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Saturday, Novem ber 30, 2013

'Vietnam: The Real War: A Photographic History' "Vietnam: The Real War" (Abrams; 303 pages; $40) contains many of the most widely circulated - and hardest to forget - photographs to emerge from the Indochina war, with just enough supporting text. It will sink any reader who lived through the period into a slough of sad, though possibly salutary, recollection.

The Associated Press photographs that it collects encompass the prelude of defeated French colonialism, the corrupt internal turmoil of South Vietnam, the horrific violence and waste suffered and inflicted by all parties to the conflict, and something of the home-front resistance that helped to end the war and, for a time, recast American politics. It makes me proud to have been a draft dodger, class of 1970.

"Vietnam: The Real War" also reminds us viscerally of the most important lesson the American

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military took from its defeat in Southeast Asia: to make the management of image flow to the American citizenry a priority in all wars from then on. Much good reporting has emerged so far from Iraq and Afghanistan, but few, if any, images that have the emblematic power of so many in this book.

"The Power of the Image in War: How It Has Changed Since Vietnam" will be the topic of a discussion at 6 p.m. Nov. 14 at the Marines' Memorial Theatre. Participants include former AP correspondent Peter Arnett, Vietnam veteran and former ABC correspondent Mike Cerre, AP head of photography Santiago Lyon and AP combat photographer Julie Jacobson, and will be moderated by Robert Rosenthal, executive director of the Center for Investigative Reporting.

Information: www.marineclub.com.

At 7 p.m. Nov. 15, a talk with Arnett, Lyon, Jacobson and Nick Ut will be followed by a book signing at Book Passage in Corte Madera.

Information: www.bookpassage.com.

Kenneth Baker is The San Francisco Chronicle's art critic. E-mail: kennethbaker@sfchronicle.com

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'Intimate Diebenkorn': Never-shown works span decades "Richard Diebenkorn: The Berkeley Years, 1953-1966," seen at the de Young Museum over the summer, reintroduced a modern master who began and ended his career in the Bay Area, though he spent nearly two decades in Los Angeles.

Like the tail of a comet, less substantial but still radiant, a smaller exhibition now trails the de Young show: "The Intimate Diebenkorn: Works on Paper, 1949-1992" at the College of Marin in Kentfield.

Chester Arnold, 61, a widely collected Sonoma painter who has taught at the college for more

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than 20 years, and studied there in the early 1970s, organized "The Intimate Diebenkorn."

Though small - only 38 pieces - it represents every phase of his work, from early and late abstractions to drawings from the model. Not only have nearly all the works never been presented publicly before, but the exhibition would never have happened without the full cooperation of the Richard Diebenkorn Foundation, which oversees the artist's legacy.

"Once the idea was approved at a faculty meeting - which was obviously not a problem," Arnold said in conversation in the College of Marin gallery, "the question was, how do you make a show that would be most useful to the college? ... Amazingly, a lot of people I've encountered, both adults and students, didn't know who Diebenkorn was - even after the 'Berkeley Years' show - it was unbelievable, actually.

"As insiders, we kind of assume that some people are just such cultural icons that everybody must know who they are, which makes it all the more important to have this in a community college setting, where it's free, and everybody can come as often as they like."

Arnold, who is represented by the Catharine Clark Gallery in San Francisco, has for many years been a luminary in his own right on the Northern California art scene. He has had numerous solo gallery shows on both coasts and survey exhibitions at the San Jose Museum of Art and the Nevada Museum of Art in Reno. But he never met Diebenkorn (1922-1993).

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Arnold did feel his influence, though.

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"I'd seen the 'Ocean Park' show of his work from the late '70s at the Oakland Museum," Arnold said. "There was something about the way he simplified space and created geometry that really appealed to me - that bone structure."

â–ź 2013 (557) â–ź November (59) 'Vietnam: The Real War: A Photographic History'

Arnold, already an ironic realist, soon afterward made a painting of a parking lot in which white pavement lines, the sides and shadows of buildings divide the surface in ways that echo, indeed, almost salute Diebenkorn compositionally, but differ in content.

'Intimate Diebenkorn': Never-shown works span deca...

"That ended up becoming a whole series of paintings of schoolyards and parking lots and eventually exercise yards of prisons," Arnold said of his early piece.

Bay Area visual arts picks, Nov. 21-24

"The meat on the bones of my pictures ended up being narrative, not aesthetic purity, but that's just who I am. ... But I feel a kinship with the work of every artist who's working sincerely with concentrated effort."

