Sky

 Posted by on February 10, 2014
Feb 102014
 

San Francisco International Airport
Terminal 3
Post TSA

sky at SFO

This is Sky by Merge Conceptual Design.  Merge Conceptual Design is comprised of Franka Diehnelt and Claudia Reisenberger who are both architecture graduates of the Academy of Fine Arts, Vienna, and currently teach at the Art Center College of Design in Pasadena.

Sky is a suspended light sculpture comprised of 27 mirror-polished stainless steel spheres in varying sizes. The globes are hollow with circular openings oriented at various angles. The interior of the globes is painted an even matte blue, and illuminated by LED edge lighting that creates a soft interior glow. A computerized program will cause the lights within the globes to brighten and dim at various intervals creating an ever changing pattern of light.

Big shiny balls at SFO

According to Merge, the installation explores the human perception of space. The exterior of the mirrored spheres use reflections to camouflage themselves in their surroundings; they reflect their environment, and distort and reproduce it in miniature. The optical effect caused by the blue interior and the edge lighting will cause the viewer to lose a sense of the spheres’ proportions as objects. Through subtle shifts in color and light intensity the space will become unreadable – both expanding and flattening at the same time.

Lights at Terminal 3 in SFA

 

Sky was commissioned by the San Francisco Arts Commission for $290,000.

City Hall in Wood

 Posted by on February 6, 2014
Feb 062014
 

City Hall
South Light Court
Civic Center

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This is one of five wooden models that Don Potts did for the 1982 AIA Convention.  The pieces were later purchased by the City and four are now on display in City Hall.  You can read about the first two here. Don was a meticulous artist.  Another renown project, that has since been destroyed was “My First Car”.

Don Potts City Hall Wood Model*

City Hall Wood Model by Don Potts*

City Hall San Francisco*

City Hall Wood Model by Donn Potts

The fourth of these models is of the Hallidie Plaza, a building that houses the San Francisco Chapter of the AIA.

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HALLIDIE PLAZA  by Don Potts

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Don Potts

In researching Don Potts I found this article by Hal Crippen about “My Car”

 

THE FIRST CAR of Don Potts is actually an extraordinary assemblage—a concours d’elegance of one man’s work. The title itself has a sort of parallel to Tom Swift and his Electric Runabout and the objects themselves are resonant with the objects of a now—lost American boyhood—an American Flyer wagon, a soap box derby car, a first bicycle—but here raised to the Nth power of imagination.

At a time when true craftsmanship, and even the idea of it, is fast disappearing in automobiles, and even the very existence of the automobile is called into question, Don Potts has paid a necessary act of homage to the greatest of automobiles. One thinks of Bugattis, Lancia Lambdas, early MGs, birdcage Maserati frames.

The craftsmanship is literally stunning–but it is no more important to know that Potts’s spent six years on this creation than it is to know Michaelangelo’s back bothered him in painting Sistine Chapel. The Potts car is simply there in ultimate perfection. The aim of the craftsman is to reveal rather than to conceal—and thus this Vesalian anatomy of the idea of a car, beautiful in its nakedness.

It is a fantasy of a car—ultimately useless, somehow gut-exciting, doomed and yet with a strange optimism. It is a car for dream riders in dream landscapes.

The entire work consists of the Basic Chassis of wood, the Master Chassis, motorized and radio controlled, and two bodies, one of stainless steel and the other of fabric and steel. The whole work must, for the purpose of classification, be considered as sculpture, but actually it exists beyond classification simply as a work of art. It is not something that one could buy to “decorate” a space. It is, in heroic scale, both a monument and a memorial of an age.

Don Potts My Car

Don Potts Amazing Wood Models

 Posted by on February 5, 2014
Feb 052014
 

City Hall
South Light Court
Civic Center

Screen Shot 2014-01-27 at 2.51.37 PMPylon of the Golden Gate Bridge

There are four amazing, exquisite and highly detailed wood models in the South Light Court of City Hall.  They are all by Don Potts.

These architectural models were designed and built in 1982 by Don Potts in commemoration of the Centennial of the San Francisco Chapter of the American Institute of Architects.  The models were first displayed in an exhibition at the San Francisco Museum of Modern Art which “highlighted the important contribution that architecture has made to the City and County of San Francisco, and which served to reawaken a public awareness of the built environment.  Each building or public space represents a unique phase in the evolution and development of San Francisco’s rich architectural heritage and distinguished urban design. Each model also serves as a type of icon, symbolizing various aspects of urban life.”

The models were purchased by the joint committee of the SFAC and the San Francisco Airports Commission for $13,700.

Don Potts Golden Gate Bridge Pylon

Donald Edwin Potts was born in San Francisco on October 5, 1936.  Potts studied at San Francisco City College and received his M.A. at San Jose State College.  He taught at the University of California at Berkeley for several years.  In 2006 he moved to Fairfield, Iowa.

He has had 24 solo shows at the Whitney Museum (New York), Walker Art Center (Minneapolis), Museum of Contemporary Art (Chicago), and others.

His works are held at Pasadena Museum; San Francisco Museum; Oakland Museum; La Jolla Museum; Joselyn Art Museum (Nebraska)

Italianate Victorian House by Don Potts

This Italianate Victorian Home was modeled on a home at 1808 California Street.  The model was altered to give it a more Italianate feeling.  Maplewood was laser-cut to give the model its gingerbread ornamentation. Multi-shaped woods were laminated together to give the desired pattern and three-dimensional image.

Painted Grain Silos in San Francisco

 Posted by on January 15, 2014
Jan 152014
 

696 Amador Street
off 3rd Street / Pier 90/92
Bayview/Hunters Point

Painted Grain Silos in San Francisco

A while back I wrote about these grain silos, I also mentioned at the time they eventually would become an art project.  You can read all about the silos here.

This project is part of the Blue Greenway Project, a $2.2 million project funded through the Port of San Francisco.

The Project was awarded to  the Seattle based firm of  Haddad/Drugan.  It is titled “Bayview Rise” and is expected to be in place for a minimum of 5 years.

Bayview Rise Art Project

 

According to their website:

Bayview Rise works 2-dimensionally as a graphic image, 3-dimensionally as it articulates the folded, rolling, and textured surfaces of the historic architecture with color and pattern, and 4-dimensionally at night as colored lights cycle through the colors red, green, and blue causing the mural imagery to change its appearance. Diffenrent light colors will cause parts of the mural of that same color to be highlighted while other colors recede into the dark background. As the light colors shift, images will appear to float in and out of the scene. This striking effect will result in the appearance of an animated graphic abstractly representing a neighborhood in transformation, Bayview Rising.

In early 2013 Haddad|Drugan researched the history, culture, and future plans for Bayview Hunters Point. They identified stories that could be included in the artwork, ranging from industry to infrastructure to community to ecology, and compiled them in a layered map. The artists met with community representatives and shared their research and a group of words inspired by the research. From this process they developed the artwork to emphasize the concept of “rise,” a word they had shared with the community and which tied together some of its most inspiring stories. The graphic imagery of the mural is rooted in the Bayview’s historic and future conditions, but with an emphasis on elements that float, fly, and rise.

Haddad Drugan Bayview Rise

The composition creates a spatial illusion in which elements appear to rise up and out from a horizon where water meets land and sky. Grounding the image is a bottom layer of water, representing both San Francisco Bay and the past marshlands of Islais Creek. Submerged in the water as a symbol of the neighborhood’s past is the head of a steer in homage to historic Butchertown and the cattle that once marched down Third Street. The primary icon rising from the horizon line is a soaring heron, which ties to nearby Heron’s Head Park, a successful environmental restoration by the Port. Other imagery represented in the artwork includes native cherry plants, shorebirds, and a reference to a quote by community activist Essie Webb who likened Hunters Point to a balloon waiting to be re-inflated. The images within the mural have been combined, overlapped, and juxtaposed in a triangular matrix so there appear to be metamorphoses between cherries and balloons, water and birds, land and leaves. This shift is emphasized with the changing colors of lights.

