Issue 6 - SFAQ / NYAQ / AQ

SFAQ
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W E S T C O A S T A R T S A N D C U LT U R E
Jay DeFeo
Jens Hoffmann
Kathan Brown
Bay Area Latino Arts Part 1: Enrique Chagoya - MENA Report Part 1: Istanbul Biennial with Jens Hoffmann - Scales Fall From My Eyes: Bay Area Beat Generation Visual Art as told to Paul Karlstrom - Peter Selz - Crown Point Press: Kathan Brown
SFAQ Artist Spread - Paulson Bott Press - Collectors Corner: Peter Kirkeby Flop Box Zine Reviews - Bay Area Event Calendar: August, September, October West Coast Residency Listing S A N F R A N C I S C O A R T S Q U A R T E R LY I S S U E . 6
ROBERT BECHTLE
A NEW SOFT GROUND ETCHING
Brochure available
Three Houses on Pennsylvania Avenue, 2011. 30½ x 39", edition 40.
CROWN POINT PRESS
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The Sixth Los Angeles
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September 30 - October 2, 2011
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Ceramics Annual of America 2011
October 7-9, 2011
ART FAIR
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For more information contact:
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DECEMBER 1 - 4, 2011
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*Ao05141*
Tessie Wall lived here. Meridian celebrates the history of its home on Powell Street, its architect and its early inhabitants with the House at 100
Arts Festival September 24th to November 26th, 2011 and Love and Bullets: a San Francisco Love Story, a fundraising gala filled with tango,
historic libations, and costumed revelry on the evening of November 12, 2011.
Including:
Exhibition by David Linger, Sandra Beard, Kimetha Vanderveen,
curated by Theres Rohan. Talk by historian Gray Brechin. Readings by
Herb Gold, Lawrence Ferlinghetti and Jack Hirschman. Classic film
screenings on the Barbary Coast. Profound Fatigue an intermedia
performance installation by M. Mara-Ann. Concerts with music and
instruments of the period. Performances by Alexis Iammarino, Fred
Frith, and Amy Lewis. Textile workshops by artist and costume
historian Erin Algeo.
san francisco
art and design
show & sale
featuring 40 premier
national and international
exhibitors presenting
decorative and fine arts
from all design movements
of the 20th and 21st century
including furniture, lighting,
sculpture, paintings, glass,
jewelry, silver, ceramics,
photography, textiles, prints,
rugs, and contemporary art
and sculpture.
and presenting
21POP
a collection of ateliers
of contemporary
crafts people
a rare tripod fauteuil by
joseph-andre motte
france c. 1949, hedge gallery
SFMOMA purchase through a
gift from sf20/21 designers
forum
preview gala
benefiting the san francisco
museum of modern art
thursday, september 15, 2011
show & sale
friday, september 16 to
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Exile and the Kingdom Also
Owen Takabayashi
Ever Gold Residency August/September 2011
Opening Reception: Thursday, September 1st 2011
Exhibition Ends: Saturday, September 24th 2011
art fair
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2011 9.30 – 10.2, 2011
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SFAQ
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ART ETIQUETTE
Questions on Conceptual Art
&
Art World Complaints
by Tom Marioni
Premiering in Issue 7
Submit your Questions & Complaints
by September 20th, 2011
submit to info@sfaqonline.com
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1\S` Enrique Chagoya
Written by Julio Céaser Morals
portrait Linda Cicero
20
“For me the first ‘illegal aliens’ were the Conquistadores
and the Pilgrims because they arrived without passports
and broke the law of many Indigenous nations across
the Americas. Most of them were economic refugees,
or were escaping the oppression in Europe. Some
were also criminals. Therefore, they were very similar
to contemporary “illegal aliens.” This country owes its
creation to illegal immigration.”
Enrique Chagoya, Untitled (Shoes), 2004, Charcoal, pastel on paper mounted on canvas, 60” x 60”
First feature in a series of interviews with
Bay Area Latino artists and curators.
Not many people are aware that you where the director of Galeria de La
Raza in the 90’s. Can you talk about your experience and what the San
Francisco art scene was like at that moment in time?
I was the Artistic Director there from 1987 to 1990. It was during the time of the so-called
“multiculturalism”, which I think was mostly a fad in terminology that did not bring any
significant changes to artists of color or women in terms of their access to the main stream
art world. Even prior to its creation in 1970, the Galeria has been short on presenting solo
exhibitions to women artists. Although, to be fair, the Galeria they did have a couple [women
artists] and most of the shows were thematic and inclusive not only of women, but of nonLatino artists.
When I was invited to take care of the exhibitions program I decided to have the solo shows
dedicated to women artists like Cristina Emanuel, Ester Hernandez, Yolanda Lopez, Graciela
Iturbide, Barbara Carrasco and Juana Alicia (that last two exhibited together in a two person
exhibition). We also continued thematic exhibitions implemented by the previous directors,
Rene Yañez and Ralph Maradiaga, such as Day of the Dead and politically focused exhibitions
like Beyond Prison Walls/Art by Puerto Rican Political Prisioners. In my three years at Galeria de la
Raza, Day of the Dead exploded. We coordinated the exhibition with two other organizations,
the Mission Cultural Center, and La Raza Graphics (long time gone). The Day of the Dead
procession on 24th Street went from about eight hundred people in 1987 to about five
thousand people in 1990 (that was more like a demonstration). I invited artisans from Mexico,
like the papier-mâché artists Miguel and Ricardo Linares and the sugar skull maker whose
name I can’t recall right now. We exported Day of the Dead to other places like New York City
at the New Alternative Museum where I was co-curator with Sal Garcia and the exhibition
marked the first Day of the Dead in that city. In 1990 the Smithsonian invited us to exhibit
Day of the Dead, but that was the year I renounced my job to start teaching at Berkeley and
subsequently, the exhibition never happened.
Also, I was interested in bringing young artists from Mexico and in 1990, with the support
of the Festival 2000 promoted by Rene Yañez, I was able to invite artists Gabriel Orozco
(before he was so famous), Silvia Gruner, and Eugenia Vargas (a Chilean living in Mexico City
at the time). We also exchanged exhibitions with Germany, Russia, and Puerto Rico. I was
also co-curator of a drawing show with Larry Rinder for the Drawing Center in New York.
It was an amazing experience for me. I was getting more and more involved in curatorial
projects. Unfortunately, it was all taking a lot of my time making it difficult to make my own
work for which I was receiving more and more calls to exhibit. So, when I got an invitation
to teach for a year at the UC Berkeley Art Department I decided to take a chance. I quit
my job at the Galeria, which was pretty stable, and went to teach at the risk of being out of
work within a year. I guess I just gave priority to making my artwork and teaching gave me
more time to make more of it. I still have great memories of the Galeria. I believe the current
director, Carolina Ponce de Leon, has done a terrific job keeping it updated with new artists,
and exciting shows.
Artists that are first generation Latin-American immigrants to this
country do not want to be identified as Latino. Do you think there is a
shift in how artists of Latin decent in the U.S. are actively avoiding being
Latino or Chicano and if so, why?
The “multikultis” were gone a long time ago and now everybody seems to be “global.” Identity
issues are more off the front page for many Latino artists. However, there is a very strong
xenophobic wave in this country, which started after 9-11 where suddenly the Southern
border is a threat (even though all the terrorists responsible of the tragedy of September
11 came from the Middle East through Europe, or Canada, via legal immigration) and this is
creating a Latino grass roots movement. I hope this will bring a fresh wave of emerging Latino
artists addressing such discrimination. Most of the time we hear the term “illegal aliens” used
to refer to dark skin undocumented immigrants, mostly Latin Americans and Mexicans. For
me the first “illegal aliens” were the Conquistadores and the Pilgrims because they arrived
without passports and broke the law of many Indigenous Nations across the Americas. Most
of them were economic refugees, or were escaping the oppression in Europe. Some were
criminals too. Therefore, they were very similar to contemporary “illegal aliens.” This country
owes its creation to illegal immigration. We are all a part of it, and sometimes my art reflects
my experience of that view. I became an American citizen more than a decade ago and I am
proud of it, but inside I often feel like a citizen of a borderless country. Where humanity is all
from the same country, and borders (geographical and social) are an ideological construct, a
line in our minds. Unfortunately, some borders with invisible lines are very real and it takes
a long time before people cross them to realize that in spite of our many differences we are
the same species.
You mention that your work is based on the idea that History is told by
those who win wars. Has your conceptual practice been affected by our
current government now that Obama is president, we’ve ended the eight
years of George Bush in the White House, and have apparently killed BinLaden? If so, how?
The current political reality is just as complex and unresolved as ever. President Obama
promised more than what he has been able or willing to deliver, and the ruling financial
oligarchy (the marriage of financial/industrial capital with government) has been getting away
with everything regarding its role on the recession (or should we say depression) it helped
Enrique Chagoya
Poor George - After PG (24.32), 2004
India ink on paper
14” x 17”
to create during the kingdom of the “free” market economy. Everybody is amazed to see that
some of the same people that participated in such a mess are still in positions of power in
financial institutions (public and private). It is scary to see, since the 1970’s, how every time a
bubble bursts it gets bigger, while each time Wall Street is responsible and each time there is a
bail out by the government followed by attacks on government intervention in the economy
by the same private sector that benefits from it. Just read the theories of Economists like
Nobel Prize winner Paul Krugman, and you’ll see a pretty hopeless situation. Politicians,
right and left, become willing participants in a puppet theatre. All this is raw material for my
work. Nevertheless, sometimes I feel like becoming an abstract artist and to forget about
any conceptual satirical work. But so much raw material would be a waste to let go without
dealing with it. I already did few pieces on the current economy that I showed at Gallery Paule
Anglim and at the Di Rosa Preserve in January and February of this year.
Your work was attacked and destroyed at the Loveland Museum Gallery in
Loveland, Colorado. Can you tell us about that?
That was a very surprising event for me. Artists in general have no control over how people
will react to their work. The book attacked and destroyed was The Misadventures of the
Romantic Cannibals from 2002, and I have been showing it in many places on the West Coast
and on the East Coast, including the Museum of Contemporary Art in Denver, Colorado,
without any negative reaction (the protests started when the same show traveled to the
Loveland Museum in Loveland, Colorado a few months later). The book, which has a multilinear narrative, includes my reaction to the hypocrisy of religious institutions that attack
same sex marriage while hiding the pedophilia within its priests. It also includes my reaction
to the role of the church in the indigenous cultural destruction, and the use of religion
for war (like politicians calling for a “Crusade” before the invasion of Iraq). So the book is
pretty rich in non-verbal narratives. It is not illustrational, but rather an expressive work
that uses collage as pictorial language. However, 2010 was an election year and a local city
councilman in Loveland, who holds ultra conservative views, saw an opportunity to promote
his views by inciting a religious protest outside the Museum. In no time Fox News invited
him to trash my work on Fox News and Friends. Fox News only gave me a chance to respond
online after the broadcast. For the most part the issues of pedophilia, homophobia, and other
topics in the book were ignored. All you heard was that the book was pornographic and
portrayed offensive pictures of Jesus. I explained that there was no Jesus in the work but
rather collaged images of Mexican comic books, religious icons, and pre-Columbian art among
other styles. There was no nudity or sexual acts going on. The work is provocative, but it is
not pornographic and it isn’t an attack on faith. Also, at the City Council meeting in Loveland,
it did not meet the legal definition of obscene which is required in order to remove it from a
public space like the Museum. It was my way of expressing the spiritual corruption of religious
institutions that need to accept responsibility [for this corruption]. Fortunately, a Pastor from
Loveland accepted my explanation, and defended my work even against some members of his
congregation who wanted to join the protesters. The name of the Pastor is Jonathan Wiggins
from the Resurrection Fellowship in Loveland. We became friends, and in few days he invited
me to make a “non-corrupted” portrait of Jesus for his church. I told him that even though
I am not religious I would be glad to do it if his congregation accepted it from me. The next
day, a woman truck driver from Montana drove all the way to Loveland and destroyed my
printed book with a crowbar. She was wearing a t-shirt with the words “Jesus is tougher than
nails.” Pastor Wiggins later said to his congregation that if Jesus is tougher than nails nobody
needs to defend him. A few days later he sent me a link to a video of a sermon where he read
22
our correspondence to his congregation regarding the painting, and they accepted with a
standing ovation. I was very moved. I just finished the painting and sent it to the Resurrection
Fellowship in Loveland and I spoke by phone to Pastor Wiggins and his congregation right
after the unveiling. It was an explosion of joy.They were very happy with the painting and I am
very happy too. There was a whole article about this featured in Art in America online titled,
“The Print and the Pastor”, written by Faye Hirsch while I was working on it a few months
ago. In the Fall, Art in America will include the incident in a larger article regarding the various
attacks on art in recent months, written by Eleanor Heartney. In the end, I made more friends
than enemies. I received great support from everyone at Stanford. The faculty, the students,
the Chair of my department, and the Dean (who advised me on how to deal with hate
mail), the school police (that analyzed such hate mail and contacted police in San Francisco
and Loveland among other places to collect information and support) and finally from the
President of the University who sent me a very nice letter regarding the painting I did for the
Resurrection Fellowship.
Has that incident influenced your approach to art making?
