About

Culture Feed is the blog for arts and culture in the Bay Area – produced by the culture desk of The Bay Citizen. From breaking arts news to event coverage to YouTube videos, Culture Feed aims to bring you the best in culture from around the Bay. Please drop us a line and let us know what’s on your radar.

More Culture Feed

2 Gallery Shows Highlight Heavyweights of the Mission School

For some reason, there’s always a point in any discussion of the Mission School at which its existence is called into question. This might have to do with our discomfort at having to acknowledge an artistic movement that arose out of street art, specifically, tagging, which is illegal and largely considered a public nuisance. 

Let’s assume the Mission School did in fact exist, because two of its most celebrated artists are having exhibits in town: Margaret Kilgallen’s posthumous show “Summer/Selections,” at Ratio 3 through August 5 and Chris Johanson’s “This, This, This, That” at Altman Siegel through July 30.

Many of the movement's heavyweights were not only based geographically in San Francisco’s Mission neighborhood, but derived inspiration from its handpainted signage, street art from tagging to murals, and easy merging of street culture and high art.

These artists had some of their first exhibitions in local spots such as The Luggage Store, Gallery 16, Adobe Bookshop, and 111 Minna, before showings in larger venues like Yerba Buena Center for the Arts and New York exhibits at Alleged Gallery and the Whitney Biennial gave them wider recognition. Kilgallen's street art, though mostly painted over, is still visible in some parts of her adopted home of the Mission.


Margaret Kilgallen
Margaret Kilgallen, via www.Ratio3.org
Kilgallen's women have brows furrowed with worry.

The Margaret Kilgallen show displays a selection of her smaller-scale works—some painted on old book covers and pages torn from her notebook—and are more like a glimpse into the artist’s process than a retrospective on the results. Etudes of lips, hairdos, shoes, even raindrops and dots, suggest the patience with which she perfected her unmistakable style. This isn’t to say that the possibly unfinished projects are unsatisfying: they’re like watching a ballet dancer step through her warm-up combinations in class. Her cartoonish characters are imbued with real sympathy on the part of the artist for her creations.

They seem tired, working-class, unpampered, thrift-store-dressed, and alone. Alone with a child, alone with each other, but nevertheless alone in facing nameless worries that furrow their brows.
Margaret Kilgallen
Margaret Kilgallen, via www.Ratio3.org
An example of Kilgallen's tree imagery, on display at Ratio 3.

Even paintings of leaves and trees, both recurrent motifs in this exhibit, further the theme of loneliness. Any image of a single leaf, for example, will convey loneliness simply for the implication that it has fallen from the tree, its home.
Ratio 3 Mission School show
www.Ratio3.org
Ratio 3's rough-hewn interior compliments artist Maragret Kilgallen's work.

Kilgallen spoke of her aversion to the perfectly straight line and the inhuman perfection of machine-made images (specifically signage) in the documentary “Beautiful Losers.” As a venue, Ratio 3, with its unpainted floorboards and unconcerned DIY feel, complements her work well.
Chris Johanson
Chris Johanson, via www.AltmanSiegel.com
Chris Johanson's work is (perhaps deceptively) less disciplined than Kilgallen's.

Altman Siegel, one of the galleries in the venerable 49 Geary complex, is an uncomfortable host for Chris Johanson’s exhibit, displaying work that is rougher and (perhaps deceptively) less disciplined than Kilgallen’s.

As the Mission School, and the street art movement as a whole, gained respect in the art world, its artists started showing in more “establishment” venues, but one of the exciting characteristics of such shows was that the artists transformed the installation spaces, however posh, to suit their ethos. They spray-painted the walls, hung their paintings in asymmetrical clusters, even set up skateboarding ramps in the larger buildings.
Chris Johanson
www.AltmanSiegel.com
The pristine environment of the Altman Siegel gallery seems too sterile for Johanson's work.

“This, This, This, That” is laid out with the fastidiousness of an overpaid interior decorator’s portfolio. The paintings and wood sculptures, arranged in immaculate feng shui balance amidst the sterile whiteness of the walls, cry out for a messier, more colorful, irreverent presentation. The formality of the installation overwhelms Johanson’s work, which is like that of a bizarrely philosophical kindergartener.

The most vivid works in the show are thickly, brightly-painted wooden sculptures of triangle and square motifs. The tone of the collection is jolly, exuberant, even, but, stranded in the stark classiness of the high-end gallery atmosphere, that exuberance seems labored.

 

Add a Comment

Join the Conversation

Not a member yet? Register Now

You must sign in to post a comment.

or