Bayview Rise Hadda Drugan Grain Silos

Bayview Rise was funded and commissioned by the Port of San Francisco with coordination from the SFAC.  The painting was by R.B. Morris III and the lighting by Legend Theatrical.

The proposal by the Port of San Francisco can be read here.

These shots of the installation at night are from the Hadda/Drugan Website.
Haddad Drugan Silos Painting at night
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Mural on the grain silos in San Francisco

Windmills of Portola

 Posted by on January 14, 2014
Jan 142014
 

Palega Park
500 Felton
Portola District

Palega Park Mural

In November of 2013 eighty year old Palega Park underwent a $21.2 million Restoration.

The Park’s new clubhouse features a mosaic mural by Kelly Ording commissioned by the San Francisco Arts Commission through the city’s two-percent-for-art ordinance. Located behind the clubhouse’s portico windows and visible from the street, Windmills pays homage to the Portola’s  past as the center of the city’s commercial flower industry.  The mural cost $127,400.

Kelly Ording Windmill Mosaic

According to Ording, “This mural contains four main elements that I found fascinating when researching this neighborhood; the wind, the windmills, the greenhouses and the fertile land.  I used these elements to create an image of how this neighborhood may have once looked; calm and peaceful, yet, alive.”

Kelly Ording Mural

The windmills and greenhouses featured in the mural were once abundant in the Portola District. The mural depicts three types of flowers, which were selected by the artist because of their specific meanings to the area. The California Poppy represents resilience and beauty, the Maltese Cross reflects the diversity of the people who call the neighborhood home, and the Rose recalls a time when the Portola’s many nurseries supplied cut flowers to the city.

Palega Park Mosaic Ording

 

Kelly Ording a San Francisco, Bay Area born artist received her  B.F.A. from the San Francisco Art Institute in 2000

Restoring Historic Murals

 Posted by on January 10, 2014
Jan 102014
 

Franklin Square Park
2500 17th Street
Potrero Hill

Brotherhood of Man Mural at Hamilton ParkBrotherhood of Man by Anthony Stellon 

This once abandoned mosaic was found by David Schweisguth in 2006. While walking his beagle Huxley in Franklin Square Park one afternoon, Huxley sniffed around a large concrete slab serving as a makeshift potting table, Schweisguth looked under the plastic sheet covering the table top and found this treasure.

With the help of local mural expert Lillian Sizemore, who wrote A Guide to Mosaic Sites: San Francisco, they discovered that the artist was Anthony Stellon, who died in 2005.

Schwiesguth’s discovery came at the right time. A neighborhood group called Friends of Franklin Square had just formed and were raising funds to restore the 30-year-old, decaying park. When Schwiesguth and Sizemore brought the mosaic to the group’s attention, they decided to unite behind the cause and ask the city to restore it.

It took more than five years for the San Francisco Arts Commission to find funds for the restoration.

The challenge with restoring the piece was that the mosaic needed to be removed from its concrete backing and mounted on a waterproof material. The project cost $115,000.

 

Found Mural from Alioto gets reinstalled in Potrero Hill

The mural was originally a gift to the city from Mayor Joseph Alioto.

In the late sixties, when movie companies used San Francisco as a backdrop, the city had not yet begun to charge the film companies for film permits. Mayor Joseph Alioto negotiated with Warner Brothers Pictures when Bullitt was made for a one time donation of approximately $25,000 to be used for the construction of the new pool at the Martin Luther King Jr. Recreation Center in the Hunter’s Point/Bayview neighborhood.  With his personal funds, Mayor Alioto commissioned Anthony Stellon to create a mural for the building’s exterior.

Brotherhood of Man was the result.  The mural depicts two figures, one black and one white, flying amidst the cosmos as they hold hands around the earth. Stellon, who was deeply moved by King’s assassination, infused the mural with symbolic meaning that visualizes world peace and harmony. An infinity symbol unifies the composition.

The mural was installed at the recreation center in 1968.  In 1998, the mural was removed from the building and placed in storage to make way for a new swimming pool.  How it ended up as support for a potting table at Franklin Square Park is still a mystery.

 

Sanctuary

 Posted by on January 2, 2014
Jan 022014
 

SFO
International Terminal
Gate G Level 3
Post TSA

Sanctuary at SFO

The plaque on this piece reads:

Arrival at SFO is the beginning of a new life for many immigrants.  Just as the surrounding wetlands prove sanctuary for shore birds during their annual migration.  the mural is painted in fresco buono an ancient technique that mixes pigment directly into wet plaster.

The artists on this piece were Juana Alicia and Emmanuel Catarino Montoyo.  Both of these artists have been in this website before, you can read about both of them here.

Sanctuario at SFO

This piece was commissioned by the San Francisco Art Commission for the Airport in 1999.

Thinking of Balmy Alley

 Posted by on December 31, 2013
Dec 312013
 

SFO
International Terminal
Boarding Area G
Level 3
Post TSA

Remembering Balmy Avenue by RigoCeramic Tile Mosaic – 1999 by Rigo 99

The plaque on this piece reads:

This work, of a solitary boy totally absorbed in the act of paining, is inspired  y a mural (since destroyed) painted in 1993 by the artist and local youth in Balmy Alley, located in San Francisco’s Mission District.

Rigo 99 has been in this website many times before.  This piece was commissioned by the San Francisco Art Commission for the airport.

Stefan Novak and Redwood

 Posted by on November 15, 2013
Nov 152013
 

Clipper and Diamond Heights Blvd
Noe Valley/Twin Peaks

Redwood Sculpture by Stephan Novak

This piece titled Redwood Sculpture, was done in 1968 by Stefan Novak.

Stephan Novak

Mr. Novak and his family are very private people, so there is little information regarding the artist.  He was an instructor in the architecture department at UC Berkeley. He was born on August 22, 1918 and died on April 29, 2006 at 87 years old.

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Stefan Novak architectThe piece is owned by the SFAC.

Stephan Novak

Grain Silos in San Francisco?

 Posted by on November 6, 2013
Nov 062013
 

696 Amador Street
off 3rd Street / Pier 90/92
Bayview/Hunters Point

Grain Silos in San Francisco

 These abandoned silos on Pier 90/92 formerly stored grain that was brought in by rail and then loaded from the silos onto ships for export. These operations were discontinued following the 1989 Loma Prieta earthquake.

Pier 90/92 was created in 1918 by the State Harbor Commission.  In the 1920’s the grain terminal also had a mill to serve local needs.  The terminal could hold 500,000 bushels, the principal grain that flowed through them was barley.  In the 1970’s the terminal was used to export grains to Russia during their severe drought.

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They are slated to become an art installation soon.

The Pier 92 Grain silo project is being funded through the Port’s Southern Waterfront Beautification funds, a policy established by the Port Commission.

The Port of San Francisco retained the Arts Commission to assist in the commissioning of a public artwork to be located at Pier 92, along San Francisco’s southern waterfront. Four artists/ artist teams were selected as finalists to propose a public artwork for this site that serves as an entrance to the Bayview community: Ball-Nogues Studio; ElectrolandHaddad/Drugan; and Rigo 23.

