Posts Tagged ‘art’

Tara Mechani

July 29th, 2019

Tara Mechani
Tara Mechani Tara Mechani
 

About two months ago Patricia’s Green in Hayes Valley became the home of a new temporary sculpture: Tara Mechani from local artist Dana Albany. Originally built for Burning Man 2017, you may have also seen the 17-foot tall sculpture when it was previously on display in San Jose.

Tara Mechani’s built out of reclaimed materials, including pipes and gears, formed to shape a female Buddha figure. Perhaps a female robot Buddha? This is all very much intentional according to Albany’s own description of the sculpture on her website:

Playing with the contemporary fascination with technology, the artwork infuses the mechanical with the compassion and empathy associated with the ancient deity. Tara Mechani challenges us to embrace the future without losing sight of past beauty and ancient wisdom.
 
The sculpture’s art deco aesthetic is inspired by the robot Maria from the classic silent film Metropolis.

 
Tara Mechani
 

The first time I came to see the sculpture someone had left bunches of flowers around the base, as though they were leaving offerings to a religious figure. A handful of children were taking the flowers and were inserting them into the sculpture as decoration.

I barely noticed the wooden base — until I returned to Patricia’s Green as the sun was setting.

 
Tara Mechani
Tara Mechani Tara Mechani
 

When it’s dark out the sculpture not only glows from within, but the base lights up as well, in part to throw light onto the metal form. It’s far more magnificent in person than I was able to capture with my mediocre photography skills.

Fortunately you have about a year to see it for yourself as Tara Mechani is schedule to remain in the park until next June. This means plenty of early winter nights to view the sculpture in its nightly lit-up glory.

What was “The Latitude”? Part Three: In Bright Axiom

June 8th, 2019

I’ve been meaning to conclude my first two blog posts about Nonchalance’s The Latitude (part one, part two) with a final wrap up since 2016, and yet somehow I never quite knew what I wanted to say. Tonight, I finally have an excuse to get all my thoughts written down once and for all — because there’s now a film about The Latitude.

Earlier tonight I went to the first public screening of In Bright Axiom, a documentary(ish) film chronicling the rise and fall of The Latitude. The film is directed by Spencer McCall, who was also the director of The Institute — a similar “documentary” about Nonchalance’s previous project, The Jejune Institute.

Watch the trailer for In Bright Axiom here:

 

In Bright Axiom – Trailer from Spencer McCall on Vimeo.

 

The Film

I went to the theater not quite knowing if it would be ex-members, or just people interested in watching documentaries since it was presented as part of SF DocFest. It turned out to be a mix of both, a suspicion confirmed right away when I saw a guy sitting a few seats down from me wearing a Jejune Institute t-shirt.

Before the film started, a DocFest presenter came to the stage and introduced The Professor (Geordie Aitken) who came up to the front and warmed up the crowd with some jokes. He’s remarkably good at working crowds.

Unlike The Institute, McCall went with a more straightforward documentary style for In Bright Axiom. Even though it takes an artistic license here and there for the most part it presents (as far as I know) events as they really happened. The major exception is a pretty obvious one, which finally gives the story of The Latitude a proper ending.

I don’t want to give too many spoilers away as it’s a wonderful film, but here’s a few key insights:

  • The Latitude initially held retreat(s?) in Mendocino out in the woods with a series of rituals, artists, and characters.
  • Nonchalance head honcho Jeff Hull confirms a number of aspects that were widely rumored — he’s independently wealthy and (if you do some basic multiplication) was spending about a million dollars a year to run The Latitude.
  • Much of the screen time goes into why The Latitude fell apart. The relationship between the creators and the participants deteriorated pretty rapidly, particularly when members were asked to pay to support it.

The question on my mind is who should see the film. Certainly anyone who took the time to read about it — whether on my blog or anywhere else — should give it a watch. The videos of The Latitude’s incredibly well designed spaces do them much more justice than static photos and descriptions ever could.

I also think creative types who are interested in immersive design should give it a watch. It’s a cautionary tale about how this type of art can become a victim of its own success when the boundaries are ill-defined. The irony of this failure when The Latitude’s internal story was all about breaking down boundaries was not lost on anyone, at least in retrospect.

The film ends with a mysterious logo appearing on the screen. What does it mean? Well, The Institute ended with the logo for The Latitude… wink, wink.

