In the shadow of the bridge

When nothing else is happening on a quiet weekend afternoon, I will often go for a walk through our neighborhood, South of Market (SOMA) and South Beach. Our neighborhood is in many ways more like New York than the rest of San Francisco, with its old industrial buildings, dilapidated piers on the waterfront, and new condo developments. But perhaps that adds to the sense of familiarity, and of “home”, amidst the concrete.

Our walk usually begins on Townsend Street, heading east towards the waterfront. This area is dominated by AT&T Park, home of the San Francisco Giants. But while crowds head towards the stadium in the summer, we often head in the opposite direction. There is a little park at the end of Townsend along the Embarcadero, where I often see older Eastern European folks. Across the park is the cul-de-sac that marks the end of Delancy Street, a name reminiscent of the Lower East Side of Manhattan. Here I often stop at a small cafe – it has a large garden that can be enjoyed on its own or for the glimpses of the bay it affords.

There are some books I only seem to read when I’m out at places like this, rather than at home. One such book is The Cat: A Tale of Feminine Redemption. I will stop and read a chapter while enjoying a coffee and the views. Though sometimes I opt for one of our free weekly papers instead. I like the idea of being contrary, reading esoteric books while a major sporting event is going on nearby. But in a large, cosmopolitan city, there are always people doing their own thing. One is never really alone.

Beyond the cafe is the southern portion of the Embarcadero, which contains glimpses of a seedy and crumbling past while being revitalized with the stadium and frenzied development.

Heading south along the Embarcadero, one approaches the Bay Bridge. Commercial buildings, as well as residential complexes, have sprung up in its shadow. I enjoy seeing these buildings fit comfortably beneath the bridge:

Some of them have appear older, more reminiscent of the 1970s or even earlier, while huge new high rises are going up all around them.

I then often turn back inward from the waterfront on Bryant Street. This is generally a wide street that crosses SOMA and the Mission District, but here it is a narrow alley between the steep approaches to the Bay Bridge and a residential block.

Again, the feeling is more of a residential section of New York, perhaps Riverdale in the Bronx, or the Upper West Side. Of course, the fact that this block interests Delancy Street adds to this impression.

Longtime residents and admirers of San Francisco often look down upon this area, but I find it a comforting place to walk and explore. Certainly, there is familiarity coming from New York, which has always defined “city” for me. And perhaps the sense that I am finally living the city life that I should have done long ago – I am finally home.

The narrow streets and tall buildings abut the hill and the approach to the bridge, with a complex array of staircases and ramps. I often find an excuse to climb at least one, such as this that connects the lower alley section of Bryant Street to the main section that begins on top of the hill.

At the top, one is amazingly close to the freeway and byzantine ramps that feed onto the bridge:

Heading back down the hill towards the west, one can take a detour through South Park, which has nothing to do with the popular cartoon. Instead, it is a small park surrounded by two-story residences that feels more like a neighborhood in Brooklyn. Although it is not far from the this section of freeway we featured a few weeks ago, such things seem invisible and far away. But step outside this oasis, and one is back in the “concrete jungle” and the streets that lead home.



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Gilbert and George, and the End of the Heatwave

Two weekends ago, I had the opportunity to the Gilbert and George retrospective at the de Young Museum here in San Francisco. They started out as performance artists, including themselves in their work as “living sculptures,” usually well groomed and well dressed in business suits. In addition to their live performances, they also made films such as Gordon’s Makes Us Drunk (basically, the pair getting drunk on Gordon’s gin).

Their most well-known works are their photo-montages, and these made up most of the exhibition. These are large scale works (measured in meters), with photos and graphics. It seems they always include themselves somewhere within the piece, along with both Christian and sexual symbolism. Some more basic, with black-and-white photos or subtle colors, such as England, 1980, while others, such as Death, from Death Hope Life Fear, are quite garish in their colors and graphics. You can see some examples here.

Although in most of the photo-montages it is easy to pick out the pair, in a couple it was more subtle, and one can play a kind of “Where’s Waldo” game. Indeed, one of my favorites was a wall of London street names, I could not find them anywhere in it, but I know they must be there somewhere.

I actually heard about Gilbert and George first in 2004. I had begun a collaborative art project and my partner gave be a book to read about artistic collaborations, focusing on conceptual art and performance art in the late 1960s and early 1970s. This was an era and style of art I often overlooked, and since then I’ve been more open to conceptual art, especially those based on words and text, but also in those that focus on the body. Needless to say, that collaborative art project never came to fruition.

The building in which the de Young Museum resides is itself a work of art. I have several pictures from past visits that will be subject of future “Wordless Wednesdays.” The architecture is characterized by grids of holes in the walls, some of which one can see through. There is also a tower with an observation deck, offering views of Golden Gate Park and the city. On this particular visit, one could see the fog rolling in from the west over the park and the outer districts:

The fog represented the end to the heatwave we experienced two weeks ago in San Francisco.