Art

Richard Serra Drawing and Sharon Lockhart Lunch Break, SFMOMA

Today we look at two current exhibitions at the San Francisco Museum of Modern Art (SFMOMA) that opened in October and continue through mid-January: Richard Serra Drawing and Sharon Lockhart’s Lunch Break. I had the opportunity to attend the museum’s press preview for both of these exhibitions and posted live updates via my Twitter feed @catsynth (the hashtag was #serrapreview).

The main event of the day was the opening of Richard Serra Drawing. I have long been fond of Serra’s large-scall metal sculptures. The minimalist yet strong constructions of flat steel planes or gently curving metal are instantly recognizable as his. This exhibition was my first experience with his drawings and sketches. Many of the pieces had the same characteristics as his sculptures, the reliance on strong geometric forms in a minimal presentation, such as his 1973 piece Untitled. One could see this piece as the shadow of one of his sculptures.

[Richard Serra, Untitled, 1973; paintstick and charcoal on paper; 50 x 38 inches; collection of Mary and Harold Zlot; © 2011 Richard Serra / Artist Rights Society (ARS), New York; photo: Ben Blackwell]

Several of the pieces rivaled his sculptures in scale.

[Richard Serra, Blank, 1978; paintstick on Belgian linen; 2 parts, each 120 ¼ x 120 ¼ inches; Stedelijk Museum, Amsterdam; © 2011 Richard Serra / Artist Rights Society (ARS), New York; photo: Gianfranco Gorgoni]

However, to simply describe the work in this exhibition as Serra’s sculptures flattened to two dimensions would miss most of what makes it unique and surprising. Many of the large black pieces are done with painstick, and the large geometric shapes which smooth from a distance have a very rich and rough texture. However, to simply describe the work in this exhibition as Serra’s sculptures flattened to two dimensions would miss most of what makes it unique and surprising.  Many of the large black pieces are done with painstick, and the large geometric shapes which smooth from a distance have a very rich and rough texture.  It was something I referred to while visiting as “liquidy roughness.” The texture and medium also allowed Serra to move beyond basic geometry into forms that cannot easily be realized as sculpture. In out-of-round X, an exaggerated texture is present in the main circular shapes, and continues to diffuse out past its edges. It is not a simple graduation where the texture becomes more diffuse from the center, there is still some semblance of a geometric shape in the image. But it is nonetheless unlike any of his sculptures, and I would not have automatically marked this as Serra’s if I saw it from a distance outside of the exhibition.

[Richard Serra, out-of-round X, 1999; paintstick on handmade Hiromi paper; 79 ½ x 79 inches; collection of the artist; © 2011 Richard Serra / Artist Rights Society (ARS), New York; photo: Rob McKeever]

Indeed, more organic circular shapes and ambiguous edges abound in Serra’s drawings. He also escapes from the solid or semisolid forms with line drawings that add more empty space. In these drawings, he reduces the drawings to one-dimensional forms in a way similar to his use of planes in three-dimensional space.

The gallery presentation provided a chance to see the diversity of the works side-by-side, but also left a large amount of empty space that abstract pieces truly need to be appreciated. I liked this location which featured Diamond (1974/2011) in the foreground and the circular Institutionalized Abstract Art (1976/2011) around the corner. Both were redrawn on the walls for this exhibition. They are perhaps the most minimal of all the pieces, and as such benefited the most from the context of gallery and the association with the other works. They provided a contrast to more roughly drawn or textured pieces. The spacious presentation also allowed room to explore the shapes in a personal manner. One wall of pieces entitled Drawings after circuit featured simple lines against aging paper, and seemed ripe for interpretation as a Hipstamatic photo.

[Click image to enlarge.]

The notebooks, while not as monumental, presented another dimension of Serra distinct from both his large drawings and his sculpture. We see the freedom to explore shapes and ideas that don’t yet need to stand up in large scale.