 
In Bright Axiom premier
 

After the film there was a Q&A session with three of the people behind it, seen in the photo above. On stage from left to right there’s Geordie Aitken who played Professor Walter Kinley, director Spencer McCall, and Jeff Hull.

I had a few questions, though I never got to ask them because others beat me to the punch. I did sort of want to make an in-joke and ask Geordie if he was going to force us all to make tea, but I worried that would be too obscure. (For the record, Geordie played the poorly received Antoine Logan of the Jejune Institute in its final seminar, and he wanted us to make tea.)

One question aimed at Geordie was how he became involved in Nonchalance in the first place. He said he read about The Jejune Institute on a blog, and became so fascinated he talked Jeff into letting him take part.

Looking back, I remember after The Jejune Institute ended a bunch of us went up to Jeff, sort of ganged up on him really, and asked questions about what was next. He sheepishly mentioned he was working on an “automated house” of sorts, and that it “came to him in a dream.” In retrospect it’s obvious the “automated house” was The Latitude’s Book One, and his dream ultimately became a waking nightmare.

Though I don’t remember the question, in the Q&A it was brought up that The Jejune Institute’s designer Sara Thacher is now an Imagineer at Disney, and was most recently involved in creating the new Star Wars: Galaxy’s Edge land at both Disneyland and Disney World.
 

The Latitude’s Online Presence

Getting in to some other aspects of The Latitude I haven’t covered yet in previous posts, let’s talk about the user-facing interactions. Despite the somewhat anti-technology bent to the whole endeavor, the primary way to interact with The Latitude was online.

The website was kind of like a social network with a unique focus on sharing blog posts and earning badges for completing tasks. Here’s a screenshot of my profile page during the final stages of the site before it was taken down.

My username was “The Mister,” a reference to both the name “MrEricSir” and a humble riff on Doctor Who character “The Master.” The URL to my profile page was https://thelatitude.com/HEXA-AZURE-4280, with HEXA-AZURE-4280 being the “index code” on the back of my invitation card.

Emails from The Latitude always had a unique design as though they were a confidential telegram sent on special paper. Here are couple examples:

 


 

Praxes

The Latitude’s website had a calendar with many events throughout the week known as “Praxes” (plural of Praxis) which ranged from the introductory Greenhorn Praxis, members gathering for brunch, watching Saturday morning cartoons, etc.

My favorite of the praxes I attended was a workshop to build your own terrarium. Cosmic Amanda, best known as the creator of local online radio station BFF.fm, hosted the workshop. I’m proud to say one of the terrariums I built is still intact.

There never seemed to be much direct connection between The Latitude and most praxis events; it was more of a loosely connected social club where members could meet one another. Some were held in private spaces, others in public.
 

Closing Thoughts

If it’s not obvious enjoyed The Latitude and was sad to see it go. For my part I only joined months before the end so I was largely unaware of the internal drama that came before my time.

That said, the entire project seemed insanely ambitious. Nonchalance was renting numerous spaces in one of the most expensive cities in the world, telling a complex story, all while trying to keep a veil between themselves and the members of the (fake?) secret society they created.

The tipping point seemed to be asking for money. On one hand the membership fee wasn’t a lot for most people, on the other some members were obviously contributing a great deal of time and energy already. Perhaps there should have been a sliding scale aspect to the membership fees.

It’s also worth remembering this all took place in a part of the world where the economy is weirdly distorted: people spend $1,000 a month to live with roommates, yet eat food or take Uber rides that are heavily subsidized by venture capital — often without realizing it. Point is in the Bay Area we’ve all been conditioned to have very unrealistic ideas about cost.

On the flip side The Latitude “competed” in a way with a similar immersive experience run entirely by volunteers: Elsewhere Philatelic Society (EPS.) It wasn’t uncommon to see members of The Latitude with EPS patches sewn onto their jackets. Ironically, EPS was initially a fan-made offshoot of The Jejune Institute. With significantly lower overhead, EPS outlasted both The Jejune Institute and The Latitude, and is still around today. I think there’s a lesson here about creating these types of immersive art projects that can have a similar impact on the audience while spending far, far less money.

As what’s next for Nonchalance, they are once again working on a new project — what is it? We’ll just have to wait and see.

Until next time, in bright axiom; compeers and dark horses alike.

