DOCSLIB.ORG

Way Bay Gallery Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Way Bay Gallery Guide Gallery Guide Please do not remove from the gallery Way Bay Way Bay Way Bay January 17–June 3, 2018 BERKELEY ART MUSEUM PACIFIC FILM ARCHIVE bampfa.org Gallery Guide Way Bay Way Bay explores the creative energies that have emerged from the San Francisco Bay Area over the past two hundred years. The exhibition features nearly two hundred works by Bay Area artists, filmmakers and others who have engaged with the region’s geographic, social, and cultural landscape. In contrast to a conventional historical survey, Way Bay has been organized to suggest poetic currents and connections among works from disparate times, cultures, and communities. The exhibition draws exclusively from the rich collections of BAMPFA, the Phoebe A. Hearst Museum of Anthropology, and the Bancroft Library. The gallery portion of the exhibition is divided into sections with titles borrowed from poems by Bay Area writers. Each section includes work from a broad range of periods, styles, and media. Films and videos share the space with paintings, photographs, sculptures, and works in other media, at times fitting into the poetically themed sections, and at others standing alone as resonant images of the Way Bay is organized by Director and Chief people and places of the Bay Area. Curator Lawrence Rinder, Film Curator Kathy Geritz, and Engagement Associate David Wilson, with Curatorial Assistant Matthew Coleman In the museum’s entry corridor is an interactive postcard and Assistant Film Archivist Jon Shibata. The project consisting of poems by and about the Bay Area exhibition is made possible with lead support by writers past and present, as well as an exploration from Nion McEvoy and Leslie Berriman. of BAMPFA’s rich archival holdings of audio and visual Additional support is provided by Alexandra Bowes and Stephen Williamson, Rena Bransten, recordings of artists and filmmakers. Visitors may delve Gertrud V. Parker, Janie and Jeff Green, The more deeply into the archives in BAMPFA’s Film Library and Jay DeFeo Foundation, an anonymous donor, Study Center on the lower level, where an area is devoted Dudley and Michael Del Balso, Lorrie and Richard Greene, Arun and Rummi Sarin, Sotheby’s, and to Way Bay. Ama Torrance and C.J. David Davies. Throughout the run of the exhibition, readings, Acknowledgements performances, and workshops extend Way Bay’s The curators are grateful for the generous exploration of Bay Area creative practice across diverse support of many people who have contributed their time and expertise to creating this media and disciplines. exhibition: Elaine C. Tennant, Jack von Euw, Lorna Kirwan, and Christine A. Hult-Lewis at the Bancroft Library; Benjamin Porter and Ira Jacknis at the Hearst Museum of Anthropology; Malcolm Margolin; Art Lab staff Alayna Tinney, Claire Astrow, and Lukaza Branfman-Verissimo; and the California Audiovisual Preservation Project. Curatorial interns Lian Ladia and Emet Levy contributed invaluable research support. Many thanks to project advisor Lyn Hejinian. 1 See! I am dancing! On the rim of the world I am dancing! Ohlone song 1 ANONYMOUS 2 CHRIS DUNCAN (CHALON/OHLONE) United States, born 1974 Untitled, basketry tray, coiled Untitled (33) n.d. 2007 Phoebe A. Hearst Museum of Anthropology, India ink, paint, gouache, wood University of California, Berkeley Acc.393 putty, marker, graphite, color pencil Chalon is one of eight linguistic divisions on wood panel of the Costanoan (or Ohlone) people, who Gift of Elaine Gans in honor of Dr. Herschel are the original inhabitants of the Bay B. Chipp, professor emeritus 2017.74.2 Area. Between 1795 and 1814, many of the Chalon-speaking people were forcibly 3 ELISABETH SUNDAY relocated to the area of Mission Soledad, United States, born 1958 where they were made to work on the Mission’s farms and industries and denied Anima 4: Tuareg Woman the right to practice their culture. This tray Anima 9: Tuareg Woman was made primarily for sifting acorn meal. Anima 12: Tuareg Woman 2008-2009 Archival pigment print on rag paper, edition 2/10 Gift of Klaus Wirsing 2013.75.1.d, i, l 4 JUNE SCHWARCZ United States, 1918–2015 2492 2013 Folded copper with black baked-enamel surface Gift of Kim Schwarcz and Carl Schwarcz 2016.113 3 3 3 9 6 7 2 5 8 10 10 10 4 When the brightening came, only the darkest