2015

RYAN WALLACE

Allison Meier reviews UNTITLED.MIAMI
HYPERALLERGIC, December 1, 2015


"Many of the highlights of the fair are installations, which include... a floor consuming piece by Ryan Wallace with Romer Young Gallery of San Francisco..." (read more)

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RYAN WALLACE

Francesca Sonara reviews LD50
Blouin Modern Painters, September, 2015


"Echoing the materiality of Robert Rauschenberg and the restraint of Frank Stella, Wallace's "LD50" remixes art history to make something new. As views meander by three large scale paintings, they also walk across the work-treading tiles of the same tape, vinyl, plaster and debris that are recombined in the hanging works.”
(read more)

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RYAN WALLACE
Kimberly Chun reviews LD50
San Francisco Chronicle, July, 2015


"A heavy dose of recycling: Consider this trash transformed. New York artist Ryan Wallace has scavenged construction materials, plaster, concrete, tape, tarp, vinyl and powdered metal to make new paintings, sculptures and a site-specific installation for his first solo exhibit at Romer Young Gallery, “Ryan Wallace: LD50.” (read more)

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RYAN WALLACE

Forrest McGarvey reviews LD50
Daily Serving / Art Practical, June, 2015


"In his first solo show at Romer Young Gallery, New York artist Ryan Wallace has filled the
space with junk. Wallace has accumulated a hoard of construction materials - Hydrocal, plaster, Plexiglas, lead, enamel, tape, and more—into his new sculptures, paintings, and a sitespecific installation for LD50. Swinging freely yet comfortably between the poles of chaos and order, composed and unintentional, Wallace’s process seems intuitive." (read more)

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GWENAËL RATTKE

Danica Willard Sachs reviews NOT FUN AND NOT FREE
Daily Serving / Art Practical, May, 2015


"Gwenaël Rattke’s exhibition Not Fun And Not Free opens with the captivating collage Transparent Radiation (2014). Rattke juxtaposes images of mushroom clouds with landscapes, views of car-crowded freeways with the exposed circuitry of a server, and hard-edged grids and squares with organic, flowing orbs." (read more)

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PATRICK BRENNAN

Kenneth Baker reviews PATRICK BRENNAN: New Paintings
San Francisco Chronicle, January, 2015


"Brennan and Way: Painters' divergent paths out of an impass: Jackson Pollock and others inspired by his drip painting technique taught us long ago to enter into artworks and find meaning there by imagining how they were made. In recent work at Romer Young Gallery, Brooklyn painter Patrick Brennan triggers that reflex and then, in a playful spirit, frustrates it. We can sense, like breezes, the confident intuitions guiding Brennan’s work, but never map them. (read more)

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PAMELA JORDEN
Kenneth Baker reviews Monte Vista to Central
ARTNEWS Magazine, January, 2015


"These recent canvases by Los Angeles painter Pamela Jorden, despite lacking imagery, appeared to recollect encounters with exemplary works of 20th-century art and with aspects of the observable world. Thus the title Dove (2014) evokes not only muted colors of bird plumage, but the American modernist Arthur Dove."(read more)

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2014

PABLO GUARDIOLA

Genevive Quick reviews Maintenance Yard
Art Practical/Shotgun Reviews, September, 2014


"Having lived in San Francisco and currently residing in San Juan, in his native Puerto Rico, Pablo Guardiola fuses the histories of the two locations in his exhibition Maintenance Yard. Both coastal areas have a legacy of European and American seafaring expansion, and Guardiola uses markers of this history to explore cultural and nautical imperialism." (read more)

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ELISE FERGUSON
Awarded the Northern Truse Purchase Prize
EXPO/Chicago, September, 2014


Northern Trust, the Presenting Sponsor of EXPO/CHICAGO, The international Exposition of Contemporary and Mondern Art, selected Elise Ferguson's piece, Saree from one of the exhibiting EXPOSURE galleries for their permanent collection. Michael Darling, the James W. Alsdorf Cheif Curator at The Museum of Contemporary Art Chicago, lead the jury in choosing the artwork." (read more)

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PABLO GUARDIOLA

Libby Dierker reviews Maintenance Yard
CANVAS/GROSCH, September, 2014


"The Puerto-Rican artist Pablo Guardiola likes to play with historical artefacts, scrambling them into abrupt montages and irreverent diptychs. His earlier work comprised photographs of modest tabletop arrangements, but he now concentrates on digitally sampling images. But this change in medium has only increased his popularity. He’s had multiple solo shows at Romer Young and Galería de la Raza in San Francisco, and favourable reviews for his work “Jet Travel” in Artforum.." (read more)