The committee chose Haddad/Drugan and their “Bayview Rise” Project.  It will be a long-term temporary installation, expected to be in a place for a minimum of 5 years. The artwork will be reversible in that it may be painted over or removed.

Abandoned Grain Silos*

Grain Silos Pier 92 San FranciscoI am not young enough, nor have the physical dexterity to climb over barbed wire fences, however, Joseph Schell does – check out his photographs of the interior of the grain silo structure.

Grain Silos Pier 92 SF

This portion of San Francisco is covered with historic and abandoned buildings.  While the city and the Port of San Francisco is dedicated to keeping the buildings intact and pushing the concept of reuse rather than destruction, only time will tell.

Oslos has already put their grain silos to re-use by putting in dormitories, check it out here.

 

 

 

 

 

 

The Gates of Cayuga Playground

 Posted by on October 30, 2013
Oct 302013
 

End of Cayuga Avenue at Naglee Avenue
Under the Bart Train and The 280 Freeway
Outer Mission

Cayuga Portal

Cayuga Playground is once again open.  Your first greeting is the painted still fence, titled Cayuga Portal. Through the City’s two-percent-for-art program, the SFAC commissioned artist Eric Powell to create two new decorative gates for the park. The design for the main entry gateway features vignettes drawn from Braceros’s sculptures linked together by images of plants and leaves that echo the park’s lush plant life.  The gates were commissioned for $78,000 in the 2009 City Budget, Cultural Affairs Department.

Public Art in San Francisco

Berkeley artist Eric Powell studied painting, drawing, and sculpture at California College of Arts & Crafts.

Brian Powell Metal Work

On his website his artist statement sums up so well the love-hate relationship most every artist goes through:

“From the beginning of my career as a metal artist in 1989, I had the clear and tenacious intention of having my work be a direct outcome and expression of my life experience, where life and work were not in two separate worlds.  I wanted to love what I do, to have my work be a developmental experience and a forum for growth and expansion for all involved.  In this culture such a notion is often seen as naïve, and indeed some naivety is required.

The work I have done and the relationships and business around it have certainly comprised a rich and growth-oriented journey.  At times I would say that the whole thing is a dream come true and at other times I would say ‘don’t try this at home or anywhere else’. No matter how much experience or schooling or knowledge one has, most of what is needed has to be discovered or invented along the way.  And I would not have it any other way.

The studio is a laboratory, a workshop and a factory.  It is a place to learn and teach and to refine and deepen the sacred act of making something with ones’ own out of steel that ‘works’ aesthetically, functionally and in its’ craftsmanship.  The studio itself is part of the work; it is a constantly changing work in progress.  My collection of metal and other ‘magic’ objects (‘magic’ being in the mind of the beholder) is part and parcel of the studio atmosphere.  I have been greatly enriched by viewing, studying and hearing the work of other creative people.

I felt early on that I wanted to add to the ‘soup’ of this long and rich lineage.  It is not a matter of feeling qualified to add my part; it is a matter of not accepting that I am not qualified.  Much of the art and music that I most admire, upon some investigation, sprung from this sensibility; from a place of receptivity.  This is where the underground reservoir can be accessed.  It is sometimes difficult to maintain this state of mind.  But if the internal fire is burning, we don’t have much of a choice. ”

Cayuga PlaygroundThe entry gate off of Alemany Blvd.

Win Ng

 Posted by on September 9, 2013
Sep 092013
 

Maxine Hall Health Center
1301 Pierce Street
Western Addition

Maxine Hall Health Center Mural

This mural, by Win Ng, is 10′ x 6′ and made of ceramic tiles.  The mural depicts various elements of medical science.  The mural was installed in 1968.

Win Ng Ceramic Tile Mural

Win Ng (1963-1991)  was born in Chinatown, San Francisco. He studied at Saint Mary’s Academy and the City College of San Francisco and San Francisco State University. After serving in the United States Army he studied at the San Francisco Art Institute receiving a Bachelor of Fine Arts degree in 1959. He began the Masters of Fine Arts program at Mills College in 1960 but did not complete the program.

Win Ng Mural in the Western Addition

In 1965 Ng met artist Spaulding Taylor and shifted his focus toward utilitarian work. The two founded Environmental Ceramics  which later became one of my favorite stores – Taylor and Ng.

Win Ng  created pottery, book designs and linens for over 20 years.

Taylor & Ng not only created a signature style still in demand by collectors, but helped to popularize Asian culture and cuisine. The Taylor & Ng company is credited with bringing the Chinese wok to the U.S. and making it a common kitchen utensil. The Taylor & Ng department store closed in 1985.

Ng died on September 6, 1991 from AIDS related complications. He was 55.

Another large mural by Ng, measuring 100 by 16 foot mural, graces the concourse level of the Orinda BART station in Contra Costa County.

His artwork is in the collections of the Smithsonian, the National Museum of Modern Art, Tokyo, Victoria & Albert Museum, Museum of Contemporary Crafts, San Francisco Museum of Modern Art and the De Young Museum.

 

This piece was commissioned by the San Francisco Art Commission

Thomas Garriue Masaryk

 Posted by on June 5, 2013
Jun 052013
 

Rose Garden
Golden Gate Park

Thomas Garriqe Masaryk

Located at the entrance to the Rose Garden just off of JFK Boulevard is this bust of Thomas Garrigue Masaryk.  Masaryk was the first president of Czechoslovakia, a statesman, philosopher, liberator and humanitarian.  The bust was sculpted by Josef Mařatka in 1926 and was exhibited at the 1939 Golden Gate International Exhibition on Treasure Island.  It was given to the park in 1962 as a gift of the San Francisco Chapter of Sokol, a Czechoslovakian gymnastics association.

Josef Mařatka was a Czech visual artist who was born in 1874. Mařatka studied Applied arts at Celda Klouček and then under Josef Vaclav Myslberka at the Academy of Fine Arts.  In 1900 he worked briefly in the studio of August Rodin in Paris.

In the beginning he worked in the expressionism movement, but under the influence of Rodin he began to focus on Art Nouveau symbolism.  He was later influenced by the likes of Bourdelle.  After the war he tended to focus on socialist tendencies and neoclassical art.  The artist died in 1937.

According to the Smithsonian the piece was originally owned by Franta Anýž. Anýž was a fascinating businessman in Czechoslavakia and this is what I found about him while reading a retrospective of his work that took place at the Municipal House in Czechoslavakia.

The name of Franta Anýž, a talented visual artist, meticulous jeweller, sought-after chaser and medal designer, excellent craftsman highly acclaimed in the first half of the twentieth century, and, finally, responsible and modern entrepreneur in the applied art industry, is nowadays perhaps only known to a group of experts.

The charismatic František Anýž (1876 – 1934) excelled with his talent and industriousness already at the School of Applied Arts in Prague where he studied with professors Celda Klouček and Emanuel Novák. With his tireless drive and thanks to his no less effective organisational capacities, he worked himself up from running a small workshop, founded in Prague in 1902, to become the owner of an esteemed art metalworking factory in the course of a single decade.

A side note – the sculpture is credited in the Smithsonian to a J. Matatka.  This is incorrect and has led most everyone to continue to repeat the misspelling

Where the Land Meets the Sea

 Posted by on May 30, 2013
May 302013
 

California Academy of Sciences
Golden Gate Park

Maya Lin Where the Land Meets the Sea

This Marine Grade Stainless Steel wire sculpture (difficult to photograph) is titled Where the Land Meets the Sea, and is by Maya Lin.

