Tag Archives: photography

An Unfixed Form by Maggie Preston

Photo courtesy of SF Camerawork

Opening Reception: Friday, March 9, 5—8 pm
Exhibition Dates: March 2—April 21, 2012
Where: SF Camerawork, 1011 Market Street, 2nd Floor
Cost: Free

San Francisco-based Maggie Preston‘s practice represents an exploration of the basic concepts of the photographic medium and engages the complexities of its representational value. The technical strategies and critical approaches employed by Preston at once explore the process and materiality (or aesthetic translation) of photographic objects, as well as their presentation and social reception.

The title, An Unfixed Form, references the perpetual advancement of the photographic medium, its technical aspects are always changing and evolving. For Preston, the subject of photography encompasses the multitude of ways that exist to capture an image, and this exhibition serves as a sort of metaphor for the ever-unfixed state of the medium.

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Call for Photos for Decaux Kiosks Poster Series

2012 The ARTery Project Decaux Kiosk Poster Series
CALL FOR PHOTOS

SUBMISSION DEADLINE: Monday, March 12, 2012 by 5 p.m.
Must be received in office. No late entries will be accepted under any circumstance.

Current Decaux Kiosk Poster

Last year, SFAC featured three of our signature Central Market projects in the Decaux kiosks, which line Market Street from the Ferry building to the Castro and are viewed by thousands of residents and visitors who traverse San Francisco’s main thoroughfare.

After a long run, the SFAC would like to refresh its Decaux Kiosk campaign with a series of six new evergreen posters that celebrate the Central Market neighborhood. The new posters will highlight the diverse art activities occurring in the corridor and developing cultural district which spans Market Street between 5th Street and U.N. Plaza and the one block radius into the Tenderloin and SOMA.

We are soliciting submissions of photographs that celebrate the artistic aspects of the community. We are looking for clear, straight forward images that focus on capturing the people of the area engaged in art-related activities. Suggested topics may include

  • a theatrically lit performer at Exit Theatre or Intersection for the Arts,
  • art-making at Central City Hospitality House Community Arts Program,
  • street performers at the Powell Street turnaround,
  • a fitting by the clothing designer at Archetype,
  • an art bike rider heading up Market Street,
  • a performance in KUNST-STOFF’s beautiful brick studio,
  • or someone juggling lemons at the Heart of the City Farmer’s Market.

For ideas of upcoming cultural events, check out The ARTery Project calendar. The images should be in a portrait (vs. landscape) format and they should read clearly in a large-scale format.

Photographs must be original work and not copyrighted by any entities other than the person(s) submitting the photograph. Photographers will retain rights to their photographs, however the chosen photographs will become property of SFAC and SFAC retains an irrevocable license to use and reproduce the photographs for any City purpose, including publication in the Decaux kiosk series. A $600 honorarium will be paid for each selected image.

Artists should obtain release forms from their subjects which we provide in this Photo Submission Form.

Have fun exploring this neighborhood that’s bubbling with life.

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Allan deSouza’s The World Series at SF Camerwork

Photo by Allan deSouza

Opening Reception: Friday, January 20, 5-8 p.m.
Exhibition Dates: January 13 – February 25, 2012
Where: SF Camerawork, 1011 Market Street, Second Floor
Cost: FREE

Allan deSouza‘s The World Series (2011) was inspired by Jacob Lawrence’s iconic The Migration Series (1941). While Lawrence’s paintings portray the early twentieth century black migration from the American South to Northern cities, deSouza’s photographs track pathways through the signage of metaphorical, transcultural, political and psycho-geographic encounters. The paths taken may refer to deSouza’s own history and you can indeed read elements of deSouza’s known biography. These encounters also suggest a fictional protagonist who moves through them, much like in a novel, storyboard, or film.

It open for interpretation as to whether this point-of-view is of a tourist or of a migrant, exile, returnee or one who inhabits many locations and psyches. However, it is precisely through combining fictional strategies with the truth-telling claims of photography that we are led to multivalent readings of history.

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