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KIRK STOLLER
Maria Porges reviews Thrown A Curve
art ltd. magazine, May/June, 2014


"In Kirk Stoller’s elegant, spare sculptures, gravity often appears to be taking a break. Stoller uses the exhibition space as both support and backdrop, attaching pieces invisibly to the wall in such a way that they seem to lean casually or float weightlessly, rather than cling or hang."(read more)

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KIRK STOLLER
Kenneth Baker reviews Thrown A Curve
San Francisco Chronicle, March 21, 2014


"Stoller in his stride: Contemporary sculpture has exploded since the turn of the millennium. Partly responding to an upward-spiraling art market, partly from a lack of means to evoke a stressed-out world made porous by virtual reality, sculptors from Paul McCarthy and Urs Fischer to David Altmejd and Thomas Houseago have powered a new monstrosity in figurative sculpture." (read more)

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KIRK STOLLER
Leora Lutz reviews Thrown A Curve
San Francisco Arts Quarterly, March 19, 2014


"As the title of the new solo exhibition suggests, Stoller’s work is seemingly unstable, ready to fall over or slip. Upon closer inspection, the work is stable yet off-kilter, remarking on the assumptions that are generally made in life—perhaps when judging others or when questioning one’s own abilities or proclivities. " (read more)

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2013

JONATHAN RUNCIO
Kenneth Baker reviews GLASS IN THE GARDEN
San Francisco Chronicle, December 13, 2013


"Runcio: Thought and Metal: Several things in Jonathan Runcio's bright-eyed sculpture show at Romer Young look like corporate logos: whole or fragmentary markers of modernist design aesthetics' gradual morphing into hypnotics. Even the most foursquare and ostensibly intact of Runcio's works, such as the upright planar floor piece in which a strutwork of blue and black enameled steel aligns a pair of flat, angular concrete slabs, look as if parts might have broken cleanly away from them." (read more)

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JONATHAN RUNCIO
Danica Willard Sachs reviews GLASS IN THE GARDEN
Art Practical, November 26, 2013


"In his latest exhibition, Jonathan Runcio gives the viewer fragmented artifacts from the urban landscape: cement, steel, enamel, and glass. Here, Runcio returns to many of the themes of his earlier work—in particular, an interest in exploring the materials of the urban environment. In Glass in the Garden, Runcio pairs these materials with images sourced from Arts & Architecture magazine’s pioneering mid-century experiments in residential home design: the Case Study Houses." (read more)

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JONATHAN RUNCIO
Mark Taylor reviews GLASS IN THE GARDEN
KQED, November 25, 2013


"Jonathan Runcio is an artist apparently comfortable in any number of media. When I first encountered him in 2008, he was screen printing and spray painting architectural patterns on plexi-glass, which he then bent into angular sculptures that mirrored the surface graphics -- geometric paintings twisted into geometric sculptures."(read more)

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ALICE CATTANEO
Kenneth Baker interviews Alice Cattaneo about her exhibition Nothing Quite Flat and More Round.
San Francisco Chronicle, September 19, 2013


"San Francisco's Romer Young Gallery has started an artist's residency program to originate new exhibitions. The invited artist this summer was Milan-based Alice Cattaneo. Although she has returned to living in her native Italy, Cattaneo, 37, received her art education during a decade spent in Glasgow, Scotland, and at the San Francisco Art Institute. Her show contains wall and floor sculptures whose components - bits of colored acetate, wires fastened with cable ties, metal mesh - ricochet formal resemblances around the room. ." (read more)

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WITH CINDER BLOCKS WE FLATTEN OUR PHOTOGRAPHS
Patrica Maloney reviews With Cinder Blocks We Flatten Our Photographs
Daily Serving, July 24t, 2013


"The press release notes as precedent curator Peter C. Bunnell’s Photography into Sculpture exhibition, mounted in 1970 by the Museum of Modern Art in New York.[1] Like Photography into Sculpture, With Cinder Blocks includes works that emphasize the imagined qualities of a photograph—specifically tactility and spatiality—by crafting sculptural or dimensional objects that incorporate photographic processes and imagery." (read more)

