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SWEST COAST ARTS AND CULTUREFAQ

Jay DeFeo Jens Hoffmann Kathan Brown

Bay Area Latino Arts Part 1: Enrique Chagoya - MENA Report Part 1: Istanbul Biennial with Jens Hoffmann - Scales Fall From My Eyes: Bay Area Beat Generation Visual Art as told to Paul Karlstrom - Peter Selz - Crown Point Press: Kathan Brown SFAQ Artist Spread - Paulson Bott Press - Collectors Corner: Peter Kirkeby Flop Box Zine Reviews - Bay Area Event Calendar: August, September, October West Coast Residency Listing SAN FRANCISCO ARTS QUARTERLY ISSUE.6

ROBERT BECHTLE A NEW SOFT GROUND ETCHING Brochure available

Three Houses on Pennsylvania Avenue, 2011. 30½ x 39", edition 40.

CROWN POINT PRESS 20 Hawthorne Street San Francisco, CA 94105 www.crownpoint.com 415.974.6273 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER

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berman_sf_quarterly_final.pdf

The Sixth Los Angeles International Contemporary Art Fair September 30 - October 2, 2011 J.W. Marriott Ritz Carlton

www.artla.net \ 323.965.1000

Bruce of L.A. B. Elliott, 1954 Collection of John Sonsini

Ceramics Annual of America 2011

October 7-9, 2011

ART FAIR

SAN FRANCISCO FORT MASON | FESTIVAL PAVILION DECEMBER 1 - 4, 2011 1530 Collins Avenue (south of Lincoln Road), Miami Beach

$48$$570,$0,D&20

VIP Preview Opening November 30, 2011 For more information contact: Public Hours December 1- 4, 2011 [email protected] 1.877.459.9CAA www.ceramicsannual.org “The best hotel art fair in the world.” DECEMBER 1 - 4, 2011 1530 Collins Avenue (south of Lincoln Road), Miami Beach

$48$$570,$0,D&20

VIP Preview Opening November 30, 2011 Public Hours December 1- 4, 2011

“The best hotel art fair in the world.” Lucas Soi ìWe Bought The Seagram Buildingî

October 6th-27th

For all your art supply needs, pick Blick.

SAN FRANCISCO 979 MARKET ST. BETWEEN 5TH & 6TH 4154416075

20% OFF *Ao05141* ENTIRE PURCHASE OF NON SALE, IN STOCK ITEMS VALID 7/1/11/11 TO 10/1/11 Blick Art Materials, Retail Inc., coupon must be surrendered at time of purchase; no copies will be honored. Limit one coupon per visit. Valid only on non-sale, in-stock items. Not valid with any other discounts or promotion, phone/mail/ 9 internet orders, custom framing and printing and purchases of gift cards.

san francisco art and design show & sale

featuring 40 premier national and international exhibitors presenting decorative and ﬁne arts from all design movements of the 20th and 21st century including furniture, lighting, sculpture, paintings, glass, jewelry, silver, ceramics, photography, textiles, prints, rugs, and contemporary art and sculpture.

and presenting 21POP a collection of ateliers of contemporary crafts people

a rare tripod fauteuil by joseph-andre motte preview gala france c. 1949, hedge gallery beneﬁting the san francisco SFMOMA purchase through a museum of modern art gift from sf20/21 designers forum thursday, september 15, 2011

show & sale friday, september 16 to sunday, september 18, 2011

festival pavilion fort mason center

produced by dolphin promotions, inc. chicago: 708.366.2710 florida: 954.563.6747 Tessie Wall lived here. Meridian celebrates the history of its home on Powell Street, its architect and its early inhabitants with the House at 100 dolphinfairs.com Arts Festival September 24th to November 26th, 2011 and Love and Bullets: a San Francisco Love Story, a fundraising gala filled with tango, historic libations, and costumed revelry on the evening of November 12, 2011. Including: sf20.net Exhibition by David Linger, Sandra Beard, Kimetha Vanderveen, curated by Theres Rohan. Talk by historian Gray Brechin. Readings by Herb Gold, Lawrence Ferlinghetti and Jack Hirschman. Classic film screenings on the Barbary Coast. Profound Fatigue an intermedia sponsors performance installation by M. Mara-Ann. Concerts with music and instruments of the period. Performances by Alexis Iammarino, Fred Frith, and Amy Lewis. Textile workshops by artist and costume historian Erin Algeo. san francisco art and design show & sale

and presenting 21POP a collection of ateliers of contemporary crafts people

show & sale friday, september 16 to sunday, september 18, 2011

festival pavilion fort mason center

produced by dolphin promotions, inc. chicago: 708.366.2710 florida: 954.563.6747 dolphinfairs.com

sf20.net

sponsors 441 O’Farrell St. San Francisco, CA 94102 EVER [email protected] www.evergoldgallery.com GOLD 415.796.3676 GALLERY

Exile and the Kingdom Also Owen Takabayashi Ever Gold Residency August/September 2011 Opening Reception: Thursday, September 1st 2011 Exhibition Ends: Saturday, September 24th 2011 Fountain art fair LA 2011 9.30 – 10.2, 2011 Lot 613 613 Imperial St, Los Angeles, CA

www.fountainartfair.com WWW.FOUNTAINARTFAIR.COM SYSTEM BEING ACCEPTED AT FAIR TO CHANGE THE ART APPLICATIONS

General Public Hours: 12pm – 7pm. Special Events: Friday, Sept. 30th & Saturday, Oct. 1st, 7pm – 1am Admission is $10, or $15 for weekend pass ADVERTISEMENTS ARE COMING SOON : ALWAYS UGLY!!!

A Special 4 Episode crossover Covering Art in the Bay Area...and Beyond?!?

http://whatisartlive.blogspot.com/ http://www.youtube.com/whatisartlive

We’re Serious, Fo’ Real yo! Marketing and Public Relations for the Arts

aopublic.com twitter.com/aopublic

LOS ANGELES SAN FRANCISCO SEPT 7-11 SEPT 22-25 The Bicycle Film Festival is a celebration of bicycles through art, film, and music. bicyclefilmfestival .com

SFAQ :HU-YHUJPZJV(Y[Z8\HY[LYS` 0ZZ\L(<.:,76*;

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portrait Linda Cicero

20 “For me the first ‘illegal aliens’ were the Conquistadores and the Pilgrims because they arrived without passports and broke the law of many Indigenous nations across the Americas. Most of them were economic refugees, or were escaping the oppression in Europe. Some were also criminals. Therefore, they were very similar to contemporary “illegal aliens.” This country owes its creation to illegal immigration.”

Artists that are first generation Latin-American immigrants to this country do not want to be identified as Latino. Do you think there is a shift in how artists of Latin decent in the U.S. are actively avoiding being Latino or Chicano and if so, why? The “multikultis” were gone a long time ago and now everybody seems to be “global.” Identity issues are more off the front page for many Latino artists. However, there is a very strong xenophobic wave in this country, which started after 9-11 where suddenly the Southern border is a threat (even though all the terrorists responsible of the tragedy of September 11 came from the Middle East through Europe, or Canada, via legal immigration) and this is creating a Latino grass roots movement. I hope this will bring a fresh wave of emerging Latino artists addressing such discrimination. Most of the time we hear the term “illegal aliens” used to refer to dark skin undocumented immigrants, mostly Latin Americans and Mexicans. For Enrique Chagoya, Untitled (Shoes), 2004, Charcoal, pastel on paper mounted on canvas, 60” x 60” me the first “illegal aliens” were the Conquistadores and the Pilgrims because they arrived without passports and broke the law of many Indigenous Nations across the Americas. Most First feature in a series of interviews with of them were economic refugees, or were escaping the oppression in Europe. Some were criminals too. Therefore, they were very similar to contemporary “illegal aliens.” This country Bay Area Latino artists and curators. owes its creation to illegal immigration. We are all a part of it, and sometimes my art reflects my experience of that view. I became an American citizen more than a decade ago and I am Not many people are aware that you where the director of Galeria de La proud of it, but inside I often feel like a citizen of a borderless country. Where humanity is all Raza in the 90’s. Can you talk about your experience and what the San from the same country, and borders (geographical and social) are an ideological construct, a Francisco art scene was like at that moment in time? line in our minds. Unfortunately, some borders with invisible lines are very real and it takes I was the Artistic Director there from 1987 to 1990. It was during the time of the so-called a long time before people cross them to realize that in spite of our many differences we are “multiculturalism”, which I think was mostly a fad in terminology that did not bring any the same species. significant changes to artists of color or women in terms of their access to the main stream art world. Even prior to its creation in 1970, the Galeria has been short on presenting solo You mention that your work is based on the idea that History is told by exhibitions to women artists. Although, to be fair, the Galeria they did have a couple [women those who win wars. Has your conceptual practice been affected by our artists] and most of the shows were thematic and inclusive not only of women, but of non- current government now that Obama is president, we’ve ended the eight Latino artists. years of George Bush in the White House, and have apparently killed Bin- Laden? If so, how? When I was invited to take care of the exhibitions program I decided to have the solo shows The current political reality is just as complex and unresolved as ever. President Obama dedicated to women artists like Cristina Emanuel, Ester Hernandez, Yolanda Lopez, Graciela promised more than what he has been able or willing to deliver, and the ruling financial Iturbide, Barbara Carrasco and Juana Alicia (that last two exhibited together in a two person oligarchy (the marriage of financial/industrial capital with government) has been getting away exhibition). We also continued thematic exhibitions implemented by the previous directors, with everything regarding its role on the recession (or should we say depression) it helped Rene Yañez and Ralph Maradiaga, such as Day of the Dead and politically focused exhibitions like Beyond Prison Walls/Art by Puerto Rican Political Prisioners. In my three years at Galeria de la Raza, Day of the Dead exploded. We coordinated the exhibition with two other organizations, the Mission Cultural Center, and La Raza Graphics (long time gone). The Day of the Dead procession on 24th Street went from about eight hundred people in 1987 to about five thousand people in 1990 (that was more like a demonstration). I invited artisans from Mexico, like the papier-mâché artists Miguel and Ricardo Linares and the sugar skull maker whose name I can’t recall right now. We exported Day of the Dead to other places like New York City at the New Alternative Museum where I was co-curator with Sal Garcia and the exhibition marked the first Day of the Dead in that city. In 1990 the Smithsonian invited us to exhibit Day of the Dead, but that was the year I renounced my job to start teaching at Berkeley and subsequently, the exhibition never happened.

