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SUMMARY:100 Years of Creative Visions
DESCRIPTION:In celebration of the Mills College Art Museum’s centennial\, 100 Years of Creative Visions features an intergenerational and cross-cultural selection of major works from the permanent collection that emphasizes creative communities and the importance of artist friendships. Thematic sections throughout the exhibition highlight the strengths of the collection\, such as\, ceramics\, Modernist Photography\, California Impressionism\, Mexican Modernism\, Printmaking from Dürer to the Expressionists\, Asian and Asian American art\, and more.
URL:https://oaklandartmurmur.org/event/100-years-of-creative-visions/
LOCATION:Mills College Art Museum\, 5000 MacArthur Blvd.\, Oakland\, CA\, 94613\, United States
CATEGORIES:Ongoing Exhibitions
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DTSTART;TZID=America/Los_Angeles:20260115T120000
DTEND;TZID=America/Los_Angeles:20260228T170000
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SUMMARY:Vessel\, an exploration in clay of form\, ritual and story
DESCRIPTION:Artist’s Reception January 17 from 1-4 pm \nTransmission Gallery is pleased to present Vessel: An exploration in clay of form\, ritual and story\, curated by Suzanne M. Long\, on view from January 15 – February 28\, 2026. \nDrawing on her deep roots in the Bay Area ceramics community\, Suzanne M. Long brings together a diverse range of ceramic works that interpret the concept of the “vessel” in expansive and unexpected ways—beyond function\, into the realms of ritual\, narrative\, and abstract form. Included in the exhibition are works by James Aarons\, Susana Arias\, Michelle Gregor\, Margaret Keelan\, Mattie Leeds\, Peggy Loudon\, Kris Marubayashi\, Lisa Reinertson\, Claudia Tarantino\, and Laura Van Duren. Through this collection\, viewers are invited to consider how vessels can carry not only physical contents\, but also cultural meaning\, memory\, and personal expression. \nVessel noun.\n1a: A craft for traveling on water\, a watercraft bigger than a rowboat; a ship or boat. An airship.\nb: A hollow or concave utensil\, a container (such as a cask\, bottle\, kettle\, cup\, or bowl) for holding something. A cup\, bowl\, pitcher\, or vase\, used for holding liquids or other contents.\nc: A human that serves as a receptacle for a spiritual entity to manifest\, acting as a spokesperson for that deity. A person into whom some quality (such as grace) is infused.\nd: A vessel is a hollow tube or canal that circulates body fluids\, most commonly referring to blood vessels (arteries\, veins\, and capillaries) that transport blood\, oxygen\, and nutrients throughout the body and remove waste. The term can also refer to other tubular structures that transport fluids\, such as the xylem vessels in plants that carry water. \nVessel as Metaphor.\nThe essential vessel\, devised in all cultures to antiquity\, is the metaphorical container of all that has been and will be. For early cultures the sky was vessel\, containing creation spirits and the departed; earth was mother vessel nestling\, chiding and providing. \nImages: Peggy Loudon\, Vessels\, up to 15”\, Lisa Reinertson\, Sentient beings\, 74“ x 22” x 22“\, Laura Van Duren\, Rendering\, 20” x 32” x 6”
URL:https://oaklandartmurmur.org/event/vessel-an-exploration-in-clay-of-form-ritual-and-story/
LOCATION:Transmission Gallery\, 770 West Grand Ave.\, Suite A\, Oakland\, CA\, 94612\, United States
CATEGORIES:Ongoing Exhibitions
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DTSTART;TZID=America/Los_Angeles:20260122T120000
DTEND;TZID=America/Los_Angeles:20260228T170000
DTSTAMP:20260513T130125
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SUMMARY:Three Girls – Christine Ferrouge
DESCRIPTION:Three Girls\, a solo exhibition with new paintings by Christine Ferrouge \nGallery Hours: Thursdays\, Fridays\, and Saturdays noon-5pm; and by appointment\nExhibition Dates: January 22\, 2026 – February 28\, 2026\nClosing Reception: Saturday\, February 28\, 2026\, 3-5pm \nCalifornia painter\, Christine Ferrouge makes paintings about the social and intrapersonal complexity of girlhood. Inside these paintings\, her daughters and their friends have been growing up before our eyes. Now the girls are older. They are not little girls. They are teenagers. Ferrouge’s teens are not exactly what you might expect. They are not the weak\, crazy\, second class we often negatively associate with “teens”. They have the strength\, dignity\, and psychological presence that she has always shown us in her paintings of girls. They are still the “women-to-be” that you could always see simmering below the surface of these determined and confident characters. \nThese works are a mother’s view of her teens: their lounging around\, napping frequently\, and the quiet social understanding between the them. You can feel the unique and tight knit bond-especially connecting the girls- and the looks they give you when you catch them in that sacred space. “When you