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WITH CINDER BLOCKS WE FLATTEN OUR PHOTOGRAPHS
Sarah Hotchkiss reviews With Cinder Blocks We Flatten Our Photographs
KQED Art Blog, July 8, 2013


"Framed as an exhibition of sculptural photography, With Cinder Blocks We Flatten Our Photographs brings seven contemporary artists into Romer Young Gallery for a minimal show of intriguing constructions. Plotting a course from the 1970s to the present, the show centers on work that capitalizes on the mutability of photographic materials and processes to transcend the flat plane and take on various three-dimensional shapes. " (read more)

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CHRISTOPH ROßNER
Kenneth Baker reviews Christoph Roßner's exhibition Kuriositätenkabinett
SF Chronicle, June 8, 2013


"Rossner at Romer Young: Dresden, Germany, painter Christoph Rossner, 40 years younger than Graham, and uninfected by his lapsed-Catholic existentialism, also searches for content by groping forward in painting. A cluster of his paintings and drawings hangs at Romer Young. Some viewers - perhaps those closer in age to Rossner - will prefer his works to Graham's because they lack obvious urgency. The big struggles over the fate of painting as an art must, from Rossner's vantage point, appear to lie far in the past." (read more)

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AMANDA CURRERI
Joey Piziali interviews Amanda Curreri for the 13th Issue of San Francisco Arts Quarterly, May/July 2013

"So Amanda, SFAQ invited us, Romer Young Gallery, to write a piece for their 13th issue which features Avalanche Magazine and highlights the influence that the magazine and artists of its time have had on contemporary artists of today..." (read more)

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AMANDA CURRERI
Mary Ann Kluth reviews Amanda Curreri's exhibiton, Amanda Curreri The Aunque at Romer Young Gallery
artltd. March 2013


"Amanda Curreri: "The Aunque" at Romer Young, is laid out in the gallery space with the considered intentionality of a museum show. Misfits, 1979 (Sex and Art), (2012), a pink, black, and turquoise flag, hangs directly in the entry. The footnoted exhibition checklist reveals, to viewers not versed in the history of the gay rights struggle, that pink and turquoise were the colors omitted from emblematic Rainbow Flags designed by Gilbert Baker due to "the limitations of commercial printing." (read more)

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AMANDA CURRERI
Alex Bigman reviews Amanda Curreri's exhibiton The Aunque.
ArtPractical 4.8/Feeding Time, January 2013


"Artist Amanda Curreri defines The Aunque as an “even though” space, one populated by outlaws and motivated by desire. Now on view at San Francisco’s Romer Young Gallery, her articulation of The Aunque creates a visual and theoretical field whose edges are difficult to pinpoint." (read more)

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AMANDA CURRERI
Phil Samuel Stein and Sarah Hotchkiss each review Amanda Curreri's exhibiton The Aunque.
GAZZETTA by Colpa Press, Jan//Feb.


"Amanda Curreri's third solo exhibition at Romer Young Gallery, The Aunque, is billed as "a space of possibility, a space of 'even though'." This is a space of translation and materialization. Ideas from essays, interviews, and letters are transformed into sculpture, works on paper, paintings and a video. Cheery colors and casual brushstrokes belie the depth of research and complex ideas smoldering behind each work's title." (read more)

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AMANDA CURRERI
Kendall George's reviewof Amanda Curreri's exhibition, "The Aunque" at Romer Young Gallery.
SFAQ Online, January 18, 2012


"Amanda Curreri’s “The Aunque,”“even though” in Spanish, at Romer Young Gallery shows pieces of the complicated history of the gay rights movement. A flag with two colors that were commercially unreproducible from Gilbert Baker’s handmade 1978 eight color Rainbow Flag, turquoise and hot pink, is a sign for the primarily abstract show. There is no tidy way to present history, so Curreri paints in a way that reveals the layers and interweaving of its composition." (read more)

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2012

PATRICK BRENNAN + DANIEL TIERNEY
Kenneth Baker reviews Patrick Brennan + Daniel Tierney's exhibiton Days of Thunder.
SF Chronicle, December 8, 2012


