I dreamt bees made sweet honey from my past failures. The title is a paraphrase of a line from Spanish poet Antonio Machado's famous poem, Last Night As I Was Sleeping. The full stanza reads (in a translation by Robert Bly),

Last night as I was sleeping,
I dreamt—marvelous error!—
that I had a beehive
here inside my heart.
And the golden bees
were making white combs
and sweet honey
from my old failures.

The seven works in this exhibition each in their own way embody the spirit and revelation of Machado's theme, that new life, creativity itself, can be seen as an aqueduct cut through stubborn ground by false starts, exploration and learning from mistakes. Layering, revision, and a broad-faced version of painting pentimento (Italian for repentance) play a formal as well as a narrative role in all of these large-scale paintings, resolving into bold and assured images. Los Angeles painters Charles Arnoldi and Jacob Melchi match up with Bay Area painters David Becker, Jenny Bloomfield, Linda Geary, David Maxim and Ann Harrold Taylor to present the fruits of marvelous errors.

Charles Arnoldi courtesy Modernism

For exhibition 58 George Lawson Gallery will present a very special offering, RADICAL: Monochrome Paintings from the Goodman Duffy Collection, which showcases exemplary works from 13 painters either precursory to or prominent within the international “Radical Painting” movement. Exhibited are paintings by John Beech, Jake Berthot, Rudolf de Crignis, Alan Ebnother, Marcia Hafif, Ralph Humphrey, Joseph Marioni, Ingo Meller, John Meyer, Winston Roeth, David Simpson, Phil Sims, and Roy Thurston. The show will be on view from September 7 — October 22, 2016. An opening reception will be held at the gallery, located at 315 Potrero Avenue, on Saturday, September 10 from 4 — 6 PM.

All of the paintings in the exhibition are consigned from the private collection of the late Wally Goodman and his partner, Patrick Duffy. In the 1990s, Santa Fe became the unlikely hub for artists involved in the one-color painting movement, partly owing to the light that had inspired Agnes Martin to move there and Georgia O’Keefe before her, and partly because of the activities of Charlotte Jackson, a Santa Fe gallerist who specialized with great success in the reductive work of these artists. Supporting the scene, Santa Fe collectors Wally Goodman and Patrick Duffy managed to secure significant works in this period by artists associated with monochrome.

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For exhibition 57 we are mounting a focused selection of works from our four photographers with representative photographs from Tama Hochbaum, Fabiola Menchelli, Susan Mikula and Paul Rickert. Hochbaum will show a preview of her series-in-progress, Cross/Walks, with two recent examples. Menchelli presents exemplary pieces from her Constructions series of 2012-2013. Mikula juxtaposes the intimate scale of u.X with the insistence of Thrill Show, from 2012 and 2014 respectively. Rickert shows selections from his 2015 series, Repositories, giving us the rare opportunity to see museum and gallery spaces around the world through the eye of an avid collector.

For exhibition 56 in the front gallery we are showing new paintings in diptych format from Bay Area painter Jenny Bloomfield, works in oil on canvas she groups under the working title, "Twinning." Born in London, Bloomfield now lives and works in Canyon and West Oakland, California. She has a long-standing presence in San Francisco including previous exhibitions at Gwen Terpstra's Gallery 60SIX and Don Soker's gallery. In 2014 she had a mini retrospective at Stanford University curated by San Francisco art critic DeWitt Chang. Bloomfield received her BA from the Central School of Art and Design, and studied at Hornsey College of Art, both in London. She is extensively represented in several prominent Bay Area collections.

For these new works, in addition to exploring the extension to her vernacular afforded by pairing panels and canvases, Bloomfield has increased the saturation of her color, moving away from her characteristic earths and tertiaries to higher-keyed primaries and secondaries. Previously her image leveraged the serendipity of process; in the new works she introduces a purposeful drawing with broad, arcing marks. Her strokes loop, and while something of their scale engages a dialogue with David Row, and something of their intertwining with Brice Marden, in her sensibility and balance, she manages to furrow out territory quite her own in the much plowed field of all-over painting.

A catalog will be produced for the exhibition and available mid-run, with commentary by London-based art historian Alison Cole, author of the recently published "Italian Renaissance Courts: Art, Pleasure and Power." The exhibition will be on view at George Lawson Gallery from June 1 - July 16, 2016. An opening reception will be held at the gallery on Saturday, June 4, from 4 - 6 pm.

