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Monday, January 30, 2006 - Things I Wonder
Speaking or singing seems more intimate than painting. The sound waves leave your lips and enter me, beating on the drum of my ear. Is there any way a painting can be received like that?
Are books becoming more valuable as fetish items, used for symbolic visual aspects, rather than as a simple technological transfer/repository of information? Look at the way books are being used in art projects.
Can a being, anchored in time/space by a physical body, understand the infinite as more than a really long time and a really big space? Can a two-dimensional object like a painting contribute anything to this inquiry?
Thursday, January 26, 2006 - Hye Seong Yoon studio visit
Yesterday I accompanied Amanda Janes on a studio visit to Hye Seong Yoon’s space in the Academy of Art building at the corner of Chestnut & Columbus.
Hye Seong’s space is about the size of the typical office cubicle and it’s set up like a mini gallery. Even though I saw an easel set up there, I couldn’t believe she worked in such a small, neat space. But she said that she did work there, because her apartment was even smaller.
Amanda had come for one of Hye Seong’s cityscapes (she went home with “Late Afternoon” ) but we were both impressed with her figurative work. She’s putting figures in the corner or side of a large canvas so that she can focus on the abstract qualities in the center of the canvas. But the figures are very strong, and really hold their own with the equally strong abstracts. I notice that most of the newest pieces are not on her web site yet, so keep an eye out for this body of work.
REMINDER: Reset your bookmarks: Working Artist’s Journal is going to migrate from the BigCrow look/location to iWeb. Between now and Jan. 31st, I’ll be posting in both locations. Then on Feb 1st, all new posts will be at the new location, and this site will remain as an archive.
Tuesday, January 24, 2006 - F. Scott Hess at Hackett-Freedman
F. Scott Hess is at Hackett-Freedman right now. His show, "The Seven Laughters of God, and Other Paintings" is up through February 25th. As Alan Bamberger said, "This dude can paint." (Great images of the paintings on the gallery web site and of the opening at Bamberger's site.) The painting is hyper-real, hard-edged, with saturated colors and in-your-face symbolism. The imagery is very funny and emotional.
The paintings loosely illustrate the arc of a young artist’s career, from street painter to first solo gallery exhibition. They also symbolize the Seven Laughters of God - Light, Firmament, Mind, Generation, Fate, Time, and Soul. The Seven Laughters are from an obscure Egyptian creation myth, but the images are loaded with symbolic references to contemporary concerns and even if the viewer doesn’t get them all there are plenty of easy ones.
Donald Kuspit wrote the main essay for the exhibition catalog. He went into excruciating detail about the meanings of the symbolism in Hess' paintings, including a lot of psychoanalytic conjecture about the artist and his family. I prefer the shorter notes by the artist in the back of the book.
There are a few other paintings in this show, also allegories. “Riverbed” is a real stunner. It reminded me of Gustave Courbet’s “L'Origine du Monde” (The Origin of The World) but with more class, more tension, more eroticism, and more mystery.
I happen to appreciate narrative and symbolism, but the painting itself is a real pleasure to observe. In smaller reproductions, the images look almost like comic books, but up close there’s no doubt that this is Painting. Take, for instance, “Generation”, 54” x 66” (the artist is donating at a sperm bank.) The symbolism in this one is over the top, but look at that floor... and the walls... this is painting for painting’s sake. It made me want to get back to the studio, ASAP.
REMINDER: Reset your bookmarks: Working Artist’s Journal is going to migrate from the BigCrow look/location to iWeb. Between now and Jan. 31st, I’ll be posting in both locations. Then on Feb 1st, all new posts will be at the new location, and this site will remain as an archive.