Also, I was interested in bringing young artists from Mexico and in 1990, with the support of the Festival 2000 promoted by Rene Yañez, I was able to invite artists Gabriel Orozco (before he was so famous), Silvia Gruner, and Eugenia Vargas (a Chilean living in Mexico City at the time). We also exchanged exhibitions with Germany, Russia, and Puerto Rico. I was also co-curator of a drawing show with Larry Rinder for the Drawing Center in New York. It was an amazing experience for me. I was getting more and more involved in curatorial projects. Unfortunately, it was all taking a lot of my time making it difficult to make my own work for which I was receiving more and more calls to exhibit. So, when I got an invitation to teach for a year at the UC Berkeley Art Department I decided to take a chance. I quit my job at the Galeria, which was pretty stable, and went to teach at the risk of being out of work within a year. I guess I just gave priority to making my artwork and teaching gave me Enrique Chagoya Poor George - After PG (24.32), 2004 more time to make more of it. I still have great memories of the Galeria. I believe the current India ink on paper director, Carolina Ponce de Leon, has done a terrific job keeping it updated with new artists, 14” x 17” and exciting shows. to create during the kingdom of the “free” market economy. Everybody is amazed to see that our correspondence to his congregation regarding the painting, and they accepted with a some of the same people that participated in such a mess are still in positions of power in standing ovation. I was very moved. I just finished the painting and sent it to the Resurrection financial institutions (public and private). It is scary to see, since the 1970’s, how every time a Fellowship in Loveland and I spoke by phone to Pastor Wiggins and his congregation right bubble bursts it gets bigger, while each time Wall Street is responsible and each time there is a after the unveiling. It was an explosion of joy. They were very happy with the painting and I am bail out by the government followed by attacks on government intervention in the economy very happy too. There was a whole article about this featured in Art in America online titled, by the same private sector that benefits from it. Just read the theories of Economists like “The Print and the Pastor”, written by Faye Hirsch while I was working on it a few months Nobel Prize winner Paul Krugman, and you’ll see a pretty hopeless situation. Politicians, ago. In the Fall, Art in America will include the incident in a larger article regarding the various right and left, become willing participants in a puppet theatre. All this is raw material for my attacks on art in recent months, written by Eleanor Heartney. In the end, I made more friends work. Nevertheless, sometimes I feel like becoming an abstract artist and to forget about than enemies. I received great support from everyone at Stanford. The faculty, the students, any conceptual satirical work. But so much raw material would be a waste to let go without the Chair of my department, and the Dean (who advised me on how to deal with hate dealing with it. I already did few pieces on the current economy that I showed at Gallery Paule mail), the school police (that analyzed such hate mail and contacted police in San Francisco Anglim and at the Di Rosa Preserve in January and February of this year. and Loveland among other places to collect information and support) and finally from the President of the University who sent me a very nice letter regarding the painting I did for the Your work was attacked and destroyed at the Loveland Museum Gallery in Resurrection Fellowship. Loveland, Colorado. Can you tell us about that? That was a very surprising event for me. Artists in general have no control over how people Has that incident influenced your approach to art making? will react to their work. The book attacked and destroyed was The Misadventures of the It has influenced my awareness of the context since I may, or may not, be able toshow Romantic Cannibals from 2002, and I have been showing it in many places on the West Coast everything I make. I showed the controversial piece The Misadventures of the Romantic Cannibals and on the East Coast, including the Museum of Contemporary Art in Denver, Colorado, at the Sanchez Art Center in Pacifica, and at the Galeria de la Raza in San Francisco during without any negative reaction (the protests started when the same show traveled to the my traveling print retrospective just about two months before the attack in Loveland. Also Loveland Museum in Loveland, Colorado a few months later). The book, which has a multi- simultaneously with the show in Loveland I had another copy of the same book in Washington linear narrative, includes my reaction to the hypocrisy of religious institutions that attack DC at the Davis+Reyes Gallery (right before the incident with David Wojnarowicz video at same sex marriage while hiding the pedophilia within its priests. It also includes my reaction the Smithsonian just two blocks from that gallery), and nobody protested in any of those to the role of the church in the indigenous cultural destruction, and the use of religion places. for war (like politicians calling for a “Crusade” before the invasion of Iraq). So the book is pretty rich in non-verbal narratives. It is not illustrational, but rather an expressive work Time and place may affect what any artist can show. Like during Hitler’s pre-war years in that uses collage as pictorial language. However, 2010 was an election year and a local city Germany, when he organized the exhibition, Degenerate Art, where German expressionist councilman in Loveland, who holds ultra conservative views, saw an opportunity to promote artists were ridiculed before they were censored and persecuted. Or places like Iran today, his views by inciting a religious protest outside the Museum. In no time Fox News invited where the government not only censors any art in any private gallery, but they also break into him to trash my work on Fox News and Friends. Fox News only gave me a chance to respond collector’s homes and confiscate their collections because they are offensive to the theocracy online after the broadcast. For the most part the issues of pedophilia, homophobia, and other of the country. The recent case of Ai Wei Wei being arrested in China for his views on the topics in the book were ignored. All you heard was that the book was pornographic and misdeeds of the ruling bureaucracy is only the tip of a huge iceberg of censorship on artists portrayed offensive pictures of Jesus. I explained that there was no Jesus in the work but and intellectuals in that country. Not all places in the world, or even in this country, are as rather collaged images of Mexican comic books, religious icons, and pre-Columbian art among open minded as the Bay Area. We live in a bubble, but I love my bubble and I am not sure I other styles. There was no nudity or sexual acts going on. The work is provocative, but it is could live anywhere else. not pornographic and it isn’t an attack on faith. Also, at the City Council meeting in Loveland, it did not meet the legal definition of obscene which is required in order to remove it from a What are you currently working on? public space like the Museum. It was my way of expressing the spiritual corruption of religious More codices, more drawings (large and small), more paintings, and on this interview. I am institutions that need to accept responsibility [for this corruption]. Fortunately, a Pastor from thinking about becoming more abstract (figurative and non figurative abstraction) and I may Loveland accepted my explanation, and defended my work even against some members of his congregation who wanted to join the protesters. The name of the Pastor is Jonathan Wiggins from the Resurrection Fellowship in Loveland. We became friends, and in few days he invited This is the first in a series of interviews with Bay Area Latino artists and curators. me to make a “non-corrupted” portrait of Jesus for his church. I told him that even though I am not religious I would be glad to do it if his congregation accepted it from me. The next day, a woman truck driver from Montana drove all the way to Loveland and destroyed my printed book with a crowbar. She was wearing a t-shirt with the words “Jesus is tougher than nails.” Pastor Wiggins later said to his congregation that if Jesus is tougher than nails nobody Enrique Chagoya needs to defend him. A few days later he sent me a link to a video of a sermon where he read “Ghostly Meditations” 2010, 11”x 14” India ink and acrylic on vintage paper with ghost prints on facing pages of old etchings from a 19th Century book.

22 explore that path. Enrique Chagoya Liberty Club IV, 2007 Enrique Chagoya Charcoal and pastel on paper mounted on canvas Enrique Chagoya is currently a Professor in the Department of Art and Art History at Stanford 60” x 60” University. His work can be found in many public collections including the Museum of Modern Art, New York; the Metropolitan Museum, New York; the Whitney Museum of American Art, New York; the San Francisco Museum of Modern Art; and the Fine Arts Museums of San Francisco among others. He has been the recipient of numerous awards such as NEA Artists Fellowships, the Tiffany Fellowship and Artadia to mention a few. He is represented by Gallery Paule Anglim in San Francisco.

Julio César Morales Julio César Morales is an artist, educator and curator. He teaches at The San Francisco Art Institute and is also the founder of Queens Nails Annex/Projects in San Francisco and is currently an adjunct curator at the Yerba Buena Center for the Arts. 23 MENA Report Part One Middle East and North Africa Jens Hoffmann - Istanbul Biennial

Written by Andrew McClintock

Portrait Valerio

24 MENA Report Part One Middle East and North Africa

Dora Maurer, Seven Twists, 1979, 23. 23 cm each, silver print. Courtesy Vintage Gallery(1-6)

I am pleased to introduce an ongoing series covering the diverse most of his works: “Untitled” followed by a description in parentheses. Middle Eastern and North African contemporary art scene. I have The 12th Istanbul Biennial will include five group shows and approximately 55 solo presentations. Each of the group shows will feature a large number of artists’ works brought struggled with how to be proactive in doing my part in a time of ongo- together under a particular theme. The theme titles—”Untitled” (Passport), “Untitled” (Ross), ing Western Imperialism through-out both regions, the “Arab Spring”, “Untitled” (Death by Gun), “Untitled” (Abstraction), and “Untitled” (History)—refer to works and biased corporate American media coverage. I believe inclusion is by Gonzalez-Torres. The group shows will have the character of intimate cabinet exhibitions, each occupying a distinct space, and together they will function as thematic anchors for the the link to finding a solution. I hope, by bringing Western, Middle East- biennial as a whole. Around them the audience will find the solo presentations. Each solo ern and North African minds together, by forming artist communities presentation will be linked to the subjects of the group shows but will push the themes that cross borders, this series will work to establish and facilitate a decidedly further, exploring the broader issues the group exhibitions have introduced. free and open dialogue as well as an exchange of ideas. Appropriately, In response to those today who devalue the exhibition as the primary format of artistic I begin the series with Jens Hoffman Director of the Wattis Institute, and curatorial expression, favoring instead ancillary events and programming (especially in at CCA and co-curator for the 12th Annual Istanbul Biennial this Sep- a biennial context), we advocate for renewed attention to the importance of the exhibition itself. The biennial will be precisely selected and installed in a single, carefully constructed tember. space, privileging above all else the display and juxtaposition of the artworks. Special attention is being given to the exhibition’s architecture, designed by Ryue Nishizawa of Sejima and How has it been preparing for this year’s Istanbul Biennial with the recent Nishizawa and Associates (SANAA), Tokyo, with graphic design developed in collaboration revolutions/ uprisings in the Middle East and North African regions? with Jon Sueda of Stripe, San Francisco. The so-called Arab Spring has had very little influence on the way we have thought about the Biennial. The complications in this region have been going on for a long time and many of the artists that we have invited from this area of the world were already working on pieces So when you mention that Biennials have recently been spread out in their that address some of the problems the uprisings relate to. It is too recent to really make an physical nature, for example the Venice Biennial, vs. what you are doing assessment on what the outcome of this revolution will be and in many cases things are still with the Istanbul Biennial, why do you feel there has previously been a in a critical stage. I also do not think that Biennials are the best place to talk about these trend of departure from the traditional form of an exhibition being in one issues. location? I think that the idea to move away from one venue had to do with the desire to bring art outside the walls of museums and to offer the audience the chance to get to know the cities What can one expect from the Biennial? How are you and Adriano Pedrosa in which those shows were happening better. In many cases these exhibitions have become going about curating it? so big that one venue was not enough anymore so others were found or constructed. In The 12th Istanbul Biennial will explore the relationship between art and politics, focusing on some cases, through the increased interest in urbanism and architecture and social practice, works that are both formally innovative and politically outspoken. The work of the Cuban- artists often made work in direct response to certain sites or buildings. Istanbul has operated American artist Felix Gonzalez-Torres (1957–1996) is a clear example of this kind of artistic like this for a long time so we thought it would be good to develop an exhibition that was practice, and a primary inspiration for the biennial. The title of the biennial, Untitled (12th centered in one venue and also will need to be looked at in such a way since it makes a lot of Istanbul Biennial), 2011, deliberately references the way in which Gonzalez-Torres named connections between its different sections and parts. 25 Can you please give a few more details about this process and the scope of build-out that has been needed - as a curator how much have you been I think there are particular conventions in Western Europe and North America in regards involved in the design/ building process? to how a work of art has to look like and how it has to be discussed. Those conventions are the result of art’s development over several centuries. We see, however, that many of The spaces already exist; they are older warehouses built in the 1930s by the Bosporus which those conventions have been important by regions in the world that are perhaps rather are large open buildings divided into five spaces each about 25,000 square foot large. We young in terms of their presence in the contemporary art world in order to gain access to completely redesigned the interior of those spaces in collaboration with Ryue Nishizawa of something that is, for better or worse, considered the status quo of art. For a long time I SANAA (Sejima and Nishizawa and Associates) in Tokyo. We did this space by space, artist by would go to South America or the Middle East and artists would ask me how they can find a artist. It was a very long process but one that we feel was necessary. gallery in New York or London or how to do a museum show in Berlin or Paris. Through the effects of globalization, post colonial discourse, and a perhaps more critical relationship to the What’s going on in the Istanbul art scene? Is there a younger gallery mainstream art centers, things have now began to shift over the last 20 years and many artists movement that is energizing the contemporary scene? Are there arts do not necessarily need and want to show in the main cities in Europe or the US anymore. neighborhoods? Or does the scene consist of more blue chip galleries, museums, and the Biennial? Also how does the “non arts” population seem Has globalization wiped out the idea of this “center”, or a specific key to be taking the growth of contemporary arts and culture? movement of the day, or are there new centers being formed in the Middle It is a little bit of all of this. There are a number of very strong and dynamic galleries like East and South America - like Sao Paulo or Istanbul...? Rodeo, Galerist, and Galeri Non, and there are several private museums and art institutions Yes the idea of an art center the way Paris or New York used to be in the 20th-century is like Istanbul Modern, Salt and Arter, which are all quite exceptional and do an excellent job, over. At this point there are centers in terms of the art market, centers where the money and and there are some blue chip galleries like Rampa and Mana. The scene is full of energy; many the big galleries are, but there are many more artistic centers all around the world. I think artists from abroad are coming to Istanbul. Biennials have done a lot to decentralize the art world.

How do you think the historical nature of Istanbul, always being a center of culture and innovation, factor into all of this? Is there a shift back to How does the complex relationship between contemporary art and Istanbul as a center? Has the West lost its charm through imperialist and religion in the region relate to censorship? I know that in Iran that there cultural hegemony tendencies? is very intense censorship from the government. But in Dubai there is a I think there are still many Turkish artists who move abroad for education or to simply make push for local arts as well as an international arts presence. These seem different forms of experiences. At the same time there are many Western artists moving to like two ends of the spectrum...can you touch on this as well as give a few Istanbul; perhaps they are intrigued by the oriental charm they are hoping to find here, which other examples? does exist in some way, but Istanbul is an extremely contemporary and very cosmopolitan It is not something that is explicitly a topic of conversation among the artists that we work city. with and not something we are confronted with in Turkey. It is hard to generalize this as well. We have to understand that most countries in the region are not democracies and that even those that seem open to the contemporary art are having often other interests than wanting Now in a more general scope – would you say there are aspects of western to promote a critical conversation. arts that inherently slip into modern Middle Eastern art? There must be a few different views of this, whether it is viewed as an extension of imperialism or just an aspect of art history that can’t be ignored.

Martha Rosler, Cleaning the Drapes, from the series: House Beautiful: Bringing The War Home (1967-1972) Courtesy: the artist and Galerie Christian Nagel, Köln/Berlin Claudia Andujar, “Vertical 11 of the series MARCADOS”, 1981/1983Courtesy of Courtesy Galeria Vermelho,São Paulo,Brazil.

Teresa Burga Zarina Hashmi, Untitled, 1979, 17.22 cm. Ink on paper, Courtesy of Teresa Burga. Atlas of My World(Detail3), 2001,Courtesy of the artist and Luhring Augustine, New York.

