Art

SF Thomassons Performance Tour

Two Saturdays ago, I attended the SF Thomassons Performance Tour, a collaboration by Kearny Street Workshop and Kaya Press that paired live performance art and installations with examples of hyperart, otherwise known as Thomassons, around San Francisco.

The tour was inspired by the book HYPERART: THOMASSON by Japanese conceptual artist and writer Akasegawa Genpei. Genpei and his colleagues began discovering instances of architecture, structures and objects that exist (or persist) outside of the original intended function, such as an inaccessible door leading out of an upper floor of a building, or a staircase leading to nowhere. Gempei named these objects “Thomassons” after the baseball player Gary Thomasson (incidentally, a member of the 1978 World Champion New York Yankees). Thomasson was recruited by the Yamamuri Giants and apparently paid quite well, despite the fact that during his tenure his bat almost never made contact with a ball. In addition to publishing an English translation of the Genpei’s book, Kaya Press maintains a Thomasson website that allows people to upload examples from around the world. We at CatSynth have actually presented several Thomassons in our Wordless Wednesday photographic series, including these stairs leading into the San Francisco Bay.

Our tour started at the Mint Mall in SOMA (South of Market). In the men’s bathroom in the basement, we were introduced to our first Thomasson: a small door in the wall of one of the stalls.

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The door purportedly opens to nothing, and contains nothing. Of course, we had to open it to make sure. It turns out that the door was not quite empty after all, and actually contained artist (and model-turned-actress) Philip Huang, who emerged bearing sake and assuming his role as host for the remainder of the tour.

We then boarded the official tour bus and proceeded to our next stop, the 3rd Street drawbridge (not far from AT&T Park), for a performance of a “living sculpture orchestra” by artist Anthem Selgado. In this piece, the familiar boxes for dispensing weekly newspapers become the members of a classical string quartet.

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The 3rd Street drawbridge crosses Mission Creek, you can see some previous photos from nearby sections of the creek here and here.

Our next stop was along 16th Street in Mission Bay (near the new UCSF campus), where a series of rusting pipes rise from the sidewalk. A sculpture and performance, again by Anthem Selgado, consisted of large balloons tied to the pipes.

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One set of balloons was attached to an old tape recorder with clips from the infamous “Balloon Boy” incident. The balloons (along with the Balloon Boy and family) were set aloft and last seen drifting towards the Pacific.

En route to the next stop, Philip taught us the Korean rabbit song “San toki toki…” complete with choreography.

We next found ourselves in a warehouse-heavy section of the Dogpatch neighborhood (not far from Pier 70), standing outside a loading dock that really no longer is a loading dock, given that it is completely blocked by plywood. This site served as stage for a dance/movement performance by Christina Miglino and Adderly Bigelow.

Although the piece contained moments of bold movement, I particularly liked this moment of stasis, with both dancers balancing against the former loading dock. With their pose and dress, they seemed to become architectural elements of the site itself.

We then moved on to what was advertised as “the largest Thomasson in San Francisco”, the former St. Joseph’s Church at the corner of Howard and 10th streets in SOMA. The church building has been vacant and closed for quite some time, although the gardens are still tended. Whether or not an entire building can count as a Thomasson was a subject of some discussion on the bus. Nonetheless, the next performance was in an alley behind the church grounds, and featured Rob Trinidad as a priest inviting the audience to confess their sins.

Our final stop was in the Mission, at the site of some large unused beams jutting out from the back of a warehouse – actually, this was the back side of the building complex housing Cellspace.

Kennedy Kabasares, an aerial artist specializing in static trapeze made good use of these beams with his impressive aerial choreography and gymnastics.

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Although the tour officially ended at this point, there was one more “bonus” stop that took us across the city to Crissy Field in the Marina District, not far from the Golden Gate Bridge. Here we found ourselves in the midst of a large pro-life rally and were treated to an impromptu performance of Philip “testifying”. You can see the full video here, or in the clip below. Incidentally, I think that is probably me shouting “l’chaim” at the end of the video.

