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Isis Hockenos, MIdway Gallery resident artist and curator of RHIZOSPHERE, discusses the upcoming exhibition which spotlights the creative legacy, both past and future, of West Marin.

Self-described as a “sensitive, curious, pessimist” multimedia artist, James Shefik, constructs installations with the intent to confront viewers with harsh realities culled from contemporary society. 

Luminary, a one-night event spotlighting the innovative unification of art, performance, music and technology, will occur on March 18th from 7pm to 2am at The Midway. In this post Future Fires' founder, Clark Suprynowicz, and The Midway Gallery's art director and

Watercolorist Christine Aria creates delicate figurative compositions that seem to rest right on the surface of the paper. Originally an oil painter, this artist picked up watercolor as a temporary fix to compensate for time and ease of shipping while

Isis Hockenos creates vividly colored, abstract figure paintings. Her stunning compositions spotlight moments of everyday life and elevate them to marvelous occasions. The subject of her art pieces emerge from subconscious reactions to events in her personal life. These introspective

"Tour to Terrain" winds down with our final blog post on Elisa's "vanventure" across several states. 

As part of the Midway Gallery's exhibition, Terrain: navigating landscapes, Elisa will be showing the three paintings she made on the road, accompanied by her sketchbooks

Alexa Eisner has a background in social rebellion through dance in which art interrupts the redundancy of public spaces. For the opening reception of Terrain: navigating landscapes, she will be synthesizing dance and paint in a performance that will challenge traditional

Working out of his San Francisco studio on the outer edges of the city’s Mission district, Mark Garrett transforms neglected maps picked up at flea markets into intricately cut, mixed-media pieces that read like geographic oil-spills.

Mark’s intriguing deconstructed maps draw

For Terrain James is presenting a series he refers to as “process landscapes,” in which the act of creation is the focus of his large, collaged compositions. For these pieces James uses his 1952 Heidelberg Windmill to venture into solidly abstract