The Art Institute of Chicago

April 20th, 2019

Art Institute of Chicago
Art Institute of Chicago Art Institute of Chicago Art Institute of Chicago Art Institute of Chicago Art Institute of Chicago Art Institute of Chicago
 

One block south of Millennium Park is a stately looking building housing the Art Institute of Chicago, an art museum with a vast collection of pieces from all over the world. From the street you might think it’s a small museum, but you’d be wrong. The building visible from the street is largely a facade; the majority of the galleries are in a sprawling complex of wings on the other side of the train tracks behind the entry building.

Broadly the museum is broken down into Asian, classic (Greek and Roman), European, American, and contemporary. That’s not a comprehensive list but it gives you an idea of the scope. I have to admit that due to the convoluted layout of the place I’m not sure exactly how much I was able to see.

The sheer size of the museum is both a blessing and a curse, like an enormous yard sale where there’s some rare book on a table surrounded by broken Cuisinarts.

For example one room had a bunch of paintings by Monet that for some reason devoted an entire wall to paintings of haystacks. Then I turned a corner and found myself face to face with a small yet beautiful self portrait of Van Gogh.

The biggest strength of the museum is how it can expose you to styles of art you’re unlikely to have ever seen before. On the flip side its biggest weakness is displays of art from the Art Institute’s associated school. Don’t get me wrong, they have some fantastic staff and alumni — just their collection of Georgia O’Keeffe paintings alone would be considered a special exhibit at any other museum — but overall the selection of works from their own school seemed sloppy and haphazard. This part of the museum would benefit from a neutral third party curator much in the same way doctors aren’t supposed to treat themselves.

The audio guide tour can be rented or like many museums these days you can also get it for free simply by downloading the Art Institute’s app on your phone and bringing your own headphones. Only one or two works in each gallery have an audio guide component and those that do are always the highlights.
 

My recommendation: If you’re in Chicago and you’re at all into art, there’s almost certainly something you’ll enjoy at this museum. Perfect indoor activity for a day with uncooperative weather.

W.F.T (San Francisco)

March 14th, 2019

W.F.T (San Francisco)
W.F.T (San Francisco) W.F.T (San Francisco)
 

This evening I decided to take a walk by the Civic Center area to check out a brand new art installation: W.F.T (San Francisco) from artist Joseph Kosuth. W.F.T. — or “Word Family Tree” — is a neon light piece that wraps around the Polk St. side of the Bill Graham Civic, lighting up an otherwise boring brick wall with bricked-up windows.

I was held up too late at work to make it to the lighting ceremony though by the time I arrived there were still a few people lingering around taking photos. From the street level it’s easy to miss; the neon lights seemed dimmer than I’d expected, and are high enough from the ground level that the best view is from across the street.

The neon lights form trees breaking down the etymologies of the words “Civic” and “Auditorium.” It almost looks like notes taken by a college student in a linguistics course, except if those notes were inexplicably turned into light and attached to the wall of a four story building.

While I admire the unusual decision to put a brainstorm cloud of words in neon on the side of the building, the unfortunately ugly fire escapes get in the way, literally blocking your view depending on where you stand. It’s hardly the fault of the piece though.

My only critique is the use of the word “auditorium.” To most of us locals the building is called “Bill Graham Civic.” Honestly I’d forgotten the full is name of the place is “Bill Graham Civic Auditorium” until today. It’s not ear splitting like when an out-of-towner says “The BART,” but if someone told me to meet them at “the auditorium,” I wouldn’t know what they were talking about.

The building itself dates back to 1915 when it opened as part of the Panama Pacific Exhibition. Since then it’s served various purposes, including a basketball arena for the Warriors, an opera house for San Francisco Opera, and an exhibit hall where a very early prototype of what we now think of as a computer was first demonstrated.

Also, I saw The Smashing Pumpkins play there once back in ’98. Cool show, man.

These days it’s primary a concert venue. The name was changed by the city in the early 90′s to honor legendary local concert promoter Bill Graham after he died in a helicopter crash.

If you’re in the area when it’s dark enough — whether for a concert or just getting off work — you’d might as well wander by the Polk St. side of the building and take a look at W.F.T. for yourself. Until now you probably haven’t seen neon signs written in Greek and Latin, let alone many of them stuck all over the side of a building. There’s plenty of time to check it out in person as it’s considered a permanent installation. Of course even in the best conditions neon lights don’t last forever; better to check it out sooner than later if you’re interested.

San Diego’s waterfront sculptures

December 27th, 2018

Joy
 

San Diego’s waterfront has a lot of touristy crap — pedicabs, people hawking “homemade” wares, living statues, dubious ferry rides, etc.