[Richard Serra, notebook: Double Torqued Ellipses; Guggenheim Bilbao, Spain, 2005; paintstick on paper; sheet: 12 ¼ x 14 ½ inches; collection of the artist; © 2011 Richard Serra / Artist Rights Society (ARS), New York; photo: Rob McKeever]

There are not only small sketches of ideas that could be used in larger works, but energetic and curving sribbles and even playful human shapes.  The notebooks serve more as inspiration for visitors (particular visitors who are themselves artists) than as works unto themselves.

Perhaps the most unusual piece was the list of verbs that appeared at the beginning of the exhibition.

[Click image to enlarge.]

It could serve as both an artist statement as well as an art piece.

At the end of the tour, Richard Serra was present to discuss the exhibition and take questions from the press. He had a very clear and accessible way of describing his work and process, as much engineer as artist.

It was interesting to hear him describe traditional architecture he saw in Spain and Turkey as sources of inspiration for his work. I associate stylized form and intricate detail with such architecture, and what attracts me to Serra’s work is its break with these traditions for a more simple focus on large-scale textures and geometries, and the exploration of asymmetry. I did not get a chance to ask any questions myself, squished among members of the established art press, but it still good to just be present and listen.

Sharon Lockhart’s Lunch Break is quite a contrast to the Serra drawings in media, style and subject matter. Through photographs and film, Lockhart presents a personal-scale view of industrial labor at the Bath Iron Works, a large naval shipyard in Maine. The artist spent a year in the town and at the shipyard, “interacting with workers and gaining their trust and collaboration.” The result is a portrait that is both intimate and detached. In the photographs we see everyday objects and elements of the “shadow” economy among the workers, such has makeshift cafes and lunch stands. The film meanwhile turns a short period of the workers on lunch break into a monumental portrait of industrial life.

The film is based on ten minutes of footage tracking along the a 1,200 foot hallway, without any panning, zooming or any other motion of the camera besides the steady forward progression. Along the hallway, workers go about the normal routines during lunch break, sitting, standing, eating, reading, talking However, what we ultimately see is anything but routine. The film is slowed down to 80 minutes (one eighth the speed of the original). The result is a stretched out abstract industrial exploration, which emphasizes the expanse and straight lines of the hallway as we pass by the workers.

[Sharon Lockhart, Lunch Break (Assembly Hall, Bath Iron Works, November 5, 2007, Bath, Maine) (still), 2008; 35mm film transferred to HD, 80 min.; courtesy the artist and Blum & Poe, Los Angeles; © Sharon Lockhart]

The music, a similarly slowed down mixture of sounds collected from the factory space by filmmaker James Benning and composer Becky Allen, gives a heightened sense of a fictionalized industrial landscape. Of course, I immediately started deconstructing the sound, which appeared to be a combination of pitch and time shifting and granular synthesis, but this did not detract from the overall presentation of the film, which was projected on the wall of a dark elongated room with surround sound for an immersive experience and other worldly experience. Although the film itself was interesting to watch, it was the music that kept my attention for an extended period of time. I tended less to see the details of workers in the visual and focused more on the big picture of the hallway, while in the music I kept looking for details, little bits of metallic or machinery sounds, or the occasional hint of human activity, amidst the overall drone of low-frequency noise.  It is hard to give a sense of the piece, with just an image. It should be experienced in person with the full sound.

The photographs that accompanied the film were not altered and presented images of the lives of the workers at the shipyard that would normally be hidden to outsiders. Several of the workers have set up small shops that sell coffee and food and operate as a shadow economy, where people leave money in boxes on an honor system.

[Sharon Lockhart, Dirty Don’s Delicious Dogs, 2008; chromogenic print; 41 1/16 x 51 1/16 in.; courtesy the artist and Blum & Poe, Los Angeles, Gladstone Gallery, New York, and neugerriemschneider, Berlin; © Sharon Lockhart]

The images are impersonal in the sense that they do not include any people, but the personalities of the workers who created the objects and spaces are indirectly present. In contrast to the film, with the industrial sounds of the music and scale of hallway dominate the viewer’s attention, the images and silence leave the viewer free to imagine the people who wrote the signs on the shops or attached the stickers to the lunch boxes. In particular, that was my impression from the sign “Please don’t forget to put money in the bank” with its accompanying smiley face. This sign forms the cover for exhibition catalog as well.