The show "has caused me to become a little bit more introspective in the time this show's been up," he said.

Arnold grew up in Europe, where his father was an American intelligence officer during the

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height of the Cold War. Growing up, he explored some of the great European museum collections and eventually evolved a painting style influenced by Northern Renaissance realism.

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Bay Area visual arts picks, Nov. 7-10

Arnold inherited something of his father's skepticism, which found plenty of traction after the family relocated to California. For many years, his paintings have mused on the excesses of American ambition and consumption.

Arnold got early art training from private tutors in Germany. After getting an undergraduate degree at College of Marin, he enrolled in the San Francisco Art Institute, which awarded him a master's of fine arts in 1987.

Arnold and other College of Marin faculty have found "The Intimate Diebenkorn" an excellent teaching resource since it opened at the end of September. The show's more than 2,000 visitors have included quite a few classes.

"I remember seeing works such as this when I was a student," Arnold said, pointing to a Diebenkorn graphite sketch of common objects splayed on a tabletop. "I was having assignments to do things like this ... and I'd think, 'Why are my drawings so stiff? Why can't they breathe that way?' ... Those are the kinds of observations students like to hear as an encouragement to realize that you don't have to be Ingres to be a good draftsman.

"You can enter this process at almost any point, and as long as you work hard enough, you'll end up having some results."

The College of Marin Fine Arts Gallery is so new that it didn't exist when the idea for the show was born. The exhibition grew, Arnold said, out of a book project initiated by his friend Bart Schneider, publisher of Kelly's Cove Press.

Kelly's Cove needed illustrations to accompany a 2012 book of jottings on the process of life drawing and modeling by the poet Genine Lentine.

After suggesting several possible artists to no avail, Arnold said, "Almost out of frustration I said, 'Well, why don't you just call the Diebenkorn Foundation and see what they can do for you?'

"And they were really interested in seeing his drawings used in a new way, which really surprised me, because it would seem like the sort of place that was hit up all the time, but evidently not. They said, 'Sure, come in and use what you want, at no charge.' So once that archive was opened, we started looking."

Schneider has issued two elegant, compact monographs: "Richard Diebenkorn: Abstractions on Paper" (Kelly's Cove; 124 pages; $20) and "Richard Diebenkorn: From the Figure" (Kelly' Cove; 121 pages: $20) that serve as catalogs for the exhibition, though they also reproduce

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Diane Arbus' artistry, one year at a time Edward Burtynsky's 'Water' images provoke anxiety Bay Area visual arts picks, Oct. 31-Nov. 3 'Space: 1999' at Incline Gallery in S.F. 'Takeshi Murata: Midnight,' animated allegory 'Matisse from SFMOMA' contrasts with Anders Zorn Sinclair: “How Do We Know That Tomorrow Isn’t The ...

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many things not on view.

Organizing the exhibition turned out to have surprises for Arnold far beyond the trove of little known Diebenkorn images he got to survey, courtesy of the foundation.

At the opening, "a couple of the original models turned up," Arnold said. "There was a drawing in the de Young show with an inscription that said 'to Gilda.' For years the foundation had wondered who Gilda was.

"It turned out that she had bought one of the (Kelly's Cove) books, and found that several of the drawings in there were of her. He had given her one ... and she had eventually sold it to pay for graduate school. She was really regretful to part with it, but at the same time it was a key to her future. She's now a therapist in San Rafael."

The Intimate Diebenkorn: Works on Paper, 1949-1992: Through Nov. 14. College of Marin Fine Arts Gallery, 835 College Ave., Kentfield. (415) 4578811. www.marin.edu.

Kenneth Baker is The San Francisco Chronicle's art critic. E-mail: kennethbaker@sfchronicle.com

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In, out of sync with William Kentridge's 'Time' New York -- A giant metronome appears, projected on a wall of a dim room, and its pendulum bar starts to swing to the sound of an amplified ticktock, joined by that of a violin pizzicato.

Soon four other metronomes, also big as armoires, appear on the flanking walls, all in sync at first, but soon falling, then flailing, out of step.

So begins South African artist William Kentridge's "The Refusal of Time" (2012), a half-hour-

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long, five-channel projected video installation at the Metropolitan Museum of Art. The Met has just acquired the work jointly with the San Francisco Museum of Modern Art, which originated the 2009 exhibition "William Kentridge: Five Themes," enthusiastically received throughout its international tour.

It counts as a momentous acquisition for both institutions, each of which already has substantial holdings of Kentridge's work.

