Bankers Investment Bldg

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Bankers Investment Bldg
Bankers Investment Bldg is listed in the Financial Planning & Investments category in San Francisco, California. Displayed below are the social networks for Bankers Investment Bldg which include a Facebook page and a Twitter account. The activity and popularity of Bankers Investment Bldg on these social networks gives it a ZapScore of 90.

Contact information for Bankers Investment Bldg is:
49 Geary St
San Francisco, CA 94108
(415) 781-2836

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Bankers Investment Bldg has an overall ZapScore of 90. This means that Bankers Investment Bldg has a higher ZapScore than 90% of all businesses on Zappenin. For reference, the median ZapScore for a business in San Francisco, California is 36 and in the category is 27. Learn more about ZapScore.

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Social Posts for Bankers Investment Bldg

Stop by Wirtz Art's booth #C5 at the SF Art Book Fair this weekend to check out Peter Mitchell's newest publication "A New Refutation of the Viking 4 Space Mission" among other artist books, monographs, and artworks. Hope to see you there! #sfabf2017 2017 San Francisco Art Book Fair
Peter Mitchell, A New Refutation of the Viking 4 Space Mission By Loring Knoblauch / In Photobooks / May 11, 2017 JTF (just the facts): Published in 2017 by RRB Publishing (here). Hardcover, 88 pages, with 64 color photographs made between 1974 and 1979. Includes detailed captions by the artist, an…

