Bow Bow
to Jun 11

Bow Bow

CANADA is pleased to announce bow bow, a two-person exhibition featuring Johanna Jackson and Sahar Khoury. These two sculptors have neither collaborated nor shown together.  Artist curator Tony Cox recognized their material and conceptual affinities, what he describes as shared acts of ‘ancient maintenance,’ and felt they belonged together. Jackson and Khoury produce hand-built, delicate constructions; they employ clay or concrete, their forms are natural or urn-like, and they share an experimental approach to sculpture that is both archaic and of the future.

Khoury makes vessels and freestanding numerals that resemble amphoras or figures. They are careworn objects and bare the residue of use--built from found or discarded materials--and their patchwork surfaces are covered with paper mâché or paint. Her numeral sculptures are placed just so, arranged in a way reminiscent of a garden, a forest, or a crowd, and indicate years of personal and neoliberal significance: 1953 or 1979. In their titles and forms, these works suggest traces of history and monuments, and yet Khoury displays an openness to the act of making.

Jackson uses language in visual ways: her tin sculptures are pressed with words and images like a sort of instruction manual for the subconscious. She creates objects that are simultaneously recognizable yet transformed beyond utility; her rugs are hooked by hand, and a grandfather clock stands rendered in clay and frozen in time. The scale of her work is purposefully sized for the body or the home, as though she’s drafting a proposal for a weirder way of living. She tunes an antenna towards the universe, and listens for the mysterious.

Johanna Jackson (b. 1972 in Springfield, Massachusetts) currently lives and works in Los Angeles. Solo and two person exhibitions include “The Middle Riddle” with Chris Johanson at the Journal Gallery, Brooklyn; "What It Means to Learn" with Dana Dart-McLean at Human Resources in Los Angeles (2015); "The Big Fig" at the Portland Museum of Modern Art (2013); and “Money on Fire,” a video commission for the Museum of Contemporary Art in Los Angeles (2011). Her work has also been exhibited in group shows at the Oakland Museum of California, Marlborough Gallery in New York, Roberts & Tilton in Los Angeles, Yerba Buena Center for the Arts, and the San Francisco Museum of Modern Art, among others. In December, she will be present a solo exhibition with Adams & Ollman in Portland, Oregon.

Sahar Khoury (b.1973) currently lives and works in Oakland, California. Recent exhibitions include ‘They,’ Luggage Store and 2nd Floor Projects, both in San Francisco. Her work has been exhibited in group shows at the Oakland Museum of California and Yerba Buena Center for the Arts. She received her BA in Anthropology from UC Santa Cruz in 1996 and her MFA From UC Berkeley in 2013. She worked as an ethnographer at the Cesar Chavez Institute at San Francisco State University from 2002-2015. Her research focused on the structural vulnerability of Latino migrant day laborers in the Bay Area.

Tony Cox (b. 1975, Louisville, Kentucky) lives and works in New York and is represented by Marlborough Contemporary. His work has been exhibited extensively in New York at venues such as The Jewish Museum, White Columns, Salon 94, Andrew Edlin Gallery, and Kate Werble Gallery. His work is currently on view at Reyes Projects in Detroit. As a member of the performance group LOBOTOMAXXX, Cox has performed around the US at galleries and institutions including the Perez Museum and Hammer Museum. Their next performance will be at the Brant Foundation, in Greenwich, CT in conjunction with Animal Farm an exhibition curated by Sadie Laska.

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THEY, Luggage Store Gallery
to Mar 25

THEY, Luggage Store Gallery

The Luggage Story Gallery is pleased to present dual solo exhibitions of the Oakland-based artists Sahar Khoury and Anne Walsh, opening February 18 and running through March 18.  Khoury will be showing new sculptures and paintings built from papier mache, concrete, ceramic, steel, bamboo, textiles, and found objects. Walsh will be showing a ten-minute video work titled “Anthem (Let it Go),” installed amidst walls papered with written, illustrated, and edited drafts of her genre-bending adaptation known as The Annotated Hearing Trumpet. Khoury and Walsh took the shared title THEY for their exhibitions in an act of communion with one another and as an expression of the teeming, clamoring, urgent mass of voices and forms that make up the works on view.  At the close of the exhibition, Walsh and Khoury will produce a collaborative publication with documentation, conversation, and writings on THEY works.