It has influenced my awareness of the context since I may, or may not, be able to show
everything I make. I showed the controversial piece The Misadventures of the Romantic Cannibals
at the Sanchez Art Center in Pacifica, and at the Galeria de la Raza in San Francisco during
my traveling print retrospective just about two months before the attack in Loveland. Also
simultaneously with the show in Loveland I had another copy of the same book in Washington
DC at the Davis+Reyes Gallery (right before the incident with David Wojnarowicz video at
the Smithsonian just two blocks from that gallery), and nobody protested in any of those
places.
Time and place may affect what any artist can show. Like during Hitler’s pre-war years in
Germany, when he organized the exhibition, Degenerate Art, where German expressionist
artists were ridiculed before they were censored and persecuted. Or places like Iran today,
where the government not only censors any art in any private gallery, but they also break into
collector’s homes and confiscate their collections because they are offensive to the theocracy
of the country. The recent case of Ai Wei Wei being arrested in China for his views on the
misdeeds of the ruling bureaucracy is only the tip of a huge iceberg of censorship on artists
and intellectuals in that country. Not all places in the world, or even in this country, are as
open minded as the Bay Area. We live in a bubble, but I love my bubble and I am not sure I
could live anywhere else.
What are you currently working on?
More codices, more drawings (large and small), more paintings, and on this interview. I am
thinking about becoming more abstract (figurative and non figurative abstraction) and I may
This is the first in a series of interviews with Bay Area Latino artists and curators.
Enrique Chagoya
“Ghostly Meditations” 2010, 11”x 14”
India ink and acrylic on vintage paper with ghost prints on
facing pages of old etchings from a 19th Century book.
explore that path.
Enrique Chagoya
Enrique Chagoya is currently a Professor in the Department of Art and Art History at Stanford
University. His work can be found in many public collections including the Museum of Modern
Art, New York; the Metropolitan Museum, New York; the Whitney Museum of American Art,
New York; the San Francisco Museum of Modern Art; and the Fine Arts Museums of San
Francisco among others. He has been the recipient of numerous awards such as NEA Artists
Fellowships, the Tiffany Fellowship and Artadia to mention a few. He is represented by Gallery
Paule Anglim in San Francisco.
Julio César Morales
Julio César Morales is an artist, educator and curator. He teaches at The San Francisco Art
Institute and is also the founder of Queens Nails Annex/Projects in San Francisco and is
currently an adjunct curator at the Yerba Buena Center for the Arts.
Enrique Chagoya
Liberty Club IV, 2007
Charcoal and pastel on paper mounted on canvas
60” x 60”
23
MENA Report Part One
Middle East and North Africa
Jens Hoffmann - Ist
anbul Biennial
Written by Andrew McClintock
Portrait Valerio
24
Dora Maurer, Seven Twists, 1979, 23. 23 cm each, silver print. Courtesy Vintage Gallery(1-6)
I am pleased to introduce an ongoing series covering the diverse
Middle Eastern and North African contemporary art scene. I have
struggled with how to be proactive in doing my part in a time of ongoing Western Imperialism through-out both regions, the “Arab Spring”,
and biased corporate American media coverage. I believe inclusion is
the link to finding a solution. I hope, by bringing Western, Middle Eastern and North African minds together, by forming artist communities
that cross borders, this series will work to establish and facilitate a
free and open dialogue as well as an exchange of ideas. Appropriately,
I begin the series with Jens Hoffman Director of the Wattis Institute,
at CCA and co-curator for the 12th Annual Istanbul Biennial this September.
How has it been preparing for this year’s Istanbul Biennial with the recent
revolutions/ uprisings in the Middle East and North African regions?
The so-called Arab Spring has had very little influence on the way we have thought about
the Biennial. The complications in this region have been going on for a long time and many of
the artists that we have invited from this area of the world were already working on pieces
that address some of the problems the uprisings relate to. It is too recent to really make an
assessment on what the outcome of this revolution will be and in many cases things are still
in a critical stage. I also do not think that Biennials are the best place to talk about these
issues.
What can one expect from the Biennial? How are you and Adriano Pedrosa
going about curating it?
The 12th Istanbul Biennial will explore the relationship between art and politics, focusing on
works that are both formally innovative and politically outspoken. The work of the CubanAmerican artist Felix Gonzalez-Torres (1957–1996) is a clear example of this kind of artistic
practice, and a primary inspiration for the biennial. The title of the biennial, Untitled (12th
Istanbul Biennial), 2011, deliberately references the way in which Gonzalez-Torres named
most of his works: “Untitled” followed by a description in parentheses.
The 12th Istanbul Biennial will include five group shows and approximately 55 solo
presentations. Each of the group shows will feature a large number of artists’ works brought
together under a particular theme.The theme titles—”Untitled” (Passport),“Untitled” (Ross),
“Untitled” (Death by Gun),“Untitled” (Abstraction), and “Untitled” (History)—refer to works
by Gonzalez-Torres. The group shows will have the character of intimate cabinet exhibitions,
each occupying a distinct space, and together they will function as thematic anchors for the
biennial as a whole. Around them the audience will find the solo presentations. Each solo
presentation will be linked to the subjects of the group shows but will push the themes
decidedly further, exploring the broader issues the group exhibitions have introduced.
In response to those today who devalue the exhibition as the primary format of artistic
and curatorial expression, favoring instead ancillary events and programming (especially in
a biennial context), we advocate for renewed attention to the importance of the exhibition
itself. The biennial will be precisely selected and installed in a single, carefully constructed
space, privileging above all else the display and juxtaposition of the artworks. Special attention
is being given to the exhibition’s architecture, designed by Ryue Nishizawa of Sejima and
Nishizawa and Associates (SANAA), Tokyo, with graphic design developed in collaboration
with Jon Sueda of Stripe, San Francisco.
So when you mention that Biennials have recently been spread out in their
physical nature, for example the Venice Biennial, vs. what you are doing
with the Istanbul Biennial, why do you feel there has previously been a
trend of departure from the traditional form of an exhibition being in one
location?
I think that the idea to move away from one venue had to do with the desire to bring art
outside the walls of museums and to offer the audience the chance to get to know the cities
in which those shows were happening better. In many cases these exhibitions have become
so big that one venue was not enough anymore so others were found or constructed. In
some cases, through the increased interest in urbanism and architecture and social practice,
artists often made work in direct response to certain sites or buildings. Istanbul has operated
like this for a long time so we thought it would be good to develop an exhibition that was
centered in one venue and also will need to be looked at in such a way since it makes a lot of
connections between its different sections and parts.
25
Can you please give a few more details about this process and the scope
of build-out that has been needed - as a curator how much have you been
involved in the design/ building process?
The spaces already exist; they are older warehouses built in the 1930s by the Bosporus which
are large open buildings divided into five spaces each about 25,000 square foot large. We
completely redesigned the interior of those spaces in collaboration with Ryue Nishizawa of
SANAA (Sejima and Nishizawa and Associates) in Tokyo. We did this space by space, artist by
artist. It was a very long process but one that we feel was necessary.
What’s going on in the Istanbul art scene? Is there a younger gallery
movement that is energizing the contemporary scene? Are there arts
neighborhoods? Or does the scene consist of more blue chip galleries,
museums, and the Biennial? Also how does the “non arts” population seem
to be taking the growth of contemporary arts and culture?
It is a little bit of all of this. There are a number of very strong and dynamic galleries like
Rodeo, Galerist, and Galeri Non, and there are several private museums and art institutions
like Istanbul Modern, Salt and Arter, which are all quite exceptional and do an excellent job,
and there are some blue chip galleries like Rampa and Mana. The scene is full of energy; many
artists from abroad are coming to Istanbul.
How do you think the historical nature of Istanbul, always being a center
of culture and innovation, factor into all of this? Is there a shift back to
Istanbul as a center? Has the West lost its charm through imperialist and
cultural hegemony tendencies?
I think there are still many Turkish artists who move abroad for education or to simply make
different forms of experiences. At the same time there are many Western artists moving to
Istanbul; perhaps they are intrigued by the oriental charm they are hoping to find here, which
does exist in some way, but Istanbul is an extremely contemporary and very cosmopolitan
city.
Now in a more general scope – would you say there are aspects of western
arts that inherently slip into modern Middle Eastern art? There must
be a few different views of this, whether it is viewed as an extension of
imperialism or just an aspect of art history that can’t be ignored.
Martha Rosler, Cleaning the Drapes, from the series: House Beautiful: Bringing The War Home (1967-1972)
Courtesy: the artist and Galerie Christian Nagel, Köln/Berlin
I think there are particular conventions in Western Europe and North America in regards
to how a work of art has to look like and how it has to be discussed. Those conventions
are the result of art’s development over several centuries. We see, however, that many of
those conventions have been important by regions in the world that are perhaps rather
young in terms of their presence in the contemporary art world in order to gain access to
something that is, for better or worse, considered the status quo of art. For a long time I
would go to South America or the Middle East and artists would ask me how they can find a
gallery in New York or London or how to do a museum show in Berlin or Paris. Through the
effects of globalization, post colonial discourse, and a perhaps more critical relationship to the
mainstream art centers, things have now began to shift over the last 20 years and many artists
do not necessarily need and want to show in the main cities in Europe or the US anymore.
Has globalization wiped out the idea of this “center”, or a specific key
movement of the day, or are there new centers being formed in the Middle
East and South America - like Sao Paulo or Istanbul...?
Yes the idea of an art center the way Paris or New York used to be in the 20th-century is
over. At this point there are centers in terms of the art market, centers where the money and
the big galleries are, but there are many more artistic centers all around the world. I think
Biennials have done a lot to decentralize the art world.
How does the complex relationship between contemporary art and
religion in the region relate to censorship? I know that in Iran that there
is very intense censorship from the government. But in Dubai there is a
push for local arts as well as an international arts presence. These seem
like two ends of the spectrum...can you touch on this as well as give a few
other examples?
It is not something that is explicitly a topic of conversation among the artists that we work
with and not something we are confronted with in Turkey. It is hard to generalize this as well.
We have to understand that most countries in the region are not democracies and that even
those that seem open to the contemporary art are having often other interests than wanting
to promote a critical conversation.
Claudia Andujar, “Vertical 11 of the series MARCADOS”, 1981/1983Courtesy of Courtesy Galeria Vermelho,São Paulo,Brazil.
Teresa Burga
Untitled, 1979, 17.22 cm. Ink on paper, Courtesy of Teresa Burga.
Zarina Hashmi,
Atlas of My World(Detail3), 2001,Courtesy of the artist and Luhring Augustine, New York.
27
Scales Fall from My Eyes:
A Bay Area Beat Generation Visual Art Oral History
Part One of Two
om
As Told to Paul Karlstr
nal Director
Former West Coast Regio
n
Art, Smithsonian Institutio
of Archives of American
Introduced, Excerpted and Annotated by
John Held, Jr. (1947-)
Portrait of Jay DeFeo in front of, “The Rose,” photographed by Jerry Burchard (1931-2011), circa 1958.
Courtesy of Carlos Villa
28
During his thirty years (1973-2003) as West Coast Regional Director of the Archives of
AmericanArt,Smithsonian Institution,Paul Karlstrom conducted over 130 artist interviews.Based
first in San Francisco (at the DeYoung) and later in Los Angeles (Huntington Library), interviews
were a tangential assignment to his primary focus collecting biographical and working papers
(correspondence,draft writings,publications,exhibition materials,business records,etc.) fromWest
Coast artists for donation to the Archives.The interview process could lead to the acquisition of
such material or was conducted after the transaction to provide context for the artist’s inclusion.
In face-to-face meetings with the most acclaimed West Coast visual art figures available to him,
Karlstrom assembled a particularly strong array of oral histories by Beat generation artists
(those in young adulthood in the early to mid-1950s) from both San Francisco and Los Angeles,
coming of age just after World War II and the Korean War, some having served in the military,
others not, many attending Bay Area art schools (California School of Fine Art [now the Art
Institute], UC Berkeley, and California College of Arts and Crafts) on G. I. benefits. They are
and were the parents of Baby Boomers, and the older and recently departing grandparents of
younger emerging artists.
A reassessment of their activities is due, if as Viola Frey
observed, every fifty years a new generation needs its
memory refreshed.
is as much about that.
VIOLA FREY…I was on a panel with Manuel Neri and I said,
“Give me fifty years.” Manuel said he wanted all time, you
know, and I said, “That’s a little more than I need. I just need
fifty years.” Because fifty years is about the length of the
memory of a previous generation.
PAUL KARLSTROM: Trying to . . . it’s a quest for meaning.
By the time these interviews were conducted, many of them
in the 1970s, these artists were just emerging from years of
obscurity and financial hardship, gaining new stature in the
art world, acquiring increased reputations - if not monetary
reward. It was prescient of Karlstrom to interview them at
this stage of their careers, their memories of events in the
1950s intact. The activity of the Beats in the 1950s shaped the societal
shift to Hippie culture, politics, music and fashion to emerge
the following decade. The Beats were, as all vanguard
movements are by definition, shock troops armed with new
ways of thinking, which in turn, become diluted and
distorted by the embrace of popular culture. This excerpted
oral history is an attempt to recapture the original “voice”
of the era without the static of interpretation.
For many of the artists cited, these oral histories have
become their definitive biographical and working
statements. Karlstrom’s ease with normally hesitant artists
such as Jay De Feo, have become crucial starting points for
contemporary researchers of American Art History.
