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.
July 30, 2016 § Leave a comment
VIDEO | Dede Wilsey recalls how she helped bring treasures from the Musée d’Orsay in Paris to San Francisco.
THE BOMBSHELL many people had been expecting — and some had been hoping for — came last Sunday when a pair of crack Chronicle columnists reported that longtime president Dede Wilsey was stepping down from the helm of the Fine Arts Museums of San Francisco.
The story was picked up by The New York Times and others, including an extensive report by KQED.
But it appeared to be news to Dede Wilsey herself. On Facebook, one of her friends posted a message she’d sent:
Dear Ann, thank you so much for your kind words. In actual fact I have not resigned from the museum board. I am still the president and I expect to be president for a long time. That whole article is pure fabrication and I have my attorney working on it. Please spread that word, if you would, because I am on the East Coast and can’t really defend myself from here. Much much love, Dede
By the end of the week, the Chronicle’s new art critic took his turn in a story headlined, “Dede Wilsey pile-on isn’t fair.”
Stay tuned. This could get interesting.
MORE from The New York Times: “No quiet exits”
STILL MORE: “The defiant socialite”
Embattled philanthropist Dede Wilsey, who waged an all-out campaign to stay on as head of the Fine Arts Museums of San Francisco amid probes into whether she improperly spent the institutions’ money, has won approval to extend her reign as the city’s queen of culture — although with a new title and possibly less power.
Wilsey called the changes “minimal — none — and mostly at my request. I’m delighted.”
March 4, 2016 § Leave a comment
REVIEW | JEROME TARSHIS
When I first read that the Legion of Honor in San Francisco was going to have a Pierre Bonnard show, I looked forward to an hour or two or three devoted to simple pleasure. “A happy painter of happy pictures” was the idea I’d been carrying in my head.
What’s more, I had a memory to go with the idea. Many years ago the Museum of Modern Art in New York had a Bonnard show on the same floor as a show of Robert Motherwell’s sad paintings collectively titled Elegies to the Spanish Republic. (By sheer chance, I trust, San Francisco’s De Young Museum opened a small show of the Elegies last fall.)
At MOMA, all those years ago, the Motherwell galleries were empty and the Bonnard galleries crowded with people who wanted happy pictures. And so, looking at the title of the current retrospective, Pierre Bonnard: Painting Arcadia, I thought I was in for another “happiness wins, elegy loses” comparison, on a large scale. The exhibition was organized jointly by the Fine Arts Museums of San Francisco, the Musée d’Orsay, in Paris, which has the world’s leading Bonnard collection, and the Fundación MAPFRE, in Madrid.
Nothing so simple. There are enough outwardly happy pictures to be going on with, but my overall impression was that the subtitle could have been and possibly should have been Painting Arcadia, or, the Ambiguities of Pleasure.
December 10, 2015 § 2 Comments
By JEROME TARSHIS
The New Fillmore
Like California itself, like the fair of which it was a part, the art exhibited at the Panama-Pacific Exposition of 1915 looked two ways.
In principle the fair celebrated recent accomplishments made possible by big money and entrepreneurship: the completion of the Panama Canal and the rapid rebuilding of the city after the earthquake and fire of 1906. From the time of the Gold Rush, San Francisco had been a place where people could make a lot of money very quickly by exploiting the latest technology. Taking the edge off that reality, the city cultivated an image of Mediterranean charm, offering food, wine and art — in addition to venture capital.
The artistic aspects of the fair also looked two ways. Its buildings were in soothing pastel colors; the architecture looked back to a tranquil agrarian past; but many of the exhibits were devoted to the high-speed wonders made possible by machines and electricity and gasoline if not yet by silicon.
The De Young Museum’s “Jewel City” show reflects both aspects of the fair. From all accounts, the more than 11,000 artworks exhibited at the fair must have included vast swaths of instantly forgettable art, and the 200-odd works exhibited at the De Young certainly offer many soporific moments.
Among all the academic genteelism and quickly pleasing Impressionism, however, there are more than a few pleasant surprises. Here a portrait by Oskar Kokoschka, there a provocation by Edvard Munch, and even among the usual suspects as they would have been listed in 1915, strong work by Cecilia Beaux and John Singer Sargent, among others.
The gallery devoted to pictorialist photography looks tranquil enough. By way of a surprise, the exhibition offers the earliest known work of Ansel Adams, a soft-focus print made when he was 13 years old. His father, far from keeping the boy’s nose to the grindstone, gave him a PPIE pass and ordered him to go to the fair every day instead of wasting his time in high school.
“Prints of the Fair,” a supplementary exhibition on the main floor of the De Young, is worth more than a passing glance. Predictably, it offers high-quality work by Whistler and other artists who were influenced by Japanese art and design. Less predictably, it offers a far less tranquil section of prints addressing the urbanization and mechanization of America.
The exhibition ends with a gallery of avant-garde art that pushes a bit farther than New York’s Armory Show did in 1913. Almost as if to echo the high-tech aspects of the fair in general, the art shown at the Palace of Fine Arts included a large selection of Italian Futurist work, as the Armory Show did not.
James A. Ganz, the principal curator of the show, says he intended that contrast to shake up visitors to the De Young. “They’ll experience that surprise, that same shock, that visitors did in 1915,” he says, “when having been soothed by the harmonious color scheme of the Jewel City and French Impressionism, they found themselves in a raucous roomful of paintings by Boccioni, Russolo and Severini.”
The passage of time has made the respectable art seem less worthy of automatic acceptance and made the perversity of the avant-garde seem less novel, but the sense of surprise and discomfort is still there.