one of the ways i've chosen to engage with the possible is via a portrait project of folks involved. since the exhibition is very much about process, i'm using the camera i enjoy using the most – my rollei – and showing contact sheets. i've steadily added to my collection over the course of the show.
there are two weeks left to check out the book, which lives on-site at the berkeley art museum, in the remarkable possible library.
i'd like to take this moment to thank light waves for their ongoing support of this project.
this three-part show focuses on a romantic connection to california, its land and bohemian culture, as well as a particular group of artists who, through their love of the area and social practice, comprise a unique moment in local art.
the first part of the series, the photo show, is chock full of local photographers whose work i've admired for a long time: andrew paynter, kanoa zimmerman, terri loewenthal, lauren douglas, jesse schlesinger, cody welsh, airyka rockefeller, jordan bennett, alissa anderson and david uzzardi.
here's an excerpt from Beauty in Photography by Robert Adams, selected for the photo show by Jesse Schlesinger:
the other two parts in the series are the drawing show (drawings, paintings and poetry, opening july 30) and the craft show (functional arts and crafts, opening october 15).
above is my contribution: a 30 x 30 framed c-print entitled "personal hotspot."
the photo show opening reception: friday, april 18, 2014tartine bakery 600 guerrero street @ 18th, san francisco 9 - 10:30pm
* light refreshments served
** works will be on view and for sale until july 28
*** 7:30pm: tacos by tartine baker cameron wallace
**** 9:30pm: music by magic magic roses
***** 10:30pm: after party at amnesia, DJ set by andy cabic
it's high time i share some news about the possibleat berkeley art museum.
what the new york times calls a departure from the obvious, this exhibition crafted by guest curator david wilson and director lawrence rinder is an experiment that re-conceives the museum as a site for creative convergence. the gallery spaces have been transformed into work spaces: a ceramics studio, dye lab, print shop and recording studio. a diverse range of guest artists are using the museum and these studios to create new work, collaborating and experimenting in a public forum. i'm happy to be one of them.
above is a platform that kori girard designed to receive works created during the four-month long exhibition. i loved it most early on, in its empty state, reeking of potential. this image sums up the spirit of the exhibition quite nicely, but the instagram feed does a pretty good job too.
i think about portraits a lot. it’s a special thing when one catches my eye, and i’ve always been drawn to this one of william eggleston, camera in hand, by maude clay. it’s no secret that people tend to shine when doing their thing, but i know that taking a portrait of a photographer isn’t the easiest feat regardless. my obsession with this image prompted me to daydream about what a glorious challenge such a project would be: portraits of photographers. turns out that stuart plinkington, a curator in london, beat me to the punch with his next-level version that involves photographers from all over the world. he calls it “the swap.”
when stuart contacted me about participating in the swap, maude’s portrait of william immediately came to mind. i suggested that maude and i be a pairing. i figured it was a long shot, but as luck would have it, stuart had just been corresponding with maude that very same day, and she had agreed to participate.
when i researched maude, i was amazed to see that she lives in a small town in mississippi, just minutes from the spot where my mother lived for the last 15 years. my mother recently relocated to california, so knowing that i wouldn’t be visiting mississippi anytime soon, i wrote to maude with some words of praise and a brief tale of our almost-connection.
this is where it gets really good. maude responded that she was planning to visit the bay area the following week, and we made a date to meet in the redwoods. cheers to a serendipitous encounter, maude’s portrait of william, stuart’s project, and a little perseverance. here’s my maude and here’s her me.
here it is in the film flesh.
and here are a few favorite vignettes of the opening ceremony that took place on september 14, 2013 (plenty more here).
tucked in the eucalyptus grove
the drawing will remain in the presidio until november 22, 2013. it's an amazing thing to stumble upon, and an even more amazing destination.
i am thrilled to share what happened when sam, felix and i embarked on the journey.
and ... i saved the best for last. ready for sam fleischner's incredible short film?
it is with great pleasure that i announce the opening reception for my show: a collection of photographs inspired by what cézanne called "petite sensation," the suddenness of seeing the world around you.
the images live inside of handmade frames, designed and created by jason libsch here in our woodshop. the frames are things of beauty: white-washed poplar, with a deep profile, thin face and finger joints. designed to disappear, the slim nature of the frame contrasts beautifully with the 5' photographs.
Show up from Sept 23 - Dec 2, 2013
2239 Fillmore Street
San Francisco, CA
Thurs, Nov 7, 2013
7 - 9PM
if you'd like to receive one of these printed cards in the mail, let me know and i'd be happy to send it along.
i also made a set of offset-printed postcards to accompany the show. it is a limited edition of 500, hand-numbered.
my cats, fripp and eno, were unwilling participants in my impromptu backyard photo shoot yesterday. i was just looking for an interesting way to share the holographic foil stamp on the packaging, something i'm really excited about.
i'll have discounted sets available for purchase at the opening and beyond that, find them at some of my favorite san francisco shoppes: gravel and gold, foggy notion, rare device and flora grubb gardens. on the east side of the bay, they'll be at james rowland shop and erica tanov.
steady progress on the handmade house continues. here are some visual updates from the last six months. with the basic structure in place, next come the walls. the first layer is a mixture of harvested clay and hay.
then, time for the big guns... machinery! the outer layer of the walls have finely ground hay in the mix.
what's up, slackers?
aubrey wraps the support beams in string, which gives the bottom layer of clay something to hold on to.
some students from the tassajara zen joinery apprenticeship program lend a helping hand.
watch and learn.
the interior, including the newest addition (the non-structural inner wall), ready to be coated.
a non sequitur worth seeing: the rock wall.
not necessarily in chronological order, i'll conclude with this shot since roof completion is slated for next week.