You are currently browsing the tag archive for the ‘San Francisco’ tag.
Solutions. Prison reform debate rages around solutions. Even when everyone at a given table agrees on the problem, the propose solutions can differ widely. There are many, they overlap and they are often interdependent.
(For the record, here’s a sampler of my long list of forward steps we could take: Release old and infirm prisoners; sentence children as children, do away with the death penalty, scale back on LWOP (life Without Parole), implement radical and retroactive sentencing reductions for all drugs offenses and non-violent offenses, eradicate solitary confinement, treat addiction with hospitals not prisons, fund services for youth and families to avoid the use of custody later in life, drawdown the bail system, issue an amnesty for outstanding warrants for non-violent misdemeanors, ban the box, make criminal record expungement available as a right, scale back sentencing guidelines to that of the European average, make prisons smaller, provide prisoners nutritious food, subject all staff to yearly self-care and mental health checks, reinstitute Pell Grants for access to college for prisoners, continue all voluntary work programs but provide more than cents on the dollar wages, increase the number of family days and trailer visits, and PROVIDE EDUCATION)
What last solution, what education looks like differs hugely. Some prisoners need parenting classes, some only want practical training (welding, HVAC, electrical, plumbing etc). Other prisoners want business training. Then there are some that want liberal arts college classes.
A staggering number of prisoners need a GED.
In the film, we’ll meet students, teachers and staff. Referred to as the “crown jewel” of the SF Sheriff Department, enrollment in Five Keys Charter School is all but mandatory for incarcerated people who never received a high school diploma.
The problems for mandated GED programs are well known among prison and jail educators — it can be very difficult to engage a class of students with a high school curriculum when they did not respond to high school on the first round. This in-built tension makes any GED project in a prison or jail that more difficult as compared to other programs (with voluntary sign-up). Therefore, Five Keys represents a genuine innovation approaches to criminal justice.
Custodial staff maintain safety in a jail that houses members from a reported 22 active gangs. Meanwhile teachers follow a strict policy of not knowing their students’ criminal charges (in my experience, both common sense and common policy).
The Corridor follows lessons, learning, challenges and graduation in a school that won the 2014 award for best charter school in Northern California.
Filmmakers Annelise Wunderlich and Richard O’Connell began shooting in May 2013 and made over 100 hours of material. It took them over two years to negotiate access. Former Sheriff Michael Hennessey was the man who gave the green-light.
“Hennessey built his reputation on creating programs that go beyond what is mandated by law,” says Wunderlich and O’Connell. “He has said that what he enjoyed most about being the sheriff was to make and experiment with policy. His legacy lives on with the current staff.”
Wunderlich and O’Connell want to create “an immersive portrait that focuses on the inner workings of the school and the programs, capturing along the way conflicts, dilemmas and breakthroughs that arise in the course of carrying out its mission.”
They aren’t trying to make an argument for one type of custodial approach or another. They are interested in observing how education (in this particular case) is shoehorned into a criminal justice system to satisfy some of the system’s objectives — lowered recidivism, empowerment, self-realisation, reductions in violence.
I wish them luck.
Unbelievably, Five Keys has barely been replicated elsewhere. This is despite its measured achievements and despite growing research that education-based jail programs are the most effective way to reduce recidivism.
If you are in the San Francisco Bay Area, Annelise Wunderlich will be speaking next Tuesday, 16th June at Bay Area Video Arts Coalition (BVAC).
“This edition of Storytelling Across Media,” reads the BVAC blurb, “brings together three innovative Bay Area media makers who will speak to the power storytelling holds for those “behind bars”. Although each panelist comes from a different artistic background (performance, documentary film, and fine art photography) they all share a commitment to helping incarcerated or formerly incarcerated individuals tell their stories and put their voices out in the world, whether through dance, film, or radio.”
Tuesday, June 16
2727 Mariposa Street, 2nd Floor
San Francisco, CA 94110
Tickets are $10 for BAVC Members, $15 general. Seating is limited. Buy tickets here.
My pal Nigel Poor will also be speaking.
Mark Wolfe Contemporary Art in San Francisco, is to host an exhibition of never-before-seen images of San Francisco and San Franciscans, made between 1965 and 2015.
Of Maury’s work, 25 images have been selected from a pool of more than 6,000! God knows how many images Ted’s made in the past 5 decades. This show, I must conclude, is long overdue … and it’s gonna be gold.
All the info you need is right here.