enter the gallery and stand in front of one of these scenes\, you are present in their space\, but you are not part of their circle.” –Ferrouge\nThis is a well established thread in Ferrouge’s work. After the Costume Party (2019)\, Desert Picnic (2020)\, After the Fires (2021)\, Watching/Waiting (2023)\, and Girls in the Mirror (2024) all give the viewer the feeling that you are in their space. The artist first observed exclusivity and girl power in her daughters and their little friends when they were just 5 and 6 years old\, which inspired The Huddle (Ferrouge\, 2016). To Ferrouge’s surprise\, many young men found that painting scary. \n“[Ferrouge] portrays complex humans\, not cute\, one-dimensional beings; her paintings are seriously insightful images…”\nBetty Ann Brown\, PhD \n“…painter Christine Ferrouge\, whose ongoing portraiture practice engages a particular thread of art history in which women paint women\, girls\, and girls on the cusp of womanhood—celebrating their insider’s perspective on subject’s inner lives\, and their outsider’s perspective on the culture that surrounds them.”\n–Shana Nys Dambrot\, Art Critic\nLos Angeles\, 2024 \nIn contrast to the seven feet high oil paintings that dominate the room\, Ferrouge also has small works that capture the gestural\, figurative narratives on an intimate scale. Since beginning to paint and exhibit some small paintings last year\, they have become popular and easy to collect.\nPlease visit the gallery to experience this work in person: \nGearBox Gallery\n770 West Grand Ave.\nOakland\, CA 94612\n510-290-9660\ninfo@gearboxgallery.com\ngearboxgallery.com\nThursdays\, Fridays\, and Saturdays noon-5pm
URL:https://oaklandartmurmur.org/event/three-girls/
LOCATION:Gearbox Gallery\, 770 West Grand Avenue\, Oakland\, CA\, 94612\, United States
CATEGORIES:Opening Reception
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DTSTART;TZID=America/Los_Angeles:20260502T130000
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SUMMARY:Artist's Reception - Sonia Gill: Memento Vivere / Remember to Live
DESCRIPTION:Sonia Gill: Memento Vivere / Remember to Live\, Artist’s Reception\, Saturday\, May 2nd\, 1-4 pm \nAll are welcome\, please stop by between 1 and 4 pm Saturday\, May 2nd\, to greet the artist\, check out new work in the gallery and enjoy the light refreshments served up on our lovely deck outside (weather permitting). Look for the “ART” building at 770 West Grand Ave in Oakland with free street parking along West Grand and the neighborhood south. Also on hand will be artist\, Jeff Dikio\, with new paint chip collage work at Transmission in “This Must Be the Place.” See both shows at Transmission with more artwork in the Office and\, while you’re in the building\, check out Gearbox Gallery just downstairs. \nIn Memento Vivere: Remember to Live\, Sonia Gill’s work invites us into a world where painting is reimagined through paper—where the brushstroke is replaced by the torn edge of a magazine fragment\, and color is discovered rather than mixed. \nBeginning with a photographic reference drawn from her everyday life\, Gill builds her compositions piece by piece through a slow and contemplative process. Drawing from a vast archive of printed matter: pages of magazines\, discarded scraps\, and remnants of images once whole\, she assembles hundreds of paper fragments translating the image into a new state of presence. Within this self-imposed constraint\, she embarks on a rigorous and intuitive search for the exact hue\, value\, or texture needed to bring a scene to life. \n​At its core\, this body of work is an homage to the quiet\, enduring moments that define human life: reading together\, tending to small rituals\, routine tasks and moments of reflection. In an era often marked by business and noise\, Gill’s practice offers a counterpoint—a deliberate slowing down\, a careful reconstruction of meaning through attention and care reminding us that life’s significance resides not in spectacle\, but in the accumulation of small\, luminous moments. This work is a reminder – remember to live. \nTrained as a painter and influenced by mentor’s Jay DeFeo and Ron Dahl\, Gill graduated with a BFA from California College of Arts and Crafts\, in addition to degrees from Michigan State University in French. With a robust exhibition history\, she has shown extensively in the Bay Area with solo exhibitions dating  over the past twenty years and inclusion in a long list of juried shows. Her work has been published in Studio Visit Magazine and 48 Hills\, among other publications\, and recognition in painting and watercolor with awards from the Sebastopol Center for the Arts\, Northern National Art Competition\, Richmond Art Center and Fort Bragg Art Center.
URL:https://oaklandartmurmur.org/event/artists-reception-sonia-gill-memento-vivere-remember-to-live/
LOCATION:Transmission Gallery\, 770 West Grand Ave.\, Suite A\, Oakland\, CA\, 94612\, United States
CATEGORIES:Opening Reception
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