In the middle gallery for exhibition 56 we are showing eight new works by New York painter Michael Voss, his second solo with the gallery. Born in Brazil of German parents, Voss attended the Akademie der Bildenen Künste in Munich and received his MFA from Hunter College of the City University of New York. He lives in Manhattan and shares a studio in the Bushwick section of Brooklyn with his wife, artist Lael Marshall.

Voss continues to hone his modestly scaled, iconic abstraction, oils on linen typically in two or three colors. A physical description of Voss's work does little to convey the source of their fascination. Rather than coming across as provisional, as does much pared down gestural painting at this size, they seem to record the trace of their own path toward a convincing resolve, a coming into focus that settles on a commitment one perceives as being the least adjustable solution. In the past I've described them as plate tectonics. The sensitivity of Voss's touch is even more apparent in the new work, and the strength of character with which he arrives at a mediated settlement.

Copies of the catalog produced for Voss's last show with essay by New York critic Carter Ratcliff are available. The exhibition will be on view at George Lawson Gallery from June 1 - July 16, 2016. An opening reception will be held at the gallery on Saturday, June 4, from 4 - 6 pm.

For exhibition 55 we are showing new paintings from Bay Area painter Justine Frischmann's Lambent series, works in oil and acrylic spray enamel over sublimation photographic prints on aluminum panels.

Coming fresh on the heels of Frischmann's solo presentation at the VOLTA NY art fair, the gallery exhibition will reprise some of the work shown in New York along with more recently completed paintings utilizing a diptych format and increasing the scale of her panels. Frischmann exploits the juxtaposition of various paint media, along with the mirrored surfaces of her aluminum supports, to extend the formal reach of gestural painting. She achieves a voluminous space that seems to source the light rather than reflect it. She triggers complex interactions that traverse worlds not often associated together: urban architecture, coastal fog, celebrity glare and meditative quietude, and she does so with a mindfulness towards painting's deep history and its place in relation to popular culture, as technological and readily distributed as it has become. Frischmann's imagery plays with time. Something in the light coming off her surfaces preserves what is perennial in the human response while resonating in an immediate way to the pace of contemporary focus. Lambent means marked by lightness or brilliance, especially of expression. Frischmann's paintings are aptly named.

Justine Frischmann was born in London. 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 at George Lawson in San Francisco and Life on Mars in New York. In 2013, she was shortlisted for the Marmite Prize for Painting.

For Exhibition 54, we will be showing 13 paintings from Bay Area painter Judith Belzer's Canal Zone series, works instigated by a trip to the Panama Canal she undertook under the auspice of a 2014 Guggenheim Fellowship. Belzer's painting has long concerned itself with the uneasy relationship between the natural and commercial worlds, and she will often use the borderlands between the two as a motif. She adopts aerial perspectives, surveying the contested zones between back country, cultivated field, industry and the overlay of her own organizing principles. Her theme is not so much the encroachment of civilization as one finds in the pervasive brand-scape, but the crimping effect on worlds caught in the collision of economy and ecology. She paints with the critical eye of a journalist reporting back on the condition of an endangered habitat. She 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. 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. This is her fourth solo with the gallery. A catalog will accompany the exhibition.

For Exhibition 53 we are showing a recent suite of twelve 25-inch squares by Alan Ebnother, an American painter originally from the Bay Area and now based in Nordhausen, Germany. His work has been exhibited extensively over the last 25 years in Europe and the Western United States. Ebnother's paintings, dry pigments hand-ground in oil and brushed onto stretched linen, are characterized by rich impasto, dense pigmentation, and an intuitive, agile marking. Ebnother was originally trained as a ballet dancer, dancing in Stuttgart and Hamburg. He retains a strong physicality in his work with a dispersed composition and active paint handling. The high pigment-to-oil ratio and furrowed surfaces of these paintings combine to create an unusually saturated color with a grounded physicality. Ebnother was for many years associated with the Radical Painting group whose adherents include Joseph Marioni, Marcia Hafif and the late Rudolph DeCrignis and John Meyer. His painting is 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. This is his fourth solo with the gallery.