We are happy to announce that 500 Capp Street has been selected to participate in the inaugural “Philanthropy Factory,” a new initiative honoring Andy Warhol’s philanthropic legacy by providing recent grantees an opportunity to benefit from the sale of Warhol works from the Andy Warhol Foundation’s collection.
Highlighted above is a Polaroid taken by Andy Warhol of Halston’s partner and Warhol’s assistant, Victor Hugo. Hugo, a performance artist and window designer, was a constant figure in Warhol’s photographs. Usually depicted by Warhol in a sexualized and provocative context, often fully nude or with his penis out, here he is seen in a different facet, as a member of the Studio 54 royal court.
Our fall programming is proudly supported by the Andy Warhol Foundation, and we are honored to be selected for this fundraising opportunity. All proceeds from the sale of seven Warhol pieces will go towards supporting 500 Capp Street’s operations, enabling us to continue encouraging artistic experimentation through our programming and artist residencies.
This work and more are available here. Don’t miss this chance to support 500 Capp Street and grab yourself an exclusive Andy Warhol piece.
Join us for an intimate artist conversation between David Wilson and Lukaza Branfman-Verissimo on Wednesday, June 23 at 6pm. Drop by in person, or tune in on Instagram Live @500cappstreet. David Wilson is the resident artist of The David Ireland House while artist Lukaza Branfman-Verissimo is the curator of Southern Exposure’s current exhibition, We use our hands to support. They have previously collaborated with one another and now find themselves in the same neighborhood doing collective exhibition work. Join the artists as they check in on each other, share stories and, exchange experiences of their work processes in an intimate one-on-one dialog.
This program will take place outdoors on The David Ireland House terrace. Free and open to the public.
Lukaza Branfman-Verissimo is an artist, activist, educator, storyteller & curator who lives/works between Ohlone Land [Oakland, CA] and Powhatan Land [Richmond,VA]. Their work has been included in exhibitions and performances at Konsthall C [Stockholm, Sweden], SEPTEMBER Gallery [Hudson, NY], EFA Project Space [New York City, NY], Leslie Lohman Museum [New York City, NY], San Francisco State University Gallery, Signal Center for Contemporary Art [Malmo, Sweden], Yerba Buena Center for the Arts [San Francisco, CA] and Berkeley Art Museum and Pacific Film Archive [Berkeley, CA], amongst others. For the past 5 years, Lukaza has been the Lead Curator at Nook Gallery [Oakland, CA], collaborating with over 80+ artists, writers, performers & musicians, in a gallery located in their apartment kitchen. They are currently enrolled in an MFA program at Virginia Commonwealth University in Richmond, VA.
David Wilson creates observational drawings based on direct experiences with landscape and orchestrates site-based gatherings that draw together a wide net of artists, performers, filmmakers, chefs, and artisans into collaborative relationships. He organized the experimental exhibition The Possible at the Berkeley Art Museum and Pacific Film Archive (BAMPFA) and received the San Francisco Museum of Modern Art (SFMOMA) 2012 SECA Art Award. He has exhibited his work with SFMOMA, was included in the 2010 CA Biennial, and presented a Matrix solo exhibition at BAMPFA. Wilson has received grants from The Andy Warhol Foundation, Southern Exposure, The Center for Craft and the Kenneth Rainin Foundation. He is based in Oakland, CA.
500 Capp Street is pleased to announce our 2024-2025 International Artist Residency recipients, SHIMURAbros based in Tokyo and Berlin.The Japanese artist-duo relocated to Berlin in 2014 on a research grant from the Pola Art Foundation, where they are currently researchers at the studio of Olafur Eliasson. SHIMURAbros just arrived in San Francisco, spending their two-month residency from November to December of this year. Please extend your warm welcome to them if you happen to see them in the house.
With the additional support of the Individual fellowship grant of the Asian Cultural Council they are researching on the life and motivations of Beate Sirota Gordon who has contributed to women’s rights in the Japanese constitution. Beate Sirota Gordon was an Oakland resident in 1939 upon her attendance to Mills College studying Modern Languages.