Say NO to a New Jail in SF
The discussion about the long proposed San Francisco County Jail has taken many turns. It’d have been built by now without the opposition of many California groups fighting for social justice under the umbrella organisation CURB (Californian’s United for Responsible Budget).
On Monday, March 2nd from 6-8pm, Sheriff Mirkarimi and staff from the Department of Public Works will be hosting a public meeting on the environmental impact of the $278 million dollar jail plan at the Community Assessment and Service Center (CASC).
The CASC at 564 6th Street in San Francisco — it is just around the corner from San Francisco County Jail #3, at 850 Bryant.
All info and RSVP here.
The protest rally begins in front of the jail at 850 Bryant on Monday, March 2nd at 5:30pm and moves to the Community Assessment and Service Center (CASC).
“Come prepared to dance! We will be joined by the BLO (Brass Liberation Orchestra)” says organiser Lisa Marie Alatorre, of the San Francisco Coalition on Homelessness. “San Francisco needs real solutions to public safety, housing, jobs, education, mental health care, not more of the same failed policies that harm our community. Justice is won when we build a future of opportunity for everyone, not more jails.”
Make banners and signs that reflect the environmental impacts that jail and incarceration has on your life and your community.
All info and RSVP here.
CITY HALL MEETING
Separately to the Sheriff’s meeting, the Capitol Planning Committee is voting on the jail plan also on Monday!
Anyone who can speak out against the jail should go to San Francisco City Hall from noon to 2pm Monday, March 2nd and voice their concerns.
GET THE WORD OUT
All info and RSVP here.
Binh Danh. ‘The Transamerica Pyramid, 2014 Daguerreotype, Unique (in camera exposure). Plate: 10 x 8 inches / Frame: 14.75 x 12.5 inches
A recent move makes San Francisco my new hometown. As is my wont, I’m out and about trying to figure what’s happening here in the city. Late last year, I saw Binh Danh’s exhibition This, Then, Is San Francisco at Haines Gallery.
A few things struck me.
– First, the sky blues and sepias of make the work just lovely to view.
– Second, there seems to be an increasing nostalgia toward the city of San Francisco right now which is reflected in art-makers and photographers trying to preserve a view of the city – be that in books, stubborn alternative processes, comparative views of the city as it once was, or flat-out direct denunciations of money-driven change.
– Third, the scenes captured by Danh cannot be random and in fact some of them look quite political.
I got Danh on the blower to ask him about how and why the work was made.
Scroll down for our Q&A.
Click any image to see it larger.
Binh Danh. ‘San Francisco City Hall, 2014’ Daguerreotype, Unique (in camera exposure). Plate: 8 x 10 inches / Frame: 12.75 x 14.5 inches
Prison Photography (PP): At first glimpse, the work seems as if it is about process and the joy of the surface. Does This, Then, Is San Francisco have the same level of political engagement typical in your other work?
Binh Danh (BD): You’re somewhat right. Of course, being an artists there’s always the joy of the image. But if you look deeply, there’s also some political messages. There’s pictures of gatherings and protest in front of City Hall.
PP: I saw the image of the rally held by mothers whose family members had been killed but their murderers never found.
BD: And even the photo of the city hall — on the lawn where people are sleeping, they look like dead bodies. Because of the medium, it looks like a civil war photograph.
PP: And the body shapes are identical.
Binh Danh. ‘City Lights Booksellers and Publishers, 2014’ Daguerreotype, Unique (in camera exposure). Plate: 8 x 10 inches / Frame: 12.75 x 14.5 inches
Binh Danh. ‘Hoa Phat, Little Saigon, Larkin Street, 2014’ Daguerreotype, Unique (in camera exposure). Plate: 8 x 10 inches / Frame: 12.75 x 14.5 inches
BD: I am alluding to these political spaces of the city.
PP: Did you grow up in San Francisco?
BD: No. I grew up in San Jose. For me, San Francisco was the place we went to for school trips. Even in adulthood, I see the city as a tourist. Each time I go there it is new. Every inch of the city is photogenic. And that goes way back. I enjoy the fact that This, Then, Is San Francisco is in conversation with those images from the nineteenth century when the city was being built.
PP: How does this relate to your previous work about Yosemite? It seems to make more immediate sense to use daguerreotypes to photograph Yosemite — what with the archives of Carleton Watkins and Edward Curtis. Their works were very political and tied to the myth of manifest destiny and ultimately controlling of the West.