"Abstraction's descendants: Until about 50 years ago, the terrain of abstract painting remained a battleground, where skirmishes could occur over the nature of art content, over creative commitment and art's potential to illuminate or chasten an audience. Pop art - think of Andy Warhol's camouflage paintings or Roy Lichtenstein's "mirrors" - changed all that. They made of the battleground a playground. So did the concurrent explosion of the art market, with its cynical reverberations, and a growing abundance of art-school-educated painters.
New Yorker Patrick Brennan and Bay Area painter Daniel Tierney, paired in a diverting show at Romer Young, have grown up in the post-post-Pop climate where strategic thinking surpassed all the other pressures impinging on the making of pictures." (read more)

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GWENAËL RATTKE
Johnny Houston's review of Gwenaël Rattke's exhibiton New Work and the tradition of gay collage.
SFMOMA OPEN SPACE, October 2012


"Is there a still-thriving tradition of gay (or at least homoerotic) collage, with the Bay Area as its potential capital? That question has lingered in my mind when I’ve glued images from After Dark to Maria Callas box sets (or placed old horror movie hand gestures in new contexts), and when I’ve met other local gay men devoted to similar practices, regardless of their commercial viability. With Gwenael Rattke’s new show at Romer Young Gallery, his third for the space, I’m inclined to say the answer is yes." (read more)

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DERIC CARNER
Kara Q Smith's review of Deric Carner's exhibition The Light that Failed, Long Live Cinephelia
ArtSlant, June 2012


"Upon entering Romer Young Gallery, it's quiet and cool, the way you want a gallery to be on the hottest day in San Francisco. About six minutes later, you hear baboon-like noises and jungle-nature sounds coming from the corner of the gallery and it is a relief because the absence of sound was already starting to get to the city girl inside of me." (read more)

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JOSHUA PIEPER
Kimberly Chun's interview with Joshua Pieper, Joshua Pieper: In search of a few simple shocks.
SF Chronicle, March 2012


"Dead idols, live houseplants and the magic with which we imbue objects - both extraordinary and everyday - are just a few ideas that Joshua Pieper toys with in his conceptual artwork." (read more)

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JOSHUA PIEPER
Alex Bigman's take on 4 FAB ART GALLERY OPENING
7x7 San Francisco, March 2012


"Nothing in Particular. Think about the everyday objects in your living space – your sofa, lamp, the fichus hanging on for dear life. Now, think about them literally. Is there any other way? Working out of his apartment, San Francisco artist Joshua Pieper pursues this question, mining the home’s “perfectly ordinary” things for their capacities to prove odd, humorous, and potentially even “original.” " (read more)

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LUCY PULLEN
Heidi J. De Vries reviews Lucy Pullen's exhibition Hue
Engineer's Daughter, February 2012


"Closing February 11 - Lucy Pullen: Hue at Romer Young Gallery. This is the second solo show of Pullen's work at Romer Young, the first of which (The Effect Effect) introduced me to her back when the gallery was still called Ping Pong. " (read more)

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2011

AMANDA CURRERI
Matt Sussman's YEAR IN VISUAL ART: Can the various democratizations of 2011 art trickle up?
SF GUARDIAN, December 2011


"YEAR IN VISUAL ART "Occupy the Empty," Amanda Curerri's 2010 solo show at Ping Pong Gallery (now Romer Young Gallery), seems about as appropriate a tag line as any for this past year. " (read more)

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PAMELA JORDEN
Mark Van Proyen's review of Looking Through Trees in Art In America.
Art In America, December 2011


"Pamela Jorden (b. 1969) is an emerging abstract painter whose work looks distinctly
different from the "provisional painting" so visible in the past decade. Raphael Rubinstein
coined this term in his widely discussed article of the same name, published in these pages
in May 2009. " (read more)

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KIRK STOLLER
Kenneth Baker reviews Kirk Stoller's exhibition I Hope I Don't Fall Down.
San Francisco Chronicle- Stoller at Romer Young

"The work of another Bay Area artist, Kirk Stoller, in a show ending today, succeeds at something Echeverria and Reid do not quite pull off. Though no competition is involved, both exhibitions try to conjure the thought that the whole of contemporary culture, as the artists experience it, has generated the work they put forward. We recognize this in the dispersal and even occasional disavowal of creative decisions contained in the work on view." (read more)

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PAMELA JORDEN
Mark Van Proyen's article on recent abstract painting featuring Pamela Jorden.
SquareCylinder.com - Presence Past and Reverie Future: Thoughts on Recent Abstract Painting


"Pamela Jorden’s recent exhibition at Romer Young (though October 15) represents one such instance of deep rethinking. Her work tends to be rather small, but it provides visual experiences that are very rich, complex and full of nuance. " (read more)

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PAMELA JORDEN
Zachary Royer Scholz reviews Looking Through Trees
Art Practical - 3.1 Shotgun!


