1. Carl Rohrs, Santa Cruz, CA

Medium: Calligraphy, typography, lettering arts
Website: none
Chosen artwork: Solstice by Susan Manchester

Intervention: When Carl Rohrs discovered he had an old, beat up Thonet chairs from the same series depicted in Susan Manchester’s Solstice he knew that was the piece he wanted to intervene with. Calligraphy, cut paper, and brocade letters will replace the chair’s missing caning, creating layers of elaborate design that will be both concealed and revealed, depending on the viewer’s vantage point.

2. David Perez, San Jose, CA

Medium: Poetry, poet laureate of Santa Clara County
Website: poetlaureateblog.org, www.thedavidperez.com
Chosen artwork: Home Movies 300-3 by Jim Campbell

Intervention: David Perez intends to address the content of Jim Campbell’s Home Movies 300-3 by writing several poems that reference memories and home movies, and the occasions in which they are created. However, the visual aesthetics of Home Movie 300-3 will be disrupted by the presentation of the poetry, as it is being written from the author’s point of view, on three tablets mounted on the wall in close proximity to Campbell’s piece. In order to discern the image depicted in Home Movies 300-3 it must be viewed from a distance. But in order to read the poetry, visitors will need to view both pieces in much closer quarters.

3. Craig Calfee, Santa Cruz, CA

Medium: Bicycle design
Website: www.calfeedesign.com
Chosen artwork: Emmanuelle by Chris Fraser

Intervention: A leading designer and innovator in the cycling community, Craig Calfee was immediately drawn to the wheel reference and illuminated movement in Chris Fraser’s Emmanuelle. Mimicking Fraser’s simple design, Calfee intends to explore the concept with a bicycle wheel, reflected light, and shadows.

4. John Edmark, Palo Alto, CA

Medium: Industrial design
Website: www.johnedmark.com
Chosen artwork: Big Red by Alexander Calder

Intervention: John Edmark’s intervention with Big Red will initially present Alexander Calder’s iconic mobile to viewers in soft grey shadow. Using light and scrim, Edmark will create the illusion that Big Red is dancing slowly in the air. As visitors approach, Big Red will be revealed behind the scrim, still and very red.

5. Dhaya Lakshminarayanan, San Francisco, CA

Medium: Stand-up comedy
Website: dhayacomedy.com
Chosen artwork: Info Glut II by Alan Rath

Intervention: Comedienne Dhaya Lakshminarayanan was immediately intrigued with Info Glut II. She saw a bit of herself in the visual reference to the human form positioned in front of a wall, engaging an audience. A meeting with artist Alan Rath crystalized her vision for a very short, one-act play that will offer three of her characters reacting to Info Glut II, art, and notions of beauty. The play, captured on video, will be shown on a monitor adjacent to the artwork.

6. Streetcolor, San Francisco, CA

Medium: Yarn bombing
Website: streetcolor.wordpress.com
Chosen artwork: Most Secret Butterflyby Tam Van Tran

Intervention: According to the artist known as Streetcolor, yarn bombing is a street art, a temporary and less destructive form of graffiti. However, a desire to create a gallery piece in response to Most Secret Butterfly means that Streetcolor’s intervention will encompass two expressions. This first will be a sculptural form for the gallery, a tall cylinder embellished with hand-knit lines of color that collide and wrap and overlap like wings that burst free from the surface. The second intervention will be a street project, and may involve yarn bombing the ice rink construction fence that appears every October in front of the museum.

7. Disquiet/Marc Weidenbaum, San Francisco, CA

Medium: Sound art
Website: disquiet.com
Chosen artwork: Untitled #8 by Josh Azarella

Intervention: Through his online collaborative project Disquiet Junto, author and sound artist Mar Weidenbaum is collecting original works of music and sound from an international community of colleagues. The audio files will be presented on multiple small devices, such as iPods and iPads, showing unsynced iterations of Josh Azarella’s silent video, Untitled #8. Intended to explore transformation and status, the sound elements will create auras, halos, and contextual sonic frameworks that gently shift the viewer’s experience of Azarella’s video art.

8. Trina Merry

Medium: Body painting
Website: www.trinamerryartist.com
Chosen artwork: Creek, Mashima, Japanby Rolf Horn

Intervention: In Rolfe Horn’s haunting photograph Creek, Mashima, Japan, body painter Trina Merry sees the power of cultural currents, the rush of technology-fueled modern life, and our vulnerabilities to being shaped and reshaped. She plans to paint five to seven models, crouched in fetal positions and posed in an iconic urban setting, such as Times Square, with the rush of traffic in the background. The performance will be both filmed and photographed, with collateral shown in the gallery adjacent to Horn’s original photograph.

9. Lark Pien

Medium: Cartoonist, graphic narratives
Website: www.larkpien.com
Chosen artwork: Untitled #204 by Il Lee

Intervention: Viewing Untitled #204, Lark Pien sensed a kindred spirit in Il Lee’s use of simple materials and his focus on mark-making. A fan of crossing boundaries and making mash-ups, Pien wants to surround Lee’s painting with two components in the gallery, creating an intimate viewing environment. Part three, the end of the narrative, will be virtual, accessible on the museum’s website.

10. Damian Smith

Medium: Ballet dancer, principal dancer for the San Francisco Ballet
Website: www.sfballet.org/company/dancers/principals/Damian_Smith
Chosen artwork: Grenholm by Fred Spratt

Intervention: Damian Smith’s initial reaction to Grenholm was visceral, evoking memories of the colors, landscape, and visual language of Australia, where he was born and raised, and the Aboriginal part of his heritage. Although his medium is performance based, he has been experimenting with ways to make the execution of movement and dance more tangible, visual, and lasting. His intervention will involve the creation of a painting using his feet, dipped in paint, as he creates an original dance in response to Spratt’s work. The dance will be captured on video and shown alongside Grenholm, while his movement painting, captured on canvas, will be shown on the gallery floor, seen from the dancer’s perspective.