This is the first permanent artwork by Maya Lin in San Francisco. The artist was selected through the Arts Commission’s competitive application process in 2005. Although Lin does not usually participate in competitions, she responded to the Arts Commission’s invitation to apply because of her keen interest in the California Academy of Sciences and the opportunity the project would provide to engage with the institution’s scientists. As an ardent environmentalist, Lin wished to develop a project that would make people more aware of their environment and the natural world.

The 36’ x 60’ x 15’ sculpture is fabricated from 5/8 inch marine grade stainless steel tubing. Like a line drawing in space, the sculpture depicts the topography between Angel Island and the Golden Gate Bridge. To make the hills and valleys of the terrain more visible, the actual scale of the landscape is exaggerated by five times above sea level and by ten times below. “This piece was the culmination of a quest to reveal San Francisco Bay—to get people to think about what’s beneath the water line in a new way,” says Lin. “It took almost eight months for us to mesh the land and water data sets because the two sets of data were completely segregated—and this is the whole point! We think of these things as two separate systems even though they are literally connected to each other.” In order to build the sculpture, Lin’s fabricator, the Walla Walla Foundry, recreated the exterior West Terrace of the Academy in their warehouse to ensure precision in the attachment of the sculpture to the terrace’s six columns.

The sculpture is installed outdoors on the Academy’s West Terrace, where it is seamlessly attached to six columns and suspended by nine thread-like steel cables from the overhead solar canopy. It seems to float like a cloud in a Chinese landscape painting against the backdrop of greenery in Golden Gate Park, a dynamic counterpoint to the formal and orderly geometry of the building’s architecture by Renzo Piano.  (from the SFAC press release).

Maya Lin in Golden Gate Park

You can view this piece from outside the gates of the Academy of Sciences.  Entry is $30 for adults.

Animals in the Park

 Posted by on May 17, 2013
May 172013
 

Koret Playground
Golden Gate Park

Koret Childrens Center

There are five of these cast stone creatures in the new Koret Childrens Area of Golden Gate Park.  They are the second public art project that Vicki Saulls did in San Francisco.  The first you can view here.

The playground underwent a major renovation with generous funding from the Koret Foundation and reopened in 2007 as the Koret Children’s Quarter. New features include a climbing wall shaped like waves and a rope climbing structure; the historic concrete slide was retained.  The landscape Architect on the project was MIG.

Turtle at the Koret Playground

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These pieces were commissioned by the SFAC for $54,000 in the 2007 budget year.

Carl G. Larsen. Chickens to Jet Fighters

 Posted by on May 2, 2013
May 022013
 

Larsen Park
19th Avenue at Ulloa
Sunset District

Larsen the Gentle Dane by Cummings

This plaque can be found on the corner of 19th Avenue and Ulloa.  The plaque was done  by  M. Earl Cummings in 1913 of Carl G. Larsen.

Cummings has appeared prominently in this website for the many sculptures he has done around town.

“In the late 1800s, many speculators began buying land in the Sunset District. By the early twentieth century, landowners in the area included Michael deYoung, Fernando Nelson, and Adolph Sutro. But one of the largest land owners, Carl Larsen, also had other ties to the district.

Larsen did not live in the Sunset District, but he owned a business and a lot of land in the area. Sometimes called the “Gentle Dane,” he donated land for parks in the Sunset and probably would have given more to his city, but underhandedness after his death prevented any further gifts.

Carl Gustave Larsen was born in 1844 in Odense, Denmark. He came to San Francisco in his late 20s and worked as a carpenter. In 1879, he started the Tivoli Café downtown at 18 Eddy Street. In 1905, he moved across the street, constructing his own building at 50 Eddy Street. A popular restaurant, the Tivoli Café was destroyed in the earthquake and fire of 1906. Undaunted, Larsen rebuilt and opened the Tivoli Café and Hotel Larsen.

Plenty of land was available in the Outside Lands in the late 1800s. Larsen’s first venture into real estate was in 1888, when he bought one block in the Sunset at an auction. He continued to buy land in the area, and by 1910 he owned fourteen entire city blocks and lots that totaled about nine more blocks. At this time, all of the land was sand dunes. Few of the streets were cut through, and accessibility was difficult.

As time passed, Larsen sold or donated parts of his holdings. Well-known structures that sit on land once owned by Carl Larsen include St. Cecilia’s Church on Vicente Street and the (former) Shriner’s Hospital on Nineteenth Avenue.

Earl Cummings and Carl G. Larsen

Larsen’s Chicken Ranch

Larsen operated a chicken ranch on one square block bounded by Moraga and Noreiga streets, Sixteenth and Seventeenth avenues. Each morning, a horse-drawn carriage took eggs from the chicken ranch to the Tivoli Café downtown, probably along the only through road in the Sunset, the Central Ocean Road. Tivoli Café ads boasted, “Fresh eggs from Sunset Ranch EVERY DAY.”

Once a year, at Easter, the Larsen chicken ranch hosted a large party for the neighborhood, with open bars and tables of food. Some reports say that these annual parties got out of hand and were discontinued in 1913.

Local Activism

Larsen lived downtown, but he was very involved in the Sunset neighborhood. He was a member of the Sunset Improvement Club and the Nineteenth Avenue Boulevard Club, a group that lobbied for a macadamized road and beautification along today’s Nineteenth Avenue, from Golden Gate Park toIngleside. In 1900, this group raised money to plant “bunch grass” on the west side of the newly macadamized Nineteenth Avenue.

Although he worked for civic improvements and streetcar service to the area, Larsen was not completely happy when his efforts were successful. To help pay for the Twin Peaks Tunnel, a tax assessment was made of Sunset landowners, who would benefit the most from the tunnel’s construction. What happened at this point is not clear. According to the San Francisco Chronicle, Larsen owed about $60,000 and filed an unsucessful protest with the city. The newpaper said that to pay his assessment, Larsen sold many of his lots to the city and to private bidders on May 22, 1914. However, Block Books from 1915 and 1920 show Larsen owning most of the same Sunset land he owned in 1910. In More Parkside Pranks and Sunset Stunts, George Stanton wrote that Larsen did not have enough money to pay the tunnel assessment and “died a broken hearted man.” However, according to the Chronicle, the Larsen estate was worth close to $800,000 when he died.

 

              Screen Shot 2013-04-14 at 9.30.19 AM
                                                                                                      Navy Jet – 1960’s Photo:Richard Lim                          F-8 in 1975 Larsen Park Photo: Gary Fong

Land Donation

Larsen is best remembered as the donor of Larsen Park, two blocks between Nineteenth and Twentieth avenues, between Ulloa and Wawona streets. Current Sunset residents know the green lawns, baseball diamond, tennis court, basketball court, and Charlie Sava Pool. Sunset residents in the 1950s and 1960s swam in the “modern” Larsen Pool, and remember the military airplanes that sat on the land, one at a time, for years, unique life-sized toys for children to climb over and sit in.

In 1926, when Larsen donated this park to the city, Mayor James (“Sunny Jim”) Rolph thanked him on the steps of City Hall proclaiming that Larsen would “be remembered in company with other benefactors, who have accumulated great wealth within our boundaries and were inspired to reciprocate with gifts to the commonwealth.”

Larsen Park was unique in that two spaces were set aside as “out-of-door card rooms,” one for men and the other for women. The outside card rooms and soccer field are long gone, but the tennis court and baseball diamond remain, now accompanied by a basketball court and an indoor swimming pool.

A memorial to Larsen stands at the Nineteenth Avenue and Ulloa Street corner of Larsen Park. The bronze plaque, mounted on a large stone, displays a bust of Carl Larsen sculpted by Melvin Earl Cummings, who also sculpted Sather Gate at UC Berkeley. Below the sculpture, the plaque reads, “Carl G. Larsen has generously given these two blocks to the city of San Francisco for park pleasure purposes.”