"Looking Through Trees, Pamela Jorden’s first solo exhibition with Romer Young Gallery, presents a group of paintings whose subtle complexity requires prolonged and ideally repeated viewing." (read more)

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LIAM EVERETT
Kenneth Baker reviews being-with
San Francisco Chronicle - Liam Everett: Confident solo debut at Romer Young


"Liam Everett's solo show at Romer Young Gallery introduces an artist of notable promise and confidence. He appears more interested in thinking about abstract painting than in advancing it, but all his work presumes some familiarity with its issues." (read more)

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PABLO GUARDIOLA
Franklin Melendez reviews JET TRAVEL
ARTFORUM Magazine Summer Issue


"Images of tree-lined beaches, oceanside resorts, and cityscapes limned by blue-water coastlines--these were some of the subjects of "Jet Travel," Pablo Guardiola's first solo exhibition at Romer Young Galley. Rephotographing vintage postcards and pages from geography books, the Puerto Rican-born San Francisco-based artist juxtaposed these idyllic vistas against a selection of objects and other images loosely related to the idea of travel..." (read more)

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CHRISTOPH ROßNER
Danielle Sommer reviews the hat, that never existed
Daily Serving: The Hat, That Never Existed: Christoph Roßner at Romer Young


"The paintings of Dresden-based Christoph Roßner have the power of a waking dream. As opposed to our regular, logically- and visually-tangled dreams, the visions we have right before we fall asleep – or even in the middle of the day – tend to focus on single objects: things recognizable but out of..." (read more)

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CHRISTOPH ROßNER
Matt Sussman reviews the hat, that never existed
SF Bay Guardian: DISAPPEARING ACTS


"The title of German painter Christoph Roßner's current solo show at Romer Young, "The Hat, That Never Existed," is a tip-off. Roßner's smudged, over-painted, and half-erased depictions of things and people — trees, candles, top hats, houses, old men — scan as disappearing acts rather than fixed portraits (the way the canvases have been hung even suggests that a few have gone missing from the gallery). " (read more)

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PABLO GUARDIOLA
Kenneth Baker reviews JET TRAVEL
San Francisco Chronicle: See What Catches Sol LeWitts Eye: Guardiola en route


"San Franciscan conceptual artist Pablo Guardiola may not take cues directly from LeWitt's work, but his enigmatic exhibition, titled "Jet Travel," at Romer Young, the gallery formerly known as Ping Pong, falls within the lineage of LeWitt's photo pieces." (read more)

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PABLO GUARDIOLA
Brandon Brown reviews JET TRAVEL
Art Practical 2.14 Helter Skelter


"Geography is a genre with long attestation in literate cultures. From Western antiquity’s first wandering inquirer Herodotos to the chronicler of imperial Islam Ibn Battuta and his contemporary Marco Polo, discursive writing has been deployed as a way of codifying alterity. I mean that such texts usually regiment a sense of normativity and identification within a certain culture." (read more)

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ART LOS ANGELES CONTEMPORARY
Art Practical Editors host panel disscussion with SF and LA artists, including RYG artist AMANDA CURRERI.
Art Practical: 'IN AND OUT OF CONTEXT":

"On January 30, Art Practical hosted a panel as part of the Art Los Angeles Contemporary art fair that included artists Amanda Curreri, Katie Grinnan, Drew Heitzler, Conrad Ruiz, and Zachary Royer Scholz. Moderated by Patricia Maloney and Daily Serving contributor Catherine Wagley (whose writing frequently appears on this site), the conversation focused on how the five participating artists incorporate and reflect the material, topographic, social, and political characteristics of their respective cities in their work—how they lay claim to a place and are shaped by it.." (read more)

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PROGRESSION MINUS PROGRESS
Kimberly Chun talks with curator Sarah Lehrer-Graiwer.
San Francisco Chronicle: 'PROGRESSION MINUS PROGRESS: Group show sans theme

"What do curators want? When it comes to art making, curator, critic and "Pep Talk" zine founder Sarah Lehrer-Graiwer prioritizes a few unlikely qualities.  "Self-doubt," she says by phone from L.A. "Uncertainty and frustration.  "Thinking a lot about process and being not really sure about what that should be.  "Wariness of the market and a certain typeof recognition.  "Groundedness and taking an artistic process in solitude seriously." (read more)

