Abundance of botanical forms and monumental paintings reflects optimism at San Francisco’s Fog Design+Art fair – The Art Newspaper

The walkway between piers 2 and three on the twelfth version of Fog Design+Artwork in San Francisco may need been a purple carpet for the way star-studded it appeared in the course of the truthful’s preview gala on Thursday evening (22 January). All over the place one regarded, there have been sequin capes, glittering robes, bedazzled blazers and rhinestone-encrusted ties. The truthful’s director, Sydney Blumenkranz, says the gala is all the time high-energy however this yr’s temper appeared significantly buoyant. Greater than 2,700 company crowded the aisles over the course of the evening, the very best variety of preview gala attendees within the truthful’s historical past.

First-time guests and returning sellers alike praised the standard of the 65 shows on the truthful this yr. Works by native and worldwide rising artists share wall and flooring house with these by canonical masters like Ruth Asawa and Leonora Carrington. The San Francisco vendor Jessica Silverman’s stand, one of many truthful’s most distinctive, gathers blue-hued works from greater than 20 artists together with a Masako Miki cloud determine and considered one of Loie Hollowell’s biomorphic abstractions—each of which offered on opening evening.

Hauser & Wirth’s stand features a tender Luchita Hurtado portray of the artist’s naked torso with an egg in her butter-yellow hand, in addition to a kineticmixed-media work by Rashid Johnson. The gallery reported the most important sale of the truthful’s night, putting Jack Whitten’s Photo voltaic House (1971) for greater than $1m. “It felt like actual momentum,” says Amanda Stoffel, a associate and head of gross sales for California at Hauser & Wirth, “and a really promising sign for the yr forward.”

One other potential harbinger of a greater yr for the artwork market was the ubiquity of large-scale work. The 2025 pattern towards tiny canvases was changed by monumental works like Jongsuk Yoon’s vibrant abstraction on Marian Goodman Gallery’s stand, which stretches greater than 26ft large. Lisson is displaying an almost 8ft-tall, lavender-hued portray by the San Francisco native Oliver Lee Jackson. And David Zwirner’s stand contains Portia Zvavahera’s dreamy figurative composition Takasunungurwa (2025), which spans greater than 8ft.

Alongside all of the large-scale canvases, there are additionally a big variety of diminutive sculptures at Fog, from a 4in woven black ash and sweetgrass basket by Jeremy Frey on Karma’s stand to a number of 2in glazed ceramic pots by Doyle Lane, displaying with David Kordansky.

Among the many work on view, geometric abstractions outnumber illustration—aside from floral imagery. Tallying botanical compositions on the truthful shortly crammed a web page in my pocket book. On opening evening, the New York-based gallery Charles Moffett offered out its sales space of luscious, flower-filled nonetheless lifes by the Los Angeles-based artist Hopie Hill.

The truthful provides a constructive potpourri of floral kinds: Berrguren’s stand includes a wealthy botanical collage with poppies, gladiolas and columbines by Jane Hammond; native vendor Wendi Norris is displaying a large-scale portray of yellow daisies sprouting amongst dried grass by Enrique Martinez Celaya; and mesmerising botanical abstractions by Patricia Iglesias Peco are turning heads at François Ghebaly sales space. Amongst different verdant works on Nino Mier Gallery’s stand, Tony Matelli’s hyper-realistic patinated bronze sculptures of white tulips on a plinth and weeds sprouting from the house the place the wall meets the ground are drawing crowds.

Throughout the truthful, nature is in and tech is out—although the sector’s affect is felt in different methods. “Quite a few leaders from main tech corporations attended,” Blumenkranz says of the preview gala, including that their presence has turn into “anticipated now, which is so beneficial to our arts neighborhood”.

The overwhelming majority of Fog’s collaborating galleries have opted to supply guests from Silicon Valley and elsewhere a preponderance of pure imagery, natural supplies and conventional crafts over digital works. Virtually each stand, each of design and artwork galleries, options works in wooden, ceramic or textiles—generally all three.

Highlights of this materially wealthy cohort embrace a wall-sized textile set up by Lehuauakea at Catherine Clark Gallery, which has offered to a US museum for $225,000, and recent ceramic works like Krzysztof Strzelecki’s urinal painted with homoerotic imagery (on Anat Ebgi Gallery’s stand) and Alma Berrow’s mirrored ashtrays suffering from cigarettes in varied states of wastage (displaying with Megan Mulrooney). All three of the above are within the Fog Focus sector, an initiative devoted to shows of rising artists that has practically doubled in measurement from final yr. As a substitute of conventional three-walled stands, the sector’s floorplan is open, giving Pier 2 a extra infectious vitality.

Jonathan Carver Moore, the director of the eponymous San Francisco gallery, which has participated within the Focus sector for the previous three years, says the San Francisco neighborhood actually confirmed up for the truthful this yr. “Folks handled it like a civic responsibility,” he says. “With politics being what they’re, and with the sudden closure of the California School of the Arts, everyone seems to be doubling down on supporting the humanities.” Moore’s presentation is a part of the large-scale canvas pattern, with epic work by Sesse Elangwe that the artist made throughout a residency on the gallery.

The Focus sector additionally contains shows that bother the excellence between artwork and design objects. Blunk House, primarily based in Level Reyes Station, is displaying handmade salvaged wooden chairs by the Japanese Austrian maker Rio Kobayashi alongside summary work by the late sculptor J.B. Blunk’s friends like Richard Bowman and candlesticks by up to date artists like Maryam Yousif and Dan John Anderson. And on the stand of Los Angeles-based gallery Marta, Minjae Kim’s sculptural fibreglass and brass lamps illuminate Dominik Tarabański’s chiaroscuro prints of botanical nonetheless lifes. Maybe that is the place Fog Design+Artwork is at its greatest: when it’s difficult staid hierarchies and blurring the strains between nice artwork, craft and design.

Fog Design+Artwork, till 25 January, Fort Mason piers 2 and three, San Francisco