YEAR IN ART: A firestorm of controversy in the larger art world -- but here in San Francisco, visions were clear and wide-ranging
L@TE, BERKELEY ART MUSEUM, MOST FRIDAY NIGHTS
Turning staid-by-day museums into hip nightspots for hip young folks has been the hip thing for institutions to do for some time now. Thankfully, the Berkeley Art Museum knows how to do it right. Skip the catered canapés and light show, and focus on programming that is truly varied and more often than not, locally-minded — from Terry Riley celebrating his 75th to Xiu Xiu frontman Jamie Stewart improvising film soundtracks, from performance artist Kalup Linzy singing dirty love songs to outré Mexican B cinema— all for next to nothing.
CARINA BAUMANN, UNTITLED (2) (2008-09), 2ND FLOOR PROJECTS, JAN.–FEB.
At first I couldn't see the woman's face in Carina Baumann's Untitled (2). I stared into the slate-like surface (actually, translucent white film developed on aluminum), incrementally adjusting my height, until the blackness stared back. The effect was not one of shock, as with the mirrors at the end of Disney's Haunted Mansion ride, in which the holographic undead crowd in with your reflection. Baumann's art asks for patience and slow adjustment, and in return, regifts your sense of sight.
"SUGGESTIONS OF A LIFE BEING LIVED," SF CAMERAWORK, SEPT.–OCT.
Perhaps most germane to the issues about queerness, identity politics, and representation now being raised (again) by Wojnarowicz-gate and the "Hide/Seek" exhibit, this group show put together by Chicago-based curator Danny Orendorff and SF native Adrienne Skye Roberts took "queerness" out into the desert, helped it cast off the much-tattered coat of identity politics, and asked a group of artists, activists, and filmmakers to record its unfettered visions of things to come (many of which, as the resulting work testified to, are being lived out right now).
MATT LIPPS, "HOME," SILVERMAN GALLERY, APRIL-JUNE; R.H. QUAYTMAN, "NEW WORK," SFMOMA, THROUGH JAN. 16, 2011
Although Matt Lipps is a photographer and R.H. Quaytman is a painter, they tweak their respective mediums in these unrelated shows to arrive at a similar kind of flat sculpture, which flickers between abstract prettiness and representational heavy-lifting. Lipps' densely layered photographs of assemblages — in which variously colored photographs of domestic interiors, cut into facets and taped back together to form the original image, become backdrops for cut-out reproductions of Ansel Adams landscapes — collapse foreground and background, personal space and photographic history. Quaytman, working in dialogue with the poetry of Jack Spicer and SFMOMA's photo archive, silk-screens images from the museum's holdings onto beveled, wooden panels of various sizes, augmenting them with flashes of Easter eggs-like color and glittering crushed glass.
ERIK SCOLLON, "THE URGE," ROMER YOUNG (FORMERLY PING PONG), JULY–AUG.
Although nothing will top his porcelain casts of assholes that littered Ping Pong Gallery like so many discarded sand dollars for the 2009 group show "Live and Direct," Eric Scollon's more recent solo exhibit at the gallery, "The Urge," continued to queer form and function. The 50 or so small porcelain works, painted in the blue and white style of Dutch Delftware and arranged in pun-laden groupings, smartly played off ceramics' dual cultural status as both a "fine art" and kitsch object, while throwing shade at modern art's conflicted relationship to ornament. Speaking of which, if only I had a Scollon for my tree.
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