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Author: admin | Category: Celtic Tattoo Designs | 16.12.2015

Andy Pilara began collecting photographs in 2003 and has collected images from very early masters, such as Eadweard Muybridge (1830 – 1904), right up to contemporary photographers. The idea is to have a quiet space and remove any distractions allowing the viewer to have time to make their own connections or contemplate the works on display. You say there is only a photocopy list of artists…anyone who has visited knows they offer a large guide with installation shots, and detailed information. San Francisco's Pier 24, a dilapidated 28,000 square foot warehouse that was abandoned for decades, is back in business as a world-class destination for fine art photography. On my recent visit to San Francisco, I visited the gorgeous new contemporary photography museum at Pier 24.
The pier, which is situated just under the Bay Bridge (you can here the faint sound of foghorns as you wander the gallery) was left unoccupied for three decades and had holes in the floor when it was purchased by the Pilara Foundation. About Intelligent TravelNational Geographic believes that to know the world is to change it. Pier 24 is located below San Francisco?s Bay Bridge and offers an unrivalled experience for photography enthusiasts. Pier 24, a San Francisco gallery, is an oddball in the photography scene: its opening hours are limited, and only 20 visitors can enjoy the work at any one time. On moving to San Francisco last year, a friend living locally boasted that his hometown had recently acquired the world’s best photography gallery, bar none. Examining and contemplating a long-form series of images in which a photographer lays out a coherent and compelling vision remains a peak experience.
Pier 24 is a 28,000-square foot exhibition space and archival centre solely devoted to photography and located on a recently remodelled stretch of San Francisco’s waterfront. The current exhibition, A Sense of Place, is only the fifth exhibition to be hosted at Pier 24 in three years, and it is essentially a landscape and environment-based presentation featuring work from big hitters such as Paul Graham, Jeff Wall and Andreas Gursky.
Paul Graham, a regular visitor to Pier 24, whose recent series The Present is stunningly showcased in the present exhibition, is a notable supporter of the ambition behind this venture.
So what is the back story to this remarkable venue, by far and away the largest space devoted to displaying photography in the world? By all accounts it was a Damascene moment as Pilara contemplated those disturbing and ambiguous images of people in mental institutions. As the collection rapidly swelled into the thousands, he sought a venue to store his treasure trove and then decided to make the collection visible by putting much of it on display to the public with biannual exhibitions.
But Pier 24 is not just a vanity project with Pilara throwing money at whatever turns his head. So, in addition to exhibitions, Pier 24 instigates lecture series involving luminaries such as Tod Papageorge, Martin Parr and Rinko Kawauchi. The Bay Area is fortunate to have a thriving and knowledgeable community of photographers, curators, collectors and galleries.
Wayne Bremser, a local photography fan, whose Tumblr, It’s Never Summer, is one of the most eclectic and all-encompassing photography resources on the web, is another regular visitor. Given Pier 24’s origins in the personal conversion of a wealthy man into a photography obsessive, it is perhaps not surprising that it’s photography buffs who are best served by the venue. This purity of purpose would not work in the wider gallery scene, which is always chasing new audiences to access public funds or serve a varied range of art concerns. From the web site: Born out of the desire to reinvent the ways in which photography and photographic ideas are presented, Pier 24 is a distinctive environment where art has the freedom to be seen and thought about differently. You must book online to get an appointment, only 20 people per visit (2 hours) are allowed in and that only after your invitation has been confirmed at the door.

