Carolyn Castaño
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Lava Thomas [email protected] B
Lava Thomas www.lavathomas.com [email protected] b. Los Angeles, CA Selected Solo Exhibitions 2018 Mugshot Portraits: Women of the Montgomery Bus Boycott, Rena Bransten Gallery, San Francisco, CA 2015 Looking Back and Seeing Now, Berkeley Art Center, Berkeley, CA 2014 Lava Thomas: Beyond, Museum of the African Diaspora, San Francisco, CA Selected Group Exhibitions 2020 New Time: Art and Feminisms in the 21st Century, Berkeley Art Museum & Pacific Film Archive, Berkeley, CA The Black Index, Leubsdorf Gallery, Hunter College, New York City, NY UNTITLED, ART, Rena Bransten Gallery, San Francisco, CA 2019 UNTITLED, ART, Rena Bransten Gallery, Miami, FL To Reflect Us, Rena Bransten Gallery, San Francisco, CA Adjust Yo’ Eyes For This Darkness, Ashara Ekundayo Gallery, Oakland, CA The Outwin 2019: American Portraiture Today, National Portrait Gallery, Washington, DC Women to Watch 2020 Nominee, Surfacing Histories, Sculpting Memories, Hubble Galleries, California College of the Arts, San Francisco, CA Plumb Line: Charles White and the Contemporary, California African American Museum, Los Angeles, CA Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, Las Cruces Museum of Art, NM Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, Gallery 360, Northeastern University, Boston, MA Spring Auction Exhibition, Kala Art Institute, Berkeley, CA 2018 PULSE Miami Beach, Rena Bransten Gallery, Miami, FL My Silences Had Not Protected Me, For Freedoms and Fort Gansevoort, New York, NY EXPO Chicago, Rena Bransten Gallery, Chicago, IL Pretty Big Things, Walter Maciel Gallery, Los Angeles, CA Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, Krasl Art Center, St. -
Bruce Conner (1933 – 2008)
BRUCE CONNER (1933 – 2008) BORN: McPherson, Kansas EDUCATION: 1956 B.F.A., Nebraska University 1956 Brooklyn Museum Art School 1957 University of Colorado SOLO EXHIBITIONS: 2012 Gallery Paule Anglim, San Francisco, CA Bruce Conner and the Primal Scene of Punk Rock, MCA Denver, Denver, CO 2011 Bruce Conner: An Anonymous Memorial, American University, Katzen Arts Center, Washington D.C. Bruce Conner: Falling Leaves: An Anonymous Memorial, Paula Cooper Gallery, New York, NY 2010 Bruce Conner: 1970’s, Kunstalle Wien, Vienna, Austria (travelled to Kunsthalle Zurich, Switzerland) I am Not Bruce Conner, Ursula Blickle Foundation, Krachtal, Germany Bruce Conner, Inova/Kenilworth Institute, University of Wisonsin, Milwaukee, Peck School of the Arts 4 ½, Creative Time, New York, NY Long Play: Bruce Conner and the Singles Collection, SFMOMA, San Francisco The Late Bruce Conner, Susan Inglett Gallery, New York, NY 2009 Bruce Conner: Discovered, Gallery Paule Anglim, San Francisco, CA Bruce Conner in the 1970s, Michael Kohn Gallery, Los Angeles, CA Intelligent Design: Untitled Lithographs 1970-1971, Milwaukee Art Museum, Milwaukee, WI 2008 Gallery Paule Anglim, San Francisco, CA Applause, Miyake Fine Art, Tokyo, Japan Mabuhay Gardens, UC Berkeley Art Musuem, Berkeley, CA 2007 Bruce Conner, Susan Inglett Gallery, New York, NY Gallery Paule Anglim, San Francisco, CA Michael Kohn Gallery, Los Angeles, CA 2006 Bruce Conner Sheldon Memorial art Gallery, Lincoln, NE 2005 After Conner: Anonymous, Anonymouse and Emily Feather, Katzen Art Center Museum, American -
Agenda Civic Arts Commission Public Art Subcommittee Monday, October 5, 2020 at 1 P.M
