soma

Transbay Terminal overpass demolition

I often walk by the overpasses that connect (or once connected) to the soon-to-be-defunct Transbay Terminal here in San Francisco, including the Fremont Street “bridge to nowhere” and the curving elevated road over Howard Street. Both have been featured in Wordless Wednesday photos on CatSynth the posts Fremont Street Overpass and Shine.

[Click the above images to visit the original posts.]

The bridge to nowhere used to connect the Fremont Street exit off of I-80 to the Transbay Terminal. The Fremont Street ramp, which included the last remaining pieces of the Embarcadero Freeway, was truncated and left this bridge hanging. It was a particular favorite “architectural feature” of mine in the city, and in fact qualified as a “Thomasson” or hyper art structure in that was present and maintained but served no purpose.

The elevated road over Howard Street continued to function as a bus entrance to the terminal.

This past week both structures were demolished, as part of the project to replace the entire Transbay Terminal with a new modern transit center. Thanks to a tip from a close friend, I went to shoot some photos of the demolition in progress.

The Fremont Street bridge is completely orphaned on both sides. Only the single arch remained.

In the second photo, one can see the “Buses Only” ramp that temporarily replaced the bridge. That ramp was completely gone already.

The Howard Street overpass was being dismantled in pieces.

One could see the metal skeleton amidst the remaining concrete sections.

Here is a short video of the Howard Street overpass demolition in progress:

By Monday, the Fremont Street overpass was completely gone. And Howard Street structure will be gone soon as well. It is sad to so them go. For me, they were landmarks, part of the architectural landscape of the neighborhood. However, in a city where people get upset easily about architectural changes and preserving landmarks, these seem to have gone largely unremarked upon. I am glad I got a chance to see the demolition and take photos before they were gone. Indeed, some of the images can be quite beautiful in their own way. There is something about aging and decaying urban infrastructure, even when it is being reduced to a pile of concrete rubble and twisted rebar. But I would have rather seen it preserved – I wonder if San Francisco can ever do anything as creative with its old infrastructure as New York did with the High Line.

I may post more images in the near future.

Four Squared, Arc Studios

A couple of weeks ago I visited the Four Squared exhibition at Arc Studios and Gallery – I attended the opening and also visited again later when it was quiet. I present some of my thoughts and observations before the exhibition closes tomorrow, September 18.

The basic idea of the exhibition is that each artist contributes 16 pieces, no larger than 10 inches apiece, that can arranged in a four-by-four grid. The pieces stand on their own as individuals or as a whole, but in each case they 4×4 collection follows some coherent theme. Keeping the numerical theme going, there were a total of 16 artists, so there were a total of 256 (4 x 4 x 4 x 4) pieces in the exhibition.

There were artists whose work I was already familiar with, such as Silvia Poloto, Kristina Quinones and Rebecca Fox, and others who I discovered for the first time. Among the discoveries was Sidnea D’Amico:

[Sidnea D’Amico, installation view.]

Her pieces feature high contrast color and iconic elements representing household items, female figures and firsts.  Keep Out, Private, which its geometric and urban feel, particularly caught my attention, as did Still Life 4 for its simple shapes and color.

[Sidnea D’Amico. Keep Out, Private and Still Life 4 (2010)]

The pieces among D’Amico’s set that I particularly liked shared a sense of color and contrast with the purely abstract pieces by Silvia Poloto, whose work I have followed for many years.

[Silvia Poloto. Abstraction in Motion series (2010). Installation view.]

Hers were among the smallest in the exhibition, each one a miniature version of the elements that appear in her larger works such as concentric circles, soft-edged color fields, and tangled lines. The were very inviting, and I had to resist the desire to simply take one and put it my pocket. I doubt I would be invited to any more art openings if I did that.

Rebecca Fox is another artist who usually works on a larger scale. Her large metal sculptures have both a strength and simplicity, with the geometric shapes and smooth textures. Like Poloto, she has brought the quality of her full-scale works to these miniature panels:

[Rebecca Fox.  Installation view]

Each panel focuses on shapes that are round but not perfectly circular – both organic in terms of curved shapes but also mechanical in terms of the metalwork.

Molly Meng’s work in the exhibition is about as contrasting to the previous artists as one can get. Her mixed media panels feature found objects with a weathered quality, placing intimate personal objects, photographs and clips from newspapers and magazines, inside of weathered wooden boxes:

[Molly Ming. La Premier Phase #3, Phase Deux #3, and Phase Deux #4.  Images from Arc Studios website.  (Click to enlarge.)]

Meng used the arrangement of the grid to form a narrative, with each row representing a different phase of life. Each of the three images above were from a different phase.

