For Evans' Sake

Peripatetic exhibition hall

THURS 2/26

Ever hear of an art gallery that doesn't sit still? Visit the Locura Gallery while you can -- it's currently at a cozy loft in the Mission, showing the works of John Evans. The gallery-in-transit concept allows Locura to be parceled out to different venues, breaking conventional notions of the gallery as a fixed space. "Paintings and Polaroids" is the L.A.-based Evans' first show in San Francisco, and it features about 100 pieces by the prolific artist (he's known to produce as many as 500 per year). Not exactly the shy type, Evans makes art that is as dark as it is funny, brutally honest, and sexually raw, complete with tag lines such as "Dolores loves to climb up on the bar stool and finger her own ass." The exhibit includes his color and black-and-white paintings as well as the hyperdetailed Polaroids he's taken of his own work. Select images have been reproduced in a book, Dummy, on hand for purchase at the gallery. Locura hosts a reception for Evans tonight at 6:30 (the show continues through March 18) at 270 14th St. (at Mission), S.F. Admission is free; call 928-2980 or visit
-- Michelle Pearsall

Dance Revolution
ODC targets a cash crunch

John Evans' The Stripper.
John Evans' The Stripper.
Wes Wilson's poster art.
Wes Wilson's poster art.
Jonah Raskin delves into Beat culture in American 
Bee Urquhart
Jonah Raskin delves into Beat culture in American Scream.

FRI-SAT 2/27-28

While a career in the arts has never been a surefire shortcut to fame and fortune, local independent performers have at least been able to count on the largess of the nonprofit California Arts Council to keep them in ramen and toeshoes. But an 86 percent cut to the CAC's budget in 2003 spelled an end to the generous grants -- and to the artistic works they funded.

ODC Theater responds to the financial panic spreading through the arts world with "The Underserved," 11 new short pieces that comment on budgetary woes from many angles. For example, Andrew Wass' stop-motion film Collateral Damage uses dancing G.I. Joes to draw a bitter parallel between military spending and arts cutbacks, while Natasha Carlitz's choreographed piece Bookworms, which features three hoofers desperately trying to stay atop a bookshelf, provides pointed commentary on America's treatment of its huddled masses. "Underserved" starts at 8 p.m. at ODC, 3153 17th St. (at Shotwell), S.F. Admission is $12-15; call 863-9834 or visit
-- Joyce Slaton

In the Groovy
Rock around the museum

THURS 2/26

Once upon a time, when rock 'n' roll was new, a group of artists -- presumably as high as the performers they admired -- took it upon themselves to make images no one had seen before. Using typefaces that swooped and swirled and colors offensive to "good taste," their works represented the sounds of psychedelia, a musical form no one had heard before. These were the famous Fillmore rock-concert posters by Bonnie MacLean, Victor Moscoso, and Stanley Mouse, among others. Their work is the main attraction of "The Art of Design," opening today at the S.F. Museum of Modern Art, 151 Third St. (at Mission), S.F. Admission is free-$10; call 357-4000 or visit
-- Hiya Swanhuyser

Dissecting the Beats

THURS 2/26

Though the scandal may be difficult for today's disaffected youth to understand (Allen Ginsberg got famous without flashing a nipple?), fallout from the first reading of the poet's book Howl included both an obscenity trial and a passionate local poetry renaissance. Jonah Raskin, author of American Scream, tells it like it was at 6:30 p.m. in the Main Library's Latino/Hispanic Community Meeting Room, 100 Larkin (at Grove), S.F. Admission is free; call 557-4400 or visit
-- Joyce Slaton

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