survived Namwali Serpell, from “Company” (covering Company by Samuel Beckett), 2017 5 CARLETON E. WATKINS 7 GRANVILLE REDMOND She filmed Riverbody at SFAI, where many United States, 1829–1916 United States, 1871–1935 students, faculty, and administrators agreed to participate—Fred Martin, then View from the university Night Marsh Scene the director of the school, makes an ground [sic] at Berkeley: the c. 1903 appearance, as do filmmakers Freude and Golden Gate (in the distance) Oil on canvas board Scott Bartlett, John Knoop, and Robert 1874 Gift of Sheldon and Judy Greene 2016.56 Nelson, then chair of the film department. Albumen photograph Granville Redmond became deaf at the 9 CARINA BAUMANN Courtesy of The Bancroft Library, University age of three following a bout of scarlet United States, born Switzerland, 1965 of California, Berkeley UARC PIC 03:226a—FR fever. He attended the California School UC Berkeley was chartered in 1868. The for the Deaf and Blind (now the Clark Untitled University operated in Oakland until 1873, Kerr Campus of UC Berkeley). In 1893, 2008-2009 when it moved to its current site. Carleton Redmond won a scholarship to study art Translucent white film Watkins’s photograph was taken just a in Paris, where he roomed with another on aluminum Berkeley native, the sculptor Douglas year after the campus was inaugurated Purchase made possible by the Jan Boyce Fund and shows the recently completed North Tilden. When Redmond returned to for Contemporary Art 2010.14 and South Halls, in what was then a largely California, he settled in Los Angeles where This self-portrait photograph of the treeless landscape. he befriended Charlie Chaplin. Chaplin was inspired by Redmond’s use of American artist was taken using only moonlight for 6 RICHARD MISRACH Sign Language, and gave the artist parts in illumination. several of his films, including City Lights. United States, born 1949 10 LAWRENCE FERLINGHETTI Untitled (Sandstorm) 8 ALICE ANNE PARKER (SEVERSON) United States, born 1919 1976 United States, born 1939 Out of Chaos Split-toned gelatin silver print Riverbody 2011 Museum purchase: Bequest of Phoebe Lithograph Apperson Hearst, by exchange 2013.4.2 1970 16mm BAMPFA preservation print Gift of Kala Art Institute and Lawrence transferred to digital file; black and Ferlinghetti 2017.171.a white, sound; 6 min. Poet, printmaker, and founder of the Courtesy of the artist legendary City Lights Books, Lawrence Ferlinghetti made this multipart print at the Alice Anne Parker, then known as Anne Kala Art Institute in Berkeley. In this work, Severson, began teaching at the San Ferlinghetti presents three images that Francisco Art Institute (SFAI) in 1966, express aspects of his poem “Out of Chaos.” making her first film in 1969. In 1970 she had the idea of making “a movie that was a continuous dissolve of nude bodies.” C 12 14 11 13 11 JESS 12 SABURO HASEGAWA 13 JENNIE SMITH United States, 1923–2004 United States, born Japan, 1906–1957 United States, born 1981 The Hero Describes Lineage Distance Untitled (1997) 1955 1952 2012 Oil on canvas Hanging scroll; ink and color on Graphite and watercolor on paper Gift of Fine Art Associates in honor of James paper Gift of Rena Bransten 2013.52 Elliott; courtesy of Odyssia Skouras 2014.18.1 Gift of Nobuku and Joe Brotherton in Jennie Smith’s monumental drawing is appreciation of James Cahill 1977.19 Jess trained as a chemist and worked inspired by the Great Pacific Garbage Patch on plutonium production as part of the Saburo Hasegawa was an influential (also known as the Pacific trash vortex), a Manhattan Project during World War II. figure in the Bay Area, though he lived miasma of degraded plastic and chemical Concerned about the outcome of nuclear here for only two years at the end of sludge that has coalesced in the middle of weapons proliferation, he abandoned his his life. In his art, Hasegawa combined the Pacific Ocean. scientific career and turned to art, studying elements of traditional Japanese culture first at UC Berkeley and then at the with modern elements and techniques. 