Open Studios: Hunters’ Point Shipyard Artists and beyond
So you can’t afford Warhol? Neither can I. That’s what open studios are for: checking out local artists at farmers market prices. Out of 200 tortured souls and starving full-time or recreational perpetrators, there’s got to be one for you. Say, this “Shadows on road” by Carol Aust. Who knows? You might go home with a big canvas wrapped in butcher paper in the back of the car. Or a funky crafty something that does not even have a name.
Open Studios are fun. The problem – if you like them – is: they’re quite confidential. Open studio season is a little bit like high school musical season. It comes in the spring and in the fall and it lasts only one weekend with very little publicity so that by the time you realize it happened, it’s all over. Bummer. Unless … said the Lorax, unless you have a good friend who’s part of the exhibiting community and reminds you of your friendly duties. That was our case.
Last weekend we attended the Hunters Point Shipyard Artists spring 2009 open studios. This weekend, Marin opens up their studios with the Marin Arts Council Open Studios. At Hunters Point, we went directly to Building 117 studio 3216.
That’s where Teresa Seran, New York city transplant turned San Francisco-based mixed media painter, practices her art. Standing in front of her latest series, she explained to me how a whirlwind of regular and metallic paints lived their own life on acetate-covered canvases. Teresa is a conceptual artist and gets much of her inspiration from roaming the Tuscan or Californian hills.
I’d never seen her studio before so that was enlightening and my girls loved picking their “favorites” describing what the paintings actually represented. That’s the beauty of abstract art. It felt just like an art gallery on a smaller scale.
Other studios were very different. In fact, they were each their own different microcosm. Take Deborah Hayner, one of the most intriguing of the lot. Entering her studio felt like walking through a Macau Portuguese chapel except the priest has gone bezerk and lights up old dollies next to votives and old photographs.
As much as a lot of what we saw was deeply conventional, Hayner’s art definitely stood out because it was fun and unconventional. Go check out her website’s installations page, it’s well worth the click. Very Joseph Cornell-ish.
Her object “Sweet Talk” is a metallic carousel of glass plates printed with red lips and out of each pair of lips comes out a bug. Talk about weird. She also has a weakness for Hunter Thompson (see typewriter at the bottom). I would have liked to see more of that type of funky thinking than pretty flowers in pots or trees on skyline backdrops.
Walking the long hallways of Building 101, we noticed a definite trend of some very gifted artists to varnish their paintings to make them look glossy. Stacy Dynan was one of them. Her whimsical style is particularly interesting.
She describes herself as “exploring the dynamic interplay between transparent and opaque elements, often applying her colors in dozens of layers to achieve the particular depth and radiance she desires.” True, her paintings did have a silky depth and looked like they were springing out of the canvas.
Because it’s my pet peeve, I think she’d make a wonderful children’s book illustrator. Or would she? I asked that same question to Carol Aust featured above. Had she considered illustrating books for children? As a matter of fact, she had. However “publishing houses don’t like to work with fine art artists,” she told me. “They require too many changes that we are reluctant to make.” I see how that could be a problem. The egg and the hen, the text and the illustration. Yes.
In a completely different category was Jenny Robinson, a Borneo-born UK transplant now living in San Francisco. She makes gigantic prints featuring derelict and mundane industrial or city structures. I find her prints absolutely fascinating. In her studio there was also a sort of super-rollercoaster that would have made a great set for Dark City. I wonder if her enlarged or projected scenes would be good backdrops for modern ballets. Probably would.
By the way, Ms. Robinson is a very tech-savvy person or knows one – I was not able to copy a work of art to illustrate my blog. However, go on her website and check out her industrial, bridges or landmarks series. What a trip; especiallly – and I’m not saying that in a derogatory way – if you are a sucker for graphic novels. Her work’s out there.
Now, next time you see there’s an open studio event in your neighborhood, don’t be shy. Go through that doorstep. Artists are nice people. They don’t bite. They’re not necessarily trying to sell you their art. They want to show it to you. The rest is up to you.
7 thoughts on “Open Studios: Hunters’ Point Shipyard Artists and beyond”
Thank you for sharing the idea that Open Studios at Hunters Point is, pardon the expression, fun.
Another idea you inserted was the Shipyard Artists as “tortured souls” — a popular way of thinking about artists.
May I please direct your attention to a TED presentation on creativity that takes a deeper looking into that way of thinking about artists and creation. Find it at http://www.ted.com/talks/elizabeth_gilbert_on_genius.html
I think it’s quite wonderful.
A closely-related view is in a museum lecture by one of the Shipyard Artists, Richard Bolingbroke. It’s at http://rbolingbroke.com/content/main/studio/lecture.html
Thank you again for sharing your experience at Hunters Point Spring 2009 Open Studio.
Thanks for the review of the Hunters Point Open Studios.
We are, however, NOT tortured souls. The idea that we live in squalor and eke out a dim existence for the sake of art is so..well 19th century.
To create art is a joyful experience,though not always easy. When was reaching deep into your soul ever easy? But the process requires commitment to a personal journey and a dedication to communicating and expressing the results. This not something a tortured soul would do.
Also your suggestion we are “farmers market” style artists is totally off base. Many of the Point artists are dedicated professionals who spend as much time on the business side of their art as the creation of it. While butcher paper works for some, I prefer bubble wrap and ribbon!
I hope to see you at our Fall show October 31-November 1 2009.
What a nice commentary on the show. I do agree with Richard however. Having been a working artist for many years, I find it an extremely rewarding experience. And those of us who make our living as artists DO hope you will find something exciting or intriguing to take home with you because as Richard pointed out we are in business, after all! Thanks for coming, come back, and bring your friends!
The idea of artist as tortured soul seems to have rousted the dander of a few lucky untutored souls. I myself do feel quite tortured most of the time and live in a small studio apartment rationing out treats to my cat , working in a studio without water, make shift toilets, shhhhhh and shhhhhh endless cup o noodle. Some souls may better be working both sides of their brains. I loved this review and so deeply appreciate Laure’s observations and validation. I put a lot of effort into my presentation as well as the making of my art. I’m grateful for Laure’s review.
Please forgive my sloppy typing/spelling on the above comment – I meant to type
a few untortured souls, NOT untutored souls!
my torture continues! Can I blame it on spell check?
Just today, I spoke to Richard Bolingbroke about his profession. He mentioned that through the years of being a professional artist, he had known friends who had been laid off from their “safe” jobs, whose professions had vanished into new technology, who kept their lucrative work but hated every minute of it, whose pensions had mysteriously disappeared [as did mine] … I could go on. Richard’s artistry continues to evolve and and to be engrossing, both to him and to his admirers. Tortured artist? I think not. Who would you rather be, honestly?
Hello Kay, thanks for your thoughtful comment and a different perspective. Art is a very personal thing and I love that you find Richard’s artistry engrossing. Art is meant to provoke reactions and you are part of Richard’s admirers. Now who would I rather be? The fact that I write instead of working a “safe” job in an office may be an indication:) All the best to you.