Highways

Fun with Highways: Sacramento edition

This is a major interchange in Sacramento, California, where I spent most of yesterday. Running north-south along the river is I-5, while east-west is the Capitol City Freeway (Business 80 and US 50).

To the southeast of the interchange, along X street, is the neighborhood that includes Beatnik Studios, where I performed with Reconnaissance Fly at the In The Flow Festival. See our previous article for a link to a liveblog of the festival.

The nearby entrance from 16th street to the Capitol City Freeway is marked only as Business 80, and does not mention US 50.

One can follow 16th street north under the freeway to the downtown and midtown section of the city. This includes our rather dysfunctional state capital, and a scattering of fun local businesses north of N street, including Luna Cafe, which was hosting events related to the festival on other evenings. We were not there at right time to see the festival events, but we did stop in for some handmade juices and enjoyed sitting out on the sidewalk in the early evening. For those of us who live in San Francisco, a warm evening is a rare treat.

Fun With Highways: Luggage Store Edition

The Road (w/ 26 cars), by Dustin Fosnotat the Luggage Store Gallery. It is part of an exhibition that has been on display during the recent performances I have attended there, and I could not pass up the opportunity to feature this “highway-inspired” work of art.

Art of Illusion, Driftwood Salon

On April 1, I attended the opening for the Art of Illusion exhibition at Driftwood Salon. The exhibition took it’s title from the date of the opening and its reference to illusion and trickery. “As artists, we strive to create aesthetically pleasing works of art, but sometimes we like to use that ability to trick the mind, and play with shapes, images and dept of field by pushing boundaries and defying gravity.”

Beyond that initial statement, the works in this show were quite diverse in terms of style and subject matter.

Along the wall, second from the left, is a piece by Rebecca Kerlin. I have seen (and reviewed) Rebecca Kerlin’s work before at Open Studios. Her work often involves highways, a frequent subject here at CatSynth, as well as other elements of the urban landscape and infrastructure. She takes familiar scenes, such as the freeway overpass near 4th Street and Bryant Street in San Francisco, and distorts the image through collage.

[Rebecca Kerlin, Underpass Under Construction In Blue #1.
Image courtesy of the artist.  Click to enlarge.]

One on hand, we see the whole image of the overpass and intersection, but at the same it is a series of separate images that are adjacent, overlapping or slightly out of alignment. Similar processes can be seen at work in Blossom Hill Road, San Jose, CA #2. It took me a moment to recognize the highway 85 freeway entrance sign.

Closeup of Untitled by Evan Nesbit. Image courtesy of Driftwood Salon. Click to enlarge.

While Kerlin’s pieces begin with familiar elements such as highways, Evan Nesbit’s contributions seemed based on pure abstract geometry, and primarily on straight lines and angles. In his large piece “the god effect”, lines are arranged in crossing diagonal patterns that lead to the illusion of curvature. This was an effect I learned myself as a young adult and repeated many times in images. In “Untitled”, the crisscrossing lines are used to mark out areas of solid color, which in turn form geometric shapes such as the central hexagon of the piece. However, these geometric elements can be seen to represent a door leading inside from a patio or walkway, an illusion heightened by the grass in the lower corner. Without the grass, one might not see the other shapes as a house at all.

Among the other work that caught my attention was Jose Daniel Rojales’ Ulua.

[Jose Daniel Rojales, Ulua.  Click to enlarge.]

It is on one level a representation in metal of an ulua, a popular Hawai’ian game fish. But the metal rectangles and geometric elements are quite distinct, particularly around the head, and in some ways stand out by themselves.

You can see more images from the show at the gallery website. The show will remain on display until May 2.

Sonja Navin and Mike Kimball

I recently visited two openings for artists I met at Open Studios last fall and whose work reflects my interests in highways, architectural images and the urban landscape. The artists take very different approaches, and the shows were in very different parts of the city – but having both openings on the same night was a great opportunity to see them together and simultaneously reflect upon the city itself.

First, I stopped in the relatively quiet West Portal neighborhood for a show at the Greenhouse Cafe featuring Sonja Navin. Navin draws on her architectural background to capture familiar images of the city in her paintings. Perhaps the most “familiar” image was the King Street off-ramp from I-280 in her large painting entitled 280.

[Sonja Navin. 280. Photo courtesy of the artist. (click to enlarge)]

Navin experienced this interchange the way many of us do, i.e., being stuck in traffic, and thus had the opportunity to visualize it in detail. She also had a painting East on N which featured a familiar view along the N-Judah metro line in the Sunset district.

Although her subject matter is often architectural in nature, her painting style features large brush strokes and irregular areas of color rather than the straight lines and precision of architectural drawings. She also had several figurative paintings, and some such as In The Haight combine both character and street elements.

