K.B. Dixon's cultural-portrait series continues with a "special edition" featuring trailblazing women artists Lucinda Parker and Sherrie Wolf.

Wolf takes on animals, art history, and textures of all types in eleven new paintings. Shannon M. Lieberman unpacks the many art historical references and visual intrigue.

It doesn’t take much more than a glance to see the careful intention behind the arrangement of objects in Sherrie Wolf’s still life paintings.

Like Cézanne's and Wayne Thiebaud's, Wolf's sensory paintings seduce the ordinary by upending our assumptions about reality.

For viewers familiar with Sherrie Wolf’s opulent still lifes, her latest exhibition, “Found,” will prove revelatory for at least three reasons. The exhibition is so titled because, rather than painting objects she has meticulously arranged in her studio, she’s painting from photographs of things exactly as she found them during her travels through the United States, the United Kingdom, and France.

For viewers familiar with Sherrie Wolf’s opulent still lifes, her latest exhibition, “Found,” will prove revelatory for at least three reasons. The exhibition is so titled because, rather than painting objects she has meticulously arranged in her studio, she’s painting from photographs of things exactly as she found them during her travels through the United States, the United Kingdom, and France

Painter Frank Stella said, “In great art all the relationships sparkle, radiating coherence.” In Sherrie Wolf’s still life paintings there is marvelous rendering of fruits, flowers, reflections in glass and copying of old masterworks, but the key element in her work is the musicality of the relationships among all the objects depicted—the loud, the quiet and the spaces between them. Wolf takes a genre with a 2,000 year history and keeps it fresh and new.

“It seems that the main focus of painting is to give pleasure,” the painter Robert Ryman said. “If someone can receive pleasure from looking at paintings, then that’s the best thing that can happen.” If you have interest in the pleasures of looking at paintings, this is a really good month.

Sherrie Wolf and Jan Reaves, showing at Laura Russo Gallery, work at opposite ends of the old false dichotomy between representational and abstract painting. Wolf paints still-lifes in a very tight realist way, and Reaves paints big bold painterly abstractions.

There should have been a parade down Ocean Boulevard to announce the arrival of Sherrie Wolf at the Long Beach Museum of Art.

You have only until June 15th to see “Baroque Sensibilities — Sherrie Wolf” and you don’t want to miss it.

Seldom does one experience a museum visit where the visitors are so struck by the art that they actually engage strangers in effusive commentary.

The 21 amazing works explore the Baroque art period in a way that is truly unique. Wolf paints still-life images over classic works of art.

Don’t let this potentially tacky description dissuade you: Wolf is a master painter and re-interpreter, and her execution is flawless.

Sherrie Wolf’s recent work plays with expectations about the still-life genre by placing the traditional arrangements of domestic objects against backdrops that replicate Hudson River School and other iconic landscape paintings. In the example shown here, the scene in the far distance is from an Albert Bierstadt painting of Puget Sound, not far from where Wolf lives in Portland, Ore. The tiny figures pulling their boats ashore import a human presence rarely seen in still life. What’s more, as a local, Wolf is well aware that Bierstadt’s composition is an imaginative composite rather than an accurate depiction of the actual place.

An accomplished painter with one foot in neoclassicism and the other in the Rococo—and a set of eyes gazing back implacably from contemporary times—Sherrie Wolf makes a case for wry stylistic juxtaposition in “Counterpoint: New Paintings.”