Our actual destination was the Wave Organ, a sculpture along the waterfront where the action of the wave interacts with a series of pipes to produce very musical sounds. Although the pipes and architecture of the Wave Organ suggest a splendid ruin, this is a fully functional piece of architecture and thus is not technically a Thomasson. But it did make for a nice coda to the afternoon. Look for an image of the Wave Organ to be featured in our upcoming Wordless Wednesday photo.

Weekend Cat Blogging: Roll

Luna obliged with some cuteness for this photo series. She really is a fantastic photography model, when she chooses to be.

Weekend Cat Blogging #243 is hosted this week by Jules and Vincent at Judi’s Mind Over Matter.

The Carnival of the Cats will be hosted on Sunday at Kashim, Othello and Salome.

And of course the Friday Ark is at the modulator.

SF Recology Artists in Residence

Last Friday, I attended an exhibition for the Artist in Residence program at Recology San Francisco (formerly known as, SF Recycling & Disposal, Inc.). Yes, this was an art opening at the SF dump. The program has been around for almost twenty years, and provides space and support for artists who work with materials from the city’s waste stream, including recycled wood, paint and metal. Pretty much anything the artists can scavenge. This exhibition marked the end of the residency for artists Erik Otto and Christina Mazza.

We first enter the gallery through an anteroom, with some smaller works including Erik Otto’s Rebuild, featuring the title word cut into scrap paper (including a musical score and furniture assembly instructions) and illuminated by a recycled light box.

Erik Otto. Rebuild, 2010. (Click to enlarge.)

The title and the materials of this piece set the tone for the show. In addition to my standing interest in text as a visual element, I liked the inclusion of music as part of its texture.

Moving into the main room, one immediately sees Otto’s Road of Prosperity (The Start of a New Beginning), with over one hundred small wooden houses suspended from the ceiling on fishing line, forming a chaotic spiral that descends towards the ground.

[Erik Otto.  Road of Prosperity (The Start of a New Beginning), 2010.  (Click each image to enlarge.)]

The houses, made of recycled wood, all have a similar iconic shape. Stepping back, one can see the the wooden frame at the base is itself another house. Indeed, the houses reappear throughout Otto’s work, either as central or peripheral elements, in his paintings and mixed media pieces and even in a video installation featuring recycled television sets:

Erik Otto. In the Abundance of Water, We Are Still Thirsty. (Click to enlarge.)

I am drawn to recurring icons in a series of work. So what is the significance of the houses? Certainly, they are a symbol of our current economic crisis, and a very visible part of natural and human-made disasters. Otto’s own words are informative:

My work is a narrative told by the recurring characters/elements I use often in my artwork. The house is a physical embodiment of our spiritual being. Inspired by the notion that being home is “knowing” – knowing your mind, knowing your heart – that if we know ourselves, we are always “home”, anywhere. It is often depicted in chaotic landscapes and is found seeking safety from a storm and/or rising water levels, which refer to our current social and economic climate.

His paintings, which also prominently feature the houses, include other elements such as found text, such as the “OPEN” sign in the large painting Moment of Reflection. Devotion 5 features a house (perched on stilts above a body of water) painted over book covers and a Scrabble board – certainly a powerful symbol of out-of-context text.

Erik Otto. Moment of Reflection. (Click to enlarge.)

Erik Otto. Devotion 5. (Click to enlarge.)

While Erik Otto’s work seemed to focus on discrete elements, icons and text, Christina Mazza’s pieces were about more continuous textures. Many of her finely detailed drawings feature entanglements of string or rubber bands or rope.

Christina Mazza. Construction. (Click to enlarge.)

She takes this theme of complex tangles to a larger scale with this wall piece made of shredded packing paper.

Christina Mazza. (Click to enlarge)

Mazza presents a very different texture with Redemption: SF Dump, which features a video inset in a wall made of brightly colored wood panels. Up close, one can see the imperfections, nails and slightly off angles of the the recycled wood. From a distance, it can seem a texture of precisely generated color rectangles with a moving image at the center.

Christina Mazza. Redemption:SF Dump. (Click to enlarge)

Mazza found inspiration in the discoveries she made at the dump, and documents her adventures on her blog. Looking through the images, I can see piles of discarded items that served as “subjects” for her drawings. One image which I found interesting but was not reflected in the pieces at the show was a discarded Chinese paper frame .