January 24, 2006 (Tuesday) - Art as Gift
Lewis Hyde (author of The Gift - Imagination and the Erotic Life of Property - an art book, really) must be pleased, or at least intrigued. "Art as Gift" is a concept that seems to be gaining more traction lately. I wonder why - is this a hint of the new zeitgeist? Is it related to the copyright wars? Is it a symptom or a reaction to the culture of materialism? Maybe it has something to do with the internet as global commons. I don't know the answer to those questions, but I offer these examples of the phenomenon:
San Francisco's Lisa Dent Gallery has new show called "The Excitable Gift," opening February 2nd. In this project, four artists question and interpret the meaning of the gift by bringing artworks
normally viewed in a gallery or museum setting into city parks, buildings and streets:
•Vanessa Blaikie’s project, inspired by the spatial rhythms of birds and wires in the city, involved quiet, simple installations throughout China Basin/Potrero neighborhoods of cutout drawings
•Eila Kovanen stood on the street corner at Montgomery BART on Market Street and handed out signed, limited edition prints to grouchy, Monday morning commuters.
•Robin Ward’s project revolved around the fact that the Dolores Park area was formerly a cemetery. Ward hand-painted small panels and attached post-cards containing historical facts about death in the park to these panels. Each panel was left for passersby to take and keep.
•Joey Piziali recreated large sculptures identical to slices of the urban landscape- a topiary and a graffitied wall- and installed them in very different neighborhoods from where he originally found them.
San Francisco painter Alanna Spence decided in August 2005, that every Friday, she would start leaving a scrap of paper with a little sketch on it, for someone to find. She's hoping it'll brighten up someone's day to find a random piece of art. she's calling this project, "Finder's Keepers."
Janet Rosen, started her "Deaccessioned" project to explore the questions, "Does a piece of art have intrinsic value? Does it matter to whom? What is the role of money? What the market will bear? What happens when the artist decides that space is more valuable put to another use than storing the piece of art?".
Roberta Fallon and Libby Rosof founded the "Zero .1% for Art Commission" in 1998, to distribute art to the general public. Their mission was (is?) to put art in the hands of 0.1 percent of the population of Philadelphia, to reestablish a critical lost link between the general public and art.
An anonymous artist left metal bird and flower sculptures on the street in Richmond, VA - artist Martin Bromirski found them.
A few years ago Sal Randolph began the "Free Words" project, which morphed into the "Free Biennial" and eventually into "Free Manifesta." He's done a lot of thinking on this topic, and written about it on his web site.
And of course, street artists and culture jammers have been giving away art for years - Banksy covers a lot of territory, just Google him.
Last minute update! I just went down to the mailbox, and what did I find, but an art gift... a 15 page coloring book by Roberta Fallon. My favorite page is “two trees, Santa Monica Beach.”
permanent link (and the missing photos) to this entry
REMINDER: Reset your bookmarks: Working Artist’s Journal is going to migrate from the BigCrow look/location to iWeb. Between now and Jan. 31st, I’ll be posting in both locations. Then on Feb 1st, all new posts will be at the new location, and this site will remain as an archive.
January 23, 2006 (Monday) - This Blog is Moving
Working Artist’s Journal is going to migrate from the BigCrow look/location to this one. Adding entries here, with iWeb, takes a fraction of time that I spend with GoLive. While it’s true that I’m restricted by the templates here, the time savings is worth it. Plus, I have confidence that this initial offering from Apple will be improving over the next year or so.
Between now and Jan. 31st, I’ll be posting in both locations. Then on Feb 1st, all new posts will be at the new location, and this site will remain as an archive.
January 23, 2006 (Monday) - Alcatraz Morgue Investigation
  Yesterday I went over to Alcatraz with some other painters and photographers - it’s a great place for image gathering of any kind.
I had two goals for this trip: to spend some time on the Parade Ground, which had been closed the last few times I went out there; and to get some photos of the morgue. I was thinking I could use the morgue images in my next painting series. When I saw it yesterday I thought. “It’s too cheery in here.” The scene is just a simple, crumbling ruin with moss, ferns, and vines overtaking the walls, floors, and autopsy table (photo left). Maybe in black and white, it would look more foreboding, but the red & white bricks and rusty machinery, combined with the brilliant greens of the winter growth just scream, “Life! Living! Renewal!” Then again, that’s one of the benefits of painting - I can make it any color I want.
