Photo by Lucas Saugen.

Bay Lights Ignite: One Part Business, Two Parts Pleasure

Photo by Lucas Saugen, courtesy thebaylights.org

 

Perched on a bar stool at Sinbad’s Pier 2 Restaurant with a friend, I sipped a glass of white wine on a warm spring night. Sinbad’s is definitely a touristy establishment with its wonderful view of the Bay Bridge. And that is why I was there—to take in the recently ignited “Bay Lights” project on the Bridge’s Western span. > Read More

Delacroix’s “Liberty Leading the People” at the terminus of the Louvre-Lens’ grand gallery. (Photo by Richard Ingersoll.)

SANAA’s Anti-Louvre

Delacroix’s “Liberty Leading the People” at the terminus of the Louvre-Lens’ grand gallery. (Photo by Richard Ingersoll.)

Just before Christmas a superb new museum—a subsidiary of the Louvre in Paris—opened in the ex-coal mining city of Lens in northern France. To promote this breakthrough in museology, the curators chose the familiar icon of revolution, Eugène Delacroix’s “Liberty Leading the People,” one of some 200 artworks on loan from the parent institution, the world’s most popular museum. Richard Ingersoll paid a visit. > Read More

Joshua Band, Enter House Left. Photo by Janice Suhji.

Nothing to See Here

Joshua Band, Enter House Left. Photo by Janice Suhji.

Tom DeCaigny, Director of Cultural Affairs at the City and County of San Francisco says he knows this place. He and I are standing in front of a life size mural photograph on canvas depicting a forested and theatrically lit night scene. In the image, a small sign stands at the base of a dirt path that leads into a dense and naturalistic planting of camellia and pines. > Read More

Photo by Cesar Rubio Photography.

Manifest Destiny!

Photo by Cesar Rubio Photography.

 

The view walking along Bush Street towards downtown San Francisco recalls the exaggerated perspective of a Wayne Thiebaud painting. The sharp crest of the hill forces the gaze forward and down, revealing the urban fabric below where Manifest Destiny! — a19th-century, smaller than life-size cabin—adheres like a barnacle to the blank façade of 453 Bush Street, three and one half stories up. > Read More

Interior of Fort Point during International Orange. Artist Cornelia Parker’s “Reveille” can be seen at the end of the corridor. Photo by John Cary.

International Orange

Interior of Fort Point during International Orange. Artist Cornelia Parker’s “Reveille” can be seen at the end of the corridor. Photo by John Cary.

On May 27, the tranquil beauty of the Bay and the grace of the Golden Gate Bridge were rocked by a spectacle of pyrotechnics and light to commemorate the 75th anniversary of the bridge. > Read More

Sara VanDerBeek. Western Costume, Black Satin (Day), 2011, detail. Courtesy of the artist and Altman Siegal Gallery

Flection : A Phenomenology of Folds

Sara VanDerBeek. Western Costume, Black Satin (Day), 2011, detail. Courtesy of the artist and Altman Siegal Gallery.

Flection, a group exhibit at Hedge Gallery through September 1st, explores the fold in abstract art. > Read More

Mark Bradford, Smokey, 2003; billboard paper, photomechanical reproductions, acrylic gel medium, permanent-wave end papers, and additional mixed media on canvas; 60 x 72 inches; collection of Anne and Joel Ehrenkranz; © Mark Bradford; photo: Bruce M. White

Looking at Mark Bradford

Mark Bradford, Smokey, 2003; billboard paper, photomechanical reproductions, acrylic gel medium, permanent-wave end papers, and additional mixed media on canvas; 60 x 72 inches; collection of Anne and Joel Ehrenkranz; © Mark Bradford; photo: Bruce M. White

 

The Mark Bradford retrospective, currently at the SFMOMA and YBCA, collects Bradford’s best work from 2000 to 2010, representing his primary concerns of a decade. > Read More

Photo by Yuki Bowman

‘Architecture in the Expanded Field’

Photo by Yuki Bowman

 

Co-curated and designed by CCA’s Ila Berman and Douglas Burnham, ‘Architecture in the Expanded Field’ is an Herculean and painstakingly crafted 3-dimensional exhibit that indexes some 75 works of ‘installation architecture’—an experimental terrain of practice explored by Erin Hyman for this magazine. > Read More

Gerhard Richter. Atlas. Tafel 5. Albumfotos 1962-1968. © Gerhard Richter 2011

STRANGE ATLAS 02: PULL IT TOGETHER

Gerhard Richter. Atlas. Tafel 5. Albumfotos 1962-1968. ©Gerhard Richter 2011.

 

The creative process is an intriguing design problem of its own: how should you craft the method used to craft other things? This is the second in a series of essays exploring this topic through the lens of strange atlas, an interpretive creative process. Although this approach applies beyond narrow disciplinary boundaries, the essays focus on its application for designing the built environment.

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