Taking a walk down the waterfront the first thing that caught my eye was the above “Joy” pier with the flags at half mast. Why were they at half mast? Not really sure.

There’s a lot at the touristy waterfront in San Diego, from the Maritime Museum (an old sailing ship) to the USS Midway Museum (a retired aircraft carrier.)

If you’re interested in naval history there’s a lot to see here. The USS Midway Museum particularly dominates the waterfront as it’s the size of a skyscraper tilted on its side, with a bunch of airplanes on top.

Personally I wasn’t interested in any of this, and just wanted a nice place to take a stroll while I waited for the check in time at my Airbnb.

 
Unconditional Surrender statue
 

There’s a bunch of sculptures to see near the Midway Museum on the waterfront. Right around the corner is the “Unconditional Surrender statue” of a Navy man holding and kissing his wife or girlfriend (I hope) in his arms. It’s based on a well known photo.

Every visiting couple seems to feel the need to recreate the sculpture/photo beneath it while asking someone else to take a photo of the two of them.

Alternately people with selfie-sticks were taking photos in front of the sculpture. Not sure what the idea was behind the sculpture, but it found a use a photo hot spot.

 
Bob Hope salute
 

Nearby is a multimedia installation described as a salute to Bob Hope, just across from The Fish Market restaurant. A statue of comedian Bob Hope stands in front of a crowd of a statue of veterans.

An old soundtrack plays of Bob Hope entertaining his audience of soldiers during World War II. Unfortunately the audio is not well preserved and is difficult to understand. During my visit nobody was laughing. Even if we could hear the jokes clearly, would we understand them? Was Bob Hope’s material even funny to begin with? Unfortunately what might have been an interesting installation left me with more questions than answers.

Unreal Garden review

November 4th, 2018

Unreal Garden
Entrance to the museum… or an acid trip?
 

On a stretch of Market Street between Civic Center and Powell is a fairly plain looking two story white building. Up until recently the sign on the front said “International Art Museum of America.” That alleged museum recently vacated the ground floor lobby to make way for Onedome Global, a mixed-reality exhibit space.

In this context, mixed reality means there’s a physical space to walk around in and look at seemingly fixed 3D art projected in front of your face with a Microsoft HoloLens augmented reality headset.

I decided to check out their current exhibit, Unreal Garden. For my part I purchased tickets and signed a waiver online, but in practice it seemed like none of that was strictly necessary as the place wasn’t terribly busy and tickets can be purchased on site.

I’d never used a HoloLens before — let alone seen one in real life. To put it on you rotate a dial to adjust to your head size, tightening as needed. Onedome has super friendly employees to help you through the process. Once you’re in they’ll show you the basics. The primary interaction is to use your finger to “touch” the 3D objects. This aspect worked surprisingly well considering I wasn’t holding a controller or anything.

Without spoiling too much, the Unreal Garden artwork is largely organic-looking animated 3D objects, some of which are activated by touch.

While the art was fun to look and poke at, the rest of the experience is sorely lacking for two reasons. First, HoloLens has a shockingly small field of view. It’s about the size of a business card held a few inches in front of your face. In a way this works out for the best, since you can easily see the other visitors walking around without bumping into them. Perhaps in the future HoloLens will come with a better screen. The only aspect of the headset that really impressed me was the tracking ability — it always seemed to know which way I was looking and what I was touching, but this can’t eliminate the shortcomings of the screen.

The second limitation is the Onedome space itself. They left the weird jungle-like interior of the “museum” lobby largely intact. This makes the entire thing look cheesy; they should have ripped it all out and let the 3D art speak for itself without the physical distractions. This change also would have allowed for a larger exhibit area with fewer tripping hazards. As it stands now, the exhibit only takes around a quarter of the total floor plan, if not less.

It’s not well advertised but there’s also a fairly large cafe in the back that I believe is open to the public. It was deserted when I was there.
 

My recommendation: Skip it. The technology’s barely ready, and Onedome deserves a better interior for their exhibits.

Stockholm’s subway art

July 5th, 2018

Stockholm’s subways are considered a type of art gallery by many. It’s hard to explain without photos, so here’s some I captured during my time riding around in Stockholm.

 
Stockholm
 

When I came and left Stockholm from the airport I took the commuter rail to and from Central Station on SL’s commuter rail. This station is enormous — it’s technically two separate stations connected together — and is at least eight levels deep. The commuter rail platform I took features tiles painted to look like trees with birds here and there.

