Here are some of the photos I took on my walk through of the Jean Paul Gaultier exhibition at the De Young Museum. I walked away thinking the following: A) I think I would fumble all over my words if I met Jean Paul Gaultier, B) I will never look at fiber optics, wire, actual film strips, ribbon, lace, leather, and vinyl the same way ever again (THIS is a good thing), C) I want to meet the curator and theater company that helped produce the exhibition, D) next time, I will be taking a day off from work to go to a high-profile exhibition, and E) any exhibition at a major museum on a Saturday is like being on a crowded train. Enjoy the photos AND if you checked out the show, please feel free to leave comments and share your experience!! 🙂
This post is long overdue. Months ago, I was reading through various art blogs and websites looking for interesting developments in the art world. One of my resources for art news is ArtInfo, having learned about Takashi Murakami’s current work, I saved a draft post and ONLY now just getting back to it (I originally wrote this back in late January of this year!). I still can’t believe it’s half way through April! What the heck? In any case, he is working on a Godzilla-like movie titled Jellyfish Eyes scheduled for release later on this year. Now, if you’re not too familiar with Murakami’s work, he is the artist responsible for Kanye West’s Graduation album cover.
Many Louis Vuitton fans may also remember a line of bags, accessories, and even a New York 5th Avenue store covered in Murakami’s work.
Last year, I read Seven Days in the Art World by Sarah Thornton. Each chapter looks at an important day in the art world (e.g., The Auction, The Crit, etc.). For The Studio Visit, Thornton met with Murakami and some of his staff. One thing that intrigues me is the collaborative effort it takes to manufacture the grandiose pieces. I try to take notice of what makes a particular artist successful and one of the common threads I see (especially across new media artists) is the ability to work with a cross-section of people. Now, I’m not the biggest fan of Murakami’s work but it’s difficult to deny his creative process and prolific production. His work is certainly reflective of human consumption and excess. From album covers (i.e., Kanye West) to the Palace of Versailles, his work is probably the most visually consumed. Reminiscent of Andy Warhol’s art factory, Murakami is an astute artist and business person. It only makes sense that he come out with a movie, right? Right! Quite honestly, I’m really intrigued and will be on the look out later this year.
On a clear, breezy evening on any given opening exhibition night, glowing lights emanate into the street from Meridian Gallery, revealing an exquisite exterior as well as an equally timeless and beautiful interior on the 500 block of Powell Street. The 100-year-old Victorian building certainly perseveres through the city’s constant evolution. Architect C.A. Meussdorffer designed the structure in 1911, and it remains the only single-family home left in such a bustling and highly trafficked area of San Francisco.
Even though the original design and construction was not of a gallery, the space is not too dissimilar to a home. Although, in a different context, Meridian is a home—to artists, educators, writers and young, budding art professionals, as a place to nurture existing skills and learn new ones. Based on the function and architecture, it’s probable that Meussdorffer didn’t intend for the space to become one of San Francisco’s beacons for art and cultural awareness. Yet the staff of Meridian Gallery makes it a home for the San Francisco arts community. The gallery is an exemplary reflection of the city’s diversity and rich, growing culture. As Imin Yeh, assistant director, states, “The space becomes this beautiful analogy for the architectural, political and critical history of San Francisco, and the home is a container for Meridian Center for the Arts’ numerous contributions and relationship to San Francisco’s Past and Future.” But the Financial District is not necessarily known for its alternative art spaces. With its beautiful hardwood floors and three levels of visual arts, Meridian remains one the most unique art spaces in the city. From its location to its architecture, it proves itself as a perfect place for cultivating ideas and serves as fertile ground for artists.
Meridian is widely known for helping break down racial and cultural barriers by showcasing artists with the same goal, in both their works and their art practices. From poetry readings to performing arts, many of the artists work with San Francisco youth to help bridge gaps and bring awareness through the arts. The Meridian Interns Program (MIP) assists high school students in learning more about the business of art, the community and art’s relationship to culture. Yeh reflects on the program’s objective: “It provides San Francisco low-income teens a safe space to work after school that combines real-world arts and administrative job skills with studio practice led by amazing teachers who are also working artists. Participating youths are often faced with complex challenges, including the need to provide financial support for their families. With MIP, they are not only getting the space to engage in artistic projects and job skills, but getting paid wages for their participation.” The program facilitates disciplined practice for students interested in pursuing a career in the arts as well as practical skills for those wanting to learn more about the administrative and curatorial side of running a gallery. MIP enables students to foster a sense of responsibility and to learn valuable business skills.
Although Meridian Gallery was established in the 1980s, the physical space seems to have been made especially for this gallery and community. In looking back, it’s also important to ponder the future, and between the wide array of diverse artists, scholars, curators, volunteers and students, Meridian will certainly see another 100 years in San Francisco.
Upcoming exhibitions include The Painted Word: Paintings, Drawings and Collages by Poets From the Beat Generation Era. To learn more about this exhibition, please visit meridiangallery.org.
On June 16, Zina Al-Shukri and Maja Ruznic will be on exhibition in To Draw, to Transpose.
Originally posted to Asterisk SF Magazine. Please view here.
