Weekend Guide 4.30.09

Did you know that May Day (May 1st) is the same as International Workers' Day to celebrate the 8 hour work day? That's something to celebrate! Here's some hard working artists you can party with:

Openings and Events

Noah Dasho at Artist Xchange on Friday, May 1 from 7-10pm

Mirang Wonne at Hunters Point Open Studios on Saturday and Sunday from 11am-6pm

Ongoing Shows

Dana Harel at Frey Norris Gallery through May 3

Joshua Hagler at Swarm Gallery through May 10

Mirang Wonne at the Triton Museum through May 17

For more shows featuring artists interviewed on Arteaser, check out the Arteaser Calendar.

Sketch Tuesday and Ted Lincoln

Despite the office and finance gods conspiring to keep me working late, I managed to stop by Sketch Tuesday last night at 111 Minna, which is a monthly live drawing event:

I was there on the earlier side of the 6-10pm event, so not all the artists had shown up, but those that had, were diligently producing:

In addition to the table of invited artists, most of the other tables around the bar filled up with local artists:


It's a casual atmosphere (note the frequency of flannel and untamed beards in the picture below) where enthusiasts can watch artists at work in a variety of mediums:


Completed works were posted on a wall and available for sale:


Brett Amory was among the invited artist and came prepared to work on one of his small portraits:

More "audience participation":

The bar was filling up by the time I was heading out, but the night was still young and a lot can get done in four hours...


Sitting across from Brett at the main table was Ted Lincoln, who also had a show up in the gallery:


Ted uses sumi ink, which was familiar to me after doing my piece on Freya Prowe. I really enjoy the medium's rich blacks:


The show is probably only up for another week or so, so be sure to check it out!

Weekend Guide 4.23.09

Ok, first it's crazy hot and now it's supposed to rain!??! I can't keep up with the weather, but I like keeping up with local artists:

Ongoing Shows

Brian McDonald at Reaves Gallery through April 25

Phillip Hua at Seedcorn Gallery through April

Brett Amory at DaDa through April

Phillip Hua at HangART Annex through April

Dana Harel at Frey Norris Gallery through April

Sarah Newton at Back To the Picture/SoMa Gallery through April

Brett Amory at Hyde Street Gallery through April

Mirang Wonne at the USF School of Law Rotunda Gallery until May

Joshua Hagler at Swarm Gallery through May 10

Mirang Wonne at the Triton Museum through May 17

For more shows featuring artists interviewed on Arteaser, check out the Arteaser Calendar.

Weekend Recap 4.20.09

I made my first visit to Limn Gallery, which is tucked away behind the Limn furniture store on Townsend.

One of the two galleries was featuring local artist, Rik Ritchey (below left with a friend and collector), who had a series of mixed-media paintings on polyurethane foam:

I enjoyed how the applied acrylic and ink created stunning organic shapes:

A closer look revealed embedded items, such as candles, and stitching.


In the second gallery featured "Further West", by Randall Stoltzfus:


When viewed from afar, haunting landscapes emerge from densely layered circles:


The show will be up through May 30:


Check the Arteaser calendar for upcoming shows and events featuring artists interviewed by Arteaser.

David Becker

I met David Becker at Southern Exposure's Monster Drawing Rally. We met up again for this interview across the street from the annual Game Developers Conference, which proved to be a strangely appropriate setting.

When David Becker watches George Lucas' "American Grafitti," it reminds him of growing up in Stockton, California in the 1960s: 

"A valley town like that [has a] big car culture, so you kind of grew up with people that were building hot rods and cars to race. Drag racing is a big thing in Stockton"

Inspired by the aesthetic of 1960s poster art and Rat Fink creator Ed Roth, Becker embraced the creative energy of the Hot-rod "Kustom Kulture" movement: 

"We were all through junior high copying all those [hot-rod] T-shirt designs, [using] spray paint, paint, various [mediums] - anything we could figure out would stick [...] We would do t-shirts and what have you and sell them at school."

While making t-shirts and designs was a social experience for Becker, the drive to create was personal: 

"I had my hand in some kind of artistic activity all through growing up and then decided to see the world through art school [...]  It was a natural [...] inclination to do that."