[Sharon Lockhart, Handley’s Snack Shop, 2008; chromogenic print; 41 1/16 x 51 1/16 in.; courtesy the artist and Blum & Poe, Los Angeles, Gladstone Gallery, New York, and neugerriemschneider, Berlin; © Sharon Lockhart]

Although Lunch Break presents it subject with a certain detachment and abstraction, it is hard to separate it completely from the economic and political reality of contemporary life in the U.S. As stated in the official release, “The project’s attention to the local and to the rarely portrayed experience of the working class take on a particular social and political relevance in the context of global capitalism, war, and economic recession.” The opening was occurring at the same time that the Bay Area incarnations of the Occupy movement were just picking up momentum (my first visit to OccupySF was just a few days earlier.) The combination leads to interesting questions about how protest, art, and the daily routines of working people intersect (and how they often don’t).

It was interesting to have seen both of these exhibitions together, and then reflect on them side-by-side several weeks later. My experience of Serra’s drawings is defined by shape and texture, and leads to more internal contemplation and fewer words that reflect the scale and space of the exhibition. By contrast, Lockhart’s Lunch Break speaks to me on a technical level with music, film and photography, and is on a personal scale. As such, it leads to more words and thoughts upon reflection. Both are valuable experiences and ways of seeing art.

Both exhibitions will be on view at SFMOMA through January 16, 2012. I strongly recommend checking them out if you are in the Bay Area.

[All captioned images are provided courtesy of the San Francisco Museum of Modern Art.  Images marked “catsynth.com” were taken by the author during the press preview.]

Fluxus in New York (MoMA and NYU, November 2011)

There have been numerous events this year marking the 50th anniversary of the Fluxus, including two exhibitions that I visited while I was in New York last month.

Fluxus was first named by George Maciunas in 1961, and involved a small network of artists in the United States, Europe and Japan who were already exploring some of the new movement’s ideas. Fluxus art generally involved event scores, or series of text or visual instructions that could be used by other artists to perform the works in the manner of a musical score, and the combination of instructional pieces into “Fluxkits” or “Fluxboxes”, collections of printed cards, games and ideas packed into boxes. Although much of this art was meant to be performed live at Fluxus events that ranged from formal concerts to spontaneous street performances and happenings – Fluxus events “could be performed by anyone, anywhere, at any time” – it also created durable works in the form of films, musical instruments, sculptures, and the Fluxkits themselves.

These ideas are not unique to the formal Fluxus moment of the 1960s and 1970s. Certainly, many of the ideas were present in Dada several decades earlier, as well as John Cage’s experiments with nondeterminacy in the 1950s. And the elements of Fluxus and its precedents are deeply embedded in contemporary art – the DIY sensibilities are present in many of the exhibitions I attend around San Francisco, for example. As such, the exhibitions are at least as much a historical snapshot of a particular time as they are examples of a particular artistic style and practice.

Thing/Thought: Fluxus Editions, 1962–1978 at the Museum of Modern Art (MoMA), presents works from the Gilbert and Lila Silverman Fluxus Collection, which was acquired by the museum in 2008. It was one of the largest collections of its kind and contains over 8,000 artworks and artifacts, including Maciunas’ 1963 Fluxus Manifesto.

[Fluxus Manifesto. 1963. Offset. Edited, designed, and produced by George Maciunas. 8 3/16 x 5 11/16″ (20.8 x 14.5 cm). The Gilbert and Lila Silverman Fluxus Collection Gift, 2008.  Image courtesy of the Museum of Modern Art. (Click image to enlarge.)]

