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"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/289227316″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”165″ iframe=”true” /]\u003c/p>\n\u003cp>It’s another full week with tough choices at the Do List. We had room for just a shoutout to Oakland band \u003ca href=\"http://www.theseshen.com/\" target=\"_blank\" rel=\"noopener\">The Seshen’s \u003c/a>new album and record-release concert on \u003ca href=\"http://www.theuctheatre.org/event/1284767-seshen-berkeley/\" target=\"_blank\" rel=\"noopener\">Saturday, Oct. 22 at the UC Theatre\u003c/a> (such heartfelt R&B) with our friends \u003ca href=\"http://bellsatlas.com/\" target=\"_blank\" rel=\"noopener\">Bells Atlas\u003c/a> opening; and a shoutout for Brava Theatre’s presentation of \u003ca href=\"http://www.brava.org/current-shows/current-shows/hill/#.WAkQZfkrKJA\" target=\"_blank\" rel=\"noopener\">\u003cem>On the Hill, I Am Alex Nieto\u003c/em> (Oct. 27–30) \u003c/a>about the young man killed by San Francisco police. \u003ca href=\"https://ww2.kqed.org/arts/2016/04/25/alex-nieto-police-shooting-spurs-young-actors-to-reclaim-their-neighborhood-identity/\" target=\"_blank\" rel=\"noopener\">(See our KQED Arts video here)\u003c/a>. Plus please take \u003ca href=\"https://ww2.kqed.org/arts/2016/10/11/take-the-do-list-survey-you-might-win-kqed-swag/\" target=\"_blank\" rel=\"noopener\">The Do List Survey\u003c/a>, and help us make our show better. Enough. It’s a great list, so read (or listen) on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DqEseMoPZ-o\u003c/p>\n\u003cp>\u003cstrong>Oct. 23\u003c/strong>: The late Bobby Hutcherson played vibraphones with warmth even in his most experimental work (check \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Out_to_Lunch!\" target=\"_blank\" rel=\"noopener\">Out to Lunch\u003c/a> \u003c/em>with Eric Dolphy). Over six decades, he led bands and worked with greats like Dolphy, Jackie McLean, McCoy Tyner, Billy Higgins, Joe Chambers, and Herbie Hancock. He was an inaugural member of the \u003ca href=\"https://www.sfjazz.org/sfjazzcollective\" target=\"_blank\" rel=\"noopener\">SFJAZZ Collective\u003c/a>, and on Oct. 23, SFJAZZ honors him with a concert featuring former collaborators like McCoy Tyner, George Cables, Hubert Laws, John Handy and more. Hutcherson died of chronic obstructive pulmonary disease — he always had an oxygen tank onstage during his final performances — and proceeds will go to pay for medical expenses for the Hutcherson family. \u003ca href=\"https://www.sfjazz.org/bobbyhutchersonmemorial\" target=\"_blank\" rel=\"noopener\">Details are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231620\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg\" alt=\"Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show 'Beauty' at the San Jose Museum of Art\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art.jpg 1050w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show ‘Beauty’ at the San Jose Museum of Art \u003ccite>(Photo: Joe Kramm/R & Company and SJ Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Feb. 19\u003c/strong>: What is beauty? You’ll find a few good theories at the show \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" target=\"_blank\" rel=\"noopener\">\u003cem>Beauty \u003c/em>\u003c/a>that’s now running at the San Jose Museum of Art. This is the design triennial curated by the \u003ca href=\"http://www.cooperhewitt.org/\" target=\"_blank\" rel=\"noopener\">Cooper Hewitt Museum\u003c/a> in New York City, and a perfect match for\u003cbr>\nSilicon Valley, since there are more digital and tech-product designers working in the Bay Area than anywhere else in the world.\u003cbr>\nThe exhibit features everything from experimental prototypes and interactive games to tech, fashion and architecture. I love this definition for beauty from the designer \u003ca href=\"http://www.cristinagrajalesinc.com/artists/hechizoo-textiles\" target=\"_blank\" rel=\"noopener\">Hechizoo\u003c/a> (who’s in the show): “When you see beauty, you have this moment of silence, of stillness.” Details are \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O2K0ptoYpuc\u003c/p>\n\u003cp>\u003cstrong>Oct. 26 and Oct. 30\u003c/strong>: Tabla master and Bay Area resident \u003ca href=\"http://www.zakirhussain.com/\" target=\"_blank\" rel=\"noopener\">Zakir Hussain\u003c/a>’s fingers fly on the tabla (Indian