SHIIMURAbros a sister-brother duo comprising Yuka Shimura, who was born in 1976 and holds a bachelor’s degree from Tama Art University and a master’s degree from University of the Arts London: Central St Martins, and her brother Kentaro, who was born in 1979 and holds a degree in Imaging Art from Tokyo Polytechnic University. The duo is a recipient of the Excellence Award in the Art Division of the 13th Japan Media Arts Festival, hosted by Japan’s Agency for Cultural Affairs. In recent years the works of SHIMURAbros have been exhibited at the Yebisu International Festival for Art & Alternative Visions. In 2017, ArtReview Asia magazine named SHIMURAbros as a “future great”. SHIMURAbros relocated to Berlin in 2014 on a research grant from the Pola Art Foundation, where they are currently resident as researchers at the studio of Olafur Eliasson.
ABOVE IMAGE: SHIMURAbros, SILVER SCREEN – Hanabi. Single Screen Video Installation, 2018. Installation view: Atrium Gallery, Pola Museum of Art. Photo courtesy of the artists and the Tokyo Gallery +BTAP
TOP IMAGE: SHIMURAbros, Kentaro and Yuka at the Yokohama Civic Gallery Azamino, 2024.
The 500 Capp Street yearly international artist residency is generously supported by the Sanger Family Foundation. In addition to this year’s support is the Individual Fellowship from the Asian Cultural Council.
This text was commissioned for the occasion of the solo exhibition of Annie Albagli, Milk Teeth, which ran from September 26, 2024 to November 2, 2024 at 500 Capp Street.
Annie Albagli would tell you that before you were born, you were a rock. That even the ocean, whose vast nutrient-rich waters are considered the great originator of life on Earth, was born from rocks. My father-in-law, a geologist by training, would agree. His most simple way of describing the world, perhaps unsurprisingly, is “Everything’s a rock.” You need only look up at night for the tendrils of the Milky Way to see this heritage inscribed in the sky: the clusters of stars, dust, asteroids, and gas that populate our galaxy are some of the same materials that sustained our fledgling planet. Science, of course, is not the only way to tell the story of our existence. The ancient Greeks explained the pearly incandescence of the Milky Way as a stream of divine milk sprung from the goddess Hera’s breast. Nourishing, warm, and responsive to the needs of its environment, breastmilk is a compelling and beautiful metaphor for the conception and sustenance of our beginnings. For Albagli, science, lived knowledge, and fabulation are not at odds but kindred and inextricable; pulling the thread of one phenomenological explanation inevitably unravels the other.
In her exhibition Milk Teeth, these strands entwine with questions about our origins: as inhabitants of this planet and as mothers of children and children of mothers, biological and chosen. Albagli’s works probe the boundaries of these relationships, the points at which they both replace and regenerate each other. These ideas are illustrated at a grand scale in the work When We Are Born, We Consume the Cosmos (2024), an immersive 24-foot-long digital print of the Milky Way as seen through a powerful telescope, which shrouds the ceiling in a cosmic field of stars and sky. The image is overlaid with a dense compilation of iconography of breastfeeding through time and cultures, including Isis feeding her son in ancient Egypt and Jesus being fed by Mary. This constellation of figures radiates from a central image of the artist herself, seated at the long table directly beneath the installation, her son cradled in her arms as if to say: there is no separation between you, as a person, and the Earth, the universe, the past—your mother.
By foregrounding a material experience of the histories of our cosmos and ourselves, Albagli allows us to, as she says, “touch time.” In her world, this means touching limestone. Because this type of sedimentary rock requires biogenic material—matter made of or by living organisms—to form, it is not the oldest kind of rock on Earth. However, its essential trait of preserving the remnants of lifeforms makes it one of the primary record keepers of Earth’s biological history. Our planet first materialized as a scorching, swirling gaseous ball. Gradually cooling over time, it shifted into a magmatic mass and then hardened into layers of rock that formed its core, mantle, and crust. In the process, water vapor and gas were released from the rocks, which eventually condensed and fell as rain to form a primordial sea. For over 3 billion years, versions of this briny expanse sheltered the entirety of life on Earth. Our most ancient ancestors were soft-bodied things whose physical traces are mostly lost to time through erosion and other geologic cycles. It wasn’t until around 550 million years ago that lifeforms evolved to have internal and external skeletons that are more easily preserved as fossils because they contain calcium carbonate, the main chemical compound that produces limestone.