BD: Both Carleton Watkins and Edweard Muybridge photographed San Francisco AND Yosemite. I’m walking in those giants’ footsteps. For me, San Francisco is the gateway to California – going as far back as the Gold Rush when people arrived, stocked up and then travelled on to the Sierra Mountains. Everything in Northern California flows toward San Francisco and into the Bay.
PP: One could conceptualize San Francisco as being at the foot of an elongated Yosemite Valley?! The Pacific Ocean is the terminus of the Sierra Mountains watershed.
Binh Danh. ‘Panoramic View from Corona Heights Park, 2014’ Daguerreotype, Unique (in camera exposure). Plates: 25.75 x 13.5 inches
BD: But also looking forward. San Francisco is tied to innovation, accelerated movement, change and speed. It always has been. Of course, now, those things are associated so closely with Silicon Valley and the South Bay.
PP: But for the purposes of the international community, San Francisco is the epicenter of that.
BD: I wanted to document San Francisco in this moment of change. I didn’t realize Haines Gallery wanted to do a show. They felt I had enough work. But the project is not complete; it’s ongoing. I expect in 30 or 40 years I’ll go back to some of the same streets to stand in the same locations and make the same pictures with daguerreotypes.
Binh Danh. ‘Rigo 23’s Truth Mural U.N. Plaza at the Civic Center, 2014’ Daguerreotype, Unique (in camera exposure). Plate: 8 x 10 inches / Frame: 12.75 x 14.5inches
Binh Danh. ‘San Francisco Camerawork, 2014’ Daguerreotype, Unique (in camera exposure). Plate: 8 x 10 inches / Frame: 12.75 x 14.5 inches
Binh Danh. ‘San Francisco City Hall (Mother’s Day 2014) Rally for Black Youths Whose Killers Have Never Been Found by the San Francisco Police Department, 2014’ Daguerreotype, Unique (in camera exposure). Plate: 8 x 10 inches / Frame: 12.75 x 14.5 inches
PP: Why daguerreotypes?
BD: The daguerreotype results in a reverse image. So, the cityscape is familiar but it’s odd. I like the uncanny.
PP: The reversal makes the viewer look a little harder, which is I think what all photographers want go their images?!
PP: There’s no shortage of spots in the city. How did you choose sites? I’d like to ask, specifically, about the TRUTH mural.
BD: When you do work with a commercial gallery, they are trying to sell work they are trying to move work. So, a lot of the more iconic San Francisco scenes are a little more successful in that [marketable] way. Some of the quieter scenes that might make there way into a future show or book.
I’m happy Haines picked the TRUTH mural piece. Rigo23 did that piece and what I like about that mural is that it faces city hall and confronts power.
PP: It was made in 2002 to commemorate the 2001 quashed conviction of Robert H. King, one of the Angola 3, after 32 years of incarceration, 29 of which were spent in solitary confinement. It was also a rally call for the cases of Albert Woodfox and Herman Wallace (who died in 2014) who remained locked up.
BD: In my picture, the farmers market is ongoing in the foreground, so if you want, there’s connections to the central valley to be made. And to ethnic communities. I’m not sure if the viewer will pick that up but that’s the thing I think about when I’m making the work.
Binh Danh. ‘The Palace of Fine Arts, 2014’ Daguerreotype, Unique (in camera exposure). Plate: 8 x 10 inches / Frame: 12.75 x 14.5 inches
Binh Danh. ‘The Women’s Building, 18th Street, 2014’ Daguerreotype, Unique (in camera exposure). Plate: 8 x 10 inches / Frame: 12.75 x 14.5 inches
Binh Danh. ‘B and C Laundromat Barbary Coast Trail, Chinatown, 2014’ Daguerreotype, Unique (in camera exposure). Plate: 8 x 10 inches / Frame: 12.75 x 14.5 inches
PP: Do you have a favored image?
BD: The city hall image is my favorite image. I photographed a lot. I made all the images over the summer. I must have made 300 exposures and then I narrowed that down to 50 plates and the gallery selected 20.
BD: Not everything turns out, you know. I’d make 10 in a day and maybe one would hold a standard that I’m happy to share. Everyday I was driving from San Jose and up to the city making photographs.
BD: Almost all the people I encountered don’t understand the process, so to us it is a very foreign process. I think we take photography for granted so I hope I can help people think about image-making more. Maybe people will stop snapping away and take it slow?
PP: How did you learn the process?
