Visual Art Source Articles

by Liz Goldner UC Irvine Langson Orange County Museum of Art, Costa Mesa, California Continuing through October 18, 2026 Raymond Saunders, “Black is a Color,” 2010-2015, mixed media on wood, 72 x 79 1/2 x 8”. Courtesy Casemore Gallery, San Francisco, All works © 2025, Estate of Raymond Saunders. With narrative art the go-to topic in the SoCal art world (culminating with the recent opening of the Lucas Museum of Narrative Art), it is refreshing to tour “Raymond Saunders: Flowe

by Donna Tennant Heidi Vaughn Fine Art, Houston Continuing through October 17, 2026 Tiffany Heng-Hui Lee, “Buffalo Bayou Connected I, II, III,” 2026, mixed media on paper, 21 x 17”. All images courtesy of Heidi Vaughn Fine Art. The five Chinese elements that make up the world — wood, fire, earth, metal, and water — have inspired and shaped Tiffany Heng-Hui Lee’s mixed-media collages and sculptures. Lee, a Taiwanese American, draws on her heritage, her philosophical beliefs, a

by Liz Goldner Oceanside Museum, Oceanside, California

by Matthew Kangas Chatwin Arts, Seattle Continuing through August 29, 2026 James Leong, “Study, Fragments in Light Ochre,” 1961, mixed media on canvas. All images courtesy of Chatwin Arts. The reputation of many well-known and accomplished artists after their death can be difficult to fathom. In the case of James Leong, who died 15 years ago at the age of 82, well-meaning efforts to ensure his legacy have come to naught. That’s not for want of trying. In this, the second show

by Matthew Kangas Nine Gallery Portland Continuing through September 26, 2026 Christopher Rauschenberg, “Untitled,” 2026, photograph. All images courtesy of the artist. The 17 untitled color photographs and photo-collages that Christopher Rauschenberg shows in “Italy 2026” are just the latest tip of the iceberg, that is, of a lifetime of photographing sites throughout the world. Focusing exclusively on Italy this year, Rauschenberg has extended his technique of mixing straigh

by Jody Zellen Lisson Gallery, Los Angeles Continuing through August 22, 2026 Spencer Finch, “Gorgeous Nothing 10, After JJ,” 2026, archival inkjet print and collage on paper, 7 1/8 x 6 1/2”. All images courtesy of Lisson Gallery, Los Angeles. In 2013 “The Gorgeous Nothing,” a facsimile edition of fifty-two poems Emily Dickinson composed on scraps of paper and discarded envelopes was published, giving readers the opportunity to encounter these handwritten creations firsthand.

by Liz Goldner California African American Museum, Los Angeles, California Continuing through October 21, 2026 Willie Birch, “Uptown Memories (A Day in the Life of the Magnolia Project),” 1995, painted papier-mâché and mixed media, 82 × 62 × 60”. Courtesy of the New Orleans Museum of Art. Photo: Roman Alokhin. The works of Willie Birch are unusual and complex examples of narrative art. His first major retrospective portray him embracing life’s varied states of mind, including

by Matthew Kangas Douglas F. Cooley Memorial Gallery, Reed College, Portland Continuing through August 15, 2026 (left) Jack Snell-Ryan, “Embassy Tower,” 2023-2026, egg carton, felt, poplar, cast urethane, acrylic paint, 25 x 21 x 9”. (right) Jack Snell-Ryan, “Framed Void (with flagpoles),” 2026, milled poplar, felt, construction remnant, acrylic paint, 28 x 36 x 25”. All photos: Mario Gallucci. All images courtesy of The Douglas F. Cooley Memorial Art Gallery. Conceptual sculp

by David S. Rubin Anat Ebgi Gallery, Los Angeles Continuing through July 18, 2026 Angela Lane, “Burning Sky,” 2025, oil on birch plywood, 10 x 7”. All images courtesy of Anat Ebgi Gallery, Los Angeles. All images courtesy of Anat Ebgi Gallery. In “Phase Shift,” an exhibition of eighteen gemlike, delicately executed small scale oil paintings, Angela Lane investigates meteorological phenomena such as solar eclipses, Northern Lights (aurora borealis), twin suns, and mirrored m

by David S. Rubin Diane Rosenstein Gallery, Los Angeles Continuing through July 11, 2026 Terran Last Gun, “Gathering of Distinguished Knowledge Holders,” 2025, ink and colored pencil on antique “The Tisch-Hine Co., Grand Gapids, Mich.” Accounting ledger sheet (dated 1924); Watermark: Waverly Ledger, 1922, 16 5/8 x 13 3/4”. All images courtesy of Diane Rosenstein Gallery, Los Angeles. As an enrolled citizen of the Piikani Nation, Santa Fe-based Indigenous artist Terran Last Gu

