Sunday, March 24, 2013
The "Snow White and the Seven Dwarfs" show at the Disney Museum was more interesting that I thought it would be. I think that "Peter Pan" was the first cartoon that I remember seeing, which lead to some interesting experiments in thinking that I could fly. Hey, I was only 7. But the show was a revelation to see how skillful and detailed the early cartoons were.
Thursday, March 21, 2013
The basement concert room of the school is adjacent to the Jazz Cafe, about a half block from the Addison/Shattuck exit of the Berkeley BART station, right near Berkeley Rep.
The night I was there, I enjoyed hearing a piano player accompanying a procession of young jazz singers. I left during the set break, after which a jazz ensemble was to perform.
Most nights are free, including a special event this Sunday, Jazz Search West 2013 talent search.
Wednesday, March 20, 2013
Govaert Flinck’s Landscape with an Obelisk (1638)
On Monday, March 18, the art world was galvanized by the information that the FBI has identified the perpetrators in the $500 million art heist at the Isabella Stewart Gardner Museum in 1990. Investigators have long been baffled for decades over the theft.
Friday, March 15, 2013
Yemen "apartment house." @ Naftali Hilger
Jewish Community Center of San Francisco: Jews of Yemen; photographs by Naftali Hilger. Israeli photojournalist Naftali Hilger’s photos of the Jews of Yemen takes us into a world of ancient traditions. One of the few outsiders allowed within the community, he returned six times between 1986 and 2008. Hilger, who will host a gallery tour and talk on March 19th, presents this ancient world in all its elegance and spare grace.
Women cook over wood stoves in rooms with white washed walls, a boy studies the Torah with an elder-images of a world lost in time and threated by contemporary Islamic politics. Most of the images are domestic but one stands out – a photo of a man standing by a rock in the desert close to Saudi Arabia. According to the caption, Jews who left the area in the past 130 years wrote their names on the rock before leaving their country.
Where: Katz Snyder Gallery, Jewish Community Center, 3200 California St., S.F.
When: 8 a.m. to 10 p.m. Mondays-Thursdays, 8 a.m. to 6 p.m. Fridays-Sundays; closes April 30 Admission: Free. Contact: www.jccsf.org
Note: Hilger will lead a gallery tour and lecture at 7 p.m. March 19.
What do indoor clouds, Google Street View and Dutch masterworks have in common? Find out at a unique evening event hosted by the SFAC Galleries in conjunction with its current exhibition Conversation 6. The SFAC Galleries brings together the de Young Museum’s special exhibition Girl with a Pearl Earring: Dutch Paintings from the Mauritshuis assistant curator Melissa Buron of the Fine Arts Museums of San Francisco, and renowned photographer Doug Rickard to expand the dialogue around the exhibited works of Dutch installation artists Bernadnaut Smilde, who will be visiting from Amsterdam.
Moderated by Galleries Director and exhibition curator Meg Shiffler, the panel will draw conversational threads that will enliven a broad discussion around major themes such as documentation, site, ephemerality vs. permanence, and “truth” in image making. This program is made possible through the generous support of the Graue Family Foundation.
When: Wednesday, March 20th, 6-7:30 p.m. . Where: Koret Auditorium, SF Library, Main Branch, 100 Larkin Street, lower level. S.F. Arts Commission Gallery. 401 Van Ness Ave. http://www.sfartscommission.org/
Monday, March 11, 2013
When Gary Winogrand died at age 56 of gall bladder cancer, he was considered one of the greatest documentary photographers of his era. A native New Yorker, he walked the length and breadth of America's streets, taking what seemed to be casual snapshots of people going about their daily business.
But the bulk of his work was unknown. That is not to say he was unknown or unappreciated. By the time of his death in 1984, he had a Guggenheim fellowship, was featured in Edward Steichen's classic "Family of Man" exhibition at the Museum of Modern Art, and later figured prominently in two major photography shows, also at MoMA, curated by Steichen's successor John Szarkowski, one of Winogrand's early champions.
|New York. 1962|
At the time, Winogrand tapped into the tumultuous zeitgeist of the 1960's, an era soon to come to a roiling boil. He applied for his grant in the early 60s, at the height of the Cuban missile crisis, when nuclear war suddenly had become a terrifying possibility.