Larsen also donated land at the southern edge of Golden Gate Heights. Golden Gate Heights Park (or “Larsen’s Peak”) rises 725 feet above sea level, one of the city’s highest hills.

Larsen’s Death and Disputed Will

Carl Larsen died on November 5, 1928. He was remembered as generous both to the City of San Francisco and to his employees at the Tivoli Café. Newspapers reported that the Tivoli Café had been losing money for years before Larsen’s death but that he would not close it or terminate any workers.

Evidence indicates Larsen wanted to leave some of his estate to San Francisco. A handwritten will, dated July 27, 1909 and found after his death, gave $10,000 to a brother, $5,000 each to his other brothers and a sister, $25,000 to a friend, $25,000 to the Danish Ladies’ Relief Society of San Francisco, and $5,000 to the Boys and Girls’ Aid Society of San Francisco. The remainder, estimated at more than $500,000, was given to San Francisco for a museum in Golden Gate Park.

Some people listed in the will never saw those funds. When the will was discovered, Larsen’s signature and the signature of a witness had been “cut off.” Larsen’s relatives (22 of them, some living in Denmark) disputed the will and, in 1931, Superior Court Judge Dunne declared the will invalid. The friend mentioned in the will received a settlement; the rest of the estate was divided among Larsen’s relatives.

Larsen’s museum was never built in Golden Gate Park, but two Sunset parks—Golden Gate Heights Park and Carl G. Larsen Park—remain as reminders of the Gentle Dane.”

Lorri Ungaretti, is the author of the above history.

As a child I was fascinated with the airplanes that sat in Larsen park.  There were three planes in the park over time.  The first was a WWII recon camera plane that sat in the park from 1959 to the mid 1960’s. The jet was hauled to the park by G.W. Thomas Drayage and Rigging Company then the Russell Hinton Painting Company and the District Council of Painters Repainted it.

The second plane was a Navy FJ-Fury fighter that sat in the park from 1967 to the 1970’s.

In 1975 an old F-8 Crusader replaced the fighter plane.  The F-8 was slung on a Marine Helicopter and flown under the Bay Bridge, a sight that must have been something to behold. From there it was taken to the San Francisco Zoo and trucked to the park.  The F-8 was removed on orders from the City as there was not enough money to do lead-paint abatement.  That plane was eventually moved to Santa Rosa and restored.

There is an effort to bring back a play structure that mimics an old military jet, donations are being taken at the Larsen Park Jet Organization.

Incomplete Metamorphosis

 Posted by on April 25, 2013
Apr 252013
 

Argonne Park
18th Avenue between Geary and Anza
Inner Richmond

Dragon Fly by Joyce Hsu

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Incomplete Metamorphosis by Joyce Hsu

Artist Joyce Hsu combines her personal memories of summer adventures with a complex skeletal structure similar to an airplane to create two unique artworks for Argonne Playground. These two sculptures, Firefly and Dragonfly each grace one of the two entrances to the park.

Hsu explains that the title, “Incomplete Metamorphosis” is a scientific term describing a particular type of life cycle of insects. Hsu has adopted the term, but not its specific meaning. She has created her own meaning, seeing in the term a way to describe her insect sculptures: “Not only are they flightless, but they stand motionless, while their skeletal design requires viewers’ vivid imagination to complete.” She has expressed the hope that “many children will be able to share the joy and amazement I found with dragonflies as a youngster.”

Joyce Hsu (who has been in this website before) received an MFA from the San Francisco Art Institute in 1998. For the last ten years, she has exhibited throughout California and increasingly internationally. Currently Hsu is working to complete a Master of Architecture degree at CCA in San Francisco, where she has also received numerous awards for her work. To date, Ms. Hsu has received five public art commissions, including an upcoming major work to be installed at the San Francisco International Airport.

Incomplete Metamorphosis was commissioned by the San Francisco Arts Commission in accord with the city’s public art ordinance, which provides for an art enrichment allocation equivalent to 2% of the construction budget of a new or renovated civic construction project. Funds for the artwork were provided by the Recreation and Park Department. The two sculptures were commissioned for $25,o00 in the 2006-2007 budget.

Incomplete Metamorphosis

Fish Tale

 Posted by on April 19, 2013
Apr 192013
 

San Francisco General Hospital
Potrero Hill

Fish Tale

Fish Tale by Hilda Shum was done in 1995.

A stainless steel sculpture of an abstract fish tail rises from a mosaic “pool” of green and blue tiles. The fish is a symbol of transformation in many cultures and, as such, has special significance for this facility, which is the Skilled Mental Health Nursing Facility at San Francisco General Hospital.

Shum is a Canadian artist born in 1957.  The Sculpture is Stainless Steel and Mosaic.  It is owned by the San Francisco Art Commission.

Amy SHum

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DSC_1721

Dance of the Cubes

 Posted by on April 18, 2013
Apr 182013
 

San Francisco General Hospital
Potrero Hill

Dance of the Cubes

Dance of the Cubes is by Jacques Schnier.  It is made of plastic and fiberglass and was done in 1975.

Jacques Schnier taught at Berkeley for 30 years. First appointed as a Lecturer in the Department of Architecture, he retired as Professor of Art, Emeritus, in 1966.  Jacques was a prolific sculptor whose work was widely exhibited and given critical recognition throughout his career. Major University recognition of Jacques’ achievements came in the form of appointment to the Institute of Creative Arts in 1963 and the awarding of the Berkeley Citation in 1970.

Born in Romania, Jacques came to the United States with his family in 1903 and grew up in San Francisco. His formal education included an A.B. degree in engineering from Stanford in 1920 and an M.A. degree in Sociology from Berkeley in 1939.

Jacques Schnier

An interest in city planning led to his abandoning a successful career in engineering and enrolling in the Department of Architecture at Berkeley. This in turn gave him his first experience in art, since architecture students were required to take art courses. Architectural interests were rapidly supplanted by his fascination with sculpture, and he dropped out of school to devote full attention to it.

Following his retirement in 1966, Jacques’ creative energy seemed to double and his work underwent a change. Having previously favored such materials as stone, wood, bronze, marble and copper, he now focused on the medium of carved and polished clear acrylic resin (Plexiglas).  His concentrated effort in this difficult material led him to say in 1975 that “at last I’ve found my medium” and “it’s as though I’m sculpturing pure light. At 76, I’m hitting my stride.”

Jacques Schnier died March 24, 1988, at the age of 89.

 

Dance of the cubes is on the dining room balcony at San Francisco General Hospital.  It is owned by the San Francisco Arts Commission.

Harvey Milk Rec Center

 Posted by on April 15, 2013
Apr 152013
 

50 Scott
Castro

Harvey Milk Rec Center Art Work

This saying is over the back entry way to the Harvey Milk Recreation Center.  It is in Architectural foam and is by Michael Davis and Susan Schwartzenberg.

This phrase comes from “A City of Neighborhoods,” speech Harvey Milk delivered during his inaugural dinner after his election to the Board of Supervisors in 1977. “Let’s make no mistake about this: the American dream starts with the neighborhoods, If we wish to rebuild our cities, we must first rebuild our neighborhoods. and to do that we must understand that the quality of life is more important than the standard of living…”

The artists said that as daylight shifts across the buildings facade, Milk’s words are revealed, obscured, and then reappear, reminding us of his enduring influence throughout the passage of time.