27 Scales Fall from My Eyes: A Bay Area Beat Generation Visual Art Oral History

Part One of Two

As Told to Paul Karlstrom Former West Coast Regional Director of Archives of American Art, Smithsonian Institution Introduced, Excerpted and Annotated by John Held, Jr. (1947-)

Portrait of Jay DeFeo in front of, “The Rose,” photographed by Jerry Burchard (1931-2011), circa 1958. Courtesy of Carlos Villa 28 During his thirty years (1973-2003) as West Coast Regional Director of the Archives of A Community of Artists AmericanArt, Smithsonian Institution, Paul Karlstrom conducted over 130 artist interviews. Based PAUL KARLSTROM: How did you get there, to the first in San Francisco (at the DeYoung) and later in Los Angeles (Huntington Library), interviews California School of Fine Arts [now the Art Institute, ed.]? were a tangential assignment to his primary focus collecting biographical and working papers (correspondence, draft writings, publications, exhibition materials, business records, etc.) fromWest ELMER BISCHOFF: There was an opening. Somebody had cancelled out; a faculty member had cancelled out at the last Coast artists for donation to the Archives. The interview process could lead to the acquisition of minute and they desperately needed somebody. This was such material or was conducted after the transaction to provide context for the artist’s inclusion. during the winter, early ‘46, and I got tipped off about this by Karl Kasten, who was a fellow student of mine at Cal. I rushed over, took some of my work and had a brief In face-to-face meetings with the most acclaimed West Coast visual art figures available to him, interview with Doug MacAgy, and he said, “Show up Karlstrom assembled a particularly strong array of oral histories by Beat generation artists Monday.” I discovered later that the intention was to have (those in young adulthood in the early to mid-1950s) from both San Francisco and Los Angeles, me as a stop-gap until they found somebody else. But then as it turned out, they decided I was good enough to hold on coming of age just after World War II and the Korean War, some having served in the military, to. others not, many attending Bay Area art schools (California School of Fine Art [now the Art Institute], UC Berkeley, and California College of Arts and Crafts) on G. I. benefits. They are PAUL KARLSTROM: You actually stayed on until 1952. and were the parents of Baby Boomers, and the older and recently departing grandparents of ELMER BISCHOFF: Yes. younger emerging artists. PAUL KARLSTROM: What about teaching there...? is as much about that. A reassessment of their activities is due, if as Viola Frey observed, every fifty years a new generation needs its ELMER BISCHOFF: Well, the first thing I think I was aware VIOLA FREY: Yeah. memory refreshed. of was how open the place was and how, well it was very

intense, very high spirited. It’s as though there were a lots of PAUL KARLSTROM: Trying to . . . it’s a quest for meaning. VIOLA FREY…I was on a panel with Manuel Neri and I said, students there who were very conscious of having taken

“Give me fifty years.” Manuel said he wanted all time, you time out of lost time out from major pursuits and major I have tried to collage the available interviews in such a know, and I said, “That’s a little more than I need. I just need concerns of a personal nature, certainly, in the war. I felt this manner as to convey the spirit of an era, using chronological fifty years.” Because fifty years is about the length of the way. Maybe I’m projecting this on to other people, but order as a creaky hinge on which to hang the tale. I am not memory of a previous generation. certainly there was that. It put great pressure on to make up so much interested in the technical details of the artwork, for lost time, so to speak. A lot of intensity was born out of as the context around which it was created. Beat By the time these interviews were conducted, many of them this feeling. Generation San Francisco, like Picasso’s Paris, has taken on in the 1970s, these artists were just emerging from years of legendary proportions. What gave rise to this gathering of obscurity and financial hardship, gaining new stature in the The freewheeling quality, I think, came from the attitude that creative individuals in one place? Who were the players? art world, acquiring increased reputations - if not monetary there were not really instructors and students as much as Who influenced them? In what configurations were they reward. It was prescient of Karlstrom to interview them at there were older artists and younger artists. Now this was entangled? this stage of their careers, their memories of events in the very, very different from the university experience. This was

1950s intact. more like the whole school was made up of a community of This is the first of a two-part article. In this installment, we artists, and there was a great deal of exchange across the are introduced to the protagonists-in-training and the The activity of the Beats in the 1950s shaped the societal boards between faculty and students, as much as to say that professors that nurtured them. We witness their shift to Hippie culture, politics, music and fashion to emerge the students, good students, could influence the faculty. transformation from students to exhibiting artists, the following decade. The Beats were, as all vanguard Now that would never…in a more structured situation congruent with popular awareness of the new bohemian movements are by definition, shock troops armed with new where you have professors and students. subculture emanating from North Beach, hearing firsthand ways of thinking, which in turn, become diluted and the reality behind the media uproar. distorted by the embrace of popular culture. This excerpted There was a great deal of openness between the faculty oral history is an attempt to recapture the original “voice” members, too, where we’d go around visiting one another’s Bay Area art schools had a significant impact on the Beat of the era without the static of interpretation. studios and commenting on one another’s work. David Park artists, but our tale begins with Ruth Asawa, a San Francisco and Hassel Smith and I and later on Diebenkorn, we did this stalwart for over fifty years, arriving directly from legendary For many of the artists cited, these oral histories have kind of thing of going around to one another’s studio. There Black Mountain College in North Carolina. become their definitive biographical and working was much mutual trust, much mutual regard. Nobody was statements. Karlstrom’s ease with normally hesitant artists climbing over anybody. Nobody was trying to be top dog by On Being a Modern Artist such as Jay De Feo, have become crucial starting points for climbing over somebody else. contemporary researchers of American Art History. RUTH ASAWA: Well, it was in 1946 when I thought I was Karlstrom’s handling of notoriously difficult Bruce Conner is Revolution in Art Training modern. But now it’s 2002 and you can’t be modern forever. deft, allowing the rigor of the artist’s convictions to surface. Modern artist. It’s a new group of people. And I don’t know HASSEL SMITH: …this period, 1945-1952, while Douglas them very well. After getting over the jitters in his first few years, armed MacAgy was the director of the California School of Fine with prepared questions, Karlstrom became more of a Arts, and a kind of revolution in art training occurred there PAUL KARLSTROM: Well, what do you think Ruth, what do conversationalist. His schooling impeccable, brandishing an at that time. A lot of people of considerable fame and you think in 1946 made you modern? How would you engaging personality, his knowledge of various California importance were involved… It certainly was a very define that? cultural milieu broad, Karlstrom began transcending remarkable experience for all of us, and I think that is quite technique, transforming the interviewing process into a important to realize. I think the point that I would like to RUTH ASAWA: At that time I was experimenting before creative act. make most especially is that for many of us who were on anything was called modern, at that time, just the staff, the experience was as much, or even more, a experimenting… Here’s one of Karlstrom’s most revealing statements on learning experience than a teaching one. In fact, so many of interviewing, arising during a 1995 conversation with the the students were the same age as the instructors that the …we were so poor that we were taking materials that were late ceramic artist Viola Frey: situation of being an instructor at the school at that time, around us and using leaves and rocks and things that were and/or being a student, was virtually interchangeable. natural rather than having good paper and good materials PAUL KARLSTROM: …because these questions are the that we bought. We had to scrounge around with things that questions that you ask artists. 1946: “Welcome to the California School of Fine were around us. And I think that was very good for us. Arts”

VIOLA FREY: Right, yeah. … I think it’s important to have a relationship with the past WALLY HEDRICK: …We got up and we struggled back and the present and not just be modern or old or modern, PAUL KARLSTROM: This is how you understand art. And over to the school [California School of Fine Arts], and by or anything like that. I think it’s good to be part of my interest is very much less in technique-and I don’t that time the sun was out and we came up to the hill, everything than to have to be restricted to a certain . . . you pretend to be terrifically knowledgeable about that; I have a parked, got out of the car and walked in to the patio area. know what I mean? basic understanding-but I’m an art historian who’s The first person I met (I didn’t know who he was, but it was interested in, I guess, the realm of ideas. And this interview Douglas MacAgy [Director of CSFA]) walked up, shook 29 hands and said, “Welcome to the California School of Fine paintings -- in the heyday. look up. He’s around; he was teaching there and was doing Arts.” This dumbfounded me because how did he know I paintings thought were better than Still’s by far. Jim Weeks was coming? Well, it turned out that he was expecting a WALLY HEDRICK: That’s right. When I look back on it, they and Richard Diebenkorn were students at that time. I think delegation of high schools one day and he thought we were hadn’t really hit their peak because they were still a little both of them became instructors in ‘48 - in there. But as I -- what I describe as rounded cubism. There was still a little bit say, I was never properly enrolled because I never had any of that. I think ‘47 was when they really hit their peak there. money. So I was just sort of on the outskirts. Maybe that’s PAUL KARLSTROM: He thought you were a high school I’d never seen anything like it. I’d never seen paintings that why I never got really involved in that. student? big, and I’d never seen anything like that. So I was dumbfounded. We immediately went back to Pasadena with This Magical World WALLY HEDRICK: Yeah. (Laughs) We told him who we a new viewpoint. Here was this really good place, it seemed were and he said, “Well, as long as you’re here, I’ll show you like heaven, full of these crazy artists. And they were older PAUL KARLSTROM: Well, you then entered the University around.” So he took us around. We were just walking than I, the people [that were] there. They seemed older, and of California at Berkeley in, I guess, the fall of 1946. And around the patio and one of the first persons we ran into it turned out they were. They were about 5 or 6 years older apparently you went there with the idea of majoring in was this long, tall, skinny guy, and he introduced us, this than myself. studio art. What do you remember from the experience? I happened to be Clyfford Still. It didn’t mean anything to me am, of course, asking a lot of things with that one question. at that time. PAUL KARLSTROM: There were a lot of GI Bill students How did you find the art department there? The teachers? there. With whom did you study? PAUL KARLSTROM: You hadn’t heard of Still before? WALLY HEDRICK: Yeah, yeah. I was probably around 21, JAY DeFEO: Oh, I’d love to tell you ‘cause I remember it WALLY HEDRICK: I’d just heard of William Baziotes, you whatever I’d be in ‘46, and I went back with the good news. very well. know (Laughs) and de Kooning and Pollock. There’d been a So everybody in this group decided that they would all go spread in Life, I think, on Pollock by then, but I had no idea there in ‘47 and enroll. David [Simpson], Deborah PAUL KARLSTROM: Did you feel that it was good? about the Bay Area at all. Anyway, he took us around the [Butterfield] and Robert Jenkins, who I haven’t mentioned school and we went into some of the studios and there previously and this guy John Stanley, John Ryan the poet, and JAY DeFEO: I loved it! It was a tremendous adventure for were people in there painting these monster paintings. I’d myself. Well, we got in David’s 1937 Chevrolet panel truck, me. One of the main things I remember about that never seen anything like that in my whole life. The only the first hippie truck I’m sure, I mean we had long hair and experience was that all of my teachers were very different. I person’s work I remember was in Studio 19; if you ever get wore sandals. felt closer to some of them than others, or had a lot more the layout of the place, it’s a small studio off the patio and in common with some than others. There were even one or down the stairs. It was by James Brooks and I remember it … This is when I met all of the people that have become two I didn’t get along with, but I think it was the variety that was covering the whole wall, but I don’t think it was really part of that historical group like Hassel Smith, David Park, made a great deal of difference. You know, it helps you find that big. Elmer Bischoff and Clyfford Still. I never met Mark Rothko out who you are, I think, seeing teachers not only as that I can remember, but he might have been there. And painters but as different kinds of personalities. PAUL KARLSTROM: So all the pictures you saw were then the people that aren’t as important but I think are probably by the students working on abstract expressionist important, like George Stillman, he’s a guy that you ought to … in this particular period we were sort of hanging on to the apron strings of Cubism, as it were. And just right in the middle of this period Abstract Expressionism bloomed. And when Abstract Expressionism bloomed, life drawing classes went out the window. I’ve often regretted frankly that at a Carlos Villa in his SF studio, 2011. Portrait Andrew McClintock time when I was really ripe for it, there were no life drawing classes in the traditional sense.

PAUL KARLSTROM: It’s amazing! What about at the Art Institute at the same time, which was even more of a hotbed of Abstract Expressionism?

JAY DeFEO: Now that’s interesting. Because the Art Institute, or the California School of Fine Arts as it was called then, was a complete myth to me. Not a myth, but a kind of a place that just existed across the Bay. I had never even visited it and knew nothing about it, necessarily, except that I felt the vibrations kind of coming over toward Berkeley from Clyfford Still and Rothko and all of those people that were just a generation ahead of me. But the impetus of that movement was so powerful that it was really felt by everyone. And I think it must have been about ‘50, or a year to two sooner, that this happened. And Sam Francis and Fred [Martin] were going to the school with me at the University at this time…

They had more direct contact with those people. They were, you know, a year or two older than I. And they were my closest contemporaries who were friends and who also had contact with this “magical” world. You know, I think I was sort of fed some of this through them. I felt very stimulated by what was going on over at the California School of Fine Arts. I know Fred even took a class there, if I’m not mistaken. I may be wrong about that. But they had more direct contact. And because I was close to them I think I felt it even more strongly through them and became much influenced by it. Although everybody was feeling it.