Civic Arts Commission Office of Economic Development Agenda Civic Arts Commission Public Art Subcommittee Monday, October 5, 2020 at 1 p.m. PUBLIC ADVISORY: THIS MEETING WILL BE CONDUCTED EXCLUSIVELY THROUGH VIDEOCONFERENCE AND TELECONFERENCE Pursuant to Section 3 of Executive Order N-29-20, issued by Governor Newsom on March 17, 2020, this meeting of the Civic Arts Commission will be conducted exclusively through teleconference and Zoom videoconference. Please be advised that pursuant to the Executive Order and the Shelter-in-Place Order, and to ensure the health and safety of the public by limiting human contact that could spread the COVID-19 virus, there will not be a physical meeting location available. To access the meeting remotely: Join from a PC, Mac, iPad, iPhone, or Android device: Please use this URL https://us02web.zoom.us/j/83392008428. If you do not wish for your name to appear on the screen, then use the drop down menu and click on "rename" to rename yourself to be anonymous. To request to speak, use the “raise hand” icon by rolling over the bottom of the screen. To join by phone: Dial 1-669-900-9128 and enter Meeting ID: 833 9200 8428. If you wish to comment during the public comment portion of the agenda, Press *9 and wait to be recognized by the Chair. To submit an e-mail comment during the meeting to be read aloud during public comment, email [email protected] with the Subject Line in this format: “PUBLIC COMMENT ITEM ##.” Please observe a 150 word limit. Time limits on public comments will apply. -
JENIFER K WOFFORD [email protected]
JENIFER K WOFFORD www.wofflehouse.com [email protected] EDUCATION 2007 MFA, University of California at Berkeley, Berkeley, CA (summa cum laude) 1995 BFA, San Francisco Art Institute, San Francisco, CA UNIVERSITY 2007- Part-time Faculty/Term* Full-time Faculty, University of San Francisco, San Francisco, CA 2017 Drawing for Non-Majors/Drawing 1 Spring 2012-14, 2016, 2017, Fall 2012, 2014, 2016 Winter Intersession 2013, 2015, 2016, Summer 2014, 2017 An introductory drawing course, emphasizing the development of both technique and theme. Projects focus on a range of observational drawing skills and materials, and culminate in a more concept and theme-driven portfolio. First Year Seminar: Comics and Graphic Novels in the Margins Fall 2016 A first-year seminar incorporating readings, discussion, written/studio projects and field trips in order to introduce new college students to the cultural life of the Bay Area. Illustration I Spring 2015, 2016 Introduction to the skills, materials, history and language of illustration. Students problem-solve for specific challenges that are technical, thematic, or contextual in nature and create a portfolio of 2D and 3D work in a variety of media. Digital Photography 1 Spring 2016 An introductory studio course focusing on the technical, compositional and thematic basics of digital capture, image editing and printing. Hand-on studio/lab work is supplemented with lectures on contemporary photo, field trips and guest lectures. Sculpture I Fall 2015 Winter Intersession 2014, 2017 Summer 2015, 2016 An introductory sculpture course focused on formal and technical aspects of low-relief, 3D and installation work. Projects focus on a range of skills and materials. -
Neighborhood Watch: a Microhistory of the Mission School GLEN HELFAND
3308_Plates_10.5x12.5_v27gr.indd08_Plates_10.5x12.5_v27gr.indd 346346 88/30/09/30/09 99:00:48:00:48 PMPM Neighborhood Watch: A Microhistory of the Mission School GLEN HELFAND San Francisco’s topography is notoriously composed of microclimates, a phenomenon that certainly led to the formation of the city’s neighborhoods and our appreciation of them. The Mission School, arguably the only identifi able “movement” to emerge in the Bay Area in the late twentieth century, trades on notions of locality as they relate to time and place. One can pinpoint this artistic strain of scrappy, witty, heartfelt San Francisco–made work to a couple of zip codes— the sunny 94103 and 94110—and a time frame roughly spanning the mid-1990s to the mid-2000s. While there are a few artists who are immediately associated with it—Barry McGee (pl. xx), Chris Johanson (pl. xx), and Margaret Kilgallen