Mitchel Confer’s series, entitled “IOU or not”, also is focused the stages of life, and in a very serious way. This summer, while preparing for the exhibition, he was diagnosed with kidney cancer, and the focus of his life changed to focus on taking care of himself and spending time with his family. He abandoned his original plans for the exhibition, and instead created 16 blank wooden panels:

[Mitechel Confer. IOU or NOT.  Installation view.]

Each panel is an “I.O.U.” of sorts. The buyer may keep the panel as is, or exchange it at a future time for a completed panel based on a series of sketches. If he does not recover, the panels become his last works of art. There is a very morbid quality to the project – but one I am not in a position to judge given where I am in my own life. But one cannot help but reflect on life after seeing it. I did like the sketches he did present, with their urban architectural elements.

[Mitchel Confer]

I went to review his website and saw that architecture and cityscapes are a prominent theme in his work. He also did a series based on freeways. Seeing that his visual interests seem to have so much in common with mine makes this story all that more poignant.

Other series that I did notice in the exhibition were those by Brian McDonald and Fernando Reyes. Both artists mentioned dreams as an influence and although quite different, their work immediately brought cartoons and comics to mind.

[Brian McDonald. Slippy (2010).  (Click image to enlarge.)]

[Fernando Reyes. Details XIII (2010).  (Click image to enlarge.)]

There will be a closing reception and artists’ panel tomorrow, September 18, at Arc Studios, 1246 Folsom Street, San Francisco, between 10AM and 3PM.

(re-)Claim, SOMArts

I continue to work through my backlog of shows and exhibits to review, with a focus on exhibits that are still open. One of these is (re-)Claim, which will remain at SOMArts through Friday May 28.

(re-)Claim is part of the United States of Asian American Festival sponsored the Asian Pacific Islander Cultural Center (APICC), a month-long festival that celebrates “the artistic accomplishments and the cultural diversity of San Francisco’s Asian and Pacific Islander communities.” The exhibition features work made from discarded objects and materials explores “the redemptive process that renders an object ‘fundamentally new'”. I have seen several exhibitions this year on similar themes – perhaps a sign of the times – and in fact some of the same artists are featured in (re-)Claim, including Truong Tran and Christina Mazza. The other artists featured in this curated show include Mark Baugh-Sasaki, Kathy Fuji-Oka, Su-Chen Hung, and Judy Shintani.

We had last seen Christina Mazza’s work in the SF Recology Artists Program in January, where she also focused on found objects and materials from the San Francisco dump. For this exhibition, she created an impressive 9-foot-by-12-foot site-specific installation.


[Christina Mazza. Site-specific installation. (Click to enlarge.)]

Up close, one focuses on the individual wooden panels that compose the work, and which reminded me a little of the panels from her “Contained Spaces” series from SF Recology (a few prints from that series were included here as well). From a distance, one could better see the landscape elements and the textures that combined both geometric and natural qualities.

Truong Tran featured several works that I recognized from his solo exhibition the lost & found back in February. All of his works in that show were meticulously constructed from recycled objects and materials, many of which he found on his frequent walks around the city’s neighborhood (an activity that we at CatSynth wholeheartedly support). His pieces fit perfectly into the theme of the (re-)Claim show, where they would be seen alongside and compared to the works of the other artists. There was at least one piece that I didn’t recognize from the solo exhibition – it is shown here.


[Truong Tran. (Click to enlarge image.)]

Sculptor Mark Baugh-Sasaki took a very different approach to reclamation. His large sculptures are composed in part from manufactured or processed materials, but have a very natural quality to them, as if they are part of some imaginary ecology. In his artist statement, he refers to them as “objects that are inhabitants of or illustrate the evolving systems and interactions in this new landscape.” I also quite liked his large wooden sculpture A Form Derived from a Constructed Landscape (shown below) and his metal sculpture Relic.

[“A Form Derived from a Constructed Landscape” by Mark Baugh-Sasaki. Image from the artist. (Click to the enlarge)]

We conclude with a mixed-media piece “My Friends” by Su-Chen Hung in which a pair of figures is constructed from a variety of household objects.


[“My Friends” by Su-Chen Hung.]

I would be remiss if I did not also mention the taco trucks that were on hand for the opening. Fusion taco trucks (i.e., assembly of spices and main ingredients from other cuisines in proper taco form served out of a truck) are a mainstay of street cuisine here in San Francisco, and there were two on hand for the opening. I have enjoyed the Asian asada from Kung Fu Tacos at several past events. But I was particularly fond of the paneer and extra-spicy sauce taco from Curry Up Now.