Nobody Knew What It Was, But Something Was Happening

WALLY HEDRICK: …there’s a bar in North Beach called Vesuvio’s, I’m sure you’re acquainted with it. At that time it was where we all hung out. I was hired to sit in the window because then I had a giant beard and attracted tourists. The beatnik thing was just starting and it didn’t have a term then. Nobody knew what it was, but there was something happening. And the tourists just came in droves to sit PAUL KARLSTROM: Really? This was for the party? around and watch the artists. I guess it’s like when I hear or read about Paris. We actually sat out on the sidewalk and all CARLOS VILLA: Yeah. And then here are all of these lights. that kind of thing before it became a tourist trap. I went And here are all of these spider webs all over the place. back to Pasadena because I couldn’t survive since I didn’t Studio 13 jazz band is playing in the background. Nobody have any way to make any money. When I got back to really is dancing, but. . . . Pasadena I was just getting old enough that I was afraid of getting drafted. The war was over but they were still drafting PAUL KARLSTROM: Is that the one that Wally Hedrick was. people. So to beat the draft, I joined the National Guard. I . . . joined it and then I didn’t get drafted. Well, this was fine until 1950 when the division I was in got activated because Korea CARLOS VILLA: Yes, absolutely. And there was Charlie Still came around. By that time, I had a studio, and I was painting. playing the clarinet. Charlie and Wally were the originals and guys are still doing it, but there they were. They were real …. I was going back and forth between San Francisco and young. They were still happenin’. Leo had given me a Pasadena, but I was not up there as much as David rundown on all of these people that were around at the [Simpson] was. That’s probably why I never quite got really time. Bill Morehouse was there and, you know, all of these involved with all these people. My real involvement there people were there, and I read this “Dixieland Jazz,” and I was with a band called the Studio Thirteen Jazz Band which said, “Jesus, this is weird music.” But, man, it kind of fit in, you was made up of David Park who played piano, Elmer know? It was kind of smoky in there and it was real dark in Bischoff who played trumpet, and Charlie Clark, a student there and they had this toilet bowl and it was really Dada. who played the clarinet. MacAgy was the drummer, and Jon Everything was kind of Dada-esque. And then there was this Schueler was the bass player. woman by the name of [Yakabena, Jacobena], who was dressed in the first bikini bathing suit that I’d ever seen. PAUL KARLSTROM: What did you play? PAUL KARLSTROM: Wow! WALLY HEDRICK: I was a banjo player. I can never think of the trombone player- CARLOS VILLA: This is 1953.

JULIA HEDRICK: Conrad Janis. PAUL KARLSTROM: [laughs]

WALLY HEDRICK: Conrad Janis, Sidney Janis’s son, was the CARLOS VILLA: And so here were all of these veterans. . . . trombone player. He was here; I don’t know what he was At that time there were nothing but veterans there at the here doing. I think he had something to do with the school. And so they were chasing Yakabena and laughing, and museum. There was a great revival of interest in New Yakabena was laughing, too. Orleans jazz at that time. PAUL KARLSTROM: Was she a model, or what? Portrait of Jay De Feo by Wallace Berman, PAUL KARLSTROM: This was about ‘49, ‘50? 1958. Courtesy of David Jones. CARLOS VILLA: Oh, she was one of the students. She was a Carlos Villa in his SF studio, 2011. Portrait Andrew McClintock WALLY HEDRICK: Well, from ‘46 onward, but it became very, very well-endowed young blond woman, just kind of popular, like the Lou Waters Band was in its heyday, in the very, very Rubin. . . . Not Rubinesque. She was very late Forties. And all the painters I knew were interested in Renoiresque. And she was just, you know. . . . jazz. Hassel Smith has a great jazz collection. He’s got it going full blast all day long. But anyway, here was this band PAUL KARLSTROM: Enjoying it. that was centered at the school, and that’s how I really got to know David Park, Elmer and these other people, because CARLOS VILLA: Oh, she was loving it. They cornered her philosophically we don’t have too much in common. I was into a phone booth, the phone booth fell over and never really interested in figurative painting. Or abstract everybody was laughing and everybody was just having a expressionism. I was really never enrolled at the school great, great time. And I remember I was just kind of standing except when they’d have a party, then I was always there… around, and then I finally got enough guts to ask this woman to dance. And she was kind of. . . . 1953: “Everything Was Kind Of Dada-esque.” PAUL KARLSTROM: Yakabena? CARLOS VILLA: And so there I am, a junior at Lowell High School, meeting my cousin [Leo Valledor] over at California CARLOS VILLA: No, no, not Yakabena. There was another School of Fine Arts. And so I come in and, you know, we’re woman. This other woman was dressed up like Helen of on the Stockton bus and everybody’s kind of looking, “Who Troy, except she had glasses on. And so I asked Helen of the hell is this guy?” And so I’m walking up the hill past Troy if she wanted to dance, and she said first she must have Bimbo’s and then it’s real dark. I go into the Diego Rivera a sip of this, and she pulled out a gallon of wine. And I Gallery. The Diego Rivera Gallery, incidentally, has a big thought, “God, how far out!” [laughs] And so here we are, curtain with a Diego Rivera mural. we’re just dancing whatever the kind of dance. . . . I guess we were doing the dirty boogie or something while we were PAUL KARLSTROM: Now? listening to Dixieland music. I mean, it was more or less free-form. But we were dancing and stuff like that, and I had CARLOS VILLA: No, then, 1953. the most wonderful time there, because it wasn’t like I was this teenager and here were these older people. These were PAUL KARLSTROM: Oh, then. all artists. And. . . .

PAUL KARLSTROM: Oh, because it was Communist? PAUL KARLSTROM: You were a junior at Lowell at that time? CARLOS VILLA: Absolutely. And you know how much we used to - CARLOS VILLA: Yeah. And then later on we went to these apartments on Russian Hill. They’re very expensive condos PAUL KARLSTROM: Now it’s no longer Communist, or at now, but at the time they were just right for people on the least we won so we can see it. (chuckles) G.I. Bill.

CARLOS VILLA: Right, right. No Marxist. . . . You know, I PAUL KARLSTROM: They were dumps. mean, we were all against that. There was a toilet bowl right in the middle of the Diego Rivera, you know, in the middle A Fleeting Atmosphere Portrait of Jay De Feo by Wallace Berman, of the exhibition floor. A toilet bowl. 1958. Courtesy of David Jones. PAUL KARLSTROM: Well, what about the California School 31 of Fine Arts? You enrolled really on the wing, I mean you just hair and beards, playing bongo drums. And I thought, ‘Oh, my went down there and kissed off Lone Mountain college god, this is where I belong. I really want to go here… PAUL KARLSRTOM: 1955? and there you were in art school. PAUL KARLSTROM: Well, do you remember your first term GEORGE HERMS: Yeah. And I have a book of poetry by JOAN BROWN: Right. Well, I loved the atmosphere, fantasy- there, your instructors, what courses you had to take? Thomas Merton, Tears of the Blind Lions, and on it says, wise, that I walked into. Here was this beautiful school, in a “Have a good birthday, Wally B.” We referred to him as great location, a familiar location for one thing. I got the first JOAN BROWN: Sure, very well. And I had a hell of a time. I Wallace Berman, because that was his preference later on, sense of the place, of the atmosphere, walking in the door liked the students, very much - a certain number of people but at this time he was Wally. And I often slip back into that and there’s this brick patio with the tile fountain, and there’s in particular, a guy named Peter Forakis, who was a in my references to him. all these guys playing bongo drums around the fountain. seasoned Korean War vet, with the beard, the sandals, the These guys, as it turns out, were mostly Korean War vets… whole works - he was the real bohemian, everyone looked PAUL KARLSRTOM: Let me get this straight. You hadn’t met up to him, or else hated him. And he was a guy who smoked before but they showed up, and Berman Wallace gives you.... PAUL KARLSTROM: That’s ‘55, right? marijuana, which at that time - in ‘55, was just -Oh! Guys were talking about “blowing the whistle,” and stuff like that, GEORGE HERMS: Jim had said, “It’s George’s birthday. Why JOAN BROWN: Yes, this is 1955… It [California School of on him - he was a real bad guy. So, anyway, he was quite the don’t you guys come out.” Or something, I don’t know. I Fine Arts] had been in a bad financial situation, and it was guy, and the leader in the fine arts area… don’t know the background. And since all three parties are either the first or second year that Gurdon Woods, who did now dead I don’t.... I mean, it was a miracle to me, because I so much for that school, was there. Prior to his coming, with Full Stride then leave Topanga with them and begin to meet the people the other director there… that will to this day be my heroes. GEORGE HERMS: …I had begun to start to feel my way PAUL KARLSTROM: He replaced MacAgy, didn’t he? around, in that I remember some Mark Tobeys that I saw in PAUL KARLSRTOM: Where was Berman living? a cooperative gallery in San Francisco, and I began to kind of JOAN BROWN: Yes - or no, was it Mundt? I think it was tentatively-even though I’m in the College of Engineering GEORGE HERMS: He was living in Beverly Glen and my Ernest Mundt. [University of California, Berkeley]-I’m beginning a kind of next address is Berkeley, which is in September. Now tentative, you know, to look out. between my birthday and that September, I can’t tell you PAUL KARLSTROM: Right. There was someone in between. exactly where I was or what I was doing, but it was the PAUL KARLSRTOM: Starting to look at that kind of thing. beginning of meeting people who were already in full stride. JOAN BROWN: Yeah, Mundt had replaced MacAgy, and Woods replaced Mundt, and they didn’t know whether to GEORGE HERMS: Yeah, beginning to look around. PAUL KARLSRTOM: What do you mean by that? close the school or what. So there was a kind of fleeting …And it all seems to coalesce-for me, anyway, in retrospect, atmosphere at the school. But gee, to me these guys were looking back-on my twentieth birthday, when I was there at GEORGE HERMS: That if they were poets, they were really sophisticated, really exciting, wearing sandals and Jim Baker’s in Topanga, on this little dirt road that led down writing poetry. If they were artists, they were making art. If playing bongo drums. I remember walking into the patio and to the cabin, two people walked down: Bob Alexander and they were musicians, they were blowing their music. If they here were these guys in sandals with turtlenecks and long Wallace Berman. were filmmakers, they were making films.

Bruce Conner’s Quest for Mystery and Romanticism

Larry Jordan at his Petaluma home, 2011. BRUCE CONNER: I grew up in Wichita, Kansas. Most of the Portrait Andrew McClintock people I knew when I was a senior in high school and when I went to college were at least a year or so ahead of me. Most of them ended up either in New York or in San Francisco. I had moved off to New York for a while to see whether or not I wanted to live there. I came out here in 1955 or 1956 and spent about a month one summer. I stayed at Michael McClure’s house. Before that time Michael had been sending me letters, poetry by other people here, things about the arts that were happening here. I was reading stuff in the art magazines. I found a little black and white reproduction of a Richard Diebenkorn in the back of Art Digest which I thought was kind of interesting. When I was here I went to see Diebenkorn. It was quite a shocker to see how big his paintings were and the colors he was using. I asked him if he did any figurative painting. He said, “No, I never do figurative painting. But I do at least one figurative painting a year.” He brought out this painting that had a figure in it. I thought it was one of the ugliest things I had ever seen…

PAUL KARLSTROM: When you arrived in San Francisco what was the prevalent mode, the prevalent style, if you want to call it that, in San Francisco? Was it still abstract expressionism primarily? Would Richard Diebenkorn pretty well have stood for it?

BRUCE CONNER: I guess most of what was being reviewed, what was being noticed by people outside the city, was Diebenkorn and some of the abstract artists - [Sonia] Gechtoff, Jay De Feo, and Ronald Bladen. And, of course, before that it was Still and Rothko and those others…