BD: I learned just on my own. I found a 19th century manuscript and kept practicing and experimenting. Perfecting over the years. I began in 2001. Gave up and returned to it in 2009. Through the years I’ve made slow progress. I own the equipment, I make everything from scratch. I coat the copper plate in my studio and buff it. I’ve a van in which process on location. Back then, the daguerreotype was hard to do outside of the studio. That’s why most daguerreotypes are portraits. Cityscapes were rare — then and now.
PP: Thanks, Binh
BD: Thank You, Pete.
Binh Danh. ‘Sutter and Grant Streets, 2014’ Daguerreotype, Unique (in camera exposure). Plate: 8 x 10 inches / Frame: 12.75 x 14.5 inches
Two years ago, I walked out of Chris Fraser’s In Passing, installed in Portland’s Disjecta gallery, and resolved that it was the finest contemporary art I’d seen in the town. In Passing drew your attention to colour, light and line. The sensory experience, for me, put Chris Fraser slap-bang-wallop between Bridget Riley and James Turrell. In Passing was a strict coda delivered to fondle the eyeballs.
What was you ask? I was simply an enclosed corridor around three walls of the gallery. Into the walls, at random moments were slits that ran from floor to corridor ceiling, on the inside-wall. Three bulbs — one R, one G, and one B — hanging from the roof beams dangled in the centre of the gallery and dispersed low level light to all corners of the room. So enclosed was the corridor, that the low level light sliced the darkness in thin rainbow strips. At one end of the corridor the gaps became larger and light as a result became more diffuse and reflected off the walls in a palette closer white light.
Note: All images here are of In Passing. Still a week out, I haven’t the foggiest what Revolving Doors looks like.
Fraser says that gallery goers can manipulate the walk in sculpture:
“Visitors will rearrange the space as they move through it, altering the architecture for future patrons,” says Fraser.
They’ll do that by altering the maze-like configuration that mimics the internal mechanisms of a camera.
“The structure and its design stand as a metaphor for the rapid demographic changes in SF Camerawork’s immediate Mid-Market neighborhood,” says SF Camerwork press release.
“The rich and well connected are moving in,” explains Fraser. “The poor and disenfranchised are being kicked out. A city must change to remain vital. But this transition seems particularly cruel. My hope is to highlight this disparity through an architectural intervention.”
Honesty and captivating beauty with a political edge, it seems. If Revolving Doors is even fractionally as accomplished as In Passing it’ll be one absolutely not to miss.
Revolving Doors is on view February 5 – March 21, 2015. The opening reception is this coming Thursday, February 5, 2015, 6-8pm
On show will be photographs from two projects — Gumpert’s ongoing Take A Picture, Tell A Story, and images from “I Need Some Deodorant. My Skin Is Getting Restless” which were made between 1996 and 2002 at the Alameda County’s Psychiatric Emergency Services at John George, Oakland. In both bodies of work, Gumpert uses oral history (audio and text interviews) to add description, depth and context to the experiences of his subjects.
If you’re in the Bay Area, I strongly recommend a trip through the Caldecott Tunnel out to Moraga.I’ve long been an admirer of Gumpert’s work, specifically Take A Picture, Tell A Story which is part of my curated effort Prison Obscura.
Click on the flier below to see it larger and glean all the critical information.
Tameika Smith, San Francisco, CA. SF CJ2. 9 July 2012.
Deborah Lee Worledge, San Francisco, CA. CJ1 Men’s jail. 4 April 2008.
Michael Johnson, San Bruno, CA. CJ5.
As some of you might be aware, I recently moved down the west coast from Portland to San Francisco. Just as I focused on local artists back then, so too I’ll be peppering Prison Photography with features of local Bay Area photographers.
Kirk Crippens is a long time friend. I saw his latest show on opening night and I thought it was responsible and heartfelt. I have never been to Bayview Hunters Point which is the focus of Crippens’ series The Point. I am curious but as with many of the outlying SF neighbourhoods, I’ve never had a reason arise to visit. Which says a lot in itself of boundaries within even the same city. Bayview is home to one of my favourite newspapers. The SF Bayview reports on prison issues when virtually no one else is seeing the abuses occurring in our prison system. That’s an aside; on to the article proper
While reflecting on the African-American community of San Francisco, James Baldwin once said, “This is the San Francisco that Americans pretend does not exist.” The Bayview-Hunters Point district is a predominantly Black neighbourhood and, for years, has been isolated from the rest of the city and cited as a significant example of urban marginalization.
While other photography projects focus on the tougher, negative aspects of Bayview-Hunters Point, photographer Kirk Crippens took a slower and more reflexive approach to his interactions with a neighbourhood he admittedly knew next-to-nothing about prior to working on The Point which is a collection of portraits and interior domestic scenes.