As to whether "The Refusal of Time" will form part of SFMOMA's grand reopening in 2016, director Neal Benezra said at the Met's press preview, "We just don't know yet. I hope so."

Meanwhile the piece will play continually at the Met until early May. In 2001 Benezra, then at another institution, co-curated the first American museum survey of Kentridge's art.

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"The Refusal of Time" originated as Kentridge's contribution to Documenta 13, the 2012 version of a closely watched quinquennial temperature-taking survey of contemporary art held in Kassel, Germany.

► October (90)

"It was not a commission," Kentridge said in conversation at the Met, "but an invitation to make a work, and choose a space for it. The choice of space I made shaped the form of the piece. It was a very rough room, with several projections and the machine in the middle."

► June (38)

He has roughened the display space at the Met by leaning layered, gray-painted plywood panels loosely against its walls.

The "machine" - a smoothly running kinetic sculpture by Jonas Lundquist and Sabine Theunissen - holds a central place in the Met presentation also.

A mechanized wooden assembly of struts, cranks and ribbed, open boxes, it continually "breathes," consistent with the score's reliance of brass and other wind instruments.

The musical score, by Kentridge's frequent collaborator Philip Miller, emphasizes breath in sonic allusion to a failed project to synchronize clocks across Paris through a system of pneumatic tubes. Meanwhile readings from various texts, some historic, some composed, issue from five megaphones, making "The Refusal of Time" impossible to take in on one runthrough, or five.

Kentridge calls the machine "the elephant," referring to a line in Charles Dickens' "Hard Times" that likens the working of factory machinery to "the movement of the head of an elephant in a state of melancholy madness."

A second stimulus for "The Refusal of Time" came from Kentridge's reading of "Einstein's Clocks, Poincaré's Maps: Empires of Time" by Harvard science historian Peter Galison.

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"The whole project started with a series of conversations with him," Kentridge said of Galison, whom he also acknowledges as a collaborator.

Galison's stunningly lucid 2003 book explores the background to Albert Einstein's 1905 formulation of relativity theory and Henri PoincarĂŠ's nearly concurrent work on longitude. Their thinking converged around the practical problem of synchronizing clocks at disparate geographic points. "It is a story," Galison writes, "in which physics, engineering, philosophy, colonialism and commerce collide."

Kentridge renders some of those collisions through animation, sound and filmed burlesques in "The Refusal of Time."

"I was interested in the prehistory of relativity," Kentridge said, "in the way one thinks of the prehistory of cinema, with the phenakistoscope, and flip-books and all the things that were pushing toward what we now think of as conventional movies."

Several film vignettes within "The Refusal of Time" mimic the almost vaudevillian style of static camera films, circa 1905. "With all my films, I've thought I was making comedies," Kentridge said, "and then people would come and tell me that they aren't."

As in earlier work, Kentridge plays here with the reversibility of film. "If time could reverse itself," he said, "there'd be a kind of utopian perfectibility - you can take back all the things you wish you hadn't said, the smashed vase recomposes itself perfectly ... but that in some sense is our definition of time - that which you can't call back."

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As many as 20 people participated off and on over two years in the making of "The Refusal of Time," and of "Refuse the Hour," a complex theater piece, four times as long, that grew out of it. Kentridge hopes to stage "Refuse the Hour" in New York in 2015.

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William Kentridge: The Refusal of Time: Five-channel projected video installation with sound and kinetic sculpture. Through May 11. Metropolitan Museum of Art, 1000 Fifth Ave., N.Y. (212) 535-7710. www.metmuseum.org.

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Kenneth Baker is The San Francisco Chronicle's art critic. E-mail: kennethbaker@sfchronicle.com Twitter: @kennethbakersf

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Bay Area visual arts picks, Nov. 21-24 Aftermath: Post-Minimal Abstraction: The term "post-minimalism" had a specific meaning in art emanating from New York around the turn of the 1970s. This exhibition gathers work by Brian Caraway, Lisa Espenmiller, Connie Goldman, Connie Harris, David Allan Peters and Dianne Romaine - art evoking minimalism, rather than responding to it. Closing reception 5-7 p.m. Thursday; ends Friday. (Open noon-6 p.m. both days.) Chandra Cerrito Contemporary, 480 23rd St., Oakland. (510) 260-7494. www.chandracerritocontemporary.com.

