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Bruce Tomb

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(de) Appropriation Project Archive, Ongoing, since 1998 Poster Wall 25'W X 25'H © Bruce Tomb
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Maria del Camino, 2012 Radically Modified 1959 El Camino and a Hydraulic Excavator 10'L X 6.5'W X 18'H © Anne Klint
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Maria del Camino, 2012 1959 El Camino and a Hydraulic Excavator 22'L X 6.5'W X 10'H © Anne Klint
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Ant Farm Media Van v.08 [Time Capsule], 2008 1970 Chevy Van, Video, Custom Computer (HUQQUH) 17'L X 6.5'H X 6'W © Bruce Tomb
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Time Capsule Triptych, Discovery, 2009 Video
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Time Capsule Triptych, 2009 Duratrans Print With Light Box, Video and Monitors 3'H X 25'L X 1'D © DigiTed
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Hello, San Jose!, 2008 Scaffolding, Plywood, Streaming Audio, Shrink Wrap, Light 16'W X 8'D X 16'H © Jeremy Jachym
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Side Show, 2013 Rubber on Asphalt, Maria Del Camino 30' X 60' © Eli Kimmel Gray
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Side Show, 2013 Rubber on Asphalt, Maria Del Camino 30' X 60' © Eli Kimmel Gray
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Side Show, 2013 Rubber on Asphalt, Maria Del Camino 30 X 60' © Eli Kimmel Gray
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Ant Farm Media Van v.08 [Time Capsule] (Installation view in The Art of Participation: 1950 to Now, SFMOMA, 2008) Interactive Sculpture 72 X 72 X 204 Inches © Courtesy of Chip Lord
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Passage to the City of Stuff, 1.17.2015 Media Event N/A © Anne Klint
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Passage to the City of Stuff, 1.17.2015 Media Event N/A © Anne Klint
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Passage to the City of Stuff, 1.17.2015 Media Event N/A © Anne Klint
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Passage to the City of Stuff, 1.17.2015 Media Event N/A © Anne Klint
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Passage to the City of Stuff, 1.17.2015 Media Event N/A © Anne Klint
P1010813
Quick Facts
Lives in
San Francisco
Works in
San Francisco
Schools
California State Polytechnic University San Luis Obispo, 1981, BS Arch
California State International Program, Florence, Italy, 1980
Tags
architecture, industrial-design, sculpture, installation, video-art, conceptual, landscape, digital, graffiti/street-art, exhibition/performance, Illustration
What's Up

CURRENT

Maria del Camino was featured at Ft. Mason Center for Arts & Cuture performing SuperTaskk #4. She was driven remotely using a smart phone to produce a drawing on asphalt by taversing from point A to point B repeatedly, and erasing its course or safety zone. This functionality was debuted at Performance Studies International #19, held at Stanford University. The performance, SuperTask #2 (Side Show), was co-sponsored by the Revs Program. The product of this performance was a drawing created by the rubber tracks turning on the asphalt of White Plaza. The best documentation of the event was via  video drones. Check out our Blog: http://mariadelcamino.brucetomb.com. There was a video produced, including an interview with Bruce: http://www.youtube.com/watch?v=OtzXYt_mmLE

The (de)Appropriation Project received a grant from the San Francisco Arts Commission for a public art installation, A memorial to free speech.  As part of this project, there is a deck providing more sidewalk space and two speaker’s podiums bracketing the renowned poster wall, providing a visual and symbolic framing of this ad hoc monument to free speech and public gallery, political forum, & community billboard. 

The Ant Farm Media Van V.08 [Time Capsule], exhibited at Arizona State University, Tempe, AZ, travelled to the Walker Art Center for "Hippy Modernism" and will be exhibited at Pioneer Works, Red Hook, Brooklyn in the Fall.

The project is an on-going collaboration with Chip Lord and Curtis Schreier. The basis of project is a fusion of Ant Farm's Media Van (circa 1971), the Citizen's Time Capsule (1975) and new digital media with the introduction of the HUQQUH.

CURRENT PUBLICATIONS
"Temporary Structures: Performing Architecture in Contemporary Art." Is a beautiful new catalog produced for the exhibition at the deCordova Sculpture Park and Museum. The Media Van v.08 [Time Capsule] and Ant Farm's work with inflatables is included along with luminaries such as Gordon Matta-Clark, Vito Acconci, and Erwin Wurm.

"Ten Years that Shook the City" (edited) by Chris Carlsson. The chapter ""With the Soul of a Human Rainbow" : Los Siete, Black Panthers, and Third Worldism in San Francisco," by Dr. Jason M. Ferreira, pp. 30- 47, gives some great background history to the Mission Police Station, clarifying some of the details as to how the building was stigmatized by the community based upon racism and civil rights abuses from the cops in the 60's and 70's. The other chapters also help develop the larger context of radical politics and culture in San Francisco from this period.
The (de)Appropriation Project Archive is featured in the new book "Street Art San Francisco: Mission Muralismo," by Annice Jacoby.

Read an interview with Bruce about the project at Artslant.com.

 

Bruce Tomb was raised in a context of boatbuilding and the heritage of three generations of artists. In 1956 his parents built a California Modern home in Oakland, California, and it was growing up in this environment that inspired the pursuit of a formal education in Architecture from California Polytechnic State University, San Luis Obispo, California.

Tomb furthered his architectural studies with Cristiano Toraldo di Francia of Superstudio in Florence, Italy. Upon returning to San Francisco, he joined the office of Batey and Mack Architects as project architect, renderer, and collaborator with Mark Mack. It was the collaborations on neo-primitive furniture and his urban pioneering in a raw warehouse space that ultimately led to Tomb's design and development of the “Granite Cooktop.” The fixture as furniture, winner of Progressive Architecture magazine's 1984 Furniture Design Competition, was exhibited at the Whitney Museum's “High Styles” exhibition in 1985. This was the first in a series of experimental pieces of furniture investigating new relationships among people, objects, and inhabited space.

Interim Office Of Architecture, also known as the collaborative IOOA, was co-founded in 1984 by Bruce Tomb with John Randolph, blurred the boundaries that traditionally separate art, design, and architecture. Perhaps best known for the Latrine project at the Headlands Center for the Arts and the installation Gnomon, at San Francisco Museum of Modern Art, IOOA's award winning installations, architecture, and furniture design have been exhibited and published extensively.

Tomb established the interdisciplinary practice, BRUCE TOMB, in 1998. Through both commissioned and experimental projects, he has been engaged in a wide range of projects investigating new relationships between people, sites, buildings, technology, and our environment. With particular interest in the working prototype as a model for research, the practice is defined by the pursuit of work that is peripheral to conventional architectural practice and yet central to architectural thought. Dense overlays of contemporary culture, antecedents and speculative futures are pursued through building prototype furniture, (site specific) installations, material and process experiments, product, and architectural projects.

Integral to the practice is the company, INFINITE FITTING, dedicated to the design and manufacture of hand finished sand-cast I F White Bronze, Silicon Bronze, Brass, Aluminum Basins and plumbing accessories. They are distributed throughout North America.

Bruce Tomb has taught at Cal Poly, San Luis Obispo, and was an Adjunct Professor at California College of Arts in San Francisco/Oakland, teaching Architectural Design and Sculpture Studios since 1989.