Collection

Streetopia

Bill Daniel, Chris Johanson, Kottie Paloma, Erick Lyle, Christine Shields, Dana F. Smith, Scott Williams, Kalman Spelletich, Barry McGee, Laurel Braitman, Monica Canilao, Bochay Drum, Spy Emerson, Rebecca Giordano, Johanna Jackson, Arnold Kemp, Sy Loady, Ivy Jeanne McClelland, Fred Rinne, Duskin Drum, Dave Schubert, V Vale, Tobin Yelland, Marshall Weber
Publication Date: 2011
Artwork type: Editioned book
Medium: digital print, embroidery, hand painting, pencil, photo, silkscreen, spray paint
Dimensions:
Binding Type: hand sewn
Edition Size: 30
Contributors
Bill Daniel (artist)
Kottie Paloma (artist)
Erick Lyle (artist)
Dana F. Smith (artist)
Barry McGee (artist)
Sophia Kramer (bookbinder)
Jonathan Romain (bookbinder)
Sara Parkel (bookbinder)
Bochay Drum (artist)
Spy Emerson (artist)
Arnold Kemp (artist)
Sy Loady (artist)
Fred Rinne (artist)
Duskin Drum (artist)
Dave Schubert (artist)
V Vale (artist)
Tobin Yelland (artist)
Felice E. Tebbe (bookbinder)
Origin
Brooklyn, NY
Description

Streetopia (the book) is an assemblage of works by twenty-four current and former San Francisco artists tentatively associated with the San Francisco Bay Area "Mission School" or "New Mission School" Art movements. It serves as a stand-alone extension of the Streetopia exhibition at the Luggage Store Gallery in SF in May and June of 2012.

The Mission School and New Mission School Art movements are generally considered to have emerged in the early 1990s around a core group of artists who attended (or were associated with) the San Francisco Art Institute. The Mission School is closely aligned with the larger street art movement, of which it can be considered a regional expression. Artists of the Mission School take their inspiration from the urban, bohemian, "street" culture of the Mission District and are strongly influenced by mural and graffiti art, comic and cartoon art, and folk art forms such as sign painting and hobo art. These artists are also noted for their use of non-traditional artistic materials, such as house paint, spray paint, correction fluid, ballpoint pens, scrap board, and found objects. Many Mission School artists identify with anarchist, punk, and squatter political motivations familiar to S.F. Bay Area arts practices.

Streetopia (the book) is an exemplary compilation of Mission School artists featuring mainstream art world heroes (Barry McGee, Venice Biennale, Chris Johanson, 2002 Whitney Biennial), underground cult figures (Scott Williams, AKA the Stencil Pirate Godfather, hobo documentarian Bill Daniels, and RE:Search magazine founder and publisher V Vale) and a diverse selection of artists associated with still influential Mission School. Each edition of the book varies slightly and is subtitled with the name of a diferent San Francisco neighborhood.

Contributing Artists: Laurel Braitman, Monica Canilao, Bill Daniel, Duskin and Bochay Drum, Spy Emerson, Rebecca Giordano, Johanna Jackson, Chris Johanson, Arnold Kemp, Sy Loady, Erick Lyle, Ivy Jeanne McClelland, Barry McGee, Mission Mini Comix, Kottie Paloma, Fred Rinne, Dave Schubert, Christine Shields, Dana Smith, Kal Spelletich, V Vale, Tobin Yelland, Marshall Weber, Scott Williams.

Book concept: Erick Lyle, Marshall Weber

Book editing and design: Marshall Weber

Binding: Booklyn, Sophia Kramer, Aimee Lusty, Sara Parkel, Jonathan Romain, Felice Tebbe

Streetopia (the book) co-creator and designer Marshall Weber (now head curator at Booklyn) studied at the San Francisco Art Institute and in 1983 co-founded Artists Television Access and Gallery (ATA). As an artist and curator at ATA, Weber had an influential role in supporting artists who would later be identified as members of the Mission School.

Media: airbrush, calligraphy, ink jet, laser print, offset, photography, painting, sewing, silkscreen, spray paint, stencil, typewriter, etc.

Essay on Streetopia by Erick Lyle

The limited edition Streetopia book, the art show it is a fundraiser for, (and in some way attempts to represent) and the original book that Streetopia is based upon – all of these large scale collaborative creative efforts have sprung, you could say, from one ubiquitous tag I found scrawled into the sidewalk cement of San Francisco throughout the early 1990’s. You can still find a couple that survive to this day. On 21st Street near Capp in the Mission, up on Haight Street, looping script left that takes up the entire square of cement, cement graffiti from a lost San Francisco left for posterity: “Glitter Doll.”

My fascination with these fragile traces of a lost city left in the streets led me to work on a book about the things people write in sidewalk cement in San Francisco.  By 2008, few who walked over a Glitter Doll tag in the street knew anything about the story behind it. But some would inevitably wonder, as I found myself wondering about all the scratches, drawings, and names in cartoon hearts I passed on my epic walks through the city. Ultimately, I walked to all corners of the city and took thousands of photos of things my fellow San Franciscans had written in the streets in fleeting moments long ago.

The Streetopia book and exhibition is loosely based on the themes of my upcoming book, The Cement Project: In Search of Lost Time in the City (Soft Skull Press, Fall 2012). In the book I walk the city and sift through layers of the city’s history to examine the ongoing conversation between lost political, art, and literary movements across different eras in San Francisco while reflecting on my own involvement in art and activism in the city.  As they similarly navigate the built city in the gallery, audience members consider their own hopes and aspirations for the city they live in and where their own lives fall in the city’s long timeline.

Streetopia has evolved into a large-scale group show at The Luggage Store in San Francisco to open May of 2012. The main Streetopia installation will be a giant, collectively planned city to be built within the gallery in collaboration with numerous selected artists.  The city-structure will span at least two floors of the gallery, An additional installation and event space will be built at the nearby Luggage Store Annex at the 509 Cultural Center.  Several functional rooms will be built within the framework of this city i.e. a Free Cafe, a Free Store, a theater, a gallery/studio, a library, a garden.  Inspired by San Francisco’s long tradition of Utopian political and art movements, the installation’s rooms will host a broad spectrum of free events, dinners, and workshops every night during the show’s run. The show is a laboratory where people can meet and prepare food together, learn things and have conversations. The general public will be encouraged to come forward and propose their own events in the city’s spaces – or to simply come and hang out in the city’s café or library. The simultaneous exhibitions in venues at both ends of the Tenderloin and Mid-Market neighborhood are intended to encourage public art projects and interventions that will spill out of the city installation into the city itself.

When the show is over, we dismantle the Utopian city, leaving behind only the ephemeral connections and ideas that came out of it.

From a single etching in the sidewalk this creative project has expanded like a Borgesian map of the world that is itself the size of the world. For this show we have proposals for a Black Panther Store, a 3D photobooth, ideas on decommissioning skyscrapers, ideas for establishing a non-monetary barter economy, a proposal to develop a rooftop café for a welfare hotel in the neighborhood, public murals, art for neighborhood billboards and storefronts, a proposal to turn the gallery into a giant camera, a proposal for a live variety show in the gallery city, proposals for training pigeons to carry messages around the neighborhood, and more. The show keeps growing and thus we have this book now, too, to promote the show.  All of this from my initial search for Frankie Glitter Doll and my walks through the city! And so the first page has become the last. A walk becomes a book, which becomes a show, which then becomes another book. We have come full circle.

Here's a NYT article about the festival:
http://www.nytimes.com/2012/04/20/us/streetopia-project-imagines-a-perfect-san-francisco.html

Here is the festival's website:
http://streetopiasf.com

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