Karlstrom’s handling of notoriously difficult Bruce Conner is
deft, allowing the rigor of the artist’s convictions to surface. After getting over the jitters in his first few years, armed
with prepared questions, Karlstrom became more of a
conversationalist. His schooling impeccable, brandishing an
engaging personality, his knowledge of various California
cultural milieu broad, Karlstrom began transcending
technique, transforming the interviewing process into a
creative act.
Here’s one of Karlstrom’s most revealing statements on
interviewing, arising during a 1995 conversation with the
late ceramic artist Viola Frey:
PAUL KARLSTROM: …because these questions are the
questions that you ask artists.
VIOLA FREY: Right, yeah.
PAUL KARLSTROM: This is how you understand art. And
my interest is very much less in technique-and I don’t
pretend to be terrifically knowledgeable about that; I have a
basic understanding-but I’m an art historian who’s
interested in, I guess, the realm of ideas. And this interview
VIOLA FREY:Yeah.
I have tried to collage the available interviews in such a
manner as to convey the spirit of an era, using chronological
order as a creaky hinge on which to hang the tale. I am not
so much interested in the technical details of the artwork,
as the context around which it was created. Beat
Generation San Francisco, like Picasso’s Paris, has taken on
legendary proportions. What gave rise to this gathering of
creative individuals in one place? Who were the players?
Who influenced them? In what configurations were they
entangled?
This is the first of a two-part article. In this installment, we
are introduced to the protagonists-in-training and the
professors that nurtured them. We witness their
transformation from students to exhibiting artists,
congruent with popular awareness of the new bohemian
subculture emanating from North Beach, hearing firsthand
the reality behind the media uproar. Bay Area art schools had a significant impact on the Beat
artists, but our tale begins with Ruth Asawa, a San Francisco
stalwart for over fifty years, arriving directly from legendary
Black Mountain College in North Carolina.
On Being a Modern Artist
RUTH ASAWA: Well, it was in 1946 when I thought I was
modern. But now it’s 2002 and you can’t be modern forever.
Modern artist. It’s a new group of people. And I don’t know
them very well.
PAUL KARLSTROM: Well, what do you think Ruth, what do
you think in 1946 made you modern? How would you
define that?
RUTH ASAWA: At that time I was experimenting before
anything was called modern, at that time, just
experimenting…
…we were so poor that we were taking materials that were
around us and using leaves and rocks and things that were
natural rather than having good paper and good materials
that we bought. We had to scrounge around with things that
were around us. And I think that was very good for us.
… I think it’s important to have a relationship with the past
and the present and not just be modern or old or modern,
or anything like that. I think it’s good to be part of
everything than to have to be restricted to a certain . . . you
know what I mean?
A Community of Artists
PAUL KARLSTROM: How did you get there, to the
California School of Fine Arts [now the Art Institute, ed.]?
ELMER BISCHOFF: There was an opening. Somebody had
cancelled out; a faculty member had cancelled out at the last
minute and they desperately needed somebody. This was
during the winter, early ‘46, and I got tipped off about this by
Karl Kasten, who was a fellow student of mine at Cal. I
rushed over, took some of my work and had a brief
interview with Doug MacAgy, and he said, “Show up
Monday.” I discovered later that the intention was to have
me as a stop-gap until they found somebody else. But then
as it turned out, they decided I was good enough to hold on
to.
PAUL KARLSTROM:You actually stayed on until 1952.
ELMER BISCHOFF:Yes.
PAUL KARLSTROM: What about teaching there...?
ELMER BISCHOFF: Well, the first thing I think I was aware
of was how open the place was and how, well it was very
intense, very high spirited. It’s as though there were a lots of
students there who were very conscious of having taken
time out of lost time out from major pursuits and major
concerns of a personal nature, certainly, in the war. I felt this
way. Maybe I’m projecting this on to other people, but
certainly there was that. It put great pressure on to make up
for lost time, so to speak. A lot of intensity was born out of
this feeling.
The freewheeling quality, I think, came from the attitude that
there were not really instructors and students as much as
there were older artists and younger artists. Now this was
very, very different from the university experience. This was
more like the whole school was made up of a community of
artists, and there was a great deal of exchange across the
boards between faculty and students, as much as to say that
the students, good students, could influence the faculty.
Now that would never…in a more structured situation
where you have professors and students.
There was a great deal of openness between the faculty
members, too, where we’d go around visiting one another’s
studios and commenting on one another’s work. David Park
and Hassel Smith and I and later on Diebenkorn, we did this
kind of thing of going around to one another’s studio. There
was much mutual trust, much mutual regard. Nobody was
climbing over anybody. Nobody was trying to be top dog by
climbing over somebody else.
Revolution in Art Training
HASSEL SMITH: …this period, 1945-1952, while Douglas
MacAgy was the director of the California School of Fine
Arts, and a kind of revolution in art training occurred there
at that time. A lot of people of considerable fame and
importance were involved… It certainly was a very
remarkable experience for all of us, and I think that is quite
important to realize. I think the point that I would like to
make most especially is that for many of us who were on
the staff, the experience was as much, or even more, a
learning experience than a teaching one. In fact, so many of
the students were the same age as the instructors that the
situation of being an instructor at the school at that time,
and/or being a student, was virtually interchangeable.
1946: “Welcome to the California School of Fine
Arts”
WALLY HEDRICK: …We got up and we struggled back
over to the school [California School of Fine Arts], and by
that time the sun was out and we came up to the hill,
parked, got out of the car and walked in to the patio area.
The first person I met (I didn’t know who he was, but it was
Douglas MacAgy [Director of CSFA]) walked up, shook
29
hands and said, “Welcome to the California School of Fine
Arts.” This dumbfounded me because how did he know I
was coming? Well, it turned out that he was expecting a
delegation of high schools one day and he thought we were
-PAUL KARLSTROM: He thought you were a high school
student?
WALLY HEDRICK:Yeah. (Laughs) We told him who we
were and he said, “Well, as long as you’re here, I’ll show you
around.” So he took us around. We were just walking
around the patio and one of the first persons we ran into
was this long, tall, skinny guy, and he introduced us, this
happened to be Clyfford Still. It didn’t mean anything to me
at that time.
paintings -- in the heyday.
WALLY HEDRICK: That’s right. When I look back on it, they
hadn’t really hit their peak because they were still a little
what I describe as rounded cubism. There was still a little bit
of that. I think ‘47 was when they really hit their peak there.
I’d never seen anything like it. I’d never seen paintings that
big, and I’d never seen anything like that. So I was
dumbfounded. We immediately went back to Pasadena with
a new viewpoint. Here was this really good place, it seemed
like heaven, full of these crazy artists. And they were older
than I, the people [that were] there. They seemed older, and
it turned out they were. They were about 5 or 6 years older
than myself.
PAUL KARLSTROM: There were a lot of GI Bill students
there.
look up. He’s around; he was teaching there and was doing
paintings thought were better than Still’s by far. Jim Weeks
and Richard Diebenkorn were students at that time. I think
both of them became instructors in ‘48 - in there. But as I
say, I was never properly enrolled because I never had any
money. So I was just sort of on the outskirts. Maybe that’s
why I never got really involved in that.
This Magical World
PAUL KARLSTROM: Well, you then entered the University
of California at Berkeley in, I guess, the fall of 1946. And
apparently you went there with the idea of majoring in
studio art. What do you remember from the experience? I
am, of course, asking a lot of things with that one question.
How did you find the art department there? The teachers?
With whom did you study?
PAUL KARLSTROM:You hadn’t heard of Still before?
WALLY HEDRICK: I’d just heard of William Baziotes, you
know (Laughs) and de Kooning and Pollock. There’d been a
spread in Life, I think, on Pollock by then, but I had no idea
about the Bay Area at all. Anyway, he took us around the
school and we went into some of the studios and there
were people in there painting these monster paintings. I’d
never seen anything like that in my whole life. The only
person’s work I remember was in Studio 19; if you ever get
the layout of the place, it’s a small studio off the patio and
down the stairs. It was by James Brooks and I remember it
was covering the whole wall, but I don’t think it was really
that big.
PAUL KARLSTROM: So all the pictures you saw were
probably by the students working on abstract expressionist
WALLY HEDRICK:Yeah, yeah. I was probably around 21,
whatever I’d be in ‘46, and I went back with the good news.
So everybody in this group decided that they would all go
there in ‘47 and enroll. David [Simpson], Deborah
[Butterfield] and Robert Jenkins, who I haven’t mentioned
previously and this guy John Stanley, John Ryan the poet, and
myself. Well, we got in David’s 1937 Chevrolet panel truck,
the first hippie truck I’m sure, I mean we had long hair and
wore sandals.
… This is when I met all of the people that have become
part of that historical group like Hassel Smith, David Park,
Elmer Bischoff and Clyfford Still. I never met Mark Rothko
that I can remember, but he might have been there. And
then the people that aren’t as important but I think are
important, like George Stillman, he’s a guy that you ought to
JAY DeFEO: Oh, I’d love to tell you ‘cause I remember it
very well.
PAUL KARLSTROM: Did you feel that it was good?
JAY DeFEO: I loved it! It was a tremendous adventure for
me. One of the main things I remember about that
experience was that all of my teachers were very different. I
felt closer to some of them than others, or had a lot more
in common with some than others. There were even one or
two I didn’t get along with, but I think it was the variety that
made a great deal of difference.You know, it helps you find
out who you are, I think, seeing teachers not only as
painters but as different kinds of personalities.
… in this particular period we were sort of hanging on to
the apron strings of Cubism, as it were. And just right in the
middle of this period Abstract Expressionism bloomed. And
when Abstract Expressionism bloomed, life drawing classes
went out the window. I’ve often regretted frankly that at a
Carlos Villa in his SF studio, 2011. Portrait Andrew McClintock time when I was really ripe for it, there were no life drawing
classes in the traditional sense.
PAUL KARLSTROM: It’s amazing! What about at the Art
Institute at the same time, which was even more of a
hotbed of Abstract Expressionism?
JAY DeFEO: Now that’s interesting. Because the Art
Institute, or the California School of Fine Arts as it was
called then, was a complete myth to me. Not a myth, but a
kind of a place that just existed across the Bay. I had never
even visited it and knew nothing about it, necessarily, except
that I felt the vibrations kind of coming over toward
Berkeley from Clyfford Still and Rothko and all of those
people that were just a generation ahead of me. But the
impetus of that movement was so powerful that it was
really felt by everyone. And I think it must have been about
‘50, or a year to two sooner, that this happened. And Sam
Francis and Fred [Martin] were going to the school with me
at the University at this time…
They had more direct contact with those people. They were,
you know, a year or two older than I. And they were my
closest contemporaries who were friends and who also had
contact with this “magical” world.You know, I think I was
sort of fed some of this through them. I felt very stimulated
by what was going on over at the California School of Fine
Arts. I know Fred even took a class there, if I’m not
mistaken. I may be wrong about that. But they had more
direct contact. And because I was close to them I think I felt
it even more strongly through them and became much
influenced by it. Although everybody was feeling it.
Nobody Knew What It Was,
But Something Was Happening
WALLY HEDRICK: …there’s a bar in North Beach called
Vesuvio’s, I’m sure you’re acquainted with it. At that time it
was where we all hung out. I was hired to sit in the window
because then I had a giant beard and attracted tourists. The
beatnik thing was just starting and it didn’t have a term then.
Nobody knew what it was, but there was something
happening. And the tourists just came in droves to sit
around and watch the artists. I guess it’s like when I hear or
read about Paris. We actually sat out on the sidewalk and all
that kind of thing before it became a tourist trap. I went
back to Pasadena because I couldn’t survive since I didn’t
have any way to make any money. When I got back to
Pasadena I was just getting old enough that I was afraid of
getting drafted. The war was over but they were still drafting
people. So to beat the draft, I joined the National Guard. I
joined it and then I didn’t get drafted. Well, this was fine until
1950 when the division I was in got activated because Korea
came around. By that time, I had a studio, and I was painting.
…. I was going back and forth between San Francisco and
Pasadena, but I was not up there as much as David
[Simpson] was. That’s probably why I never quite got really
involved with all these people. My real involvement there
was with a band called the Studio Thirteen Jazz Band which
was made up of David Park who played piano, Elmer
Bischoff who played trumpet, and Charlie Clark, a student
who played the clarinet. MacAgy was the drummer, and Jon
Schueler was the bass player.
PAUL KARLSTROM: Really? This was for the party?
CARLOS VILLA: Yeah. And then here are all of these lights.
And here are all of these spider webs all over the place.
Studio 13 jazz band is playing in the background. Nobody
really is dancing, but. . . .
PAUL KARLSTROM: Is that the one that Wally Hedrick was.
...
CARLOS VILLA:Yes, absolutely. And there was Charlie Still
playing the clarinet. Charlie and Wally were the originals and
guys are still doing it, but there they were. They were real
young. They were still happenin’. Leo had given me a
rundown on all of these people that were around at the
time. Bill Morehouse was there and, you know, all of these
people were there, and I read this “Dixieland Jazz,” and I
said, “Jesus, this is weird music.” But, man, it kind of fit in, you
know? It was kind of smoky in there and it was real dark in
there and they had this toilet bowl and it was really Dada.