14 HASSEL SMITH California School of Fine Arts (now the San Distance includes an image printed from United States, 1915–2007 Francisco Art Institute). a tree stump onto which the artist carved This work reflects the influence of an abstracted version of the Japanese Untitled his teachers, especially the Abstract word gen, which means, roughly, “cloudy 1952 Expressionist painter Clyfford Still, and impenetrability.” Gen is also the second Oil on canvas captures Jess’s interest in what he called part of the compound word, yugen, Gift of William Roth 1986.1 the “mythic landscape,” in which the an essential term in the aesthetics of primordial energy of our chaotic origins noh drama. Between 1945 and 1951, Hassel Smith begins to resolve into form and meaning. Distance was created in Japan but first taught at the California School of Fine exhibited in San Francisco when the artist Arts (now the San Francisco Art Institute) relocated to the Bay Area in 1954. alongside Ansel Adams, Clyfford Still, Richard Diebenkorn, David Park, and Clay Edgar Spohn, among others. In 1952 he was included in the inaugural exhibition at the legendary King Ubu Gallery in North Beach. D 15 17 20 16 18 19 15 TODD HIDO 18 JIM MELCHERT United States, born 1968 United States, born 1930 Untitled A picture postcard 1951 from the series House (mailed from Japan)..
Load more

Recommended publications
  • Project #3: Inspired By… - Description Critique Date - 3/29/19 (Fri)
    Project #3: Inspired by… - Description Critique Date - 3/29/19 (Fri) "The world is filled to suffocating. Man has placed his token on every stone. Every word, every image, is leased and mortgaged. We know that a picture is but a space in which a variety of images, none of them original, blend and clash." – Sherrie Levine Conceptual Requirements: In this project, you will do your best to interpret the style of a particular photographer who interests you. You will research them as well as their work in order to make photographs that have a signature aesthetic or approach that is specific to them, and also contribute your ideas. Technical Requirements: 1. Start with the list on the back of this page (the Project Description sheet), and start web searches for these photographers. All the ones listed are masters in their own right and a good starting point for you to begin your search. Select one and confirm your choice with me by the due date (see the syllabus). 2. After choosing a photographer, go on the web and to the library to check out books on them, read interviews, and look at every image you can that is made by them. Learn as much as you can and take notes on your sources. 3. Type your name, date, and “Project 3: Inspired by...” at the top of a Letter sized page. Then write a 2 page research paper on your chosen photographer. Be sure to include information such as where and when they were born, where it is that they did their work, what kind of camera and film formats they used, their own personal history, etc.
    [Show full text]
  • Christine Giles Bill Bob and Bill.Pdf
    William Allan, Robert Hudson and William T. Wiley A Window on History, by George. 1993 pastel, Conte crayon, charcoal, graphite and acrylic on canvas 1 61 /2 x 87 '12 inches Courtesy of John Berggruen Gallery, San Francisco, California Photograph by Cesar Rubio / r.- .. 12 -.'. Christine Giles and Hatherine Plake Hough ccentricity, individualism and nonconformity have been central to San Fran­ cisco Bay Area and Northern California's spirit since the Gold Rush era. Town Enames like Rough and Ready, Whiskey Flats and "Pair of Dice" (later changed to Paradise) testify to the raw humor and outsider self-image rooted in Northern California culture. This exhibition focuses on three artists' exploration of a different western frontier-that of individual creativity and collaboration. It brings together paintings, sculptures, assemblages and works on paper created individually and collabora­ tively by three close friends: William Allan, Robert Hudson and William T. Wiley. ·n, Bob and Bill William Allan, the eldest, was born in Everett, Washington, in 1936, followed by Wiley, born in Bedford, Indiana, in 1937 and Hudson, born in Salt Lake City, Utah, in 1938. Their families eventually settled in Richland, in southeast Washington, where the three met and began a life-long social and professional relationship. Richland was the site of one of the nation's first plutonium production plants-Hanford Atomic Works. 1 Hudson remembers Richland as a plutonium boom town: the city's population seemed to swell overnight from a few thousand to over 30,000. Most of the transient population lived in fourteen square blocks filled with trailer courts.
