For this group exhibition George Lawson Gallery presents a selection of example of works from the gallery artists. Exhibited are works by Justine Frischmann, Susan Mikula, Gary Stephan, David Becker, John Millei, Tama Hochbaum, Alan Ebnother, Fabiola Menchelli, Judith Belzer and Clem Crosby. The show will be on view from February 19 to April 1, 2017.


Juxtaposing oil and acrylic spray enamel over photographs on aluminum panels, Frischmann extends the formal reaches of gestural painting. Her work appears to source light rather than reflect it, and these paintings trigger complex interactions that traverse worlds not often associated together: urban architecture, coastal fog, celebrity glare and meditative quietude.

Justine Frischmann was born in London, England in 1969 and now lives in the San Francisco Bay Area. In 1989, she received a BSc from the Bartlett School of Architecture at University College London. In 1992, she founded Elastica, a well-known British rock band and performed for 10 years. In 2005, she attended Naropa University in Boulder, Colorado. Frischmann has been included in numerous exhibitions including: Justine Frischmann, George Lawson Gallery, San Francisco, CA, Summer Invitational, Life on Mars Gallery, NY, NutureArt, Bernaducci Meisel Gallery, NY, The Battle of Faith and Doubt, Unspeakable Projects, San Francisco, CA, What I Like About You, Parallel Art Space, Brooklyn, NY, and Emerging Artists of the Bay, Marin MOCA, CA. In 2013, she was shortlisted for the Marmite Prize for Painting.

Lambent #93, 2016
oil, acrylic spray enamel over sublimation print on aluminum
60 × 60 in (152.4 x 152.4 cm) cat. no. JUF029


Susan Mikula shows an example from the Thrill Show series, shot in 2014 at various locations around the country at demolition derby events. Mikula tends to work on serial projects. American Bond, u.X, and Picture Book, each address the same over-arching concerns with a fresh motif. Mikula is a master of narrative sub-texts, charting with a journalistic compassion the big questions, ranging in tone from curiosity to terror, and always with a view to the individual's place in the larger cosmos. Her imagery plays with an interchange between decadence and regeneration, poignantly casting the contemporary dilemma as a perennial condition, outside time.

Thrill Show Two #11, 2014
Chromogenic Print, ed. 1/5
37 x 48 in, (93.98h x 121.92w cm)
cat. no. SUM61

American b. 1942, Lives and works in New York

Stephan paints in acrylic on canvas. From Susan Inglett's commentary: "In Stephan's canvases familiar paint and palette handling along with figure and ground relationships are inverted. Displacements are commonplace in these works. He uses vacillation as a subject, creating punctures in the canvas that provide progressive openings from background to foreground. Some works originate in landscape, others in architecture and some are informed by the making and unmaking of the work itself as different types of space and perspectives come into view. Stephan claims his paintings are 'designed to be disappointing' as they are ultimately only valuable at the level of construction with the viewer, unraveling the layers of an inherently flat surface to discover what is propped up and why."

Stephan has had solo shows at Bykert Gallery, Mary Boone, Hirschl and Adler, Margo Leavin, Marlborough, Daniel Weinberg and Susan Inglett, among others. His work is in the collections of the Whitney, MOMA, the Guggenheim Museum, the Metropolitan Museum, the Smithsonian, MOCA Los Angeles, SF MOMA, the Dallas Museum of Art, the Museum of Contemporary Art in Miami, the Museum of Contemporary Art in Cincinnati and the Albright-Knox Gallery, among others. Stephan is the recipient of awards from the American Academy of Arts and Letters, the John Simon Guggenheim Foundation, the National Endowment for the Arts, the New York Arts Foundation and most recently a Joan Mitchell Foundation Award.

Spot Blind , 2014
acrylic on canvas
30 x 30 in. (76.2 x 76.2 cm)
cat. no. GAS006

American, born 1952

Originally from the San Francisco Bay Area, Alan Ebnother now maintains studios in Schwerin, Germany and Stanley, New Mexico. His work has been exhibited extensively since the 1980s in Europe and the US, with pieces in the collections of the Albright Knox Museum, Berkeley Museum (BAMPFA), New Mexico Museum of Art, Scottsdale Museum of Contemporary Art, Sheldon Museum of Art, and Haus Konstructive, Zurich. Past gallery exhibitions have included shows at George Lawson, San Francisco; Peter Blake, Laguna Beach; Gisele Linder, Basel; Wade Wilson, Houston; Charlotte Jackson, Santa Fe; Klaus Braun, Stuttgart and Hannes Hake, Wiesbaden.
Ebnother’s oils, in hand-ground dry pigment on stretched linen and wood panels, are characterized by thick impasto, dense pigmentation, and an intuitive marking. Ebnother was originally trained as a ballet dancer and his understanding of movement is evidenced in his composition and paint handling. The high pigment-to-oil ratio of these paintings creates unusually saturated color with a concrete physicality.

