San Francisco’s Jewish Film Festival kicks-off this Thursday, July 24, with a line-up highlighting the diversity of films and cultures and a long-weekend of programming in Marin, August 8-10

Nadav Schirman’s espionage documentary, “The Green Prince” (2014) which won Sundance’s Audience Award, opens the 34th San Francisco Jewish Film Festival, July 24 to August 10, 2014. Set against the backdrop of recent events in the Middle East, the film tells the story of the son of one of the leaders of Palestinian group Hamas who becomes a spy for the Israelis. Schirman will be in attendance. Image: courtesy SFJFF 34

The 34th San Francisco Jewish Film Festival (SFJFF 34) opens Thursday evening at San Francisco’s historic Castro Theatre with the West Coast premiere of Nadav Schirman’s “The Green Prince,” the opening night film at Sundance and the winner of the World Documentary Audience Award.  The double-dealing doc follows a Palestinian in Ramallah, Mosab Hassan Yousef, who grows up angry and ready to fight Israel. When he is arrested for smuggling guns at the age of 17, he’s interrogated by the Shin Bet, Israel’s security service, and sent to prison.  Shocked by Hamas’ ruthless tactics in the prison and the organization’s escalating campaign of suicide bombings outside, Mosab agrees to spy for Israel. For him, there is no greater shame. For his Shin Bet handler, Gonen, there is no greater prize than “operating” the oldest son of a founding member of Hamas.  Their forced relationship and its complex psychological dynamic fuels a well-told story. Director Nadav Schirman’s previous films include The Champagne Sky (2007) winner of the Israeli Academy Award for best documentary film and the John Schlesinger Award for Outstanding First Feature, and In the Dark Room (2013).  Schirman will be in attendance on Opening Night and on Saturday, July 26th at the CinéArts@ Palo Alto screening. Additional screenings will take place on Sunday, August 3rd at the California Theater in Berkeley and on Friday, August 8th the Smith-Rafael Film Center in San Rafael. (Click here for additional information on screenings.)

A festive Opening Night Party at the Contemporary Jewish Museum in San Francisco follows Thursday evening’s opening night screening.

SFJFF 34 includes 67 films from 17 countries, including 44 premieres, a wide spectrum of stimulating discussions, 33 visiting filmmakers and international guests and several wonderful parties.

There are eight Bay Area venues—

Castro Theatre, 429 Castro Street (at Market), San Francisco, (July 24 – Aug. 3) Click here for screenings.

Rayko Photo Center, 428 Third Street, San Francisco (Aug. 1) Click here for screenings.

California Theatre, 2113 Kittredge Street, Berkeley, (Aug. 1 – Aug 7) Click here for screenings.

Berkeley Repertory Theater, 2025 Addison St, Berkeley (Aug 2) Click here for screenings.

Grand Lake Theater, 3200 Grand Avenue, Oakland (Aug. 8 – 10) Click here for screenings.

New Parkway Theater, 474 24th Street, Oakland (Aug. 7) Click here for screenings.

CinéArts @ Palo Alto Square, 3000 El Camino Real Bldg #6, Palo Alto, (July 26 – July 31) Click here for screenings.

Smith-Rafael Film Center, 1118 4^th Street, San Rafael (August 8-10) Click here for screenings.

Stay tuned to ARThound for detailed coverage of the festival’s 14 films which will be screened  at the acoustically stellar Smith-Rafael Film Center on Friday, August 8 through Sunday, August 10, 2014.

Details: San Francisco Jewish Film Festival 34 is July 24 to August 10, 2014. For general festival programming and to purchase tickets, visit www.sfjff.org or phone the Box Office at  415.621.0523. All-Festival passes, discount cards and special prices for students and seniors are available.

Slow down, it’s “Slow Art Day” at five San Francisco museums and galleries (and more than 200 others worldwide)— Look at five artworks for 10 minutes each, then meet and discuss.