Geologists are mediums and fortune tellers in this sense, using rocks as channels for contact with the past and future. They unearth the biographies of rocks of all kinds using chemical tests, loupes, and magnets or break them to see how they fall apart. For the rest of us, limestone is a particularly accessible conduit as it wears its stories on its surface. Most often found in shallow marine environments, it is a register of an aquatic necropolis made from the accumulation of the tiny shells and lime skeletons of intertidal dwelling creatures who are buried where they die. We need only to run our fingers across the contours of these sedimentary accounts to commune with our early predecessors who, in the warm, dynamic tides of oceanic lowlands, chanced beyond the known boundaries of their world to live on land.
•••
Before we fed from our mothers, we were sustained by the sea. As early fauna, we fractalized our bodies across the ocean floor to maximize absorption of nutrients directly from the water or dragged our pliant bellies across algal mats to graze through our skin. Many marine organisms continue to be nourished by the sea alone. Others, hybrid creatures that evolved to straddle terrestrial and aquatic life, learned to find sustenance beyond the brackish tides of the coastline, paving the way for our development as humans. Despite their essential place in our intertidal lineage, these animals remain strange and unrecognizable to us. But they shouldn’t. We may have swapped fins for limbs and gills for lungs, but we took the sea with us.
The theory of hypersea suggests that sea-to-land evolution maintained a connection to the crucial nutrition of the ocean by fostering a direct network of fluid exchange between terrestrial lifeforms like plants, fungi, and animals. Essentially, each organism holds the life-supporting aspects of the sea within itself, contained by the skin or membrane that covers it, and finds a way to transfer it when necessary. Rooted plants shift water between themselves underground and then into the animals that eat them. Mammals who have just given birth naturally transform their salinated blood into breastmilk to feed their babies.
Albagli’s video projection Reaching for the Past, Holding the Future, Grasping Only Air in the Present (2024) explores this idea of unified interconnectedness through questions of ancestral bonds. Albagli narrates the film, reflecting on a journey she undertook through crumbling burial grounds and limestone quarries to trace her own family’s ancestral migration from Egypt. She was six months pregnant with her first child at the time, nurturing one beginning while pursuing the story of another.
What are my bounds, my edges? Where do you end and I materialize? What are my beginnings?…
Before you were born, we searched for the answer to this question. I wanted it to be a gift to you upon your arrival. Suspended in water, you traversed old limestone quarries and overturned cemeteries that hold your ancestors; we searched for the crumbs of an origin story. Rocks are not much different than cemeteries, it is where we go to touch time. Limestone rock is its own graveyard, composed of fossils and lime skeletons.
Albagli folds together musings on the collapsed boundaries between kin—past, present, and future—with whizzing imagery collected from a moving speedboat of monolithic limestone cliffs rising from the ocean on Cassis and footage of a weathered graveyard surreptitiously gathered with an iPhone dangling from her neck.
You hold vestiges of past lives and landscapes. Every birth reenacts millions of years of evolution compressed within 9 months when one emerges from a miniature sea to breathe on land. This is our inheritance.
The film spirals back on itself, ending as it began.
Because this question haunts us from the moment we are born; where do we begin?
•••
Before the ocean, there was the Moon. More than 4 billion years old, it was created not long after the Earth. For a time, many believed it was cleaved from young Earth’s just hardened crust through resonance—a combination of solar tidal forces and the constant oscillation of the planet generated such a tall, unstable wave of liquid matter beneath this barely set outer shell that part of its surface tore away and rocketed into space. Ensnared by Earth’s gravity, the collection of material locked into the planet’s orbit to form what we now know as the Moon. It was proposed that the wound it left behind, a massive basalt depression, shaped the basin that now holds the Pacific Ocean; an absence, billions of years in the making, that foretold a fated bond of ebb and flow between the ocean and the Moon.
Other possibilities have since replaced this story of cosmic birth, the most widely accepted of which describes a beginning no less violent than the wrenching process of resonance. The theory posits that the Moon originates from the debris of a collision by a Mars-sized object with proto-Earth that, possibly within a matter of hours, coalesced and settled into a wide and stable orbit around the Earth. This forebear of the Moon was named Theia after a Titan from Greek mythology. Progenitor of light and brilliance, she was the mother of Selene, goddess of the Moon.
