February 19, 2017 § Leave a comment
Q & A | KIM FROHSIN
What is the creative process like for you?
To date it’s one in which one series or interest will somehow, in a deeply intuitive and subliminal way, lead naturally into the next work. To me, it seems like an innate flow and natural transition typifies my modus operandi over the last 29 years. There have certainly been times when my art is directly influenced by life circumstances or my reaction to those circumstances. Life on a personally intimate scale or on a large scale — for example, the death of my dog, or my reaction to 9/11. The art can serve sometimes as documentation, therapy or an emotional necessity for self-expression; the art simply emerges, life translated into imagery.
January 26, 2017 § Leave a comment
CHRISTO HAS CALLED OFF “Over the River,” a project long in the works for a pastoral stretch of Colorado, as a protest against the new national landlord. But preparatory drawings already hang in the pantheon of Christo’s work in a small and unlikely museum: the off-the-path country post office in Valley Ford, California.
January 9, 2017 § Leave a comment
REVIEW | JEROME TARSHIS
During the early and middle ’60s, when I was thinking about moving from New York to San Francisco, one of the inducements was that Bruce Conner lived here. My avant-garde film friends thought his first film, A Movie (1958), was an instant classic, followed by one success after another.
The objects he made — assemblage sculptures — were being shown at major galleries in New York, London, Paris, Rome and Mexico City. He was in great collections on both sides of the Atlantic. Not bad for a 30ish artist born and brought up in Kansas.
A more complicated Bruce Conner is the subject of “It’s All True,” his fullest retrospective so far, almost worshipfully received earlier this year at the Museum of Modern Art in New York and now at SFMOMA through January 22.
In 1965, Conner wrote to his poet friend Michael McClure that he had “a feeling of death from the ‘recognition’ I have been receiving. I feel like I am being catalogued and filed away.”
Unlike New York, San Francisco offered him an art scene in which very little avant-garde work by serious artists was sold. The artists could complain they were being ignored and, at more or less the same time, feel relieved they were outside what Conner referred to as “the art bizness.”
December 15, 2016 § Leave a comment
IN 1939, after seeing his Hanna House at Stanford, Sidney and Louise Bazett retained legendary architect Frank Lloyd Wright to design a new house for them nearby in Hillsborough, south of San Francisco.
When construction began the next year, the Bazetts agreed to Wright’s request that one of his apprentices, Blaine Drake, come to the site during construction to supervise and make sure Wright’s intentions were being carried out — with the apprentice to be housed and fed by the Bazetts.
Even during construction, the house was already attracting attention, and another legendary architect stopped by to take a look. As the roofs were being finished, Blaine Drake reported to Wright: “Bernard Maybeck, the architect, was over to see the house — he was both puzzled and intrigued.”
— From Frank Lloyd Wright and San Francisco by Paul V. Turner
November 20, 2016 § 1 Comment
THE HAMLET OF Valley Ford hasn’t changed much in the last four decades. There’s more traffic, of course: It’s located on scenic Highway 1, and Bodega Bay is just 8 miles to the west. But Dinucci’s Italian Dinners is still there, serving the family-style meals that made its initial reputation more than a century ago.
Local ranchers still come to the Valley Ford Market for coffee and the latest talk on lamb prices and government regulation. And the land itself seems immutable: The rolling pastures broken by eucalyptus windbreaks — speckled with fat sheep and sleek cattle — present a prospect as timeless as the nearby Pacific Ocean.
But something happened here 40 years ago that changed everything. A discreet monument marking that event stands at the Valley Ford post office, a single, corroded metal pole 18 feet high, with a small commemorative plaque at its base. It was at this spot that Running Fence came through, completed on September 10, 1976.
VIDEO: In Valley Ford, the post office is also a museum of Christo’s work.
November 6, 2016 § Leave a comment
By MATT GONZALEZ
For several years in the early 1950s, Paul Wonner returned to a subject matter in his art making practice: the painting of a still life with femme au coq, translated from the French as woman with rooster. Anyone familiar with modern European painting would recognize the motif as it was explored by many artists, including Pablo Picasso and Marc Chagall. The trope presents the rooster as a symbol of sexuality, virility and fertility. Paired with the woman, it exalts romantic love and the heterosexual coupling traditionally associated with marriage.
It is curious that Wonner would find the subject matter interesting enough to return to it over the years — at least four known times in a four- to five-year period — while he was a student at U.C. Berkeley. Of course, painters often return to the same landscape, or paint a subject’s portrait repeatedly, but the painting of a subject that is so allegorical and laden with symbolism is not as common. It suggests Wonner was intrigued by or wrestling with its meaning in connection with his own life and art.