For this installment of “Artist Eats,” we asked Andrew Schoultz to share his favorite place to eat. Andrew is a San Francisco-based artist whose themes of chaos and destruction often take form as large-scale installations and murals. Continue reading for his answer.
The spring evenings in San Francisco are drunk with gold. It pours down the avenues of the Sunset. It ignites each leaf of the acacias along Frederick Street. Gold collects in a rich haze over Ocean Beach. It makes a summer haystack out of Potrero Hill. It gilds the telephone lines on Downey Street, stretching a web of bright metal. Gold blows out the windows of the Painted Ladies. It lays down bright parallelograms under the eucalyptus on the Panhandle. It lights the massive glowing arteries of the 101. It alchemizes the skyscrapers on Market Street, creating a city of gold slabs. I love living in this city, I love the Pacific light, and I love the motto given by the city fathers in 1859: “Gold in Peace, Iron in War.”
Goldschläger tastes entirely quotidian, but the gold flecks approach the sublime.
Open at Guerrero Gallery alongside Erin M. Riley’s tapestry-filled Show Me More until April 6th.
Featuring: Asger Carlsen, Alfred Steiner, Chris Yormick, Dave Schubert, Eddie Martinez, Eric Beltz, Faile, Geoff McFetridge, HuskMitNavn, Mark Gonzales, Mark Mulroney, Sandy Kim, Stephen Powers, Suzannah Sinclair, Taylor McKimens, Tomokazu Matsuyama, Troels Carlsen, and Victor Reyes.
Our nudes show opened last Saturday at Guerrero Gallery alongside Erin M. Riley’s tapestry-filled Show Me More. We’re pleased to show you images from the show featuring Asger Carlsen, Alfred Steiner, Chris Yormick, Dave Schubert, Eddie Martinez, Eric Beltz, Faile, Geoff McFetridge, HuskMitNavn, Mark Gonzales, Mark Mulroney, Sandy Kim, Stephen Powers, Suzannah Sinclair, Taylor McKimens, Tomokazu Matsuyama, Troels Carlsen, and Victor Reyes.
“Episode #175: Filmed in San Francisco in 2000, Margaret Kilgallen (1967-2001) discusses the female figures she incorporated into many of her paintings and graffiti tags. Loosely based on women she discovered while listening to folk records, watching buck dance videos, or reading about the history of swimming, Kilgallen painted her heroines to inspire others and to change how society looks at women. Three of Kilgallen’s heroines—Matokie Slaughter, Algia Mae Hinton, and Fanny Durack—are shown and heard through archival video, images, and audio recordings. Kilgallen is shown tagging train cars with her husband, artist Barry McGee, in a Bay Area rail yard and painting in her studio at UC Berkeley.
Margaret Kilgallen’s work reflects her encyclopedic knowledge of signs drawn from American folk tradition, printmaking, and letterpress. Kilgallen has a love of “things that show the evidence of the human hand.” Painting directly on the wall, Kilgallen creates room-size murals that recall a time when personal craft and handmade signs were the dominant aesthetic.”
Welcome to our new weekly column by The Principals, where every Friday they summon someone or something to the Principals office. Lessons will be learned, tears might be shed, parents could be called.
This Sunday is Super Bowl, and normally we wouldn’t really give a chunk, but our beloved Ravens have made it to the big game and we’re in a bit of a frenzy, so here’s our special Super Bowl themed Principal’s Office: This week we’re calling the entire city of San Francisco, please report – we’d like to have a word with you!
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