Albagli’s third and final work, If the Earth is Mother, the Pacific Tidal Basin is Her Womb (2024), relates to this speculative bond between the Earth, the Moon, and the Pacific Ocean through the radical shifting physicality and connection of pregnancy and breastfeeding and the singular yet predictable changing phases of the Moon. Nearly 15 feet long, the rectangular limestone slab covers an old wooden dining room table in the same room beneath When We Are Born, We Consume the Cosmos. The lunar phases are carved across its length in overlapping circles, cut out at varying depths and shapes to mimic the crescent or semicircle silhouettes of a waxing or waning Moon, with the highest points of the rock rendered as the shadowed areas. We only ever see one side of the Moon, and only when it is illuminated by the Sun, which Albagli simulates in a one-night performance during which she fills the hollows of the sculpted limestone moons with breastmilk. Thick and glossy, the “liquid gold” shimmers in the low light of the space, almost reflecting the breastfeeding mothers arrayed on the ceiling above it—the pale inverse of a darkened sea whose surface gleams from the attentions of a starry night.
Forged from the Earth, cradled in the spiraling arms of the Milky Way, it is easy to imagine the Moon as a child of sorts. Not only for its nearly identical composition to Earth but also its trajectory as an independent celestial body. As children progress from adolescence to adulthood, many of them, like the Moon, which moves away from the Earth almost one and a half inches annually, drift farther and farther from their origins each year. They are, perhaps, simply following a cosmic impulse to venture past the limits of what is familiar—an impulse that has spurred millions of years of evolution.
Here on Earth, for now, we are never far from our origins. We can touch the evolutionary arc of time by following the simple prompt in Albagli’s film: Feel your cuticles, caress your skin—this is the surface tension of water, where sea meets air. Should you long for something unbounded by the body made from your mother(s), alive and warm in present-day flesh, or still and smoothed by time in limestone, just wait until night falls and the Moon rises. Though novel in our experience of its ever-shifting phases, the Moon remains remarkably unchanged from its conception 4 billion years ago. To gaze upon the Moon is to see the Earth when it was young, before life thrived in its waters and beyond, when it was just a rock.
About the writer
Amanda Nudelman is a curator and writer based in the Bay Area and currently a Director at Jessica Silverman, San Francisco. She was the closing Exhibitions and Public Programs Curator at McEvoy Foundation for the Arts and previously held positions at KADIST, San Francisco and UNTITLED, ART. Recent exhibitions and programs have been presented at / (Slash) (San Francisco), Wattis Institute (San Francisco), e-flux (New York), Royal Nonesuch Gallery (Oakland), swissnex (San Francisco), and Headlands Center for the Arts (Marin). Her writing has appeared in Creative Villages Journal, CSPA Quarterly, and Blackout Magazine. She holds a MA in Curatorial Practice from California College of the Arts in San Francisco.
This text was commissioned on the occasion of the exhibition, Milk Teeth, at the 500 Capp Street, David Ireland House.
Images—All images by Henrik Kam [1]: Installation view, Reaching for the Past, Holding the Future, Grasping Only Air in the Present, 2024, The David Ireland House, San Francisco, CA. [2]: Installation view, If the Earth is Mother, the Pacific Tidal Basin is Her Womb, 2024, The David Ireland House, San Francisco, CA. [3]: If the Earth is Mother, the Pacific Tidal Basin is Her Womb, 2024, detail
In collaboration with San Francisco Arts Commission and their Shaping Legacy: Monuments and Memorials project, ọlágbajú along with artists who contributed to the audio installation, will be facilitating a performance and group activation entitled “a lament.” The December 9th performance willmake connections between memorial and monument work to collective grief work; that is over invisibilized or made silent through ongoing genocides, plutocracy, facism, and state violence.
Visitors and performers will gather to answer: what is a monument for our current moment? Keeping in pace with the socio-political landscape a lament will hold space as we tend to the fires growing within us. Ones that are directionalized towards blazing trails for sustainable change, shifts in power, care, mutual aid, accountability, and resistance. Together the collaborative group will talk about monumentalizing the everyday: the evergreen commitment and prayer to collective struggle, for liberation, and all the moments in between.