Susan Schwartzenberg works as an independent artist and holds a senior artist position at the Exploratorium. She has taught at the San Francisco Art Institute, California College of Art, and Stanford University, and is a Loeb Fellow for Advanced Environmental Studies in The School of Design at Harvard University. Recent endeavors include works for the Stanford School of Medicine, San Francisco Arts Commission, and the Office of Cultural Affairs in Los Angeles. At the Exploratorium, she has developed numerous projects exploring the intersections of art and science. She is currently principal curator for the Observatory—a social and environmental look at the contemporary San Francisco landscape scheduled to open at piers 15 and 17 in 2013.

Susan was also one of the artists on the Philosophers Walk at McClaren Park.

Michael Davis is a native of Los Angeles, and received a Bachelor of Arts and Master of Fine Arts from Cal State Fullerton. He lives and works in San Pedro, CA. Davis’ sculptures and installations can be found in public, private, and institutional settings throughout the country. His public art collaborations can be found in North Hollywood, Dallas, Miami, and Anaheim, and he is working to complete projects for Santa Monica, San Antonio, New York, Santa Fe Springs, San Jose, and Long Beach.

This piece was commissioned for the SF Rec and Parks Department by the SFAC for $62,000.

Tile Art at Jackson Playground

 Posted by on April 5, 2013
Apr 052013
 

Jackson Playground
17th and Arkansas
Potrero

Jackson Playground, San Francisco

One of three park reservations made by the Van Ness Ordinances of 1855 in working class Potrero Nuevo, the site was originally known as Jackson Square. Undeveloped and virtually ignored for more than 75 years, Jackson Square was made into a playground in the twentieth century. A 1930 map shows a simply landscaped park with a small building, possibly a clubhouse, on the Mariposa Street side. The same map shows what was probably an oval cinder running track occupying much of the park. Very little on it appears in the city records.

It was run down and overrun for years and the aging playground could no longer meet the needs of neighborhood families.

The Potrero Hill Parents Association (PHPA), a cooperative formed by concerned and active parents came to the rescue. In 1993 they submitted a $335,000 proposal to Rec. and Park’s Open Space Fund. That first year, they were awarded $50,000, the next year, they got $100,000, and in 1995 they received the remaining $205,000. With the full funding in place, a detailed design plan had to be approved by the Recreation and Park Department before any ground could be broken.

The design and planning process took over a year. Working with Department of Public Works landscape architect John Thomas, PHPA came up with a striking new plan for the 10,500 ft. space. It laid out separate play areas — one for toddlers, the other for kids 5 to 12 and up — and separated them by a low, gracefully curving wall, comfortable for seating and incorporating art in the design. Other features included tables, benches, new trees and ground cover.

Josh Sarantis Tile Work

Neighborhood artist Josh Sarantitis supplied the art. Chosen by the San Francisco Art Commission to conduct a tile-decorating workshop for kids, he taught some 125 young artists how to paint and glaze tiles. Their 150 hand-painted creations are installed atop the seat wall. Josh did the colorful mosaics along its sides.

Josh Sarantitis Tile Work

Joshua Sarantitis has been creating monumental professional work in public spaces for over 20 years. His 40 commissioned works include glass installations and mosaic murals located regionally and abroad.   He has a BA in Fine Arts from Oberlin College, and studied at the Arts Students League of New York under Gustav Rehberger, Marshall Glasier and Michael Burban.

 

Jackson Playground, Kids Tile Work

 

The Fire Next Time II

 Posted by on April 2, 2013
Apr 022013
 

Joseph P. Lee Rec Center
1395 Mendell
Backside
Bayview

The Fire Next Time IIFire Next Time II

Fire Next Time II

Excerpt from San Francisco Bay Area Murals by Timothy W. Drescher regarding the original mural:

Crumpler depicted three aspects of black people’s lives in the United States: education, religion, and culture.  The contemporary figures, a teacher and student, athletes and dancers, are watched over by exemplary portraits of Harriet Tubman and Paul Robeson. Above them are two Senufo birds which are mythical beings in Africa but here oversee the cultural and creative lives of the community…

By 1984, Crumpler continued the mural on the adjacent gymnasium at the Recreation Center. More stylized than the first part of the mural, it continues the same visual motifs, with large portraits of black leaders and a background of dualist flames. Wrapped around the northern corner is a hand holding a quilt from Alabama. Up Newcombe Street is another hand, but with a section of cloth with an African textile design on it…Between the two hands is a giant replica of a 16th-centuray Ife bronze figure against a background of Egyptian and United States Figures: King Tut, Muhammed Ali, Willie Mays, Wilma Rudolph, Arthur Ashe. The second part measures over five thousand square feet.

Mural at Joseph P. Lee Rec CenterOni – of Fire Next Time II

Dewey Crumpler

In 2007, the San Francisco Arts Commission contracted with ARG Conservation Services (ARG/CS) to restore and stabilize the mural. The main objective of the treatment was to prevent further deterioration of the mural and achieve an overall integrated visual restoration.

Tim Drescher

Dewey Crumpler painted over 15 murals throughout the Bay Area. His large-scale San Francisco projects include: A Celebration of African and African American Artists, 1984, at the African American Art and Culture Complex, formerly the Western Addition Cultural Center; The Children of San Francisco, 1986; and Knowledge, 1988. Crumpler now focuses his art practice on studio work. Dewey Crumpler received a BFA from the San Francisco Art Institute, an MA from San Francisco State University, and an MFA from Mills College in Oakland, CA. He resides in Berkeley, CA, with his wife Sandra and their two sons Saeed and Malik. Dewey Crumpler is Associate Professor of Painting at the San Francisco Art Institute.

In 1984 Crumpler was assisted by Dr. Timothy W. Drescher. Drescher has been studying and documenting community murals since 1972, was co-editor of Community Murals magazine from 1976 to 1987, and is the author of San Francisco Bay Area Murals: Communities Create Their Muses, 1904-1997. He wrote the Afterward to the revised edition of Toward A People’s Art, and consults and lectures widely on murals. Dr. Drescher has a Ph.D. in English Literature and Art History from the University of Wisconsin.

The restoration had a budget of $105,000 for cleaning and stabilization of the Dewey Crumpler mural, Fire Next Time II, and commemorative plaque for Fire Next Time I. $33,000 went to ARG and a $5000 honorarium payment went to Dewey Crumpler.

Fire Next Time I was removed during the remodeling of the Recreation Center, photos of it can be found inside the center.

Solar Plumes on a Painted Steel Fence

 Posted by on March 29, 2013
Mar 292013
 

Sunnyside Playground
200 Melrose
Twin Peaks

Fencing at Sunnyside Park, San Francisco

These painted steel panels were commissioned in 2008 for $23,600 by the San Francisco Art Commission to Deborah Kennedy.

According to Kennedy’s website the curvilinear patterns cut into water-jet cut stainless steel were abstracted from patterns found in NASA’s TRACE close-up satellite photos of the solar surface. These photos show enormous plumes of plasma, electrified gases that surge up from the surface of the sun. These plumes move at tremendous speeds and form coronal loops that stand hundreds of thousands of miles off the surface of the sun.

This public artwork seeks to heighten awareness of the new understanding of the sun, and to encourage greater consideration of solar energy as a key to solving our global climate crisis.

Deborah Kennedy Solar Flare FencingDeborah Kennedy’s artwork consists of conceptually-based installations and objects in galleries, museums and public spaces. Her work begin with questions, such as: What new ways of thinking can help us solve our environmental problems? Can we reform our technological systems so they operate in a bio-compatible manner? How is exposure to toxic chemicals affecting the health of human and animal populations? Questions, such as these, focusing on social and environmental dilemmas are the starting point of her work.