PAUL KARLSTROM: Bischoff and --

BRUCE CONNER: Bischoff… But that whole figurative thing, which I think was being touted sometime around then, I thought was mainly the “art business” threat to abstract expressionism: they were digging hard to try to find something that would offset the strength that abstract expressionism had. David Park had a bit of that strength in his painting and in some of the space that other people were using. I think that at the time it was a little overblown these very important, very interesting people and especially, Hedrick and Jay DeFeo. So I’d see Wally and Jay often. I was - more than it actually was. how -- how did you meet, for instance, Jess and Duncan and very shy at the time; didn’t go to their big parties. Jay would become involved . . . come up -- I was staying at the McClures for a while after I PAUL KARLSTROM: It’s certainly true that until not too left 707 Scott Street and Jay and Wally would have big long ago outside of the Bay Area people would equate San LARRY JORDAN: Well, if you want to meet people it’s not parties down below. And I thought they were kind of Francisco art with the figurative school, with Diebenkorn hard to meet people. You call them up and say you’d like to Bohemian and I was too shy to go down. And Jay was very and Park. Anything important that came out of San Francisco come over. And I always got the impression that Kenneth concerned. She’d come upstairs and try to entice me down was - Rexroth - well, Kenneth had -- it was known that on Friday and saying that they were having a wonderful time, if I’d just evenings he was at home, and people rang him up and went come down for a little bit. She was very motherly and I BRUCE CONNER: I never thought of it as being a San over, and we were young people, we were very young, early really appreciated it… Francisco art. You know, I thought of it as being about seven ‘20s, who would go over and sit at the feet of the poet. And or eight people who happened to be doing that kind of he loved it and so there’s no problem at all. And later, when So, anyway, there was Wally and Jay. Okay, and there’s Joan work. he was having marital problems, he’d call us up and bend our Brown and Bill Brown -- - she was married to Bill Brown ears and, you know, there was no problem at all meeting then, who lived in the building next door. And Wally and Jay PAUL KARLSTROM: But you weren’t attracted - you didn’t people. Everybody wanted to meet people and if you were knocked a hole through the wall into their apartment and move here initially to expose yourself to this type of an older you weren’t necessarily -- I didn’t find anybody aloof. so, you know, there was kind of a communal arrangement activity? There wasn’t a style, a movement - if you will - that We’d, you know, we’d call people up and say, “Could we there. attracted you to the Bay Area? There were other come over?” And they’d say, “Sure.” And we’d go over see considerations? I gather that your friendship with McClure what they had to say and what they did and then we’d Scales Fall from My Eyes was one of the factors? become involved. We’d have a film show and they’d come… WALLY HEDRICK: I don’t know if I’ve told you this, but it’s BRUCE CONNER: I don’t know - I always felt there was a PAUL KARLSTROM: … it seems to me this would have a long, involved story of how I got to know Jay De Feo. certain amount of mystery and romanticism about San been a very important experience for you, giving you a When I first got to know her, I’d go over to her house and Francisco and the artists that were here. I remember going sense of a real community; others who were vitally talk. One day when she’d gone to the john or something, I to The Place at North Beach with Michael when I was here. interested in the things that you were [interested] in. And began looking for something to eat. I went to the There was this assemblage by Wally Hedrick in the window. who were some of the other people that you met? What refrigerator and opened it up and it seems that she’d put all I think it was part of a stovepipe, there was a doll’s head in about some of the artists, the painters that you, later on, of her old underwear in the refrigerator. It was a couple the vent, and it had wheels; it was like a cart (with a cane on you then became friends with? Were they -- on that first years’ supply. The refrigerator was off, it probably hadn’t run it). Of course I’d been involved in films. I had started visit did you hook up with any of the San Francisco Art in ten years and she never washed her clothes and so working with film societies. I knew a lot about what had Institute people at all? (instead of putting it some place else or throwing it away happened here with Art In Cinema and about the film- when she’d take off her underwear) she’d just stick it in makers who were working here and who had been here. I LARRY JORDAN: Yeah, we hooked up with -- probably there. had watched George Belson give a lecture at S.F. State one when I came back from New York -- let’s see, I hooked up day about his abstract films. I think I probably knew more with the McClures right away through Robert and Jess. I was PAUL KARLSTROM: The scales fall from my eyes like St. about what had happened here than did a lot of the people introduced to Michael McClure through Robert and Jess. Paul and all of a sudden I recognize funk. who lived in San Francisco, it just seemed... And then when the McClures and the poet Harman, Jim Harman -- we had a little press -- moved into 707 Scott, Meeting Kenneth Rexroth, Jess, Robert Duncan, they were looking for people to fill out the upper floor. And Michael McClure...Jay and Wally. I moved over there. And Joanna and Michael McClure Biographies of all Artists interviewed for this article in the moved out of there onto Fillmore Street. And I’d go over Masthead section of this issue, page 19. LARRY JORDAN: …Denver had no avant-garde culture at there all the time from Scott Street and right below -- okay, all, so there was nothing to be done in Denver. But we the McClures moved into the top floor on Fillmore Street [childhood friend filmmaker Stan Brakhage] began to hear near Clay, back to the area where I first lived when I first about the painters and the poets in San Francisco. So we came to San Francisco. And we all pitched in to help them started to think that’s where we’d better get to, you know, fix up the bare flat. Kenneth Rexroth and I carried up as soon as we could. So, you know, after working a year and Joanna’s cast-iron stove, saving up a little bit of money, then I and three others went old fashioned stove. Jess to San Francisco. came in and helped do the wiring and we all PAUL KARLSTROM: And that was in 1954? pitched in and painted the place, so . . . LARRY JORDAN: Must have been ‘54. PAUL KARLSTROM: Jess PAUL KARLSTROM: Spring or summer, or something? knew how to do wiring, then? LARRY JORDAN: Yeah. LARRY JORDAN: Jess PAUL KARLSTROM: Is that when [Stan] Brakhage moved to had been a nuclear San Francisco? physicist at Berkeley. Jess knew science. LARRY JORDAN: Yeah, he, he had gone, I think a little ahead of when I went… PAUL KARLSTROM: Even more than you did? PAUL KARLSTROM: …what were the stories that you heard? What did you imagine you would find and then? In LARRY JORDAN: fact, what did you find? What was it like here? [laughs] A hell of a lot more than I did. He was LARRY JORDAN: I don’t recall any over-exaggeration or any, one of the bright up-and- over-expectation of what we would find; we heard that coming nuclear physicists there was a poet named Kenneth Rexroth and we heard until the first atomic there was a poet named Robert Duncan. And I don’t recall bomb was dropped. And names of painters we heard about, but we heard, you know, then he dropped science that’s where artists lived; artists lived in San Francisco. They flat. He said it’s in the obviously did not live in Denver…we heard that people, you hands of black magicians, know, lived in kind of a creative community of artists in San pooh. And would have Francisco… nothing more to do with science and went into PAUL KARLSTROM: I’m very interested to learn how you painting. So, right below, established yourself in San Francisco but, most of all how, in the flat right below the within a short period of time you managed to meet some of McClures was Wally Larry Jordan and Paul Karlstrom, 2011 Peter Selz Written by Andrew McClintock

Portrait Dennis Letbetter

34 So there is so much, I don’t even know where to start. So let’s begin in chronological order, from the beginning. How was it being introduced to the New York City art scene in the late 1930s by Stieglitz? It must have “...There were times in the history of modern art that you been a very exciting time. Well, I was very young at the time, 18-19 years old; I had recently come from Germany as could tell what the main movement was, you could tell an immigrant to New York City, and it was all very, very new. I wasn’t really “introduced” to the art scene. I mean I saw the work there, I saw the Doves, Hartleys and the O’Keeffe’s and what was going on. This doesn’t exist anymore, there is no Portrait Dennis Letbetter the Marins. It was very wonderful. Then I began to see others at the Museum of Modern Art, main movement, ah, and everything is possible. There was The Museum of Non-Objective Painting, which became the Guggenheim later on, and went to the galleries; it was pretty exciting. I had known a little bit about old art before coming a time when Paris and New York were art centers, now from Munich, my grandfather was an art dealer in old art, and I didn’t know much about contemporary art and it was very exciting when I began to see it and then later on when I there is no art center, there is no movement. As far as the decided to study it. future is concerned, you cannot ask a historian to predict

During your studies you won two Fulbright grants, one in 1949 and one the future, I just try to keep up with the pressure.” in 1953, right around the time you were working on your PhD in German Expressionism… I got the Fulbright in ‘49 and ‘50, in ’53 I had another grant from the American Education Foundation, it was a different grant. I was in World War II in the Army and because of the GI younger artists like Golub in Chicago and many others. It was very important I felt to show Bill, I had a choice where I could to go to school and I decided to go to the best university in that a new kind of figuration - and the work was to some extent indebted to the work that America. I was accepted to the University of Chicago and had great times there, I decided to the abstractionists have done - was emerging. And then I did many other shows; the second study History of Art. show I did was Art Nouveau. I felt that Art Nouveau was very seminal to the beginning of modern art and the turn of the century. And I did many other shows, the most important solo You mainly focused on German Expressionism? shows I did were Dubuffet, Mark Rothko and Giacometti, and those needed to be done. Yes, I wrote my dissertation on German Expressionism. Nobody had written about German Expressionism yet, not really in Germany either. There was a lot of primary material, such as Giacometti, which was more of a retrospective though… reviews and catalogs, but there was no book. Not even in Germany, because during the Nazi Yes, it was a retrospective. Half of it, the first half of it was his early surrealist work and the period it was not possible, and so I did the first study of the movement. second half was the work, the paintings we know best.

What was your experience with Jean Tinguely’s sculpture? At the time you worked closely with your friend and mentor Joshua That was a lot of fun; it was great. He asked one of the curators in the collection if he could Taylor? build his piece at the MoMA and the curator of collections told him that they were in the Yes, well my dissertation was published, that is one of the reasons I think that I got the job at business of preserving art, not destroying it, so he came to me, and we ended up doing it as the Museum of Modern Art. Later on I worked with Taylor on the Futurists show at MoMA. an exhibition. It was a great event; he built it all up…we went to all the big dump places in He knew a great deal about Italian Futurism, and I did the first Futurist show ever held in New Jersey. Nobody in Europe had ever seen anything like this; he collected everything and America, around 1960; he wrote the book for it. then he built this big structure, and finally painted it all white and it looked very good with all the junk in it, and like in the movies it destroyed itself and the fire came out. It was very, German Expressionism has a lot of politics fused into the art - how do you very exciting. feel politics fit into other forms of contemporary art? Do you still feel that it is important and relevant to have political content? Did the fire department show up? Let me put it this way: when I was writing in the 1960s, formalism was dominant. We art Yeah, yeah, and so he said it was “assisted suicide.” historians looked at formal art analysis and from the very beginning we had to isolate the study of art from its social and political context. I was one of the first people to write about And then in 1965 you were invited to start the University of California art in that context back in the 1960s. I feel the same way now. As far as politics go, the last Museum. How was the process of starting the museum from the ground book I did was called The Art of Engagement, Political Art in California, dealing with art of the up, versus working in an established institution? last 50 years, so I am very much interested in the relationship between at and politics. You That was very exciting, that’s one reason that I took this job, to start a new museum, the cannot isolate one from the other. building of the new museum, the great building.

When the conceptual art movement first started, what were your initial Right, and you were involved with the design? thoughts on the medium, as well as looking back now on the legacy of No, I was not but I liked the process of it very, very much, it was big architects, terrific Duchamp and the continued influence? architects. I think about…300 entries and I watched the whole process. The project I liked Well, I thought that conceptual art was very, very interesting, and I followed it and I studied it. best was voted in and then I worked with the architect to get it built and it was very exciting- As far as Duchamp is concerned, I think Duchamp was a brilliant man. Its not that he couldn’t and you know, we were starting it from scratch and started to build a collection, and got some paint very well, he just decided to do something else. He did some very, very brilliant things incredible works of art, and it is still very successful. They have just announced an exhibition and we owe him a great deal, the man was really an intellectual. His influence by and large has of Italian paintings and drawings which I acquired for the museum, but my name is not even not been good. I think we have been able to understand that generations since have people mentioned. are making gimmicks, “Look what I can do!” they work with computers, it’s about what my computer has done for me. I really believe that the work of the artist, the hand of the artist is Okay, so Paul Karlstrom has been writing a book on your life’s work, which essential for really good work. I think the same is true for literature, I think the stuff you can will come out relatively soon and consists of about 45 interviews. How was get on all these digital gimmicks we have now is not going to be great literature. the process of working on the book with Paul? It was very, very good. He interviewed me and a great many people, and managed to get back Do you also feel the same way about where photography has gone? Or to sources from my childhood. It’s really a full biography and I read many parts of it, but I New Media arts? Do you think that the artist hand disappears a little bit? haven’t read the whole book. So, I think it’s going to be a very FINE book. Well, photography is a different thing. Photography is about the eye of the artist rather than the hand of the artist. I think that photography is a major art medium.

What about video art and New Media? Well, I think that video art can be very good, but most of it is a bore. It’s done by people who can’t make films. But there is some powerful video art. I mean very simply look how Bill Viola or William Kentridge made video art and it is some of the best art that’s been done in the last 15 years, so it can be done. You have to have the kind of mind and experimentation of new ideas of someone like Kentridge, who was also a great draftsman; his figures are superb.

