After visiting the well-advertised exhibit of Frida Kahlo's personal effects at the de Young Museum, we wandered into a wonderful exhibit called, "The de Young Open." As described on the museum's website:
"Works of art in The de Young Open are hung 'salon-style,' installed edge to edge and floor to ceiling, which enables a maximum number of works to be displayed. The de Young filled the 12,000-square-foot Herbst Exhibition Galleries with 877 artworks by 762 Bay Area artists."
It was exhilarating to walk through room after room of paintings and one room of sculpture. Each room was devoted to a subject (portraits, landscapes, social satire, etc.) Because the exhibit was curated by a panel all the works were at least competent and some were inspired.
Over the years, I've enjoyed marvelous solo exhibitions---Salvador Dali, J. M. Turner, Elsa Schiaparelli, etc.---and shows focused on a theme such as Impressionism, Expressionism, and others.
To see this volume of work and such variety in a single visit is a different and wonderful experience.
Back in June, as boarded-up windows became normal in San Francisco, I posted about artists using the new blank plywood to create casual works of art, including these mousey characters who say peculiar things.
This pair has been in place for weeks, and now local folks have pulled out their markers and engaged in conversation with them, mostly taking exception to the original sentiments. As arguments go in this contentious era, this one isn't especially nasty. In fact, it's practically civil, though not always correctly spelled.
From what I read, we're probably at least six months away from a vaccine that will begin to let us all go back to living normal lives. That should give the local artists and art-appreciators plenty of time to generate further modes of discourse. Since we're stuck here, we may as well enjoy watching it play out.
What is going on here? In the center of this jolly scene of people enjoying a day at the beach, a woman plays a guitar. Facing her is a man holding sheet music for her to read. Everyone else in the scene wears swimsuits or other light clothing, but he wears a dark business suit. Everyone else has a ruddy complexion, but his face is chalky white.
A closer look shows the man's eyes are closed. The guitarist isn't reading the music. She is looking at us from the corner of her eye, as is the harmonica-playing man behind her. No one else in the group looks out at us.
Who is the mystery man? Why has he joined these people on the beach? Why are the two musicians looking away from the sheet-music he's holding?
This picture is part of a set of frescoes in the Beach Chalet on Ocean Beach in San Francisco. The frescoes were painted by Lucien Adolphe Labaudt as part of a Works Progress Administration project in 1936.
If I remember correctly from the displays in this room, the faces of the people in this scene are taken from members of the artist's family. Also I think I recall the song on the sheet-music is "Red River Valley." Judging by the view of the Marin Headlands in the background, the scene must be on Baker Beach.
Please let me know if you have any ideas about what the artist meant by including this ghastly figure.
Andy Goldsworthy's Spire has stood on a hill near Inspiration Point in the Presidio of San Francisco since 2006. On June 23, 2020, someone set fire to it. An investigation is ongoing, but so far nothing is known publicly about who did it or why.
I wrote about Spire in March of last year. It was the first of four sculptures in the Presidio by the world-renowned artist. Standing ninety feet tall, it was made of a collection of trunks from Monterey Cypress trees planted by the U. S. Army in the 1880s.
Most of Spire still stands. It is being evaluated for structural integrity. No decision has been made about whether it will have to be removed.
Informed about the vandalism, the artist had this to say: "The burning of Spire goes too deep for my own words. Besides, Spire has always spoken for itself and will perhaps now speak with an even greater eloquence after what has happened. If anything, its epitaph will be better written in the memories, thoughts and words of those who have lived with it over the past twelve years....What I do know is that art doesn’t give up. It is resilient and fights back. It is part of our collective and personal hard-won immunity."
Andy Goldsworthy's sculpture, Wood Line, stretches 1200 feet through a grove of eucalyptus trees in the Presidio, San Francisco's national park. It consists of curved eucalyptus branches, laid end to end so as to create a meandering line. At the upper end they are about three feet in diameter, and they gradually taper to about one foot at the far end.
As usual with Goldsworthy's sculptures, the place is as important as the piece. Like most of the trees in the Presidio, these eucalyptus were planted by the U. S. Army in the 1880s. In military fashion, they were planted in ranks and files to cover a hillside.
Rows of Monterey cypress trees were alternated with the eucalyptus, and over the years a peculiar thing happened in this grove. The eucalyptus grew faster and overshadowed the cypress. The cypress eventually died out, and, where they did, they left this unnaturally long, straight corridor because the trees had been planted in rows.
The place was already a remarkable example of humans leaving a mark upon the landscape when Goldsworthy chose to draw attention to it by drawing a line with eucalyptus branches.
Out for a walk in Fort Mason, army-post-turned-park in San Francisco, we came upon this by accident. Yikes! What happened here? Is this a practical joke? No! Those boulders would be too heavy. What's holding them up? Are they real boulders or hollow plastic casts? Why are those guys hanging out where boulders could fall on them?
