down palette of black and white, stippled with fine lines of vibrant primary color.
  • Dense striations of paint are loosened and layered over organic forms that suggest dissected flower petals.

  • Yun-Fei Ji
  • For more than two decades, Yun-Fei Ji has employed the flattened space of classical Chinese painting to tell contemporary stories that, while geographically specific, speak to collective human experiences. The artist has an enduring interest in issues of migration and labor, both in the US and China. Each composition is an act of resistance, and a recognition of the resilience of those who have been uprooted in the name of progress. Ji insists that these narratives of displacement and environmental destruction are worth preserving.
  • Ji paints landscapes and interior spaces marked by human presence, often absent of figures themselves. These spaces are makeshift or in transition, suggesting the migration and displacement of the individuals who live in them. When people do appear in these compositions, it is obliquely–their backs to us, depicted in profile, and rarely gazing directly at the viewer.
  • In these works, Ji shifts from his established medium of ink and watercolor on paper to create vibrant paintings on...
    In these works, Ji shifts from his established medium of ink and watercolor on paper to create vibrant paintings on canvas that possess a quietly evocative intensity.

  • Jordan Nassar
  • In his newest embroidery, Jordan Nassar connects multiple richly patterned panels and interspersed landscapes to create a complete image. Nassar brings into play both the interior and exterior in this collaborative work, creating fictive spaces upon which our imaginations can be projected. Color is the building block for his own hand-embroidered rolling hills, in addition to those of his long-time collaborators; craftswomen living and working in Bethlehem, Ramallah, and Hebron in the West Bank.
  • JORDAN NASSAR, Back To That Garden, 2023

    JORDAN NASSAR

    Back To That Garden, 2023

    Nassar approaches each embroidery as if he was piecing together panels in a puzzle, fitting them together harmoniously to create a unified composition from disparate parts.

  • Eamon Ore-Giron
  • In his series Infinite Regress (2015–ongoing), Eamon Ore-Giron’s totemic visual language is subject to an ongoing process of reformulation. In philosophy, infinite regress is a sequence of reasoning which never ends, a paradox of limitless regeneration that disproves the concept of fixed knowledge—in connecting one element to another, a third one is generated and so on, endlessly.

  • Toshiko Takaezu

  • American master ceramicist Toshiko Takaezu (b. 1922, Pepeekeo, Hawaii - d. 2011, Honolulu, Hawaii) is known for her signature closed forms, inspired by Abstract Expressionism and the traditions of East Asia, including ink painting and the Japanese tea ceremony.  She fused these aesthetic influences in her experimental approach to gestural application of glazes, treating the vessel as a canvas in the round.

  • Takaezu began working towards the closed form in the 1950s, experimenting with a wide range of multipart vessels, as well...

    Takaezu began working towards the closed form in the 1950s, experimenting with a wide range of multipart vessels, as well as pieces with narrow openings that she called “mask pots.” Once she fully enclosed the interior volume – leaving a small opening that allowed for gas to escape during firing, a sort of vestigial spout – she had a format that allowed her to explore a wide range of effects: layering, veiling, and expressionist gesture. The act of closure rendered the vessels functionless, suggesting that they now inhabited the realm of sculpture, as well as pottery.

  • Her palette often references colors seen in nature – particularly her home state of Hawaii – like ochre, black, white,...
    Her palette often references colors seen in nature – particularly her home state of Hawaii – like ochre, black, white, brown and soft grays and varying shades of blue. Applications of yellow, pink, orange and greens were often atmospheric and sometimes suggestive of landscapes through their layering.

  • Christopher Myers
  • Throughout popular visual culture, Christopher Myers sees images of Black women in mourning serve as the ghost or palimpsest of the image of Black bodies in pain or dead Back bodies. Be it Emmett Till’s mother, Coretta Scott King with tears pulling down her cheek, or the Mothers of the Movement, Black women have come to serve as some sort of continual American Pieta.
  • The artist finds parallels between this iconography and the spectral mourning mother figure of La Llorona from Latin America and...
    The artist finds parallels between this iconography and the spectral mourning mother figure of La Llorona from Latin America and the Southwestern United States, who weeps endlessly for her children. The varied tellings of this tale all recount the ghost haunting waterfront areas, searching for the children who she drowned. She serves as a metaphor for the loss of life and culture during the colonization of the Indigenous communities of these geographies.

  • Selected Works