Shawn Feeney has curated a sound series for Friday Nights at the de Young during his residency in June. Join the artist each friday for a musical activity or for his closing reception at the end of the month. The gallery is open from 1-8:30 pm on Fridays, but special performances are as follows:
Friday June 5, 7-8pm: Ambient Soundscape
Join musicians & sound artists Jennifer Hutson, Elise Youssoufian, Gregory Hagan, and Robert Usher as they create a peaceful soundscape for gallery visitors to wade in. Instruments include singing bowls, overtone singing, shruti box, tuning forks, and more.
Friday June 12, 7-8pm: Music Inspired By Art
Composer Gabriela Lena Frank will give a discussion and performance about Ira Arca, an artwork she commissioned from Feeney. Other musicians including Bill Wolter and Wally Scharold will play short vignettes inspired by Feeney’s Musical Anatomy artworks.
Friday June 19, 7-8pm: Raw Shack (Musical Game Piece)
Musicians including Bill Wolter, Ayla Xander Dozier, Shireen Amini, Gregory Hagan, Sheila Bosco, and Tina Fagnani perform Feeney’s fast-paced and fun improvisational game piece, Raw Shack. Musicians have to quickly interpret written instructions on cue cards.
Friday, June 26, 6-8:30 pm: Closing Reception
Celebrate the artist’s installation, “Musical Anatomy” with refreshments.
“Indispensable” is a monthly series that asks the de Young’s Artists in Residence to explain a tool that they find essential to their work and can be found at
Plastered with rock and roll stickers and sporting a needle made for leather, Ben Venom’s Juki F600 has even drawn some blood. “I’ve sewed through my fingers a few times,” says Venom. “It’s not pretty.”
The artist in residence in the Kimball Education Gallery through May 31, visitors can see Venom sewing quilts inspired by tattoo shops, motorcycle gangs, strip clubs and other venues he calls “the fringes of society.” As a quilter, he needs a machine that’s able to wrestle with large amounts of fabric, versatile enough to handle his materials—leather, denim, upholstery fabric—and small enough to fit into his studio.
“I have another machine, but it’s more like a sh—ty Honda Accord. This one is a suped-up Camero,” says Venom. Like a muscle car, the machine starts with a dangerous purr and revs up to a machine gun cadence. And it can take a toll on his body. “It’s like driving a stick shift, and I can spend 14 hours a day on it. It caused an issue with my sciatic nerve and I couldn’t walk for 3 days.”
Venom describes his work as a “collision between different ideas—hard and soft, masculine and feminine, good and evil.” The Juki F600 is ground zero for that collision. Setting aside the automotive metaphor, Venom calls on another mighty machine. “You know the Large Hadron Collider in Switzerland? This is like a Sewing Machine Collider for me. It’s where energy is released.”
“It sounds ridiculous when I say ‘You don’t know how dangerous this thing can be man,’ but it’s kind of true. And let’s face it, there’s a lot of ridiculousness in what I do. I hope it’s just ridiculous enough to circle all the way back around to genius.””
Visitors—it’s time to fire up your artistic imaginations! Remember your favorite artwork from the de Young? Think the art historical labels don’t relate enough to your life? See a new meaning in an old work of art? This is your chance to dust off old photos and share your experiences to become part of My Museum, the de Young’s upcoming, month-long project turning the museum inside out and giving the collection over to its visitors. My Museum is Victoria Heilweil and Chris Treggiari’s residency project to reutilize and open up the Kimball Gallery and, through it, the entire on-display collection for the public to make its own.
Using questionnaires and interactive stations, the two artists plan to use the month of July to reconceive the museum through both its architecture and informational handouts. This will include racks of postcards reflecting personal experiences with the collection, alternate walking tours with self-guided maps.
By emulating the framework of the museum but leaving the content open, they’ll swing the doors wide to display your own memories and experiences with works of art at the de Young. Bring along the saga of your first school visit to the museum, last week’s confrontation with an African mask, or the epic story of an early American work’s impact on you. They’ll help refashion it into a crowd-pleasing, blow-by-blow account of the episode. Then, they will attach your stories to a wooden map of the de Young galleries and use your quotes to fashion postcards, tours, and catalogues. During the ongoing archive of these stories, new maps and cards will allow visitors to navigate the museum anew as a tome of experiences collated from both locals’ lazy Sundays and tourists’ treks through our collection of art history.
Victoria and Chris will also serve as a mirror of the museum by focusing on the oiled cogs and mechanisms that make the museum run flawlessly—the physical and intellectual labor, the janitorial work, the various booths and shops throughout the museum. The whole variety of information that is typically simply there, unnoticed, will be highlighted through a photographic and interview-based project celebrating the behind-the-scenes work.
– by Christopher Squier
Sarah Hotchkiss of KQED writes on Antiprism, an exploration of space, time, and perspective.
In the de Young Museum’s Kimball Education Gallery, an investigation of intergalactic proportions is underway. During a month-long residency at the museum, artist, playwright and musician Jon Bernson and collaborators have explored the Vessel XII controversy, described as a series of 12 unexplained broadcasts that interrupted television sets around the world over a period of 23 years. The transmissions mysteriously end in 2009, the year digital conversion rendered our old cathode ray tube sets obsolete.
One of the more frustrating things about the Vessel XII transmissions is that much of it had extremely poor audio and video resolution. Additionally, many of the transmissions that were captured on VHS were later wiped or erased by people who were unaware of their significance. Thanks to new breakthroughs in magnetic tape restoration, a company called Global Recovery has been able to salvage portions that were previously thought to be lost.
