By Josh Edelson
By Chris Hall
By Jonathan Curiel
By Jonathan Curiel
By Sherilyn Connelly
By Mollie McWilliams
By Rachel Swan
By Erin Browner
Nato Green Brings S.F. Truth to Red-State America by Casey Burchby
Guide to Upcoming Fall Stand-Up Standouts by Casey Burchby
What to Read This Fall by Jonathan Kiefer
The Best Upcoming Theater This Fall by Kate Conger
What Fall Movies to Seek Out by Gregg Rickman
"Swishes and chaotic shapes." That's how Yoon Lee has described the scenes in her paintings. I'd put it this way: "Waves of undulating lines and matter, twisted on a canvas to almost the breaking point." You don't so much look at a Yoon Lee painting as get lost in it — especially her large-scale works. Breach is a 6-by-12-foot cascade of red, orange, magenta, brown, black, gray, turquoise, and white. The movement in Lee's work relates at least partly to the movement in her own life. Born in South Korea, Lee got her MFA at the San Francisco Art Institute in 2005. She has exhibited around the United States and internationally, and has had residencies in Florida and California. Time and space are recurrent themes in Lee's wondrous paintings.
More than 80 years after his death, the escape artist who called himself Houdini still commands the popular imagination, with new books arriving this year (including The Last Greatest Magician in the World) and big-budget movies in the works (including The Secret Life of Houdini). This exhibit offers a thorough overview of Houdini's life. We get his travel diary, his voice on audiotape, film clips of his escapes, the trunk he used in his "Metamorphosis" trick, the oversized milk can from another sensational act, a series of handcuffs, a straitjacket, and lots and lots of photos — of Houdini, his parents, and his wife, who performed with him — alongside a collection of modern art paying homage to his legacy.
In the plaza area of UCSF's Mission Bay campus, people frequently look up in awe at the Richard Serra sculpture called Ballast. Around the world, Serra's sculptures are rightfully lauded for their expanse and vision, but as Serra told Charlie Rose this year, "I've been drawing all my life . . . but the larger public — and I even think probably the larger art public — doesn't know the history of my drawing." Now they will. For the first time, Serra's drawings have been collected in one public exhibition — not just the wall drawings but also his notebooks, which the 71-year-old Serra has been loath to part with. "Richard Serra Drawing: A Retrospective" arrives in San Francisco from New York's Metropolitan Museum of Art. More than 50 works, from book-sized to behemoth, are on display in this revealing look at a shadow side of Serra's career.
Lalla Essaydi: "Les Femmes du Maroc"
Oct. 6-Dec. 3 at Jenkins Johnson Gallery, 464 Sutter (at Powell), S.F. Free; 677-0770 or www.jenkinsjohnsongallery.com.
Islam, feminism, and resistance are recurring themes in the photographs of Lalla Essaydi, the Morocco native who poses beautiful young women in settings that resemble the fantastical rooms of a casbah. Essaydi shrouds the women in fabric that matches the rooms and hennas the women's exposed skin with Islamic calligraphy. While they play off of old Orientalist paintings that exoticized North African women, the images are also a commentary on Lalla's upbringing, when male elders would banish young women to a kind of solitary confinement. Grasping the full subversiveness of her work requires some understanding of Essaydi's personal story and of the hierarchies that still exist in Morocco and elsewhere in the world.
"Maharaja: The Splendor ofIndia's Royal Courts"
Oct. 21-April 8 at the Asian Art Museum, 200 Larkin (at McAllister), S.F. $7-$17; 581-3500 or www.asianart.org.
Covering the 1600s to 1947, this exhibit surveys India's ruling strata, where kings and princes enjoyed a lifestyle that still seems remarkable with the passage of time. The early centuries are represented by watercolor paintings and such objects as a dagger made from rubies, emeralds, and gold. The last 100 years show the influence of British colonialism, whether through a photo of the cricket-playing Maharajah Ranjitsinhji of Nawanagar or an ornate throne owned by a British estate. The intersection of East and West is symbolized by an image that Man Ray took of two young aristocrats, Yeshwant Rao Holkar II and Sanyogita Devi of Indore. The two are cuddled up and smiling wildly, with Devi staring right into the camera. Life as a maharajah was good. Very, very good.
"Masters of Venice: Renaissance Painters of Passion and Power"
Oct. 29-Feb. 12 at the de Young Museum, 50 Hagiwara Tea Garden (at JFK, in Golden Gate Park), S.F. $6-$10, 12 and under free; 750-3600 or www.deyoung.famsf.org.
Continuing the de Young's recent series of strong loaner exhibits from overseas, the museum showcases works from Vienna's Kunsthistorisches Museum — the gilded palace that houses some of Europe's most impressive art. A who's who of Renaissance painters from the 15th and 16th centuries anchors this fall exhibit, with Titian, Tintoretto, and Veronese the ones who should inspire the most oohs and aahs. Titian is represented by Danae, his sumptuous interpretation of a woman from Greek mythology, and Portrait of Isabella d'Este, Marchioness of Mantua, which shows the 60-year-old royal looking 30 years younger than she was. All of the paintings in "Masters of Venice: Renaissance Painters of Passion and Power" come from the Kunsthistorisches' Gemäldegalerie, or "Picture Gallery."
"New Works by Blek le Rat"
Nov. 19-Jan. 12 at 941 Geary, 941 Geary (at Larkin), S.F. Free; 931-2500 or www.941geary.com.
The famous French street artist who inspired Banksy is — believe it or not — nearly 60 years old. To honor the sextagenarian, and his 30th year as a street artist, 941 Geary owner Justin Giarla is spotlighting the Parisian's new creations. What they'll be is anyone's guess. Last year at Giarla's White Walls gallery, le Rat brought stencil pieces that included Mona Lisa Red, a takeoff of da Vinci's portrait, this one with the smiling Lisa swathed in red hue and holding a can of spray paint. Humor is a big part of his oeuvre; so is making a social statement. Like the Eiffel Tower or the Louvre, le Rat's work is a required part of any visit to the City of Light. That it's coming again to San Francisco is our good fortune.
Photographer J. John Priola presents a vista, a wall, a window, an object, or a space that evokes something much bigger, usually in black and white. Through Priola's lens, trees on a farm site become poetic, lyrical, and even mysterious. Priola's latest color photos are of sidewalks where people leave donations to be collected by charitable organizations. Bags and boxes are juxtaposed against the donors' abodes. What's in the bags and boxes? Why are they being discarded? Who's doing the discarding? People are often absent, prompting the viewers to fill in the blanks.
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