REVIEW Amanda Kirkhuff is drawn to wild women. In a 2007 show at [2nd Floor Projects], she used black and green ink to render some female icons whose strengths are laced with ambivalence. For example, in a portrait of Dr. Laura Schlessinger, the pissy, vindictive self-help guru is rendered-times-five in a manner that emphasizes the manic energy in her eyes. Read more »
1.New wave of California painting My thoughts on the topic are still percoutf8g, but it will soon be time to take on the inspiring subject of new California painters. Amanda Kirkhuff's superb oil portrait of Lorena Bobbitt, currently up at [2nd Floor Projects], is one touchstone. Neil Ledoux's brown invocations at Silverman Gallery earlier this year is another. The next few months bring a blitz of lively, original paintings. Brendan Lott serves up ugly-beautiful America. (Oct.-17-Nov. Read more »
REVIEW John Anderson is among the great unknown painters of the 20th century. I say "20th" because, though living, he was forced to stop painting in 2003 due to Parkinson's disease. He painted voluminously, beginning in the 1950s, but seldom exhibited, and he's never had a show on the scale of his current retrospective. As Gordon Onslow Ford's studio assistant, he learned about abstract automatism from a master, and was invited to live on Onslow Ford's extensive Inverness estate in 1966, where he remains today. Read more »
TREND Summer's not over, but it might not be too soon to identify Michael Jackson's passing as the touchstone cultural event of season. Icons and paradigms have been crumbling at a remarkable clip: California narrowly avoided a financial abyss, stalwart businesses folded, major pop and art figures died. New Langton Arts, a venerable San Francisco alternative gallery, may not survive the season.
Art museums are inherently rigid institutions. Read more »
PHOTO ISSUE The ghost of Cindy Sherman is everywhere these days. In Untitled Film Stills (1977 onward), Sherman pictured archetypal B-movie versions of herself in emotionally-charged fake film stills. The project remains a salient commentary on self-imagining and imposed, gendered narratives. Yet Sherman's influence can be seen most dramatically these days in photos where people are simply afterthoughts, either insulated or not present at all. Read more »
PHOTO ISSUETake Me to the Water (Dust-to-Digital, 96 pages, $32.50) is an eccentric archive, under the same bewildering sign as Harry Smith's epochal Anthology of American Folk Music (1952). It comprises both a book (75 sepia plates of full immersion baptism scenes performed in nature) and accompanying CD in the same vein as Dust-to-Digital's earlier ark of covenants, Goodbye, Babylon (2003). Read more »
This is the third year of the Guardian's photography issue, and fittingly, three themes or commonalities are at the forefront.
First, there is an emphasis on urban landscape or place while we've always only showcased work by Bay Area artists, this year a number of photographs overtly consider specific settings in SF and surrounding areas as part of their subject matter. Or, in the case of John Chiara and Aaron Rosenstreich, their chief subject.
Second, this issue often though not always looks like trans or queer spirit. Read more »
There are reasons why John Baldessari has always seemed a little like god. For one, the L.A.-based artist resembles popular visions of the man upstairs. He's a formidably tall fellow 6 feet, 7 inches with white hair and beard, and he exudes an unflappably calm, wise demeanor, characteristics that figure in his role as an influential professor for almost three decades at Calarts and UCLA. Read more »