San Francisco holds a wierd place within the American imaginary. So far as I do know, it’s by no means proclaimed nice creative centrality or wrestled with the bare ambition of cities like New York or Los Angeles. However nonetheless, the artwork scene right here appears to perpetually disappoint outdoors guests, who routinely proclaimed it useless. With the tenth version of the Fog Design+Artwork truthful (till 21 January), town’s artwork neighborhood is rewriting its narrative underneath the theme, “A Love Letter to San Francisco”.
Each version of Fog opens with a preview gala supporting exhibitions and schooling programmes on the San Francisco Museum of Trendy Artwork (SFMoMA). At this 12 months’s get together, San Francisco, a metropolis with notably dangerous trend, did its finest, although I nonetheless observed dozens of black sneakers poking out beneath gown pants. Wanting up from the ocean of Sambas and New Balances, I used to be shocked to see an extremely well-dressed John Waters standing by a row of tuxedoed busboys, surveying the scene.
Many native galleries, maybe in a nod to the theme, are showcasing Bay Space artists on the truthful this 12 months. Altman Siegel is displaying the work of San Rafael-based Zheng Chongbin. The biggest work, Black Forests (2021), echoes the hundreds of acres of California’s woods turned obsidian black by wildfires. However, there’s a recalibrated animism to Chongbin’s work, as if the paper retains the bushes’ sensitivity.
Zheng Chongbin, Black Forests, 2021 Courtesy of the artist and Altman Siegel, San Francisco
“There’s quite a lot of potential to do thrilling issues right here,” says Quintessa Matranga, assistant director of Altman Siegel. “There’s truly area for extra artists, extra galleries, extra tasks and extra writers—I do not assume that is so true in different cities. It nonetheless feels untapped.”
Anthony Meier, a storied Bay Space gallery, is displaying two pared-down Etel Adnan work and an envelope on which the late artist had painted a sketch of Mount Tamalpais. The gallery’s stand additionally options notable works by artists Dave Muller and Jesse Schlesinger.
Over at Gladstone’s stand, Anicka Yi’s mesmerising, cocoon-shaped husks entrap unusual, obscured objects that transfer like flies eternally placing a light-weight bulb. Whereas I watch them, the Bay Space’s beloved archivist and skilled zine-maker V. Vale and his spouse duck by way of; moments later, a billionaire who made hundreds of thousands on a recreation the place gamers swipe fruit in half friends at Yi’s seemingly extra-terrestrial orbs. The sequence is nearly as good a illustration of San Francisco’s bifurcated social panorama as I can think about. Gladstone reported offered a number of of Yi’s kelp for costs between $100,000 and $50,000.
Works by Anicka Yi on show on the Gladstone stand at Fog Design+Artwork Photograph: Nikki Richter
After the San Francisco Arts Institute closed final 12 months, its Fort Mason campus was left empty. Seeing a chance to appropriate the dearth of alternatives for younger artists within the metropolis, Fog launched a brand new invitational sector to incorporate galleries that in any other case wouldn’t have participated, providing area at a cheaper price within the artwork faculty’s former footprint. Chris Perez, a member of the Fog Focus steering committee, burdened the significance of together with “native galleries that ought to be represented however may not in any other case have the chance”.
One participant in Fog Focus is Et al., a gallery with places in each the Mission and Chinatown. The stand is a solo presentation of works by Laurie Reid, pairing her work—which characteristic arrays of dilapidated color fields—alongside the primary presentation of her jewelry.
“The San Francisco artwork scene is at its finest when it trusts artists,” Et al.’s co-director Aaron Harbour says, “but additionally poets, musicians, dancers and performers, each native and from farther afield, to pursue their practices sincerely, all the time trying outward whereas fostering deep connections right here by way of generosity and collaboration.”
Guests to the 2024 version of the Fog Design+Artwork truthful Photograph: Nikki Richter
That sentiment was echoed by visiting galleries like Hauser & Wirth. “The truthful’s class and power, and San Francisco’s beautiful historic environment, collectively create such a novel context for partaking with the Bay Space’s neighborhood,” says Marc Payot, Hauser & Wirth’s president. Maybe it’s as a result of San Francisco is considerably faraway from the globalised artwork world that its scene retains a way of particularity even when forged throughout the overwhelming sameness of artwork festivals’ white-walled stands. Hauser & Wirth reported greater than a dozen gross sales on opening day, starting from a $950,000 Ed Clark portray to 2 works on paper by Flora Yukhnovich for $22,000 every.
As well as, to the 45 stands in Fog’s essential sector and 9 galleries taking part in Fog Focus, Artistic Progress Artwork Heart, Creativity Explored and NIAD are co-presenting an exhibition of works by Bay Space artists with disabilities.
The very last thing I noticed throughout the preview gala on Wednesday (17 January) was Untitled (Human Masks) (2014) by Pierre Huyghe, loaned by the Kramlich Household Basis and on show within the truthful’s black field theatre. The haunting video paperwork an deserted sake home close to Fukushima the place a masked determine with lengthy black hair makes an attempt to serve long-gone prospects. It’s a really affecting work that evokes a determined, exploited feeling. Its inclusion at Fog disrupts the sense of division between the “artwork world” and the “world”, reminding guests of the ability of artwork.
Fog Design+Artwork, till 21 January, Fort Mason Heart for Arts and Tradition, San Francisco
