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The Greatest Magazine Never Made by Blaine Fontana incorporates these elements perfectly. Fontana uses Anderson's framing aesthetic, flashes of the Futura font, and adherence to primary colors while drawing upon issues of consumption, extinction, and self-preservation.
It is a difficult task turning multidimensional characters into one or two dimensional art pieces. How do you display art themed on characters whose havoc wrought disassociation, when obvious continuities are bound to unite the lot?
"Bad Dads" invites its audience to partake and participate in a palate of interpretation. Like the films themselves, these pieces are confounding and exhausting. The show is a splayed mess -- what happens in our head when the wet paint of daddy issues has yet to dry.
Still, the thing about bad dads is that what is left in their destructive wake is often stronger, cogent, and tragically beautiful.
"Bad Dads," an art show tribute to the films of Wes Anderson, continues through Nov. 22 at Spoke Art, 816 Sutter (at Jones), S.F. Admission is free.