drums similar to bongo drums), but it’s always in the service of telling a story. He loves collaborating with younger performers, and on this tour, Hussain is working with sitarist \u003ca href=\"http://www.niladrikumar.com/\" target=\"_blank\" rel=\"noopener\">Niladri Kumar\u003c/a>, whose father Hussain played with years ago. Playing with younger musicians, Hussain said recently, “stokes the fire under me and gets me going more.” Hussain is a longtime Deadhead, and he and Kumar will be joined at the Cal Performances show by former Grateful Dead drummer Micky Hart as a guest. Details for their \u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/zakir-hussain-niladri-kumar.php\" target=\"_blank\" rel=\"noopener\">Zellerbach Hall show on Oct. 26 are here\u003c/a>, and for their their \u003ca href=\"http://gmc.sonoma.edu/event/3123035-zakir-hussain-niladri-kumar\" target=\"_blank\" rel=\"noopener\">Oct. 30 show at the Green Music Center here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231819\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231819\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg\" alt=\"Brenda Meaney and Vandit Bhatt in Tom Stoppard's 'The Hard Problem' continues at the American Conservatory Theater through Nov. 13\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Meaney and Vandit Bhatt in Tom Stoppard’s ‘The Hard Problem’ continues at the American Conservatory Theater through Nov. 13 \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Nov. 13\u003c/strong>: Tom Stoppard writes dense, smart plays chock full of ideas. His newest is no exception. \u003cem>The Hard Problem\u003c/em> is about a young scientist, a psychologist, exploring the nature of consciousness and altruism — of goodness. This is Stoppard’s 11th time working with director Carey Perloff, artistic director for \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>, and Stoppard told me they make a terrific team. “The great thing about Carey,” said Stoppard during a break in rehearsal, “is she never puts a fence up around herself. She likes her writer to be involved. And above all, she likes my kind of theater. She’s in love with words and ideas. And we just blend very well.” The plays can demand that audiences drink more coffee than cocktails at intermission, but Stoppard is often deft at storytelling too. In this case, there’s a plot involving a lost baby and a wealthy hedge-fund manager. And Stoppard was most flattering about San Francisco audiences and how keen they are to be challenged. “There are cities, no doubt, where some of the audience might say: ‘Listen, you lost me, goodbye.’ In San Francisco, they might say: ‘Listen, you lost me. I’ll come again.’” Details for the show are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/the_hard_problem.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BgqAmZHkkTg\u003cbr>\n\u003cstrong>Oct. 21 and 22\u003c/strong>: You can see \u003ca href=\"http://www.kishibashi.com/#intro\" target=\"_blank\" rel=\"noopener\">Kishi Bashi\u003c/a> in his one-man band, live-looping like crazy in the NPR Tiny Desk Concert show above. But he worked more collaboratively (with producer Chris Taylor, engineer Pat Dillet, and drummer Matt Chamberlain) on his new album \u003cem>Sonderlust, \u003c/em>that is “straight from my soul.” The new work is still trademark Kishi Bashi, with lush synths and strings, but with an edge of sadness and loss that sneaks up on you. Kishi Bashi says the songs are about heartbreak, after his success and touring schedule put strains on his marriage. Details for Kishi Bashi’s shows at the \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">Fillmore tonight\u003c/a> \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a> and his show at \u003ca href=\"http://www.catalystclub.com/event/1251401-kishi-bashi-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Catalyst in Santa Cruz here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”165″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/289227316″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/289227316″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s another full week with tough choices at the Do List. We had room for just a shoutout to Oakland band \u003ca href=\"http://www.theseshen.com/\" target=\"_blank\" rel=\"noopener\">The Seshen’s \u003c/a>new album and record-release concert on \u003ca