The manifesto itself contains many of the elements associated with Fluxus, the “do-it-yourself” appearance with combinations of found material, personal notes (typed or handwritten), and declarations of spontaneous activity and a break with the traditional media and practices of art.

The duality of an object being at once instructions for a spontaneous artistic expression and itself a work of art appeared throughout the exhibition. This can be seen in the event scores as well as the flux kits.

[Fluxkit. 1965-66, Fluxus Edition announced 1964. Vinyl-covered attaché case containing objects in various mediums. Assembled by George Maciunas. 11 x 44 x 28″ (27.9 x 111.8 x 71.1 cm). The Gilbert and Lila Silverman Fluxus Collection Gift, 2008.  Image courtesy of the Museum of Modern Art.]

FluxKit 1965-6 is at once a practical and portable collection of objects for generating performances. But the individual pieces, such as the cards with their lettering and geometric shapes, and even the arrangement of the elements into the kit box itself, are quite elegant pieces of design. In particular, the cards seem to embody both the do-it-yourself aesthetic and the prevalent tenets of industrial modernist design in the 1960s.

The score for Yoriaki Matsudaira’s Co-Action for Cello and Piano is at once a recognizable extension of traditional music notation and a visual piece with great deal of symmetry and geometry. I have not had a chance yet to try out the piano part myself, but will do so at some point.

[Yoriaki Matsudaira. Co-Action for Cello and Piano I. 1963, Fluxus Edition announced 1963. (Click image to enlarge.)]

The scores of John Cage fit naturally into this context as well, and were included in some of the displays in the exhibition (indeed, it seems like I always encounter at least one Cage piece during every MoMA visit). How closely Cage was involved in any of the Fluxus productions is unclear. He was however a major inspiration for the movement, and several of the prominent artists including George Brecht and Dick Higgins attended his classes

Perhaps the most intriguing of all the pieces were the instruments in Joe Jones’ Mechanical Flux Orchestra.

[Joe Jones. Mechanical Flux Orchestra. c. 1966, Fluxus Edition announced 1966.]

Each of these instruments, such as the Mechanical Violin and Mechanical Bells incorporate electrical motors and strikers that allow them to be self playing. Although these instruments were created in 1966, they still look contemporary with many of the electromechanical musical installations created today, although the electronic elements have improved. Similarly, Metal Zitar #4 has a striking minimalist appearance that could be part of a contemporary installation.

The contributions of Nam Jun Paik to the exhibition also explored the musicality of Fluxus, including it in his “essay” The Monthly Review of the University for Avant-Garde Hinduism! (Postmusic). In this piece, typewritten bits of the text are scattered at odd angles with the same DIY aesthetic as Maciunas’ manifesto and begins with the words “I am tired of renewing the form of music. – serial or aleatoric, graphic or five lines, instrumental or bellcanto, screaming or action, tape or live …”. Yet the art for which he is most known, his beautiful analog video compositions, are quite musical, and indeed he was quite directly influenced by Cage and Stockhausen to produce this body of work.

I primarily know Paik and his video art external to any experience with Fluxus. The same can be said for Yoko Ono, who was not formally a member of the group around Maciunas but was a friend and he admired and promoted her work. Her piece Eyeblink (Fluxfilm no. 9) was part of the Silverman collection and included in the exhibition.

It’s hard not to notice the way the term “Fluxus” and the prefix “Flux-” permeate so much of the work and any attempt to discuss it. Fluxus spawned, Fluxscores, Fluxkits, Fluxboxes, Fluxfilms (as in the previous piece by Yoko Ono), and even Fluxshops.

[Willem de Ridder. European Mail-order Warehouse/Fluxshop. Winter 1964-65. Photo: Wim van der Linden/MAI. The Museum of Modern Art. The Gilbert and Lila Silverman Fluxus Collection Gift. Image courtesy of the Museum of Modern Art.]

Willem de Ridder’s European Mail-order Warehouse/Fluxshop from the winter of 1964-1965 contains a jumbled array of Fluxus editions and kits. A reproduction of the Fluxshop by Jon Hendricks and Larry Miller was featured in the exhibition.