by Jody Zellen Craig Krull Gallery, Santa Monica Continuing through July 4, 2026 Ayin Es, “Disorderly Conduct,” 2022, oil on gesso board, 16 x 20”. All images courtesy of Craig Krull Gallery, Santa Monica. The paintings in Ayin Es’ “Relative Strangers” exhibition highlight infrequently seen components of their work. Perhaps this signals a new aesthetic direction, but they shake things up, at least, in terms of style and media. Using vintage family photographs as a point of de

by Lynn Trimble Phoenix Art Museum, Phoenix Continuing through June 28, 2026 Cara Romero, “The Last Indian Market,” sublimated fabric print, 94 × 321”. All images courtesy of the artist. Thirteen Indigenous artists and intellectuals sit together at a long table, as depicted in a large-scale photograph mounted high on a wall overlooking a central space at the Phoenix Art Museum. Their elevated presence counters demeaning stereotypes of Indigenous peoples promulgated through ar

by Matthew Kangas The Seattle Light Room, Seattle Continues through June 27, 2026 Ellen Sollod, “Fleurs Francaises,” altered French-Latin dictionary with photo transfers, 6 x 34” (when opened). All images courtesy of The Seattle Light Room, Seattle. Best known as a maker of artist’s books and art-in-public-places projects, Ellen Sollod’s photographs have rarely been exhibited prior to “La Flâneuse, Le Jardin et Les Fleurs.” After spending years in Lyon, France as co-director

by Matthew Kangas Seattle Art Museum, Seattle Continues through August 2, 2026 Leo Kenney, “The Inception of Magic,” 1945, egg tempera on composite board, 36 1/8 x 24 1/8”. Courtesy of the Seattle Art Museum. Photo: Elizabeth Mann. Following major surveys in 1978 and 2014, “Beyond Mysticism: the Modern Northwest” amplifies the scope of the Northwest School (including the Big Four of Guy Irving Anderson, Kenneth Callahan, Morris Graves, and Mark Tobey), appending ancillary fig

Henry Art Gallery, University of Washington, Seattle by T.s. FLock Continuing through October 25, 2026 Eric-Paul Riege “ojo|-|ólǫ́” installation view, Henry Art Gallery, University of Washington, Seattle. 2026. Photo: Jueqian Fang. What still distinguishes museums from privately owned galleries is the possibility, fragile and ever-threatened, of a non-transactional encounter with objects, in which value is understood in terms of intensity of attention and depth of experience.

by Jody Zellen Royale Projects, Los Angeles Continuing through June 6, 2026 Lynn Aldrich, “Grid Buster,” 1989, carpet padding, surge protectors, stereo arrangement of Gregorian Chant and vacuum cleaner noise, 10 x 17 feet. Courtesy of Royal Projects, Los Angeles. In many senses Lynn Aldrich's work is Duchampian. Her nuanced career spans more than forty years of witty and conceptually based works that ingeniously combine found materials, often including household objects, as w

by David S. Rubin Wönzimer, Los Angeles Continues through May 22, 2026 Lawrence Gipe, “In Commemoration of Gardi Sugdub (Vanishing Island),” 2024, oil on canvas, 72 x 96”. All images courtesy of Wönzimer. Art is political, it is often said, yet there are clearly artworks that are Political, with a capital ‘P’, where specific social and moral issues drive the art. Such is the case with the works of the thirteen artists in “DegreeZero: Utopia/Dystopia,” a thought-provoking exhi

by Matthew Kangas Greg Kucera Gallery, Seattle Continues through May 16, 2026 Norman Lundin, “Studio Floor and Wall,” 2025, oil on canvas mounted on archived panel, 19 1/2 x 30”. All images courtesy of Greg Kucera Gallery, Seattle. Subjectivity of vision is one qualifier for legitimate realism, and Norman Lundin’s new paintings express that in spades. Seen in an exhibition titled “Landscapes, Mostly, Other Things Too,” Lundin’s breadth of vision and subject matter has never b

by John Zotos Erin Cluley Gallery, Dallas, Texas Continuing through May 9, 2026 Anna Membrino, “Dew,” 2026, acrylic on canvas, 65 x 65”. All images courtesy of Erin Cluley Gallery, Dallas. In Anna Membrino’s approach, landscape painting starts with photographs of the natural world. Then, with a technique involving collage and digital alterations on a computer screen, she arrives at an image worthy of the intense shifts in scale, color, and surreal mystery that has defined her

by Jody Zellen David Kordansky Gallery, Los Angeles, California Continuing through April 25, 2026 Elizabeth Murray, “2.B.!,” 1990, oil, matchsticks, canvas and wood, 68 1/4 x 49 x 4 1/2”. All images courtesy of David Kordansky Gallery, Los Angeles. The surprising yet somehow inevitable pairing of Elizabeth Murray (1940 - 2007) and Betty Woodman (1930 - 2018), two artists whose beautiful, idiosyncratic works made them icons of their generation, opens up new avenues of discover