Oakland Art Murmur is a necessary, significant, inspiring institution -- one of the most important events to attend as a citizen of the Bay Area. Beyond its mirrored First Thursdays in SF at 49 Geary, the collection of galleries both collaboratively and individually pursue the ideal that art is everywhere, and everything can be made into art.
RPS, Ego Park, Mama Buzz, Boontling, LoBot, 21 Grand, and 33 Grand (RIP) are clearly all about innovation with materials, experimentalism, culture, activism, and the underground. Esteban Sabar reeks of boring San Francisco canvas-on-a-wall boxed-wine-in-a-plastic-cup grazing meaningless for-sale rich-kid-in-private-school music-teacher-in-tye-dyed-schrock mediocrity. Read the rest of my individual review of the place to have the full horror revealed to you. This is not to say I have not been at times disappointed with the rest.
Mama Buzz tends to suck itself into a cycle of (poorly) displaying numerous miniature paintings that seek to evoke a sort of amateurish life-on-the-street early century Latin American, or even Middle European life. It's in the stroking and color palette, but the odd thing is that these paintings are not all by the same person. I feel like I've seen the same show about 3 times in a row. Mama Buzz is, however, the headquarters of Kitchen Sink Magazine, the best continuous publication I have read in a long time, has a great cafe, has wonderful music shows, and in the past has hosted much better art shows -- mostly the sculptural ones. Mama Buzz was the base -- then came Ego Park and RPS.
Ego Park is a funny li'l place because its shows usually contain some kind of a reinterpretation of low-tech art. The works are sometimes befuddling, and sometimes do not do what they're intended to do, and at times the aesthetic is that of the German industrialist type; in words, confoundingly boring. But again, the shows they host, the role they play in representation of artists is a good one, and I always love going to their shows.
21 Grand is attached to the magical Smythe's Accordion Center. Now that Boaz Accordions is gone, Smythe's has to hold the community up. Their community shows are on a much grander scale (readings and dance performances and such), and that the last art show I went to was utter crap. Great, some guy took medium-resolution photos of mundane things on his digital camera, printed them out on 8.5"x11" sticker paper on an inkjet running out of ink, and arranged them in vertical bars of 5 or 6 each, to give the impression that the collection of banality will produce at least an interesting color spectrum. Lame. But that's just one show.
33 Grand (RIP) was the freakin' jewel of First Friday. After a string of pretty mediocre shows, 33 Grand would always come through with the freaky, painstaking, hilarious and frightening art of monster movie miniatures, architectural rearrangements, theoretical natural processes. I'm sad that it has closed.
I consider LoBot to be on another level entirely when it comes to art. It is there that I got to see probably the best two new arts shows I have ever seen in my life. It is the place I speak of when I vehemently defend and evangelize about Oakland and its art scene. Its ambitions are limitless -- I feel that the artists who show here (usually) are the scavengers, the reinventors, the ones who never considered being confined to paint or paper or canvas or clay, the ones who snub expense and establishment and come out on top, the ones who up the averages of productivity for every schleppy excuse for a warehouse collective that exists elsewhere. If I were to say a single place defines the progressive movement of art (and even music sometimes) in the Bay Area, it would be at LoBot. A single place doesn't, though.
Without Rock Paper Scissors, the Oakland art community is missing several limbs and a heart. From the vast library of handcrafted zines, clothes, jewelry, wallets, and bags to the collection of recordings by on-the-verge musicians, to the insane variety from show to show, to the almost-daily workshops that range from breakdancing to fiddling to silkscreening, RPS is an army of the most warm-and-steel hearted individuals amazing in their own rights that see no limit in the scope of what they can do -- I have this idea that they will succeed in their goal to involve and embrace every member of the community, from the forgotten minorities to the high profile figureheads, to the art spirits floating around Oakland.
***
10/7/06: Revised to 2 stars. The galleries are putting up the same ass schleppy hipster shit for the past 6 months, and now that SF institutions and newspapers are trying to act like they're paying attention to Oakland, the entire experience is fucking annoying. You're losing your original vision, folks.
***
2008: 3 stars. Johansson Projects is wonderful - excellent curatorship. The Moon is fun too. read more