Everything was kind of Dada-esque. And then there was this
woman by the name of [Yakabena, Jacobena], who was
dressed in the first bikini bathing suit that I’d ever seen.
PAUL KARLSTROM: What did you play?
PAUL KARLSTROM: Wow!
WALLY HEDRICK: I was a banjo player. I can never think of
the trombone player-
CARLOS VILLA: This is 1953.
JULIA HEDRICK: Conrad Janis.
PAUL KARLSTROM: [laughs]
WALLY HEDRICK: Conrad Janis, Sidney Janis’s son, was the
trombone player. He was here; I don’t know what he was
here doing. I think he had something to do with the
museum. There was a great revival of interest in New
Orleans jazz at that time.
CARLOS VILLA: And so here were all of these veterans. . . .
At that time there were nothing but veterans there at the
school. And so they were chasing Yakabena and laughing, and
Yakabena was laughing, too.
PAUL KARLSTROM: Was she a model, or what?
PAUL KARLSTROM: This was about ‘49, ‘50?
WALLY HEDRICK: Well, from ‘46 onward, but it became
popular, like the Lou Waters Band was in its heyday, in the
late Forties. And all the painters I knew were interested in
jazz. Hassel Smith has a great jazz collection. He’s got it
going full blast all day long. But anyway, here was this band
that was centered at the school, and that’s how I really got
to know David Park, Elmer and these other people, because
philosophically we don’t have too much in common. I was
never really interested in figurative painting. Or abstract
expressionism. I was really never enrolled at the school
except when they’d have a party, then I was always there…
CARLOS VILLA: Oh, she was one of the students. She was a
very, very well-endowed young blond woman, just kind of
very, very Rubin. . . . Not Rubinesque. She was very
Renoiresque. And she was just, you know. . . .
Portrait of Jay De Feo by Wallace Berman,
1958. Courtesy of David Jones.
PAUL KARLSTROM: Enjoying it.
CARLOS VILLA: Oh, she was loving it. They cornered her
into a phone booth, the phone booth fell over and
everybody was laughing and everybody was just having a
great, great time. And I remember I was just kind of standing
around, and then I finally got enough guts to ask this woman
to dance. And she was kind of. . . .
1953: “Everything Was Kind Of Dada-esque.”
PAUL KARLSTROM:Yakabena?
CARLOS VILLA: And so there I am, a junior at Lowell High
School, meeting my cousin [Leo Valledor] over at California
School of Fine Arts. And so I come in and, you know, we’re
on the Stockton bus and everybody’s kind of looking, “Who
the hell is this guy?” And so I’m walking up the hill past
Bimbo’s and then it’s real dark. I go into the Diego Rivera
Gallery. The Diego Rivera Gallery, incidentally, has a big
curtain with a Diego Rivera mural.
PAUL KARLSTROM: Now?
CARLOS VILLA: No, then, 1953.
PAUL KARLSTROM: Oh, then.
PAUL KARLSTROM: Oh, because it was Communist?
CARLOS VILLA: Absolutely. And you know how much we
used to PAUL KARLSTROM: Now it’s no longer Communist, or at
least we won so we can see it. (chuckles)
CARLOS VILLA: Right, right. No Marxist. . . .You know, I
mean, we were all against that. There was a toilet bowl right
in the middle of the Diego Rivera, you know, in the middle
of the exhibition floor. A toilet bowl.
CARLOS VILLA: No, no, not Yakabena. There was another
woman. This other woman was dressed up like Helen of
Troy, except she had glasses on. And so I asked Helen of
Troy if she wanted to dance, and she said first she must have
a sip of this, and she pulled out a gallon of wine. And I
thought, “God, how far out!” [laughs] And so here we are,
we’re just dancing whatever the kind of dance. . . . I guess we
were doing the dirty boogie or something while we were
listening to Dixieland music. I mean, it was more or less
free-form. But we were dancing and stuff like that, and I had
the most wonderful time there, because it wasn’t like I was
this teenager and here were these older people. These were
all artists. And. . . .
PAUL KARLSTROM:You were a junior at Lowell at that
time?
CARLOS VILLA:Yeah. And then later on we went to these
apartments on Russian Hill. They’re very expensive condos
now, but at the time they were just right for people on the
G.I. Bill.
PAUL KARLSTROM: They were dumps.
A Fleeting Atmosphere
Portrait of Jay De Feo by Wallace Berman,
1958. Courtesy of David Jones.
PAUL KARLSTROM: Well, what about the California School
31
of Fine Arts? You enrolled really on the wing, I mean you just
went down there and kissed off Lone Mountain college
and there you were in art school.
JOAN BROWN: Right. Well, I loved the atmosphere, fantasywise, that I walked into. Here was this beautiful school, in a
great location, a familiar location for one thing. I got the first
sense of the place, of the atmosphere, walking in the door
and there’s this brick patio with the tile fountain, and there’s
all these guys playing bongo drums around the fountain.
These guys, as it turns out, were mostly Korean War vets…
PAUL KARLSTROM: That’s ‘55, right?
JOAN BROWN:Yes, this is 1955… It [California School of
Fine Arts] had been in a bad financial situation, and it was
either the first or second year that Gurdon Woods, who did
so much for that school, was there. Prior to his coming, with
the other director there…
PAUL KARLSTROM: He replaced MacAgy, didn’t he?
JOAN BROWN:Yes - or no, was it Mundt? I think it was
Ernest Mundt.
hair and beards, playing bongo drums. And I thought, ‘Oh, my
god, this is where I belong. I really want to go here…
PAUL KARLSTROM: Well, do you remember your first term
there, your instructors, what courses you had to take?
JOAN BROWN: Sure, very well. And I had a hell of a time. I
liked the students, very much - a certain number of people
in particular, a guy named Peter Forakis, who was a
seasoned Korean War vet, with the beard, the sandals, the
whole works - he was the real bohemian, everyone looked
up to him, or else hated him. And he was a guy who smoked
marijuana, which at that time - in ‘55, was just -Oh! Guys
were talking about “blowing the whistle,” and stuff like that,
on him - he was a real bad guy. So, anyway, he was quite the
guy, and the leader in the fine arts area…
Full Stride
GEORGE HERMS: …I had begun to start to feel my way
around, in that I remember some Mark Tobeys that I saw in
a cooperative gallery in San Francisco, and I began to kind of
tentatively-even though I’m in the College of Engineering
[University of California, Berkeley]-I’m beginning a kind of
tentative, you know, to look out.
PAUL KARLSTROM: Right. There was someone in between.
PAUL KARLSRTOM: Starting to look at that kind of thing.
JOAN BROWN:Yeah, Mundt had replaced MacAgy, and
Woods replaced Mundt, and they didn’t know whether to
close the school or what. So there was a kind of fleeting
atmosphere at the school. But gee, to me these guys were
really sophisticated, really exciting, wearing sandals and
playing bongo drums. I remember walking into the patio and
here were these guys in sandals with turtlenecks and long
GEORGE HERMS:Yeah, beginning to look around.
…And it all seems to coalesce-for me, anyway, in retrospect,
looking back-on my twentieth birthday, when I was there at
Jim Baker’s in Topanga, on this little dirt road that led down
to the cabin, two people walked down: Bob Alexander and
Wallace Berman.
PAUL KARLSRTOM: 1955?
GEORGE HERMS:Yeah. And I have a book of poetry by
Thomas Merton, Tears of the Blind Lions, and on it says,
“Have a good birthday, Wally B.” We referred to him as
Wallace Berman, because that was his preference later on,
but at this time he was Wally. And I often slip back into that
in my references to him.
PAUL KARLSRTOM: Let me get this straight.You hadn’t met
before but they showed up, and Berman Wallace gives you....
GEORGE HERMS: Jim had said, “It’s George’s birthday. Why
don’t you guys come out.” Or something, I don’t know. I
don’t know the background. And since all three parties are
now dead I don’t.... I mean, it was a miracle to me, because I
then leave Topanga with them and begin to meet the people
that will to this day be my heroes.
PAUL KARLSRTOM: Where was Berman living?
GEORGE HERMS: He was living in Beverly Glen and my
next address is Berkeley, which is in September. Now
between my birthday and that September, I can’t tell you
exactly where I was or what I was doing, but it was the
beginning of meeting people who were already in full stride.
PAUL KARLSRTOM: What do you mean by that?
GEORGE HERMS: That if they were poets, they were
writing poetry. If they were artists, they were making art. If
they were musicians, they were blowing their music. If they
were filmmakers, they were making films.
Bruce Conner’s Quest for Mystery and
Romanticism
Larry Jordan at his Petaluma home, 2011.
Portrait Andrew McClintock
BRUCE CONNER: I grew up in Wichita, Kansas. Most of the
people I knew when I was a senior in high school and when
I went to college were at least a year or so ahead of me.
Most of them ended up either in New York or in San
Francisco. I had moved off to New York for a while to see
whether or not I wanted to live there. I came out here in
1955 or 1956 and spent about a month one summer. I
stayed at Michael McClure’s house. Before that time Michael
had been sending me letters, poetry by other people here,
things about the arts that were happening here. I was
reading stuff in the art magazines. I found a little black and
white reproduction of a Richard Diebenkorn in the back of
Art Digest which I thought was kind of interesting. When I
was here I went to see Diebenkorn. It was quite a shocker
to see how big his paintings were and the colors he was
using. I asked him if he did any figurative painting. He said,
“No, I never do figurative painting. But I do at least one
figurative painting a year.” He brought out this painting that
had a figure in it. I thought it was one of the ugliest things I
had ever seen…
PAUL KARLSTROM: When you arrived in San Francisco
what was the prevalent mode, the prevalent style, if you
want to call it that, in San Francisco? Was it still abstract
expressionism primarily? Would Richard Diebenkorn pretty
well have stood for it?
BRUCE CONNER: I guess most of what was being
reviewed, what was being noticed by people outside the city,
was Diebenkorn and some of the abstract artists - [Sonia]
Gechtoff, Jay De Feo, and Ronald Bladen. And, of course,
before that it was Still and Rothko and those others…
PAUL KARLSTROM: Bischoff and -BRUCE CONNER: Bischoff… But that whole figurative
thing, which I think was being touted sometime around then,
I thought was mainly the “art business” threat to abstract
expressionism: they were digging hard to try to find
something that would offset the strength that abstract
expressionism had. David Park had a bit of that strength in
his painting and in some of the space that other people
were using. I think that at the time it was a little overblown
- more than it actually was.
PAUL KARLSTROM: It’s certainly true that until not too
long ago outside of the Bay Area people would equate San
Francisco art with the figurative school, with Diebenkorn
and Park. Anything important that came out of San Francisco
was BRUCE CONNER: I never thought of it as being a San
Francisco art.You know, I thought of it as being about seven
or eight people who happened to be doing that kind of
work.
PAUL KARLSTROM: But you weren’t attracted - you didn’t
move here initially to expose yourself to this type of an
activity? There wasn’t a style, a movement - if you will - that
attracted you to the Bay Area? There were other
considerations? I gather that your friendship with McClure
was one of the factors?
BRUCE CONNER: I don’t know - I always felt there was a
certain amount of mystery and romanticism about San
Francisco and the artists that were here. I remember going
to The Place at North Beach with Michael when I was here.
There was this assemblage by Wally Hedrick in the window.
I think it was part of a stovepipe, there was a doll’s head in
the vent, and it had wheels; it was like a cart (with a cane on
it). Of course I’d been involved in films. I had started
working with film societies. I knew a lot about what had
happened here with Art In Cinema and about the filmmakers who were working here and who had been here. I
had watched George Belson give a lecture at S.F. State one
day about his abstract films. I think I probably knew more
about what had happened here than did a lot of the people
who lived in San Francisco, it just seemed...
Meeting Kenneth Rexroth, Jess, Robert Duncan,
Michael McClure...Jay and Wally.
LARRY JORDAN: …Denver had no avant-garde culture at
all, so there was nothing to be done in Denver. But we
[childhood friend filmmaker Stan Brakhage] began to hear
about the painters and the poets in San Francisco. So we
started to think that’s where we’d better get to, you know,
as soon as we could. So, you know, after working a year and
saving up a little bit of money, then I and three others went
to San Francisco.
PAUL KARLSTROM: And that was in 1954?
these very important, very interesting people and especially,
how -- how did you meet, for instance, Jess and Duncan and
become involved . . .
LARRY JORDAN: Well, if you want to meet people it’s not
hard to meet people.You call them up and say you’d like to
come over. And I always got the impression that Kenneth
Rexroth - well, Kenneth had -- it was known that on Friday
evenings he was at home, and people rang him up and went
over, and we were young people, we were very young, early
‘20s, who would go over and sit at the feet of the poet. And
he loved it and so there’s no problem at all. And later, when
he was having marital problems, he’d call us up and bend our
ears and, you know, there was no problem at all meeting
people. Everybody wanted to meet people and if you were
older you weren’t necessarily -- I didn’t find anybody aloof.
We’d, you know, we’d call people up and say, “Could we
come over?” And they’d say, “Sure.” And we’d go over see
what they had to say and what they did and then we’d
become involved. We’d have a film show and they’d come…
PAUL KARLSTROM: … it seems to me this would have
been a very important experience for you, giving you a
sense of a real community; others who were vitally
interested in the things that you were [interested] in. And
who were some of the other people that you met? What
about some of the artists, the painters that you, later on,
you then became friends with? Were they -- on that first
visit did you hook up with any of the San Francisco Art
Institute people at all?