About the Artist
yétúndé ọlágbajú (b. 1990) is a research-based artist, creative producer, and residency director living on Ohlone and Tataviam lands (Bay Area & Los Angeles, CA). Their work roots in a single question: What must we reckon with as we build a future, together?
With no set answers or expectations, ọlágbajú unravels intricate connections as a means of highlighting our interdependence. They are interested in how our familial, platonic, romantic, and ecological bonds are affected by what we confront in the reckoning.
Through their social practice they have co-founded and are a member of numerous artist and worker-led collectives, each with liberatory missions and values. An advocate for non-hierarchical working structures, they embrace shared leadership models that challenge white supremacy, by actively rejecting disposability and urgency — two of its guiding tenets.
They hold an MFA from Mills College and are the recipient of multiple awards including a YBCA 100 award and a Headlands Center for the Arts fellowship. They were a recent awardee of The Lightening Fund by LACE, Los Angeles, CA, resident at Center for Afrofuturist Studies, Iowa City, IA, and Haystack Mountain School of Crafts, Deer Isle, ME. They are a co-director and creative producer at Level Ground.
This project is a public program of yétúndé ọlágbajú’s exhibition, a spiral fuels and fills, developed over the yearlong residency as the 2023-2024 International Artist Residency recipient of 500 Capp Street. Collaborating artists include Tyler Holmes, eli meza, Avé-Ameenah, Hazel Katz, Lois Bielefeld, Titania Kumeh, mata flores, Slant Rhyme, Rian Crane, and tiffany m. johnson.
a spiral fuels and fills is generously funded by the Sanger Family Foundation, The Andy Warhol Foundation for the Visual Arts and San Francisco Arts Commission.
In an exhibition of new work, 500 Capp Street’s 2023-24 International Artist-in-Residence yétúndé ọlágbajú envisions David Ireland’s historic home as a place of dialogue and reflection on our current realities, legacies, and imagined futures.
Developed over the yearlong residency, a spiral fuels and fills features bronze sculpture, video, textile works, and a sound installation, co-developed with ten other artists.
The conceptual exploration of the spiral’s symbolism is a recurring theme. “It arrives asa form that supports our fires, provides us protection and momentum, and offers us a clear vantage point between where we’ve come from and where we are headed,” says the artist.
The video work on display documents spiral fire no. 1, an earth work ọlágbajú created as part of their 2022 ACRE residency in rural Wisconsin. The artist dug a 30 foot wide spiral fire pit in a soybean field, filled it with firewood, and tended the flames through the night with the other resident artists. Their conversations and collective labor to sustain the fire are captured in the work.
Some of the same artists who participated in spiral fire no. 1 have contributed to the sound installation ọlágbajú has created for the exhibition, reflecting the artist’s deep investment in collaborative meaning making. The installation will activate most spaces within 500 Capp Street with sounds of bird calls, cascading chords, heavy feet on a staircase, calls to action, sliding earth, and trickling water. Says ọlágbajú, “These will all spiral together as both lamentation and celebration in response to the questions that rouse us all: What fuels us to act? What do we inherit? What nourishes? And what must we destroy?”
The sound work is also inspired by the sonic porousness of 500 Capp Street. “One of the most exciting aspects of 500 Capp Street is that sonically there is little separation from the outside of the home,” says ọlágbajú. “We rely on shutting our doors, windows, and ears to the street when we are home, but in the House, we are forced to listen and to hear each other.”
The symbolism of the spiral and the elemental nature of fire are further reflected in the sculptural works ọlágbajú is creating. Using a lost wax casting process, the artist honors their Yorùbá roots with a bronze piece for the outdoors that turns a spiral into a ritual object for candles. Numerous small, heart-shaped, hydrostone pieces, each entitled sankofa and each braided like hair, will also hold candles and be placed throughout the House.
A turmeric-dyed textile piece will hang in the windows above David Ireland’s desk, where ọlágbajú spent many hours reading and writing during their residency. The piece is a call to action for observers both inside and outside.
Collaborating artists for the sound installation include Tyler Holmes, eli meza, Avé-Ameenah, Hazel Katz, Lois Bielefeld, Titania Kumeh, mata flores, Slant Rhyme, Rian Crane, and tiffany m. johnson.
