Artists You Shouldn’t Miss At Open Studios Wknd 4
The final weekend of ArtSpan’s 2015 Open Studios is upon us, and it’s a doozie. Mission, Castro, Bernal, Noe, Upper Market & Glen Park all reporting for duty. There are lots of studios within walking distance, many that contain some of our favorite artists. This weekend of Open Studios is a real treat. Thanks are in order to fine folks at ArtSpan who work everyday to keep art and artists in San Francisco. Here are just some of the artist you should go hangout with this weekend…
ArtSpan Juror and Int. Art theif Alex Mak Picks
There’s something in the texture of screen printing combined with photography that can create an air of nostalgia. Fischer’s work has multiple layers and mediums, as if there are several stories being told at once, hints of old and new peek through at you, a dazzling display of what you might call ‘visible light’ permeates. He’s one of many interesting artists at the Pacific Felt Factory this weekend. Looks great, can’t wait.
Where: 2830 20th Street
When: Nov 7th & 8th
There’s excitement in her work, the kind that makes you want to see it in a graphic novel. Her subjects are full of dreamy color and emotion, sometimes playful, sometimes intimate. Interesting combinations of line work and brushstrokes that desire to tell the viewer a story. You can see her work at 1890 Bryant Street Studios this weekend, along with many other interesting artists like Jennifer Berkowitz and Michelle Jader who also bring their portraits to life in incredible ways.
(This Article’s Cover Picture is also Ytaelena’s)
Where: 1890 Bryant Street Room #317
When: Nov 7th & 8th
I don’t know how to describe Nardello’s work, it’s just fun and I like it. I want it in my kitchen, there’s something both spontaneous and thoughtful in it. It will be at Project Artaud this weekend along with 70 other artists…see you there.
Where: 499 Alabama Street Room #215
When: Nov 7 & 8
Art Curator Marilyn Jones Picks
How do I begin with this artist? Lucky is probably the most professional artist whom I have ever had the opportunity to work with, which is a treat in the art world. Handling artists can be like corralling cats, but Lucky puts the collector at ease, not only with her presentation, but also with her experience.
Lucky isn’t your typical sensitive artist who is afraid to speak. One walks into her studio and they are graced with poetry either on the walls or on the ground and ceiling and when you ask her about her work, she is incredibly intricate and open. With a simple word on board or canvas, Lucky focuses on the isolation of one word and its definition and explains to the viewer why she picked each word. Her process is more method-based, incorporating layers of resin atop of each word, which she mentioned to me once was like “glass you can make your own interpretation to.”
Her comment about glass reminds me of artist Francis Bacon, who once mentioned that he wanted to separate the viewer from his art by putting glass in between his paintings and observer, as if to offer a veil of secrecy of his private life. Lucky Rapp, unlike Bacon, offers openness with her thick resin and clear texture, and the words are exposed, just like her, and her glass doesn’t block. Each word is defined by her and feeds off the artist’s interpretation. The first time I saw her work, it reminded me of Joseph Kosuth, who put a chair in a museum and, next to the chair, was its definition, thus stripping the viewer from offering any type of personal identification to the object.
Though Kosuth and Rapp have many attributes in common to the analytical context of shifting definition, Lucky’s work isn’t an absolute as Josephs’. Her personal poems painted in acrylic under resin offer a movement within self and word.
Not only does her art give to the viewer a new interpretation, Lucky is also a avid contributor to a few of San Francisco bay area charities. Recently, I asked her what organizations she likes to give to and why, and she replied:
“I believe that Auctions can be beneficial for artists. From increased exposure to new and previous art enthusiasts, buyers and gallery owners, to being able to utilize Auctions as a platform to gauge reactions to new directions one’s work by be taking. Personally, I prefer to donate new pieces whenever possible and to use the Auction as ‘focus group’ for my new work. I find this can only work really well if the Auction is well organized, if my artistic peers are also represented, and if it is well attended by a broad group of individuals knowledgeable in various sectors of the arts; RE: collecting, curating, managing arts programs, etc. As for my choice in which Auctions I support, it often comes down to organization, visibility, the attending audience, and usually my own personal emotional connection to the organization for which the Auction will benefit. Of course, my time as well plays a factor. Typically, each year I donate to 3 community based Auctions. For the past number of years, I have chosen to donate works to Art for Aids, because it is always an exciting and dynamic event that has an incredibly diverse constituent base, and they put a lot of time and planning into the event. It just so happens that this is also my favorite auction to attend in San Francisco. I also donate to Hospitality House because I personally love the work Andrea Schwartz supports and the venue at White Walls and Shooting Gallery is amazing. Here again, this auction always has a fun and actively participating crowd, and it differs greatly from Art for Aids so it enables me to once again expand my visibility and receive incredible community feedback on my new work. Lastly and almost religiously, I support ArtSpan’s annual auction because they are, in my belief, one of the most effective and long-standing supporters of local San Francisco-based artists. They have been so supportive of my work that I in turn want to give back to them as a way to articulate my gratitude for all that they have done for me and fellow San Franciscan artists.” Lucky Rapp
Go check out Lucky Rapp’s art this weekend in the Mission at 1890 Bryant St.
When: Nov. 6th-8th
Kirsten also blatantly looks back at old memories and paints them with fondness. Using the same colors as her other paintings, she captures a 70’s themed wood- paneled-room family portrait beautifully, not giving too much description to each of the family member’s facial features, allowing most anyone to identify who has ever seen an old yellowed family photo from the 70’s. Her work can be seen this weekend in the same building as Lucky’s, but Mission at 1890 Bryant St.
When: Nov. 6th-8th
Art Writer Alisa Scerrato Picks
Originally from Argentina, Monique Passicot creates South American inspired paintings, mostly from oils. Monique has been a longtime resident of the Corona Heights area and has participated in ArtSpan’s SF Open Studios for several years. When I met up with Monique in her beautiful home and studio nestled along the hillside on Temple Street, she introduced me to her dog, Booda. She picked him up and said, “Look at him. He’s so relaxed. He’s almost like a cat!” Booda is one her greatest inspirations along with people, music, and “just about everything.” One of Monique’s featured paintings this weekend will be the one shown here entitled, “Insomia.”
Where: 16 Temple St.
When: November 7th and 8th from 11-6.
For more than three decades, Sharon Steuer has been exploring ways to combine traditional and digital art-making tools. Both an author and artist, Sharon revels in spontaneously sketching people on public transit. You might spot her drawing portraits of unsuspecting Muni or BART riders (and their pets), which she draws by using pen and paper that magically digitizes tweaking on the computer.
Images: “Man with hat and glasses on Muni,” digital pen and paper drawing. “Dog on BART,” digital pen and paper drawing.
2150 Folsom Street Room #1
San Francisco, CA 94110
NOV 7TH & 8TH