href=\"http://www.theuctheatre.org/event/1284767-seshen-berkeley/\" target=\"_blank\" rel=\"noopener\">Saturday, Oct. 22 at the UC Theatre\u003c/a> (such heartfelt R&B) with our friends \u003ca href=\"http://bellsatlas.com/\" target=\"_blank\" rel=\"noopener\">Bells Atlas\u003c/a> opening; and a shoutout for Brava Theatre’s presentation of \u003ca href=\"http://www.brava.org/current-shows/current-shows/hill/#.WAkQZfkrKJA\" target=\"_blank\" rel=\"noopener\">\u003cem>On the Hill, I Am Alex Nieto\u003c/em> (Oct. 27–30) \u003c/a>about the young man killed by San Francisco police. \u003ca href=\"https://ww2.kqed.org/arts/2016/04/25/alex-nieto-police-shooting-spurs-young-actors-to-reclaim-their-neighborhood-identity/\" target=\"_blank\" rel=\"noopener\">(See our KQED Arts video here)\u003c/a>. Plus please take \u003ca href=\"https://ww2.kqed.org/arts/2016/10/11/take-the-do-list-survey-you-might-win-kqed-swag/\" target=\"_blank\" rel=\"noopener\">The Do List Survey\u003c/a>, and help us make our show better. Enough. It’s a great list, so read (or listen) on.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DqEseMoPZ-o'\n title='//www.youtube.com/embed/DqEseMoPZ-o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 23\u003c/strong>: The late Bobby Hutcherson played vibraphones with warmth even in his most experimental work (check \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Out_to_Lunch!\" target=\"_blank\" rel=\"noopener\">Out to Lunch\u003c/a> \u003c/em>with Eric Dolphy). Over six decades, he led bands and worked with greats like Dolphy, Jackie McLean, McCoy Tyner, Billy Higgins, Joe Chambers, and Herbie Hancock. He was an inaugural member of the \u003ca href=\"https://www.sfjazz.org/sfjazzcollective\" target=\"_blank\" rel=\"noopener\">SFJAZZ Collective\u003c/a>, and on Oct. 23, SFJAZZ honors him with a concert featuring former collaborators like McCoy Tyner, George Cables, Hubert Laws, John Handy and more. Hutcherson died of chronic obstructive pulmonary disease — he always had an oxygen tank onstage during his final performances — and proceeds will go to pay for medical expenses for the Hutcherson family. \u003ca href=\"https://www.sfjazz.org/bobbyhutchersonmemorial\" target=\"_blank\" rel=\"noopener\">Details are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231620\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg\" alt=\"Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show 'Beauty' at the San Jose Museum of Art\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art.jpg 1050w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show ‘Beauty’ at the San Jose Museum of Art \u003ccite>(Photo: Joe Kramm/R & Company and SJ Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Feb. 19\u003c/strong>: What is beauty? You’ll find a few good theories at the show \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" target=\"_blank\" rel=\"noopener\">\u003cem>Beauty \u003c/em>\u003c/a>that’s now running at the San Jose Museum of Art. This is the design triennial curated by the \u003ca href=\"http://www.cooperhewitt.org/\" target=\"_blank\" rel=\"noopener\">Cooper Hewitt Museum\u003c/a> in New York City, and a perfect match for\u003cbr>\nSilicon Valley, since there are more digital and tech-product designers working in the Bay Area than anywhere else in the world.\u003cbr>\nThe exhibit features everything from experimental prototypes and interactive games to tech, fashion and architecture. I love this definition for beauty from the designer \u003ca href=\"http://www.cristinagrajalesinc.com/artists/hechizoo-textiles\" target=\"_blank\" rel=\"noopener\">Hechizoo\u003c/a> (who’s in the show): “When you see beauty, you have this moment of silence, of stillness.” Details are \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O2K0ptoYpuc'\n title='//www.youtube.com/embed/O2K0ptoYpuc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 26 and Oct. 30\u003c/strong>: Tabla master and Bay Area resident \u003ca href=\"http://www.zakirhussain.com/\" target=\"_blank\" rel=\"noopener\">Zakir Hussain\u003c/a>’s fingers fly on the tabla (Indian drums similar to bongo drums), but it’s always in the service of telling a story. He loves collaborating with younger performers, and on this tour, Hussain is working with sitarist \u003ca href=\"http://www.niladrikumar.com/\" target=\"_blank\" rel=\"noopener\">Niladri Kumar\u003c/a>, whose father Hussain played with years ago. Playing with younger musicians, Hussain said recently, “stokes