Slow Art Day, Saturday, April 12, 2014, encourages people to slow down and really concentrate on the art in front of them. Georgia O’Keeffe, Lake George [formerly Reflection Seascape], 1922 is currently on view at the de Young museum as part of their “Georgia O’Keeffe and Lake George” exhibition. Oil on canvas. San Francisco Museum of Modern Art, gift of Charlotte Mack. © Georgia O’Keeffe Museum / Artists Rights Society (ARS), New York

The average time spent looking at a piece of art in a museum is less than 20 seconds and continuing to drop (according to stats provided by the initiators of Slow Art Day). On Saturday, April 12, the de Young Museum, the Legion of Honor, the Contemporary Jewish Museum, Chandler Fine Art and USF’s Mary and Thatcher Gallery (all in San Francisco) and dozens of other museums and galleries around the world will participate in Slow Art Day.  The concept is simple and similar to meditation— look at five artworks for 10 minutes each without doing anything else, then meet and discuss.  Just like the National Day of Unplugging, which encourages people to shut-off their smartphones and socialize face-to-face, Slow Art Day’s mission is to enable deeper connections with art that don’t happen in the daily whirl that our fast-paced lives have become.

I recently spent some time looking at Georgia O’Keeffe’s oil painting Lake George, currently on view in the special exhibition Modern Nature: Georgia O’Keeffe and Lake George at the de Young and after a few minutes, my awareness really began to shift.

I plan to visit the Legion of Honor’s new show from the National Gallery of Art, Intimate Impressionism (on view through August 3, 2014), which features some 70 Impressionist and Post-Impressionist masterworks which illuminate the process of painting directly in nature. The temporary closure of the National Gallery’s East Building for major renovation and expansion has made possible the rare opportunity to see this select group of paintings in San Francisco, the exhibition’s first venue. And I’ll also revisit Matisse from SFMOMA (through September 7, 2014) which features 23 paintings, drawings and bronzes from SFMOMA’s acclaimed collection and two paintings and two drawings from the Fine Arts Museums of San Francisco’s own important Matisse holdings.

Here are few tips for embarking on your Slow Art Day experience:

• Choose a piece of art that appeals to you at first glance and draws you in. You’re likely to stay engaged for a longer period of time if you have that initial reaction.
• Relax, and let your eye wander over the artwork. Spend more time on details that are particularly interesting.
• Observe from different distances and angles. Take note of what changes occur when you move around.
• Notice how you feel, and what emotions the artwork brings up.
• If you get bored, ask yourself why you chose this piece of art. Or pick a specific line or color and follow it throughout the artwork.
• Afterwards, share your thoughts! It might be interesting to hear how others may have had very similar or dramatically different experiences. It’s also fun to try and draw a sketch after you’re finished looking—just a few extra minutes of observation might really create a lasting impression of a piece of art

If you’re the type who needs structure, both the de Young and Legion of Honor have two rounds of Slow Art Day programs 10 a.m. to noon and 2 p.m. to 4 p.m.

Learn more about Slow Art Day at slowartday.com.

• San Francisco, California – Chandler Fine Art
• San Francisco, California – de Young Museum
• San Francisco, California – Legion of Honor
• San Francisco, California – Mary and Carter Thacher Gallery at the University of San Francisco
• San Francisco, California – The Contemporary Jewish Museum

The Contemporary Jewish Museum’s “Do Not Destroy: Trees, Art and Jewish Thought”—artists respond to trees with hope and despair, through May 28, 2012

Luke Bartels, “The Wood Standard,” California bay laurel wood (Umbellularia californica), 14 x 24 x 24 in. The wood bars are priced by their weight and they fluctuate with the price of gold. Price on 3.9.12: $564.88. “Do Not Destroy: Trees, Art, and Jewish Thought,” Contemporary Jewish Museum, San Francisco through May 28, 2012.

From the earliest times, trees, which offer shelter and protection, and bear fruit, have been a potent symbol and the focus of religious life for people all over the world.  Today, Earth Day, when we think about the state of our planet and our dependence on nature, we are reminded that trees are on the front lines of our changing climate too and that, for a myriad of reasons, trees really do matter.   Do Not Destroy: Trees, Art and Jewish Thought, at San Francisco’s  Contemporary Jewish Museum(CJM) through May 28, 2012 is a compelling exhibition that explores the tree in Jewish tradition through the lens of more than 70 contemporary artists, drawing inspiration from today’s ecological movements as well as Jewish ritual and tradition.  The title, Do Not Destroy (Bal Tashchit in Hebrew), comes from a commandment in the Torah (Deuteronomy 20:19) that forbids the wanton destruction of trees during wartime.