The Parade Ground and Agave Trail were beautiful. After hiking around for awhile, I was able to sit on the Parade Ground, among the gathering gulls, and do a little watercolor sketching (above right). The Park Service is closing these areas again on the first of February, because the Western Gulls are getting ready to begin their nesting season, and one of their favorite spots is the wide concrete plaza of the Parade Grounds (photo below.)
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January 19, 2006 (Thursday) - It's Upgrade Time
I'm going to be making some major changes around here. Most of you will notice the renovations on Feb. 1st. But I need a few days to focus on mechanics, so posting will be suspended for the rest of the week - see you Monday!
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January 18, 2006 (Wednesday) - Museum of the African Diaspora
I finally stopped in to see MoAD (Museum of the African Diaspora.) It's a 3-story space on Mission Street (near 3rd Street) in the St. Regis Hotel building. It's the one with the giant orange slab protruding from the front of the building and a 2-stories-tall image of a girl's face filling the front windows.
This neighborhood is really turning into Museum Central. I counted 9 museums within (short) walking distance of each other (and there are three more in the works):
- MoAD, 685 Mission Street (near 3rd St.)
- Cartoon Art Museum, 655 Mission Street
- California Historical Society, 678 Mission Street
- SFMOMA, Third Street (btwn Mission & Howard)
- Zeum, 221 4th Street (near Howard)
- Museum of Craft & Folk Art, 51 Yerba Buena Lane
- Yerba Buena Center for the Arts, 701 Mission Street (near 3rd St.)
- California Pioneers, 300 4th Street (at Folsom, across from Yerba Buena)
- California Academy of Sciences (temporary location, until 2008) 875 Howard St. (at 5th St.)
The first two floors of MoAD are sociology/anthropology exhibits, but the third floor has an art exhibition space. The current show, "Linkages and Themes" is a group show with some very fine work by Iona Rozeal Brown, Wangechi Mutu, Willie Cole, Kara Walker, Ana Mendieta, Alison Saar, and others. They wouldn't let me take photos, and the images I wanted to talk about aren't on their web site, so that's all I have to say about it.
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 January 17, 2006 (Tuesday) - Craft and Folk Art Museum
The Museum of Craft and Folk Art has moved from Ft. Mason to the downtown museum cluster (across from Yerba Buena Gardens, next to the future Mexican & Jewish museums, if they ever raise enough money to get their new buildings built.) It's a single, small room - I thought it was smaller than the old space, but they say it's bigger. In any case, it's in a dynamite location.
The current show is "Folk Art for the Soul, from Bay Area Collections." It must have been fun to curate. The work is from all over the world, ancient and contemporary. The art may be for the soul, but the craft is for the body: coffins seem to be popular among local collectors, and they have one that's shaped like an elephant. Speaking of bodies, how about this wonderfully voluptuous female figure, covered in cowrie shells?
The museum is located about mid-way down Yerba Buena Lane, which is that new walkway between Market and Mission, alongside the Four Seasons on Market and St. Patrick's on Mission. The current show is up until January 29th.
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January 16, 2006 (Monday) - Charles M. Ware Memorial
 Yesterday I attended the memorial service for Charles M. Ware (1921 - 2005.) It was a lot like an art opening. Paintings and prints were carefully hung. Lots of wine , cheese & other food was set out. Then the room filled up with artists, collectors, dealers, and friends & family of the artist. His wife Linda, daughter Laura and son Gabriel all spoke about their memories of Charles and then other people contributed stories from other parts of his life. One old friend talked about "Charlie's colorful past, hopping off & on freight trains."