[Jon Hendricks and Larry Miller.  Construction of European Mail-Order Warehouse/Fluxshop, 1984.  (Click image to enlarge.)]

As much as any piece of the exhibition, it is a snapshot back into the time that this art was originally made.

The exhibition will remain on display through January 16, 2012.

A concurrent exhibition Fluxus and the Essential Questions of Life at the NYU Grey Art Gallery presented still more original works and artifacts, this time arranged as a series of “essential themes of human existence”, including “Happiness”, “Health”, “Who am I?” and “Freedom”.

The arrangement around the themes rather than chronology, medium or artist, gave the presentation a rich multi-media feel. For example, below we see a variety of works for “Happiness”, including a film by Yoko Ono, her conceptual object piece A Box of Smile in the cabinet, as well as others including Nye Ffarrabas’ rather prescient Rx: Stress Formula, a pill bottle with capsules with photocopied bits of paper.

[Yoko Ono, A Box of Smile, 1971/1984 ReFlux Edition,plastic box inscribed in gold: “a box of smile y.o. ’71.”Hood Museum of Art, Dartmouth College: AcquisitionsFund; GM.989.12.5.]

The wry sense of humor permeates much of the work in the exhibition, such as Ben Vautier’s glass bottle with a handwritten label “God” affixed to its side as answer to the question “God?” The arrangement by themes and the particular selections of pieces bring out this quality more than in the presentation at the MoMA, even though many of the same artists and types of work were featured.

Artists central to Fluxus, including Maciunas and Brecht, were well represented here. In contrast to the musical scores, some of Brecht’s event scores were quite minimalist, with the most extreme example being Exit which consists only of the single-word instruction “exit” and was featured (again with a bit of dry humor) under the theme of “Death?”

I did also get to see one of Nam Jun Paik’s pieces for modified television set, Zen for TV, which consists of a simple linear pattern crossing the middle of the screen with little or no change.

Paik’s process of modifying television sets to produce new analog video art is a direct forerunner of the circuit bending that many of us in the electronic-music community do today.

In addition to this exhibition, the gallery featured both historic and more contemporary works created at NYU and the Downtown art scene in the show Fluxus at NYU: Before and Beyond. On display were more scores from John Cage as well as a rather large score by Earl Browne. Numerous posters, books and photographs rounded out this presentation of work that, like the original Fluxus group, pushed the boundaries of their media. I regret that I wasn’t around a couple of weeks early when Larry Miller presented a special gallery tour in conjunction with Performa 11, but I am glad I got to see both exhibitions at the Grey Art Gallery before they closed on December 3.

Both exhibitions described above were quite inspiring, and it is interesting to note how much both the concepts of Fluxus and some of the artifacts intersect with my own music and performance work several decades later. I expect to have at least as strong an influence on the new work I am planning for next year. It also opens up an idea of whether or not this website can serve as a source for a piece inspired by Fluxus? Any and all ideas are welcome.

 

The Bronx Museum

I always like to discover new places when I visit New York, and one of those on my most recent trip was the Bronx Museum.

From the D train, one alights at the 167th Street station along the Grand Concourse. Two blocks south is the museum’s impressive new building. The structure is a start metal facade with odd angles and geometric details that one often sees in contemporary buildings. But the repeating patterns also evoke the old narrow apartment buildings that used to cover this an many other sections of the Bronx. Inside the lobby, a large installation by Bronx-born conceptual artist Vito Acconci fills the space with airy undulating shapes that complement the exterior architecture.

It turns out this piece is made from Corian, which the artist uses to make solid but seemingly pliable forms. The numerous holes allow air and light to become part of the piece. I think the protrusions that look like seating are in fact seating for visitors, but I did not ask. (As an interesting side note, it turns out that Acconci has already been mentioned on this blog in this review closer to home.)