We had not been warned to be on the lookout for sculpture. This one is entitled Ideas of Stone and was created by Giusepe Penone. The boulders are real. The tree is a bronze cast.
An article on the website of the Golden Gate National Parks Conservancy says, "Penone uses objects from the natural world to document the intertwined relationship between humans and nature," and "Penone’s earliest works included site-specific sculptures."
So, Penone has a lot in common with Andy Goldsworthy, four of whose sculptures can be found in the Presidio, another army-post-turned-park in San Francisco: Earth Wall, Spire, Tree Fall, and Wood Line.
The article also says another work by Penone has been installed elsewhere in Fort Mason. I guess we'll have to take another walk.
Most of us first learn about Alcatraz Island from movies such as Escape from Alcatraz with Clint Eastwood and The Rock with Nicholas Cage. Most of us think of it as a prison. But, as the National Park Service delights in telling visitors, it is also a sanctuary for endangered species of birds, a museum of military history, an ancestral site for the Ohlone people, and often recently, an art museum.
Thanks to the Presido Trust, we rode the ferry out to the island to see an exhibition called "Future IDs at Alcatraz." The work shown is the result of helping people in prison imagine replacing their prison ID with another ID card when they are released. The project challenged them to imagine a new identity and create a pictorial representation of it.
I'm no expert in this field, but intuitively it seems right to add this exercise in imagination to the job-training, counseling, and parole-supervision that help people re-join society.
Four years ago, we visited the island for another art exhibit "@Large". That one featured work by Chinese artist Ai Weiwei, who was then under arrest in his country. He sent instructions for the installation, without sending any art objects. There have been other exhibits on the island, but those featuring art that comes out of imprisonment have a special resonance.
By the way, I did not use any filters to create the photo, taken from the boat on the way to the island. There was some mist in the air that morning, and it created the impressionist style.
On a recent trip to Scottsdale, Arizona, we came upon this OLEV sculpture. Little is known about the artist, Inda Mira. The name is thought to be a pseudonym.
There is no consensus among critics about the meaning of these parodies of Robert Indiana's famous LOVE sculptures. Few have even speculated about Mira's decision to reverse the L and the E.
Mira made many three dimensional OLEVs, but no two-dimensional copes survive. While Indiana's LOVE image was popular in prints and even appeared on a US postage stamp, OLEV survives only in sculptural form.
Perhaps because of Mira's refusal to market the image as prints, t-shirts, coffee mugs, and other merchandise, OLEV has never taken its place alongside LOVE as an icon of Pop Art.
Happy April Fool's Day!
"The Star Girl" (aka "Star Maiden") was sculpted by A. Stirling Calder for the Panama Pacific International Exposition, a world's fair held in San Francisco in 1915. Ninety-five plaster replicas of it decorated one of the pavilions. This bronze copy was made recently for a bank building in San Francisco.
Audrey Munson was Calder's model for "The Star Girl." She also modeled for other figures at the Exposition by Calder and several other artists. She appeared in so many sculptures, paintings, mosaics, coins and other media that she became famous as "The Exposition Girl." She was twenty-four years old.
Before and after the Exposition, Munson modeled for many nude and semi-nude figures that appear on federal and state buildings, museums, cemeteries, memorials---anywhere architects place allegorical figures such as Peace, Abundance, Sorrow, Justice, etc. She was the model for Liberty on the half-dollar coin issued by the US Mint in 1916.
Beginning in 1915, she appeared in four silent films, playing the role of an artist's model. She was the first woman to appear nude in an American film.
Her brilliant career was brought to an end in 1919 by Dr. Walter Wilkins who murdered his wife because, he said, he was in love with Munson. At that time, Munson lived with her mother in a boarding house in Manhattan owned by Wilkins. Although Munson strongly denied any relationship with the doctor, she could get no modeling work after this.
She tried to continue her film career and to capitalize on her fame in various publicity stunts, but ended up supported by her mother. In 1922 she attempted suicide. In 1931 a court ordered her committed to a psychiatric facility where she lived the rest of her life. She died in 1996 at the age of 104..
Her image can still be seen on buildings and monuments throughout the United States.
This plaza is at 555 Market Street, San Francisco. It's outside a couple of skyscrapers that started out as headquarters for oil companies, and now rent out to all kinds of companies.
Stare at the center line and then sweep your eyes side to side. You may notice the paving looks like it's starting to fold up like the bellows of an accordion, or like a folding screen.
In reality it's perfectly flat. All the black pieces are the same size and shape, and so are all the white pieces. You can stand at the end of any row and see the same illusion.
The only reference to a similar visual illusion I could find is the "Missing Corner Cube." It is supposed to have three possible interpretations, but I could see only two.