    [Show full text]
  • Notable Photographers Updated 3/12/19
    Arthur Fields Photography I Notable Photographers updated 3/12/19 Walker Evans Alec Soth Pieter Hugo Paul Graham Jason Lazarus John Divola Romuald Hazoume Julia Margaret Cameron Bas Jan Ader Diane Arbus Manuel Alvarez Bravo Miroslav Tichy Richard Prince Ansel Adams John Gossage Roger Ballen Lee Friedlander Naoya Hatakeyama Alejandra Laviada Roy deCarava William Greiner Torbjorn Rodland Sally Mann Bertrand Fleuret Roe Etheridge Mitch Epstein Tim Barber David Meisel JH Engstrom Kevin Bewersdorf Cindy Sherman Eikoh Hosoe Les Krims August Sander Richard Billingham Jan Banning Eve Arnold Zoe Strauss Berenice Abbot Eugene Atget James Welling Henri Cartier-Bresson Wolfgang Tillmans Bill Sullivan Weegee Carrie Mae Weems Geoff Winningham Man Ray Daido Moriyama Andre Kertesz Robert Mapplethorpe Dawoud Bey Dorothea Lange uergen Teller Jason Fulford Lorna Simpson Jorg Sasse Hee Jin Kang Doug Dubois Frank Stewart Anna Krachey Collier Schorr Jill Freedman William Christenberry David La Spina Eli Reed Robert Frank Yto Barrada Thomas Roma Thomas Struth Karl Blossfeldt Michael Schmelling Lee Miller Roger Fenton Brent Phelps Ralph Gibson Garry Winnogrand Jerry Uelsmann Luigi Ghirri Todd Hido Robert Doisneau Martin Parr Stephen Shore Jacques Henri Lartigue Simon Norfolk Lewis Baltz Edward Steichen Steven Meisel Candida Hofer Alexander Rodchenko Viviane Sassen Danny Lyon William Klein Dash Snow Stephen Gill Nathan Lyons Afred Stieglitz Brassaï Awol Erizku Robert Adams Taryn Simon Boris Mikhailov Lewis Baltz Susan Meiselas Harry Callahan Katy Grannan Demetrius
    [Show full text]
  • California Modernism After World War Ii
    1 CALIFORNIA MODERNISM AFTER WORLD WAR II So in America when the sun goes down and I sit on the old broken-down river pier watching the long, long skies over New Jersey and sense all that raw land that rolls in one unbelievable huge bulge over to the West Coast, and all that road going, and all the people dreaming in the immensity of it, and in Iowa I know by now the children must be crying in the land where they let the children cry, and tonight the stars’ll be out, and don’t you know that God is Pooh Bear? The evening star must be drooping and shedding her sparkler dims on the prairie, which is just before the coming of complete night that blesses the earth, darkens all the rivers, cups the peaks and folds the final shore in, and nobody, nobody knows what’s going to happen to anybody besides the forlorn rags of growing old, I think of Dean Moriarty, I even think of Old Dean Moriarty the father we never found, I think of Dean Moriarty. JACK KEROUAC, ON THE ROAD POSTWAR EXCHANGES Most historical accounts of cultural and artistic developments in the United States after World War II have offered little information about trends affecting artists across the country. In the rush to figure out who did what first and to locate it geographically—usu - ally in New York— the historians have ignored the fluid interchanges between the two coasts, and cultural opportunities offered on either of them in these postwar years.
