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animals that inhabited or passed through the site (e.g., seagulls, raccoons, hawks) into brightly colored compositions of disjointed, swirling abstract forms that conveyed the constantly churning, tumultuous quality of the facility. The paintings mixed playfulness with a more somber awareness of neglect, displacement and peril—expressed by seemingly unaware creatures directly gazing out from the canvas—that spoke to the interconnection of humans, animals and habitats through consumption and waste. She extended these works to include a wider range of animals (e.g., primates, rhinos, bats and leopards) and painterly gesture (starburst explosions, spiraling vapor trails, hard-edged quasi-cubist spaces, paint smears and
Lichtenstein-like dots and stripes) in the exhibition "Haywire" (2015), which was likened in a review to a pop
447:-influenced future of nature under siege and hopelessly degraded. David Roth contended that the scenes of catastrophic disarray made viewers witnesses if not accomplices and "functioned as fire-breathing polemics, arguments against the fiction that life can exist apart from or outside of nature." Jaimie Baron wrote, "Maria’s vibrant works serve as a weirdly joyful and kinetic rendition of this impending animal death, perhaps akin to the second line in a New Orleans jazz funeral."
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355:(2007) juxtaposed a decorative mandala alongside pink, purple and white Richter-like squeegee pulls of paint, from under which soldiers bearing weapons and provocatively posed nude women peeked out, creating a candy-coated, even playing field conflating military violence with the sexual exploitation of women. In a review of the "Dystopia" show, the
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Maria's work as a "cacophony of symbols, motifs and painterly gestures" tethered to socio-political concerns by interjections of detailed, realistic imagery. She noted, "Maria's pluralistic approach to abstraction offers a counterpoint to time specificity … a painting style no longer necessarily represents a particular time period."
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In subsequent work, presented in the solo exhibitions "Paradise Lost" (2007) and "Dystopia" (2008), she shifted to detailed, realistic renderings of emotionally charged figures and objects that often dominated backdrops featuring assorted abstract and Pop art gestures. These paintings uncomfortably
339:, silhouettes of rabbits and pistols, and black dots suggesting either droppings or ammunition pellets. In a different series, Maria—then a vegetarian—depicted cuts of meat based on grocery store flyer imagery, including a deck of nudie cards in which she replaced women's torsos with slabs of meat.
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have been cited. However, writers suggest that unlike postmodern artists, Maria does not use a pastiche of styles ironically or self-referentially, but rather employs them like distinct notes in music—formal tools that are temporally co-existent and equally relevant. Curator Kelly
Lindner described
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at
Recology—the City of San Francisco dump—where she was challenged to create a body of work using only discarded materials. Scavenging canvases and mass-produced artworks and overpainting them with recycled acrylic paint, she discovered a new theme. She embedded carefully rendered portraits of
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s Reyhan
Harmanci wrote, "The energy in her paintings is intense: Maria has pushed the meeting of naked women and instruments of war past comfort, and the images can shock." In her exhibitions "Inviting the Storm" (2009) and "Artwarpornica" (2012), Maria expanded upon these themes, introducing
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Writers have noted in these works a clear visual metaphor of restrained versus feral: disarmingly unperturbed animals rendered with great control that serve as calm, still points dominated by and dwarfed within decidedly unnatural, heterogeneous abstract tangles. They suggest that the jolting
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In her exhibitions "Post-Nature" (2018), "Regarding
Extinction" (2021) and "Precious and Precarious" (2022), these paintings evolved into miniature, Audubon-like depictions of lone endangered-species animals from around the world, in part inspired by
117:, is a San Francisco-based visual artist known for paintings, works on paper and printmaking. Her vivid, multi-layered paintings have been described as collages or mash-ups of contemporary art vocabularies, fusing a wide range of
403:(2014), which detailed a contemporary, projected species loss unequaled since the dinosaur extinction. These creatures were often barely visible amid what David M. Roth described as "gonzo-poetic abstract landscapes—pastiches of
407:, Pop Art, action-comic iconography and natural history rendered in retina-tingling colors— are meticulously crafted exercises in well-ordered chaos." Among the species depicted were the polar bear (
502:(Masterminds Grant, 2008), and the University of California, Berkeley (Eisner Prize in Art, 1997). In 2020, she was invited as a guest artist for the "Los Angeles Billboard Show" organized by
133:. Her work outwardly conveys a sense of playfulness and humor that gives way to explicit or subtle examinations—sometimes described as "cheerfully apocalyptic"—of issues including
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critic Jaimie Baron wrote, "Maria’s paintings must be read as satires recognize the absurdities of our era … These pretty, playful paintings are indictments, epitaphs-to-be."