The Point is currently on show at San Francisco City Hall. It includes not only dozens of portraits and interior shots made by Crippens but also family photographs to those in his portraits. It’s a lovely balance and a special production for this exhibition The Point: Kirk Crippens in collaboration with the Bayview-Hunters Point Community (Nov 15th – Feb 27th, 2015).
The Point celebrates the generations who have called Bayview home — “the kings and queens of Bayview-Hunters Point” as Crippens describes them.
In early 2011, Crippens walked into the Providence Baptist Church, established in Bayview in the early 1940s. The congregation welcomed him, shook his hand, remembered his name. Crippens described his task of photographing the community to the pastor. Subsequently, meetings were set up with respected individuals of the community who worked with Crippens to realise a shared vision.
“At a time when San Francisco continues to grapple with the distressing trend of the out-migration of the African-American community, it’s more important than ever that we bring this exhibit to City Hall,” says Tom DeCaigny, San Francisco Director of Cultural Affairs.
Located at the southeastern corner of San Francisco, the Bayview-Hunters Point neighborhood was considered to be one of the last remaining San Francisco neighborhood left untouched by developers. However, with the completion of the Muni Metro T Third Street line in 2007, the first new light-rail line in San Francisco in more than half a century, and other plans on the horizon, Bayview-Hunters Point has recently become a focal point for recent redevelopment projects.
“Gentrification” is the word on everyone’s lips.
I wanted to find out a bit more, so I asked Kirk a few questions.
Scroll down for our Q&A.
Prison Photography (PP): What did you know of Bayview-Hunters Point before photographing?
Kirk Crippens (KC): Not much. Not until late 2010, when an email invitation to work on a project in the community arrived. I had an intuition I should accept the project. I began exploring the neighborhood, but my first photographs reflected my perspective of an outsider. I was wandering the perimeter of a community.
PP: What do you know now?
KC: I know ways to connect with a community. I needed to connect in a significant way in order for the project to assume some power and relevance. In early 2011, I walked into Providence Baptist Church. My life changed that Sunday morning; the Church became the lens through which I learned about and connected with the community.
I know about the beauty and solidity of the multi-generational bonds that run through the neighborhood.
Bayview-Hunters Point is the focus of redevelopment projects. The Hunters Point Naval Shipyard, a superfund site requiring years of radioactive pollution cleanup, is being targeted for 10,500 new homes and close to 4 million square feet of commercial and retail space. The Point is on its way to becoming another coveted San Francisco zip code. While the African-American community watches its neighborhood transform, gentrification threatens to undermine its way of life. Displacement is underway in this historic African-American district.
PP: The church was your entry point into the community. Do you think the people and homes that access point provided allowed you to make a representative portrait of the neighborhood?
KC: It would be hard for someone to make a representative portrait of any neighborhood, so I’ll answer no. What I have done is reflect a vibrant segment of the community. Is it representative, probably not? Is it significant, yes — this aspect of the Bayview-Hunters Point neighborhood is not often celebrated or recognized.
Other photography projects focus on the gritty, troubled aspects that come from oppression and economic struggle, The Point is a collaboration with the Bayview-Hunters Point community.
PP: How has the work been received in San Francisco?
KC: I’m honored to say well. The exhibition opened at RayKo Gallery in September and was immediately booked by the San Francisco Arts Commission for a 3-and-a-half month exhibition at San Francisco City Hall.
PP: Your current exhibit at San Francisco City Hall features (beautifully framed) family pictures form the albums of the folks in your formal portraits. Why did you decide to pair the two types of image?
KC: A desire to connect further with the community. The director of the San Francisco Arts Commission Galleries, Meg Shiffler and I had a meeting to discuss ways to enlarge the exhibition. We took inspiration from a previous exhibition at the SF Library that featured family photographs from Bayview. We then asked my friends and contacts if they had historic and family photos for the exhibition.
We were overwhelmed by the generosity and interest that came from the community. In the end we added 60+ historic and family photos and interspersed them with large 36 pieces from my work. It changed the project into a collaboration.
PP: Change is afoot in Bayview Hunters Point, as it is in all of San Francisco. What do you think the future has in store for the community there?
KC: The future of The Point is being created during these transformative years of redevelopment. I suspect the community will look quite different in 20-30 years, and not all for the best. I don’t want to speculate on what will or might be, and I certainly don’t want the friends and adopted family I’ve found in Bayview to see their community displaced, but I see mighty changes underway and everyone is bracing for them.