Okay, so to go back now, you were the curator of painting and sculpture at the MoMA from ’58 to ’65. What would you say is one of your fondest memories as a curator there? Well I got to do the kind of shows I wanted to do. The first show was called New Images of Man and was a very important show. I also was very familiar with and very fond of Abstract Expressionism - there was an alternative and that was a kind of new figuration that was going on in Europe with people like Bacon and Dubuffet and in America with de Kooning, and A poem by Marchel Duchamp for Jean Tinguely’s Exhibition at NY Moma in 1960. And both of you are from the school of thought as historians that oral the environment with their art…and Land Art was a big deal. I think that Environmental Art interviews are a very valuable way to capture information? came out of Land Art, but Land Art to some extent was destructive, and of course if he had That’s the basics of this book. That’s what he always did when he worked at The Archives of lived longer, I think Smithson would have been the major artist in our time. the American Art. He interviewed artists and art people, he’s a great interviewer, so the book is based, which is not so frequent, is really based on interviews. Definitely, I really enjoy his work. Would you say that Land Art, even though it was somewhat destructive to the earth, was also bringing attention to So I just want to talk a little bit about the three fairs that just happened the qualities of earth? in San Francisco - your overall thoughts, how it’s good for the bay area That’s how beautiful work was done. I went to see Double Negative of Heizer, I went to see and the San Francisco scene, and if you think that if they get stronger, the De Maria’s wonderful Lightning Field, some of this stuff is really, really terrific. continuation of them as a yearly event will help elevate San Francisco? Oh, yeah, I think you’re right, not sure if it elevates, but it certainly brought attention to what’s Looking back, has there been a specific moment or a piece of advice that going on here. This is very good. I don’t know if we need three fairs or one fair but I did enjoy someone gave you that you keep looking back to or referring to? the three fairs. I thought that artMRKT was the most interesting fair. I think that was the There’s been a lot, but I can’t say there’s anything special. The most important advice I can give general opinion of people, all the local galleries were there and we saw some good stuff, but to young artists is don’t go along with fashions and do what you need to do. in general we saw what’s been expected, and I think that art fairs have taken over. I think for many dealers the fairs are more important than the galleries. Where do you think that art is headed in the next couple of decades? That is impossible to say. There were times in the history of modern art that you could tell Right, I heard some gallerists say that they wish they could just close their what the main movement was, you could tell what was going on. This doesn’t exist anymore, galleries and just travel around to different fairs. there is no main movement, ah, and everything is possible. There was a time when Paris and Yeah, one big gallery I know in New York, it just, you know it was a successful gallery and he New York were art centers, now there is no art center, there is no movement. As far as the closed the gallery, because of you know, fairs and auctions. future is concerned, you cannot ask a historian to predict the future, I just try to keep up with the pressure. Yeah. You are still very active in curating and writing. What are some of your recent projects, and what artists or galleries or museum programs Why has this shift happened? are you currently excited about? Well because everything that is related to art is related to commerce, everything is globalized. I’ve been doing a lot. Earlier this year I had a big show called Eco Art which I did with a Art is not so different from what else is going on, the same is going on in music, I’m sure, and Canadian critic on Environment Art at a museum in a city of Pori, that nobody seems to know, the same is going on in manufacturing. I mean, it’s all, we live in an all-connected world, and so but it’s the second largest city in Finland. Then I did a very good show of Abstract Painting for as the market becomes globalized, so is art. It’s all connected. the Municipal Gallery in Los Angeles, and a smaller version of that based only on the Bay Area Abstract Painting is opening in a week or two at the Berkeley Art Center, we are installing it You’re obviously a large collector of art. Are there any specific pieces that later this afternoon and tomorrow, really good Bay Area Abstract painters. Another thing I did you are fond of? this spring was a show called “Heads.” I’ve always been interested in abstract and figurative The last piece I acquired is the one that you can barely see, on the right here. (points to the far painting at the same time, and these are figurative paintings at the Dolby Chadwick Gallery in wall) It’s by an artist Irwin Petlin, who lives in Paris. I wrote a major article on Petlin for Art in San Francisco. It is an international show with Lucian Freud from London, Irving Petlin from America because I think he is a superb painter. He is presently showing in the Venice Beinnale. Paris, Edwige Fouvry from Brussels, Patrick Graham from Dublin, Jim Morphesis from Los From the “Heads” I bought a portrait of Meyer Shapiro, probably the greatest art historian of Angeles, DeStaebler and Oliveira from the Bay Area; it was a very beautiful show with a nice the last century, who was a good friend of Petlin and somebody I admire enormously. So that’s catalog, so I keep doing this. I have time and I enjoy it and people keep asking me to do things the last, so you know, it’s my last acquisition…well this is a wall of heads, and there’s a…most all the time, and some of the things I actually manage to do. of the stuff was given to me. Like the Dubuffet was given to me, the Beckmann was given to me by a good friend, DeKooning gave me a DeKooning, and the Guston I did buy. And the big Yeah. When you say environmental art, I noticed you showed me this book Sam Francis, he gave me when the house was built. So, most of the stuff in one way or another with a sculpture that uses this- were gifts from the artists, I’ve known -- a lot of great artists in my time. No, I wouldn’t call it… What is the historical importance of Artist-run publications? Right, right, more like Land Art? Artist-run publications have been with us for a very long time. They were of great importance No, Land Art was earlier in environmental art, we are concerned with what to do with the in the Surrealist time in Paris, and before that among the German Expressionists. Also during environment, like the Harrisons, Helen and Newton Harrison and Agnes Denes, people like the high point of the New York School and later. Now, with printing so much easier and that…people really take time to make a difference, political, economic difference in art and cheaper we once more see a flourish of good art publications by artists, such as yours.

Installation view of Selz at NY Moma during the “15 Polish Painters” Exhibition, 1961. Photo by Walter Daran. 36 Ann Halprin Dance Troupe at Berkeley Art Museum before the official opening in 1970. A Sketch of Jean Tinguely’s “Self-Constructing and Self-Destroying Sculpture” in the NY Courtesy Robert Emory Johnson and the Chester Kessler Estate. Moma Catalogue for the Exhibition. 1960.

Selz in front of NY Moma, 1958. Kathan Brown Crown Point Press

Interview by Leigh Cooper

Portrait Andrew McClintock

38 Would you explain how Crown Point began and how it has become what it is today? It’s been almost fifty years, so it’s a big chunk of time. I started the press for myself and my friends, essentially. That was in 1962. Artists would come in to work with the equipment, use the studio, and I would often show them some technique because they were enjoying coming in but they didn’t know so much about the process of etching. That’s how the workshops began. But publishing is different, and although we still do workshops, we are mainly known today for our publishing.

How is publishing different? The publishing part is where we invite artists to make etchings with us, pay all the costs, and sell the work. This is our business. I never considered going for the non-profit thing. We publish two to four artists a year, and we exhibit and sell our published art in our gallery, at art fairs, and on the web—it’s real art, but because it is in editions the prices are a lot lower than the same artist commands for unique work.

The artists we publish come from all over the world. Usually they spend a couple of weeks here. We work with just one artist at a time. They come in every day and do whatever they want to do on plates; they use copper plates like pieces of paper, really. The printers help them learn the process, and also the printers do the proofing, and later the printing, for them. After the artists have OK’d the finished plates they leave, and the printers spend a month or two, maybe three, printing small editions (ten to fifty) of each image. Later the artist signs and numbers each print.

In our workshops, everyone learns to print their own work, but when we publish, we don’t want artists to spend a lot of time printing because once they make the plates the printing can be done by anyone with the necessary skill. The artists concentrate on the platemaking. We give them advantages so that in a short time they can get something that they really love, that they are connected to, that they touched and created. The skill of our printers is at their disposal, but the creative part is all done by them.

How did you get started with publishing? We had a workshop where people could draw on the plates from a live model, and Richard Diebenkorn called me up one day and asked if he could come to it. He said he had done a little bit of drypoint, which is drawing straight on the copper without acid, and he liked the feel of the resistance of the metal when he was drawing. So he came to that workshop, and he really did enjoy the drawing but he didn’t enjoy the printing. He couldn’t figure out how to print anything very well, so I took pity on him and started printing for him.

Eventually I asked him if I could publish the prints he had been making. Those early prints of his were actually difficult to sell even though they were only $100 apiece, because people didn’t really know what they were, I think, back then. But it was a great investment! And such a great pleasure—Diebenkorn loved the etching process, and I was able to work with him from 1962 off-and-on over the years until he died in 1993.

Through your work you have proved that the etching/printmaking process undoubtedly inspires the creative process. But probably some artists can be a little reluctant to learn an entirely new medium. I heard that was the case with Nathan Oliveira? Well I’ve always thought that any good artist who wanted to make etchings could do it. With our help, it’s not hard, but they have to decide that they want to do it. Sometimes an Wayne Thiebaud, Hill Street, 1987. Color woodcut. 37 x 24”, edition 200. artist we invite will know other artists who have worked here, and they see the work and Published by Crown Point Press. sense the enthusiasm, and they will eventually decide they would like to try it. Nathan’s only Did you see his work change in any way through doing it? Can you describe reluctance was that he was a lithographer, and he was very engaged in that. But the more he the growth you have witnessed with artists over the years? saw Diebenkorn’s etchings and other people’s etchings, the more he thought he would like to I don’t know if I can be very specific about actual visible changes, but many of our artists have try it. And he did like etching very much, and made some great ones. told me that they’ve learned something about their paintings from working in the etching studio, and often they report that a body of work they’re doing in painting is influenced by the etchings. You can hear and see Julie Mehretu say that in a video in the “Artists Talking” section of our website. Sometimes artists tell me that after working with etching they understand better what they were already doing with painting. When you make a print you have to simplify things in a certain way and you’re also making layers. So in printmaking you’re thinking a little differently, thinking more, maybe. On a deep level you understand something that you didn’t before. Artists come back over and over again, so I think they are learning something.

How do you introduce artists into the two-week program? We usually start by looking at prints that other artists have done and not explaining anything. They’re thinking about what they want to do, and they say, “I really like the way that mark is made, I really like the way it looks on paper,” and you say, “That’s a soft ground mark,” and you take them into the studio and give them the tools to make a mark like that. You do tests to see if they like it. And we do the same thing in the workshops actually. It’s not like school at all. You can start anywhere.

Do you ever look at artists’ work and think about how it would translate into this process? You know, that’s a good question because I think many gallery owners and most publishers do—they’ve said to me “Oh, I think that would make a good etching.” But I try not to think that way. My husband, Tom Marioni, is a conceptual artist, and he influenced me in that regard. He has always said conceptual artists can use any medium. They use the medium that works Julie Mehretu, Local Calm, 2005. Sugar lift aquatint with color aquatint and spit bite aquatint, soft and best for the idea they have at the moment. That’s what defines them as conceptual artists. hard ground etching and engraving on gampi paper chine collé. 35½ x 46¾”, edition 35. Published by They’re not painters, they’re not sculptors, they’re not printmakers. They can use whatever’s Crown Point Press. 39

suitable. So it was natural for me to extend that idea to believe that if an artist thinks he or In the ‘80s, Crown Point was also going far afield with your work in China she can use printmaking, then he can. We worked with Vito Acconci, who doesn’t draw, and and Japan. What drew you to incorporate woodcut into Crown Point’s he did some really exciting things with us. But I don’t think anyone would have thought to ask repertoire and to take artists to Asia to do it? him to make prints until we did it. Hidekatsu Takada, who was born in Japan, was a student of mine when I taught in the ‘70s at the San Francisco Art Institute, and then he worked for many years with us as a printer at I think it’s much more interesting if you don’t have an opinion ahead of Crown Point. He was able to make a contact for us in Kyoto with Tadashi Toda, a master at time. printing woodcut in the watercolor Ukiyo-e tradition. So, beginning in 1982 and for the next If they think they can use it, they can probably use it, whether they are conceptual artists or ten years, we took one or two artists a year to work with Toda. Takada translated, and also he not. And if they don’t think they can use it, they probably can’t. understood very well how we approach working with artists, so it all went beautifully.

Or it won’t be useful to them. I think I started that program out of restlessness because the year we began was the year the If they’re not going to have their heart in it, it’s not going to be useful to them, and the work press was twenty years old. Woodcut was something different for us, but it was like etching will not be very lively. And for that reason, too, it’s best not to try to talk an artist into doing in being an old handmade way of printing that was at the time falling out of use. And I love this. If they want to do it, and if they’re a good artist, it will be good work. to travel!

Do you find that the artists’ enthusiasm for the etching process is a driving And what about China? How did that program come about? force for continuing to educate the public about it? What inspired the I was acting on an opportunity. An American professor who is an expert on Chinese printing Three-Minute Egg—your video segment in which you discuss the creative saw an exhibition of the works we’d done in Japan and offered me the introductions necessary process? to do something similar in China. Our first trip was in 1987. Then the massacre at Tiananmen I’ve always been a proselytizer for etching. I like it so much myself—it’s the pinnacle of Square happened in 1989. We continued intermittently after that, and ended up bringing seven printmaking; nothing else has as much presence. And when I started Crown Point there artists to China. It was very exciting, but complex. We worked with printing shops in four weren’t many artists using it outside of academia. Of course, the enthusiasm from artists for different cities. the process does push me to try to explain it to everyone who is curious about it. At one point in my life I thought I would be a writer—I studied writing and editing in college—and I noticed that Tom Marioni did some woodcuts in China. How did you and the skill I developed then has helped me a lot. Tom meet? I met Tom by inviting him in 1977 to make prints at Crown Point Press, and he has made quite The thing that started me on the Three-Minute Eggs was a book that I wrote called Magical a number with us over the years. Back then, I heard from a visiting New York critic that he Secrets about Thinking Creatively: The Art of Etching and the Truth of Life. The title is a little bit was doing “the most interesting work being done out here” (to quote her). I didn’t know who tongue-in-cheek, of course, but I have learned a lot of useful life-lessons from watching artists he was, but I invited him and ended up with a long-term relationship. We’ve been married for work in the studio. The book and the Three-Minute Eggs are an effort to share some of those quite a long time, nearly thirty years, and we’ve done some projects, like VISION, together, but lessons. I’ve been shooting video in the studio for a long time, and there are DVDs in all the he’s not connected to the running of Crown Point. Magical Secrets books. And I use little clips, going all the way back to the seventies, as the basis for my Eggs, which are just bits of history or fun or wisdom. I have to think of them as almost Tell us a little about your background – what you did before Crown Point? throwaway or I can’t do them, because each one is only three minutes, and boiling things Well I started Crown Point almost right out of school. I was fortunate to go to Antioch College down that much requires some sticking-out of the neck! in Ohio and to spend time in art school in London. That’s where I discovered etching.