among them—the Mission School perhaps better describes a state of mind and a pivotal, modern-day fi n de siècle moment in Bay Area social and art history, one that unfolded in various pockets of the city. In the decade that encompasses the turn of the millennium, San Francisco was the locus of a cultural shift dramatic enough to be compared to the rise and collapse of the Gold Rush. The dot-com era coincided with the unveiling of an of cial new cultural neighborhood, Yerba Buena. SFMOMA opened its new building in 1995 in an economy that was just getting its bearings. Yerba Buena Center for the Arts had appeared just fi fteen months before—its construction-site walls featuring graf ti-infl ected fi gurative murals by the then-emerging art- ist Barry McGee.1 The Metreon entertainment mall started business in 1999, the Museum of the African Diaspora opened in 2005, and the Contemporary Jewish Museum debuted in 2008. -
Robert Whyte Oral History Transcript
i San Francisco Museum of Modern Art Regional Oral History Office 75th Anniversary The Bancroft Library Oral History Project University of California, Berkeley SFMOMA 75th Anniversary: ROBERT WHYTE SFMOMA Staff, 1967-1987 Supervisor of Education, 1967- Director of Education, 1980- Interviews conducted by Lisa Rubens in 2006—2007 Copyright © 2008 by San Francisco Museum of Modern Art Funding for the Oral History Project provided in part by Koret Foundation. ii Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Robert Whyte, dated May 18, 2008. This manuscript is made available for research purposes. -
Kara Maria (Born: Binghamton, New York, 1968) Tel/Fax: 415-452-3089 • E-Mail: [email protected] • Website
SHARK’S INK. 550 BLUE MOUNTAIN ROAD LYONS CO 80540 303 823 9190 WWW.SHARKSINK.COM [email protected] Kara Maria (born: Binghamton, New York, 1968) tel/fax: 415-452-3089 • e-mail: [email protected] • website: www.karamaria.com Education 1998 MFA, Art Practice, University of California, Berkeley 1993 BA with honors, Art Practice, University of California, Berkeley Selected Solo and Two Person (*) Exhibitions 2012 • Kirk Hopper Fine Art, Amerwarpornica *, Dallas, TX 2011 • Virtuata, Cloud Nine, Milpitas, CA 2009 • b. sakata garo, Inviting the Storm, Sacramento, CA 2008 • Catharine Clark Gallery, Dystopia, San Francisco, CA 2007 • Nathan Larramendy Gallery, Paradise Lost, Ojai, CA 2006 • Arts Visalia, Zigzag, Visalia, CA 2005 • Smith Andersen Editions, Airborne, Palo Alto, CA 2004 • Miller/Block Gallery, Almost Paradise, Boston, MA 2002 • Catharine Clark Gallery, Fools Rush In, San Francisco, CA 2001 • Ampersand International Arts, Fabricator, San Francisco, CA • Babilonia 1808, Emerging Bay Area Artist Exhibition, Berkeley, CA • Catharine Clark Gallery, Plastic Picnic, San Francisco, CA 2000 • a.o.v., Plastic Dreams, San Francisco, CA 1999 • Cité Internationale des Arts, Doggie Doo Hop Scotch *, Paris, France 1998 • Patricia Sweetow Gallery, Introductions, San Francisco, CA Selected Group Exhibitions 2012 • Pratt Manhattan Gallery, Party Headquarters, New York, NY • Smith Andersen Editions, Gender Specific, Take it or Leave it, Palo Alto, CA • National Steinbeck Center, Banned & Recovered, Salinas, CA • SFMOMA Artists Gallery, Sin and -
FY20 SFAC Community Investments-Funding
