Happiest Days of Our Lives #1-6, 2018 | Found cardboard, staples, polyurethane | 96 x 120 inches

Ann Weber in SFMOMA's Exhibition Art of California: Greater than the Sum

September 2021

Dolby Chadwick Gallery is thrilled to announce the acquisition of Ann Weber's "Happiest Days of Our Lives #1-6" by SFMOMA for their exhibition Art of California: Greater than the Sum.… read more

Ann Weber named in SquareCylinder.com's "Best of 2019"

December 2019

David M. Roth, Squarecylinder’s editor and publisher, compiled this year-end roundup from reviews written by Mark Van Proyen, Maria Porges, Renny Pritikin, Soraya Murray, Derek Conrad Murray, Julia Couzens, Max Blue, Justin Manley and himself.… read more

Ann Weber reviewed in Artillery Magazine

September 2019

When Ann Weber began working on her current series of monumental sculptures made from recycled cardboard, vitriolic rhetoric about constructing a border wall dominated the news.… read more

Ann Weber reviewed on Squarecylinder.com

July 2019

The title of Ann Weber’s current exhibition, Happiest Days of Our Lives, will likely turn some heads. Or, at the very least, leave people scratching their heads, as it appears to run counter to what many of us feel about the current political crisis. Turns out, Weber borrowed the title from a track that appears on Pink Floyd’s 1979 album The Wall, a rock opera about an alienated musician. Her motivation? “Being an optimist,” she explains in a video “is a radical idea because…people have lost sight of…what art and living a positive life” can achieve, adding that, as a Midwesterner (who five years ago relocated to LA after 30 years in the Bay Area), she maintains “a very positive outlook.”… read more

Ann Weber at Mount Saint Mary's University

March 2019

The exuberant exhibits by Margaret Griffith and Ann Weber at the José Drudis-Biada Art Gallery at Mount Saint Mary’s University show two very different sculptors at work. The differences are one of the reasons that the sculptures work exceptionally well together and also part of the fun. Griffith energizes the upper strata of her room, while Weber works primarily from the ground up, stalactites to the other’s stalagmites. Where Weber is concerned with volume, Griffith exploits line. Both artists demonstrate a confidence in organizing and manipulating space in regards to their installations, as well as making sculptures that stand (or suspend, as it were) on their own merits.… read more

Pollock-Krasner Foundation Grant awarded to Ann Weber

February 2019

Ann Weber has received a prestigious Pollock-Krasner Foundation Grant.… read more

Ann Weber on display at the Oakland Museum of California

May 2018

Float & Sting on display in gallery of Art.… read more

Ann Weber at the Palo Alto Art Center

Paper Cuts: Large-Scale Collage

May 2018

Paper Cuts: Large-Scale Collage runs from June 16 through August 26, 2018.… read more

Ann Weber, Cloud, Green 2016, Found cardboard, staples, polyurethane, 64 x 45 x 12 inches

Ann Weber in LBMA

Two New LBMA Exhibitions Interpret Coastal California

November 2017

Weber has been practicing sculpture since the 90s, studying ceramics with Viola Frey in the Bay Area, only to be drawn to manipulating more common materials such as cardboard and staples, which refer to her studies of art historical movements, such as Italy’s Arte Povera in the 60s and 70s where artists used unconventional materials and found objects in their work.… read more

Ann Weber at Long Beach Museum of Art

Ann Weber: Moon over San Pedro

October 2017

Ann Weber’s large biomorphic sculptures have been described as bizarre characters from a story, hanging on the wall or sitting in the middle of the gallery like strange and evocative outcroppings of nature or outer space. Woven together from strips of cardboard boxes she culls from her local grocery store, Weber’s soft, universal forms appear simultaneously human and plant-like, presenting the viewer with a visually and physically engrossing experience reminiscent of the art of Jean Arp, Louise Nevelson, and Louise Bourgeois. Named after a small wall-mounted sculpture, the small exhibition features Weber’s most recent works, created after moving to San Pedro from the Bay area in 2015.… read more