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Kenjilo Nanao: A Tribute Exhibition: Born in Japan, Kenjilo Nanao (1929-2013) began to distinguish himself as a Bay Area artist and teacher a decade after his move to the United States in 1960. His abstract paintings and prints suggest a range of influences, from that of his teacher Nathan Oliveira to Cy Twombly and Japanese screen paintings. 11 a.m.-5:30 p.m.

Tuesday-Friday, 11 a.m.-5 p.m. Saturday. Through Dec. 14. Elins Eagles-Smith Gallery, 49 Geary St., S.F. (415) 981-1080. www.eesgallery.com.

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This Will Never Work: Expect surprises when jurors from way out of town - in this case Corrina Peipon from the Hammer Museum in Los Angeles and Mary Magsamen from Houston's Aurora Picture Show - lay fresh eyes on the work of familiar and unfamiliar names from our vicinity. Reception 7-10 p.m. Friday. Through Dec. 14. Noon-6 p.m. Tuesday-Saturday.

Southern Exposure, 3030 20th St., S.F. (415) 863-2141. www.soex.org.

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pages; $100). Editor Bruce Altshuler has compiled a second volume, following the awardwinning "Salon to Biennial: Exhibitions That Made Art History, 1863-1959," to plot the course of modern trans-Atlantic art history through pivotal exhibitions that have defined it. Rich in documentation hard to find elsewhere.

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Black Maps: American Landscape and the Apocalyptic Sublime, by David Maisel (Steidl; 237 pages; $85). Bay Area photographer David Maisel began shooting landscapes devastated by heavy-industry-as-usual in the 1980s. Both lavish and shocking, his images form a growing dossier of humanity's shortsighted assault on the planet.

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John Singer Sargent: Watercolors, by Erica E. Hirshler and Teresa A. Carbone (MFA Publications; 248 pages; $60). No artist of his age surpassed Sargent (1856-1925) as a watercolorist, whether the subject was adamant as a quarry or fluctuating as light on foliage or a facial expression. His pages even hold their own in reproduction.

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The World Atlas of Street Art and Graffiti, by Rafael Schachter (Yale; 399 pages; $35). A truly international and entertaining city by city guide to the most spectacular and most sly works of contemporary art in public places, sometimes authorized, sometimes not.

100 Works of Art That Will Define Our Age, by Kelly Grovier (Thames & Hudson; 320 pages; $50). From his phrasing of its title to his choices of artists and of works by them, if nothing else will get people arguing over the art of their time, Grovier's book will.

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The Chinese Art Book, by Colin Mackenzie, et al. (Phaidon; $350 pages; $59.95). A most unusual anthology that scrambles chronology to show expertly how themes and motifs have recurred in the arts of China, from the Neolithic to the 21st century.

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William Kentridge: Fortuna, edited by Lilian Tone (Thames and Hudson; 320 pages; $60).

No book can adequately explain the working methods of South African William Kentridge, by consensus one of the greatest creative personalities of our time. But this one offers drawings and other excerpts from his animated films, notations and numerous glimpses into the fecund chaos of his studio, where "fortuna" - neither chance nor planning - rules.

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Subliming Vessel: The Drawings of Matthew Barney (Rizzoli; 241 pages; $55). Even people who cannot bear Barney's crushingly tedious films admire his delicate, mysterious, visionary drawings. This catalog from a most improbable venue - New York's Pierpont Morgan Library - offers the most complete view yet of Barney at work on paper.

James Turrell, by Michael Govan and Christine Y. Kim (Delmonico; $303 pages; $75). The elusive art of James Turrell, pivoting on elusive perceptions of light, color and space, cannot be easily evoked for people who have never seen it. But this book, catalog of a retrospective at the Los Angeles County Museum of Art, comes about as close as a book could by means of

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David Park: A Painter's Life, by Nancy Boas (UC Press; 368 pages; $52.95). A San Francisco independent scholar and expert on Northern California art renders the first full biographical portrait, not a memoir, of Park (1911-1960), the reticent founder of Bay Area Figuration, the region's only modern art movement so far to win global recognition.

ALSO RECOMMENDED Art as Therapy, by Alain de Botton and John Armstrong (Phaidon; 239 pages; $39.95).

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The Art Deco Poster, by William W. Crouse (Vendome; 312 pages; $65).

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Charles Marville: Photographer of Paris, by Sarah Kennel (University of Chicago Press; 266 pages; $60).

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Kenneth Baker is The San Francisco Chronicle's art critic. E-mail: kennethbaker@sfchronicle.com Twitter: @kennethbakersf

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Friday, Novem ber 29, 2013

'Anders Zorn: Sweden's Master Painter' review Who remembers Anders Zorn?