August 12th, 2009 (5 Blues), 2009
oil, pigment on 5 panels
10h x 8w in, (25.4h x 20.32w cm) each panel
cat. no. ALE26


Molly, 2015
oil on canvas
84 x 61.5 in, (213.36h x 156.21w cm)
cat. no. DAB002


Los Angeles-based painter John Millei has maintained an extensive career with exhibitions of his work seen throughout the U.S. and in Europe, and has shown in the past with Gerhard Richter, Helmut Federle and Helmut Dorner. His critically recognized paintings have been described as a mixture with historical roots and contemporary application. His work was recently noted by distinguished art critic Donald Kuspit for his, "ingenious recapitulation of Abstract-Expressionism…" in his article, "Through History to Authenticity: John Millei’s Paintings."

Millei pairs the dead matte of Flashe acrylic with oleo-glosses, and leaps from stylistic motif to motif. He has for some time anticipated the attitudes of a younger generation of painters who freely meld historical homage with divergent methods and materials in their work. Millei has collaborated on two occasions with the late poet Robert Creeley and his work is documented in two shorts by Full Figured Films, "Maritime" and "Woman in a Chair".

Two Figures , 2016
oil and flashe on canvas
108h x 72w in (274.32h x 182.88w cm)
cat. no. JOM103


Hochbaum shows a preview of her series-in-progress, Cross/Walks.

Tama Hochbaum came to photography via painting and traditional printmaking (she studied with Stanley Hayter at the famous Atlier 17 in Paris in the ‘70s). She has enjoyed an active exhibition schedule over the years, with numerous solos in the gallery. The trajectory of her approach to photography from pinhole to digital reaches back and pulls all the chapters of her personal narrative into one integrated story. Hochbaum is an artist who seems to be continually coming home in her work, the loop of her earliest memories melding with her most recent sensory experiences.

Shadow Beech Tree, 2016
sublimation print on aluminum, ed. 1/5
5 panels overall: 60 x 60 inch (152.4 x 152.4 cm)
cat. no. TAH061

Mexican B. 1983, Lives and works in Mexico City

Pillar, 20131
oil on unstretched linen
Archival pigment print, ed. 3/4 (framed)
cat. no. FAMAE05


Bay Area painter Judith Belzer is exhibiting work from her Paths of Desire series, in which she continues to explore the collision of the natural and man-made world. Belzer uses oil paint at times like watercolor and at times like colored pencil, folding her surfaces in ribbons of thin wash and sharply meandering line. She adopts the aerial perspective of a crop duster, surveying the contested borders between back country, cultivated field, industry and the overlay of her own struggle for an organizing principle. Her motif is not so much the encroachment of civilization as one finds in the pervasive brand-scape, but its crimping effect as she renders worlds that fracture light like crumpled cans. She manages a balance between a maelstrom-like embrace and the hovering detachment of a naturalist reporting back on the condition of a discovered world.

Judith Belzer has shown extensively in New York, Boston, Chicago and California and has participated in institutional exhibitions at the Sonoma County Museum and The Marin County Foundation; Wave Hill, The Museum of Arts and Design and The Arnot Art Museum in New York. She is a recipient of a 2014 John Simon Guggenheim Memorial Fellowship in Fine Arts and a Yaddo Residency.

Paths of Desire #6, 2014
oil on canvas
70 x 70 in, (177.8h x 177.8w cm)
cat. no. JUB21

British b. 1958, Lives and works in London

Crosby's work grew out of monochrome roots back to modes that incorporate drawing, figure-ground and composition, but without sacrificing the conceptual underpinnings of radical painting. He has managed to balance the interdependence of image and object in his painting, much in the way that they merge in a ceramic vase. Crosby's conscious exploitation of the peculiarities of his formica support, and its contribution to his picture making, pushes his result beyond abstract expression to something more concrete and actual. His palette tends toward complex tertiaries, often mixed wet on wet on the panel in stacked planes and latticework. The physicality of his color anchors the image back down to the support, almost as if the vestigial picture has been pulled up from the back. He works in a subtractive mode, painstakingly iterative, with a great deal of wiping and revision.

Crosby represented Britain in 2012 at the Venice Biennale Architectural Pavilion with the firm Haworth Tompkins. He is represented in London by Pippy Houldsworth and has shown at the Tate Britain Drawing Symposium, the UC Berkeley Art Museum, and Lisson Gallery.

Garland Broken, 2009
oil on Formica on aluminum
35.5 x 24 in, (90.17h x 60.96w cm)
cat. no. CLC35