the fire under me and gets me going more.” Hussain is a longtime Deadhead, and he and Kumar will be joined at the Cal Performances show by former Grateful Dead drummer Micky Hart as a guest. Details for their \u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/zakir-hussain-niladri-kumar.php\" target=\"_blank\" rel=\"noopener\">Zellerbach Hall show on Oct. 26 are here\u003c/a>, and for their their \u003ca href=\"http://gmc.sonoma.edu/event/3123035-zakir-hussain-niladri-kumar\" target=\"_blank\" rel=\"noopener\">Oct. 30 show at the Green Music Center here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231819\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231819\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg\" alt=\"Brenda Meaney and Vandit Bhatt in Tom Stoppard's 'The Hard Problem' continues at the American Conservatory Theater through Nov. 13\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Meaney and Vandit Bhatt in Tom Stoppard’s ‘The Hard Problem’ continues at the American Conservatory Theater through Nov. 13 \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Nov. 13\u003c/strong>: Tom Stoppard writes dense, smart plays chock full of ideas. His newest is no exception. \u003cem>The Hard Problem\u003c/em> is about a young scientist, a psychologist, exploring the nature of consciousness and altruism — of goodness. This is Stoppard’s 11th time working with director Carey Perloff, artistic director for \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>, and Stoppard told me they make a terrific team. “The great thing about Carey,” said Stoppard during a break in rehearsal, “is she never puts a fence up around herself. She likes her writer to be involved. And above all, she likes my kind of theater. She’s in love with words and ideas. And we just blend very well.” The plays can demand that audiences drink more coffee than cocktails at intermission, but Stoppard is often deft at storytelling too. In this case, there’s a plot involving a lost baby and a wealthy hedge-fund manager. And Stoppard was most flattering about San Francisco audiences and how keen they are to be challenged. “There are cities, no doubt, where some of the audience might say: ‘Listen, you lost me, goodbye.’ In San Francisco, they might say: ‘Listen, you lost me. I’ll come again.’” Details for the show are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/the_hard_problem.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BgqAmZHkkTg\u003cbr>\n\u003cstrong>Oct. 21 and 22\u003c/strong>: You can see \u003ca href=\"http://www.kishibashi.com/#intro\" target=\"_blank\" rel=\"noopener\">Kishi Bashi\u003c/a> in his one-man band, live-looping like crazy in the NPR Tiny Desk Concert show above. But he worked more collaboratively (with producer Chris Taylor, engineer Pat Dillet, and drummer Matt Chamberlain) on his new album \u003cem>Sonderlust, \u003c/em>that is “straight from my soul.” The new work is still trademark Kishi Bashi, with lush synths and strings, but with an edge of sadness and loss that sneaks up on you. Kishi Bashi says the songs are about heartbreak, after his success and touring schedule put strains on his marriage. Details for Kishi Bashi’s shows at the \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">Fillmore tonight\u003c/a> \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a> and his show at \u003ca href=\"http://www.catalystclub.com/event/1251401-kishi-bashi-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Catalyst in Santa Cruz here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "And God Said, Let There Be Neon, And It Sputtered",
"headTitle": "And God Said, Let There Be Neon, And It Sputtered | KQED",
"content": "\u003cp>\u003ci>Let There Be (More) Light\u003c/i>, the newest off-site exhibition produced by the Tenderloin’s \u003ca href=\"http://jessicasilvermangallery.com/exhibitions/let-there-be-more-light-curated-by-jens-hoffmann/\" target=\"_blank\" rel=\"noopener\">Jessica Silverman Gallery\u003c/a>, is cleverly subtitled “An illumination by Jens Hoffmann.” Former curator of the CCA Wattis Institute for Contemporary Arts, Hoffmann organized the show of 22 pieces by 21 artists around a simple premise: all the work — save for one instance of fluorescent tubing — is made of neon.\u003c/p>\n\u003cp>But besides the double-wide storefront at 508 Ellis Street, less than a block from the main gallery space, what exactly is being illuminated here?