Ann Weber at Ocean Coast College

Embody: Ann Weber

October 2017

Ann Weber transforms found boxes from the ordinary into art. She cuts and weaves cardboard contorting its form. Weber explores the little quirks that keep relationships from being a perfect fit. Her work echoes intimate bodies in imperfect balance.… read more

A conversation with Ann Weber in Works & Conversations magazine

A Conversation with Ann Weber: Enough, Not Enough

October 2017

Sometime not so long after this magazine had been launched, I remember a conversation I had with Ann Weber. I knew her work, but if we’d actually met, the word acquaintance would suffice. The conversation began well, and quickly became quite friendly. In recollection, I was surprised by its warmth and can remember feeling emboldened. Before long a proposal was put forth—by whom, I don’t recall, but I suspect it was Ann. “Why don’t we begin a series of dinners with artists? We’d each invite two or three artists. It could be at my studio and I’d do the cooking.” (this part I do recall)… read more

Ann Weber museum acquisitions

September 2017

Multiple museums have acquired pieces by sculptor Ann Weber for their permanent collections.… read more

Ann Weber profiled in Artillery Magazine

Cardboard Abstractions

May 2017

Most customers at Trader Joe’s have food on their minds. Not Ann Weber. While others grab favorite items off the shelves, the intrepid artist heads for the dumpsters. Perpetually on the lookout for cardboard boxes to transform into sculpture, she has an eye for colorful labels, crisp black letters and remnants of shipping tape, but she isn’t opposed to plain brown.… read more

Ann Weber's work in Pulped Fictions reviewed by Art & Cake

Pulped Fictions at the Torrance Art Museum

February 2017

Pulped Fictions at the Torrance Art Museum highlights the many ways that cardboard and paper can be ingenuously manipulated. But this show is more than just a laundry list of clever techniques; it features artists who use their materials to create conceptually diverse art that is personal and expressive. Sometimes the materials are chameleon-like, camouflaged to mimic other materials, and at other times they are repurposed for their intrinsic qualities, capitalizing on their generic, expendable attributes.… read more

Julia Couzens reviews Ann Weber at CSU Sacramento

The art of Ann Weber comes out of the box

September 2016

“Beyond Material,” on view at the University Library Art Gallery at California State University, Sacramento, is a handsomely curated survey of Weber’s cardboard constructions made between 2004 and 2015. Her single-minded application of this ordinary and ubiquitous material turns what is made to be thrown away into imposing totemic and evocative entities. The show demonstrates just how far assiduous engrossment can take you.… read more

Beyond Material: Sculpture of Ann Weber at the CSU Sacramento Library Gallery

September 2016

Ann Weber has been making sculpture, using cardboard as her primary medium, in the Bay Area for over 25 years. She currently maintains a studio in Los Angeles to create a broader audience for her work and to be inspired by new surroundings.… read more

After Bernini, Charity, 2013, cardboard, staples, polyurethane, 45 x 32 x 11"

Ann Weber exhibition reviewed on Square Cylinder

Ann Weber @ Dolby Chadwick

March 2015

Ad Reinhardt allegedly once said, "Sculpture is something you bump into when you back up to look at a painting." But what happens when the thing on the wall you’ve backed up to look at turns out to be sculpturetoo? In Ann Weber’s current show, her elegantly organic forms have, for the most part, moved from the floor to the walls of the gallery–asserting their equal right to be the focus of attention in a painting-crazy world.… read more

Studio visit with Ann Weber

Ann Weber Studio Visit

March 2015

Ann Weber's sculptures are often larger than life, and every one I've had the chance to see leaves a lasting impression. "I love the idea of making something from nothing, and how one can create beauty from such a mundane material." In her never-ending quest to push her work forward ("I don’t really think about limitations."), she has chosen to tackle the expanse of Los Angeles, create new work and forge new connections.… read more

Personages, Watch over Me 2013 Found cardboard, staples, polyurethane from 90" to 105" Photo: M. Lee Fatherree

Ann Weber reviewed in art ltd.

