April 5, 2019 § Leave a comment
IT ALWAYS SEEMED a bit incongruous, at the very least, to walk into Susie Tompkins Buell’s penthouse atop the 2500 Steiner Street tower in San Francisco — a full-floor flat with 360-degree views of the city and the bay — and be confronted by images of the Depression.
She was a serious photography collector for decades, and the collection she built has been called “one of the finest and most select collections of photography in private hands.” Back in 1996 she said: “I wanted to collect photos with real social significance — I didn’t want to collect just pretty flowers.” And she did, acquiring straight-to-the-gut images by Dorothea Lange, Edward Weston, Tina Modotti and other revered photographers, just as photography was becoming a more respected and collectible art form. She helped to make the market for fine art photography.
Now her collection has been dispersed into other hands, in other neighborhoods. On April 4, the Phillips auction house in New York offered 58 images from her collection, including these three by Tina Modotti. View the collection and the auction results here.
Read more: “Susie Tompkins Buell: A Collector’s Story ”
March 30, 2019 § Leave a comment
THE CROCKER ART MUSEUM in Sacramento has received more than 1,800 works of art by Paul Wonner and William Theophilus “Bill” Brown and established the Paul Wonner and William Theophilus Brown Endowment Fund.
In accordance with the artists’ wishes, the fund will support museum projects relating to emerging artists or lesbian, gay, bisexual, transgender, queer, or questioning and intersex artists.
By 2023, the Crocker Art Museum will use the fund to mount an exhibition of the work of Wonner and Brown — the most comprehensive show of the artists’ body of work ever presented — and produce an accompanying catalogue.
“Paul Wonner and Bill Brown were trail blazers, both individually and as a couple,” said the museum’s associate director and chief curator, Scott A. Shields. “It is wonderful that their legacy will live on, not only through their own art, but though their forward-looking support of other artists. It is what they wanted, and everyone at the Crocker is honored to be able to realize their vision.”
Read more from the Crocker Museum
March 26, 2019 § Leave a comment
By THOMAS REYNOLDS
He’d lived in the flat on California Street for 37 years. Suddenly late one afternoon Jim Scott realized something was wrong. He called 911 and tried to answer all the dispatcher’s questions. Finally he told her: “Look, I have to get out of here. My room is full of black smoke.”
Sparks from a welder working next door had started a fire. The squadrons of firefighters soon on the scene flooded the blaze before it reached Scott’s apartment — but only after they had bashed in his ceiling and windows, leaving his home a soggy and smoky mess.
In his book, The Al Tarik, Scott, now 96, gently unfolds the story of the three years that followed and landed him in a residential hotel on Sutter Street he describes as “a century-old San Francisco pile” that is “a refuge for those like myself who in their last years have been roughed up and tossed on the rocks and shoals.”
At first his landlord assured Scott he would be back in his apartment within a few months. He moved in temporarily with a neighbor across the alley. But as the renovation of the building languished, he needed another place to stay, and found no good options. So he moved back into his charred apartment.
“There was no heat or light, but the water was still running,” he writes. “It was much better than the Tenderloin cesspool I had fled. On my first night in what had been my old bedroom, I looked up through the blackened rafters to the shingles of the roof, which roared with a great downpour and thunder while lightning lit the plastic sheets stretched over the window spaces. Oddly, it all felt elemental and reassuring and that something positive could now happen.”
October 17, 2018 § Leave a comment
ON A RECENT VISIT to the Crocker Museum in Sacramento, artist Kim Frohsin rounded the corner to visit the work of old friends from the Bay Area Figurative movement and found her own “Grasshopper Pie” from the 1993. It was in good company, with an Elmer Bischoff landscape and a Manuel Neri sculpture nearby.
“Since the early 1950s, when the Bay Area artists David Park, Elmer Bischoff, Richard Diebenkorn and others began to return to representational motifs, California artist have pursued abstract depictions of the human figure,” the label noted. “Few have done so with the consistency of Kim Frohsin, who finds fresh inspiration in figures both nude and clothed, indoors and out. Flat and patterned, Frohsin’s figures often seem to become one with their environment, such as this woman at a bakery counter.”
October 11, 2018 § Leave a comment
FIRST PERSON | KIM FROHSIN
These four paintings on panel were created in succession during 1991, “my year of the ruler” — as in using the literal measuring tool to make marks or hold a brush load of paint against. That was my 30th year, near the beginning of my three-decade career in fine art.
I was then — as I have been in the decades since — exploring new subjects and new ways of making work. My exploration was informed by direct, concrete, personal life experience, and also by intuition, imagination and risk-taking.