\u003c/p>\n\u003cp>The 40-page full-color exhibition booklet includes a curatorial essay from Hoffmann that attempts to answer that question: “There are many connections between light and art. The most direct one is that they both enable enlightenment — one literally, by bringing light into a dark space, and the other intellectually and aesthetically.” By this line of reasoning, art that uses light as its medium presumably kills two birds with one stone, providing literal \u003ci>and\u003c/i> figurative illumination.\u003c/p>\n\u003cfigure id=\"attachment_12227885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Martinez_Todo-Lo-Que-Brilla-Es-Informacion-2016_800.jpg\" alt=\"Adriana Martinez, 'TODO LO QUE BRILLA ES INFORMACIÓN (EVERYTHING THAT SHINES IS INFORMATION),' 2016.\" width=\"800\" height=\"611\" class=\"size-full wp-image-12227885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Martinez_Todo-Lo-Que-Brilla-Es-Informacion-2016_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Martinez_Todo-Lo-Que-Brilla-Es-Informacion-2016_800-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Martinez_Todo-Lo-Que-Brilla-Es-Informacion-2016_800-768x587.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Martinez_Todo-Lo-Que-Brilla-Es-Informacion-2016_800-240x183.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Martinez_Todo-Lo-Que-Brilla-Es-Informacion-2016_800-375x286.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Martinez_Todo-Lo-Que-Brilla-Es-Informacion-2016_800-520x397.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adriana Martinez, ‘TODO LO QUE BRILLA ES INFORMACIÓN (EVERYTHING THAT SHINES IS INFORMATION),’ 2016. \u003ccite>(Courtesy of Jessica Silverman Gallery; Photo by John Wilson White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet without context (the curatorial essay mentions exhibition artists Joseph Kosuth and Keith Sonnier, but fails to specifically address works by any other artists in the show), the bright lights and glowing signs of \u003ci>Let There Be (More) Light\u003c/i>, however brilliant and self-reflexive, are utterly opaque.\u003c/p>\n\u003cp>Sure, artworks exist free of exhibition essays, wall texts, or artist statements all the time. But the show promised enlightenment, and we can’t get there all by ourselves, even if the warm hum of neon provides a meditative soundtrack to the viewing experience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The wall-mounted neon text that dominates the show seems to promise meaningful messages, from Jonathan Monk’s monosyllabic but multicolored \u003ci>Fall\u003c/i> to Adrian Martinez’s \u003ci>TODO LO QUE BRILLA ES INFORMACIÓN\u003c/i>, translated as “everything that shines is information.” But not all information is knowledge, and so these free-floating fragments of text begin to blend together, differentiated only by a particular artist’s typeface and neon color choices. Alfredo Jaar favors a tall and slender font; Dominique Gonzalez-Foerster, a perfect cursive.\u003c/p>\n\u003cp>The show’s standouts are its more abstract, wordless elements, where the pressure to derive meaning is relieved by pure aesthetic enjoyment: Mai-Thu Perret’s \u003ci>Uncle Toby (Yellow)\u003c/i>, Paulina Olowska’s \u003ci>Natascha\u003c/i>, and Keith Sonnier’s \u003ci>Circle Portal A\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_12227882\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72.jpg\" alt=\"Keith Sonnier, 'Circle Portal A,' 2015. \" width=\"1080\" height=\"1440\" class=\"size-full wp-image-12227882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72-520x693.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Keith Sonnier, ‘Circle Portal A,’ 2015. \u003ccite>(Courtesy of the artist and Maccarone, NY/LA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To see \u003ci>Let There Be (More) Light\u003c/i>, visitors must first stop by the main gallery (currently showing a beautiful collection of 1960s “portal paintings” by \u003ca href=\"http://jessicasilvermangallery.com/exhibitions/1960s_portal_paintings/\" target=\"_blank\" rel=\"noopener\">Suzanne Blank Redstone\u003c/a>) to get a key-holding gallery employee to open the project space. This process, though roundabout, has the benefit of providing visitors with someone to answer any questions they might have about works in the show. Because even though knowledge of Laurence Sterne’s 18th-century novel \u003ci>Tristram Shandy\u003c/i> isn’t necessary to viewing Perret’s elegant yellow flourish and identifying it as an illustration therein, it’s a good story, and it makes the work — in my opinion — far more intriguing.