Yerba Buena Center for the Arts Presents:
Occupy Bay Area
July 7-October 14, 2012
$10 Regular/ $8 students, senior, discount
FREE for YBCA Members & YBCA:You
FREE first Tuesday of each month • noon – 8 pm
Since its inception in September 2011, the Occupy Movement has generated both praise and condemnation. A direct response to the financial instability, subprime mortgage crisis and the decline of trust in the government’s ability to effectively address the problems in the labor market, it continues to resonate in the American consciousness. In response to the significant output of art and documentation produced in support of the Occupy Movement in Oakland and San Francisco, YBCA has put together an exhibition of works that have proven to be particularly effective in supporting the goals and aspirations of the Movement. Impressively, various political poster artists devoted their talents to messaging the politics and culture of the movement by creating iconic images — designs that were a call to action, or posters announcing an upcoming event. In many ways these works, by twenty-five Bay Area artists, carry forward the region’s long tradition as a leader in political struggles, from the Free Speech Movement of the 1960s, to struggles by communities of color in the 1970s, to AIDS activism in the 1980s. The exhibition also includes a selection of photojournalistic and documentary photography and video that serve as a record of the events around the Occupy Movement.
Additionally, to connect to earlier movements and provide a historical context for the project, the exhibition includes posters and photographs from other political struggles, including the Black Panther Party, I-Hotel in Manilatown (1968–77); the ARC/AIDS Vigil at City Hall (1985–95); the Occupation of Alcatraz (1969–71); the Free Speech Movement at UC Berkeley (1964–65); and the San Francisco State University protests, to gain an Ethnic Studies program and Black Student Union demands (1968–69).While these earlier movements certainly differ in ways from Occupy, they all are the result of a deep desire for marginalized peoples to be represented and treated fairly.
This exhibition is not meant to represent a fully executed social history, but is a testament of the power of images to evoke the emotional expression of popular and wide-spread sentiments. By localizing our efforts, we also pay special tribute to the role that Bay Area artists have played in giving voice to the 99% and utilizing art as an effective vehicle for social change.
Dignidad Rebelde (Melanie Cervantes and Jesus Barraza)
Gabby Miller and Miriam Klein Stahl
Nuclear Winter Art
Political Gridlock (Jon-Paul Bail)
Cristy C. Road
Sergio de la Torre
Artists of historical posters & photographs:
“Indian Joe” Morris
Photojournalism and video artists:
I’m still riffing on the ideas that opened up when creating the SFMOMA Window Gallery installation. How to synthesize painting with silkscreen printing? What about a rock image makes a great painting? How can the processes of silkscreen printing, especially the layering effects, be brought off as a painting?
I brought some elements of the Window installation painting, “Saint Everyone,” to my new painting, “Heathen Child.” I’m working from a rock poster palette and from rock poster imagery. The Ginderman poster was the basis for the imagery of “Heathen Child,” but I wanted to take this in a new direction with materials and technique.
I used my circle patterns and carefully silkscreened a wide selection of patterns in different sizes in heavy metallic blue silver with green tinting on very delicate japanese printing paper. I was sure this would make a wonderful color for the background of the painting, layer nicely and become embedded in the surface of the canvas.
I laid a thick layer of cadmium red for the figure and flowers. This was modeled – shaded and highlighted – with many glazes of fluorescent red and orange to build up the surface and form. I brushed in shadows of cadmium and knocked those back with subsequent glaze layers of fluorescent. I needed the final edge color to be intense enough to eye-fry when the blue line was brushed on at the end. But wanted the shadow effects to translate in the finished art.
The lava forms were built up with fluorescent push-pull with cadmium, but the difference there was to build up a highlighted finish with pearl lustre. There is an pearlescent finish on the lava forms.
After the red areas were treated I put the background. Each circle was carefully cut out and then puzzled right to the edge of the red figure. I used gloss gel medium for under the paper surface and liquid gloss medium brushed over the paper surface.
Cobalt and permanent green for the foliage over the layered paper at the foreground.
Then when the brush and stars aligned – I finished the figure with blue eye-fry paint – first-stroke best stroke style – breathing deeply and making gestural strokes until it was finished with a very nice worked-in brush.
Like “Saint Everyone” – “Heathen Child” is a painting exploring direct religious experience in a psychedelic key of fluorescent, and perhaps a little more pagan or pantheistic in scope. Here’s some details (click to see larger):
Heathen Child, 2011
Acrylic and applique on canvas
24 x 26
Heathen Child is available through Varnish Fine Art Gallery, 16 Jesse Street, San Francisco.
I’m really happy to see Jen Rogers and Kerri Stephens have brought Varnish Fine Art back to life and have such cool new digs for shows!
September 24 – through – November 5, 2011
group show with: Chris Mars, Robert Williams, Jennybird Alcantara, Laurie Lipton, Isabel Samaris, Scott Musgrove, Annie Owens, Craig LaRotonda, Nathan Spoor, Chuck Sperry, Kevin Peterson, Beth Bojarski, Edith Lebeau, Aunia Kahn, Ciou, Robert Bowen, Sri Zeno Whipple, Winston Smith, Kevin Evans, Dylan Sisson, Skot Olsen