One gallery featured paintings and works on paper by the Cuban-American artist Emilio Sanchez, all depicting commercial buildings from the Hunts Point neighborhood. Hunts Point is at the southern edge of the Bronx, known for its huge produce market and concentration of auto-repair shops.

These colorful canvases strip the buildings and street down to essential elements, the rectilinear forms of the structures and lettering of the signs.

The sources for these paintings were images from the 1980s, a time when the Bronx had gone through a precipitous multi-decade decline that give the borough its reputation. None of the urban decay that was undoubtedly present on the streets at the time is present in these pieces. Indeed, the colorful palette and idealized shapes celebrate the neighborhood.

Also on display was a large exhibition entitled Muntadas: Information >> Space >> Control by the artist Antoni Muntadas. Through video, photographs and other media, the artist explores “the relationship between public and private space, the media, how information is conveyed, interpreted, and manipulated, and the way that public opinion is shaped.” One wall featured five photographs of scenes from the Bronx, with the opportunity for visitors to write the own responses. Among the photographs were the infamous Charlotte Street building facade from the late 1970s, and a more recent image of a girl interacting with a gorilla at the Bronx Zoo.

Both of these are familiar aspects of frequent visits to the Bronx as both a child and an adult, the bleak landscape of the 1970s and 1980s and the natural oasis and curiosity of the zoo. As such, this was the most personal aspect of the exhibition. The other pieces, which included videos, images and printed words taken out of their original context, was interesting, but not quite as resonant. Though I did enjoy seeing a clip from Goddard’s Alphaville among the images.

Although my visit was during the museum’s free Friday evening, it was almost empty. This gave the space a bit of a lonely feeling, but also complete freedom and peace to enjoy the galleries. Granted, it was the Friday after Thanksgiving, the busiest shopping day of the year, and an exceptionally warm evening for late November in New York, so I hope the emptiness I saw was an exception. Nonetheless, I am glad I had the chance to finally visit, and it was great to see the positive changes that are happening in the area. I strongly recommend a trip north on the D line to check out the museum and its surroundings.

Chakras and Homebrews at Performa 11

During my visit to New York, I had the opportunity to check out a few events from the Performa 11 biennial. I had a great experience, too years ago, and wanted to check out the final weekend. My time this year was quite limited, but I did have a chance to attend a few events.

The artistic highlight of my brief visit was a piece by Mika Rottenberg and Jon Kessler called SEVEN, which took place at Nicole Klagbrun Project in Chelsea. It was described as “a chakra sauna channeling chromatic body fluids from New York to Cradle of Humankind in Africa.” There are seven chakras, which correspond to areas of the bodies and states of being in Hindu and Buddhist traditions (you can look up tons of information on this if you’re curious), with an addition of colors of the spectrum in some recent practices, particularly in Western societies. The installation consisted of a full scale urban spa, with exercise area, working sauna and a lab with a bizarre combination of equipment and a technician who appeared to be running the show:

At the same time, the installation featured a video from an arid landscape in Africa. It is the combination of both the live installation and the video that becomes interesting. In the video, a succession of people in the African landscape extract cylindrical cores of mud from the parched ground. These are given to a local man in a small hut, which he then places into a bizarre looking contraption. When he turns it on, the core suddenly appears in the local lab in a similar looking piece of equipment. These are then placed in the sauna. Meanwhile, in New York, people take turns on an exercise bike, which both powers the sauna and helps the participant work up a sweat as they take turns moving from the bike to the sauna. The participants are assigned colors from the chakras/spectrum in succession, and their perspiration from the sauna generates a vial of “chakra juice” of that color, which is then collected.

This process repeats slowly for each of chakras, with the participants in Africa bringing the mud to the machine and the local participants generating the colored vials in the sauna. The synchronization between the installation, live performance and video is very well done, and does give the illusion that these events are happening together in real time through some process we don’t quite understand.