Christina Mazza. Chinese paper frame.

I find this image a fitting conclusion as I turn my attention to other recently visited exhibits and my own upcoming projects.

Thanks to Recology SF for providing many of the photos for this article. You can see more pieces from this exhibition and previous artists in residence at their flickr site.

First Thursday, January 2010

We at CatSynth present a few notes from our gallery visits here in San Francisco on the first Thursday of the year.

Peter Focault, courtesy of Micaela Gallery

First up, we visit Micaela Gallery for an exhibition of work by Peter Focault and “friends”. Focault’s large ink-on-paper works build up complex structures from simple lines and strokes. The textures can be come very intricate and dense, such as in this detail from Four Square Squared Series #2. Several pieces also have a very architectural quality, while others such as the Evolution Series #1 have a more organic feel.

In addition to the wall presentation, there was a live performance and creation of a new drawing. This was a collaboration of Focault, musician Jake Coolidge, and Jonathan Grover. Coolidge performed live processed bass guitar with loops and other samples. The audio was then interpreted by a robot that moved with a pen on a surface in response to changes in the sound. The long curving strokes with back-and-forth motions gradually produced an image that was similar in style to completed works. You can see a brief sample in the video below from Jake Coolidge’s blog, along with a more detailed description of the process:

Shannon Ebner’s Signal Hill at Altman Siegel depicted every day objects, some with text, some with symbols like stick figures, some bits of manufactured material, that all convey information or “signals” in contemporary society. I identified with the simple and geometric elements and incorporation of text in her large photographs as well as her sculpture, as well as the sparse presentation by the gallery.

Shannon Ebner, courtesy of Altman Siegel Gallery

The photographs also had a very three dimensional texture, such as one photograph of an international graphic symbol (included in the photograph above) that one often sees on a very smooth surface.

Holly Andres, courtesy Robert Koch Gallery (click to enlarge)

At Robert Koch Gallery, I saw Holly Andres’ Sparrow Lane series. The photographs this series feature a group of adolescent women. The photographs seem to be narrative, as if the girls are exploring and investigating, but they are also disjoint without any real story line. As she explains in this interview, Andres spends a lot of time carefully crafting the images, including the clothing worn by the models and the walls and furnishings of the spaces. The clothing was very well done. Most seemed vintage mid-century and featured skirts and dresses with straight lines and solid colors that gave the characters a modernist “early 1960s” feel. On the other hand, the props and settings seemed more baroque and and did not really hold my interest. The one exception was the The Missing Bird (presented here), which places the characters in a grittier basement covered in media images with a cat in the background.  I did find myself contrasting this series with the Dystopia exhibition I saw at this same gallery a year ago – it would be intriguing to see them side by side. (The exhibition will remain on display at the gallery through the end of the month.)

While exploring the photographs at the Koch Gallery, the air from the doorway carried the heavy tones of electric blues. I followed the sounds next door to the Haines Gallery, where a blues band was playing. It turns out the band was led by Mike Henderson, whose paintings were featured in the current exhibition.

I tend to be drawn to minor keys and modes, so minor blues holds a special place in my musical vocabulary. His paintings have geometric shapes with complex textures, overlaid with various line drawings and lettering. Some have a very bright texture akin to a wood surface, while others are dark black with small light shapes and figures.  It is interesting to consider the connection between the music and the visual art.  Unlike the collaboration described above where the connection was direct, the connection here is more emotional or evocative.

Stephen Wirtz gallery presented Catherine Wagner presented large highly-detailed prints of specimens from the California Acadamy of Sciences. They were arranged by biological taxonomy, but also visually. From a distance, one can focus on the overall texture, while up close one notices the details of each specimen. Hits by Rick Arnitz featured large canvases, each of which seemed to take on a different geometric theme: brightly colored circles, a texture of red a black vertical lines, stars on a light blue field, etc. I often like discovering pieces from the permanent collection on display in the back room – I recall Ulrike Palmbach’s soft sculptures of cats from a previous visit – this time it was Marc Katono’s Half Light, a large light canvas with very delicate curves and lines. The piece was reminiscent of organic fibers and would have seemed at home among Wagner’s prints.

