It’s taken so many years, but now I have the time to review thousands of shots taken over the years, do a lot of editing and post-processing, and put what I think are some of my better images online in various places. One great shoot was this one, a Labor Day and immigration protest march starting in Delores Park and then weaving through The Mission on May 1, 2007. Speeches, signs and people with an important purpose; what a great place for a photographer to find himself that day!
All posts in San Francisco
Yes, No, Maybe: Artists Working at Crown Point Press is celebrated by an array of public programs at the National Gallery of Art, including lectures, a concert, gallery talks, and a variety of offerings in the Gallery Shops. All programs are free of charge in the East Building Auditorium unless otherwise noted. Seating is available on a first-come, first-served basis.
Featuring 125 working proofs and edition prints produced between 1972 and 2010 at Crown Point Press in San Francisco, one of the most influential printmaking studios of the last half century, Yes, No, Maybe goes beyond celebrating the flash of inspiration and the role of the imagination to examine the artistic process as a sequence of decisions. The stages of intaglio printmaking reveal this process in very particular ways. Working proofs record occurrences both deliberate and serendipitous. They are used to monitor and steer a print’s evolution, prompting evaluation and approval, revision, or rejection. Each proof compels a decision: yes, no, maybe. Among the 25 artists represented are those with long ties to Crown Point Press—Richard Diebenkorn, John Cage, Chuck Close, and Sol LeWitt—as well as those whose association is more recent, such as Mamma Andersson, Julie Mehretu, Jockum Nordström, Laura Owens, and Amy Sillman.
The exhibition is on display at the National Gallery through January 5th, 2014.
Judith Brodie, curator and head, department of modern prints and drawings, National Gallery of Art, and Adam Greenhalgh, Andrew W. Mellon Postdoctoral Curatorial Fellow, National Gallery of Art
On view at the National Gallery of Art from September 1, 2013, through January 5, 2014, Yes, No, Maybe: Artists Working at Crown Point Press features 125 working proofs and edition prints produced at this printmaking studio—one of the most influential of the last half century—by 25 artists between 1972 and 2010. The exhibition goes beyond celebrating the flash of inspiration and the role of the imagination to examine the artistic process as a sequence of decisions. In this lecture recorded on September 8, exhibition curators Judith Brodie and Adam Greenhalgh explain how the stages of intaglio printmaking reveal this process in very particular ways.
— sfsthetik (@sfsthetik) October 6, 2013
o.k. back to tending to the blog after a break. Doing a lot of photography and getting some great new shots in SF. Here’s an edit of one taken downtown last week. All images are for sale as large format prints on archival art papers at this gallery store:
There’s an exciting New Surrealism exhibit at Mirus Gallery curated by Paul Hemming, opening Saturday, June 8th, and, taking part in the Yerba Buena Gallery Walk this weekend. Paul has put together really quite a superb group of contemporary artists working in the surreal genre for this show. Dreamtime: New Surrealism considers how how concepts about the unimagined and the fantastic have developed over time, and the artists featured in the show represent a range of artists working in the Surrealist tradition, from Pop Surrealism to Postmodern appropriation of surrealistic imagery.
Coining the term “surrealism,” almost 100 years ago, the French poet Guillaume Apollinaire, named “surrealism” as realism beyond reality, “sur – real.” And after the turn of the last century, Surrealism was officially founded, when André Breton wrote Le Manifeste du Surréalisme. In it, he defined Surrealism as “Psychic automatism in its pure state, by which one proposes to express – verbally, by means of the written word, or in any other manner – the actual functioning of thought.” In this, he proposed that artists should seek access to their unconscious mind in order to make art inspired by this realm.
The original Surrealists were seeking a reprieve from the violence of war and investigating the psychological theories of Sigmund Freud – many themselves underwent psychoanalysis, seeking to access their subconscious in order to make art inspired and unlocked by the imagined and the unreal. A century later many artists continue to use fantastical imagery rooted in dreamscapes to relate to the realities of the increasingly fragmented, global, and at times senseless world we live in.
I wonder, are journeys into surrealism today that much more fertile for artists with the world itself so much more fantastic? Or do you believe that we as humans have the same potential for imagination as we always did?
Links of interest:
(editor’s note: the images shown here are from the individual artists’ various sites and collections online and as of this publication we do not know the actual artwork to be shown at the exhibition.)