 
Stockholm Stockholm Stockholm
 

The Metro (or T-bana) part of the station I found myself in features blue-on-white floral patterns and silhouettes of workers. This was a challenging part of the station to take photos as passengers were rushing through and I tried my best to remain out of their way.

 
Stockholm Stockholm Stockholm
 

If you’re familiar with Stockholm’s subway art, the station that probably jumps to mind is Solna Centrum with its red and green color scheme. This station’s unlikely to be visited by most tourists due to its location. Still it’s worth a detour for those interested.

Now that said most photos make this station look dark and dramatic, but it’s actually well lit and contains funny murals and dioramas. So it may not be exactly what you expect.

 
Stockholm Stockholm Stockholm
 

The design of the Stadion station invokes a sky motif with a sky blue color and a big rainbow in the middle. It’s a a strange choice for an underground room.

You’ll also find a poster for the 1912 Olympic games here as the station is near the Olympic stadium (hence the name of the station.)

 
Stockholm Stockholm Stockholm
 

The art at Tekniska Högskolan station reflects it’s proximity to Stockholm’s technical university. There’s a map of the solar system (not to scale) built into the wall. A giant apple precariously dangling from the ceiling represents Newton’s theories, which are also written on the wall in Swedish.

The strangest art is a sculpture in the middle of the station: a dodecahedron with clear sides, with a black rod in the middle and some curly pasta looking things surrounding the rod. What’s going on here? According to the subway art tour I attended, this is a representation of a Stephen Hawking quote about what you’d see if you were sucked into a black hole just before you died. You can view this as it’s intended by standing directly under it and looking straight up. Apparently Hawking himself visited this station and approved of the sculpture. I’d imagine not many subway stations can make such a claim.

 
Stockholm
 

Kungsträdgården station is just below the King’s Garden, as the name suggests. If you listen carefully you can hear water trickling in the station, which isn’t really ideal — a mildly toxic fungus has to be cleaned out of the station regularly. The art includes strangely shaped light displays, ivy growing over broken white sculptures, a petrified tree stump, etc. It has a sort of otherworldly sensibility down there.

 
Stockholm Stockholm Stockholm
 

Bonus: This one’s not a subway station though it is on the Stockholm Metro. Thorildsplan station is in fact above ground, but the art is fun and I couldn’t leave it out. Tiles are used as form of pixel art to make the station an homage to early video games, in particular Pac Man and Super Mario Bros.

You may have no practical reason to visit Thorildsplan — I certainly didn’t — but it’s worth checking out if you want to see the only metro station in the world designed to look like old video games.

New water feature installed on Second Street

January 5th, 2018

Fire hydrant vs. truck
 

With the fountains at the 303 Second Street plaza and the muddy rocks thing at the c|net CBS Interactive building, one would think Second Street has enough decorative outdoor fountains already.

But a certain truck driver decided to create his own temporary water feature installation this evening at Second and Stevenson, located between the KPMG building and Uno Dos Tacos.

It was dazzling many passers by on their evening commutes, many of which stopped to take photos and videos. Even a crew of fire fighters showed up to enjoy the spectacle!

One has to wonder if this artist could secretly be Banksy in his most audacious display of guerrilla art yet? We may never know.

Visiting the new Venus sculpture at Trinity Place

June 1st, 2017

Trinity Place sculpture garden
 

Trinity Place, the aggressively rectangular apartment buildings in mid market are still under construction. But the main plaza and much reported on Venus sculpture by artist Lawrence Argent have already been installed and are ready for their close ups.

So, how can you go see it?

From Mission Street between 7th and 8th Streets, the Venus sculpture is clearly visible from a fence. One might think the sculpture is accessible from there — not so. The gates in the fence are locked (presumably residents have a key.)

But if you walk around to the 8th Street side of Trinity Place between Mission and Market, there’s an alley without a gate. And that’s where things get interesting.

Walking down the alley, I noticed something unexpected: a sculpture seemingly trapped in a blue/green ringed glass container. This was at one end of a small hallway leading to the plaza where the Venus sculpture rests. At the other end of the hallway, what do you know — a second trapped sculpture. Both seemed reminiscent of the main attraction in that they all exhibit eerily modern looking distortion applied to what otherwise seem to be classic Greek or Roman-like works.