Navin’s exhibition, which also features artist Kacie Erin Smith, will be on display at The Greenhouse Cafe, 329 West Portal Avenue in San Francisco through April 30.

After brief ride over Twin Peaks, I found myself descending into the Mission district for an opening at City Art Gallery, where I was particularly interested to see new works by Mike Kimball.

Like Navin, Kimball’s interpretation of the urban landscape distills it down to basic elements, but his prints and paintings feature very clean lines and simple geometric shapes. One example is his Maritime Plaza, which I immediately recognized (it is a favorite out lunch spot of mine).

[Mike Kimball.  Maritime Plaza.  Image courtesy of the artist.  (click to enlarge.)]

Like the building it represents, the image is framed by the triangules and X-shapes of the seismic bracing. This was one of the first buildings to use this technique, which is now a familiar site on buildings in the Bay Area.

In Division Street, Kimball represents another familiar sight from daily life, the interchange of I-80 and US 101 that sits above Division Street in SOMA. The image is composed of very simple curves and lines and solid colors, from which one can distinguish the elevated structures of the highway and the shadows they cast, as well as details such as the markings (and probably graffiti) on the sides of the trailers.

[Mike Kimball.  Division Street.  Image courtesy of the artist.  (click to enlarge.)]

Trucks and trailers also feature prominently in Kimball’s work. His “Truckograph” series features a similar graphic quality to Division Street. His larger work Meditations on a port looks at the stacks of trailers at the port as an abstract collection of boxes. Kimball bridges the industrial and abstract in this work – close up, one can see the writing and metal texture, but from a distance one simply sees the colored squares.

Kimball’s current exhibition will be on display at City Art Gallery, 828 Valencia Street, through March 28.

Fun with Highways: Orange Crush Interchange

This afternoon we at CatSynth avoid our responsibilities by presenting another highway interchange.

This is the so-called “Orange Crush” interchange in Orange County, CA, where I-5 and state highways CA 22 and CA 57 meet.  You can see how the three freeways converge in this USGS map:

[click to enlarge]

I actually got to know this interchange quite well during my recent NAMM trip, and ended up at one point or another on each of the highways.

There is actually an ulterior motive in doing a highway post today.  I am planning on doing a few posts on the intersection of art and highways (no pun intended).  While I have collected a few examples myself, I would welcome suggestions from readers.

Fun with Highways: Springfield Interchange (“The Mixing Bowl”)

Reader Beth @ 990 Square recommended that we check out “The Mixing Bowl” on the Washington D.C. Beltway. Here it is:


[Click to enlarge.]

The Springfield Interchange (as it is more formally known), is in northern Virginia and connects I-95 coming from the south to the beltway (I-495, left to right in the image) and I-395 north to downtown Washington, D.C. Part of the reason this interchange looks as complex as it does is that it was recently rebuilt, and contains the “ghosts” of the old interchange. Consider the following diagram:


[Image from Wikimedia Commons.]

The blue lines are the current interchange, while the red lines represent the pre-construction roadways. As one can see, several of the “red” pieces are still visible, such as the loop and ramps in the upper-right quadrant.

It seems the construction is not completely done, particularly along the beltway where there is still a lot of work going on. Or at least that was the case when I traveled through the interchange late on a Sunday night this past summer and got stuck for several hours.

Fun with Highways: Kew Gardens Interchange

Returning to San Francisco from New York often involves a highway trip to JFK Airport, and there is one spot along the Van Wyck Expressway (I-678) that is almost always guaranteed to come to standstill, the Kew Gardens Interchange:

kew-gardens-interchange

The Van Wyck Expressway runs vertically in this picture, from the center top to the center bottom.  The Grand Central Parkway runs from the upper left to the center right.  The Jackie Robinson Parkway runs from the lower left to the interchange where it ends at the Grand Central Parkway.  The Union Turnpike runs along either side of the parkway.  Finally, the main surface thoroughfare through Queens, Queens Boulevard (NY 25) is in the lower left corner.

kew-gardens-with-signs

One doesn’t really see the complexity of this interchange from the road, just a series of exits in quick succession (or not so quick when one is barely moving), and in fact that it seems like the Van Wyck is merging into another, narrower road at the end, before the reassuring signs that one is still on the right road to the airport. It often seems like many of the larger highways in New York are really stitched together from older, smaller, highways.

This interchange was featured on Empire State Roads, with more information and images.

I have been on the parkways as well of course.  The Jackie Robinson Parkway winds its way narrowly towards Brookyln through parks and near several cemeteries.  I have relatives who reside in at least one of them.