Ann Weber

March 2015

With soaring ceilings to accommodate her towering abstract sculptures, artist Ann Weber’s inviting Emeryville studio seems almost taller than it is wide. “I’m from the Midwest, and there we say we can make a silk purse out of a sow’s ear,” quips Weber, whose quick wit accompanies a deeply serious art practice. Indeed this accomplished artist has developed a technique for creating elegant, massive and dramatic sculptures from the most humble of materials: cardboard. Weber didn’t always opt for non-traditional media. After obtaining a bachelor’s degree in Art History from Purdue University, with her parents expecting her to go into teaching or “become a dental hygienist, those were really the only roles open to women then,” she instead followed her heart, in more ways than one. Weber “fell in love with clay… and with the potter sitting at the wheel next to me.” When the marriage dissolved, Weber moved to Manhattan, working full-time as a successful potter, her work sought-after for high-end department stores. Eventually the routine of throwing “a hundred cups, a dozen teapots” grew tired, and she was ready for a change.… read more

After Bernini, Charity, 2013, cardboard, staples, polyurethane, 45 x 32 x 11"

Ann Weber reviewed on Widewalls


March 2015

Amazing sculptures by American artist Ann Weber will be on view in March, at the Dolby Chadwick Gallery in San Francisco. Weber has drawn praise for her ability to commute the everyday into the extraordinary, utilizing found cardboard to create moving, sensuous, and often anthropomorphic forms. She gives special attention to the human bonds and belonging, which is particularly evident in some works that will be shown at the exhibition. Weber’s abstract sculptures should be understood as metaphors for life experiences, such as harmonizing practices that define our lives. At the Dolby Chadwick Gallery exhibition, the latest works by Weber will be shown.… read more

Ann Weber @ 425 Market

Ann Weber's exhibition at 425 Market is reviewed by SquareCylinder

August 2013

There is something pleasantly subversive about encountering Ann Weber’s recycled-cardboard sculpture in the twin corporate lobbies on either side of the glass skyscraper office building at 425 Market Street, near the Embarcadero in downtown San Francisco. (One lobby faces a courtyard off Market; the other faces Fremont Street.) Weber’s elegant abstractions seem to have made themselves at home, visually commandeering the spaces through a combination of scale (some are really quite large) and a quiet assertiveness.… read more

Dolby Chadwick Gallery participates in the third annual artMRKT fair at Fort Mason Center

May 2013

artMRKT San Francisco, the Bay Area’s premier contemporary and modern art fair, will feature 70 galleries from around the globe, bringing some of the world’s most intriguing artists and galleries to San Francisco. In showcasing historically important work alongside relevant contemporary pieces and projects, artMRKT will create an ideal context for the discovery, exploration and acquisition of art.… read article

Peter Selz reviews Ann Weber's Exhibition at Dolby Chadwick for Sculpture Magazine

San Francisco - Ann Weber: Dolby Chadwick Gallery

May 2013

Ann Weber’s large organic sculptures exist in the borderland between abstraction and figuration. Many of her swelling bodies evoke the female form, while others are products of her ingenious imagination. We are also reminded of chess pieces, doughnuts, balloons, and bobbins. Some appear like bowling pins, and one looks a little like a bugle horn. Her materials are as simple as can be: salvaged cardboard, which is cut into strips, held together by staples, and then shellacked for protection. The polyurethane coating lends a rich gloss to the finished works. Depending on the cardboard, the work is likely to be off-white, beige, or brown. Some of the pieces are enlivened by color, depending on the labels or advertisements. Weber’s work, using stuff that is readily available, recalls Arte Povera sculptures by Mario Merz, Jannis Kounellis, and Michelangelo Pistoletto, who worked with simple, everyday materials. ...see the entire review in the print version of May's Sculpture magazine.… read Sculpture Magazine article