Donald Roller Wilson American, b. 1938

Featuring paintings, works on paper, sculpture, film, and archival ephemera from the SFMOMA Library, and SFAI archive, this ambitious exhibition showcases museum-quality works by contemporary and historical artists, illustrating Berggruen...

Berggruen Gallery is pleased to announce the opening of an exhibition space in East Hampton for the 2021 summer season. The gallery space is located in the heart of East Hampton Village at 55 Main Street. Berggruen Gallery’s special "pop-up" will be on view May 14 — September 30, 2021. Hours: Monday-Wednesday, by appointment; Thursday-Sunday, 11am-5pm.

John Berggruen first opened his eponymous gallery in downtown San Francisco in the spring of 1970. Five decades later, the gallery has executed more than 800 major exhibitions, participated in significant domestic and international art fairs such as Art Basel Miami Beach, and exhibited at the Art Dealer's Association of America's The Art Show, since the fair's inception, for the past 33 years. A cornerstone of the West Coast art world, Berggruen Gallery is proud to deepen our roots on both coasts of the country with this exciting East Coast venture.

Berggruen Gallery will present a curated selection of Modern and Contemporary paintings, sculptures, and limited-edition prints. The presentation will reflect the gallery’s ongoing dedication to juxtaposing historical works with those from the contemporary canon. The gallery will feature a dynamic and diverse group of internationally-acclaimed artists, including renowned Post-War American painters like Richard Diebenkorn, Helen Frankenthaler, and Wayne Thiebaud, as well as many important contemporary artists artists such as Diana Al-Hadid, John Currin, Beatriz Milhazes, Odili Donald Odita, and Jonas Wood. Berggruen Gallery is excited to present a unique breadth of work—transcending subject matter, composition, medium, and technique—for the summer of 2021 in East Hampton.

Artists
Diana Al-Hadid | John Alexander | Stephan Balkenhol | Christopher Brown | Bruce Cohen
Michael Craig-Martin | John Currin | Richard Diebenkorn | Helen Frankenthaler
Isca Greenfield-Sanders | Stephen Hannock | Jasper Johns | Paul Kremer | Alicia McCarthy
Tom McKinley | Beatriz Milhazes | Odili Donald Odita | David Park | Joel Shapiro
Wayne Thiebaud | Stanley Whitney | Lucy Williams | Donald Roller Wilson | Jonas Wood

Berggruen Gallery is proud to present selected paintings from 1977-2014 by Donald Roller Wilson as a part of the artist's eponymous exhibition with the gallery, on view for the month of December 2019.

Donald Roller Wilson was born in Houston, Texas and currently lives and works in Fayetteville, Arkansas. Roller Wilson is a Gothic storyteller with the phenomenal technique and precision of an old master, animating his paintings with finely wrought clothed chimpanzees, dogs, and cats, wooden matches, dill pickles, asparagus stalks, olives, and cigarette butts. He creates characters like Cookie the Baby Orangutan, Jane the Pug Girl, Jack the Jack Russell "Terror," Loretta the Actress Cat, Miss Dog America, and Patricia the Seeing Eye Dog of Houston. Each character springs from the artist's hyper-vivid imagination into lengthy caption fantasies and onto canvases that require an enormous amount of time to complete, all painted in vivid detail, reminiscent of the 16th century Dutch masters. Roller Wilson's recognizable works hang in the Brooklyn Museum, Brooklyn, NY; Chicago Art Institute, Chicago, IL; Whitney Museum, New York, New York; Bank of America, San Francisco, CA; and Hirshhorn Museum and Sculpture Garden- Smithsonian Institute, Washington, D.C.

Berggruen Gallery is pleased to present Botánica, a group exhibition by guest curator Todd von Ammon, on view July 13 – August 29, 2017. The gallery will host an opening reception on Thursday, July 13 from 5:00–8:00 p.m. Named after the botánica shops of the San Francisco Mission district—purveyors of a wide variety of medicinal herbs and folk medicines—this exhibition examines the many transformations of botany in contemporary art. Botánica explores the curious case of the still life in the late 20th and early 21st centuries, through the lens of artists whose interpretations of this subject matter range from the traditional to the idiosyncratic. Each work in the show presents a different state of organic matter, culminating into an anti-ecosystem of sorts that highlights a wide array of distinct art taxonomies. The unique materials, techniques and histories are as varied as the number of works—from generative digital video to found street detritus to oil paint. Botánica intends to evoke the dizzyingly wide variety of substances and objects found within the shops from which the exhibition derives its name.

Botany in traditional art historical practice is manifested in the genre of still life painting, drawing, and later photography. The long and complex history of the still life—the rise of the Dutch still life painting tradition to symbolically communicate such themes as the brevity of life (vanitas), and its relative ranking by the French Academy during the seventeenth century as the lowest genre because it depicts solely inanimate objects—is simultaneously challenged and celebrated in contemporary art. A number of works in Botánica, such as those by John Alexander, Imogen Cunningham, Ellsworth Kelly, and Sam McKinniss, closely adhere to this long-standing practice and often directly pay homage to the iconic artists we so often associate with the genre, such as Claude Monet and Henri Fantin-Latour. Contemporary art, however, has revealed its guarantee of unpredictability and flux, and oftentimes an artwork’s quality is defined by how intrepid its challenge is to common sense and the quotidian. Botánica investigates the various layers and meanings of the still life, in both its traditional and contemporary forms.