There will be a public program on December 9, 2024 titled, a lament The December 9th performance willmake connections between memorial and monument work to collective grief work; that is over invisibilized or made silent through ongoing genocides, plutocracy, facism, and state violence. More info here.
About the Artist
yétúndé ọlágbajú (b. 1990) is a research-based artist, creative producer, and residency director living on Ohlone and Tataviam lands (Bay Area & Los Angeles, CA). Their work roots in a single question: What must we reckon with as we build a future, together?
With no set answers or expectations, ọlágbajú unravels intricate connections as a means of highlighting our interdependence. They are interested in how our familial, platonic, romantic, and ecological bonds are affected by what we confront in the reckoning.
Through their social practice they have co-founded and are a member of numerous artist and worker-led collectives, each with liberatory missions and values. An advocate for non-hierarchical working structures, they embrace shared leadership models that challenge white supremacy, by actively rejecting disposability and urgency — two of its guiding tenets.
They hold an MFA from Mills College and are the recipient of multiple awards including a YBCA 100 award and a Headlands Center for the Arts fellowship. They were a recent awardee of The Lightening Fund by LACE, Los Angeles, CA, resident at Center for Afrofuturist Studies, Iowa City, IA, and Haystack Mountain School of Crafts, Deer Isle, ME. They are a co-director and creative producer at Level Ground.
This exhibition is generously funded by the Sanger Family Foundation, The Andy Warhol Foundation for the Visual Arts and San Francisco Arts Commission.
October 17, 2024, Thursday: Doors open at 5:30, Conversation and screening start at 6:00.
With Mildred Howard’s Excerpts from the Time and Space of Now underway, due to popular demand, we invite you to join us for a screening and conversation on Thursday, October 17th, 2024. There will be an additional screening of Howard’s The Time and Space of Now, followed by and anteceded with conversations including Howard, Elena Gross of the Berkeley Arts Center, and Dewey Crumpler, artist and former associate professor of painting at the San Francisco Art Institute.
About the film, The Time and Space of Now. Outdoor Screening at 500 Capp Street,
The Time and Space of Now was created following Howard’s discovery, amongst materials left by her mother, of 8 mm. film that had been stowed in a purse for decades. It is composed of archival footage Howard took as a 14-year-old girl in Texas, interspersed with material shot on the beach in Alameda, and augmented by a fictional, unscripted, metaphysical dialogue between the artists Dewey Crumpler and Oliver Lee Jackson. The work illuminates storytelling, borders, migration, and the interconnected nature of time and space. (Dir. Mildred Howard, 16:21 min).
Mildred Howard is best known for her multimedia assemblage work and installations. Howard completed her Associates of Arts Degree & Certificate in Fashion Art at the College of Alameda, Alameda, CA in 1977 and received her M.F.A. from Fiberworks Center for the Textile Arts at John F. Kennedy University in Berkeley, CA in 1985. In 2015, she received the Lee Krasner Award in recognition of a lifetime of artistic achievement. She has also been the recipient of the Nancy Graves Grant for Visual Artists (2017), the Joan Mitchell Foundation Award (2004/5), a fellowship from the California Arts Council (2003), the Adaline Kent Award from San Francisco Art Institute (1991), and, most recently, received the Douglas G. MacAgy Distinguished Achievement Award at San Francisco Art Institute (2018). Her large-scale installations have been mounted at: Creative Time in New York, InSITE in San Diego, CA; the Museum of Glass in Tacoma, WA; the National Museum of Women in the Arts; the New Museum in New York, the City of Oakland; and the San Francisco Arts Commission and International Airport. Her works reside in the permanent collections of: the Berkeley Art Museum, Berkeley, CA; the de Young Museum, San Francisco, CA; Los Angeles County Museum of Art, Los Angeles, CA; the Museum of Contemporary Art San Diego, San Diego, CA; the Museum of Glass and Contemporary Art, Tacoma, WA; the Oakland Museum, Oakland, CA; SFMOMA, San Francisco, CA; and the San Jose Museum of Art, San Jose, CA, among others.