\u003c/p>\n\u003cp>Further research — should the visitor be so inspired — can be undertaken via the internet after visiting the show. There, we read of Warsaw’s centrally planned “neonization” and \u003ca href=\"http://www.nytimes.com/2016/09/22/t-magazine/paulina-olowska-artist-poland.html\" target=\"_blank\" rel=\"noopener\">its influence on Olowska’s practice\u003c/a>. We refresh our memories of the myth of \u003ca href=\"https://en.wikipedia.org/wiki/Orpheus_and_Eurydice\" target=\"_blank\" rel=\"noopener\">Orpheus and Eurydice\u003c/a>, referenced in Glenn Ligon’s piece. And we learn Steve McQueen’s \u003ci>Remember Me\u003c/i> is one of \u003ca href=\"http://mariangoodman.com/exhibition/2602/installation-views\" target=\"_blank\" rel=\"noopener\">a set of 77 neon texts\u003c/a>, each rendered in a different handwriting. \u003c/p>\n\u003cfigure id=\"attachment_12227884\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200.jpg\" alt=\"Steve McQueen, 'Remember Me,' 2016.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-12227884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Steve McQueen, ‘Remember Me,’ 2016. \u003ccite>(Courtesy of the artist and Marian Goodman Gallery, New York, Paris and London; Photo by Rebecca Fanuele.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, further research likely won’t help us understand why all these works were gathered into one double-wide storefront for any reason beyond their shared materiality. And maybe that’s enough of a curatorial premise. It’s just not a path toward intellectual or aesthetic enlightenment, even if God did provide a quote for the exhibition title.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Let There Be (More) Light\u003c/b> is on view at 508 Ellis Street in San Francisco through Nov. 19. For more information visit \u003ca href=\"http://jessicasilvermangallery.com/exhibitions/let-there-be-more-light-curated-by-jens-hoffmann/\" target=\"_blank\" rel=\"noopener\">jessicasilvermangallery.com\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "A group exhibition curated by Jens Hoffmann illuminates Jessica Silverman Gallery's temporary project space with 22 neon and fluorescent works.",
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"title": "And God Said, Let There Be Neon, And It Sputtered | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Let There Be (More) Light\u003c/i>, the newest off-site exhibition produced by the Tenderloin’s \u003ca href=\"http://jessicasilvermangallery.com/exhibitions/let-there-be-more-light-curated-by-jens-hoffmann/\" target=\"_blank\" rel=\"noopener\">Jessica Silverman Gallery\u003c/a>, is cleverly subtitled “An illumination by Jens Hoffmann.” Former curator of the CCA Wattis Institute for Contemporary Arts, Hoffmann organized the show of 22 pieces by 21 artists around a simple premise: all the work — save for one instance of fluorescent tubing — is made of neon.\u003c/p>\n\u003cp>But besides the double-wide storefront at 508 Ellis Street, less than a block from the main gallery space, what exactly is being illuminated here?\u003c/p>\n\u003cp>The 40-page full-color exhibition booklet includes a curatorial essay from Hoffmann that attempts to answer that question: “There are many connections between light and art. The most direct one is that they both enable enlightenment — one literally, by bringing light into a dark space, and the other intellectually and aesthetically.” By this line of reasoning, art that uses light as its medium presumably kills two birds with one stone, providing literal \u003ci>and\u003c/i> figurative illumination.\u003c/p>\n\u003cfigure id=\"attachment_12227885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Martinez_Todo-Lo-Que-Brilla-Es-Informacion-2016_800.jpg\" alt=\"Adriana Martinez, 'TODO LO QUE BRILLA ES INFORMACIÓN (EVERYTHING THAT SHINES IS INFORMATION),' 2016.\" width=\"800\" height=\"611\" class=\"size-full wp-image-12227885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Martinez_Todo-Lo-Que-Brilla-Es-Informacion-2016_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Martinez_Todo-Lo-Que-Brilla-Es-Informacion-2016_800-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Martinez_Todo-Lo-Que-Brilla-Es-Informacion-2016_800-768x587.