    [Show full text]
  • The Grey Album
    Volume 05 — Issue 02 Neighbourhood Life + Global Style Neighbourhood Smart move Life The writing on the wall Style The third man Music A shaded view Culture Stone cold + The photography special The grey album The editor’s letter 3 Publisher and editor-in-chief I never thought I’d say this, but doing this magazine has become rather boring. Nicholas Lewis The thing is, I’m not the guy who goes out and does the interviews or who takes the photographs. I’m not the one who designs each and every page nor am I even the Editorial assistant one who proof reads them. No, I’m the (boring) guy who sits behind his desk day-in Sarah Schug day-out, planning, story-boarding and commissioning each story, shoot and feature for others to carry-out. Fact is, I can’t remember the last time I left this office and Design interviewed someone face-to-face. facetofacedesign + pleaseletmedesign So you can image my joy when time came for our yearly photography special. Finally, I’d be able to get into the thick of it again. Interviews, studio visits, round Writers tables, portfolio views – the lot. Photography, you see, is my thing here at Word Felicia Atkinson HQ, and I got more than my money’s worth over the last few weeks. And what an Sabine Clappaert exciting last few weeks it has been, especially for Belgian photography. Rose Kelleher Nicholas Lewis There was the time we asked the heavy weights of Belgian photography to select Philippe Pourhashemi their pick of future home-grown talents.
    [Show full text]
  • Prickly but Puppyish in San Francisco 5 Artists in 'Energy That Is All
    enthusiasm and prickly negativity. Though not a collective, they shared enough to warrant a group label, and as they became celebrated in San Francisco and Prickly but Puppyish in San Francisco beyond, the critic Glen Helfand’s coinage stuck: the 5 Artists in ‘Energy That Is All Around: Mission Mission School. School’ By Ken Johnson April 24, 2014 Chris Johanson’s “The Inside of a Mind” from the early 1990s. Courtesy of the artist, Collection of Mariallidia Marcotulli, Bolinas, Calif. Youth, they say, is wasted on the young, but it wasn’t on the five artists featured in “Energy That Is All Around: Mission School,” an exhibition at the Grey Art Gallery that bristles infectiously with youthful urgency. An untitled work by Margaret Kilgallen from 2000. Estate of Margaret Kilgallen and Ratio 3, San Francisco The artists — Chris Johanson, Margaret Kilgallen, Barry McGee, Alicia McCarthy and Ruby Neri — were Organized by the independent curator Natasha Boas for all born between 1967 and 1970 and came of age while the San Francisco Art Institute, where it appeared last living in San Francisco’s Mission District when it was year, the exhibition presents nearly 130 paintings, still a low-rent neighborhood, in the 1990s on the eve of drawings and sculptures dating from roughly 1990 to the first dot-com boom. Mr. McGee, Ms. McCarthy and 2013. Works by the five are intermixed throughout so Ms. Neri were students at and then graduates of the San that at first it’s hard to tell which are whose without a Francisco Art Institute, while Ms.
    [Show full text]
  • The Vicinity of Narrative on His Work Desk in Oakland, California, Todd Hi
    The Vicinity of Narrative On his work desk in Oakland, California, Todd Hido arranges and rearranges a stack of his photographs alongside vintage shots that he found at a yard sale. These are the origins of Excerpts from Silver Meadows: a singular order that Hido makes out of his special brand of chaos. ‘When viewers arrive at a book of photographs, they’re expecting something that makes sense,’ he tells me. ‘But I think ambiguity is an incredibly important and powerful tool.’ So here he is, connecting disparate images to give shape to a precise uncertainty. The end result will, of course, be this book, made up of many different elements and layers — different breeds of photographs that Hido has taken over the years, yes, but also pulp fiction covers and snapshots Hido took when he was twelve years old. These are asides not found in any of his previous, tightly edited monographs. Hido is deep in the work process when I ask him if this ‘departure’ is intentional: this incorporation of archival material and private moments captured on film years ago, or by someone else entirely. ‘It’s actually not a departure at all,’ he tells me. ‘I’ve been working like this since I first got to graduate school. Even then, it was my way of experimenting more.’ Still, he didn’t put these unusual combinations out into the world until three years ago, when he made ‘a little ’zine-like book published in Japan called Nymph Daughters.’ The book integrated, among other unexpected images, heart-shaped, hot pink spray-painted drips layered over seedy found personal ads.