Although it wasn't a preferred career choice, Becker's father, a hobbiest photographer, understood his interest. While sorting through issues with the draft, Becker went to the local community college and studied art:

"I had a teacher at Delta College that was influential, very supportive [...] I think back on that a lot, because it was probably  a moment in time [when] you're young and you have someone like that who unequivocally believes in you: it gives you the kind of confidence to keep doing what you're doing [...] despite all the other things I was going through at the time"

It was in community college that Becker discovered printmaking. He next attended CCAC, but soon after went to study in London, with a focus on printmaking:

"I took to it and I liked the process and I did a lot of that all through college [...] That was my life. I got through whatever menial job I had and I would stay up all night and do prints and I loved it and it was great"

When Becker returned to San Francisco, he enrolled at SF State, where he explored installation work and studied film. However, it was when he returned to a more traditional medium that the next chapter of his life unfolded:

"I got into doing large drawings [...] I submitted those to the Whitney Museum study program and got into their studio program. So from there I went to New York [...] I basically did that and just didn't come back"

Inspired by the downtown NYC art scene of the 1970s, Becker stayed there for the next eighteen years. His involvement with art ebbed and flowed, as he made a living working with architects and builders, as well as sculptors, but his exposure continued to broaden meaningfully:

"I discovered painting in New York [...] I got there and I was doing everything but painting, right through the Whitney program: I was doing installation, wall drawings, ephemeral sculpture... And then I had a girlfriend at the time who said, 'You know, you're a painter. Why don't you paint? Everything you do looks like a painter who's trying to do other stuff.' At that point, I had never ever painted"

As he gravitated towards painting, Becker began to appreciate art's place in history as well. He found that understanding the context of a painting contributed to its timelessness:

"I would just go to the Met and I would just love to look at paintings. You start to look at it through those eyes, from that vantage point, and whether its fifty or a hundred or two hundred years old, it doesn't matter."

Meanwhile, Becker eventually returned to the Bay Area and finished his degree, but didn't return his focus to art until about six years ago. Revisiting the sketchbooks that he has kept for years allowed him to reflect on his inspirations, and, in particular, the role of contemporaneous politics in art:

"I like that narrative and I like that reflection of meaning to a particular time and place. I realized why I like that art, I realized why I like the Neoclassical art, and the particular paintings of that period made more sense to me"

With more clarity into these notions, Becker began creating more temporally relevant paintings. Reflecting on such politically-aware painters as Francisco de Goya and Philip Guston, Becker began to think of the art as more secondary:

"These are painters that have a very strong formal basis, that's where they come from, but at some point their desire to enter into this narrative of some sort... it became more important than the art"

Still heavily influenced by the aesthetic of low-brow art, Becker uses graffiti-like words in many of his paintings. His haunting cartoon-like figures are starkly positioned as the subject:

"I'm totally into this avatar/cartoon stuff [and] the way they pervade common culture, more so than people. It's like people have become two-dimensional through these characters and it's become another language to me"

Through this language of characters and graffiti, Becker responds to the times, choosing to participate in the narrative of history: 

"I don't think about the art necessarily - that's almost secondary. I think first about these images and juxtaposing them or putting them together or how they read. [...] The art's there just because I'm so immersed in it"

Keep watching the Arteaser calendar for upcoming shows and events where you can see David Becker's work.

Weekend Guide 4.16.09

Celebrate finishing your taxes by checking out some of these local art events and shows:

Openings and Events

Phillip Hua on Comcast's "Inside City Limits" on Thursday at 6:30pm and Friday at 7pm and 10pm

Joui Turandot at the deYoung Museum on Friday, April 17 from 5:30-9pm

Brian McDonald at Reaves Gallery on Friday, April 17 from 6-9pm

Ongoing Shows

Brett Amory at Fabric8 through April 18

Phillip Hua at Seedcorn Gallery through April

Brett Amory at DaDa through April

Phillip Hua at HangART Annex through April

Dana Harel at Frey Norris Gallery through April

Sarah Newton at Back To the Picture/SoMa Gallery through April

Brett Amory at Hyde Street Gallery through April

Mirang Wonne at the USF School of Law Rotunda Gallery until May

Joshua Hagler at Swarm Gallery through May 10

Mirang Wonne at the Triton Museum through May 17

For more shows featuring artists interviewed on Arteaser, check out the Arteaser Calendar.