“When thou shalt besiege a city a long time, in making war against it to take it, thou shalt not destroy the trees thereof by wielding an axe against them; for thou mayest eat of them, but thou shalt not cut them down…” (King James Version with Strong’s, Deuteronomy 20:19)

The exhibit, curated by CJM’s Dara Solomon,  consists of three parts: The Dorothy Saxe Invitational featuring works by 57 artists, mostly local, who were asked to create works incorporating reclaimed wood in response to the range of themes inspired by Tu B’Shevat, a minor Jewish holiday which is essentially a New Year for the Trees.  The second component is a selection of loaned works by internationally prominent artists, examining the tree as image and as a political symbol in contemporary art. The third component is the expansion of the exhibition beyond the walls of the Museum on to the Jessie Square Plaza with a commission by the San Francisco-based environmental design firm Rebar.  Taken together, the newly commissioned works, the selection of existing works and the Jessie Square Plaza project offer an opportunity to commune with trees through design, video, photography sculpture, drawing and painting.

As you enter the exhibition on the second floor, Zadok Ben-David’s “Blackfield” (2007-2009) is laid out before you.  This is a work all about perspective and the best viewing angle is on your knees.  The work is an enormous circular field of thousands of carefully rendered 2-3-inch-tall, stainless steel cut sculptures of plants that spout up from a field of sand.  Each plant sculpture takes its form from Victorian botanical illustrations which Ben David found in old text books.  The detail on these delicate pieces is quite amazing and delightful.  The trees are painted in jewel tones on one side and black on the other.  When viewed from the front, the darkness presents a scene of desolation.  But when viewed from the back, these plants blossom luminously into a colorful wonderland.  Born in 1949, Ben-David, an Israeli who lives and works in London, has had over forty solo exhibitions since 1980 and is the recipient of many prestigious awards.

Jun Nguyen-Hatsushiba, “The Ground, the Root, and the Air: The Passing of the Bodhi Tree” (film still), 2007. Dimensions variable. Single-channel video projection looped DVD. Courtesy of the artist and Lehmann Maupin Gallery, New York. “Do Not Destroy: Trees, Art, and Jewish Thought,” Contemporary Jewish Museum, San Francisco, through May 28, 2012.

Jun Nguyen-Hatsushiba, half Japanese, half Vietnamese, is best known for his captivating dreamlike underwater videos depicting local fishermen pulling rickshaws along the seabed and divers performing traditional Chinese dragon dances underwater.  “The Ground, the Root and the Air: The Passing of the Bodhi Tree” is a mesmerizing three-chapter video work of enigmatic beauty that the artist completed with a group of 50 art students from Luang Prabang Fine Arts School in Laos.   The chapter entitled “The Air” closes the film with a flotilla of these students, each on a small, simple boat, painting while traveling down the Mekong River.  As the current takes them down river, what they attempt to paint rapidly vanishes from view and they are forced to romanticize the moment, a blip in time. As they approach Vat Sing, a monastery outside of Luang Prabang, a giant Bodhi tree stands on the river shore and the beckoning sound of chanting is heard.  Some of the students jump out of their boats and swim toward the tree, the species of tree under which the Buddha attained Enlightenment.   Others, in contrast, float by without stopping.  Nguyen-Hatsushiba has commented: “As locations and moments are left behind by the flow of the river, so will this symbol of Buddhism gradually fade away from the view of the painters, leaving them with some measure of doubt about the journey they have started.” (Quote taken from artist comments issued for France Morin’s four year project The Quiet in the Land, the sponsor of the film.)

Tal Shochat, “Afarsemon” (Persimmon) (from a series along with Afarsek (Peach), Shaked (Almond), Tapuach (Apple), and Rimon (Pomegranate)), 2011. C-prints, 16.5 x 17 in. Collection of Gary B. Sokol. “Do Not Destroy: Trees, Art, and Jewish Thought,” Contemporary Jewish Museum, San Francisco through May 28, 2012.