    [Show full text]
  • Energy That Is All Around
    Contact: Laurie Duke [email protected] or 212/998-6782 ENERGY THAT IS ALL AROUND Mission School: Chris Johanson, Margaret Kilgallen, Alicia McCarthy, Barry McGee, Ruby Neri Early 1990s works on view at NYU’s Grey Art Gallery April 15–July 12, 2014 New York City (February 28, 2014)—Presenting more than 125 works by five artists who launched their careers in a gritty San Francisco neighborhood in the early 1990s, ENERGY THAT IS ALL AROUND/Mission School is the first East Coast museum exhibition to highlight these artworks that have achieved cult-like status in the Bay Area and beyond. Most are never-before- seen early pieces from the artists’ own collections. On view at New York University’s Grey Art Gallery from April 15 to July 12, the show was curated by Natasha Boas and organized by the San Francisco Art Institute (SFAI), where Alicia McCarthy, Barry McGee, and Ruby Neri were students, and where they hung out with Margaret Kilgallen and Chris Johanson. ENERGY THAT IS ALL AROUND features paintings, drawings, sculptures, and installations (including a number of the artists’ classic “cluster” pieces) alongside more recent works created especially for this exhibition. Also included is an extensive selection of ephemera, such as sketches, letters, journals, scrapbooks, and cut-outs. Johanson, Kilgallen, McCarthy, McGee, and Neri came into their own as young visual artists in San Francisco’s Mission District at a time when affordable housing and studio space was still available for those bucking the mainstream. The early 1990s also heralded a Bay Area dot-com boom, which brought an influx of young professionals, upscale shops, chic restaurants, and eviction threats to the Mission District, then a more diverse neighborhood offering cheap rent and food.
    [Show full text]
  • California Art Club Newsletter Lub Newsletter
    CALIFORNIA ART CLUB NEWSLETTER Documenting California’s Traditional Arts Heritage Since 1909 How the San Gabriel Valley Inspired California Impressionism and Lured Artists from across the Nation Part i of iii by Elaine Adams he development of an outstanding artist requires a process Tthat can be compared to that of nurturing a delicate seedling to full maturity and potential. Cultivation, environment, and faithful caring all have an influence on the final result. Throughout history burgeoning artists have instinctively, and certainly out of financial consideration, opted to live in close communities with fellow artists. In such settings, artists create their own subcultures as they spend their days among like-minded friends who speak their language—a form of communication that is based on their specific brand of artistic discipline and philosophy. Fellowship among artists becomes an essential source of sustaining encouragement in this lifestyle which can be sporadic in work and income. At times, an artist may travail obliviously over many days and weeks with only John Bond Francisco (1863–1931) occasional breaks for quick meals and Out of the Dust, c. 1918 minimal sleep. Then, there are dry Oil on canvas 340 3 460 periods when the flow of inspiration Private collection struggles. When such occurs, artists often resort to congregating with other climate, there are distinct characteristics Impressionist painter, although the early artists to talk art for extended hours. in the artwork created in the north, practitioners did not refer to themselves This activity becomes part of an artist’s as compared to those created in the as such, is to create spontaneous nurturing process.
    [Show full text]
  • Centenary of American Artist Jon Schueler (1916-1992) Celebrated Throughout 2016
    FOR IMMEDIATE RELEASE April 25, 2016 CENTENARY OF AMERICAN ARTIST JON SCHUELER (1916-1992) CELEBRATED THROUGHOUT 2016 Solo and group exhibitions, both in the US and in the UK, will mark the centennial of Jon Schueler’s birth. A Jon Schueler symposium, The Sound of Sleat: Echoes, Reflections, and Transfigurations, moderated by Lindsay Blair, will take place at Sabhal Mòr Ostaig, the University of the Highlands and Islands, Isle of Skye, Scotland, May 27-29. Two shows at the beginning of April set off events in Scotland: at the University of Stirling and at the Heritage Centre in Mallaig, where Schueler had a studio from 1970 to 1992. In May, we move north to Ullapool for openings at An Talla Solais and at Rhue Art. On the Isle of Skye, Sabhal Mòr Ostaig --along with hosting the 2-day Schueler symposium--will show a selection of the artist's oils and works on paper. The college, like the fishing village of Mallaig, witnesses the The Search: Red and Grey, II, 1981, dramatic and mysterious weather patterns sweeping over the Sound of Sleat, the 48 x 40” (o/c 1173). University of Stirling Exhibition body of water that so often served as the source of Schueler's imagery and fantasies. For other exhibitions opening later in the year, see accompanying list. The stunning Schueler exhibition, Jon Schueler: Mapping Memory, at the Anderson Gallery, State University of Bridgewater, MA marked the opening of the 2016 celebrations in the United States. The Weisman Art Museum, Minneapolis, MN is currently featuring its collection of Schueler's paintings "as center pieces surrounded by forerunners and successors" in its exhibition, Clouds, Temporarily Seen.