These particular small works were borne during many months of making paintings on paper and panel that were as close to pure abstraction as I have ever come. In 1991, while walking in the hot Scottsdale, Arizona, sunshine, I made a simple linear drawing of a white tent. Then, back in San Francisco, this minimal drawing was the spark for a flood of work, over many months, which had as its core subject a house or tent shape. Numerous “architectonic” paintings evolved.
These four “scapes” were directly influenced by a 30th birthday gift from my grandmother: a trip to Turkey. These paintings in a muted palette, completed post-trip, stem from memories of our travels and things arid, ancient and beige.
The elements of earth, sky and water appear in these four, along with a sense of vastness and timelessness. They each are anchored by fictional objects and shapes: a floating mound as black mass, a berm of land with a steep linear road, a castle-like silhouette and wall, a banner shape like an enormous volleyball net. They seem expansive in their small-scale format. Yet they are condensed and quiet — an internal distillation of that lovely gift of travel to an ancient place.
Like all of my work, this group of four paintings are autobiographical. Until now, I’ve held on to them like entries into my private diary. In 2017, I finally decided to take them out of my youthful handmade frames and have them professionally framed. This year I am finally ready for them, for the first time, to go out into the world.
August 12, 2018 § 1 Comment
I’D HAD COFFEE with Kelly Johnson — or at least said hello — almost every day for many years. He was a regular at Peet’s on Fillmore, our neighborhood gathering place, with tales to tell from his colorful artistic life as a childhood vaudeville star who later created a modern dance studio on Fillmore Street, helped put the Berkeley Symphony Orchestra on the map, and was himself a dancer and a concert pianist. One day in April he called and asked me to come by his third-floor flat, less than half a block from our usually sunny coffee corner.
We’d talked a few times about my interest in hand-hammered copperwork from the Arts & Crafts era. He’d told me he knew Armenac Hairenian, a noted coppersmith whose shop was just across the street from his flat. He had a pair of copper candelabras Hairenian made for him half a century ago as a birthday gift. He’d promised to invite me over and show them to me, and I was looking forward to it.
I climbed the stairs to his flat and found Kelly sitting on the red couch in his round-bayed living room overlooking the heart of Fillmore Street. It was a beautiful old rambling Victorian flat he’d called home since 1969. His daughter was visiting, and she brought in the candelabras. “I want you to have these,” he said. As he was telling their story and recalling the many dinner parties on which they cast their glow, I pulled out my iPhone to record his recollection of this important but little-known coppersmith. Kelly was one of the few people left who remembered him.
THEN HE DROPPED A BOMBSHELL. I knew Kelly was not well, and that it was increasingly difficult for him to leave his apartment, even to go to Peet’s. He said he was giving away a few choice possessions, and that his daughter had come home to help him die. He had decided to end his life on May 7 under the procedure authorized by California’s new End of Life Option Act.
Moved and shaken, I went back to my office and put together a short video about the candelabras. It was a bittersweet project that would also save a memory of Kelly in his final days. But I knew I was not telling the most important story I had heard that day. So I asked Kelly if I could come back and make another video, this one about him and his decision to end his life.
Kelly was game. He’d been a performer all his life, and he had a message he wanted to share. The video turned into a much more elaborate production capturing Kelly’s final two weeks and the end of his life. It was an intense project created with a talented young journalist, photographer and filmmaker fate brought along at just the right time. A Dance With Death premieres at 7 p.m. on August 15 — three months after Kelly died — at our century-old neighborhood theater, located on the same block where Kelly lived for half of its history.
— Thomas Reynolds
July 6, 2018 § 2 Comments
A MAGICAL THING sometimes happens when an unexpected door opens. The excellent Precisionism exhibition at the de Young Museum in San Francisco starts off with two of the few surviving paintings by Gerald Murphy. Who?
Gerald Murphy’s introduction to painting began in September 1921 when he happened in Paris to come upon some paintings by Pablo Picasso, Georges Braque and Juan Gris. “I was astounded,” he said. “My reaction to the color and form was immediate. To me there was something in these paintings that was instantly sympathetic and comprehensible.”
He began immediately to take lessons from the Russian painter Natalia Goncharova, and in the next seven years he completed 14 paintings, of which only seven have survived, and it is on these seven that his reputation rests.
It is said that although the artist chooses his subject, at times it seems rather that the subject has chosen the artist. Such was surely the case with Gerald Murphy. Outwardly his life on the Cote d’Azur was the essence of gaiety and vitality. It was not the bright colors that surrounded him on every side that he chose for his canvases, but the somber tones, the 14 shades of gray in Watch (1925) that overwhelm the watch’s gold encasement. His greatest paintings depict with great objectivity and precision the triumph of time and death.
— William Jay Smith in Making It New