Tal Shochat’s series of photographs depicts 5 fruit trees native to Israel—peach, almond, apple, pomegranate, and persimmon—all at the height of their ripening and enhanced to the point they look too bountiful to be entirely natural. Shochat carefully cleaned every branch and leaf and then completely stripped the trees of their context, sharply silhouetting them against a dramatic black background.  Her artificially constructed forest of fruit trees ironically alludes to an idealized vision of Eden, where nature was preserved from human intervention.

Other works on view in this loaned portion of the exhibit range from Joseph Beuys’ 7,000 Eichen (7,000 Oaks)—a political activist performance Buey’s initiated at documenta 7, in 1982, with the planting of 7,000 oak trees in the city of Kassel, Germany—to April Gornik’s Light in the Woods (2011)—an oil painting of sunlight mystically shining through a grove of trees—to Roxy Paine’s Model for Palimpset (2004), a stainless steel tree sculptures with branches that form impossible loops and strange, gravity-defying configurations.

Gail Wight, “Forests in the Age of Fishes,” The image depicts a cross-section of a tree from the Devonian era, when the first seed-bearing plants proliferated and forests blanketed the continents. Handmade paper of pine shavings and cotton rag, burned. 21 x 21 in. Photo: courtesy of the artist. “Do Not Destroy: Trees, Art, and Jewish Thought,” Contemporary Jewish Museum, San Francisco through May 28, 2012.

The Dorothy Saxe Invitational builds on the Museum’s long-standing tradition of asking artists from a variety of backgrounds to explore a Jewish ceremonial object, holiday, or concept within the context of their own mediums and artistic philosophy.  This year’s theme is the holiday Tu B’Shevat (the New Year for the Trees).  All of the works in the invitational are for sale, with the proceeds split 50-50 between the artist and the Museum.

Berkeley artist Gale Antokal made her own charcoal and then used it to create “Rebirth,” which is a drawing of the root from which she made the charcoal. The piece is inspired by Antokal’s mystical understanding of the “Tree of Life” as “a renewal of the flow of divine energy that occurs during the darkest time of winter when the deepest roots begin to stir.”

Stanford-based artist Gail Wight fashioned handmade paper–a delicate and ephemeral medium–on which she has created an image of a cross section from a Devonian tree from over 400 million years ago.

Luke Bartels, a member of the Woodshop collective in San Francisco’s Sunset district, contributed  “The Wood Standard.”  a stack of wood, which has been fashioned to resemble bars of gold. He cleverly questions the manner of ascribing value to particular materials over others–in this case positing trees or wood as valuable as gold.

Details: Do Not Destroy: Trees, Art and Jewish Thought closes May 28, 2012.  The Contemporary Jewish Museum is located at 736 Mission Street (between 3rd & 4th streets), San Francisco.  Parking is Hours: open daily (except Wednesday) 11 AM – 5 PM and Thursday, 1 – 8 PM. Museum admission is $12.00 for adults, $10.00 for students and senior citizens with a valid ID, and $5 on Thursdays after 5 PM. Youth 18 and under always get in free.  For general information, visit www.thecjm.org or phone 415.655.7800.

SFMOMA presents “Four Saints in Three Acts: An Opera Installation,” at YBCA’s Novellus Theater, August 18 through 21, 2011

Virgil Thomson and Gertrude Stein looking over the score for Four Saints in Three Acts, ca. 1929; Yale Collection of American Literature, Beinecke Library, Yale University; photo: Mabel Thérèse Bonney

Among the outtakes from Woody Allen’s recent hit film Midnight in Paris might well have been a scene showing Gertrude Stein being asked by the obscure young American composer Virgil Thomson to create an opera libretto for him.  There, in Paris in 1927, began one of America’s quirkiest creative partnerships, yielding not only the unique, wacky, and strangely moving operas Four Saints in Three Acts (1934) and The Mother of Us All (1947), but opening the floodgates for new modernist thought in music, literature, and art in America.

Stein’s typically nonlinear libretto for Four Saints, more focused on the sounds of words than on plot, is a sort of fractured fairy tale starring two 16th-century Spanish saints—the theologian Ignatius of Loyola and the mystic Teresa of Avila—and a gaggle of imaginary cohorts (St. Plan, St. Settlement, St. Plot, St. Chavez, etc.) who have visions of a heavenly mansion, enjoy a celestial picnic, and dance a tango-inflected ballet.  Thomson’s accessible music draws upon the snappy rhythms of American speech and the warm melodic shapes of American folksongs and hymns. 

