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Beers, Paper, and Legacy: Tom Marioni and the SIA in San Francisco

This story begins with beer. Or rather, it always began with beer if you were hanging around Tom Marioni’s studio in San Francisco any time after the 1970s. The man once declared, with deadpan conviction, that "drinking beer with friends is the highest form of art." And you know what? We're inclined to believe him.

Drinking Beer with Friends, 1970, Museum of Conceptual Art (MOCA)

Tom Marioni is a conceptual artist and a quietly towering figure in West Coast art history — a sort of artistic monk crossed with a social sculptor, operating on his own wavelength while inadvertently building one of the most enduring scenes in contemporary conceptual practice. Founder of the Museum of Conceptual Art (MOCA SF) in 1970, Marioni turned his weekly studio gatherings into living artworks: beer (and martinis), conversation, and performance as medium. It wasn’t about spectacle. It was about showing up. If you know, you know — an inner circle kind of thing.

That’s what makes the latest exhibition at GCS Agency so surprisingly significant. Society of Independent Artists: Works on Paper feels almost too chill to carry the kind of historical gravitas it does, and yet, here we are. This is an homage to a 55-year lineage of anti-institutional creativity that ultimately managed to smash right into the institutions anyway.

Installation of Beer with Friends at The Hammer Museum, 2013

The show is anchored by Marioni as the leader, but he's far from the only heavy-hitter in the room. A third of the 36+ participating artists have works in the permanent collections of institutions like MoMA, SFMOMA, the Getty, and the Smithsonian. Yeah, this is a low-key salon-style group show. Kind of nutty. And yes, you’ll be standing in front of works by people who have and continue to define what contemporary American art even is.

Tom Marioni in his studio. Photo by Sonja Och for The Chronicle

Let’s name drop a bit, because why not? (It’s fun) There’s Susan Middleton, whose haunting portraits of endangered species live in the Smithsonian and have graced the pages of National Geographic. It’s giving raw childhood wonder and amazement. There’s Robert Bechtle, one of the acclaimed godfathers of Photorealism, with paintings that depict calm suburban scenes as mythical, powerful moments. Bechtle’s works are now held by 18 global museums, including The Whitney, The Met, MoMA, SFMOMA, The Guggenheim, and The National Gallery, among others. Eleanor Coppola (yes, that Coppola) has her own body of collage and visual work that supplements a life of storytelling already cemented in American film history. Also, Roman Coppola (Eleanor’s son) has works included making this a family affair.

Paul Kos (b. 1942) Alkali Flats, 1974 Black and white photograph, unique 14½ x 21½ in.

Enter big boss Paul Kos, whose video and installation work (uhhh Sound of Ice Melting… !!) practically wrote the West Coast conceptualist playbook.. His poetic handling of silence, time, and sensory space does not scream for attention, but it’s hard to forget once you experience it. Then there’s John Held Jr., mail art’s archivist-in-chief, who turned his obsessive commitment to ephemera into one of the most important documentations of a movement that refused to be pinned down.

The rest of the artist lineup is no filler either. No fluff here, folks. Organized by Alberto Cuadros, a longtime attendee of Marioni’s Wednesday gatherings (and now a card-carrying SIA member himself), the show is a testament to the intergenerational reach of this community. It’s a very special exchange of experience. Artists range from Bay Area educators to international exhibitors, from seasoned sculptors to photographers, painters, and the rare type of person who still sends actual mail with art inside.

Alberto Cuadros, SIA member and organizer of this exhibition

And what ties it all together? Paper. Humble, analog, unassuming paper. Works include drawing, collage, print, and conceptual notation. Some are crisp and beautiful; others are strange and coded; a few look like they could disintegrate if you breathe too hard. But they all feel alive—they all feel like part of something bigger than any one moment or trend.

In a time when everything is optimized, digitized, and built for metrics, Works on Paper feels like a beautiful glitch in the system. It’s art for the sake of making, thinking, riffing, and remembering. There’s no algorithmic urgency here, no branded content loop. Just a bunch of relentless artists, who could justifiably be resting on their laurels, deciding to show up for something loose, collaborative, and real.

So sure, show up for the Marioni of it all. But stay for the Pacificos, the funky drawings, the quiet power of a legacy that doesn’t need to shout to make its point. This is San Francisco art history in its least filtered form.

Opening June 18, 5–8pm @ 201 Jackson St., San Francisco

RSVP here. Be there.

Just don’t forget the password: social sculpture.

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Surviving the Dream with FIDLAR

by Grady Olson

Photo by Jordan Cramer

In the heart of East Los Angeles, tucked away in the Balboa Recording Studio and art space, FIDLAR – Zac Carper, Max Kuehn, and Brandon Schwartzel – crafted Surviving the Dream, their first album in over five years. Recorded in 12 days, with just the help of a few buddies. That’s how Zac Carper, Max Kuehn, and Brandon Schwartzel wanted to do it. But also kind of how they had to do it, with no label, no fancy producer, a testament to FIDLAR's DIY ethos. But who gives a shit where you record, the boys are back and they’re the same as they ever were but a lot different. 