327:(both 1999), she began moving toward more raucous palettes, graphic, cartoon-like representations, and cultural and social commentary. For example, the pink, orange and purple
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After graduating, Maria began to exhibit her work, gaining wider recognition in the early 2000s with appearances in group shows at the
Contemporary Arts Museum Houston,
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juxtaposed the title exclamation, bursts and smoke trails with stars inscribed with white line drawings of women's hands and genitals and a phallic lavender missile;
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disparity conveys not only a sense of habitats stripped of all familiar markers—and of the low priority humans place on animals—but also hint at an
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215:(San Francisco), where she had five solo shows between 2001 and 2018. In her later career, she has had solo exhibitions at Recology (2015),
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219:(2021), Sonoma Valley Museum of Art (2021) and the de Saisset Museum (2022), as well as two surveys, "Head Over Heels" (2016,
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319:, 1998) that "packed comic-strip explosions and speed lines into otherwise elegant color patterns." With paintings such as
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262:. Her work arose in the aftermath of the 1980s and 1990s postmodern ethos of mixing styles—in her case, those of artists
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prints—as well as the formative 1970s pop culture of her youth, including comic books and artistic toys such as
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708:"Recology San Francisco Artist in Residence Exhibitions: Work by Kara Maria, Imin Yeh and Matthew Goldberg,"
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Maria's work belongs to the public art collections of the
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Maria's art draws on diverse art historical influences—various modes of abstraction, Pop art,
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merged war iconography (soldiers, fighter jets, camouflage patterns and references to the
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was a multilayered work incorporating a television interruption pattern, looping
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1087:, Chico, CA: California State University, Chico, 2016. Retrieved June 5, 2023.
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972:, Chico, CA: California State University, Chico, 2016. Retrieved June 5, 2023.
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738:, Chico, CA: California State University, Chico, 2016. Retrieved June 5, 2023.
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196:, earning a BA in 1993, followed by an MFA in 1998, both in art practice.
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582:"Impact of Jim Hodges, Kara Maria gallery shows impossible to reproduce,"
423:, 2017), and whooping cranes fending off abstract paint smears and SUVs (
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1311:"The Billboard Creative 2020 show includes Marc Dennis and Kara Maria,"
999:"Kara Maria - Precious and Precarious: Life on the Edge of Extinction,"
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Lallas, Matthew. "Kara Maria’s
Abstract World of Endangered Animals,"
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and
Recology. She has received awards and grants from Artadia (2001),
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Granberry, Michael. "As
American as sex and war," Dallas Morning News
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Center for Contemporary Art, Fine Arts Museums of San Francisco,
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Colpitt, Frances. "Report from Houston: Learning from Comics,"
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933:"Splat Boom Pow! The Influence of Comics in Contemporary Art,"
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1193:"Kara Maria – Berkeley Art Museum and Pacific Film Archive."
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Bing, Alison. "The Bigger Picture: Painting and Politics,"
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concern for the state of the environment into the work.
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Maria's early, largely abstract works were described by
164:. Her work belongs to the public art collections of the
813:"After Audubon: Art, Observation, and Natural Science,"
983:"Upheaval and Irreverence—Double Trouble at the SVMA,"
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Award, University of California, Berkeley Eisner Prize
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Cramer, Laura Jaye. “Kings and queens of the heap,"
192:. She moved to San Francisco in 1990 to attend the
732:Lindner, Kelly. "The Meaningful Non Sequitur," in
230:In addition to her artmaking, Maria has taught at
831:"Double Trouble: Enrique Chagoya and Kara Maria,"
364:Environmental and endangered species-related work
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710:News, December 16, 2016. Retrieved June 5, 2023.
1012:"Kara Maria art speaks more than color, style,"
566:, Art Practice Faculty. Retrieved June 5, 2023.
898:"Creative in Common at the de Saisset Museum,"
864:Berkeley Art Museum and Pacific Film Archive.
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311:critic Kenneth Baker as "post-Pop Art" with
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148:Maria has exhibited at venues including the
988:, October 14, 2021. Retrieved June 5, 2023.
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668:"Packard Jennings and Kara Maria at Clark,"
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603:Rodriguez, Juan. "Kara Maria at A.O.V.,"
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351:, 2007) to visceral effect. The painting
234:, University of California, Berkeley and
176:, among others. She is married to artist
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211:(Paris, 1999), she began exhibiting at
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431:(2021) depicted a whale floating on a
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1220:di Rosa Center for Contemporary Art.
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376:, acrylic on canvas, 60" x 60", 2017.