On the occasion of the San Francisco Museum of Modern Art’s major exhibition The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde and Yerba Buena Center for the Arts’ Bay Area Now 6 (BAN6), SFMOMA in association with YBCA will present a new production of Stein and Thomson’s opera. The new version, titled Four Saints in Three Acts: An Opera Installation, will play at YBCA’s Novellus Theater this Thursday, August 18, through Sunday, August 21, 2011.  The 50 minute performance will be preceded by a “A Heavenly Act” (2011), a brand new stand-alone curtain-raiser with an original score by Luciano Chessa and new video and performance elements by Kalup Linzy, inspired by a streamlined 1950s version of Thomson and Stein’s opera.  Four Saints, which follows it, will be augmented by video projections from Chessa and Linzy’s opening piece.

“Four Saints is vintage Thomson/Stein, simultaneously All-American and countercultural,” said New York opera dramaturg Cori Ellison.  “Avant-garde yet sweetly ingenuous, it’s always been a magnet for the most imaginative theatre and visual artists, from Robert Wilson and Mark Morris on down.  I’d say any performance of this rare and charming opera is a must-see.”

SFMOMA in Association with YBCA Presents:  Four Saints in Three Acts: An Opera Installation

An Ensemble Parallèle production

     Nicole Paiement, conductor/artistic director

     Brian Staufenbiel, director

Music by Virgil Thomson and Luciano Chessa, with libretto by Gertrude Stein

Featuring Kalup Linzy

Novellus Theater at YBCA

Preview: Thursday, August 18, 7:30 p.m.

Friday and Saturday, August 19 and 20, 8 p.m.

Sunday, August 21, 2 p.m.

For tickets ($10–$85) visit ybca.org or call 415.978.2787

The Art of Four Saints in Three Acts, gallery talk

Thursday, August 18, 6:30 p.m. • Contemporary Jewish Museum, Free with museum admission

See original music, art, and ephemera connected with the Gertrude Stein-Virgil Thompson collaboration Four Saints in Three Acts in a gallery talk directly preceding the preview performance of SFMOMA’s new staging of the opera at the Yerba Buena Center for the Arts.

Seeing Gertrude Stein: Five Stories exhibition at Contemporary Jewish Museum, May 12, 2011 – September 6, 2011:

Drawing upon a wealth of rarely seen artistic and archival materials, Seeing Gertrude Stein: Five Stories illuminates Stein’s life and pivotal role in art during the 20th century.

SFMOMA exhibition: The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde, through September 6, 2011

American expatriates in bohemian Paris when the 20th century was young, the Steins — writer Gertrude, her brothers Leo and Michael, and Michael’s wife, Sarah — were among the first to recognize the talents of avant-garde painters like Henri Matisse and Pablo Picasso. Through their friendship and patronage, they helped spark an artistic revolution. This landmark exhibition draws on collections around the world to reunite the Steins’ unparalleled holdings of modern art, bringing together, for the first time in a generation, dozens of works by Matisse, Picasso, Paul Cézanne, Pierre-Auguste Renoir, Henri de Toulouse-Lautrec, and many others. Artworks on view include Matisse’s Blue Nude (Baltimore Museum of Art) and Self-Portrait (Statens Museum, Copenhagen), and Picasso’s famous portrait Gertrude Stein (Metropolitan Museum of Art).
Yerba Buena Neighborhood Celebrates Gertrude Stein, May–September, 2011

Join the Yerba Buena neighborhood this summer in celebrating the life of writer Gertrude Stein and her influence on modern art, literature, and culture. The San Francisco Museum of Modern Art, the Contemporary Jewish Museum, Yerba Buena Center for the Arts, and the Yerba Buena Gardens Festival will each host related programming: from art exhibitions to opera, poetry readings to salons, there’s definitely a there there. Visit  www.sfmoma.org/celebratestein   for a complete list of programs, discounts, and members-only specials throughout the neighborhood.