Weekend Recap, Part Deux

Lack of battery power didn't stop Christopher Columbus for sailing for the wrong continent; it didn't stop Marie Antoinette from thinking peasants could just eat cake; and it didn't stop me from me from bringing you another taste of the shows up at Baer Ridgway Exhibitions. At least not for more than a couple days. So, in addition to the preview I did last week, here's a couple more takes from the two shows up through May 9:

Upstairs featured lino-cuts by Tom Huck (above and below) exclusively, centered around his new triptych, "The Transformation of Brandy Baghead" (above):

Downstairs is the group show, "Dark Americana," which included a couple pieces by Derek Albeck (below):


Focused on the more sinister aspects of American life, the show included works that touched on notions of American racism by Roger Shimomura (below right) and Charles Browning (below left):


While less specific in its reflection on the show's theme than many of the other works in the show, I enjoyed the mood of Grant Barnhart's painting (below):


Taking a more lighthearted approach, Maria Forde's series of "Fifties' Ads" (below) looked at American consumerism:

Weekend Guide 4.9.09

I don't know about you, but I was not caffeinated enough to make it to every opening last week (although, I do think I made a pretty good go of it). So, you're mission, should you choose to accept it, is to complete this list:

Ongoing Shows

Dana Harel at the Napa Valley Museum through April 12

Brett Amory at Fabric8 through April 18

Phillip Hua at Seedcorn Gallery through April

Brett Amory at DaDa through April

Phillip Hua at HangART Annex through April

Dana Harel at Frey Norris Gallery through April

Sarah Newton at Back To the Picture/SoMa Gallery through April

Brett Amory at Hyde Street Gallery through April

Mirang Wonne at the USF School of Law Rotunda Gallery until May

Joshua Hagler at Swarm Gallery through May 10

Mirang Wonne at the Triton Museum through May 17

For more shows featuring artists interviewed on Arteaser, check out the Arteaser Calendar.

Weekend Recap 4.6.09

My first stop on this month's busy First Thursday was Back to the Picture's SoMa Gallery: 

Within the frame shop is a gallery space, where the current show "City Subject: San Francisco Urban Studies" will be on display until May 1.

Hilary Williams' brightly colored serigraphs (above and below) combined photographic elements with drawing:

Aquatints and lino-cuts by Sarah Newton (below) rounded out the portfolio of printmaking on display:

It was great to see Ms. Newton's full color, multiple-plate aquatints (below) up close:

Though not as distinctly San Francisco as many of the other pieces, Trish Tunney's colorful photography (below) was quite pleasing:

I also enjoyed this pairing of black and white photos by Peter Kupfer, which captures and contrasts the city's tradition of parading in costume:

My next stop was the busy HangART Annex, for "Time Lapse," which is through the month of April: 

The show focused on the artistic process of four local artists:

For Anthony May, the gallery had installed a collection of small sketches (above) as well as two large canvases (below):

Lea Feinstein's paintings reflect the artist's use of gravity to distribute paint onto moisture resistant Tyvek (think FedEx packaging):

I was intrigued by the metal base on which Feinstein's painting was mounted (below):

Phillip Hua (pictured below, foreground) was there to explain his process of "manufacturing" works that ultimately degrade over time:

His "re:action" series was well represented at the show and fit very well well with theme, given it's unique artistic process and continuing evolution after completion:

Also included were a couple small pieces that Mr. Hua was "prototyping" when we spoke last fall. Recall that in these works, the tree image becomes more visible with time as the paper fades with exposure to sunlight:

Finally, Carolyn Meyer's artistic process was displayed through an installation (below) of her studies, both in traditional journals as well as non-traditional surfaces, like Crayon boxes:

Samples of her completed paintings, marked by their impasto, were also on display (below):

Next, I went across the street to HangART, where works by David Fullarton were on display in the rear gallery:

The show, called "Once Again I Fail To Live Up To My Advance Publicity," will be up through the month of April:

In addition to some larger collage canvases, many of Fullarton's pieces used non-traditional materials. 

The hand-written text was often humorous and self-depreciating:  

For my last stop of the night, I went to Frey Norris Gallery, which was featuring Dana Harel's series, "Kin":

For someone who has seen images of this series, it was great to see the life-size scale to which Ms. Harel draws her hand animals (below):

What these pictures do not capture well is the fine detail of subtle textural mutations to the subject hand's skin, which are at once anatomically correct for the implied animal and incorrect for the human model:

The show is up until May 3 in the downstairs of the gallery:

On display upstairs at Frey Norris are a couple pieces by Attiya Shaukat (below) from their March show:

On Friday night, I ventured out again, this time to Hyde Street Gallery. The current show, "Spaces", features work by Brett Amory and Nancy Chan:

Both artist feature figurative work where the figure is disconnected from its surroundings: Mr. Amory's figures are waiting, and therefore not fully present; and Ms. Chan's are starkly lacking a physical context: 

The show will be up through April:

I also made it to Baer Ridgway Exhibition's Saturday opening of a Tom Huck solo show and group show, "Dark Americana," but my camera battery was dead. Will have to follow up. In the meantime, be sure to bookmark the Arteaser Calendar to stay up to date on shows of local artists featured on Arteaser.