LARRY JORDAN:Yeah, we hooked up with -- probably
when I came back from New York -- let’s see, I hooked up
with the McClures right away through Robert and Jess. I was
introduced to Michael McClure through Robert and Jess.
And then when the McClures and the poet Harman, Jim
Harman -- we had a little press -- moved into 707 Scott,
they were looking for people to fill out the upper floor. And
I moved over there. And Joanna and Michael McClure
moved out of there onto Fillmore Street. And I’d go over
there all the time from Scott Street and right below -- okay,
the McClures moved into the top floor on Fillmore Street
near Clay, back to the area where I first lived when I first
came to San Francisco. And we all pitched in to help them
fix up the bare flat. Kenneth Rexroth and I carried up
Joanna’s cast-iron stove,
old fashioned stove. Jess
came in and helped do
the wiring and we all
pitched in and painted
the place, so . . .
Hedrick and Jay DeFeo. So I’d see Wally and Jay often. I was
very shy at the time; didn’t go to their big parties. Jay would
come up -- I was staying at the McClures for a while after I
left 707 Scott Street and Jay and Wally would have big
parties down below. And I thought they were kind of
Bohemian and I was too shy to go down. And Jay was very
concerned. She’d come upstairs and try to entice me down
and saying that they were having a wonderful time, if I’d just
come down for a little bit. She was very motherly and I
really appreciated it…
So, anyway, there was Wally and Jay. Okay, and there’s Joan
Brown and Bill Brown -- - she was married to Bill Brown
then, who lived in the building next door. And Wally and Jay
knocked a hole through the wall into their apartment and
so, you know, there was kind of a communal arrangement
there.
Scales Fall from My Eyes
WALLY HEDRICK: I don’t know if I’ve told you this, but it’s
a long, involved story of how I got to know Jay De Feo.
When I first got to know her, I’d go over to her house and
talk. One day when she’d gone to the john or something, I
began looking for something to eat. I went to the
refrigerator and opened it up and it seems that she’d put all
of her old underwear in the refrigerator. It was a couple
years’ supply. The refrigerator was off, it probably hadn’t run
in ten years and she never washed her clothes and so
(instead of putting it some place else or throwing it away
when she’d take off her underwear) she’d just stick it in
there.
PAUL KARLSTROM: The scales fall from my eyes like St.
Paul and all of a sudden I recognize funk.
Biographies of all Artists interviewed for this article in the
Masthead section of this issue, page 19.
LARRY JORDAN: Must have been ‘54.
PAUL KARLSTROM: Spring or summer, or something?
PAUL KARLSTROM: Jess
knew how to do wiring,
then?
LARRY JORDAN:Yeah.
PAUL KARLSTROM: Is that when [Stan] Brakhage moved to
San Francisco?
LARRY JORDAN:Yeah, he, he had gone, I think a little ahead
of when I went…
PAUL KARLSTROM: …what were the stories that you
heard? What did you imagine you would find and then? In
fact, what did you find? What was it like here?
LARRY JORDAN: I don’t recall any over-exaggeration or any,
over-expectation of what we would find; we heard that
there was a poet named Kenneth Rexroth and we heard
there was a poet named Robert Duncan. And I don’t recall
names of painters we heard about, but we heard, you know,
that’s where artists lived; artists lived in San Francisco. They
obviously did not live in Denver…we heard that people, you
know, lived in kind of a creative community of artists in San
Francisco…
PAUL KARLSTROM: I’m very interested to learn how you
established yourself in San Francisco but, most of all how,
within a short period of time you managed to meet some of
LARRY JORDAN: Jess
had been a nuclear
physicist at Berkeley. Jess
knew science.
PAUL KARLSTROM:
Even more than you did?
LARRY JORDAN:
[laughs] A hell of a lot
more than I did. He was
one of the bright up-andcoming nuclear physicists
until the first atomic
bomb was dropped. And
then he dropped science
flat. He said it’s in the
hands of black magicians,
pooh. And would have
nothing more to do with
science and went into
painting. So, right below,
in the flat right below the
McClures was Wally
Larry Jordan and Paul Karlstrom, 2011
Peter Selz
Written by Andrew McClintock
Portrait Dennis Letbetter
34
So there is so much, I don’t even know where to start. So let’s begin in
chronological order, from the beginning. How was it being introduced to
the New York City art scene in the late 1930s by Stieglitz? It must have
been a very exciting time.
Well, I was very young at the time, 18-19 years old; I had recently come from Germany as
an immigrant to New York City, and it was all very, very new. I wasn’t really “introduced” to
the art scene. I mean I saw the work there, I saw the Doves, Hartleys and the O’Keeffe’s and
the Marins. It was very wonderful. Then I began to see others at the Museum of Modern Art,
The Museum of Non-Objective Painting, which became the Guggenheim later on, and went
to the galleries; it was pretty exciting. I had known a little bit about old art before coming
from Munich, my grandfather was an art dealer in old art, and I didn’t know much about
contemporary art and it was very exciting when I began to see it and then later on when I
decided to study it.
During your studies you won two Fulbright grants, one in 1949 and one
in 1953, right around the time you were working on your PhD in German
Expressionism…
I got the Fulbright in ‘49 and ‘50, in ’53 I had another grant from the American Education
Foundation, it was a different grant. I was in World War II in the Army and because of the GI
Bill, I had a choice where I could to go to school and I decided to go to the best university in
America. I was accepted to the University of Chicago and had great times there, I decided to
study History of Art.
You mainly focused on German Expressionism?
Yes, I wrote my dissertation on German Expressionism. Nobody had written about German
Expressionism yet, not really in Germany either. There was a lot of primary material, such as
reviews and catalogs, but there was no book. Not even in Germany, because during the Nazi
period it was not possible, and so I did the first study of the movement.
At the time you worked closely with your friend and mentor Joshua
Taylor?
Yes, well my dissertation was published, that is one of the reasons I think that I got the job at
the Museum of Modern Art. Later on I worked with Taylor on the Futurists show at MoMA.
He knew a great deal about Italian Futurism, and I did the first Futurist show ever held in
America, around 1960; he wrote the book for it.
German Expressionism has a lot of politics fused into the art - how do you
feel politics fit into other forms of contemporary art? Do you still feel that
it is important and relevant to have political content?
Let me put it this way: when I was writing in the 1960s, formalism was dominant. We art
historians looked at formal art analysis and from the very beginning we had to isolate the
study of art from its social and political context. I was one of the first people to write about
art in that context back in the 1960s. I feel the same way now. As far as politics go, the last
book I did was called The Art of Engagement, Political Art in California, dealing with art of the
last 50 years, so I am very much interested in the relationship between at and politics. You
cannot isolate one from the other.
When the conceptual art movement first started, what were your initial
thoughts on the medium, as well as looking back now on the legacy of
Duchamp and the continued influence?
Well, I thought that conceptual art was very, very interesting, and I followed it and I studied it.
As far as Duchamp is concerned, I think Duchamp was a brilliant man. Its not that he couldn’t
paint very well, he just decided to do something else. He did some very, very brilliant things
and we owe him a great deal, the man was really an intellectual. His influence by and large has
not been good. I think we have been able to understand that generations since have people
are making gimmicks, “Look what I can do!” they work with computers, it’s about what my
computer has done for me. I really believe that the work of the artist, the hand of the artist is
essential for really good work. I think the same is true for literature, I think the stuff you can
get on all these digital gimmicks we have now is not going to be great literature.
Do you also feel the same way about where photography has gone? Or
New Media arts? Do you think that the artist hand disappears a little bit?
Well, photography is a different thing. Photography is about the eye of the artist rather than
the hand of the artist. I think that photography is a major art medium.
“...There were times in the history of modern art that you
could tell what the main movement was, you could tell
what was going on. This doesn’t exist anymore, there is no
main movement, ah, and everything is possible. There was
a time when Paris and New York were art centers, now
there is no art center, there is no movement. As far as the
future is concerned, you cannot ask a historian to predict
the future, I just try to keep up with the pressure.”
younger artists like Golub in Chicago and many others. It was very important I felt to show
that a new kind of figuration - and the work was to some extent indebted to the work that
the abstractionists have done - was emerging. And then I did many other shows; the second
show I did was Art Nouveau. I felt that Art Nouveau was very seminal to the beginning of
modern art and the turn of the century. And I did many other shows, the most important solo
shows I did were Dubuffet, Mark Rothko and Giacometti, and those needed to be done.
Giacometti, which was more of a retrospective though…
Yes, it was a retrospective. Half of it, the first half of it was his early surrealist work and the
second half was the work, the paintings we know best.
What was your experience with Jean Tinguely’s sculpture?
That was a lot of fun; it was great. He asked one of the curators in the collection if he could
build his piece at the MoMA and the curator of collections told him that they were in the
business of preserving art, not destroying it, so he came to me, and we ended up doing it as
an exhibition. It was a great event; he built it all up…we went to all the big dump places in
New Jersey. Nobody in Europe had ever seen anything like this; he collected everything and
then he built this big structure, and finally painted it all white and it looked very good with
all the junk in it, and like in the movies it destroyed itself and the fire came out. It was very,
very exciting.
Did the fire department show up?
Yeah, yeah, and so he said it was “assisted suicide.”
And then in 1965 you were invited to start the University of California
Museum. How was the process of starting the museum from the ground
up, versus working in an established institution?
That was very exciting, that’s one reason that I took this job, to start a new museum, the
building of the new museum, the great building.
Right, and you were involved with the design?
No, I was not but I liked the process of it very, very much, it was big architects, terrific
architects. I think about…300 entries and I watched the whole process. The project I liked
best was voted in and then I worked with the architect to get it built and it was very excitingand you know, we were starting it from scratch and started to build a collection, and got some
incredible works of art, and it is still very successful. They have just announced an exhibition
of Italian paintings and drawings which I acquired for the museum, but my name is not even
mentioned.
Okay, so Paul Karlstrom has been writing a book on your life’s work, which
will come out relatively soon and consists of about 45 interviews. How was
the process of working on the book with Paul?
It was very, very good. He interviewed me and a great many people, and managed to get back
to sources from my childhood. It’s really a full biography and I read many parts of it, but I
haven’t read the whole book. So, I think it’s going to be a very FINE book.
What about video art and New Media?
Well, I think that video art can be very good, but most of it is a bore. It’s done by people who
can’t make films. But there is some powerful video art. I mean very simply look how Bill Viola
or William Kentridge made video art and it is some of the best art that’s been done in the last
15 years, so it can be done. You have to have the kind of mind and experimentation of new
ideas of someone like Kentridge, who was also a great draftsman; his figures are superb.
Okay, so to go back now, you were the curator of painting and sculpture
at the MoMA from ’58 to ’65. What would you say is one of your fondest
memories as a curator there?
Well I got to do the kind of shows I wanted to do. The first show was called New Images of
Man and was a very important show. I also was very familiar with and very fond of Abstract
Expressionism - there was an alternative and that was a kind of new figuration that was going
on in Europe with people like Bacon and Dubuffet and in America with de Kooning, and
A poem by Marchel Duchamp for Jean Tinguely’s Exhibition at NY Moma in 1960.
And both of you are from the school of thought as historians that oral
interviews are a very valuable way to capture information?
That’s the basics of this book. That’s what he always did when he worked at The Archives of
the American Art. He interviewed artists and art people, he’s a great interviewer, so the book
is based, which is not so frequent, is really based on interviews.
So I just want to talk a little bit about the three fairs that just happened
in San Francisco - your overall thoughts, how it’s good for the bay area
and the San Francisco scene, and if you think that if they get stronger, the
continuation of them as a yearly event will help elevate San Francisco?
Oh, yeah, I think you’re right, not sure if it elevates, but it certainly brought attention to what’s
going on here.This is very good. I don’t know if we need three fairs or one fair but I did enjoy
the three fairs. I thought that artMRKT was the most interesting fair. I think that was the
general opinion of people, all the local galleries were there and we saw some good stuff, but
in general we saw what’s been expected, and I think that art fairs have taken over. I think for
many dealers the fairs are more important than the galleries.
Right, I heard some gallerists say that they wish they could just close their
galleries and just travel around to different fairs.
Yeah, one big gallery I know in New York, it just, you know it was a successful gallery and he
closed the gallery, because of you know, fairs and auctions.
Yeah. You are still very active in curating and writing. What are some of
your recent projects, and what artists or galleries or museum programs
are you currently excited about?
I’ve been doing a lot. Earlier this year I had a big show called Eco Art which I did with a
Canadian critic on Environment Art at a museum in a city of Pori, that nobody seems to know,
but it’s the second largest city in Finland. Then I did a very good show of Abstract Painting for
the Municipal Gallery in Los Angeles, and a smaller version of that based only on the Bay Area
Abstract Painting is opening in a week or two at the Berkeley Art Center, we are installing it
later this afternoon and tomorrow, really good Bay Area Abstract painters. Another thing I did
this spring was a show called “Heads.” I’ve always been interested in abstract and figurative
painting at the same time, and these are figurative paintings at the Dolby Chadwick Gallery in
San Francisco. It is an international show with Lucian Freud from London, Irving Petlin from
Paris, Edwige Fouvry from Brussels, Patrick Graham from Dublin, Jim Morphesis from Los
Angeles, DeStaebler and Oliveira from the Bay Area; it was a very beautiful show with a nice
catalog, so I keep doing this. I have time and I enjoy it and people keep asking me to do things
all the time, and some of the things I actually manage to do.