Artist Nick Hyde described the way Charlie inspired him as an artist and a friend:
"Man, could he tell stories about his wanderings across the country mostly in New York, and his days in the Army during WWII. He kept a journal of sorts full of these wanderings. It was intended to be a life story. He sat me down once, opened it anywhere and began to read. He had something to teach me that any page would do. I have a problem sitting still for that kind of thing and wanted to bolt. He said 'wait a minute and listen' and I did. A minute or so later I was completely smoothing out, the page he randomly opened up to was a description of a dump he was in broke and hungry. He described the room, the spirit ... damn, that guy could write. I don't remember how long he read. I was completely absorbed, I was like a kid listening to a wise old teller of tales."
(more memories of Charlie on Nick Hyde's tribute page)
 Collector David Gomberg talked about rescuing some of Charlie's etching plates from being run over by Gabriel's tricycle.
Hela Norman was there, accompanied by a gentleman who talked about the San Francisco Visionary Art Movement and the way these artists (Irving Norman, Alonso Smith, Charles Ware and others) influenced each other. He made a good point about the artificial nature of the categories of "political art" vs "spiritual art"
 Artists John Morita & Dale Erickson didn't talk at the memorial service, but some of their portraits of Charlie hung in the side galleries. John told me that he had taken over 20,000 photos of Charlie and his family, and he'd made over 100 etchings of them. He started documenting the Wares in 1972 when Charlie was 50 and Gabriel was 2 weeks old. His long-range goal is to create an etching of Gabriel at 50 years old.
 Benny Alba, President of the California Society of Printmakers, talked about Charlie's legacy and mentioned a book in the works (about California printmakers) that would include some of Charlie's etchings.
Laura and Gabriel have a huge job ahead of them, sorting and deciding on the disposition of Charlie's work. He never stopped making art, every single day, and his house is crammed to the rafters with an inconceivable amount of drawings, etchings, paintings and writings. I talked to a couple of artists who were thinking, "Man, I'd better start getting my stuff in order..."
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January 13, 2006 (Friday) - Ray Johnson at Hackett-Freedman
 I want this piece of art (at left, by Ray Johnson: Untitled (Dear Joseph Beuys) 6.5 x 5.75".) It's way more beautiful in person than it looks in reproduction. Actually all of the Ray Johnson collages up at Hackett-Freedman right now are exquisite. They're on display with some Jess collages ("Word Pictures, paste-ups, Moticos, and Assemblages") and while I have some sentimental fondness for the Jess pieces, Ray Johnson's  work is deeper, more original, more nuanced, and more thoughtful. What you can't see in these (or probably any) reproductions are all the layers - the teeny lines of hand-written text, the subtle shades of grey he's worked into/over the image, the way those 3-D pieces of cardboard (?) have been shaped and inscribed. It's a picture of obsession (and I mean that in a complimentary way.) You don't get many chances to see his work out here... mostly what I've seen of his stuff is from the movie, "How to Draw A Bunny." As usual, it's much better in person. check it out.
Image of "Untitled (Dear Joseph Beuys)" is from the Hackett-Freedman site
Ray Johnson's signature bunny, from the Wikipedia page about him
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January 12, 2006 (Thursday) - Artists Health Issues
The San Francisco Department of Public Health cares about my health and safety, as an artist. That's the message I got yesterday, when I participated in a focus group of 9 artists and a Policy Analyst for the Program on Health, Equity and Sustainability - Environmental Health Section.
 I arrived 15 minutes early at the conference room in a building near City Hall. It was a fairly normal, corporate-type conference room except for the weird fetish items (wooden & aluminum items wrapped in string & cloth) stashed on the shelves and in boxes in the corner. At least that's what they looked like to me. I had just come from the new Craft And Folk Art Museum and I'd been looking at stuff just like this, labeled with all kinds of mystical titles. Later, one of the Health Dept. people told me that the items were used for educational demos with restaurant workers. (!?!)
The Focus Group was composed of 9 artists and the moderator/interviewer. The artists were 6 painters, a photographer, a printmaker, and an illustrator.