When all seven chakras are filled, the set is then sent back through the device to its counterpart in Africa in the video. At this point, the video completely takes over and we see the purpose of this ritual. If anything, the conclusion was perhaps the least convincing part of the piece, as it seemed a bit forced compared to the surrealism and illusion created by the synchronizing the video and live performance. But overall, it was a strong piece and I’m glad I made the trip over to the west side to see it.

Back at the Performa Hub in SOHO, I spent some time at the brew pub, where a variety of beers from local homebrewers were on tap.

I particularly liked a couple of spicy brews featuring chili, but there were also some great seasonal beers with pumpkin and cinnamon. In addition to the beer itself, it was an opportunity to interact with artists, the brewers and other visitors. Attending art events in New York can sometimes be a lonely affair, so it was a nice change of pace. In my haste to get to the next event, I misplaced my list of the beers (along with my copy of the Occupied Wall Street Journal I picked up earlier in Zuccotti Park), so I don’t have exact info to share with readers. If I find something online, I will update.

Overall, I did not get to see as much as I did in 2009, and it did not have the same abstract/modernist/future-retro vibe that it did two years ago, but overall it was a good experience and a good start to my week in New York.

Weekend Cat Blogging: Cat at Islais Creek

Islais Creek in San Francisco is a favorite photography spot of mine, and also home to an art studio complex featuring many metalwork sculptors. While walking outside of Islais Creek Studios, I encountered this gray cat.

It’s not the first time I have come across cats at Islais Creek Studios. Indeed, I posted about a cat I encountered there last year. It seems to be a natural environment for outdoor cats, lots of places hide in the industrial debris, and friendly people who leave food for them.

In the picture, we see the cat sitting near large metalwork sculptures by the artist David I McGraw. I like the abstract shapes and focus on single, and the fit well with the environment. And they go well with cats.

We participated in this year’s BlogBlast for Peace, which occurred yesterday. Cats have been quite prominent among the entries every year. You can see our peace globe here.

Weekend Cat Blogging #335 is hosted by Kashim, Othello and Salome at PaulChens FoodBlog?!

Carnival of the Cats #399 will be hosted this Sunday by Nikita and Elvira at Meowsings of an Opinionated Pussycat.

And the Friday Ark is at the modulator.

San Francisco Open Studios at Art Explosion

San Francisco Open Studios has been going on all of October. I have live tweeting from my various studio visits each weekend using the hashtag #SFOS. But as both the month and Open Studios draws to a close, we look back and my own experience on the first weekend, showing my photography at Art Explosion and in the showcase at SOMArts.

The works were mostly drawn from the same set that I featured in the solo show at The Parts Room in Oakland in early September, include the “triptych” of the large red, blue and yellow pieces.

The show in Oakland was a great experience, the best visual arts show to date. And I learned a lot about hanging which I put to use for Open Studios. This was most true for the showcase at SOMArts, where I showed up fully equipped to have my piece perfectly centered and mounted in the allotted space. The tools and meticulous measuring and drilling of holes seemed to impress the staff at ArtSpan.

And the work paid off with the end result (though the camera distorts the leveling a bit).

During the preview party, I received numerous positive responses from visitors and various people in the arts community.

The response at the studio itself was also positive. There weren’t always a lot of people visiting, it came in waves throughout the weekend, but those who did come were quite engaged.


[Photo from Art Explosion Studios Facebook page.]

I received both positive and constructive feedback over the weekend. One thing that is clear is the strongest works are those, like the “triptych” that focus on details of the urban landscape, a particular shape or pattern or color. Those are also among the most rewarding to work on, so I will likely focus more on this in the future. I will probably continue to have humorous pieces as well. People of course loved the big orange cat. The doll was a lot more polarizing (see the most recent Wordless Wednesday for an example), with some people really liking it and others hating it.

In balance it was a good experience – it was also great to share it with the other artists in the studio. It was also nice to get it out of the way during the first week, and spend the rest of the month as a viewer rather than presenter. But I am left with a sense of “OK, what next?” in terms my visual-art work…