Robert Marosi BustamanteLincecum's Stride
The George Krevsky Art of Baseball exhibit continues at 550 California St. until mid July.
posted by Phil Gravitt
Robert Marosi Bustamante
The George Krevsky Art of Baseball exhibit continues at 550 California St. until mid July.
posted by Phil Gravitt

I stumbled across Catharine Clark Gallery in the alley next to SFMOMA. The name sounded familiar, so I asked if they used to be somewhere else. Turns out they moved to 150 Minna Street five years ago from 49 Geary. So much for my motto, "Always on the Pulse of the Local Art Scene."
Katchadourian's creativity is boundless. She is possibly the most productive airline passenger ever to ask for more peanuts. Many of her photographs may have been staged right on her tray table, using airline magazines overlaid with peanuts, straws, black fuzz, whatever.
Lavatory lines are already too long, however her photos and videos of Lavatory Self Portraits in the Flemish Style are worth the wait.
The Katchadourian show closes on June 9. If you go in the next 48 hours, suggest wearing fireproof suit and welders helmet left over from recent eclipse viewing, as I had to wade through a Milky Way of flying sparks to get to the Gallery.
The molten light show eminated from the middle of the street, where McGyver was adapting the ends of large black metal pipes with a power saw.
Upon further review, my clothes are intact; the sparks just seemed closer than they were. I'm sure Katchadourian would have captured the sparks and turned them into something special.
posted by Phil Gravitt
For a little exercise, great views and beautiful tile work, visit The 16th Avenue Tiled Steps Project in San Francisco. The 163 tiled steps are an extention of Moraga Street between 15th and 16th Avenues, leading to Grand View Park.
The project was started in 2003 and completed in 2005. The design for the steps was created by local SF artists Aileen Barr and Collette Crucher. The San Francisco Parks Trust, now called the San Francisco Parks Alliance, sponsored the project, with the support of the Golden Gate Heights Neighborhood Association.
There are plenty of landings on the stairway for resting on the way up. The 10 to 15 foot wide open space on either side is filled with an interesting variety of plants, donated and planted by many people and groups, including the San Francisco Succulent and Cactus Society.
It is kind of amazing to think of the time, effort and cooperation it took to create this project, and still takes to maintain it.
It is worth a trip, or just an easy and fun detour off 19th Avenue if you are passing through.
Factoid: There are more than 1000 public stairways and paved paths in the Bay Area.
posted by Phil Gravitt
The exhibition curator is Richard Olsen. Presented by The San Francisco Arts Education Project in cooperation with the Golden Gate National Parks Conservancy.
posted by Phil Gravitt
posted by Phil Gravitt
This solo exhibition of new oil paintings showcases Zolotnitsky's skill at portraying emotional facial expression with limited facial detail.
The show runs through June 12 at Paul Mahder Gallery on Sacramento Street in SF.
The first two weekends in June, Zolitnitsky is participating in East Bay Open Studios, in Berkeley.
Paintings Tolstoy Cuture (left) and Nude on Green (right) shown above from artlondon.com
posted by Phil Gravitt
The videos I found most intriguing were Australian Shaun Gladwell’s Apologies 1-6, six videos running a total of 27 minutes. I saw two of the six videos. In each one, the camera is looking down a different two-lane road blurring and stretching into the desert. A road kill kangaroo lies in the gravel on the left side of the road, fairly close to the camera, and in focus.
In one video, a white tractor trailer and a smaller black vehicle are coming up the road. A motorcycle rider dressed completely in black, riding a black motorcycle, crosses the screen and appears to almost run over the kangaroo. As the motorcycle rider parks nearby and walks toward the kangaroo, it becomes clear that the film is in slow motion and the distances are distorted.
The rider looks like he is almost standing over the kangaroo, however he walks about thirty feet back to the kangaroo from his motorcycle. The tractor trailer and black vehicle, which were close when the film started, are taking forever to get closer.
The motorcycle rider carefully looks over the body of the kangaroo, gently touching its head while brushing away flies. The rider's slow motion hand movements suggest he is wafting incense in a religious ceremony. Eventually the rider picks up the kangaroo and wanders out into the road, as if apologizing for what had happened before he arrived.
Gladwell didn’t stage the kangaroos; each sequence was filmed where the kangaroo was found.
In addition to Shaun Gladwell, the exhibit includes works by Erick Beltrán, Mark Boulos, Keren Cytter, Omer Fast, Ragnar Kjartansson, Amalia Pica, Slavs and Tatars, Cassie Thornton, Dawn Weleski, and Artur Zmijewski.
Photo from Apology To Roadkill 2007, Sydney Morning Herald
CCA Wattis Institute for Contemporary Art
On Apology
April 19 to May 19, 2012
Upper and Lower Galleries, Kent and Vicki Logan Galleries
1111 Eighth Street (at 16th and Wisconsin)
San Francisco
The CCA Wattis building appears to take up the whole block. Many rooms are just walls open to the high ceiling, reminiscent of a short, modern Cow Palace, except with wonderful natural light. Flash mob classes take place in the large wide center of the hall running the length of the building. Chairs, display tables and rolling billboards are moved into place for a class, and when it is over, people and equipment disperse quickly in all directions.
Some displays and projects from various design and graphics classes remain along the side walls. I walked along about 15 feet away, squinting while trying to make out the detail in each one without disturbing the small classes nearby.
One architectural model caught my eye. A large walled patio, built of tan cement, was populated with several white three-legged plastic tables, green and yellow shrubs, colorful curved rocks, and dark pools. Half the patio was shaded by a leaning wall awning above. I wondered why there were no chairs with the tables.
As I got further away, I looked back and realized it was an empty pizza box.
Parking is a little tight at CCA. If you don’t live close enough to walk, and don’t have a bicycle or motorcycle, take a cab. If you drive, I recommend a Smart car with curb feelers, a low profile windshield wiper, and the bumpers removed.
posted by Phil Gravitt



posted by Phil Gravitt