3 out of 9 artists worked full-time non-art jobs to pay the bills
3 out of 9 artists worked part-time non-art jobs to pay the bills
3 out of 9 artists worked full-time at their art
4 out of 9 artists had health insurance - the other 5 used free clinics (plus, one artist went out of the country to take advantage of the socialized medicine in his home nation.)
Almost no one used serious precautions for environmental hazards in their studio work, in spite of some health problems. The reasons: didn't know about the dangers until problems arose; precautions cost money; and "it interferes with the process."
The health problems in this group were pretty predictable, mostly related to stress or poverty (and in one case, to domestic violence.)
The city asked what they could do - if it would help to make health/toxics information available to artists. I said the only kind of information I'd find helpful was how to get cheaper living or studio space.
They fed us pizza, salad & cookies, gave us Safeway gift certificates, and thanked us for participating. I'm curious about whether they really got any significant information from this session, as answers to the questions seemed like common knowlege to me.
One issue which came up briefly (between artists) is: which is worse - working a non-art job to pay the bills and rarely getting time to to paint - or - painting full time but always worrying about money.
In listening to artists at the group, it's apparent that both situations are stressful to an artist. I've tried both ways... and found that the first way (working a job, painting when off the job) is intolerable. When I'm painting, I don't think of the stressors - I forget everything but the painting. So, when I'm painting full time, I'm happy most of the time, and only lay awake at night worrying about money. But when I'm working some non-art job, I rarely paint, and I lay awake at night stressed about not painting, and then go the whole day without the relief of painting.
So the stress is definitely worse when working a non-art job. At least for me.
A few health links for artists:
Environmental Hazards in the Fine Arts - from the feds
Health & Safety in the Arts - comprehensive guide from the city of Tucson, AZ
Artists Health Care Task Force, of Boston
Health Hazards in the Arts: Information for Artists, Craftspeople, and Photographers
THE BUSINESS OF ART :: HEALTH, SAFETY & INSURANCE
Toxic Pigments
Toxic Pigments & Pregnancy
Dick Blick's Guide to Health & Safety, in use of Art Materials
The Artists' Health Center Foundation in Toronto (a good model for SF?)
More from Toronto
Canada's Health Guide to Arts and Craft Materials
United Nations recommendations "Concerning the Status of the Artist"
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January 11, 2006 (Wednesday) - Rainy day notes
The power was out for awhile this morning, so everything is late today. I'm heading downtown to see some art. A few notes before I go:
Evidence that creativity is not limited to artists (via Laughing Squid.) I listened to Steve Job's talk yesterday... he said something about "making tools for expressing yourself creatively." The new web/blog/podcast software looks awesome - can't wait to try it.
Check out the review of the Chuck Close show at SFMOMA by Tyler Green.
And speaking (yesterday) of the fifth floor at SFMOMA, TG also has a short review of the current stuff.
Local Artists: Artspan's new staff is making a serious effort to improve the annual Open Studios event. They attended last night's meeting of the Sunset Artists and, according to one attendee I heard from, "The real interest of the meeting was Jessica Stewart from ArtSpan. She talked briefly about ArtSpan doing more for Open Studios in the Sunset. One idea she is working on is setting up an exhibit space in the Sunset to run concurrently with SoMarts. The catalog is also getting a major remake to make it more user friendly. Of perhaps more interest in the near term is a Community Forum to be held at the DeYoung on Feb. 24 to receive input from artists about Open Studios. Might be worth going to. A notice should be coming by email soon."
