Mimi Plumb used to stay on the edges of the city where the rents were being affordable. Close by, on the summit of the hill, had been folded levels of radiolarian chert, the fossilized stays of microscopic creatures known as radiolaria. A massive crevice in the hillside was a reminder of the ever-present danger of an earthquake.
Heat Water Cove, along the bay, was a spectacle of tires and abandoned cars and trucks. One particular day Plumb photographed the chimney of the power station over the fiery destruction of the 25th Avenue Pier. She viewed planes flying around the city dump of cardboard hillsides.
“Downtown properties on the considerably-off horizon reminded me of Oz. My cat, Pearl, held observe on the rooftop of my flat.” – Mimi Plumb
Plumb’s life was marked by nights out dancing at the Crystal Pistol in the Mission, or listening to a punk polka band at the Oasis. Neil, the clarinet participant, wore faux leather-based naugahosen, with spikes protruding from his head. Often they performed pool at Palace Billiards. At the Exotic/Erotic Ball, a bird male and a nurse hid in the corners. A steely-eyed silver man in his tuxedo stared again at Plumb from driving his mask, the digital camera flash shining a light on him.
Plumb’s days have been used traveling to deserted faculties and derelict gas stations, a billboard professing ‘dangerously close to homemade.’
To Plumb the magical clanging of the San Francisco cable cars and trucks was a entire world away, and the idealism of the 1960s seemed prolonged gone. The Golden Metropolis of San Francisco, fraying at its edges, showed the developing chasm in between the prosperous and weak.
The pictures in The Golden City, released by Stanley/Barker, were designed among 1984 and 2020.