Yeah. When you say environmental art, I noticed you showed me this book
with a sculpture that uses thisNo, I wouldn’t call it…
Right, right, more like Land Art?
No, Land Art was earlier in environmental art, we are concerned with what to do with the
environment, like the Harrisons, Helen and Newton Harrison and Agnes Denes, people like
that…people really take time to make a difference, political, economic difference in art and
36
the environment with their art…and Land Art was a big deal. I think that Environmental Art
came out of Land Art, but Land Art to some extent was destructive, and of course if he had
lived longer, I think Smithson would have been the major artist in our time.
Definitely, I really enjoy his work. Would you say that Land Art, even though
it was somewhat destructive to the earth, was also bringing attention to
the qualities of earth?
That’s how beautiful work was done. I went to see Double Negative of Heizer, I went to see
De Maria’s wonderful Lightning Field, some of this stuff is really, really terrific.
Looking back, has there been a specific moment or a piece of advice that
someone gave you that you keep looking back to or referring to?
There’s been a lot, but I can’t say there’s anything special.The most important advice I can give
to young artists is don’t go along with fashions and do what you need to do.
Where do you think that art is headed in the next couple of decades?
That is impossible to say. There were times in the history of modern art that you could tell
what the main movement was, you could tell what was going on. This doesn’t exist anymore,
there is no main movement, ah, and everything is possible. There was a time when Paris and
New York were art centers, now there is no art center, there is no movement. As far as the
future is concerned, you cannot ask a historian to predict the future, I just try to keep up
with the pressure.
Why has this shift happened?
Well because everything that is related to art is related to commerce, everything is globalized.
Art is not so different from what else is going on, the same is going on in music, I’m sure, and
the same is going on in manufacturing. I mean, it’s all, we live in an all-connected world, and so
as the market becomes globalized, so is art. It’s all connected.
You’re obviously a large collector of art. Are there any specific pieces that
you are fond of?
The last piece I acquired is the one that you can barely see, on the right here. (points to the far
wall) It’s by an artist Irwin Petlin, who lives in Paris. I wrote a major article on Petlin for Art in
America because I think he is a superb painter. He is presently showing in the Venice Beinnale.
From the “Heads” I bought a portrait of Meyer Shapiro, probably the greatest art historian of
the last century, who was a good friend of Petlin and somebody I admire enormously. So that’s
the last, so you know, it’s my last acquisition…well this is a wall of heads, and there’s a…most
of the stuff was given to me. Like the Dubuffet was given to me, the Beckmann was given to
me by a good friend, DeKooning gave me a DeKooning, and the Guston I did buy. And the big
Sam Francis, he gave me when the house was built. So, most of the stuff in one way or another
were gifts from the artists, I’ve known -- a lot of great artists in my time.
What is the historical importance of Artist-run publications?
Artist-run publications have been with us for a very long time.They were of great importance
in the Surrealist time in Paris, and before that among the German Expressionists. Also during
the high point of the New York School and later. Now, with printing so much easier and
cheaper we once more see a flourish of good art publications by artists, such as yours.
Installation view of Selz at NY Moma during the “15 Polish Painters” Exhibition, 1961. Photo by Walter Daran.
Ann Halprin Dance Troupe at Berkeley Art Museum before the official opening in 1970.
Courtesy Robert Emory Johnson and the Chester Kessler Estate.
A Sketch of Jean Tinguely’s “Self-Constructing and Self-Destroying Sculpture” in the NY
Moma Catalogue for the Exhibition. 1960.
Selz in front of NY Moma, 1958.
Kathan Brown
Crown Point Press
Interview by Leigh Cooper
Portrait Andrew McClintock
38
Would you explain how Crown Point began and how it has become what
it is today?
It’s been almost fifty years, so it’s a big chunk of time. I started the press for myself and my
friends, essentially. That was in 1962. Artists would come in to work with the equipment, use
the studio, and I would often show them some technique because they were enjoying coming
in but they didn’t know so much about the process of etching. That’s how the workshops
began. But publishing is different, and although we still do workshops, we are mainly known
today for our publishing.
How is publishing different?
The publishing part is where we invite artists to make etchings with us, pay all the costs,
and sell the work. This is our business. I never considered going for the non-profit thing. We
publish two to four artists a year, and we exhibit and sell our published art in our gallery, at
art fairs, and on the web—it’s real art, but because it is in editions the prices are a lot lower
than the same artist commands for unique work.
The artists we publish come from all over the world. Usually they spend a couple of weeks
here. We work with just one artist at a time. They come in every day and do whatever they
want to do on plates; they use copper plates like pieces of paper, really. The printers help
them learn the process, and also the printers do the proofing, and later the printing, for them.
After the artists have OK’d the finished plates they leave, and the printers spend a month or
two, maybe three, printing small editions (ten to fifty) of each image. Later the artist signs and
numbers each print.
In our workshops, everyone learns to print their own work, but when we publish, we don’t
want artists to spend a lot of time printing because once they make the plates the printing
can be done by anyone with the necessary skill. The artists concentrate on the platemaking.
We give them advantages so that in a short time they can get something that they really love,
that they are connected to, that they touched and created. The skill of our printers is at their
disposal, but the creative part is all done by them.
How did you get started with publishing?
We had a workshop where people could draw on the plates from a live model, and Richard
Diebenkorn called me up one day and asked if he could come to it. He said he had done a
little bit of drypoint, which is drawing straight on the copper without acid, and he liked the
feel of the resistance of the metal when he was drawing. So he came to that workshop, and
he really did enjoy the drawing but he didn’t enjoy the printing. He couldn’t figure out how to
print anything very well, so I took pity on him and started printing for him.
Eventually I asked him if I could publish the prints he had been making. Those early prints of
his were actually difficult to sell even though they were only $100 apiece, because people
didn’t really know what they were, I think, back then. But it was a great investment! And such
a great pleasure—Diebenkorn loved the etching process, and I was able to work with him
from 1962 off-and-on over the years until he died in 1993.
Through your work you have proved that the etching/printmaking process
undoubtedly inspires the creative process. But probably some artists can
be a little reluctant to learn an entirely new medium. I heard that was the
case with Nathan Oliveira?
Well I’ve always thought that any good artist who wanted to make etchings could do it.
With our help, it’s not hard, but they have to decide that they want to do it. Sometimes an
artist we invite will know other artists who have worked here, and they see the work and
sense the enthusiasm, and they will eventually decide they would like to try it. Nathan’s only
reluctance was that he was a lithographer, and he was very engaged in that. But the more he
saw Diebenkorn’s etchings and other people’s etchings, the more he thought he would like to
try it. And he did like etching very much, and made some great ones.
Wayne Thiebaud, Hill Street, 1987. Color woodcut. 37 x 24”, edition 200.
Published by Crown Point Press.
Did you see his work change in any way through doing it? Can you describe
the growth you have witnessed with artists over the years?
I don’t know if I can be very specific about actual visible changes, but many of our artists have
told me that they’ve learned something about their paintings from working in the etching
studio, and often they report that a body of work they’re doing in painting is influenced by the
etchings.You can hear and see Julie Mehretu say that in a video in the “Artists Talking” section
of our website. Sometimes artists tell me that after working with etching they understand
better what they were already doing with painting. When you make a print you have to
simplify things in a certain way and you’re also making layers. So in printmaking you’re thinking
a little differently, thinking more, maybe. On a deep level you understand something that you
didn’t before. Artists come back over and over again, so I think they are learning something.
How do you introduce artists into the two-week program?
We usually start by looking at prints that other artists have done and not explaining anything.
They’re thinking about what they want to do, and they say, “I really like the way that mark is
made, I really like the way it looks on paper,” and you say, “That’s a soft ground mark,” and you
take them into the studio and give them the tools to make a mark like that. You do tests to
see if they like it. And we do the same thing in the workshops actually. It’s not like school at
all.You can start anywhere.
Julie Mehretu, Local Calm, 2005. Sugar lift aquatint with color aquatint and spit bite aquatint, soft and
hard ground etching and engraving on gampi paper chine collé. 35½ x 46¾”, edition 35. Published by
Crown Point Press.
Do you ever look at artists’ work and think about how it would translate
into this process?
You know, that’s a good question because I think many gallery owners and most publishers
do—they’ve said to me “Oh, I think that would make a good etching.” But I try not to think
that way. My husband, Tom Marioni, is a conceptual artist, and he influenced me in that regard.
He has always said conceptual artists can use any medium. They use the medium that works
best for the idea they have at the moment. That’s what defines them as conceptual artists.
They’re not painters, they’re not sculptors, they’re not printmakers. They can use whatever’s
39
I think it’s much more interesting if you don’t have an opinion ahead of
time.
If they think they can use it, they can probably use it, whether they are conceptual artists or
not. And if they don’t think they can use it, they probably can’t.
In the ‘80s, Crown Point was also going far afield with your work in China
and Japan. What drew you to incorporate woodcut into Crown Point’s
repertoire and to take artists to Asia to do it?
Hidekatsu Takada, who was born in Japan, was a student of mine when I taught in the ‘70s at
the San Francisco Art Institute, and then he worked for many years with us as a printer at
Crown Point. He was able to make a contact for us in Kyoto with Tadashi Toda, a master at
printing woodcut in the watercolor Ukiyo-e tradition. So, beginning in 1982 and for the next
ten years, we took one or two artists a year to work with Toda.Takada translated, and also he
understood very well how we approach working with artists, so it all went beautifully.
Or it won’t be useful to them.
If they’re not going to have their heart in it, it’s not going to be useful to them, and the work
will not be very lively. And for that reason, too, it’s best not to try to talk an artist into doing
this. If they want to do it, and if they’re a good artist, it will be good work.
I think I started that program out of restlessness because the year we began was the year the
press was twenty years old. Woodcut was something different for us, but it was like etching
in being an old handmade way of printing that was at the time falling out of use. And I love
to travel!
Do you find that the artists’ enthusiasm for the etching process is a driving
force for continuing to educate the public about it? What inspired the
Three-Minute Egg—your video segment in which you discuss the creative
process?
I’ve always been a proselytizer for etching. I like it so much myself—it’s the pinnacle of
printmaking; nothing else has as much presence. And when I started Crown Point there
weren’t many artists using it outside of academia. Of course, the enthusiasm from artists for
the process does push me to try to explain it to everyone who is curious about it. At one
point in my life I thought I would be a writer—I studied writing and editing in college—and
the skill I developed then has helped me a lot.
And what about China? How did that program come about?
I was acting on an opportunity. An American professor who is an expert on Chinese printing
saw an exhibition of the works we’d done in Japan and offered me the introductions necessary
to do something similar in China. Our first trip was in 1987. Then the massacre at Tiananmen
Square happened in 1989.We continued intermittently after that, and ended up bringing seven
artists to China. It was very exciting, but complex. We worked with printing shops in four
different cities.
suitable. So it was natural for me to extend that idea to believe that if an artist thinks he or
she can use printmaking, then he can. We worked with Vito Acconci, who doesn’t draw, and
he did some really exciting things with us. But I don’t think anyone would have thought to ask
him to make prints until we did it.
The thing that started me on the Three-Minute Eggs was a book that I wrote called Magical
Secrets about Thinking Creatively: The Art of Etching and the Truth of Life. The title is a little bit
tongue-in-cheek, of course, but I have learned a lot of useful life-lessons from watching artists
work in the studio. The book and the Three-Minute Eggs are an effort to share some of those
lessons. I’ve been shooting video in the studio for a long time, and there are DVDs in all the
Magical Secrets books. And I use little clips, going all the way back to the seventies, as the basis
for my Eggs, which are just bits of history or fun or wisdom. I have to think of them as almost
throwaway or I can’t do them, because each one is only three minutes, and boiling things
down that much requires some sticking-out of the neck!
You can’t take anything too seriously.
That’s one of the Secrets: “Take Yourself Lightly.”
Can you tell us more about the Magical Secrets series and if you are
working on a new book right now?
The series begins with my book, the one I just mentioned, which gives an introduction to
etching as well as talking about the Secrets, and then there are three books written by Crown
Point master printers, Catherine Brooks, Emily York, and Brian Shure, and edited by me. Each
of them describes in detail some aspect of etching. These are hands-on how-to books that
also show a lot of artworks and give information about how artists made particular prints.
Right now, I’m trying to write another volume that’s more complicated. I’ve had requests for a
book about running a small business by using creative principles that I’ve learned from artists.
I think that’s the way I’ve run Crown Point, but getting it down on paper is very difficult, and
I’m not sure yet if the book will ever really get done.
Where do you print the books you publish?
We send the books to Hong Kong to be printed.This is all desktop publishing. Sasha Baguskas,
our publications director, does the layout on her computer right here—she and I work
together on that. We sell the books on Amazon, in our gallery, and through our websites:
crownpointpress.com, which is oriented toward our published prints, and magical-secrets.
com, which is oriented toward the books and workshops.
I believe you printed VISION magazine locally. Could you tell me something
about VISION? It’s kind of legendary now.