According to Hakuin Ekaku, one of the most influential masters of Zen Buddhism, the aim of seeing into one’s own nature can only be fully accomplished through cutting off the root of life. The term ikebana, or the art of flower arrangement, literally translates to “making flowers live” through initiating the plant’s inevitable death by cutting the plant at its root. The action of the “cut” in Japanese aesthetic discourse is called kire and is an essential tenet of the ikebana practice. The plant is cut at its root and removed from the earth to be arranged and placed oftentimes in alcoves in the rooms of a house where guests are received. Somewhat antithetically, the act of killing the plant is precisely what allows its true nature to come to the fore. The ikebana artist brings greater truth to the plant by removing it from its earthly context. Flowers for Africa: South Sudan (2017), a floral bouquet installation by Kapwani Kiwanga made to commemorate the independence of that African country by reproducing a flower decoration from the 2011 ceremonies, beautifully illustrates the crossover between traditional and contemporary still life practice and ikebana. The work is still life experienced in the flesh, recalling the Dutch vanitas paintings through its literal process of decay, which takes place over the course of the exhibition’s duration. Other works featured in the exhibition, such as Ryan Foerster’s vibrant and surprisingly artful C-print photographs of decomposing compost, similarly embody the seemingly incongruous notion of beauty arising from something that fundamentally represents mortality and decay. Living plants have the extraordinary ability to capture and transmute energy into the stuff of human survival—refuse and exhaust, through a process of delicate alchemy, are regenerated into fresh air and calories. All of these reactions occur far beyond the narrow field of human perception, and thus the flower or leaf is underestimated and overlooked as the organic nuclear reactor it truly is. Instead, it is admired in a purely decorative sense for the deceptively simple function of emitting light along the visible spectrum. Moreover, the petal and the leaf seem to be most charming when these subatomic systems have been shut down forever.

Botánica defined refers to small stores or shops within the United States that sell herbs, candles, oils, incense, powders and other materials, often paired with ritualistic practices or blessings administered by a traditional healer, called a curandera, to treat physical as well as spiritual ailments. The prepackaged herbal blends that these botánicas dispense serve a variety of different purposes: to bring money, work or love, to ward off bad luck, to seek protection or guidance. Humankind has borrowed the leaves, roots and flowers of vegetation for millennia in order to reach higher psychic and spiritual states. It is no wonder that organisms that perform such uncanny transformations of energy can dramatically alter human perception when ingested. Bloom #6 (2011) by Fred Tomaselli—a deliriously oscillating, psychedelic form intended to invoke the mind’s drug-altered state—and Sunset Park (2015) by Tom Fruin—a delicately woven quilt or flag of found plastic drug bags in incongruously cheerful colors—exemplify two ways in which contemporary artists have incorporated plants and their psychic properties into their artistic practices, giving a new layer of social commentary and meaning to the traditional “still life” work. At a time when the greenness of the world holds less promise of durability than ever before, perhaps it is a worthwhile pursuit to recall the evidence that the living flower, an energy powerhouse capable of sustaining life or transforming one’s mental state, is also a potent reminder of our mortality. It is in consideration of these attributes and abilities that lie beyond the visible spectrum that we can appreciate the plant or flower for more than its very durable charm.

Full Artist List

Yuji Agematsu Evan Holloway Dominic Nurre
John Alexander Max Hooper Schneider Irving Penn
Theodora Allen Parker Ito Jason Rhoades
Darren Almond Rashid Johnson Gerhard Richter
Facundo Argañaraz Ellsworth Kelly Linda Ridgway
Ernesto Caivano Kapwani Kiwanga Tabor Robak
James Crosby Henri Matisse Philip Taaffe
Imogen Cunningham Sam McKinniss Fred Tomaselli
Jim Dine Beatriz Milhazes Evelyn Taocheng Wang
Ryan Foerster Donald Moffett Kehinde Wiley
Tom Fruin David Seth Moltz Donald Roller Wilson
Nick Goss Daido Moriyama Luiz Zerbini

Botánica, curated by Todd von Ammon, July 13 – August 29, 2017. Todd von Ammon is a gallerist and curator based in New York and currently the director of Team Gallery. Previous curated shows include Old Black, Ghost Outfit and Dolores at Team Gallery; VBS at the Bennington College Usdan Galleries, and Mike at FOURAM. von Ammon’s concurrent exhibition, Wormwood, is on view at the Ellis King Gallery in Dublin, Ireland. He is a member of the ICI (Independent Curators International) and serves on the organization's benefit committee. Botánica is on view at 10 Hawthorne Street, San Francisco, CA 94105. Images and preview are available upon request. For all inquiries, please contact the gallery by phone (415) 781-4629 or by email info@berggruen.com.