In his grant application Winogrand complained that the mass media "all deal in illusions and fantasies. I can only conclude that we have lost ourselves and that the bomb may finish the job permanently, and it just doesn't matter, we have not loved life. I look at the pictures I have done up to now," he wrote in 1963, "and they make me feel that who we are and what we feel and what is to become of us just doesn't matter. I cannot accept my conclusions, and so I must continue this photographic investigation further and further."
|Coney Island, 1952|
Guest curator Leo Rubinfien, an old friend and student, along with Erin O'Toole, a curator at San Francisco's Museum of Modern Art, and Sarah Greenough, senior curator of photographs at the National Gallery of Art, have mined this treasure trove to produce the first major Winogrand retrospective in almost three decades. The show took the three curators three years to put together, because those 6,500 undeveloped rolls were bolstered by 4,100 rolls that Winogrand had processed but not transferred to contact sheets, for a total of nearly 400,000 unknown images.
|LA, Venice Beach. 1980-84|
Winogrand gives us no answers. But he wasn't looking for answers. "The fact that photographs — they’re mute, they don’t have any narrative ability at all. You know what something looks like, but you don’t know what’s happening, you don’t know whether the hat’s being held or is it being put on her head or taken off her head. From the photograph, you don’t know that. A piece of time and space is well described. But not what is happening." (interview with Bill Moyers, WNET, 1982)
One thing is clear - the era of "Mad Men" was much more perplexing and unhappy than the world deified on TV by Don Draper and his chauvinist, cigarette puffing cohorts.
The massive exhibit is overwhelming, which is fitting given how prolific Winogrand was. The show is organized in a loosely linear fashion: "Down From the Bronx" (earlier work shot primarily while he was living in New York), "A Student of America" (his work from the mid-'60s through the '70s, from all over America), and finally "Boom and Bust" (mostly shot in Southern California, and much of which has never been viewed).
Hanging on the walls, intermingled with his photos, are Winogrand's original contact sheets, pieces of this three Guggenheim Fellowship applications, letters to his daughters, and other personal artifacts.
The final summation, if one can make a final summary of such a prolific photographer, was encapsulated by John Szarkowski, in his book on Winogrand, “Fragments from the Real World.” (MoMA, 1984).
|New York. Opera. 1952|
All images courtesy of SFMOMA: Barry Winogrand Archive, Center for Creative Photography, University of Arizona; © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco
Source: http://www.sfmoma.org/exhib_events/exhibitions/452#ixzz2NHIHUBRd San Francisco Museum of Modern Art
Thursday, March 7, 2013
Before San Francisco was the jewel of the West, it was a hard-drinking, hard-fighting dirty town. This historical recreation will feature rare archival footage of the vice side of San francisco, live music, food and one complimentary drink included with admission. Additional drinks available with $5 donation to the San Francisco Museum & Historical Society.
The Old Mint. 88 5th St, San Francisco, CA 94103
Allison Renshaw. Her first Bay Area solo show, "Better Than Candy," features her recent work on a theme of convergence. As in our day-to-day reality, genres, cultures and styles collide, and new stories emerge. Through April 6. Mirus Gallery, 540 Howard St., S.F. (415) 543-3440. www.mirusgallery.com.
At the de Young Museum: Eye Level in Iraq: Photographs by Kael Alford and Thorne Anderson
This exhibition presents the photographs of Kael Alford (American, b. 1971) and Thorne Anderson (American, b. 1966), two American-trained photo journalists who documented the impact and aftermath of the US-led allied invasion of Iraq in 2003. They made these photographs during a two-year span that began in the months leading up to the allied invasion in spring 2003 and covers the emergence of the armed militias that challenged the allied forces and later the new central Iraqi government.
The photographs were made outside the confines of the U.S. military’s embedded journalist program, in an attempt to get closer to the daily realities of Iraqi citizens. The photographers wanted to show Iraq from an important and often neglected point of view. This shift in physical perspective placed them in great danger, but they sought to learn how the war, and the seismic political and cultural shifts that accompanied it, were affecting ordinary people.
Baghdad fell to the allied forces on April 9, 2003. A decade later, reflecting on why this work was made, Kael Alford has stated “I consider these photographs invitations to the viewer to learn more, to explore the relationships between public policy objectives and their real world execution and to consider the legacies of human grief, anger, mistrust and dismay that surely follow violent conflict. I hope that these images will also open a window on the grace of Iraq and perhaps help to give a few of these memories a place to rest.”