Dreamtime: New Surrealism considers how this approach has developed over time, changing to meet the aesthetic tastes of contemporary artists, yet rooted in an essentially similar practice of delving into the subconscious to reinterpret perceptions of reality. The artists featured in the show represent a range of artists working in the Surrealist tradition, from Pop Surrealism to Postmodern appropriation of surrealistic imagery. Artists work featured at the exhibit include: Scott Anderson, Ebenezer Archer, NoMe Edonna, Joseba Eskubi, Christine Gray, Joe Hengst, Marcus Jansen, D’Metrius Rice, Kate Shaw, Er ling Sjovold, Marlene Steyn, Alex Stursberg, Michael Zansy, and Zio Ziegler.
One can’t help but be impressed at the breadth and range of the artists brought together for this exhibition, an amazing journey through the 21st century version of what’s beyond real. A definite exhibit to catch if you are taking part in the Yerba Buena Gallery Walk this weekend.
SFMOMA To Launch Off-Site Programming with Major Outdoor Exhibition of Mark di Suvero’s Sculptures at Crissy Field Near Golden Gate Bridge
Partnership with the National Park Service and Golden Gate National Parks Conservancy, Yearlong Waterfront Display at Crissy Field Will Be Free to Public
It’s safe to say a museum like SFMOMA doesn’t do anything small, quiet or diminutive. If they’re closing for three years for one incredible expansion project and a series of off-site programming, they will do it large, with a very visible presence. Beginning officially on May 22nd through May 26, 2014, SFMOMA will present a major outdoor exhibition of sculptor Mark di Suvero’s works near the Golden Gate Bridge. Eight large scale steel sculptures will be installed at historic Crissy Field, and will be the largest display of di Suvero’s work every shown on the West Coast and free for all visitors. The exhibition coincides with the artist’s 80th birthday.
Mark di Suvero at Crissy Field continues the National Park Service and Parks Conservancy’s ongoing commitment and deep relationship with the city that is home to the Golden Gate National Parks. “Similar to the recent di Suvero presentation at Governors Island, this exhibition provides an opportunity to further explore how art can create a new understanding and appreciation for a historic landmark like Crissy Field,” said Golden Gate National Recreation Area Superintendent, Frank Dean. “The fact that di Suvero is a sculptor with local roots and influences adds another dimension to the story,” he noted.
Through Sunday, May, 19th
Exhibition hours: 11 am–6 pm daily
A lot of art going on this weekend, but this event is one to catch – the San Francisco Art Institute MFA show, Currency, a showcase of provocative new work from nearly 100 emerging artists. Chosen as a subject during a time of ongoing and changing economic conditions, this exhibition at The Old Mint offers a unique opportunity for SFAI’s artists to juxtapose contemporary expression with a stunning National Historic Landmark that was central to the country’s economic development.
SFAI’s 2013 MFA graduates—working in painting, photography, printmaking, film, sculpture, installation, digital media, performance, and across media—will present work that embraces the Institute’s signature spirit of experimentation and conceptual risk-taking. The result of an intense period of collaboration, critical engagement, and artistic development, the work reflects both current dialogues in contemporary art and strong individual points of view. In addition, many artists have created site-specific pieces that respond to the history, character, and physical spaces of The Old Mint.
SFAI has been at the vanguard of contemporary art for more than 140 years. Currency invites curators, collectors, critics, family, friends, and the general public to discover the next generation of pioneering artists from this celebrated institution.
At the opening reception, there is a suggested donation of $20 to support SFAI’s educational and public programs.
In conjunction with this event, SFAI is presenting Gala Vernissage—an exclusive opportunity to preview the 2013 Master of Fine Arts Exhibition.
Explore the exhibition catalogue:
Like many city residents and tourists alike, I often stop by Clarion Alley to see if there is any new street art, or visit some great art again. A lot of the street art remains untouched, unfortunately some people in The Mission and other neighborhoods are taking to the awfully distasteful, horrible habit of tagging street art that an artist has probably spent hours, days or weeks working on. Ah, the price you pay if you post your work out in the open. I know, right? Still, you’d like to believe we could live in a world where whoever needs to vent their anger, frustration, creativity or any other mood that strikes he or she upon pulling out the spray paint, would find somewhere else to do it and not destroy somebody else’s work. Or, not do it at all since, well, it’s illegal. Graffiti on graffiti? Somewhat oxymoron-ish, isn’t it? Suppose city supervisors and lawyers would have trouble trying to fashion a law protecting street art. So we leave it to neighbors and other local residents to LEAVE THE STREET ART ALONE!