Thursday we met Jim and Louise at the ferry landing in Alameda and took a ride over to San Francisco. The Bay was lovely as always, though that day there was a fair amount of smoke from the fires up north, muting the views. We were grateful for the breeze off the water once were underway.
Louise was able to dig up some old paper tickets left over from when she used to commute via ferry to SF. Pretty much everyone else on board was using a pre-loaded card or their phones, but the ferryfolk said the tickets were still good
The trip is about a half hour and we were able to get seats on the top deck outside. The iconic SF Ferry Building approach always reminds me of the of all the old noir movies and newsreels where that view is used to set the scene.
It was a short walk from there to the Rincon Post Office which has some WPA murals. But more on that later.
There was also a more modern wing
Next stop was Perry's for lunch - beautifully situated on the Embarcadero with views of the Bay.
I took some photos of the food, but it wasn’t visually remarkable so I'll summarize by saying it was good American food - burgers, salads, chicken, steak etc. The standout for me was the New England clam chowder with beautifully fresh clams.
Finally it was time for our entry to the Gallery (you have to make an appointment for a 2 hour slot) so we made our way there The exhibit was called "Looking Back: Ten Years of Pier 24 Phoography” It’s main focus was portraiture - some of the photos were traditional examples of the genre, but others were more loosely tied to the idea, like this one -"Manufacturing" #10ab by Edward Burtynsky a sort of group portrait of factory workers in Xiamen City
Followed by a more traditional portrait by Liu Zheng - Xinjiang Girl Working in a Textile Factory
The exhibit featured Avedon, Arbus, Lange, Robert Adams, and Hiroshi Sugimoto as well as less well known photographers. These were a few of my favorites
Palm Sunday by Alec Soth
Jasmijn, away from the Light by Richard Learoyd
Lift Portrait 24 by Mikhael Subotzky and Patrick Waterhouse
New York City 1970 by Lee Friedlander
One room was dedicated to mug shots, introduced by this quote:
"Classic mugshots, which typically pair a full-face picture with a profile, tend to be as impersonal as photo booth pictures but more brutally matter-of-fact. The results aren’t intended as character studies; they’re descriptive, recording a hooked nose, a jutting chin, a mole, a scar - features that can be used to identify the suspect if he ever comes to the police's attention again. There’s no photographer behind the camera hoping to open a window on his subject’s soul, but because most mugshots are taken shortly after a suspect’s arrest, in a moment fraught with tension, fury, defiance, and shame, they can be incredibly revealing. Only the most carefully composed arrestee can avoid being emotionally naked"
- Vince Aletti
I was particularly fascinated by this sort of flip book of mug shot cards which included the detainees' "Bertillon number". It turns out Bertillon was an early criminologist in France who was trying to systematize the cataloguing of apprehended suspects with a goal of being able to track repeat offenders and to uncover people using aliases. He was a student of "anthropometrics" and the inventor of the mug shot (which preceded fingerprints as a way to identify individuals).
More here for the mystery-readers among you (as well as his role in the conviction and eventual overturned verdict in the Dreyfus Case)
https://en.wikipedia.org/wiki/Alphonse_Bertillon
One "portrait" that Got Linda's and my interest was this one - Lovell Beach House by Veronika Kellndorfer:
It’s printed on glass. The lights across the top are reflections of track lights which light the photo, but also produce both a projection of the work behind and shadows created by the surface image. Anyone who know Linda's work can see how that would intrigue her.
We strolled back along the waterfront and stopped for ice cream in the Ferry Building market before taking the ferry home
The lowering sun had by then reached the smoke, imparting a moody light on the Bay and buildings