VISION was a real magazine that we invited artists to contribute to.Tom Marioni edited it and
Crown Point published it—it was printed across the bay in Richmond; the printer was a friend
of Tom’s. Between 1975 and 1981 we did five issues. Three were traditional-format magazines
focused on places: the first was California, then New York City, and then Eastern Europe. Each
artist designed some pages and Tom wrote something about the place.Then we did one called
Artists’ Photographs—56 artists from 16 different countries contributed photographs, and
we also had an exhibition of the photos in the Crown Point Gallery.
The last issue is called Word of Mouth, and it is a set of phonograph records that we recorded
at an artists’ conference on a Pacific island called Ponape. We took twelve artists out there,
some from the Museum of Conceptual Art, which Tom was running then, and some from
Crown Point Press. Each one gave a twelve-minute talk. Laurie Anderson, John Cage, Chris
Burden, Brice Marden, Marina Abramovic, William T. Wiley, Joan Jonas, Daniel Buren, Bryan
Hunt, Pat Steir, and Tom Marioni participated. The trip was in January, 1980, to celebrate the
new decade. Cage and Marden were already well known, but the others not as much then as
they are now. We still have the records for sale.
42
I noticed that Tom Marioni did some woodcuts in China. How did you and
Tom meet?
I met Tom by inviting him in 1977 to make prints at Crown Point Press, and he has made quite
a number with us over the years. Back then, I heard from a visiting New York critic that he
was doing “the most interesting work being done out here” (to quote her). I didn’t know who
he was, but I invited him and ended up with a long-term relationship. We’ve been married for
quite a long time, nearly thirty years, and we’ve done some projects, like VISION, together, but
he’s not connected to the running of Crown Point.
Tell us a little about your background – what you did before Crown Point?
Well I started Crown Point almost right out of school. I was fortunate to go to Antioch College
in Ohio and to spend time in art school in London. That’s where I discovered etching.
Did you have intentions to study etching and printmaking?
I didn’t have the intention, no. I was studying writing actually, but also taking some art classes.
When I told my art teacher I wanted to go overseas and study for a year, he said he could get
me into the Central School of Art in London. I said, “But I’m not an art major,” and he said
“Well you should be.” I split the major eventually between English and art. I’m glad I didn’t
become a writer. I would have ended up a hermit.
As this issue of San Francisco Arts Quarterly goes to press, you are
preparing to open an exhibition at Crown Point Press that will feature
recent prints by Wayne Thiebaud. Can you tell us about your association
with him?
Back in 1965, when I published the Diebenkorn prints that I told you about at the beginning
of this interview, half of each edition was sold as loose sheets in portfolios, and the other half
bound into books. Over time I’ve become less keen on the book idea, because a book with
etchings in it has to be so expensive—prints are actually more accessible on walls. But back
then, that’s what I wanted to do. My second book in the series, also published in 1965, was
by Wayne Thiebaud. I didn’t know him, but I had seen a great show of his pies and cakes—his
first show of those images I think—in San Francisco, and I called him up and invited him to
do etchings.
The result was the book called Delights. In it are seventeen small black and white prints of
objects, some food—olives, candy sticks, a wedge of pie—and some other things—a gumball
machine, a roadside cherry stand. The first print in the book is called “Lunch” and is his
drawing, done on the plate, of two sandwiches and two avocado-halves, the lunch I made for
us in the studio on his first day of work.
In the 47 years between then and now, Thiebaud has been back to Crown Point for 16
projects (I just counted them), including two where he made woodcuts in Japan.We’ve worked
together on average every three years. I’ve learned a lot from him. He’s a major source for
my Magical Secrets.
Some of the prints Thiebaud has made over the years are colorful and quite large in size,
but often he likes to work using limited means so we have many line etchings and drypoints
without color or with one color.
He pays a lot of attention to line quality. The new works, which he made at the beginning
of the summer this year, emphasize that. They are mainly drypoints, drawn directly into the
copper with a sharp tool, and are small landscape images. The subject matter is different from
the prints in Delights, but there is a similar feel, strong and clear, small and concentrated, black
and white. I love looking at them. I’m so lucky to be in this business and to be able to work
with Wayne Thiebaud and others of my artist friends again and again as time keeps on running
by.
Tom Marioni
A Rose…, 2008. Color drypoint with flat bite
etching. 40 x 40”, edition 20. Published by
Crown Point Press.
“...many of our artists have told me that they’ve learned
something about their paintings from working in the
etching studio, and often they report that a body of work
they’re doing in painting is influenced by the etchings...
sometimes artists tell me that after working with etching
they understand better what they were already doing
with painting.”
Ed Ruscha, L.A.S.F. #1, 2003
Color soft ground etching
37-1/2 x 30-1/2”, edition 35. Published by
Crown Point Press
(Above)
Nathan Oliveira
Rocker, 2007. Color sugar lift and spit bite
aquatints with hard ground etching.
52 x 41”, edition 35. Published by Crown
Point Press.
Kathan Brown at Crown Point Press.
Portrait Andrew McClintock
43
s
s
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r
P
t
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o
B
n
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ls
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a
P Renee Bott, Pam Paulson and Rhea Fontaine-Charlot
With
Written by Jamie Alexander
Portrait Andrew McClintock
44
Paulson Bott Press in Berkeley is one of the most respected art
printermakers in the country, specializing in limited edition intaglio
prints. Pam Paulson and Renee Bott worked as master printers under
the tutelage of Kathan Brown at Crown Point Press before starting
their own press nearly 15 years ago. Paulson Bott Press has published
over 200 editions with some of the brightest names in art including;
Ross Bleckner, Squeak Carnwath, Caio Fonseca, Chris Johanson, Martin
Puryear, Kerry James Marshall and Tauba Auerbach. This interview was
conducted by Jamie Alexander of Park Life with Pam, Renee and Rhea
Fontaine-Charlot, Paulson Bott’s Gallery Director.
Can you describe how Paulson Bott Press came about and talk about your
history in the Bay Area?
Pam Paulson (PP): “Do you want to publish the prints?” Chris Brown asked me this
question three or four times in 1996. I had been laid off from Crown Point Press in 1993
during the aftermath of the stock market crash. Chris had hired me to be his studio assistant
and later to work on a gift print he was making for California College of the Arts. While we
worked on that print, we made three others. In 1993, I set up an 800-square-foot studio in
Emeryville and did contract printing and taught workshops. My good friends Renee Bott and
Michael Osborne encouraged me to start Paulson Press. I knew I did not want to switch
horses midstream and find a whole new career. I loved being a master printer and was happiest
when solving problems. Making prints and working with artists is the perfect playground for
problem solvers.
To make a long story short, Renee and I set up as a partnership in a larger Emeryville studio
in August of 1996. We both had two kids under five. Renee was tired of the commute to San
Francisco, and I needed a publishing partner. We decided to join forces and publish the “Train
Series” by Chris Brown. As soon as the prints were released, things got crazy. Within a week,
we had pretty much sold out the edition. We hired a sales director, Katrina Traywick, to help
us. She now has her own successful private gallery.
The success of the first project capitalized the business, and we were able to invite artists
from outside of the Bay Area. And somehow it’s been fifteen years.
Rhea, when did you join the press?
Rhea Fontaine-Charlot (RFC): I came to the press nine years ago. After getting an art
degree from UC Berkeley, I was the gallery manager at the Berkeley art space BABILONIA
1808. Director Sherry Apostol and I put on shows with Don Ed Hardy, Georgeanne Deen,
Manuel Ocampo, Ray Smith, and Kenji Yanobe, among others. I got hooked on working with
contemporary artists. I met Pam Paulson at an 1808 event, and a few years later when I was
ready for a change, Pam and Renee’s press was at the top of my list. It was another amazing
opportunity to work in Berkeley with world-class artists and with the freedom and pace of a
commercial endeavor. I also knew that Pam and Renee had worked with Martin Puryear, and
for me, that was reason enough to join the team!
Paulson Bott is known as one of the most respected intaglio printers in
the business. Can you tell us a little about that process and where it stands
relative to other types of printmaking?
PP: Of course, we think intaglio printing is more seductive than other printmaking methods.
Since you print on damp paper, the ink is integrated into the paper under tremendous
pressure. The ink doesn’t just sit on top of the sheet but is embedded. With intaglio, the ink
is held under the surface of the copper plate, the opposite of relief prints, where the ink is
applied to the raised areas. The inks we use are transparent, and the luminosity of the paper
is reflected through the ink layers. The color is heightened because of this and glows, almost
like a fresco.
The roster of artists you’ve worked with is pretty impressive. You’ve done
projects with Christopher Brown, Ross Bleckner, and Martin Puryear,
as well as some of the next generation of important artists like Tauba
Auerbach and Chris Johanson. Can you talk about how you select the
projects and artists you work with?
RFC: We are constantly looking, looking, looking at art and responding to work we find
exciting. We are thinking about how the artist’s work might translate graphically. We are
thinking about whether or not etchings might enhance the artist’s oeuvre. We also consider
the demand for the artist’s work. Because of the nature of editions, our relationships are long
term, and so in addition to being incredibly talented, the artist has to be nice to work with.
PP: Right off the bat, we had a list of artists we wanted to work with.We felt the press should
publish artists from California, but also elsewhere. Our artists recommend other artists that
they think we should look at. Sometimes we end up working with those artists if there is a
good fit.
Give me an example.
PP: With the young Bay Area artists, we followed a thread. Margaret Kilgallen suggested
Chris Johanson; Johanson led to Shaun O’Dell and Keegan McHargue; McHargue suggested a
meeting with Tauba Auerbach, whose calligraphic work at New Image Art Gallery had already
caught Rhea’s attention.
Our first artist outside of California was Radcliffe Bailey from Atlanta. (By the way, Radcliffe is
having an amazing show at the High Museum right now.) And it was Radcliffe who introduced
us to the Gee’s Bend quilters.That also came about from our travels. I saw their 2003 show at
the Whitney in New York and was blown away. I told my Dad (who was 85 at the time) how
great it was, and he said, “Pam, why don’t you make prints with them?” It’s true what they say,
listen to your elders!
But we also keep a wish list. Kerry James Marshall was on it for 12 years before he finally
walked through our doors! We are tenacious in the pursuit of artists we want to work with.
We plan projects with emerging, mid-career, and blue-chip artists. We keep a balance.
You recently moved into a newly renovated and much larger space in West
Berkeley. What was the motivation for that? And how has it worked out?
Renee Bott (RB): We considered many locations. We looked at over twenty spaces and
three cities before we decided that we wanted to stay in Berkeley. It’s our kind of town.
Presses have a habit of moving. Not that I would recommend moving thousand-pound presses
to anyone! Moving heavy presses and flat files and copper is no fun, but each of the three
times we moved the press, something positive happened. This last move was precipitated
by the end of our lease in a recession. Taking on a major build-out during a tough economy
felt overwhelming, but we knew that it was the best long-term choice. It offered us the
opportunity to redesign our work space and rename the business. Perhaps most importantly,
it gave us a larger, brighter gallery space to share the prints. It was a whirlwind project.
Thanks to Jim Goring, our architect (and good friend), and Scott Mertens, our builder (and
my husband), we were able to move into our space in three months. The move has generated
a lot of new energy for the press, and we are excited to be part of the growth in this exciting
and developing area. We are right next door to VIKS, one of the best Indian restaurants in
the bay area.
It seems that the art-print/edition industry has really grown in the last
several years, with advances in digital printing and businesses like 20x200
and Exhibition A, who specialize in mass-produced and highly marketed
editions. How has this changed the market, and does that impact your
business?
PP: Some digital prints are fabulous and original. Many are not. Part of the difference is the
way in which a project is conceived and executed. When Paulson Bott Press invites an artist
to make prints, they come to Berkeley to work in the studio with experienced printers to
create the images that we publish. The works that are made are a direct continuation of each
artist’s creative process. Our job is to facilitate rather than dictate what an artist produces
in the studio. Because of this approach, the press is able to get the best and most exciting
work from each artist. We feel that this makes the work more vital than a reproduction of a
previously conceived idea. Digital prints are often reproductions of existing work. The print
to size thing is confusing—whose intention does it reflect? Artists are generally involved and
very committed to the scale of their marks.
RB: I remember when the first digital prints arrived on the fine art print scene. It was the
early 1990s, and I was still at Crown Point Press. Francesco Clemente had just published three
or more digital jet print images with a “master digitizer” from the press known as Harvest,
founded by Graham Nash. Clemente’s digital self-portrait prints were printed on 100% cotton
paper and looked just like the original watercolor they reproduced.The issue is the same today
as it was then. Do collectors know what they are purchasing? Are they educated about the
differences between a digital reproduction of a watercolor and an etching? In this expanding
digital world, I see our role as that of an educator to keep the public informed about those
differences. Then it is up to the collector to determine what they want from an art purchase
“With the young Bay Area artists, we followed a thread.
Margaret Kilgallen suggested Chris Johanson; Johanson
led to Shaun O’Dell and Keegan McHargue; McHargue
suggested a meeting with Tauba Auerbach, whose
calligraphic work at New Image Art Gallery had already
caught Rhea’s attention.”
- Pam Paulson
foil and etching that with surprising and beautiful results.