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Martinez_Todo-Lo-Que-Brilla-Es-Informacion-2016_800-240x183.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Martinez_Todo-Lo-Que-Brilla-Es-Informacion-2016_800-375x286.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Martinez_Todo-Lo-Que-Brilla-Es-Informacion-2016_800-520x397.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adriana Martinez, ‘TODO LO QUE BRILLA ES INFORMACIÓN (EVERYTHING THAT SHINES IS INFORMATION),’ 2016. \u003ccite>(Courtesy of Jessica Silverman Gallery; Photo by John Wilson White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet without context (the curatorial essay mentions exhibition artists Joseph Kosuth and Keith Sonnier, but fails to specifically address works by any other artists in the show), the bright lights and glowing signs of \u003ci>Let There Be (More) Light\u003c/i>, however brilliant and self-reflexive, are utterly opaque.\u003c/p>\n\u003cp>Sure, artworks exist free of exhibition essays, wall texts, or artist statements all the time. But the show promised enlightenment, and we can’t get there all by ourselves, even if the warm hum of neon provides a meditative soundtrack to the viewing experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The wall-mounted neon text that dominates the show seems to promise meaningful messages, from Jonathan Monk’s monosyllabic but multicolored \u003ci>Fall\u003c/i> to Adrian Martinez’s \u003ci>TODO LO QUE BRILLA ES INFORMACIÓN\u003c/i>, translated as “everything that shines is information.” But not all information is knowledge, and so these free-floating fragments of text begin to blend together, differentiated only by a particular artist’s typeface and neon color choices. Alfredo Jaar favors a tall and slender font; Dominique Gonzalez-Foerster, a perfect cursive.\u003c/p>\n\u003cp>The show’s standouts are its more abstract, wordless elements, where the pressure to derive meaning is relieved by pure aesthetic enjoyment: Mai-Thu Perret’s \u003ci>Uncle Toby (Yellow)\u003c/i>, Paulina Olowska’s \u003ci>Natascha\u003c/i>, and Keith Sonnier’s \u003ci>Circle Portal A\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_12227882\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72.jpg\" alt=\"Keith Sonnier, 'Circle Portal A,' 2015. \" width=\"1080\" height=\"1440\" class=\"size-full wp-image-12227882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sonnier_Circle-Portal-A-2015_neon-wire-and-transformer_80-x-78-x-13-inches_WEB_72-520x693.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Keith Sonnier, ‘Circle Portal A,’ 2015. \u003ccite>(Courtesy of the artist and Maccarone, NY/LA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To see \u003ci>Let There Be (More) Light\u003c/i>, visitors must first stop by the main gallery (currently showing a beautiful collection of 1960s “portal paintings” by \u003ca href=\"http://jessicasilvermangallery.com/exhibitions/1960s_portal_paintings/\" target=\"_blank\" rel=\"noopener\">Suzanne Blank Redstone\u003c/a>) to get a key-holding gallery employee to open the project space. This process, though roundabout, has the benefit of providing visitors with someone to answer any questions they might have about works in the show. Because even though knowledge of Laurence Sterne’s 18th-century novel \u003ci>Tristram Shandy\u003c/i> isn’t necessary to viewing Perret’s elegant yellow flourish and identifying it as an illustration therein, it’s a good story, and it makes the work — in my opinion — far more intriguing.\u003c/p>\n\u003cp>Further research — should the visitor be so inspired — can be undertaken via the internet after visiting the show. There, we read of Warsaw’s centrally planned “neonization” and \u003ca href=\"http://www.nytimes.com/2016/09/22/t-magazine/paulina-olowska-artist-poland.html\" target=\"_blank\" rel=\"noopener\">its influence on Olowska’s practice\u003c/a>. We refresh our memories of the myth of \u003ca href=\"https://en.wikipedia.org/wiki/Orpheus_and_Eurydice\" target=\"_blank\" rel=\"noopener\">Orpheus and Eurydice\u003c/a>, referenced in Glenn Ligon’s piece. And we learn Steve McQueen’s \u003ci>Remember Me\u003c/i> is one of \u003ca href=\"http://mariangoodman.com/exhibition/2602/installation-views\" target=\"_blank\" rel=\"noopener\">a set of 77 neon texts\u003c/a>, each rendered in a different handwriting. \u003c/p>\n\u003cfigure id=\"attachment_12227884\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200.jpg\" alt=\"Steve McQueen, 'Remember Me,' 2016.