CatSynth

While shooting photos in an industrial section of East Oakland with a friend a few weeks ago, I came across a surprising section of highway that i had not noticed in the past.

[Click to enlarge.]

It turns out this is CA 77, a short freeway that stretches from International Boulevard, of the main streets in East Oakland, to I-880, and is one of the shortest in the state. It starts at a street intersection with International Boulevard (CA 185), passes underneath San Leandro St and the elevated BART tracks and connects onto I-880 via the ramps (which mark the highway’s end).

The overhead signs are actually hanging from a rail overpass, which I had walked along and was a rich source of photographic material, including a recent Wordless Wednesday photo with graffiti.

Although there is a direct connection from the end of CA 77 to I-880, the converse is not true. There is not even a mention of highway 77 at the closest exist (High Street). However, it looks like there is a lot of construction going on at the now rather old and dilapidated interchange, so there might be a direct and signed connection in the future.

Going east from the San Leandro Street and BART overpasses, the highway has a single intermediate exit to East 12th Street. It then tilts upwards to meet International Boulevard at a traffic light.

[click to enlarge]

International Boulevard (CA 185) used to be known as East 14th Street, and was a rather infamous (and dangerous) corridor in East Oakland. Changing the name 1996 did not really change the situation. But from what I understand, it had been getting better, at least until the recession.

According to the California Highways site, CA 77 is intended to continue further east to I-580, but it appears this is neither constructed nor signed on surface streets.  They also mention that the stretch of freeway had been signed as CA 185 until 2008, and in fact I do recall once or twice seeing a sign to that effect when taking BART sound from Oakland years ago.

[Please click to enlarge photo.  The details are an important element of this one.]

Note: you can always see more photos, including past Wordless Wednesday images, at my flickr site.

This is a major interchange in Sacramento, California, where I spent most of yesterday. Running north-south along the river is I-5, while east-west is the Capitol City Freeway (Business 80 and US 50).

To the southeast of the interchange, along X street, is the neighborhood that includes Beatnik Studios, where I performed with Reconnaissance Fly at the In The Flow Festival. See our previous article for a link to a liveblog of the festival.

The nearby entrance from 16th street to the Capitol City Freeway is marked only as Business 80, and does not mention US 50.

One can follow 16th street north under the freeway to the downtown and midtown section of the city. This includes our rather dysfunctional state capital, and a scattering of fun local businesses north of N street, including Luna Cafe, which was hosting events related to the festival on other evenings. We were not there at right time to see the festival events, but we did stop in for some handmade juices and enjoyed sitting out on the sidewalk in the early evening. For those of us who live in San Francisco, a warm evening is a rare treat.

The Road (w/ 26 cars), by Dustin Fosnotat the Luggage Store Gallery. It is part of an exhibition that has been on display during the recent performances I have attended there, and I could not pass up the opportunity to feature this “highway-inspired” work of art.

I recently visited two openings for artists I met at Open Studios last fall and whose work reflects my interests in highways, architectural images and the urban landscape. The artists take very different approaches, and the shows were in very different parts of the city – but having both openings on the same night was a great opportunity to see them together and simultaneously reflect upon the city itself.

First, I stopped in the relatively quiet West Portal neighborhood for a show at the Greenhouse Cafe featuring Sonja Navin. Navin draws on her architectural background to capture familiar images of the city in her paintings. Perhaps the most “familiar” image was the King Street off-ramp from I-280 in her large painting entitled 280.

[Sonja Navin. 280. Photo courtesy of the artist. (click to enlarge)]

Navin experienced this interchange the way many of us do, i.e., being stuck in traffic, and thus had the opportunity to visualize it in detail. She also had a painting East on N which featured a familiar view along the N-Judah metro line in the Sunset district.

Although her subject matter is often architectural in nature, her painting style features large brush strokes and irregular areas of color rather than the straight lines and precision of architectural drawings. She also had several figurative paintings, and some such as In The Haight combine both character and street elements.

Navin’s exhibition, which also features artist Kacie Erin Smith, will be on display at The Greenhouse Cafe, 329 West Portal Avenue in San Francisco through April 30.

After brief ride over Twin Peaks, I found myself descending into the Mission district for an opening at City Art Gallery, where I was particularly interested to see new works by Mike Kimball.

Like Navin, Kimball’s interpretation of the urban landscape distills it down to basic elements, but his prints and paintings feature very clean lines and simple geometric shapes. One example is his Maritime Plaza, which I immediately recognized (it is a favorite out lunch spot of mine).

[Mike Kimball.  Maritime Plaza.  Image courtesy of the artist.  (click to enlarge.)]

Like the building it represents, the image is framed by the triangules and X-shapes of the seismic bracing. This was one of the first buildings to use this technique, which is now a familiar site on buildings in the Bay Area.

In Division Street, Kimball represents another familiar sight from daily life, the interchange of I-80 and US 101 that sits above Division Street in SOMA. The image is composed of very simple curves and lines and solid colors, from which one can distinguish the elevated structures of the highway and the shadows they cast, as well as details such as the markings (and probably graffiti) on the sides of the trailers.

[Mike Kimball.  Division Street.  Image courtesy of the artist.  (click to enlarge.)]

Trucks and trailers also feature prominently in Kimball’s work. His “Truckograph” series features a similar graphic quality to Division Street. His larger work Meditations on a port looks at the stacks of trailers at the port as an abstract collection of boxes. Kimball bridges the industrial and abstract in this work – close up, one can see the writing and metal texture, but from a distance one simply sees the colored squares.

Kimball’s current exhibition will be on display at City Art Gallery, 828 Valencia Street, through March 28.

This afternoon we at CatSynth avoid our responsibilities by presenting another highway interchange.

This is the so-called “Orange Crush” interchange in Orange County, CA, where I-5 and state highways CA 22 and CA 57 meet.  You can see how the three freeways converge in this USGS map:

[click to enlarge]

I actually got to know this interchange quite well during my recent NAMM trip, and ended up at one point or another on each of the highways.

There is actually an ulterior motive in doing a highway post today.  I am planning on doing a few posts on the intersection of art and highways (no pun intended).  While I have collected a few examples myself, I would welcome suggestions from readers.