PP: I like different projects for different reasons. One that is particularly memorable was
our first project with the Gee’s Bend quilters—Mary Lee Bendolph and her daughter-inlaw Louisiana Bendolph. It was like a beehive. We had five printers in the studio with two
quilters, several sewing machines, gospel music, and mountains of old clothes. Ripping seams
and singing, sewing and inking. Color everywhere. It was exhilarating for everyone.
What upcoming projects are you excited about?
RFC: I want to tell you, but I’d have to kill you. (Laughs.) Top secret until the new artists are
physically in our studio.
You were fortunate enough to work with the late Margaret Kilgallen, one
of the most influential artists to come out of the Bay Area in recent times.
How was that experience?
RB: I believe it was 1998 when we were asked by Heather Tunis, the development director of
the Headlands Center for the Arts at the time, if we were interested in doing a gift print for
the Headlands. Pam and I had seen a lot of Margaret’s work. We had admired an installation
she did in a group exhibition on the top floor of the John Berggruen Gallery, and we loved her
solo show at the Drawing Center’s alternative space in SoHo.Working with Margaret opened
my eyes to a culture that was completely foreign to me. She knew about hobo culture and
surf culture. She was part of making a new art culture that was all about being unconventional.
I remember asking her about her arrangements with galleries, and she gave me an evasive
answer. She didn’t sign on with galleries, why should she? We were not so far apart in age, but
I was ages behind her.
Working in the Studio, Sam Carr-Prindle, Pam Paulson and Renee Bott
and to think about why an artist would choose the digital medium.
We are open to digital technologies—as they relate to intaglio printing. A few years ago, I
worked with Don Farnsworth to put a photographic image onto a copper plate without using
a darkroom. After months of tests and more tests, I emailed Isca Greenfield-Sanders before
she came to work with us to see if we could make our key photo image plates using our new
method. We created eight beautiful prints integrating the new technology with the old.
You participate in several art fairs each year, much like more traditional
art galleries that represent artists. How important are these events to
your business? Which ones are your favorites?
RFC: Art fairs are a vital way to reach out to new audiences and keep up with our old friends.
It’s probably the most targeted approach we have.
PP: The annual International Fine Print Dealers Association Print Fair at the Armory in New
York is the most important one for us. It is well attended by people who collect and work
with prints. Curators, dealers, and collectors descend on the fair with eager anticipation of
the new publications and hidden treasures they will find. We do three to four fairs a year, and
we like to change it up, to touch down on different regions across the United States. I would
like to do some European fairs in the next few years.
What are some of your favorite projects and artists you’ve worked with?
RFC: All of the artists we publish are favorites, but I have a personal passion for work
by contemporary artists of African descent. I think David Huffman is one of the Bay Area’s
best-kept secrets. Part of the post-black art movement famously coined by curator Thelma
Golden, he has been steadily producing art since the mid-1990s and was included in the
momentous exhibition “Freestyle” that mobilized the careers of Julie Mehretu, Laylah Ali, and
Mark Bradford, among others.
Edgar Arceneaux is another artist who continues to inspire and who we have been fortunate
to work with. He made a splash in 1999 with his “Drawings of Removal” piece at the UCLA
Hammer Museum followed by “Borrowed Sun” at the SFMOMA. He was included in the
2008 Whitney Biennial and continues to gain attention for his truly integrative approach to
art-making and thinking.
RB: That is a very in-the-moment kind of thing. It is the project you are working on at the
moment! It takes a few days to open yourself up to what the artist is driving at and to try and
understand their objectives.This while giving them technical information and guidance.We are
in the process of finalizing a project with Tauba Auerbach, so she is the most recent project
in my mind. She has a very unusual and original way of approaching her work. Our projects
with Tauba are very similar in feeling to projects I worked on with John Cage at Crown Point
Press. She often sets up systems and combines them with “chance operations” to explore her
ideas and to arrive at an image. She pushes the edge. She’ll ask a question like, “Can I fold the
copper plate?” and in turn push me to think in a different way. We ended up folding copper
46
We arranged to meet with Margaret at her studio in the Mission. It was one of the more
memorable studio visits I have ever had. It was a small room in an industrial building on
the outskirts of the Mission. I remember her space was on the second floor; it was not
very big. Going up the stairs to her space, you could see she had painted her iconic images
here and there; it was like we were following clues to find her. I was amazed at how packed
Margaret’s studio was. Every surface was piled high, with everything from an old 1920 Singer
sewing machine on one small table to piles of ragged books on another. Her drawings and
constructions, sewn clothing and canvas were everywhere and it was just amazing.
Margaret worked with us for about two weeks to create the gift print “Half-Cocked” and four
other prints. It was wonderful to watch her work. She would take plates home and paint with
sugarlift so that they would be ready for us in the morning. I am glad that we used the same
method to create her editions that she used to produce her work. By making small plates
that could be rearranged like tiles on the press bed, we were able to construct new images.
Although this was not a technological breakthrough in intaglio printing, it really did capture
her style and approach to mark-making.
Pam and I were relatively new running a press when we worked with Margaret, but I knew I
wanted to document our project. It is unfortunate that I took so few photos of Margaret in
our early Emeryville studio; I really wish I had taken more.The one photo I took of her in our
studio with her piece “Sloe” in the background has been used many times in numerous articles
about her. I am happy to have that image of her; it’s one of my most treasured photos.
PP: Working with Margaret was a blessing. She loved the process and had great enthusiasm
for making things. I have that print, “Half-Cocked,” hanging in my kitchen. It depicts a couple
bickering at each other. She reminds me that I should be thoughtful and present in everything
I do.
David Huffman, “Basketball Pyramid”,
2007; Color Aquatint Etching; Paper size: 37.5”
x 45”; Published by Paulson Bott Press
Tauba Auerbach in the Paulson Bott
Press Studio, 2011; Photo courtesy of Paulson
Bott Press
Margaret Kilgallen (1967-2001) in
the Paulson Bott Press studio, 1999. Photo
courtesy of Paulson Bott Press
47
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Peter Kirkeby
Written by Derek Song
Can you tell us how you started collecting art? I started collecting art because it was around. I came from a family of
collectors and had exposure to many private and public collections growing
up. Just as any kid collects things, my first collection was wacky pack stickers;
I was in the 4th grade and I still have the collection. I also collected stamps,
mostly plate blocks. The art thing has been more of an accumulation. Art as
a subject is so broad so I suppose one can collect by process…everything
from prints or painting or sculpture. I have pretty much stayed away from
collecting a particular artist or movement or process.
I consider Edward Hopper my “gateway” artist. Was there
a particular artist that kick started your passion for art and
collecting?
My gateway artist was Stuart Davis. I think the work titled “champion” really
affected my appreciation for color and design. I still have that image floating
around in my mind and it helps me register good work. Rauschenberg
“monogram” is another of the gateway works that I always carry around
with me.
Monogram is an assemblage and it has drawn me to artists like
Bruce Conner and David Best, two artists I do collect more frequently.
You have been collecting for many years. Has your eye
broadened or have you focused on certain genres when
adding to your collection?
When adding to my collection these days, I consider my children. I have
been hanging Clare Rojas pictures around. I like to see my daughter enjoy
them. Kids also have a strange color sense. We just got a big purple Mathew
Radford painting. I love the purple. I feel that purple could be the genre of
my collecting. I suppose one could collect a collection of new aesthetics. A
collection can be tied together by the subjects’ differences.
I have over 40
years of art on my walls and it all represents a broad visual collection, but a
tight personal collection.
My art collection is a visual calendar of my life. Would you like to mention any contemporary bay area
artists that you are really into?
In the Bay Area, I like Jess, Bruce Conner, Gordon Cook, Frank Lobdell. I also
like younger artists like Jonathan Runcio, Like Butler, and Sean Mcfarland.
I think you have the great advantage of seeing work before
they are shown. How does the viewing experience change
when the work is formally exhibited rather than in your
studio?
For me, seeing a show before it is installed and then to see it installed is
the best treat. I go from a close up to a distant perspective. The advantage
for me is really to better understand the work, and as a viewer, help to
complete it.
Portrait Andrew McClintock
48
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Fri.Sep.16
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Tue.Sep.13
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Sun.Sep.18
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San Francisco Arts Quarterly
441 O’Farrell Street
San Francisco, CA 94102
info.sfaq@sfaqonline.cm
www.sfaqonline.com
SFAQ DEADLINES issues 7 and 8 :
A West Coast arts and culture publication distributed nationally. Print and Online advertising available.
SFAQ Event Calendar is a print/online platform to promote your artistic events for FREE.
ISSUE 7: NOV, DEC, JAN (12’)
Advertising issue 7: October 1, 2011
contact: advertise@sfaqonline.com
Event Calendar issue 7: September 20, 2011
contact: listings@sfaqonline.com
Issue 7 Release Date: October 28, 2011
ISSUE 7: FEB, MAR, APR 12’
Advertising issue 8: December 15, 2011
contact: advertise@sfaqonline.com
Event Calendar issue 8: Decemeber 15, 2011
contact: listings@sfaqonline.com
Issue 8 Release Date: January 27, 2012
www.sfaqonline.com
For more details visit:
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72
A WEEK LONG
WATER
McBEER
Gallery
EXTRAVAGANZA
22 Exhibitions under one roof
Special VIP Opening Reception:
Saturday July 30th, 6-10pm
Grand Public Opening:
Thursday August 4th, 6-10pm
Gerald Anekwe, Quinn Arneson, Mario Ayala, Juan Manuel Bocca, Jordan Bogash,
Ryan De La Hoz, Jeremy Fish, Matt Furie, Jay Howell, Henry Gunderson, Lili Ishida,
Warren Thomas King, Kool Kid Kreyola, Aubrey Learner, Calvin Marcus, Chachi
Midencey, Evan Nesbit, Guy Overfelt, Matthew Palladino, Pez, Albert Reyes, Eric Shaw,
Aiyana Udesen, Jamie Williams, Susan Wu, and Alexander Ziv
A
Epic Closing Reception:
Saturday August 6th, 6-10pm
www.watermcbeer.net
www.evergoldgallery.com
STARDRIVE
STARDRIVE
VERSION 3.0
“Making Star Trek Real!”
T
G
www.stardrive.org
art made here.
art
made
here.
2011 SF Open Studios
Weekend Dates:
Weekend 1:
Weekend 3
Weekend 5:
Weekend 2:
Weekend 4:
Each Wednesday in October,
look for the SF Open Studios
maps in the Bay Guardian!
October 1 & 2, 11am–6pm
Mission, Noe Valley, Bernal Heights, Castro, Excelsior
October 8 & 9, 11am–6pm
Ocean Beach, Sunset, Richmond, Duboce, Eureka
Valley, Hayes Valley, Haight, Upper Market, Diamond
Heights, Buena Vista, Mount Davidson, Twin Peaks,
West Portal, Glen Park
sponsors
October 15 & 16, 11am–6pm
SOMA, Tenderloin, Potrero Hill, Bayview
October 22 & 23, 11am–6pm
Fort Mason, Marina, Pacific Heights, Russian Hill,
North Beach, Financial District
www.artspan.org
October 29 & 30, 11am–6pm
Hunters Point Shipyard & Islais Creek Studios
Generous thanks to:
Eventbrite, Fleishhacker Foundation, Grants for
Arts/Hotel Tax Fund, SOMArts, Thomas John
Events, Zellerbach Family Foundation.
media sponsors
SFAQ
-PULHY[PUZ[HSSH[PVU
+LSP]LY`WHJRPUNHUKJYH[PUN
:LJ\YLJSPTH[LJVU[YVSSLKZ[VYHNL
+VTLZ[PJHUKPU[LYUH[PVUHSZOPWWPUNZLY]PJLZ
*VSSLJ[PVUZTHUHNLTLU[
connect art international
(T)
^^^JVUULJ[HY[PU[SJVT
49 Geary St. Suite 200
San Francisco, CA 94108
415.986.4799
www.mgart.com
info@mgart.com
Patter Hellstrom: Expressive Flow
Evan Wilson (ExposÈ Gallery): Layers Opening Reception: August 4, 2011 5-7:30pm
Exhibition Ends: Septemeber 17, 2011
Mitch Confer: kōr sam-pels
Colin McRae (ExposÈ Gallery): Tidelands Examined
Opening Reception: September 23, 2011 5-7:30pm
Exhibition Ends: October 29, 2011
*VU]LUPLU[:HU-YHUJPZJVSVJH[PVUZLY]PUN5VY[OLYU*HSPMVYUPH
JVSSLJ[VYZNHSSLYPLZT\ZL\TZKLZPNULYZJVYWVYH[PVUZHUKHY[PZ[Z
111
111
MINNA
GALLERY
11 1 Mi n n a St. S F, C A 94105
www.111minn ag aller y.com
AUGUST
“Illusions of Grandeur”
NOME EDONNA
LEE HARVEY ROSWELL
Opening Aug. 4th
5pm-Late
SEPTEMBER
“Secret State”
KELLY TUNSTALL
SOLO EXHIBITION
Opening Sept. 8th
5pm-Late
OCTOBER
“Born Again”
ROB REGER
SOLO EXHIBITION
Opening Oct. 6th
5pm-Late
August
Lynn Hershman Leeson
Benji Whalen
September
Terry Allen
October
John Zurier
November
David Ireland
December
J. John Priola
Gallery Paule Anglim
14 Geary Street, San Francisco, CA 94108
Tel: 415.433.2710
Fax: 415.433.1501
www.gallerypauleanglim.com