Wayne Bremser, Observation tower, de Young Museum, San Francisco, 2011
unknown, Carleton E. Watkins, with cane, during aftermath of earthquake, San Francisco, 1906
This is an incredible photo - out of focus, but it captures Watkins’ gait and the sense of urgency of the moment, like no formal portrait could. The box the man is carrying probably has a small number of Watkins’ negatives or prints. This photograph, taken on the street with multiple layers of action, represents the next 100 years of photography. The subject, the elderly pioneer of 19th century American photography, staggers away from the history he created, his archives on fire.
I was curious about the location - what street is this, what building is that on fire in the background? My guess as a long-time resident is the large street in the background is Market and that they are heading south of Market. But the opposite could be true. I emailed Steve Heselton of carletonwatkins.org. He points out that Watkins’ last studio may have been at 417 Montgomery or 1249 Market (where he rented photographic rooms).
I strongly recommend following and listening to the Modern Art Notes Podcast - this week’s episode is a long discussion of the recently released book “Carleton Watkins: The Complete Mammoth Photographs.”
Dorothea Lange, Cable Car, San Francisco, 1956
Christopher Hall, San Francisco, 2011
Dave Glass, Dupont Market, San Francisco, 1969
William Gedney, Allen Ginsberg, Golden Gate Park, San Francisco, ca. 1966-67
Tony Remington, Manilatown, San Francisco, 1979
Steve Rhodes, Occupy San Francisco, 2011
Pirkle Jones, San Francisco, 1955
Notes on “Here” at Pier 24, San Francisco
Eadweard Muybridge, one panel of a photographic panorama of San Francisco, 1878
The incredible California buffet exhibit at Pier 24 is called “Here.” There are 34 photographers, with an emphasis on the last 50 years - there’s not a single Ansel Adams photograph, just a few Dorothea Lange and Edward Weston, no Imogen Cunningham or Minor White. The exhibit looks past the fantasy of unpopulated nature. Instead it’s the settlements and post-disaster photographs, where everything built seems temporary, that the true power and duration of California’s landscape reveals itself.
The exhibit runs into December, it’s free, make your reservation here. Here’s some of what you will see:
