Art

On a tour of the Contemporary Jewish Museum’s exhibit Jewish Folktales Retold: The Artist as Maggid, running through January 28, participants passed around a silicone squash representing Michael Arcega’s sculpture The Enchanted Island. The piece is inspired by a story about a shipwrecked rabbi going into a mansion and finding two objects on a table: a cornucopia and a ram’s horn to summon people to prayer. What does he choose? He’s hungry, so it’s the food.

This summer, the Berkeley Art Museum and Pacific Film Archive (BAMPFA) will be presenting the first US museum retrospective of artist Charles Howard’s work since 1946, charting the trajectory of his career from the early 1920s to the 1960s. Howard was a prominent figure in the surrealist and abstract art movements, and brought together the European and American movements of his time.

Yes, the new Berkeley Art Museum will be filled with impressive works of art, but how many museums can claim that their fundraiser’s invitations and dishes are becoming collectors’ items? Then again, how many are able to say that their party paraphernalia bears the designs of an American cult figure?

The fold-out invite card and the plates for Thursday’s event feature patterns created by Barry McGee—the man who back in the early 1990s created a name for himself, literally, as a San Francisco graffiti artist who went by the tag “Twist.”

Clark Kellogg, a lecturer in innovation and design thinking at the Haas School of Business, had an epiphany on New Year’s Day 2013. Actually, a friend of his had the epiphany, and he co-opted it.

“With her consent, of course,” Kellogg says. “She told me she planned to post a photograph a day on Instagram. And when she said that, it came to me: I wanted to do the same thing, but with art, not photos.”