    [Show full text]
  • Venus Over Manhattan Is Pleased to Present an Exhibition of Work by Roy De Forest, Organized in Collaboration with the Roy De Forest Estate
    Venus Over Manhattan is pleased to present an exhibition of work by Roy De Forest, organized in collaboration with the Roy De Forest Estate. Following the recent retrospective of his work, Of Dogs and Other People: The Art of Roy De Forest, organized by Susan Landauer at the Oakland Museum of California, the exhibition marks the largest presentation of De Forest’s work in New York since 1975, when the Whitney Museum of American Art staged a retrospective dedicated to his work. Comprising a large group of paintings, constructions, and works on paper—some of which have never before been exhibited—as well as a set of key loans from the Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis, and the di Rosa Center for Contemporary Art, Napa, the presentation surveys the breadth of De Forest’s production. In conjunction with the presentation, the gallery will publish a major catalogue featuring a new text on the artist by Dan Nadel, along with archival materials from the Roy De Forest papers, housed at the Archives of American Art. The exhibition will be on view from March 3rd through April 25th, 2020. Roy De Forest’s freewheeling vision, treasured for its combination of dots, dogs, and fantastical voyages, made him a pillar of Northern California’s artistic community for more than fifty years. Born in 1930 to migrant farmers in North Platte, Nebraska, De Forest and his family fled the dust bowl for Washington State, where he grew up on the family farm in the lush Yakima Valley, surrounded by dogs and farm animals.
    [Show full text]
  • 2015-011315Fed
    National Register Nomination Case Report HEARING DATE: OCTOBER 21, 2015 Date: October 21, 2015 Case No.: 2015-011315FED Project Address: 800 Chestnut Street (San Francisco Art Institute) Zoning: RH-3 (Residential House, Three-Family) 40-X Height and Bulk District Block/Lot: 0049/001 Project Sponsor: Carol Roland-Nawi, Ph.D., State Historic Preservation Officer California Office of Historic Preservation 1725 23rd Street, Suite 100 Sacramento, CA 95816 Staff Contact: Shannon Ferguson – (415) 575-9074 [email protected] Reviewed By: Timothy Frye – (415) 575-6822 [email protected] Recommendation: Send resolution of findings recommending that, subject to revisions, OHP approve nomination of the subject property to the National Register BACKGROUND In its capacity as a Certified Local Government (CLG), the City and County of San Francisco is given the opportunity to comment on nominations to the National Register of Historic Places (National Register). Listing on the National Register of Historic Places provides recognition by the federal government of a building’s or district’s architectural and historical significance. The nomination materials for the individual listing of the San Francisco Art Institute at 800 Chestnut Street were prepared by Page & Turnbull. PROPERTY DESCRIPTION 800 Chestnut Street, also known as the San Francisco Art Institute, is located in San Francisco’s Russian Hill neighborhood on the northwest corner of Chestnut and Jones streets. The property comprises two buildings: the 1926 Spanish Colonial Revival style original building designed by Bakewell & Brown (original building) and the 1969 Brutalist addition designed by Paffard Keatinge-Clay (addition). Constructed of board formed concrete with red tile roofs, the original building is composed of small interconnected multi-level volumes that step up from Chestnut Street to Jones Street and range from one to two stories and features a five-story campanile, Churrigueresque entranceway and courtyard with tiled fountain.
    [Show full text]