You can’t take anything too seriously. Did you have intentions to study etching and printmaking? That’s one of the Secrets: “Take Yourself Lightly.” I didn’t have the intention, no. I was studying writing actually, but also taking some art classes. When I told my art teacher I wanted to go overseas and study for a year, he said he could get Can you tell us more about the Magical Secrets series and if you are me into the Central School of Art in London. I said, “But I’m not an art major,” and he said working on a new book right now? “Well you should be.” I split the major eventually between English and art. I’m glad I didn’t The series begins with my book, the one I just mentioned, which gives an introduction to become a writer. I would have ended up a hermit. etching as well as talking about the Secrets, and then there are three books written by Crown Point master printers, Catherine Brooks, Emily York, and Brian Shure, and edited by me. Each As this issue of San Francisco Arts Quarterly goes to press, you are of them describes in detail some aspect of etching. These are hands-on how-to books that preparing to open an exhibition at Crown Point Press that will feature also show a lot of artworks and give information about how artists made particular prints. recent prints by Wayne Thiebaud. Can you tell us about your association with him? Right now, I’m trying to write another volume that’s more complicated. I’ve had requests for a Back in 1965, when I published the Diebenkorn prints that I told you about at the beginning book about running a small business by using creative principles that I’ve learned from artists. of this interview, half of each edition was sold as loose sheets in portfolios, and the other half I think that’s the way I’ve run Crown Point, but getting it down on paper is very difficult, and bound into books. Over time I’ve become less keen on the book idea, because a book with I’m not sure yet if the book will ever really get done. etchings in it has to be so expensive—prints are actually more accessible on walls. But back then, that’s what I wanted to do. My second book in the series, also published in 1965, was Where do you print the books you publish? by Wayne Thiebaud. I didn’t know him, but I had seen a great show of his pies and cakes—his We send the books to Hong Kong to be printed. This is all desktop publishing. Sasha Baguskas, first show of those images I think—in San Francisco, and I called him up and invited him to our publications director, does the layout on her computer right here—she and I work do etchings. together on that. We sell the books on Amazon, in our gallery, and through our websites: crownpointpress.com, which is oriented toward our published prints, and magical-secrets. The result was the book called Delights. In it are seventeen small black and white prints of com, which is oriented toward the books and workshops. objects, some food—olives, candy sticks, a wedge of pie—and some other things—a gumball machine, a roadside cherry stand. The first print in the book is called “Lunch” and ishis I believe you printed VISION magazine locally. Could you tell me something drawing, done on the plate, of two sandwiches and two avocado-halves, the lunch I made for about VISION? It’s kind of legendary now. us in the studio on his first day of work. VISION was a real magazine that we invited artists to contribute to. Tom Marioni edited it and Crown Point published it—it was printed across the bay in Richmond; the printer was a friend In the 47 years between then and now, Thiebaud has been back to Crown Point for 16 of Tom’s. Between 1975 and 1981 we did five issues. Three were traditional-format magazines projects (I just counted them), including two where he made woodcuts in Japan. We’ve worked focused on places: the first was California, then New York City, and then Eastern Europe. Each together on average every three years. I’ve learned a lot from him. He’s a major source for artist designed some pages and Tom wrote something about the place. Then we did one called my Magical Secrets. Artists’ Photographs—56 artists from 16 different countries contributed photographs, and we also had an exhibition of the photos in the Crown Point Gallery. Some of the prints Thiebaud has made over the years are colorful and quite large in size, but often he likes to work using limited means so we have many line etchings and drypoints The last issue is called Word of Mouth, and it is a set of phonograph records that we recorded without color or with one color. at an artists’ conference on a Pacific island called Ponape. We took twelve artists out there, some from the Museum of Conceptual Art, which Tom was running then, and some from He pays a lot of attention to line quality. The new works, which he made at the beginning Crown Point Press. Each one gave a twelve-minute talk. Laurie Anderson, John Cage, Chris of the summer this year, emphasize that. They are mainly drypoints, drawn directly into the Burden, Brice Marden, Marina Abramovic, William T. Wiley, Joan Jonas, Daniel Buren, Bryan copper with a sharp tool, and are small landscape images. The subject matter is different from Hunt, Pat Steir, and Tom Marioni participated. The trip was in January, 1980, to celebrate the the prints in Delights, but there is a similar feel, strong and clear, small and concentrated, black new decade. Cage and Marden were already well known, but the others not as much then as and white. I love looking at them. I’m so lucky to be in this business and to be able to work they are now. We still have the records for sale. with Wayne Thiebaud and others of my artist friends again and again as time keeps on running by.

42 Tom Marioni A Rose…, 2008. Color drypoint with flat bite etching. 40 x 40”, edition 20. Published by Crown Point Press.

“...many of our artists have told me that they’ve learned something about their paintings from working in the etching studio, and often they report that a body of work Ed Ruscha, L.A.S.F. #1, 2003 Nathan Oliveira they’re doing in painting is influenced by the etchings... Color soft ground etching Rocker, 2007. Color sugar lift and spit bite sometimes artists tell me that after working with etching 37-1/2 x 30-1/2”, edition 35. Published by aquatints with hard ground etching. Crown Point Press 52 x 41”, edition 35. Published by Crown they understand better what they were already doing (Above) Point Press. with painting.”

Kathan Brown at Crown Point Press. Portrait Andrew McClintock

43 Paulson Bott Press With Renee Bott, Pam Paulson and Rhea Fontaine-Charlot

Written by Jamie Alexander

Portrait Andrew McClintock

44 Paulson Bott Press in Berkeley is one of the most respected art Give me an example. printermakers in the country, specializing in limited edition intaglio PP: With the young Bay Area artists, we followed a thread. Margaret Kilgallen suggested prints. Pam Paulson and Renee Bott worked as master printers under Chris Johanson; Johanson led to Shaun O’Dell and Keegan McHargue; McHargue suggested a the tutelage of Kathan Brown at Crown Point Press before starting meeting with Tauba Auerbach, whose calligraphic work at New Image Art Gallery had already their own press nearly 15 years ago. Paulson Bott Press has published caught Rhea’s attention. over 200 editions with some of the brightest names in art including; Our first artist outside of California was Radcliffe Bailey from Atlanta. (By the way, Radcliffe is Ross Bleckner, Squeak Carnwath, Caio Fonseca, Chris Johanson, Martin having an amazing show at the High Museum right now.) And it was Radcliffe who introduced Puryear, Kerry James Marshall and Tauba Auerbach. This interview was us to the Gee’s Bend quilters. That also came about from our travels. I saw their 2003 show at the Whitney in New York and was blown away. I told my Dad (who was 85 at the time) how conducted by Jamie Alexander of Park Life with Pam, Renee and Rhea great it was, and he said, “Pam, why don’t you make prints with them?” It’s true what they say, Fontaine-Charlot, Paulson Bott’s Gallery Director. listen to your elders!

Can you describe how Paulson Bott Press came about and talk about your But we also keep a wish list. Kerry James Marshall was on it for 12 years before he finally history in the Bay Area? walked through our doors! We are tenacious in the pursuit of artists we want to work with. We plan projects with emerging, mid-career, and blue-chip artists. We keep a balance. Pam Paulson (PP): “Do you want to publish the prints?” Chris Brown asked me this question three or four times in 1996. I had been laid off from Crown Point Press in 1993 You recently moved into a newly renovated and much larger space in West during the aftermath of the stock market crash. Chris had hired me to be his studio assistant Berkeley. What was the motivation for that? And how has it worked out? and later to work on a gift print he was making for California College of the Arts. While we Renee Bott (RB): We considered many locations. We looked at over twenty spaces and worked on that print, we made three others. In 1993, I set up an 800-square-foot studio in three cities before we decided that we wanted to stay in Berkeley. It’s our kind of town. Emeryville and did contract printing and taught workshops. My good friends Renee Bott and Presses have a habit of moving. Not that I would recommend moving thousand-pound presses Michael Osborne encouraged me to start Paulson Press. I knew I did not want to switch to anyone! Moving heavy presses and flat files and copper is no fun, but each of the three horses midstream and find a whole new career. I loved being a master printer and was happiest times we moved the press, something positive happened. This last move was precipitated when solving problems. Making prints and working with artists is the perfect playground for by the end of our lease in a recession. Taking on a major build-out during a tough economy problem solvers. felt overwhelming, but we knew that it was the best long-term choice. It offered us the opportunity to redesign our work space and rename the business. Perhaps most importantly, To make a long story short, Renee and I set up as a partnership in a larger Emeryville studio it gave us a larger, brighter gallery space to share the prints. It was a whirlwind project. in August of 1996. We both had two kids under five. Renee was tired of the commute to San Thanks to Jim Goring, our architect (and good friend), and Scott Mertens, our builder (and Francisco, and I needed a publishing partner. We decided to join forces and publish the “Train my husband), we were able to move into our space in three months. The move has generated Series” by Chris Brown. As soon as the prints were released, things got crazy. Within a week, a lot of new energy for the press, and we are excited to be part of the growth in this exciting we had pretty much sold out the edition. We hired a sales director, Katrina Traywick, to help and developing area. We are right next door to VIKS, one of the best Indian restaurants in us. She now has her own successful private gallery. the bay area. The success of the first project capitalized the business, and we were able to invite artists from outside of the Bay Area. And somehow it’s been fifteen years. It seems that the art-print/edition industry has really grown in the last several years, with advances in digital printing and businesses like 20x200 Rhea, when did you join the press? and Exhibition A, who specialize in mass-produced and highly marketed editions. How has this changed the market, and does that impact your Rhea Fontaine-Charlot (RFC): I came to the press nine years ago. After getting an art business? degree from UC Berkeley, I was the gallery manager at the Berkeley art space BABILONIA 1808. Director Sherry Apostol and I put on shows with Don Ed Hardy, Georgeanne Deen, PP: Some digital prints are fabulous and original. Many are not. Part of the difference is the Manuel Ocampo, Ray Smith, and Kenji Yanobe, among others. I got hooked on working with way in which a project is conceived and executed. When Paulson Bott Press invites an artist contemporary artists. I met Pam Paulson at an 1808 event, and a few years later when I was to make prints, they come to Berkeley to work in the studio with experienced printers to ready for a change, Pam and Renee’s press was at the top of my list. It was another amazing create the images that we publish. The works that are made are a direct continuation of each opportunity to work in Berkeley with world-class artists and with the freedom and pace of a artist’s creative process. Our job is to facilitate rather than dictate what an artist produces commercial endeavor. I also knew that Pam and Renee had worked with Martin Puryear, and in the studio. Because of this approach, the press is able to get the best and most exciting for me, that was reason enough to join the team! work from each artist. We feel that this makes the work more vital than a reproduction of a previously conceived idea. Digital prints are often reproductions of existing work. The print Paulson Bott is known as one of the most respected intaglio printers in to size thing is confusing—whose intention does it reflect? Artists are generally involved and the business. Can you tell us a little about that process and where it stands very committed to the scale of their marks. relative to other types of printmaking? RB: I remember when the first digital prints arrived on the fine art print scene. It was the early 1990s, and I was still at Crown Point Press. Francesco Clemente had just published three PP: Of course, we think intaglio printing is more seductive than other printmaking methods. or more digital jet print images with a “master digitizer” from the press known as Harvest, Since you print on damp paper, the ink is integrated into the paper under tremendous founded by Graham Nash. Clemente’s digital self-portrait prints were printed on 100% cotton pressure. The ink doesn’t just sit on top of the sheet but is embedded. With intaglio, the ink paper and looked just like the original watercolor they reproduced. The issue is the same today is held under the surface of the copper plate, the opposite of relief prints, where the ink is as it was then. Do collectors know what they are purchasing? Are they educated about the applied to the raised areas. The inks we use are transparent, and the luminosity of the paper differences between a digital reproduction of a watercolor and an etching? In this expanding is reflected through the ink layers. The color is heightened because of this and glows, almost digital world, I see our role as that of an educator to keep the public informed about those like a fresco. differences. Then it is up to the collector to determine what they want from an art purchase

The roster of artists you’ve worked with is pretty impressive. You’ve done projects with Christopher Brown, Ross Bleckner, and Martin Puryear, as well as some of the next generation of important artists like Tauba “With the young Bay Area artists, we followed a thread. Auerbach and Chris Johanson. Can you talk about how you select the projects and artists you work with? Margaret Kilgallen suggested Chris Johanson; Johanson

RFC: We are constantly looking, looking, looking at art and responding to work we find led to Shaun O’Dell and Keegan McHargue; McHargue exciting. We are thinking about how the artist’s work might translate graphically. We are suggested a meeting with Tauba Auerbach, whose thinking about whether or not etchings might enhance the artist’s oeuvre. We also consider the demand for the artist’s work. Because of the nature of editions, our relationships are long calligraphic work at New Image Art Gallery had already term, and so in addition to being incredibly talented, the artist has to be nice to work with. caught Rhea’s attention.” PP: Right off the bat, we had a list of artists we wanted to work with. We felt the press should publish artists from California, but also elsewhere. Our artists recommend other artists that they think we should look at. Sometimes we end up working with those artists if there is a - Pam Paulson good fit. foil and etching that with surprising and beautiful results. PP: I like different projects for different reasons. One that is particularly memorable was our first project with the Gee’s Bend quilters—Mary Lee Bendolph and her daughter-in- law Louisiana Bendolph. It was like a beehive. We had five printers in the studio with two quilters, several sewing machines, gospel music, and mountains of old clothes. Ripping seams and singing, sewing and inking. Color everywhere. It was exhilarating for everyone.

What upcoming projects are you excited about?

RFC: I want to tell you, but I’d have to kill you. (Laughs.) Top secret until the new artists are physically in our studio.