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2010

ERIK SCOLLON
Matt Sussman's Look forward in anger.
SF Bay Guardian: YEAR IN ART: A firestorm of controversy in the larger art world -- but here in San Francisoc, visions were clear and wide-ranging

"Although nothing will top his porcelain casts of assholes that littered Romer Young Gallery (formerly Ping Pong Gallery) like so many discarded sand dollars for the 2009 group show "Live and Direct," Eric Scollon's more recent solo exhibit at the gallery, "The Urge," continued to queer form and function.."(read more)

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ROMER YOUNG GALLERY: FORMERLY PING PONG GALLERY
Matt Sussman's discusses the name change and the formers blood, sweat & tears.
SF Bay Guardian: Where everybody knows your name


"HAIRY EYEBALL It can be easy to get cynical about the business side of art, so it's always refreshing when a local labor of love such as Romer Young — the small Dogpatch gallery formerly known as Ping Pong — demonstrates that growth doesn't necessarily entail compromising one's vision." (read more)

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JAMES STERLING PITT
Kenneth Baker reviews, it goes as it grows.
San Francisco Chronicle: Sculpture


"In (among) the Pitts: We hear of and witness so much inflation in contemporary art - of reputations, of scale, of prices and egos - that it comes as a relief to find work as self-effacing and unstressed as James Sterling Pitt's at Ping Pong. Humor unstrings artworks more often than it cinches them, but Pitt's endlessly lighthearted deferral of any sort of punch line gives his work a surprising staying power." (read more)

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JAMES STERLING PITT
Kimberly Chun interviews James Sterling Pitt about his upcoming exhibition, it goes as it grows.
San Francisco Chronicle: James Sterling Pitt Solo Show


"Joan Didion once wrote, "I write entirely to find out what I'm thinking, what I'm looking at, what I see and what it means." Likewise, San Francisco artist James Sterling Pitt must make artwork in order to understand his changed self, his altered sense of perception, his life." (read more)

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JOSH PODOLL
Danielle Sommer reviews New Works by Josh Podoll
Art Practical Issue 2.3: New Works by Josh Podoll


"If nothing else, Josh Podoll’s new paintings at Ping Pong Gallery impress based on the number of painting techniques they feature: drawing, dripping, masking, daubing, airbrushing, and impasto, to name a few. Add to this an intense mix of colors—black, white, and gray, combined with bright yellow, spring green, ruddy pink, deep red, and a creamy turquoise—and chaos should reign. It should, but it doesn’t. Instead, Podoll’s work is contemplative, even meditative." (read more)

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ERIK SCOLLON
Glen Helfand reviews THE URGE
ARTFORUM: THE URGE


"In titling his smart, saucy exhibition “The Urge,” Erik Scollon telegraphs his interests in aesthetic and biological drives. Thankfully, his control of his materials and impulses is exacting and mindful of pleasure. The dozens of porcelain objects, displayed in a nearly retail manner on unfinished wooden shelves, are for the most part sex toys (with accessories) created as ceramics and embellished with a free range of ornamentation..." (read more)

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ERIK SCOLLON
GF Wahlquit reviews THE URGE
ARThood: The Urge @ Ping Pong Gallery
( now Romer Young Gallery)

"Ping Pong Gallery was started a few years back as an alternative space but has metamorphosed into a small but elegant gallery in San Francisco’s Dogpatch neighborhood. The gallery is currently showing the work of Erik Scollon, a local queer artist working primarily in porcelain. I myself have an affinity for artists who restore to critical importance modes of practice that otherwise seem to have gone out of vogue. Scollon, like Los Angeles’ Anna Sew Hoy, is revitalizing ceramics as a sculptural and theoretical medium for explorations of the erotic, gender, and art history." (read more)

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ERIK SCOLLON
Danielle Sommer reviews THE URGE
KQED Arts: The Urge: Erik Scollon at Ping Pong Gallery (now Romer Young Gallery)


"There are bears and then there are bears. Similarly, there is ceramics and then there is the work of Erik Scollon. The Urge, Scollon's solo show at Ping Pong Gallery, exploits every last available tension between craft and art, not to mention high culture and low, original and multiple, vessel and anti-vessel." (read more)

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ERIK SCOLLON
Bruno Fazzolari reviews THE URGE
IArt Practical Issue 1.20: The Urge


