When the ancient Polynesians invented surfing, they often used a paddle to help them navigate. Fast-forward a few millennia, and Stand-Up Paddleboarding, or SUP, finds itself trendy again. Part of its increasing popularity is that standing upright allows surfers to spot waves more easily and thus catch more of them, multiplying the fun factor. Paddling back to the wave becomes less of a strain as well. The ability to cruise along on flat inland water, surveying the sights, is another advantage. Finally, its a good core workout. If youre sold on the idea, schedule an intro SUP lesson, free with board and paddle rental, and you may find yourself riding the waves like a Polynesian king.More
Llewelynn Fletcher's immersive sculptures beguile the senses. Sasha Petrenko's site-specific installations and performances strive to capture a dynamic, living planet. Austin Thomas hides heady themes in seemingly austere drawings, photos, and sculptures. She also cobbles together site-specific social spaces which she calls "perches," but which are obviously kick-ass treehouses, minus the trees. These and other artists are contributing super-sized works for "Just Passing Through: Sculptures and Installations" at the University of San Francisco's Rooftop Sculpture Terrace. "Just Passing Through" promises to challenge notions about how we inhabit or pass through space, or at least provide a lovely respite in a busy city.
"Just Passing Through: Sculptures and Installations" is open to the public 9 a.m.-5 p.m. and runs through Dec. 11 at Kalmanovitz Hall, University of San Francisco, 2130 Fulton St., S.F. Free; 422-5178 or usfca.edu. More
Mondays-Fridays, 9 a.m.-5 p.m. Continues through Dec. 11
Weird little marvels are the works of Ron Nagle, the ceramicist whose work has helped prove that a sculptor who works in clay can be a serious presence in the art world. Nagle has been making vessels and intimate-sized sculptures since the 1960s, when he was associated with the norm-busting California ceramics movement and studied with one of its prime forces, fellow abstract-expressionist Peter Voulkos. A species of one, Nagle has continued to create compelling and painstakingly crafted pieces that are elegant yet unsettling. His sculptures contain puckered surfaces, unusual textural juxtapositions, amorphous shapes, and a surreal look. His cups, some of which have been overglazed and repeatedly fired, appear to have come from a tea party on Mars. With diverse influeneces, including ceramicist Ken Price, abstractionist Cy Twombly, still-life painter Giorgio Morandi, and California cool-car culture, Nagle is a distinctive artist and a San Francisco spirit. To learn more, come hear his lecture at the San Francisco Art Institute — his first appearance there since his 1978 Adaline Kent Award exhibition.More
The French New Wave blew a hurricane gale of fresh air into the stultified, hierarchical conventions of late-'50s world cinema, which continues to fill the sails of young filmmakers to this day. We all know or think we know the hallmarks of the nouvelle vague: sexy, street-smart scenarios infused with breezy romanticism and fatalistic existentialism, played out in actual urban locations. (Its funny, and sad, how a defiantly personal cinema becomes codified into a formula after enough generations.) Whats often forgotten, though, is that Jean-Luc Godard, Claude Chabrol, and their peers didnt just reject French classicism, but embraced American pulp fiction. Instead of Honoré de Balzac, Victor Hugo, and Émile Zola, they adapted Cornell Woolrich and David Goodis. Shoot the Piano Player, François Truffauts invigorating and bluesy 1960 follow-up to his autobiographical breakthrough, The 400 Blows, uses Goodis saga of a musicians doomed foray into the underworld to brilliantly reinvent the logic and language of movie storytelling. Both of its time and ahead of its time, Truffauts masterpiece retains all its freshness, charm, and melancholy aftertaste 50 years on.
Sun., May 23, 2 & 4 p.m.; May 23-24, 7:15 & 9:15 p.m., 2010