PP: Thanks, Kirk.
KC: Thank you, Pete.
Kirk Crippens is an American artist living in the San Francisco Bay Area. He had an early start with photography, inspired by his grandfather who kept a darkroom in his closet. Based in San Francisco since 2000, he began exhibiting in 2008. He was named a Top 50 Photographer in Critical Mass in 2010 and 2011, nominated for the Eureka Fellowship Program, invited to speak during PhotoAlliance’s Spring Lecture series at the San Francisco Art Institute, and was a finalist for Photolucida’s book prize.
Crippens has been an artist-in-residence at both RayKo Photo Center in San Francisco and Newspace Center for Photography in Portland, Oregon. His portfolio Foreclosure, USA was recently acquired by the Crystal Bridges Museum of American Art in Bentonville, Arkansas and can be seen in their current exhibition State of the Art, Discovering American Art Now.
He currently serves on an arts board in Bayview Hunters Point. Providence Baptist Church has become his home away from home.
Coinciding with San Francisco’s annual Pride events and the 45th anniversary of the Stonewall riots in New York City, Anthony Friedkin’s seminal body of work The Gay Essay goes on show this month at the De Young Museum, in San Francisco.
The Gay Essay chronicles the gay communities of Los Angeles and San Francisco between 1969 a 1973 — an era of great strides for political activism in the gay communities in California and nationwide.
Friedkin (b.1949) has always been committed to documenting cultures in his home state of California. The Gay Essay was one of his earliest efforts; he embarked on it as a 19-year-old. Self-assigned, Friedkin went poolside, to the city streets, and into motels, bars and discos in an attempt to create the first extensive record of gay life in the Golden State.
“Friedkin found his place in an approach that retained the outward-looking spirit of reportage combined with individual discovery. As an extrovert with an avid curiosity, he developed close relationships with his subjects that enabled him to create portraits that are devoid of judgment,” says the de Young press release. “He did not aim to document gay life in Los Angeles and San Francisco slavishly, but rather to show men and women who were trying to live openly, expressing their individualities and sexualities on their own terms, and improvising ways to challenge the dominant culture.”
In 1973, the San Francisco Art Week wrote, “The Gay Essay is comparable in magnitude to Robert Frank’s The Americans. The exhibit in its entirety is amazingly strong. And for the most part the photographs are singularly beautiful in execution.”
And yet, The Gay Essay has remained known, since, primarily only to photo-boffins. Consequently, I am personally eager to see this work. It’s “footprint” is not as large as its social significance warrants. Indeed, at the time of writing, a search “Anthony Friedkin” on Google has as the first result a speculative piece I posted on Prison Photography nearly five years ago. (Who knows, perhaps Google’s search metrics might shift a little once Friedkin and The Gay Essay enjoy new press interest for this big De Young show?)
The paucity of images and information on the internet is indicative of a wider photo culture that just hasn’t had Friedkin on the radar. This dearth has been reflected in the real world too. While selections from The Gay Essay have been on public display in museums and galleries in the past, the entire scope of the series — 75 vintage prints — has never been exhibited before in one venue.
“The Gay Essay accords with our goal of bringing to light important, and sometimes neglected or overlooked, bodies of work that enrich the history and study of photography, a medium that is central to art and society today,” said Colin B. Bailey, director of the Fine Arts Museums of San Francisco.
If you’re in the Bay Area at any point in the next six months, I recommend catching this exhibition.
The Gay Essay runs June 14, 2014 – January 11, 2015, at the DeYoung Museum, Golden Gate Park, 50 Hagiwara Tea Garden Drive, San Francisco, CA 94118.
Accompanying the original full-frame black-and-white prints will be contact prints, documents and other materials from the photographer’s archive and loans from the San Francisco Public Library and the San Francisco Gay, Lesbian, Bisexual, and Transgender Historical Society that provide valuable historical context and insight into the conception and execution of the work.
Exhibition catalogue: 144 pages, Yale University Press. Hardcover $45.
All images: © Anthony Friedkin
Anthony Friedkin started out as a photojournalist working as a stringer for Magnum photos in Los Angeles. Friedkin’s photographs are included in major Museum collections including the Museum of Modern Art, the Los Angeles County Museum of Art, San Francisco MoMA and The J. Paul Getty Museum. His work has been published internationally including in Rolling Stone, Newsweek and others. He lives in Santa Monica, California.