You were fortunate enough to work with the late Margaret Kilgallen, one of the most influential artists to come out of the Bay Area in recent times. How was that experience? RB: I believe it was 1998 when we were asked by Heather Tunis, the development director of the Headlands Center for the Arts at the time, if we were interested in doing a gift print for the Headlands. Pam and I had seen a lot of Margaret’s work. We had admired an installation she did in a group exhibition on the top floor of the John Berggruen Gallery, and we loved her solo show at the Drawing Center’s alternative space in SoHo. Working with Margaret opened my eyes to a culture that was completely foreign to me. She knew about hobo culture and surf culture. She was part of making a new art culture that was all about being unconventional. I remember asking her about her arrangements with galleries, and she gave me an evasive answer. She didn’t sign on with galleries, why should she? We were not so far apart in age, but I was ages behind her.

We arranged to meet with Margaret at her studio in the Mission. It was one of the more memorable studio visits I have ever had. It was a small room in an industrial building on the outskirts of the Mission. I remember her space was on the second floor; it was not very big. Going up the stairs to her space, you could see she had painted her iconic images here and there; it was like we were following clues to find her. I was amazed at how packed Margaret’s studio was. Every surface was piled high, with everything from an old 1920 Singer Working in the Studio, Sam Carr-Prindle, Pam Paulson and Renee Bott sewing machine on one small table to piles of ragged books on another. Her drawings and constructions, sewn clothing and canvas were everywhere and it was just amazing. and to think about why an artist would choose the digital medium. Margaret worked with us for about two weeks to create the gift print “Half-Cocked” and four We are open to digital technologies—as they relate to intaglio printing. A few years ago, I other prints. It was wonderful to watch her work. She would take plates home and paint with worked with Don Farnsworth to put a photographic image onto a copper plate without using sugarlift so that they would be ready for us in the morning. I am glad that we used the same a darkroom. After months of tests and more tests, I emailed Isca Greenfield-Sanders before method to create her editions that she used to produce her work. By making small plates she came to work with us to see if we could make our key photo image plates using our new that could be rearranged like tiles on the press bed, we were able to construct new images. method. We created eight beautiful prints integrating the new technology with the old. Although this was not a technological breakthrough in intaglio printing, it really did capture her style and approach to mark-making. You participate in several art fairs each year, much like more traditional art galleries that represent artists. How important are these events to Pam and I were relatively new running a press when we worked with Margaret, but I knew I your business? Which ones are your favorites? wanted to document our project. It is unfortunate that I took so few photos of Margaret in our early Emeryville studio; I really wish I had taken more. The one photo I took of her in our RFC: Art fairs are a vital way to reach out to new audiences and keep up with our old friends. studio with her piece “Sloe” in the background has been used many times in numerous articles It’s probably the most targeted approach we have. about her. I am happy to have that image of her; it’s one of my most treasured photos.

PP: The annual International Fine Print Dealers Association Print Fair at the Armory in New PP: Working with Margaret was a blessing. She loved the process and had great enthusiasm York is the most important one for us. It is well attended by people who collect and work for making things. I have that print, “Half-Cocked,” hanging in my kitchen. It depicts a couple with prints. Curators, dealers, and collectors descend on the fair with eager anticipation of bickering at each other. She reminds me that I should be thoughtful and present in everything the new publications and hidden treasures they will find. We do three to four fairs a year, and I do. we like to change it up, to touch down on different regions across the United States. I would like to do some European fairs in the next few years.

What are some of your favorite projects and artists you’ve worked with? David Huffman, “Basketball Pyramid”, 2007; Color Aquatint Etching; Paper size: 37.5” RFC: All of the artists we publish are favorites, but I have a personal passion for work x 45”; Published by Paulson Bott Press by contemporary artists of African descent. I think David Huffman is one of the Bay Area’s best-kept secrets. Part of the post-black art movement famously coined by curator Thelma Golden, he has been steadily producing art since the mid-1990s and was included in the momentous exhibition “Freestyle” that mobilized the careers of Julie Mehretu, Laylah Ali, and Mark Bradford, among others.

Edgar Arceneaux is another artist who continues to inspire and who we have been fortunate to work with. He made a splash in 1999 with his “Drawings of Removal” piece at the UCLA Hammer Museum followed by “Borrowed Sun” at the SFMOMA. He was included in the 2008 Whitney Biennial and continues to gain attention for his truly integrative approach to art-making and thinking. RB: That is a very in-the-moment kind of thing. It is the project you are working on at the moment! It takes a few days to open yourself up to what the artist is driving at and to try and understand their objectives. This while giving them technical information and guidance. We are in the process of finalizing a project with Tauba Auerbach, so she is the most recent project in my mind. She has a very unusual and original way of approaching her work. Our projects with Tauba are very similar in feeling to projects I worked on with John Cage at Crown Point Press. She often sets up systems and combines them with “chance operations” to explore her ideas and to arrive at an image. She pushes the edge. She’ll ask a question like, “Can I fold the copper plate?” and in turn push me to think in a different way. We ended up folding copper 46 Tauba Auerbach in the Paulson Bott Press Studio, 2011; Photo courtesy of Paulson Bott Press

Margaret Kilgallen (1967-2001) in the Paulson Bott Press studio, 1999. Photo courtesy of Paulson Bott Press 47 Collector’s Corner

Peter Kirkeby Written by Derek Song

Can you tell us how you started collecting art? I started collecting art because it was around. I came from a family of collectors and had exposure to many private and public collections growing up. Just as any kid collects things, my first collection was wacky pack stickers; I was in the 4th grade and I still have the collection. I also collected stamps, mostly plate blocks. The art thing has been more of an accumulation. Art as a subject is so broad so I suppose one can collect by process…everything from prints or painting or sculpture. I have pretty much stayed away from collecting a particular artist or movement or process.

I consider Edward Hopper my “gateway” artist. Was there a particular artist that kick started your passion for art and collecting? My gateway artist was Stuart Davis. I think the work titled “champion” really affected my appreciation for color and design. I still have that image floating around in my mind and it helps me register good work. Rauschenberg “monogram” is another of the gateway works that I always carry around with me. Monogram is an assemblage and it has drawn me to artists like Bruce Conner and David Best, two artists I do collect more frequently.

You have been collecting for many years. Has your eye broadened or have you focused on certain genres when adding to your collection? When adding to my collection these days, I consider my children. I have been hanging Clare Rojas pictures around. I like to see my daughter enjoy them. Kids also have a strange color sense. We just got a big purple Mathew Radford painting. I love the purple. I feel that purple could be the genre of my collecting. I suppose one could collect a collection of new aesthetics. A collection can be tied together by the subjects’ differences. I have over 40 years of art on my walls and it all represents a broad visual collection, but a tight personal collection. My art collection is a visual calendar of my life.

Would you like to mention any contemporary bay area artists that you are really into? In the Bay Area, I like Jess, Bruce Conner, Gordon Cook, Frank Lobdell. I also like younger artists like Jonathan Runcio, Like Butler, and Sean Mcfarland.

I think you have the great advantage of seeing work before they are shown. How does the viewing experience change when the work is formally exhibited rather than in your studio? For me, seeing a show before it is installed and then to see it installed is the best treat. I go from a close up to a distant perspective. The advantage for me is really to better understand the work, and as a viewer, help to complete it.

Portrait Andrew McClintock

48 Portrait Andrew McClintock

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[[[QEVMRWLEOIWTIEVISVK Mon.Sep.26 XLEXEVII\TPSVIHF]EVXMWXW[LSWI[SVO[MPP , 7ER*VERGMWGS'% SFAQ Event Calendar is a print/online platform to promote your artistic events for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¾S[IVW(2%WXVERHWERHRIWXW =YR*IM.M MRK [SVO JVSQ PSGEP EVXMWXW ERH EVXMWERW ERH 8LI7*0**MWEXVEZIPMRKJIWXMZEPSJGSRXIQTS (EXI7ITXIQFIV VIKYPEVTIVJSVQERGIERHEGXMZMX]MR924PEÊ VEV]0EXMR%QIVMGERERH0EXMRS½PQMRGPYHMRK 8MQITQ MRJS$GVIEXMZMX]I\TPSVIHSVK ISSUE 7: NOV, DEC, JAN (12’) IZIV]8LYVWHE]³3JJXLI+VMH´*SSH8VYGOWNSMR 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IFVEXMRKMXWXLERRMZIVWEV]XLMWYRMUYIERH KVEQ 7SRW GSQMWWMSRIH +IVQER EVGLMXIGX [[[IQIV]EVXWSVK GIWWXSXLILMWXSVMGWLMTWEX,]HI78VIIX4MIV &SVR%KEMR TMIGIW [LMGL QEVO E WLMJX MR LIV EVX QEOMRK 8,) XL %229%0 )1)6=:-00) MRGPYWMZI GSQQYRMX] I\LMFMXMSR MW TVSYH XS 1MIWZERHIV6SLIXSHIWMKRXLIMV%QIVMGER %68)<,-&-8-32 7II[IFWMXIJSVIEVP]FMVHTVMGIWERHYTHEXIW )RH3GXSFIV TVEGXMGI TVIWIRXRI[HMWGSZIVMIWIEGL]IEV8LIWLIIV LIEHUYEVXIVWMR2I[=SVO'MX]8LIWO]WGVET )QIV]ZMPPI'% 72 A WEEK LONG WATER EXTRAVAGANZA McBEER 22 Exhibitions under one roof Special VIP Opening Reception: Gallery Saturday July 30th, 6-10pm Grand Public Opening: Thursday August 4th, 6-10pm Gerald Anekwe, Quinn Arneson, Mario Ayala, Juan Manuel Bocca, Jordan Bogash, Epic Closing Reception: Ryan De La Hoz, Jeremy Fish, Matt Furie, Jay Howell, Henry Gunderson, Lili Ishida, Saturday August 6th, 6-10pm Warren Thomas King, Kool Kid Kreyola, Aubrey Learner, Calvin Marcus, Chachi Midencey, Evan Nesbit, Guy Overfelt, Matthew Palladino, Pez, Albert Reyes, Eric Shaw, www.watermcbeer.net Aiyana Udesen, Jamie Williams, Susan Wu, and Alexander Ziv www.evergoldgallery.com A STARDRIVESTARDRIVE VERSION 3.0

“Making Star Trek Real!”

T G www.stardrive.org art made here.

2011 SFart Open made Studios here. Weekend Dates:

Weekend 1: Weekend 3 Weekend 5: October 1 & 2, 11am–6pm October 15 & 16, 11am–6pm October 29 & 30, 11am–6pm Mission, Noe Valley, Bernal Heights, Castro, Excelsior SOMA, Tenderloin, Potrero Hill, Bayview Hunters Point Shipyard & Islais Creek Studios

Weekend 2: Weekend 4: Each Wednesday in October, October 8 & 9, 11am–6pm October 22 & 23, 11am–6pm look for the SF Open Studios Ocean Beach, Sunset, Richmond, Duboce, Eureka Fort Mason, Marina, Paciﬁc Heights, Russian Hill, maps in the Bay Guardian!

Valley, Hayes Valley, Haight, Upper Market, Diamond North Beach, Financial District Generous thanks to: Heights, Buena Vista, Mount Davidson, Twin Peaks, Eventbrite, Fleishhacker Foundation, Grants for Arts/Hotel Tax Fund, SOMArts, Thomas John West Portal, Glen Park www.artspan.org Events, Zellerbach Family Foundation.

sponsors media sponsors SFAQ art made here.

2011 SFart Open made Studios here. Weekend Dates:

sponsors media sponsors SFAQ -PULHY[PUZ[HSSH[PVU +LSP]LY`WHJRPUNHUKJYH[PUN :LJ\YLJSPTH[LJVU[YVSSLKZ[VYHNL +VTLZ[PJHUKPU[LYUH[PVUHSZOPWWPUNZLY]PJLZ *VSSLJ[PVUZTHUHNLTLU[

connect art international

(T) ^^^JVUULJ[HY[PU[SJVT *VU]LUPLU[:HU-YHUJPZJVSVJH[PVUZLY]PUN5VY[OLYU*HSPMVYUPH JVSSLJ[VYZNHSSLYPLZT\ZL\TZKLZPNULYZJVYWVYH[PVUZHUKHY[PZ[Z

49 Geary St. Suite 200 San Francisco, CA 94108 415.986.4799 www.mgart.com [email protected]

Patter Hellstrom: Expressive Flow Evan Wilson (ExposÈ Gallery): Layers

Opening Reception: August 4, 2011 5-7:30pm Exhibition Ends: Septemeber 17, 2011

Mitch Confer: kōr sam-pels Colin McRae (ExposÈ Gallery): Tidelands Examined

Opening Reception: September 23, 2011 5-7:30pm Exhibition Ends: October 29, 2011 111 111 MINNA 111 Minna St. SF, CA 94105 GALLERY www.111minnagallery.com

AUGUST

“Illusions of Grandeur” NOME EDONNA LEE HARVEY ROSWELL Opening Aug. 4th 5pm-Late

SEPTEMBER

“Secret State” KELLY TUNSTALL SOLO EXHIBITION Opening Sept. 8th 5pm-Late

OCTOBER

“Born Again” ROB REGER SOLO EXHIBITION Opening Oct. 6th 5pm-Late

August Lynn Hershman Leeson Benji Whalen

September Terry Allen

October John Zurier

November David Ireland

December J. John Priola

Gallery Paule Anglim

14 Geary Street, San Francisco, CA 94108 Tel: 415.433.2710 Fax: 415.433.1501 www.gallerypauleanglim.com