My impression is that you don’t find this gallery by accident, you make it a point of getting in and being there. They provide information on photography exhibits at numerous venues and have a spot to subscribe to upcoming events on the extended info page.
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Originally built as an annex in 1935, this historic site directly under the Bay Bridge was chosen for remediation by The Pilara Foundation.
I loved the overwhelming, large-scale photos of Andreas Gursky, whose prints took up entire walls, transforming supermarket staples and Wall Street traders into pixels in a high-definition color cacophony. We're on the front lines of travel that illuminates, celebrates, and preserves irreplaceable places—and we're taking you along for the ride.
Better yet, it was free of charge and exhibitions featured complete sets of pictures by many of my all-time favourite photographers. Many are in a financially precarious position, and their creative remits often appear confused and lacking in confidence. Although the ever-growing international circuit of photography festivals offers ambitious programmes for mobile audiences, for those who yearn for a well-lit, generously proportioned space to view exhibition prints, the options have been narrowing. The suspension bridge linking to Oakland hums overhead and seagulls wheel above as you press the intercom.
There are also contributions from less familiar names such as John Chiara and Eric William Carroll.
Ostensibly Pier 24 is a home for the Pilara Foundation’s Photographic collection, which is owned by Andy Pilara, a local investment banker who fell in love with photography after seeing Diane Arbus’s series Untitled in 2003 at San Francisco’s Museum of Modern Art (SFMOMA).
For the money man with no previously expressed interest in photography, Arbus’s taboo-breaking series seemingly ignited a love affair with the medium. And so now San Francisco has Pier 24, which is unique in not being a public museum or gallery with a board of trustees, or a commercial venture with prints to sell and a bottom line to sustain. In addition, they sponsor work projects like the Postcards from America marathons undertaken by Magnum photographers. Garry Winogrand’s retrospective opened this year at SFMOMA, Jim Goldberg has his studio in the Mission District, and Richard Misrach hosts regular salon events. While he is quick to mention how much he enjoys the diverse range of imagery in each exhibition, he has noticed one downside.
As the number of attendees are highly restricted, and opening hours are very much limited to working hours, Monday to Thursday, there is not a sense that Pier 24 is overly bothered about embracing a wider audience of non- enthusiasts.
However, for those of us who enjoy contemplating some of the medium’s landmark achievements in a unique and peaceful space, Pier 24 in San Francisco is an unforgettable experience.
The Pilara Photographic Collection is housed in this renovated waterfront warehouse that was formerly a space used for cargo ships docking in San Francisco.
It is large and considered the biggest art space in the United States devoted to only photography. Given what the gallery has to offer and the limited viewing times available, if you’re going to San Francisco, book your time well in advance. After its renovation by + envelope a+d it is now one of the largest and most energy-efficient exhibit spaces of its kind. But despite being somewhat exclusive, one of the most brilliant aspects of this museum is that’s is absolutely free.

Pier 24 was this alleged photo Nirvana, and within days of arriving in the bay Area I sought out its website and made a viewing appointment. How would I locate it? As the medium has fragmented, so an avant garde arms race among curators has spawned an often bewildering range of genres and lens-based practices, leaving exhibition audiences uncertain of where the actual photography resides. You are then swished into a climate-controlled warehouse that in a past life processed cargo from ocean-going ships.
A whole room devoted to Friedlander’s America by Car series is a head-spinning puzzle-box of a room. In short order he bought a whole series of Arbus classics and then found himself writing cheques for whole sets from Robert Frank, Lee Friedlander, Garry Winogrand, Richard Avedon and others lodged firmly in the American photographic canon. McCall, a youthful curator who studied under local photography legend, Larry Sultan, has helped focus the exhibiting potential of the Pilara collection, which now counts over 5000 pieces. And to prove you don?t need to be a big name to enter the collection, they also purchase and commission new work from relative unknowns. There are also several local publishers of note, including TBW books, Little Big Man, Hamburger eyes and J&L Books. The space has been extensively renovated, retaining its original character and making it perfectly suitable to exhibit the more than 2,000 images from the private collection of Andy Pilara, the site’s owner.
We recently had a chance to check out this remarkable renovation during AIA SF's Architecture and the City Festival - read on for a look inside! Which is true in part: The museum houses the collection of banker Andy Pilara of the Pilara Foundation, and also will show other private photography collections, like the exhibit currently on display From the Collection of Randi and Bob Fisher (you can take a virtual tour of the current exhibition here). Situated along the Embarcadero just a bit south of the Ferry Market Building, it’s easily accessible from downtown.
My friend, a repeat visitor, told me the sound of mournful fog horns from ships gliding under the massive Bay Bridge would guide me to its door. Furthermore, a new generation of digital natives regarding their handheld screens as the photo portal of choice experience the “rectangles on a white-wall” model as quaint, analogue and slow.
A stunningly lit space containing pristine new prints of Stephen Shore’s Uncommon Places makes the images in my copy of the book feel flat and insubstantial by comparison. And now there is Pier 24 to cement the area’s profile as a photography centre of global stature. The photos on exhibit do not have any descriptive information cards and many do not even indicate the artist.
As for funding, well, the free-to-enter model only really holds in the UK these days, though budget cuts have imperilled the whole ethos of supporting dedicated spaces where quality photography can be savoured. Unlike many conventional photography galleries, there are no grand theoretical conceits on display, no crowds to contest with, and surprisingly no accompanying text on the walls at all… only a huge space filled with beguiling images. The only information available is a photocopied page that indicates the photographers’ names and location of various photos within the space. In doing that, we not only put up exhibitions but work with artists and partner with other institutions and become part of the community of curators, thinkers and writers around the medium.

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