On view at SFMOMA and traveling to the Guggenheim in 2012, Francesca Woodman is a testament to the faithfulness of an artistic inquiry. In photo after photo Woodman experimented with formal elements, tested endless configurations, and explored feminine identity. Woodman’s self-discipline is evident in the multiple galleries hung with her photographs. Considering her age—she was in her late teens and early twenties when the work was[…..]
Matt Lipps’ newest body of work HORIZON/S, flips the traditional mode of institutional curating on its head. In this series, Lipps appropriates content from a late 1950s arts and culture publication that promises to offer a curated selection of international culture that will add a sense of sophistication to anyone’s taste. From these images, Lipps’ playfully explores what happens to the meaning of certain objects[…..]
More a thoroughfare between the institutional offices and educational spaces than destinations, the second and third floor galleries at the Museum of the African Diaspora (MoAD) can be, at times, unforgiving display spaces. Nevertheless, as an institution, MoAD consistently presents exhibitions that expand one’s notions of race and identity. One need only to look at last year’s “African Continuum: Sacred Ceremonies and Rituals,” which contrasts[…..]
Recently in the San Francisco Bay Area it has been impossible to walk down a street without running into (or trying to avoid) someone protesting something. The messages range from concise to ironic, sardonic to flat-out fed up. In the undulating sea of abridged manifestos, there is the rare message so poignant that it demands the sign-bearer’s cause receives deeper consideration. Geoff Oppenheimer’s current exhibit[…..]
Standing on a hillside gazing into the Pacific Ocean, one can’t help but to be overwhelmed by the beauty and ruggedness of the landscape. Rolling hills, steep cliffs, and thick forests bring to mind epic stories of western expansion and the conquering spirit of those who have traveled here, a spirit currently under investigation at Eli Ridgway Gallery. Better a Live Ass than a Dead[…..]
Artist and educator Amy Franceschini is the founder of Futurefarmers, a San Francisco-based artist collective and design studio that designs projects that address current social, environmental and political challenges through the use of diverse forms of audience engagement. The essence of Futurefarmers projects has been described as “a balance of critical and optimistic thought with the use of inventive and pragmatic design elements.” The collective is[…..]
The Cantor Arts Center at Stanford University is engaged in a dangerous experiment, and it is not the levitation of a twenty-ton piece of Richard Serra’s steel sculpture, Sequence, 2006, thirty feet into the air. Nor is it the gyration of a 200-foot tall crane lifting the first of twelve panels—each almost thirteen-feet high and between thirty- and forty-feet long—from a flatbed trailer onto a[…..]