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January 10, 2006 (Tuesday) - Rauschenberg books
 Two books by Calvin Tomkins:
"The Bride and the Bachelors, Five Masters of the Avante-Garde," published in 1965 by Viking, reissued in 1976 by Penguin (ISBN 0140043136)
"Off the Wall, A Portrait of Robert Rauschenberg," originally published in 1980, recently issued in paperback by Picador (ISBN 0-312-42585-6)
The earlier book is a collection of five short biographies (Marcel Duchamp, John Cage, Jean Tinquely, Robert Rauschenberg and Merce Cunningham.) The later book is a more in-depth look at Rauschenberg, but since his life and work intersects with those five artists (as well as Jasper Johns, Jackson Pollock, Willem de Kooning, Andy Warhol and their dealers) "Off the Wall" is really a focused look at a particular section of the NY art world, in the second half of the twentieth century. The new paperback edition has an additional chapter, updating the story to 2005.
Both books are easy reads, full of amusing anecdotes and personal observations. I've always felt pretty neutral about Rauschenberg's work. I found it mildly interesting at best. But I'm a big fan of John Cage, and I was fascinated by their exchanges:
"The Abstract Expressionists continued to have great admiration for (John) Cage. Some of the artists could even discern, in Cage's music, the same kind of "all-over" texture that characterized Pollock's post-1947 paintings in which there was no center of interest... But Cage's denial of the artist's central control was a heresy that seemed to most of them simply negative or quixotic. In Rauschenberg's case, Cage's thinking became an unexpected source of support. ... Like Cage, he was exploring ways of limiting the artist's control over the final result, principally by trying to make the viewer work harder and harder and become more involved in the process."
from "Off the Wall, A Portrait of Robert Rauschenberg," by Calvin Tomkins
I'm glad I read it - this kind of back-story goes a long way toward enhancing my appreciation of an artist's work. I"ll have to go back up to the 5th floor at SFMOMA and take a new look at whichever Rauschenbergs they have out now.
Incidentally, if you're near SF, the Meyerovich Gallery has a good show of Rauschenberg's work, "In Celebration of His 80th birthday." They have some pieces that I think are superior to some of the Rauschenberg paintings at SFMOMA.
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January 9, 2006 (Monday) - Painting Rags
 
About 30 years ago I stopped buying paper towels and paper napkins. Cloth is cheaper over the long run and it's easier on the environment, too. Eventually those former dish towels, cleaning rags, and napkins end up in the studio, as painting rags. I use them until they're so stiff and full of paint that they can't absorb a drop of water (these two are half-way there.) Then they become flexible pallettes, little drop cloths, or masking material. If I was an oil painter, this plan would make the studio a major fire hazard... maybe even a superfund site. But since I'm using acrylics, it's not a big deal. Occasionally I'm tempted to stretch a rag and call it a painting. I've been reading a Rauschenberg book lately ... must be his influence.
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January 6, 2006 (Friday) - Painting Nature
From "A Miscellany of Artists' Wisdom," compiled by Diana Craig, published 1993 by Running Press, ISBN 1-56138-253-1:
"There is something in painting which cannot be explained, and that something is essential. You come to nature with all your theories, and she knocks them all flat."
- PIERRE AUGUSTE RENOIR (1841-1919)
While some artists are preoccupied with technique and theory, others have a more direct response to nature. The American painter Andrew Wyeth tells of an evening spent in a New York penthouse with a group of artists, including the abstract painters Jackson Pollock and Stuart Davis, and Edward Hopper - a painter of deceptively simple figurative scenes.
Pollock and Davis were heatedly discussing technique, oblivious to all else. Outside, the sun was beginning to set, igniting the surrounding buildings in an incredible fiery glow. Leaning across, Hopper tapped Davis on the shoulder and pointed out of the window. "Can you ignore that?" he asked.
Image above is Edward Hopper's "Railroad Sunset," 1929, oil on canvas, 28 x 47 inches (in the Whitney collection)
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January 5, 2006 (Thursday) - Bloggdom
Another year. Actually, I started this blog in October 2003, but I prefer January as an anniversary month. And I'd like to remind those of you who just started reading: I'm a painter. That's what I really care about. This blogging thing, here? It's a hobby. Please do not confuse me with any art critics, real writers, or techno-geeks... much as I love and admire them all, I know my limitations.