Community Investments FY19-20 Artistic Legacy Grant (ALG) Funding Recommendations Applicant Average Project Description Grant Amount Score Zaccho S.F. 96 San Francisco Arts Commission funds will be used to support the creation of a comprehensive digital archive of $40,00 Zaccho Dance Theatre’s Co-Founder and Artistic Director Joanna Haigood’s 40 years of choreography and performance work. We seek to digitize our extensive media library and embed it within an updated, rebranded Zaccho.org website, ultimately creating a permanent archive of Haigood’s pioneering work in aerial dance and site- specific performance for an expanding audience of global scholars, cultural researchers, performers, and dance enthusiasts. Community Investments FY19-20 Cultural Equity Initiatives (CEI) Funding Recommendations Applicant Budget Project Description Fiscal Sponsor Size Grant Amount 3rd I South $150- San Francisco Arts Commission funds will be used to stabilize 3rd i by increasing both the Asian $400K Artistic and Managing Directors' time commitments and their annual compensation. As a result Independent of the initiative, the Artistic Director will launch 3 new programs that will expand 3rd i's artistic Film offerings and increase our services to Bay Area media artists of South Asian descent; the $81,800 Managing Director will increase 3rd i's operating budget to $200,000 by CY 2022 and will formulate and implement a new social marketing strategy that will expand 3rd i's audiences. American $150- San Francisco Arts Commission funds will be used to support AIFI to create a strategic plan, Indian Film $400K business plan, and marketing plan, and realign the organization infrastructure for financial Institute stability and sustainability. -
Reciprocal Museum List
RECIPROCAL MUSEUM LIST DIA members at the Affiliate level and above receive reciprocal member benefits at more than 1,000 museums and cultural institutions in the U.S. and throughout North America, including free admission and member discounts. This list includes organizations affiliated with NARM (North American Reciprocal Museum) and ROAM (Reciprocal Organization of American Museums). Please note, some museums may restrict benefits. Please contact the institution for more information prior to your visit to avoid any confusion. UPDATED: 10/28/2020 DIA Reciprocal Museums updated 10/28/2020 State City Museum AK Anchorage Anchorage Museum at Rasmuson Center AK Haines Sheldon Museum and Cultural Center AK Homer Pratt Museum AK Kodiak Kodiak Historical Society & Baranov Museum AK Palmer Palmer Museum of History and Art AK Valdez Valdez Museum & Historical Archive AL Auburn Jule Collins Smith Museum of Fine Art AL Birmingham Abroms-Engel Institute for the Visual Arts (AEIVA), UAB AL Birmingham Birmingham Civil Rights Institute AL Birmingham Birmingham Museum of Art AL Birmingham Vulcan Park and Museum AL Decatur Carnegie Visual Arts Center AL Huntsville The Huntsville Museum of Art AL Mobile Alabama Contemporary Art Center AL Mobile Mobile Museum of Art AL Montgomery Montgomery Museum of Fine Arts AL Northport Kentuck Museum AL Talladega Jemison Carnegie Heritage Hall Museum and Arts Center AR Bentonville Crystal Bridges Museum of American Art AR El Dorado South Arkansas Arts Center AR Fort Smith Fort Smith Regional Art Museum AR Little Rock -
STEPHANIE SYJUCO B. 1974 Manila, Phillipines Lives and Works in San Francisco, CA Education 2005 Stanford University, M.F.A. 19
STEPHANIE SYJUCO b. 1974 Manila, Phillipines Lives and works in San Francisco, CA Education 2005 Stanford University, M.F.A. 1995 San Francisco Art Institute, B.F.A. Selected Solo Exhibitions 2020 (Forthcoming) Stephanie Syjuco: Citizens, Hartell Gallery, Cornell University, Ithaca, NY (Forthcoming) Stephanie Syjuco: The Visible Invisible, Blaffer Art Museum, TX 2019 Stephanie Syjuco: Rogue States, The Contemporary Art Museum St. Louis, St. Louis, MO Stephanie Syjuco: Recent Work, University of Kentucky Art Museum, Lexington, KY Spectral City, RLWindow, RYAN LEE, New York, NY 2018 "I AM AN...,", Cantor Art Center, Stanford University, Stanford, CA 2017 CITIZENS, RYAN LEE, New York, NY Red Banner, RLWindow, RYAN LEE, New York, NY 2016 Neutral Calibration Studies (Ornament + Crime), Catharine Clark Gallery, San Francisco, CA Ornament + Crime (Redux), RLProject, RYAN LEE, New York, NY 2014 Market Forces, Temple Contemporary, Philadelphia, PA American Rubble (Lancaster Avenue), Haverford College, Ardmore, PA FREE TEXTS, Ulrich Museum of Art at Wichita State University, KS Modern Ruins (Popular Cannibals), Recology Artist in Residence Program, San Francisco, CA FREE TEXTS, Galerie Joseph Tang, Paris, FR 2013 RAIDERS, Ryan Lee Gallery, project space, New York, NY 2012 Montalvo Historical Fabrications and Souvenirs, project commission in collaboration with Michael Arcega as Las Marianas, Montalvo Art Center, Saratoga, CA RAIDERS Redux, Catharine Clark Gallery Project Space, New York, NY 2011 Currents Series: Stephanie Syjuco: Pattern Migration, -
San Francisco 9
300 ©Lonely Planet Publications Pty Ltd See also separate subindexes for: 5 EATING P304 6 DRINKING & NIGHTLIFE P306 3 ENTERTAINMENT P307 7 SHOPPING P307 2 SPORTS & ACTIVITIES P308 Index 4 SLEEPING P309 16th Ave Steps 137 A iDS (Acquired immune Bay Area Rapid Transit, see California Historical Society 22nd St Hill 175 Deficiency Syndrome) BART Museum 86 49 Geary 83 264 Bay Bridge 13, 80, 284, 17 Calistoga 231 77 Geary 83 air travel 286-7 Bay Model Visitor Center car travel 286, 289-90 826 Valencia 151 Alamo Square Park 186, 190 (Sausalito) 224 Carnaval 21, 157 1906 Great Quake & Fire Alcatraz 9, 52-5, 8, 52 Bay to Breakers 21, 23 Cartoon Art Museum 85-6 283-4 alleyways 20 beaches 20, 61, 206 Casa Nuestra (St Helena) 1989 Loma Prieta Quake 284 ambulances 293 Beat movement 118, 119, 229 Amtrak 287 122, 131, 262 Castello di Amorosa Angel island 228 Beat Museum 118 (Calistoga) 229-30 A animals 19-20, 24 beer 30, 32, 270 Castro, the 49, 173-82, accommodations 336 Belden Place 93 239-52, see also AP Hotaling Warehouse 82 accommodations 241, 251 Sleeping subindex Aquarium of the Bay 58 Benziger (Glen Ellen) 236 drinking & nightlife 174, Avenues, the 252 Aquatic Park 57 Berkeley 217-20, 218 177, 180-1 Castro, the 251 architecture 19, 191, 279-82, Bernal Heights 171 entertainment 181 Chinatown 248-9 5, 190-1 bicycling 41, 74, 87, 113, 214, food 174, 176-7 Civic Center & the area codes 296 232, 238, 291 highlights 173-4 Tenderloin 243-7 arts 273-5 bike-share program 291 shopping 174, 181-2 Downtown 243-7 Asian Art Museum 81 bisexual travelers 36-7 -
SJMA Members at the $75 Level and Above Can Enjoy Benefits at the Following Museums: Western Museum Group (WMG)
Reciprocal Membership Privileges: Museum members at the Dual/Family ($75) level and above receive reciprocal privileges at museums affiliated with the Western Museum Group (WMG). Those at the Advocate ($150) level and above also receive reciprocal privileges at museums in both the Museum Alliance Reciprocal Program (MARP), Reciprocal Organization of Associated Museums (ROAM) and also the North American Reciprocal Membership (NARM) programs. Please check with institution for their reciprocity policy. SJMA Members at the $75 level and above can enjoy benefits at the following museums: Western Museum Group (WMG) California Museum of Craft and Folk Art, SF Santa Barbara Museum of Art Other Western States Carnegie Art Museum, Oxnard Museum of Photographic Arts, San Diego Seymour Marine Discovery Center Bellevue Art Museum, WA Fresno Art Museum National Steinbeck Center The Museum of Art & History, Santa Cruz Missoula Art Museum, Montana Fresno Metropolitan Museum Orange County Museum of Art UCR California Museum of Photography Phoenix Art Museum, AZ Long Beach Museum of Art Pacific Asia Museum, Pasadena University Art Museum, Santa Barbara Tucson Museum of Art and Historic Block, AZ Museum of Contemporary Art, San Diego & LaJolla San Jose Museum of Quilts and Textiles The Contemporary Museum, Honolulu SJMA Members at the $150 level and above can also enjoy benefits at the following museums: Museum Alliance Reciprocal Program (MARP) North American Reciprocal Membership (NARM) Reciprocal Organization of Associated Museums (ROAM) Alaska San Diego