Randy Hussong, Courtesy of Gallery Paule Anglim

Across the street at Gallery Paule Anglim, I saw Randy Hussong’s Sculpture and Lithography exhibit. All the images were based a large steel box held up on one side by a stick with a chain, essentially a “trap” of sorts. The box itself was shown in the center of the room as a piece entitled Prey and Weight.  Along the walls were combination photographs/lithographs based on images of the box in outdoor setting, based on photographs at different times of day. The box is clearly artificial, but it’s coloring and worn texture allow it to merge with the natural environment. Additionally, there was one pure black-and-white lithograph entitled Trap.

At A440 Gallery, Dominic Alleluia’s large mixed media works had a very contemporary feel. They combined large abstract elements, color textures and shapes with energetic dark swirls and waves reminiscent of graffiti. A third dimension in some works included objects and materials such as wooden dowels and metal. I found this video of the “artist at work”, and I thought the music expressed the energy of his pieces the exceptionally small gallery space.

Finally, I would like to mention seeing the exhibition Diane Arbus‘ photographs at Fraenkel Gallery.  The exhibition, titled Christ in a lobby and Other Unknown or Almost Known Works by Diane Arbus, were selected by sculpture Robert Gober from a collection of little-known photographs.  The photographs, which were relatively small in size, did fit into the context of Arbus’ better known images in that they depicted a wide selection of people, some very everyday and some a bit more challenging.

Weekend Cat Blogging: Works of Art

I managed to get this photo of Luna sitting in front of a ledge overlooking the downstairs. I think she matches the works of art on the wall quite well.

Astute readers may recognize the large black painting from one of our reviews last October. See if you can pick out the artist.

Weekend Cat Blogging is being hosted this weekend by The Meezers.

The Carnival of the Cats will be up on Sunday at iMeowza.

And of course the Friday Ark is at the modulator.

no editions – live video series 2009

A little inspiration for things to come in 2010:

no editions – live video series 2009 August 17 New York from no editions on Vimeo.

I saw this via an article on PLANET magazine. Primarily a fashion article reviewing Christian Niessen and Nicole Lachelle’s No Editions label, but tt seems to intersect with various ideas of my own at this particular time, the combination of electronic music with visual experiments. The clothing becomes a canvas for the video, which in turn records people wearing the clothing.

Rain and Resurface

I usually try not to be intimidated by the rain here. But it was coming down pretty hard as I wondered the familiar streets of SOMA and South Beach looking for a particular gallery not far from the former Fremont Street overpass that I photographed on a sunnier day. I was trying to catch an exhibit before it closed on Sunday, only to find the gallery itself was closed for the extended holiday weekend.

So now I had not only the pouring rain around me, but also a large caption reading “FAIL”. Not a big deal per se, but we did need to get out of the rain. We headed down 2nd Street, looking for someplace that would be at least dry and somewhat comforting, a cafe or a bar that had not opted to close for the holidays. I was surprised to find that 111 Minna was open, and in fact quite well populated. They were having some sort of fundraising event with work from several artists. However, I found myself more interested in the permanent exhibit, Resurface, a solo exhibit by local artist Micah LeBrun. LeBrun had taken a hiatus from his work, which primarily focused on painting, for a year in late 2008 and early 2009 to travel through Central America, Asia, Australia, Africa and Europe. During this time, he focused on photography, and only returned to painting after returning home. The exhibit included examples of his photographs (partially obscured by the art being displayed for the fundraiser). I was more drawn to the stark landscape images, which reminded me of my own adventures in the desert and sparsely populated areas, than to the portraits. Among the paintings, I was also drawn to the non-portrait pieces, such as the large red canvas with the words “the New Yorker”, and another piece featuring an algebraic equation (the solution to which was of course 0.5). Both pieces are visible in this promotional image, featuring the artist in his studio:

[Click to enlarge.]

Afterwards, I did visit LeBrun’s website, and found myself more interested in some of his earlier work, such as the combination of figurative and abstract paintings from 2005 and 2006. There were several works that focused on black and shades of pink. It was interesting to view one of his figurative pieces, such as “high maintenance” next to an abstract work like “take it easy”, as if one is a distillation of the other (small versions of both works are displayed to the right). You can see other works from this series at his online gallery.