Astrid is an independent researcher based in the Bay Area and has been studying Vessel XII for many years. Ridiculed by many, she is of the opinion that Vessel XII is exactly what it appears to be, a spacecraft from the future that has been sending messages back to Earth. Along with other, competing theorists, her image has been committed to an acetate transparency and is now on the wall of the Kimball Gallery.
Joshua Margolis joined the de Young and a multitude of cultural institutions, as well as fellow de Young Artist-in-Residence Lauren Bartone, in a celebration of the Panama-Pacific International Exposition centennial. As part of his Monsters and Robots project, hundreds of people, young and old, put sketches from their imagination onto paper. Then, it was Joshua’s turn to transform a sketch into reality with clay.
The new sculpture depicts one of the large sea monsters that live in the bay. Have you heard that, originally, the Palace of Fine Arts was built as a large feeding bowl for these creatures? Not to worry, they only eat really large carrots.*
This fall, the monster (and artist) will visit the de Young museum for its 10 year anniversary celebration on October 17. Check back for more details!
*It’s possible this entire tale was completely made from the artist’s imagination. We’re pretty sure it’s true, though.
On three Friday nights (4/17, 4/24 & 5/1 @7pm), Exray’s will perform a live score for a dramatization of the Distant Future Symposium. Jason, Michael and myself have been doing audio mapping for Astrid in support of her research and have dedicated all of our upcoming albums to Vessel XII.
Most of what we know about Vessel XII was communicated through television broadcasts. The narrator of these transmissions described himself as the ‘Keeper of the Logbook’ and often used simple visual aids to enhance his communications. The glass cube, black orb and telescopic pointer were among his favorites, and were often used to demonstrate the relationship between time and three-dimensional space.
For my June residency, I plan to provide museum-goers with an alternate visitor’s guide that highlights works in the de Young which contain musical or sonic characteristics. Last week, I met up with Kevin B. Chen at the museum. In addition to being an excellent curator and visual artist, Kevin is the Manager of Artist Programs at the de Young. We explored the entire museum and found about 80 items with some kind of aural quality.
We found many depictions in painting and sculpture of music being played, such as this rattle-holding earthenware figure from Mexico, circa 6th-8th century A.D.
This 1958 painting by Ted Jones is titled “Bird Lives!” Bird was the nickname of saxophonist Charlie Parker, and when Parker died in 1955, Ted Jones inscribed the words “Bird Lives” throughout the streets of New York City.
This detail of the 1806 piece “Sauvages de la Mer Pacifique” by Jean-Gabriel Charvet and Joseph Dufour depicts dancing, drumming, and flutes played with the nose.
A flute is also featured in Jerome Thompson’s pastoral painting “Recreation” from 1857.
A guitar, the musician’s face, hands, and sheet music stand out against the dark background of “A Bohemian.” It was painted in 1885 by Dennis Miller Bunker.
A cello, pianos, and sheet music are all depicted in Edwin Walter Dickinson’s “The ‘Cello Player” from 1924-26.
In some pieces, musical features are hidden in the details. A little drummer boy plays in the shadows of William Glackens’ “May Day, Central Park,” ca.1904.
Despite claiming that music “is the enemy of painters” in his book “50 Secrets of Magic Craftsmanship,” Salvador Dalí included a small trumpet player in his 1942 “Portrait of Dorothy Spreckels Munn.”
These tiny drum sculptures are among the many small African pieces from the collection of Klaus and Ellen C. Werner.
This 19th century Angolan sculpture represents a mwanangara (paramount chief) playing a chisanji (thumb piano).
This detail of William Keane’s 1889 trompe l’oeil painting “The Old Banjo” shows a reproduction of sheet music which is clear enough to read.
Other paintings also imply sound that can be heard internally by the viewer. It’s not hard to imagine the broadband roar of falling water when facing these large paintings of Niagara and Horseshoe Falls by Gustav Grunewald, ca. 1832.
Janet Delaney’s South of Market exhibition features photos of San Francisco from the 1970s and 80s. A vinyl record rests on the grass in this detail of “Langton Park, Langton and Howard Streets.” I wonder what was recorded on it, and how many times a needle passed through its grooves.
A man wears headphones in “Neighbors Painting Mural on Langton between Folsom and Harrison Streets,” most likely plugged into a cassette Walkman.
There are also some actual instruments and sound sculptures in the collection. Their sounds can only be imagined now that they sit untouched by human hands. There’s a Soundsuit by the American sculptor Nick Cave, created in 2008.
(not to be confused with the Australian musician Nick Cave, although they have met)
There’s also an early 20th century harp (korikaariye) from Côte d’Ivoire, Africa. A female figure is carved into the bridge which held the strings, an embodiment of music’s ability to serve as a bridge to other states of consciousness.
A number of Bull-roarers can be found in the Oceania wing of the de Young. This one is from the Gulf of Papua.
Some works in the museum have titles that are musically evocative, such as Richard Mayhew’s 2002 painting, “Rhapsody,”
Arthur Frank Mathews’ “Song of the Sea (The Three Graces),” ca. 1909,
and Gottardo Piazzoni’s “Silence,” ca. 1912.
As we explored the museum, listening with our eyes, I also noticed how quiet or silent many of the other artworks seem. The building itself has a variety of acoustics, from intimate wood-lined rooms to large, resonant spaces. In June, the complete musical guide to the de Young will be available from my space in the Kimball Gallery, and visitors can use it to go on their own sonic scavenger hunt.