 
Trinity Place sculpture garden Trinity Place sculpture garden
 

It turns out that the Venus sculpture is the largest part of a a series of art installations called C’era Una Volta, which includes the aforementioned sculptures, the plaza itself, and a number of intricate rock carvings.

Without C’era Una Volta, Trinity Place would look like a bland, generic apartment complex; with it, I could almost forget the buildings even existed. The modern, whimsical sculpture garden was easily captivating enough to distract me from the otherwise uninspired surrounding architecture.

 
Trinity Place sculpture garden Trinity Place sculpture garden

Temporary public art: Night & day edition

February 14th, 2017

HYBYCOZO
 

If you’ve ever read this blog before, you’ve probably figured out that I spend a lot of spare time wandering the streets of San Francisco and taking photos of stuff. (Hey, it keeps my fitness tracker happy, okay?) On Sunday I happened to come across two strangely similar temporary public art installations, one in Patricia’s Green in Hayes Valley, and the other in Civic Center just outside City Hall.

But before we get into that, let me get philosophical for a moment. When it comes to public art, I appreciate the recent trend in temporary installations. The idea of permanent public art seems both ridiculous and impossible. Ridiculous because what people appreciate about an art piece today may be loathed in a decade or three, especially in the harsh light of public space. Impossible because nothing is truly permanent; if vandalism doesn’t destroy the piece then natural disasters certainly will. Or the piece proves so far ahead of its time that it simply doesn’t work. Even if the civilization that created and loves the art still exists, good luck in a few billion years when the sun burns out… yup, I went there. Permanent my ass. Nothing truly lives forever, the “permanence” of a work of art really boils down to whether it has an end date marked on the exhibition calendar or not.

For these reasons, I’m a fan of temporary public art. If the work resonates with people they’ll find a way to keep it around longer — remember what happened to The Bay Lights? People responded so well that its temporary status got a reprieve almost immediately.
 

So back to Sunday. First, I found myself wandering through Hayes Valley and wound up at Patricia’s Green. This space has been the site of many temporary public art exhibitions, which are generally tied to Black Rock Arts Foundation and therefore have a special relationship with Burning Man. The current exhibit is from HYBCOZO with two three dimensional geometric shapes made of metal, carved with fractal-like shapes.

HYBYCOZO HYBYCOZO

Next, I found myself a few blocks away at City Hall where Hong Kong-based artist Freeman Lau had installed a series of oversized lanterns to mark Chinese New Year.

Sui Sui Ping An - Peace All Year Round Sui Sui Ping An - Peace All Year Round

At first glance, these two pieces seem to have little in common, aside from the medium of temporary public sculpture. But looks can be deceiving. I poked my head up to the installation at Patricia’s Green. What’s this strange mechanism?

HYBYCOZO

Likewise, what’s up with those plastic anti-trip strips between the lanterns at City Hall?

Oh… there’s a connection here — light. Lanterns aren’t for the daylight, and neither are those geometric sculptures at Patricia’s Green. If ever there was a time of year for temporary public art that took advantage of light, it’s in the winter when light is scarce in the evenings. So I took another stroll at night to find out what these installations look like without the sun.

First, here’s HYBYCOZO‘s pieces at night:

HYBYCOZO HYBYCOZO

The colors of both shapes faded in and out and changed between colors in a dynamic fashion that’s difficult to capture. There were so many people wandering around taking photos that I couldn’t get a good video, but even that would hardly do it justice. Do yourself a favor and get over there when it’s dark out and see for yourself. That said, I bet this would be even more impressive if Patricia’s Green weren’t so well lit at night — I’m sure HYBYCOZO’s works are more delightful at places like Burning Man where city lights don’t impede the shadow patterns they cast on the ground.
 

Second, here’s the lanterns outside City Hall at night:

Sui Sui Ping An - Peace All Year Round Sui Sui Ping An - Peace All Year Round

While the lanterns don’t have the dynamic nature of the metal shapes, they’re strikingly bright and colorful against the black and white facades of the main buildings surrounding Civic Center Plaza. Just like during the day, at night both professional photographers and couples taking selfies with the giant lanterns impeded my view, making it a challenge to get a clear shot. But from the perspective of the artist, this looks like a resounding success.

So here’s to temporary public art, and especially this strange new frontier of electrically illuminated public art designed for viewing at night. We’re clearly on to something here, and I’m happy to see that San Francisco is on the forefront.