These questions propel her investigations. Today, the majority of her research is web-based, where she tracks rapidly advancing scientific research on endocrine disruptors, the amphibian decline and other areas of concern. This research informs her choice of images, materials, and methods. Therefore, her creative process and artwork are characterized by an on-going state of inquiry, extensive research, and a balance between concept and form.

Kennedy says, “I want to work at the growing edge, where we as a global community are struggling to create new visions that will help solve our environmental problems. My hope is that these new perceptions will help us change how we think about ourselves and our role in the world. Then, perhaps, we can begin to change our behaviors as individuals and larger communities.”

Sunnyside Playground Painted Steel Fence Panels

 

SFGH Healing Garden

 Posted by on March 28, 2013
Mar 282013
 

1001 Potrero
San Francisco General Hospital

SFGH Healing Garden

The artist designed this small garden, in 1993, as an extension to an existing hospital memorial garden and as a place to provide seating sheltered from the wind. A red gravel walkway, edged in white granite city-surplus curbstones, forms a double helix, which is symbolic of life. The seating is made from salvaged granite.

Double Helix at SFGH gardenLook closely, you can see the double helix in the planter on the left.

Healing Garden at SFGH by Peter RichardsBenny Bufano’s Madonna graces the back of the garden.

Salvaged Granite SFGH Healing Garden

Peter Richards is a long-term Artist in Residence at the Exploratorium (an innovative science museum in San Francisco, California) Peter shares his enthusiasm for nature and the elements through his work. His engaging outdoor public sculptures and immersive landscaped environments bring such phenomena as wind and tidal movement into a larger cultural context. Peter is responsible for the Wave Organ in the bay, and the Philosophers Walk at McClaren Park. He holds an MFA from the Rinehart School of Sculpture in Baltimore, Maryland and a BA in Art from Colorado College.

The garden is part of the SFAC collection.

Open Book at the Library

 Posted by on March 27, 2013
Mar 272013
 

960 4th Street
Mission Bay

Vince Coski

This piece, by Vince Koloski, is in the Mission Bay Branch Library. The artwork is an illuminated book sculpture with quotes about reading and text from a variety of ancient and contemporary cultures.

Vince Koloski

Vince Koloski was born in Minneapolis, Minnesota in 1953. In 1977 he attended New College in Sarasota, Florida and graduated with a dual B.A. in Sculpture and Poetry. Koloski returned to Minneapolis to refine his craft as a neon sculptor and skilled neon glassblower. He spent two years as a neon instructor in the Extension Division of the Minneapolis College of Art and Design. He was an integral member of the original group that founded the American School of Neon and St. Elmo’s Gallery.

Koloski now resides in San Francisco specializing in glass and neon.

Vince Koloski

 

According to Koloski’s website the sculpture follows the form of an accordion-fold book starting with a “cover” panel carved to look like a rock slab covered with petroglyphs. This is followed by eight 5-foot high by 4-foot wide Lexan panels which serve as the pages of the book. Each of these pages holds two smaller panels of Plexiglass whch have been engraved with the text of a quotation or hand carved with an illustration. The final panel serves as the rear “cover” of the book. It is a wood panel covered with small illustations and symbols which tell the history of the Mission Bay neighborhood from prehistory to the present.

The Plexiglass panels engraved with the quotations and illustrations are illuminated by LED lights along the edges of the panels. These LEDs shine into the panel and create a colored glow withing each quotation and illustration. This allows the spirit of the quotations to shine whether the library is open or closed much as the spirit of the library itself is felt whether the building itself is open or closed.

There are twelve quotations in the book. They were chosen by a committee of community members, libary staff and members of the Arts Commission from the submissions of Library patrons. Among them are quotes from local authors Anne Lamott, Ben Fong-Torres and Jewelle Gomez. Others with their words in light are Spike Lee, Groucho Marx and Jorge Luis Borges.

There are four hand-carved illustrations among the pages as well. These illustrations trace the development of human writing from the cuneiform to just before modern printing began.

This piece was part of the SF Arts Commission 2006-2007 budget year and was commissioned for $36,000.

Time to Dream

 Posted by on March 20, 2013
Mar 202013
 

Joseph P. Lee Rec Center
1395 Mendell
Bayview

Time to Dream by Amana JohnsonTime to Dream by Amana Johnson

The Joseph P. Lee Rec Center, like many in San Francisco is behind a locked gate and only open during very limited hours.  I have relied on the artists website for a description of the piece and the photo of the book.

 

“Time To Dream” is a life-sized figure carved from a 3,000-pound block of Basalt Spring Stone found only in Zimbabwe, Southern Africa.  The figure, which took Johnson over nine months to carve, is deliberately not identified as either male or female in order to recognize the variations of gender that are present in today’s world.  The sculpture, supported by a circular bench of colored concrete, embellished with sculptural medallions, holds an open book whose pages are engraved with inspirational text by Johnson, that reads:  “We Need time to dream, time to remember and time to create the world we envision.”

we need time to dream, time to remember, and time to create the world we envision

As stated by Johnson, “At a time of profound change in American history‘Time To Dream’ arrives as a beacon to encourage new directions of thought and vision towards creating a world of social, economic, and racial equality.”

Amana Brembry Johnson is a prolific sculptor and mixed-media artist who has created figurative work in stone for nearly two decades.  Her current work reflects an integration of stone sculpture and ceramic work with other materials to create multi-layered, sculptural environments into which the audience can enter and become a part of the work itself.

Johnson earned a MFA in sculpture from the Maryland Institute College of Art in Baltimore and studied at the University of California at Irvine, where she received her BA in Social Ecology. She has created public work throughout the United States and is the recipient of numerous awards and grants.

 

This sculpture was commissioned by the SFAC for $60,000.

Dos Leones at SFGH

 Posted by on March 16, 2013
Mar 162013
 

1001 Potrero
San Francisco General Hospital

Dos Liones by Mary Fuller at SFGH

So much of the collection paid for by the San Francisco Art Commission is not readily available to the general public.  This piece is no exception.  On the patio of the 3rd floor of SFGH, the doors were locked, however, you can see the sculpture through the window.

Titled Dos Liones, this sculpture, done in 1974, is by Mary Fuller.  Mary Fuller has many pieces of public art work around the San Francisco Bay Area.

Mary Fuller was born in Wichita, Kansas on October 20, 1922. Creating totemic figures, playful animals and dancing goddesses (to honor older women and their fiery spirit), she is also an author with one major art historical work, three mystery novels, and a host of short fiction and art reviews to her credit. Fullers family moved fom Kansas to California in 1924.

She grew up in the farm country of California’s Central Valley. She studied philosophy and literature at the University of California, Berkeley, in the early 1940’s, working as a welder in the Richmond shipyards in 1943 during World War II.

Mostly a self-taught artist, she apprenticed in ceramics at the California Faience Company in the 1940s and began to exhibit in 1947, wining first prize at the 6th and 8th Annual Pacific Coast Ceramic Show, 1947 and 1949. In 1949 she married the painter Robert McChesney, and many of her subsequent writings are published under the “Mary McChesney” name. As a mystery writer in the 1950s, however, she used the pseudonym “Joe Rayter” to publish The Victim Was Important; Asking for Trouble and Stab in the Dark. Fuller began to construct concrete sculpture in the 1950s while pursuing her writing career. She free-lanced for major art journals, including Art in America and Art-forum, throughout the 1960s, while also conducting research on 1930s Works Progress Administration artists for the Archives of American Art. A Ford Foundation fellow in 1965, she conducted research on modernist art in the Bay Area that culminated in A Period of Exploration, San Francisco 1945-1950, termed one of the key documentary works in the field of modern California art history.

