Clare Rojas, “Belly of a Hummingbird”, 2023, gouache on paper. Image courtesy of Bolinas Museum.

Ongoing to September 8 — 32nd Annual Benefit Art Auction at Bolinas Museum: Join Bolinas Museum in celebrating over 50 artists from the Bay Area and beyond. This auction showcases a sampling of the creativity that flourishes in our community, highlighting works available for purchase by local craftspeople and makers, as well as exciting offers and experiences. Enjoy wines, cocktails, delicious food, live music, and a live auction of surprise lots at the Last Call Cocktail Party on September 7. Participating artists include Clare Rojas, Barry McGee, Richard Shaw, Serena Mitnik-Miller, Toni Littlejohn, and more. Click here to register to bid. Bolinas Museum is located at 48 Wharf Rd in Bolinas.

Livien Yin, “Thirsty No. 1”, 2022, oil on linen. Image courtesy of Cantor Arts Center.

Ongoing to February 2 — Livien Yin: Thirsty at Cantor Arts Center: As Brooklyn-based artist Livien Yin’s first solo museum exhibition, this single-gallery exhibition presents new and recent paintings by Yin and their sensitive, researched-based approach to creating scenes of contemporary subjects alongside historical Asian Americans and their environments. Yin’s recent paintings are fictional scenes inspired by the Chinese-born “paper sons and daughters” who entered the U.S. during the Chinese Exclusion Act (1882–1943) by obtaining forged documents that stated they were children of American citizens. Yin draws from historic photographs of Chinese immigrants and stages imagined vignettes in the absence of visual records, using the gaps in these archival sources as fertile ground to envision possible realities. Cantor Arts Center is located at 328 Lomita Dr in Stanford.

Elisheva Biernoff, “Strike”, 2021, acrylic on wood. Image courtesy of Fraenkel Gallery.

September 5 to October 19 — Elisheva Biernoff: Smashed Up House After the Storm at Fraenkel Gallery: Biernoff’s newest exhibition features 13 recent works tracing an expanding artistic practice. Biernoff creates delicate paintings that meticulously recreate found, anonymous photographs—astonishingly faithful renderings on thin sheets of wood that match the intimate scale and detail of the originals. Severed from their original role as personal memories, the enigmatic photographs Biernoff selects evoke ambiguity. By dedicating close attention to these objects, Biernoff brings their buried mysteries and emotions to the surface. Fraenkel Gallery is located at 49 Geary St #450 in San Francisco.

Alicia McCarthy, Untitled, 2020, acrylic pen, house paint, black gesso on wood panel diptych. Image courtesy of Pt. 2 Gallery.

September 6 to October 31 — Warp and Weft at Gallery 16: Weaving is the opposite of dividing, labeling, and marginalizing. The act starts with the assumption that every thread is necessary for the creation and integrity of the whole. Warp and Weft presents 7 artists whose practices consider underlying structures and how to build upon them. Alicia McCarthy, Jim Melchert, Joshua Rampage, Michelle Grabner, Nathan Lynch, Rebekah Goldstein, and Terri Friedman do not all use weaving in their work, but their projects show a dedication to crafting multifaceted structures that are unified in nature. Gallery 16 is located at 501 3rd St in San Francisco.

Jim Campbell, Untitled, 2024, custom electronics, LEDs, treated plexiglas. Marco Maggi, “Economy of Attention (white)”, 2024, cut paper on Dibond. Images courtesy of Hosfelt Gallery.

September 7 to October 12 — Almost Indecipherable: Jim Campbell and Marco Maggi at Hosfelt Gallery: In two solo exhibitions and one collaborative piece, two artists with very different practices—Uruguayan post-minimalist, Marco Maggi, and Bay Area tech pioneer, Jim Campbell—explore perception and how a viewer’s perspective informs their interpretation of an artwork or experience. Maggi’s primary tools are paper, an X-ACTO knife and graphite, while Campbell works with circuit boards and LEDs. For both, however, time is a principal component. If Campbell’s strategy is to give you too little information to comprehend what you’re seeing, Maggi’s is to give you too much. Hosfelt Gallery is located at 260 Utah St in San Francisco.

Mildred Howard, “The Time and Space of Now, Moving Stills 15,” 2024, acrylic ink on wallpaper. Image courtesy of Anglim/Trimble.

September 7 to October 26 — Mildred Howard’s The Time and Space of Now: Moving Stills at Anglim/Trimble: In 1959, a 14-year-old Mildred Howard traveled from the Bay Area through Houston, Chicago and Kansas, documenting events with her 8mm camera. In The Time and Space of Now: Moving Stills, these reels find a new life: developed with the assistance of Magnolia Editions in Oakland, CA, over 30 film stills have been reproduced as monoprints on deacidified vintage wallpaper.⁠ This exhibition is part of Collaborating with the Muses Part One, a series of overlapping exhibitions and performances at Anglim/Trimble, Pt.2 Gallery, and 500 Capp Street. Taking place over a 6-month period, the series celebrates the diversity of Mildred Howard’s multidisciplinary approach to art. Anglim/Trimble is located in Minnesota Street Project at 1275 Minnesota St in San Francisco.

Anne Buckwalter, “Game of Chess,” 2024, gouache on panel. Image courtesy of Rebecca Camacho Presents.

September 19 to November 2 — Anne Buckwalter: I Will Clean the Closet, I Will Climb the Stairs at Rebecca Camacho Presents: Exploring gender, sexuality, and queerness, Buckwalter’s exhibition features a new body of work that expands upon Buckwalter’s distinctive aesthetic, positing a deeper examination into the complexities of our interpersonal relationships. Buckwalter asks how partnerships function when the initial excitement associated with the earliest phases of a relationship—introduction, wooing, and experimentation—solidify into the daily routines that include the division of domestic chores as well as the titillation of carnal desire. Rebecca Camacho Presents’ new gallery space is located at 526 Washington St in San Francisco.

Michelle “Meng” Nguyễn, “Chợ Việt Kiều”, 2024, installation. Ron Moultrie Saunders, “The Absence of Black Presence”, 2024, photographs, sculptural installation. Tariq Stone, “The Graveyard of Memories”, 2024, short film, photographs, sculptural installation. Images courtesy of Recology Art Studios.

September 20, 21, 24 — Artist in Residence Exhibitions: Michelle “Meng” Nguyễn, Ron Moultrie Saunders, and Tariq Stone at Recology Art Studios: Recology’s current artists-in-residence Michelle “Meng” Nguyễn, Ron Moultrie Saunders, and CCA undergraduate Tariq Stone present new works in their upcoming solo exhibitions. Michelle “Meng” Nguyễn’s Chợ Việt Kiều is an installation of hand painted signs, storefront facades, food carts, and other street vendor furnishings that evoke the dense, colorful street life and urban architecture of Saigon, offering the diasporic Vietnamese marketplace that the exhibition’s title suggests. Ron Moultrie Saunders’ The Absence of Black Presence is a photographic series and sculptural installation that explores missing traces and holds visual space for his resilient but shrinking community even as he acknowledges the pains of generational displacement. In The Graveyard of Memories, a loosely interconnected short film, series of photographic portraits, and sculptural installation, Tariq Stone imagines the speculative history of our discarded objects. Recology Art Studios is located at 503 and 401 Tunnel Ave in San Francisco.