A longtime fan of work by artists at the Bay Area’s Creative Growth, Creativity Explored, and NIAD (Nurturing Independence through Artistic Development) workshops, I was eager to see Into The Brightness, a show of pieces by artists from all three workshops currently at the Oakland Museum of California. Anticipating the usual delight I take in such innovative and surprising work, I didn’t expect the expert curatorial choices that facilitate this show’s vibrancy. Into the Brightness is more an experience than an exhibit.
This superb show of 525 pieces by over 300 artists, made with absolute confidence and unfettered creativity, welcomes everyone.
A special ticket is required to view the show in the museum’s Great Hall. The entrance is into a bare hallway where visitors are greeted by three large screens featuring short, silent video clips of some of the artists. One can’t resist stopping to appreciate the joy with which the subjects are depicted, and the thrill the artists take in their self-depiction.
The first room features a floor to-ceiling grouping of small pieces hung salon-style. Most are typical of those one would encounter during a visit to one of the three workshops: colored pencil on paper, acrylic on wood, fabric and ceramic pieces, all of which create a mesmerizing constellation. One could easily spend an hour viewing these works alone.
On the wall opposite, larger sculptural works are on view, including an eye-catching suit by Larry Randolph.
The rest of the show is no less fascinating as the pieces become larger and more complex. Ranging from paintings and ceramic sculptures to grand papier-mâché creations to an enormous site-specific installation, the art and its curatorship are remarkable. Perhaps my favorite pieces — amongst myriad other favorites — are those of Jonathan Velazquez. Velazquez constructs musical instruments using tape, chicken wire, cardboard and other materials, a sousaphone (“Tuba”), a trombone, a wind instrument, and a guitar, all carefully and painstakingly crafted. It is a perfect philharmonic arrangement. One can “hear” Velazquez’s music.
Another set of astounding pieces are by Monica Valentine. Despite her blindness, Valentine’s sculptures employ beads and sequins that are literally dazzling in the gallery’s lights: irresistibly optical, sure, but so much more stunningly tactile. One longs to touch them.
At the end of one small wing is a video room where 11 short films are repeated in a loop. I watched every one, especially enamored of “Breakdance” by Arstanda Billy White. ( White has limited mobility, so there is no breakdancing, but the movement in the film — and its accompanying music — are kinesis itself.)
Into the Brightness is joy elevated, a wonderland of imagination.
Into the Brightness runs through Jan. 21, 2024, at Oakland Museum of California, 1000 Oak St.