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The Fine Arts Museums of San Francisco move to remedy that situation with "Anders Zorn: Sweden's Master Painter," which opens Saturday at the Legion of Honor.

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Curators and other scholars of modern art do. So does his native Sweden, to which Zorn and his wife left a vast legacy of artworks and real estate. But the international public whose admiration Zorn commanded at the turn of the 20th century has all but disappeared.

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The elegantly installed exhibition makes a startling, inviting first impression.

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It begins, as did Zorn's booming career, with dazzlingly ambitious watercolors that won him encouraging, and soon lucrative, attention from the time he left the Royal Swedish Academy of Fine Arts in Stockholm.

Cosmopolitan by temperament, Zorn (1860-1920) moved first to London in the early 1880s, after his engagement to Emma Lamm, whose image appears frequently in the exhibition.

In 1885, their European honeymoon began a lifelong pattern of traveling and sojourning in cities abroad, always returning to Sweden and eventually to Zorn's native town of Mora. He visited San Francisco - on one of seven trips to the United States - in 1903.

Zorn's reputation as a portrait painter brought him prestigious commissions on both sides of the Atlantic, symbolized in the current selection by paintings of President Grover Cleveland and of Isabella Stewart Gardner, a friend and patron whose private museum endures as a jewel in the crown of Bostonian culture.

He excelled as a watercolorist, his mastery nearly on the level of his contemporary John Singer Sargent (1856-1925). And his fascination with the dance of reflected light will ignite visitors' memories of the recent Legion exhibition "Impressionists on the Water."

Zorn watercolors such as "Lapping Waves" (1887), "In the Port of Hamburg" (1890) and even the brisk, tiny "Sea Study" (1894) display his prodigious ability to render transient sensations and unify light effects across a page. He clearly kept rivalrous eyes on what his Impressionist contemporaries were doing.

Things got more complicated and intriguing whenever Zorn turned his attention to portrait and anecdotal subjects.

"Castles in the Air" (1885), a dreamy watercolor of Emma with sunlight filtering through the open parasol over her shoulder, shows how Zorn's focus on fidelity to a face could unbalance his attention to a figure's other proportions.

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The woman walking in the foreground pauses as she finds a spiky branch snagging and lifting her skirt. That branch, of course, is a Zorn brushstroke.

The subtext of erotic preoccupation rises and submerges again throughout the exhibition, culminating in Zorn's late photographs and drawings of giggling nude models descending into the cabin of his yacht.

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With "The Thorn Bush" (1886), a deftly worked watercolor of two women possibly on a forest picnic, a note of erotic mischief surfaces.

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The chronology and design of the exhibition emphasize Zorn's swerve back to oil painting, which he had learned as a student, by way of a detour through etching.

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Nothing about Zorn's delicate touch as a watercolorist foreshadows the slashing vigor of line that he apparently found natural when addressing an etching plate.

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His technique seemed to make gradations from light to dark inherently dramatic, giving his portrait etchings a liveliness more credible to 21st century eyes than that felt in most of the oil portraits.

Like Sargent and James McNeill Whistler (1834-1903), Zorn at his best could charge a portrait with an uncanny sense of the sitter's reality. He does it in the imposing late "Self Portrait in Red" (1915), which has almost the immediacy of a self-image by Lovis Corinth (1858-1925).

But too often, as in Sargent's commissioned work, the impulse to fix a sitter's social standing or self-importance prevailed over Zorn's interest in fixing a likeness for art's sake.

And as with Sargent, tasty flourishes of brushwork and color abound at the margins of Zorn's pictures: faint echoes of a modernism that would eclipse Zorn's standing in the European pantheon, as modern life generally made portraiture seem more and more a merely idiosyncratic or venal occupation.

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Not a supreme master of description to compare with his older contemporary Adolph Menzel (1815-1905), nor an innovator to take permission from a revolutionary such as Edouard Manet (1832-1883), Zorn landed at the pinnacle of success, but on artistic middle ground, in an age that preferred extremes.

Anders Zorn: Sweden's Master Painter: Paintings, works on paper and photographs.

Through Feb. 2. Legion of Honor, Lincoln Park, S.F. (415) 750-3600, www.legionofhonor.famsf.org.

Kenneth Baker is The San Francisco Chronicle's art critic. E-mail: kennethbaker@sfchronicle.com Twitter: @kennethbakersf

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