No hidin' SECA - Page 2

Searching for thematic threads at the biennial exhibition

The project also exemplifies a strain of socially based art that's thriving in SF galleries and art schools. This sort of practice, however, unfolds in streets, gardens, and ephemeral interactions and consistently engenders the challenge to create effective gallery presentations. At SFMOMA, Franceschini presents historical civic documents, spiffy new charts, prototype gardening and seed bank gear, and a video of a planting party. While these communicate the gist of this vital idea, the display feels stranded here: it may have been better served with a component that unfolded more directly in the gallery or in an exhibition with contextualizing, like-minded projects.

Bringing an animated Colorforms effect to the notorious Pamela Anderson–Tommy Lee bootleg sex tape, Ezawa wisely expands his artistic purview. In earlier pieces, including the History of Photography Remix series, examples of which are seen here, iconic images and media events become broad, deadpan cartoons. Instant recognition of the material has been key. In his new double-screen piece, Two Stolen Honeymoons Are Better Than One, a well-known but less widely seen piece of media — the aforementioned home video — pushes Ezawa's work into more ambiguous territory, that strange zone in which celebrities, albeit naked ones with supersize body parts, seem as banal as the rest of us. Doubled to two screens and tinted in divergent hues, the scenario enters the subconscious with the kind of off-color lens that just might be in the Bay Area atmosphere — or perhaps just in this artist's eye. *


Through April 22

Mon.–Tues. and Fri.–Sun., 11 a.m.–5:45 p.m.; Thurs., 11 a.m.–8:45 p.m.; $7–$12.50 (free first Tues.)

San Francisco Museum of Modern Art

151 Third St., SF

(415) 357-4000


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