In the early 20th century, San Francisco felt the effects of disaster. The earthquake of 1906 left the city with crumbled buildings and widespread devastation throughout the downtown area, so art was probably not on the minds of civil servants and residents trying to recuperate and clean a city in disrepair. Artwork from this period in San Francisco history, such as works by Jules Page, showed a San Francisco landscape unharmed by natural disaster; Page’s work captured the vibrancy of the city. In such a digitally laden age, shows may not commonly feature serene paintings of the San Francisco cityscape. But there’s still a deep appreciation for artists who incorporate the city through an artistic lens that gives the viewer a strong sense of the city’s essence.
In searching for a contemporary San Francisco artist who uses San Francisco as a primary element within their work, we found Rio Yañez. At Muddy Waters Coffee House on San Francisco’s popular Valencia Street, a young man wearing a black, Star Wars–themed Dia de Los Muertos T-shirt approaches and kindly greets me. As a native San Franciscan, Yañez grew up on 26th Street to parents who were both visual artists. In the 1970s, his father was a collage artist and curator, while his mother was a painter. Rene Yañez, his father, remains highly active in the Bay Area arts community today. Father and son have co-curated shows and worked in tandem, most recently on a 3-D art project enticing viewers into a rich dialogue both visually and physically. In addition, Yañez created 3-D conversions of his father’s other work. As co-founders of art group The Great Tortilla Conspiracy, the duo silkscreen tortillas with chocolate ink and create edible works of art that serve as both interventions and experimental art.
One of the life-changing events for Yañez was turning to photography in high school. Soon after graduation in the late 1990s, he started the City College of San Francisco associate degree program in photography, marveling at two-megapixel cameras. He found something exciting and rewarding. He moved to Southern California to attend the prestigious California Institute of the Arts (CalArts), where he received his bachelor’s degree in photography. Upon returning to the Bay Area, he wanted to mesh his photography skills with his love and fascination for sequential art. The end results were dynamic artworks that coalesced photography, drawing and new media. His childhood obsession with comic books resurfaced and can be seen in some of his most current works. Yañez continues to work digitally but is exploring
ways that he can apply his knowledge to other formats. With a fascination of moving GIFs, or cinemagraphs, he continues to pay homage to the San Francisco cityscape and memories that shape his spirited and energetic work.
Even with significant differences in medium, the common thread between Page and Yañez is the desire to illustrate San Francisco in a way that captivates and piques the curiosity of the viewer. Both artists utilize San Francisco as a subject, but Yañez shows how the city has grown, developed and changed over the past century. He successfully aims to show his San Francisco in such a way that any viewer—whether newcomer, transplant or native—is more than welcome to join in on the dialogue.
Upcoming Shows: Counterproof: The Other Side of Print at Incline Gallery with The Great Tortilla Conspiracy ~ April 13. To learn more about Rio Yañez visit his website. RioYanez.com
Originally posted to Asterisk SF Magazine. Please view here.
It has been too long since my last Shotgun Review for Art Practical! I wrote about In the Current show, which showcases some phenomenal Iranian artists! Below, you will find my write-up. Please enjoy and I highly recommend stopping by the exhibit. Enjoy!
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In the Currents, an exhibition of Iranian-American artists curated by Taraneh Hemami and Lucy Kalyani Lin, complicates and makes personal the ways in which Iran and Iranian culture are portrayed in much of Western media.
In Azin Seraj’s video installation, kaseye sabr labriz mishavad (bowl of patience, 2012), four Iranians speak about how their lives have been affected by the United Nations sanctions against Iran. Seraj layers the footage of the speakers with that of droplets of water filling a bowl, creating contorted and muddled images of the speakers, though their voices are clearly heard. Curiously, the visual rippling effect forces a viewer to concentrate on the intonation of words—even though only Farsi-speaking viewers are likely to understand them.
Farhad Bahram’s piece, Reciprocal Subject (2012), also complicates the view of its subjects. Like Seraj, Bahram empowers the subjects and makes them anonymous, but they share in the creation of the work. Bahram and each subject simultaneously took pictures of each other in open public spaces, and Bahram arranged the resulting color photos on a board in an apparent order or system that mimics a scrapbook, with names appearing beside each photo. Each of the faces is partially obscured by a camera, frustrating any viewer’s desire to identify the subjects. The public spaces that serve as backdrops add an additional level of neutrality and anonymity. Still, there is a complicity that only exists between Bahram and each subject, leaving viewers curious about their relationship.
Another notable piece, Flag (2012), from Sanaz Mazinani’s series “Conference of the Birds,” uses photographic images to create a patterned flag reflective not of a particular region but of a specific idea. Her flag is rooted in solidarity as opposed to being grounded in a specific physical location. The repeated images coalesce to form a tightly knit pattern that creates a visual mesh of people, places, and cultures. Mazinani’s work, along with that of Seraj and Barham, blurs the expected lines of perception and demands that viewers participate in the act of seeing not only their works but also their culture.
I went to the Night Light: Multi-Media Garden Party at the SOMArts Cultural Center. It was great seeing friends and meeting some wonderful artists. Below, you’ll find some footage I shot of Radka Pulliam‘s piece, Up and Down the Street. It’s quite clever in that the viewer must “look in” the building to “look out” at the street view. The placement was spot on since it was in a relatively inconspicuous place towards the front of the entrance. I noticed people stopped when they noticed someone looking down and ponder the location of the projection.
One of the memorable performances of the evening was the Spanish Contemporary dance routine of Elias Aguirre and Alvaro Esteban. They are amazing. The isolations and articulation of their bodies is best seen in person. If you were at Night Light, you would know exactly what I’m talking about. Fortunately, there is a video of this phenomenal Spanish Contemporary Dance duo.