When I'm not actually making art, I like to experience it, look at it, talk about it. I'm especially interested in talking about art with artists and other people in the arts. So this is a place to record and share some of those exchanges.
The loose-knit web of art bloggers creates some of those exchanges.
Roberta Fallon visited SF last summer and wrote about it on "artblog".
In artblog's recent "liberta" awards, I was included in the "Royal Order of Art Bloggers"
Roberta and Libby started another blog, called "visiting artist," which is a kind of dialog in drawing and painting. (I added it to the sidebar.)
Tyler Green at "Modern Art Notes" visited SF over the holidays and compares our local museums with those in LA and Ft. Worth, concluding, "Museums that mix up their permanent collections and find ways to drive visitors to them (signage, cross-hangings) have crowded galleries." (SF museums are crowded.)
Rachael at "Honest Art Talk" and Scott Listfield at J.T.'s "Thinking About Art" are wrestling with the never-ending issue of how to make a living and/or make art.
In that debate, I've come over to the side of making art first and making do in the rest of life.
And I'm heading back to both of those, right now. Seeya tomorrow...
(The photo above is a cloud off Ocean Beach, between storms, a couple of days ago.)
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January 4, 2006 (Wednesday) - Happy New Year!
Over the weekend, I got a chance to see "After the Ruins, 1906 and 2006: Rephotographing the San Francisco Earthquake and Fire" at the Legion of Honor, through June 4th, 2006. It's a small show, juxtaposing historical photos of the 1906 San Francisco earthquake with contemporary photos of the same scenes. The contemporary photos were taken by Mark Klett, who sees the comparisons as "a way to contemplate how we understand time and our relationship to the past."
Many of the older SF photos were taken by Arnold Genthe (his photo of Sacramento Street and the approaching fire is shown above.) It was a surprisingly moving experience seeing this show. I say that because every San Franciscan has seen most of these historical earthquake photos over and over again, and they didn't seem to to have much emotional power any more. But Mark Klett found a way to make us look at them again with new eyes. First of all, he reprinted the old photos, making them much bigger and easier to fall into. Secondly, he found some images I'd never seen before and these images were candid close ups of stunned citizens, standing and staring into space, watching the fire, or trying to save belongings. The contemporary photos are beautifully composed and it's fascinating to go back and forth between some of the paired images, trying to identify the pre-quake buildings in the contemporary photos. I highly recommend this show to everyone who lives here, or loves this town.
USGS info on "The Great 1906 San Francisco Earthquake, 5:12 AM - April 18, 1906"
More photos of the '06 SF Quake & Fire at the SF City Museum site
Audio of Dec. '05 KQED interview with Mark Klett here
Arnold Genthe photo and other '06 SF quake photos here
How George Lawrence took large format aerial photographs of the devastated city.
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Previous entries:
December 29, 2005 (Thursday) - Year End Beginning
December 27, 2005 (Tuesday) - Art Fraud
December 22, 2005 (Thursday) - Visiting the San Jose Museum of Art
December 21, 2005 (Wednesday) - Delivering a Commissioned Portrait
December 20, 2005 (Tuesday) - Mark Your Calendars
December 19, 2005 (Monday) - Local Art Museum Podcasts
December 15, 2005 (Thursday) - About Curators
December 14, 2005 (Wednesday) - Generations
December 13, 2005 (Tuesday) - More Updates
December 12, 2005 (Monday) - Music and Painting Update
December 9, 2005 (Friday) - Art theories, etc
December 8, 2005 (Thursday) - Art songs, art music, music for artists
December 7, 2005 (Wednesday) - Odds & Ends
December 6, 2005 (Tuesday) - Odd Nerdrum, Perverse Humanist
December 5, 2005 (Monday) - Road (and water) Trip
December 2, 2005 (Thursday) - de Young Textiles gallery
December 1, 2005 (Thursday) - de Young Modern & Contemporary
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