Photo by Jordan Cramer

The Dream Evolves

Surviving the Dream is a phrase they coined based on Aussie band and good friends Dune Rats' motto, "Living the Dream." But for FIDLAR, the dream has shifted and evolved into a new meaning; it now teases on that darkness that is a constant underlying positivity, reflecting the realities of getting older and navigating life's ups and downs. As lead singer Zac Carper explains, "They used to be crashing on couches and people would ask how they were and they'd just say, 'living the dream.' So whenever I’d be out during covid and someone would ask me how I was doing, I’d say, 'surviving the dream.'"

Photo by Jordan Cramer

Creative Process in the Midst of Chaos

For Carper, the new album's creation was intertwined with his journey of self-discovery as it’s the first album since the frontman was diagnosed with bipolar disorder. Having a somewhat better understanding of his creative process now, which comes in waves while in a manic state, "It took longer. I was scared to drop in." he admits, describing the waves of manic creativity that fuel his songwriting. "Once I do, there's no stopping that wave. It’s like meth. I’m up for three days. I’ve tried meds and they make me okay but it kind of fucks with everything else. So I’ve just got to find that right cocktail.” 

Photo by Jordan Cramer

It's in the aftermath of these manic episodes that the editing and refining process takes place that shapes FIDLAR's distinctive sound. “I do drafts. I’m a big fan of drafts. It starts out with a ukulele and then there will be like 7 demos to it. So once I create, I just create and create and then crash. Then I’ll listen back, like okay; what sounds good? There's a lot of editing.”

 

"Once I do, there's no stopping that wave. It’s like meth. I’m up for three days."

 

DIY or Die

With no label backing, FIDLAR welcomed back their familiar DIY approach to recording. "No one would give us a bunch of money," Max Kuehn quips. "No one would do it for us, we’re off a label, so why not just self produce it," adds Brandon Schwartzel. This self-reliance allowed the band to maintain creative control and capture the raw energy that defines their live performances. 

Photo by Jordan Cramer

The same goes for the album cover. Wanting to create that paint pen, exacto knife, ‘broke kid let’s just make something aesthetic,’ they just did what they wanted with the font and the smiley face. “We took that and manipulated it to use as a single art piece but then also throughout the lyrical videos. We scanned it and fucked it up, paint penned it, scanned it again.” Brandon

Photo by Jordan Cramer

Aging Gracefully in the Mosh Pit

While the band members may be getting older, their fan base seems to stay young, which is good for the guys  "After the pandemic, we realized everyone is like 15. What the fuck happened?" Carper laughs. “We were all expecting everyone to have kids and pull their Fidlar shirt out of the garage, like an old dude with a beard and a beer. But then there was this youthful sort of energy that really pumped us up.”

Photo by Jordan Cramer

For FIDLAR, energy is the driving force behind their music. "One of the main rules is just energy, energy, energy. How do we bring the most energy to it?" Carper emphasizes. This focus on capturing the live essence of their music allowed them to record the album quickly and efficiently, prioritizing feeling and vibe over technical perfection.

This youthful energy has injected new life into the band, like a punk fine wine, they’re aging gracefully in the mosh pit, inspiring them to continue pushing boundaries and creating music that resonates with the young and restless. 

Photo by Jordan Cramer

The Dream Continues

FIDLAR's longevity can be attributed to their unwavering commitment to craft and DIY spirit. As Schwartzel puts it, "Let’s get it out, go play, and then keep going. Keep playing, keep writing, and then record stuff when it comes." Surviving the Dream is a testament to this enduring passion. FIDLAR is here to stay, ready to ride the waves of music, life, or whatever else for years to come. 

Photo by Jordan Cramer

Photo by Jordan Cramer

 

FIDLAR - 2024 NORTH AMERICAN HEADLINING TOUR DATES

September 23 - Santa Cruz, CA @ The Catalyst

September 24 - Sacramento, CA @ Ace of Spades

September 25 – San Francisco, CA @ The Regency Ballroom

September 27 – Portland, OR @ Roseland Theater

September 28 – Seattle, WA @ Neptune Theatre           

September 30 – Salt Lake City, UT @ The Grand At The Complex

October 1 – Denver, CO @ Summit

October 2 - Fort Collins, CO @ Aggie Theatre

October 4 – Minneapolis, MN @ Varsity Theater

October 5 – Chicago, IL @ Vic Theatre

October 7 – Toronto, ON @ Phoenix Concert Theatre

October 8 – Buffalo, NY @ Electric City

October 9 – Brooklyn, NY @ Brooklyn Steel

October 11 - Philadelphia, PA @ Theatre of Living Arts

October 12 – Boston, MA @ House of Blues

October 14 – Washington, DC @ 9:30 Club

October 15 – Asheville, NC @ The Orange Peel

October 16 – Nashville, TN @ The Basement East

October 18 – Carrboro, NC @ Cat's Cradle

October 19 – Atlanta, GA @ Variety Playhouse

October 21 – Dallas, TX @ Granada Theater

October 22 – Austin, TX @The Mohawk

October 25 – Tucson, AZ @ Hotel Congress Plaza

October 27 - Del Mar, CA @ The Sound At Del Mar                       

October 31 - Los Angeles, CA @ The Bellwether

February 17-25, 2025 - Flogging Molly’s Salty Dog Cruise

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New York City’s Creative Renaissance: Meet Two Tastemakers Behind Its Revival