Beginning in 1974, she was awarded the first of many public art commissions, including Dos Leones.

The above is excerpted from Women Artists of the American West by Susan Ressler.

American Bison at SFGH

 Posted by on March 13, 2013
Mar 132013
 

1001 Potrero
San Francisco General Hospital
2nd Floor – Cafeteria Patio

Buffalo by Raymond Puccinelli at SFGHBuffalo by Raimondo Puccinelli

Raimondo Puccinelli, (1904-1986) born and raised in San Francisco, is known above all for his sculpture which has been shown in numerous solo and group exhibitions. His standing as a sculptor was confirmed early on, firstly by the interest shown by the great museums on the West Coast of America and then by the commitment demonstrated by influential New York galleries  in which his works were exhibited alongside the great artists of the time: as did both the Ferargil Gallery with its exhibition “Degas, Maillol, Puccinelli” and the Westermann Gallery with “Barlach, Lehmbruck, Puccinelli” in 1936. 

However, apart from the hundreds of sculptures still owned by his family, Puccinelli’s estate includes about 7,500 drawings and sketches among which 1,700 are devoted to the subject of dance. The evidence of the labels of the San Francisico Museum of Modern Art found on the original mounts indicates that, at least in the 1930s, Puccinelli’s dance drawings were also exhibited in this museum.  These drawings have remained unknown to dance experts in the USA and Europe; to this day, there is no entry under Raimondo Puccinelli’s name in the New York Public Library’s catalogue, the world’s largest dance archive. This is surprising, considering Puccinelli had an almost unique opportunity to meet the celebrities of the dance world and to draw them.

In the early 1930s, he regularly visited Ann Mundstock’s Laban Studio in San Francisco to draw from life. It was here that dancers such as Harald Kreutzberg or Yvonne Georgi took classes during their tours. It was also here at Ann Mundstock’s, that Puccinelli met and fell in love with the young dancer, Esther Fehlen, whom he married in 1940.

Puccinelli drew Katherine Dunham and her dancers, or Tina Flade, Hanya Holm, Mary Wigman and her dance group. He became friends with Martha Graham and was frequently able to draw at her New York studio; Martha Graham herself during rehearsals, but also the members of her dance group and her pupils. Guest performances of celebrated dancers in both metropolises in which he was at home led to regular personal contacts and numerous sketches  also encompassing Indian dance (Uday Shankar) or Flamenco.

 

This work, titled American Bison – Buffalo was donated to the San Francisco Art Commission in 1974.

Mar 072013
 

150 California Street
POPOS on the 6th Floor Terrace
Open 9 am to 6 pm

Arch by Edward Carptenter

Ed Carpenter is an artist specializing in large-scale public installations ranging from architectural sculpture to infrastructure design. Since 1973 he has completed scores of projects for public, corporate, and ecclesiastical clients. Working internationally from his studio in Portland, Oregon, Carpenter collaborates with a variety of expert consultants, sub-contractors, and studio assistants. He personally oversees every step of each commission, and installs them himself with a crew of long-time helpers.

While an interest in light has been fundamental to virtually all of Carpenter’s work, he also embraces commissions that require new approaches and skills. Recent projects include interior and exterior sculptures, bridges, towers, and gateways. His use of glass in new configurations, programmed artificial lighting, and unusual tension structures have broken new ground in architectural art.

Carpenter is grandson of a painter/sculptor, and step-son of an architect, in whose office he worked summers as a teenager. He studied architectural glass art under artists in England and Germany during the early 1970’s

Ed Carpenter at 150 California Street

 

150 California Street is a 22 story office tower in the heart of the downtown San Francisco´s business district. Its sixth floor roof garden provides landscaped outdoor space for the building´s workers. The owner´s unusual challenges to the artist were first to create a sculpture which would disguise and ameliorate a large air vent and diesel exhaust stack emerging into the roof garden, and second that the sculpture should add to the ambience of the garden for its users. Ed Carpenter´s solution to this brief incorporates both the vent and the stack into an arbor-like aluminum and stainless steel tension structure. Integrated into the structure is a network of tension cables supporting laminated dichroic glass details designed to cast delicate projections and reflections of colored light onto surrounding architectural surfaces. The sculpture provides an arching contrast to the surrounding skyscrapers and creates an inviting space beneath its 54´ span for workers on their breaks.

150 California Street POPOS

 

Privately-owned public open spaces (POPOS) are publicly accessible spaces in forms of plazas, terraces, atriums, small parks, and even snippets that are provided and maintained by private developers. In San Francisco, POPOS mostly appear in the Downtown office district area. Prior to 1985, developers provided POPOS under three general circumstances: voluntarily, in exchange for a density bonus, or as a condition of approval. The 1985 Downtown Plan created the first systemic requirements for developers to provide publicly accessible open space.

The Downtown Plan also established the “1% Art Program”.

San Francisco County Jail

 Posted by on February 19, 2013
Feb 192013
 

Sheriffs Star Plaza
San Francisco Jail Facility
7th and Bryant
SOMA

Sheriffs Star Plaza

 

This paving is the work of Vicki Scuri of VSSW.

Vicki received her MFA from the University of Wisconsin in Madison

She describes herself: Collaborative, integrated design is my passion. The focus of my practice is community-based design for infrastructure, with emphasis on community identity through awareness of place, history and culture. For more than 25 years, I have participated on design teams across the US, creating holistic environments, often becoming local landmarks, reflecting collective values, shared histories and symbolic meanings that enrich and extend our lives through day-to-day experience and collective memory.

This San Francisco jail complex is located near the Hall of Justice on Seventh Street. Opened in 1994, the complex is actually two jails. This main complex jail is a “direct supervision facility [that] has become a national model for program-oriented prisoner rehabilitation.” The second, which acts as the main intake and release facility for the city, was praised by Pulitzer Prize-winning architecture critic Allan Temko as “a stunning victory for architectural freedom over bureaucratic stupidity.”

When the jail was built the art work came under fire.  Primarily for a $22,000 couch that is in the lobby. Here is an article that ran at the time:

Around the old jail here, talk is of one thing: a handmade, jade green, 60- foot-long, $22,701 couch that will sit in the lobby of the new county jail, which is known as either a fine new facility or the Glamour Slammer, depending on who’s speaking.

Everyone agrees the couch is unique. The stylish eight-piece sectional was built by Marco Fine Furniture of San Francisco, whose other clients include Leona Helmsley, Donald Trump and the Sultan of Brunei.

The couch is not just furniture; it’s art. It was paid for by the budget stipulated for public art in any public project. Under the provisions of a 1969 city ordinance, up to 2 percent of the cost of new buildings must be spent on art accoutrements. In the case of the new jail, which cost $53.5 million, the amount was $600,000.

The couch might not have been a big deal if the city had enough money to open the jail completely, but it doesn’t. Only half of the 440-bed jail is scheduled to open in December because the city doesn’t have the funds to hire staff, in part because of extra money spent to upgrade the jail from minimum to medium security.

“The jail is over budget,” said Susan Pontious, curator of the public art program. But, she added, “that has nothing to do with us.”

Other arts officials, on the defensive, say the couch is an exemplary model of how to make public art functional. Their stance is that the city could have hung paintings or installed sculptures, but opted instead to create something practical.

Or as the builder of the sofa, Marco Martin, told a Bay Area newspaper columnist: “It’s not some big piece of metal doggy-do. At least you can sit on it.”

But the couch has made city officials miserable. “It’s not our sofa,” said Eileen Hirst, chief of staff for Sheriff Michael Hennessey, whose department will run the jail.

SF County Jail #1The address of the building is 425 7th Street

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