On a hill near the southern border of the Presidio stands a sculpture by Andy Goldsworthy called Spire. It is about ninety feet tall, and can be seen reaching above the surrounding trees. It is a bundle of trunks from Monterey Cypress trees that reached the end of their lives.
Goldsworthy visited the Presidio in 2006 and found the forestry crew replacing cypress planted by the U. S. Army in the 1880s with seedlings. Struck by this moment, new trees replacing old, he created Spire to memorialize the old forest, which can be seen in the background.
In about ten years, the project will be complete. By then the newly planted trees in the foreground will have grown nearly as tall as Spire. This remnant of the old forest will disappear into the new one. It will become a secret sculpture, discoverable only by walking to it.
The spire Goldsworthy created will not change, but, since the growth of the seedlings was part of the concept, Spire is a kinetic sculpture. It's moving very slowly, but it is moving.
Why would someone take a photo of the surface of the ocean? No boats, no waves breaking, not even a bit of sky above the horizon.
But this is a drawing, not a photo. Graphite on paper. Pencil.
Why not simply exhibit the photo? Presumably because the subject---the surface of the ocean---is not the point. Apparently the point is the act of drawing.
This is one piece in a large exhibition of work by Vija Celmins. There is a room full of these ocean pictures. And a room full of night skies, and a room full of desert floors. Dozens of drawings made over decades. Minimal subjects, maximum technique.
San Francisco Museum of Modern Art says, "these 'redescriptions' are a way to understand human consciousness in relation to lived experience." Lived experience? What other kind of experience is there?
For some reason these remind me of Marcel Duchamp's ready made sculptures. He exhibited a metal rack used for drying milk bottles and a porcelain urinal as works of art. Those were minimal subjects and minimal technique, but, like these, the whole point was to draw attention to something.
On a recent visit to the San Francisco Museum of Modern Art, I saw an announcement for this exhibit in the lobby, thought, "That looks like fun," and trotted up to the fifth floor.
Yes, I took the stairs all the way up. I do this instead of working out.
And it was fun. As you can see, people stroll through a room full of giant spiders as if they were in a theme park. Some even like to get close:
Of course these people are a self-selecting group. Not everyone feels this way. One friend opted out, saying simply, "No. I'll skip that." Since there's more at SFMOMA than one can possible see in a single visit, I took this to mean, "rather do something else."
But perhaps my friend doesn't like spiders. In "An Arachnophobe Faces Louise Bourgeois's Iconic Spiders," Tess Thackara confesses she projected her own fears when she interpreted one of these sculptures as an image of horror.
To the contrary she quotes the artist's interpretation: “Because my best friend was my mother and she was deliberate, clever, patient, soothing, reasonable, dainty, subtle, indispensable, neat, and as useful as a spider.” The usefulness is a reference to her mother's craft, repairing tapestries. She compares this to spiders spinning webs from threads.
Each of us brings something different to a work of art. Perhaps we should't ask, "What does this piece mean?" Instead, we should ask, "What meaning blooms when you encounter this piece?"
Why is there a life-size sculpture of a blue whale at Crissy Field?
Why not? Given the choice between having something this cool and not having it, I think most people would go for it.
But there's a little more to it than that. This lovely sculpture is made entirely from plastic trash collected in California.
Why make a blue whale out of plastic trash? Because, Every nine minutes, 300,000 pounds (the approximate weight of a full-grown blue whale) of plastic and trash end up in the ocean.*
*According to National Geographic.
Come on, people, we can do better than this!
By the way, Crissy Field was formerly a military airstrip. It's part of The Presidio. The whale sculpture is a joint project with the Monterey Bay Aquarium and some other great organizations. You can read all about it here.
When I saw the San Francisco Museum of Modern Art had mounted an exhibit of photographs by Brassai, I hurried right over. Along with Henri Cartier-Bresson, he became one of my favorites when I started reading the Time-Life books on photography back in the 1970s.
As this exhibit shows, he was an all-around working photographer in Paris throughout the mid-twentieth century. The photos are grouped by subject: Society, Paris by Night, Pleasures, Portraits, etc.
His photos of Paris by night have made his place in history. It seems to me he practically invented Paris in the 1930s with pictures like this one:
You are seeing my cell-phone photo of the photo hanging on the wall of the museum. The definition and shades of gray are even better when you see the original.
I recall taking pictures of outdoor stairways with Kodak's Tri-X black-and-white film in my camera, hoping to create a magical image like this one. If I'd taken as many as he did, maybe I'd have learned to watch for the light to be just right.
One of the plaques says Brassai, like any working photographer of that period, made his living doing portraits and nudes. The pictures on display include fine examples of both, but nothing so memorable as these street scenes.
So his most original and inspired work was not the work that paid his bills. Many could say the same.