Wirtz Art updated their cover photo.
Rafael Ferrer, Kayak, c. 1970


Wirtz Art shared GRIDSPACE's event.
Kathryn Spence has a new exhibition opening at GRIDSPACE in New York tonight from 6-8pm! "Never Contained The Landscape" is a two-person exhibition, with Linda Geary. Longtime friends and touchstones of the San Francisco Bay Area’s art scene for over 20 years, the two artists present an amorphous exhibition of recent, small works. The exhibition will run through August 27th. Linda Geary Linda Geary's abstract paintings are inspired by material processes of transformation and reinvention. Her work explores the formal life of color at its most vital and intense, from encounters with weather, light, and local color, to public-private issues of visibility, using camouflage as an organizing structure and power source. Exhibitions include the Berkeley Museum/ Pacific Film Archive, Oakland Museum, Kadist Foundation, Bau Institute, Otranto, Italy, Yerba Buena Center for the Arts, Mills College, and the San Jose Institute of Contemporary Art. In 2013 she co-founded Painting Expanded, a symposium of contemporary painting at CCA, SF. Her book project, Studio Visit, 100 studio visits, with essay by Norma Cole. Reviews include Art in America, ArtForum, ArtPractical, KQED, Huffington Post, Portland Mercury News, the San Jose Mercury News, the San Francisco Chronicle, and Squarecylinder. She is the recipient of an Elizabeth Foundation Grant, a Pollock-Krasner, and residencies at the Millay Colony, Art Omi, and Yaddo. She is Professor of Painting and Graduate Fine Arts at California College of the Arts in San Francisco. Kathryn Spence Kathryn Spence’s objects and arrangements develop out of a fascination with materiality, physicality, and space. Her solo exhibition, ’Dirty and Clean,’ was recently exhibited at the Aldrich Museum of Contemporary Art in 2012. Other museum solo shows include Mills College Art Museum, Oakland, CA, 2010, the Johnson Museum at Cornell University, Ithaca, 2001, and the Kemper Museum of Contemporary Art, Kansas City, 1999. ‘Material World’ at the Denver Art Museum, and ‘Indestructible Wonder’ at the San Jose Museum of Art are recent groups shows, among others such as the 2005 Corcoran Biennial, Washington D.C., the California Biennial at the Orange County Museum, exhibitions at the Israel Museum, Jerusalem, SFMOMA, Mass College of Art, Boston, Torch Gallery, Amsterdam, Yerba Buena Center for the Arts, S.F., San Jose Museum of Art, and the Oakland Museum of California. She is featured in numerous public collections including SFMOMA, the M.H. de Young Memorial Museum, the Oakland Museum of California, the Nelson Museum at U.C. Davis, Mills College Art Museum, the Denver Art Museum, the Birmingham Art Museum, the San Jose Museum of Art, and the Santa Barbara Museum of Art. Kathryn is a recipient of the Anonymous was a Woman award, the Eureka Fellowship, an Artadia award, and the Fleischhacker Foundation award, She works in Oakland, California.
Longtime friends and touchstones of the San Francisco Bay Area’s art scene for over 20 years, Linda Geary and Kathryn Spence present an amorphous exhibition of recent, small works. Linda Geary's abstract paintings are inspired by material processes of transformation and reinvention. Her work explores the formal life of color at its most vital and intense, from encounters with weather, light, and local color, to public-private issues of visibility, using camouflage as an organizing structure and power source. Exhibitions include the Berkeley Museum/ Pacific Film Archive, Oakland Museum, Kadist Foundation, Bau Institute, Otranto, Italy, Yerba Buena Center for the Arts, Mills College, and the San Jose Institute of Contemporary Art. In 2013 she co-founded Painting Expanded, a symposium of contemporary painting at CCA, SF. Her book project, Studio Visit, 100 studio visits, with essay by Norma Cole. Reviews include Art in America, ArtForum, ArtPractical, KQED, Huffington Post, Portland Mercury News, the San Jose Mercury News, the San Francisco Chronicle, and Squarecylinder. She is the recipient of an Elizabeth Foundation Grant, a Pollock-Krasner, and residencies at the Millay Colony, Art Omi, and Yaddo. She is Professor of Painting and Graduate Fine Arts at California College of the Arts in San Francisco. Kathryn Spence’s objects and arrangements develop out of a fascination with materiality, physicality, and space. Her solo exhibition, ’Dirty and Clean,’ was recently exhibited at the Aldrich Museum of Contemporary Art in 2012. Other museum solo shows include Mills College Art Museum, Oakland, CA, 2010, the Johnson Museum at Cornell University, Ithaca, 2001, and the Kemper Museum of Contemporary Art, Kansas City, 1999. ‘Material World’ at the Denver Art Museum, and ‘Indestructible Wonder’ at the San Jose Museum of Art are recent groups shows, among others such as the 2005 Corcoran Biennial, Washington D.C., the California Biennial at the Orange County Museum, exhibitions at the Israel Museum, Jerusalem, SFMOMA, Mass College of Art, Boston, Torch Gallery, Amsterdam, Yerba Buena Center for the Arts, S.F., San Jose Museum of Art, and the Oakland Museum of California. She is featured in numerous public collections including SFMOMA, the M.H. de Young Memorial Museum, the Oakland Museum of California, the Nelson Museum at U.C. Davis, Mills College Art Museum, the Denver Art Museum, the Birmingham Art Museum, the San Jose Museum of Art, and the Santa Barbara Museum of Art. Kathryn is a recipient of the Anonymous was a Woman award, the Eureka Fellowship, an Artadia award, and the Fleischhacker Foundation award, She works in Oakland, California.
Art ⋅ Film

In the 1970s in Los Angeles, the photographer Mike Mandel took a camera to an intersection half a block from his house, and began to take candid photos of drivers. The images he captured show couples grinning at him, children scowling — and much more. Next month, the series becomes a book, “People in Cars,” and an exhibition, “Good 70s,” at SFMOMA San Francisco Museum of Modern Art. Check out the Stephen Wirtz Gallery exhibition, "Larry Sultan and Mike Mandel 'We Make You Us' Billboards and Evidence" on our Artsy page: https://www.artsy.net/show/stephen-wirtz-gallery-larry-sultan-and-mike-mandel-we-make-you-us-billboards-and-evidence
The photographer’s series from the 1970s is collected in a new book and an exhibition next month.


The final installment of our series, David Pace, Burkina Faso in Three Parts, Part 3: The Dance.


NY Times: The Startling Beauty of Scarecrows by Geoff Dyer artsy.net/article/wirtz-…


We're so pleased for Peter Mitchell whose photographs Geoff Dyer writes thoughtfully about in today's @nytimes. ow.ly/ywGE300Alo1


Really fantastic article by Lydia Brawner via @SFAQ about the style of scent as part of "Style Wars." ow.ly/4naO0C


RT @InventorLogan: metmuseum: The Whitney was always about intimacy and an artist-centric quality. —Adam Weinberg #DirectorsDialogue