"If nothing else, Josh Podoll’s new paintings at Ping Pong Gallery impress based on the number of painting techniques they feature: drawing, dripping, masking, daubing, airbrushing, and impasto, to name a few. Add to this an intense mix of colors—black, white, and gray, combined with bright yellow, spring green, ruddy pink, deep red, and a creamy turquoise—and chaos should reign. It should, but it doesn’t. Instead, Podoll’s work is contemplative, even meditative." (read more)

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AMANDA CURRERI
Matt Sussman reviews OCCUPY THE EMPTY
SF Bay Guardian: The Peoples Court


"HAIRY EYEBALL Amanda Curreri wants you. Like the open-ended phrasing of its title, "Occupy the Empty," Curreri's second solo show at Romer Young Gallery is both a basic statement of what an artist does within an exhibition space and a call to action soliciting the viewer to step in, step up, and take a stand." (read more)

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AMANDA CURRERI
Elysa Lozano reviews OCCUPY THE EMPTY
Art Practical Issue 18: OCCUPY THE EMPTY


"What sort of tools does an artist utilize to create a more democratic society? For her solo show at Ping Pong Gallery, Amanda Curreri has created an installation that deposits the audience into the set of a courtroom. Visitors can wander through the depopulated space, trying on the roles of the inferred participants to judge the current system and the social phenomena that contribute to it."(read more)

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GWENAËL RATTKE
Andy Ritchie reviews OKTOGON
ArtSlant: Rattke's Kaleidopsychescopedelic Collages


"Some collages pieces are cut and bound to a decorative shape (a'la Kiraly), while others are just quarried and layered, often in blocky, rectangular forms. Mustaches flow from the philtrums of men like Rattke's copy machine toner. These bad-boy bristles are a highly-sexed feature in Rattke's hands, appearing alternately über-gay and mad-macho. The dichotomy is accentuated by the recurrent motorcycles, aviators, and leather. Man and his sex machine." (read more)

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LUCY PULLEN
Creates a new work for the Tate Modern's Iconic Turbine Hall with ARTSPEAK

To celebrate Tate Modern's tenth birthday, Tate is working with visionary curators Maurizio Cattelan, Cecilia Alemani and Massimiliano Gioni to host the exhibition No Soul For Sale. They have invited 50 international independent art collectives to create cutting-edge art projects, events, performances, music and films in theTurbine Hall. Pullen, who recently worked on a project with Artspeak, joins them again in creating a piece for the iconic Turbine Hall - a giant reflective tent, a blindspot. (read more)

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KIRK STOLLER
Was awarded the Marie Walsh Sharpe Art Foundation Space Program award for 2010-2011 in New York City.

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DERIC CARNER
Kevin Killian reviews NONE OF THE ABOVE
SFMOMA | OPEN SPACE: None of the Above

"Intricately woven into the images, strange words and fragments can be read, but Carner explained that we were not think of the pictures as illustrations to the words, nor vice versa. The words aren’t captions either. “None of the above?” I asked. In fact, the work asks us to greet this new relation between text and image with a fresh perspective, almost a generosity of spirit, while keeping its cool and going easy on emotion, or sentiment."
(read more)

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LUCY PULLEN
Matt Stromberg reviews THE EFFECT EFFECT
Art Practical Issue 1.7: The Effect Effect

"Her work rewards thoughtful inquiry into that darkness. By layering meanings and associations, Pullen transforms elemental materials into tools with which to study the limits of perception. She calls this process, of 'changing familiar things into something new,' the 'Effect Effect' of the exhibition’s title. (read more)

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ROMER YOUNG GALLERY, directors Joey Piziali & Vanessa Blaikie
Zachary Royer Scholz reviews FRONT + CENTER: WEATHER STREAMS
Art Practical Issue 1.7: Front + Center: Weather Streams

"Group shows are often like buffets; each artwork palatable on its own, but in the same way mashed potatoes and pad thai are a little disgusting on the same plate, not always effective in combination. Past winter group shows at the Headlands Center for the Arts have historically possessed their fair share of this awkwardness.[1] This year, however, guest curators Vanessa Blaikie, Jessica Brier, and Joey Piziali have managed to produce a show whose collective effect surpasses its constituent parts." (read more)

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ROMER YOUNG GALLERY(formerly Ping Pong Gallery) is pleased to announce that it is a New Member of NADA, the New Arts Dealers Alliance.

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