298:, acrylic on canvas, 39" x 51", 1999.
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188:Kara Maria Sloat was born in 1968 in
106:, acrylic on canvas, 26" x 26", 2021.
61:Painting, works on paper, printmaking
1429:21st-century American women painters
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1001:Exhibitions. Retrieved June 5, 2023.
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562:University of California, Berkeley.
439:-ish blue, purple and magenta dots.
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1258:, Artists. Retrieved June 5, 2023.
1240:, Objects. Retrieved June 5, 2023.
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1211:, Objects. Retrieved June 5, 2023.
931:Contemporary Arts Museum Houston.
922:, Artists. Retrieved June 5, 2023.
887:, Objects. Retrieved June 5, 2023.
797:"Kara Maria at De Saisset Museum,"
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221:California State University, Chico
194:University of California, Berkeley
166:Fine Arts Museums of San Francisco
52:University of California, Berkeley
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1342:, Artist. Retrieved June 5, 2023.
1046:, People. Retrieved June 5, 2023.
374:So Solve the Mystic Sun, (ocelot)
949:"The Last Gasps Of Abstraction,"
150:Contemporary Arts Museum Houston
1338:San Francisco Arts Commission.
1267:Headlands Center for the Arts.
1177:"Kara Maria @ Catharine Clark,"
1042:California College of the Art.
647:"Kara Maria @ Catharine Clark,"
1434:21st-century American painters
1419:American contemporary painters
1295:"The Billboard Creative 2020,"
1191:The Clark Hulings Foundation.
1062:"Paradise Lost by Kara Maria,"
508:San Francisco General Hospital
236:San Francisco State University
232:California College of the Arts
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829:Sonoma Valley Museum of Art.
758:"Jaimie Baron on Kara Maria,"
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512:San Francisco Arts Commission
492:Headlands Center for the Arts
411:, 2014), wide-eyed primates (
1155:Sacramento News & Review
1126:Sacramento News & Review
209:Cité internationale des arts
205:Oakland Museum of California
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1256:Kara Maria, Artadia Awardee
1084:Kara Maria: Head Over Heels
969:Kara Maria: Head Over Heels
735:Kara Maria: Head Over Heels
564:Kara Sloat (AKA Kara Maria)
162:Sonoma Valley Museum of Art
36:1968 (age 55–56)
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1233:Mills College Art Museum.
345:Abu Ghraib torture scandal
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1065:Santa Barbara Independent
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867:Voluptuous Deconstruction
475:, Museo Italo Americano,
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1309:The Billboard Creative.
1159:"Emotional electricity,"
883:San Jose Museum of Art.
473:Mills College Art Museum
357:San Francisco Chronicle'
223:) and "Rhapsody" (2022,
129:, comic-book forms, and
1327:San Francisco Chronicle
1195:Retrieved June 5, 2023.
1114:"Kara Maria: Dystopia,"
1029:Museo Italo Americano.
1015:Chico Enterprise-Record
952:San Francisco Chronicle
671:San Francisco Chronicle
585:San Francisco Chronicle
543:"The Nature Conundrum,"
315:painting titles (e.g.,
309:San Francisco Chronicle
213:Catharine Clark Gallery
1280:Montalvo Arts Center.
966:Lindner, Kelly et al.
811:Nevada Museum of Art.
504:The Billboard Creative
451:Collections and awards
425:An Exercise of Freedom
380:In 2014, Maria was an
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217:Anglim/Trimble Gallery
174:San Jose Museum of Art
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16:American visual artist
1389:, Mark Moore Fine Art
1383:, Gail Severn Gallery
916:San Francisco Station
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225:Museo Italo Americano
201:Katonah Museum of Art
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1204:Cantor Arts Center.
800:Metro Silicon Valley
580:Desmarais, Charles.
496:Montalvo Arts Center
477:Nevada Museum of Art
405:gestural abstraction
190:Binghamton, New York
184:Education and career
158:Nevada Museum of Art
40:Binghamton, New York
1324:"Gotta Have Heart,'
1207:Wonderland (Yellow)
1145:, January 23, 2015.
997:de Saisset Museum.
625:, February 4, 2022.
382:artist-in-residence
135:ecological collapse
1371:, official website
1130:"Chaos on canvas,"
687:, August 12, 2012.
666:Harmanci, Reyhan.
461:Crocker Art Museum
457:Cantor Arts Center
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248:Japanese woodblock
242:Work and reception
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986:Sonoma Valley Sun
848:Birds of Paradise
465:de Saisset Museum
395:Elizabeth Kolbert
154:de Saisset Museum
121:mark-making with
113:(born 1968), née
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313:color field
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