Elena Gross is an independent writer and curator living in Oakland, CA. She specializes in representations of identity in fine art, photography, and popular media. Her research has been centered around conceptual and material abstractions of the body in the work of Black modern and contemporary artists and most recently in queer artistic and literary histories of the late 20th century. Her most recent writing can be found in the publication Blood Sweat & Time: Emerging Perspectives on Mildred Howard and Adrian Burrell (Sming Sming Books). Elena is the co-editor, along with Julie R. Enszer, of OutWrite: The Speeches that Shaped LGBTQ Literary Culture (Rutgers University Press), winner of the 2023 Lambda Literary Award for LGBTQ Anthologies.
Dewey Crumpler’scurrent work examines issues of globalization/ cultural co-modification through the integration of digital imagery, video and traditional painting techniques. Dewey’s works are in the permanent collections of the San Francisco Museum of Modern Art, San Francisco DeYoung Museum, Bank of America Collection at Harvey B. Gantt Center, the California African American Museum, Triton Museum of Art Los Angeles and the Oakland Museum Of California. Crumpler received the Flintridge Foundation Award, National Endowment for the Arts Fellowship, as well as The Fleishhacker Foundation Fellowship Eureka Award. Currently represented by Jenkins Johnsons Gallery, “Post Atlantic”ANDREW KREPS GALLERY Art Basel Kabinett Sector, Painting Is an Act of Spiritual Aggression are his most recent exhibitions. As of August 2024, the Driskell Center Archive at the University of Maryland, College Park will be home to The Crumpler Collection, a gift of Dewey Crumpler.
On the occasion of the exhibition, Milk Teeth, Amanda Nudelman was commissioned to write a text, Everything’s a Rock. Please find it here.
San Francisco-based artist Annie Albagli considers the origins of life in a new, multifaceted installation work at 500 Capp Street. Albagli transforms the dining room of the David Ireland house into a meditation on where we come from. A carved limestone sculpture covering the entirety of the dining table reaches back in time and into the fossil record to trace the web of life between sea, land, and cosmos. An expansive ceiling work of digital prints layers celestial bodies and mothers’ bodies in a densely intertwined mosaic of birth mythologies.
Annie Albagli has presented solo exhibitions at such venues as Headlands Center for the Arts, the Corcoran Gallery of Art, and the Contemporary Jewish Museum. She has participated in exhibitions and festivals at the Art Museum of the Americas in Washington, D.C., Yerba Buena Center for the Arts in San Francisco, CA, Muzeul Zemstvei in Chisinau, Moldova, Art Prospect in St. Petersburg, Russia, and The Trash3 Festival in Bishkek, Kyrgyzstan. Her videos have screened as part of the Imagined Biennials Project at the Tate Modern in London, UK, the Bavarian Film Festival, ZWICKL in Schwandorf, Germany, and Artist Television Access in San Francisco, CA. Residencies throughout the U.S. and internationally have supported her work including UNIDEE’s Neither on Land nor Sea, Fondazione Antonio Ratti, Oberpfälzer Künstlerhaus, Art East, and The Headlands Center for the Arts. She has contributed to various artists’ land projects such as AZ West, Mildred’s Lane, and Salmon Creek Farm. Between 2017-18, Albagli was a YBCA Truth Fellow. She is a co-founder and editor of the publication, WHIZ WORLD, and former Co-Director for the Royal Nonesuch Gallery. She is a visiting faculty member at the University of Nevada MFA-IA program and is currently a 2023-26 Lucas Artists Residency Program Fellow at Montalvo Arts Center in Saratoga, CA.
Amanda Nudelman is a curator and writer based in the Bay Area and currently a Director, Artist Relations at Jessica Silverman, San Francisco. She was the closing Exhibitions and Public Programs Curator at McEvoy Foundation for the Arts and previously held positions at KADIST, San Francisco and UNTITLED, ART. Recent exhibitions and programs have been presented at / (Slash) (San Francisco), Wattis Institute (San Francisco), e-flux (New York), Royal Nonesuch Gallery (Oakland), swissnex (San Francisco), and Headlands Center for the Arts (Marin). Her writing has appeared in Creative Villages Journal, CSPA Quarterly, and Blackout Magazine. She holds a MA in Curatorial Practice from California College of the Arts in San Francisco.
500 Capp Street’s fall exhibitions are generously funded by The Andy Warhol Foundation for the Visual Arts. Additional funding for Milk Teeth is provided by the San Francisco Arts Commission.