            Khoury’s THEY will fill the lofty third floor gallery, with an installation of her signature rough yet tender objects. Painted and glazed ceramic works, bed pillows deliberately shot through like target dummies, concrete encased masquerade masks gather in a central huddle. A small forest of number forms - 20th c. years which mark nationality and memory formation in Iranian and Palestinian histories - stands aside the central cluster of sculptures. A set of paintings, (6’ x 4’, 5’ x 5’)) made of dismembered clothing, newspaper and paper shopping bags are THEY’s wall objects. Khoury’s figuration in THEY moves confidently around and through a core of damaged, beloved, assertive and eternal bodies.

            Anne Walsh’s THEY is a quasi-documentary music video titled Anthem (shot 2014, completed 2015 and re-worked 2017) , conceived as a “chapter” of her ongoing, multi-year “adaptation” of Leonora Carrington’s utopian feminist fable The Hearing Trumpet. When Walsh learned that a local organization for older-age thespians would be teaching a musical theatre class featuring Let it Go, the hit song from Disney’s 2014 movie Frozen, she signed up for the class. Walsh reveals herself in Anthem as both stranger and native, ambivalent and curious in the re-making, re-embodying, re-mediation of a little girl’s manifesto by a troupe of (mostly) women, ages 65-80.

            Surrounding, containing, and contextualizing Anthem, the walls of Luggage Store’s second floor space are papered with Walsh’s writing and visual ephemera, a book-in-progress exploded and mapped from her studio to the gallery. Hand-written research notes, photographs of those notes, digitally-printed and hand-edited photographs of text, enlargements of the latter, and photographs and letters from Walsh’s friendship with Carrington, as well as her own self-imaging and research into the identity of an “Apprentice Crone” are the elements of Walsh’s affective universe


Sahar Khoury is an artist based in Oakland, California. She works mostly with found or rejected materials to produce painterly sculptures. Her constructions are made of a combination of paper mache, paint, textile, concrete, ceramic, and silkscreened materials. She received her BA in Anthropology from UC Santa Cruz in 1996 and her MFA  From UC Berkeley in 2013.  She has exhibited in the Bay Area and nationally, most recently at the Oakland Museum of California and 2nd Floor projects.


Anne Walsh lives and works in Oakland. She frequently engages collaborators in the retelling of histories and the translating of texts, and this process of making, with its risks, desires, and failures, gives unstable shape to her completed work. Her performances, videos, sculpture and works on paper have been exhibited at Diapason, NYC; San Francisco Camerawork; Rosenbach Museum and Library (Philadelphia); Artists Space (NYC); Royal College of Art (London), Lothringer 13 (Munich), the Whitney Museum of American Art, and as part of the Hayward Gallery's (London) traveling exhibition program. She is faculty in the department of Art Practice at U.C. Berkeley.

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2 x 2 ProArts
to Aug 27

2 x 2 ProArts

Sahar Khoury | ZOO


I am transported to Dheisheh, a Palestinian refugee camp in the West Bank of the occupied Palestinian territories; designed 50 years ago to be temporary, this has become a permanent home for many. I’m walking up winding, unnamed streets narrowly sandwiched between crumbling walls, their exteriors covered with layers of faded posters and painted stencils. Concrete floors and tin roofs, exposed rebar and half-built cinderblock structures, rebuilt and repaired–everywhere is evidence of dislocation.

Sahar Khoury scours the urban landscape for castaways: security bars or fence posts that were discarded in favor of visually pleasing replacements, or disposed of altogether in the wake of demolition for a new building site. She reimagines this refuse— gathered nearby her West Oakland studio—to build her sculptures. The resulting work is not specific to any place, yet is insistently local–this is what is being thrown out. The work is able to exist out of place, yet be about place.

Luca Antonucci | The Custodian

In “The Custodian,” Luca Antonucci explores issues of authenticity and authorship of art. Starting from an obsession with art forgeries and their implications, Antonucci focused on the practice of art conservation for the work in his installation. The conservator is tasked with the impossible challenge of making an artwork last indefinitely but who inevitably alters the work in an attempt at preservation. Apt for a seasoned publisher, the core of Antonucci’s site-specific installation takes book form — one that cleverly employs ambiguity to frame a collection of found images that muddle the definition of art. Antonucci’s installation also challenges traditional display practices: while it is conventional to hang 2D work on a wall with a 60’’ center, said wall is traditionally facing the viewer.

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