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-12227884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/McQueen_Remember-Me-2016_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Steve McQueen, ‘Remember Me,’ 2016. \u003ccite>(Courtesy of the artist and Marian Goodman Gallery, New York, Paris and London; Photo by Rebecca Fanuele.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, further research likely won’t help us understand why all these works were gathered into one double-wide storefront for any reason beyond their shared materiality. And maybe that’s enough of a curatorial premise. It’s just not a path toward intellectual or aesthetic enlightenment, even if God did provide a quote for the exhibition title.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Let There Be (More) Light\u003c/b> is on view at 508 Ellis Street in San Francisco through Nov. 19. For more information visit \u003ca href=\"http://jessicasilvermangallery.com/exhibitions/let-there-be-more-light-curated-by-jens-hoffmann/\" target=\"_blank\" rel=\"noopener\">jessicasilvermangallery.com\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Senators: Loopholes Allow for Trafficking of Tribal Items",
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"content": "\u003cp>A diplomatic push for the return of Native American ceremonial objects from auction houses in Paris has been hampered by loopholes in U.S. laws that authorities and lawmakers say prohibit the trafficking of the federally protected items domestically but don’t explicitly ban dealers from exporting them to foreign markets.\u003c/p>\n\u003cp>The comments from U.S. Sens. Tom Udall and Martin Heinrich, both New Mexico Democrats, came Tuesday before a field hearing in Albuquerque, where tribal leaders and representatives of several federal agencies — including the U.S. State, Interior and Justice departments — testified that a growing international market for ceremonial objects that include masks and shields has made it difficult for tribes to track and repatriate stolen items.\u003c/p>\n\u003cp>“They are not pieces of art. They are spiritual objects deeply important for tribal identity,” Udall said. “Theft not only robs the tribes of a sacred object, it robs them of a piece of their spiritual identity.”\u003c/p>\n\u003cp>French officials have told the Obama administration that they often are unable to intervene in numerous auction house sales of the items at the request of the United States because American laws fall short of making it a crime to send the objects overseas, the senators said.\u003c/p>\n\u003cp>Both are co-sponsors of legislation that would prohibit dealers from exporting the federally protected tribal items and double the prison time to 10 years for violating a statute that criminalizes stealing or unlawfully removing tribal objects from reservations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A U.S. State Department official said French and American authorities will meet at the end of the month to discuss the issue.\u003c/p>\n\u003cp>“We have a very close partnership with the French,” Mark Taplin, a principal deputy assistant secretary within the U.S. Department of State who testified at the field hearing told The Associated Press. “This is one of the relatively few areas where we need to work on finding an agreement.”\u003c/p>\n\u003cp>The Paris auctions have presented a diplomatic dilemma for years between the United States and France. The upcoming bilateral talks between the two countries, and the proposed legislation come as Acoma Pueblo in western New Mexico awaits word on whether a ceremonial shield that was set for auction in May will be returned.\u003c/p>\n\u003cp>EVE auction house in Paris halted the planned sale of the shield after facing immense pressure from top U.S. officials — including Interior Secretary Sally Jewell — and pueblo leaders, who produced an affidavit alleging the shield had been taken during a break-in from an elder’s Acoma Pueblo home.\u003c/p>\n\u003cp>The centuries-old village sits atop a mesa west of Albuquerque.\u003c/p>\n\u003cp>Heinrich’s bill has been met with criticism from collectors who question how U.S. authorities will determine which tribal objects represent sacred ceremonial items. Gregory Schaaf, a historian and retired Native American Studies professor, testified that more criminal penalties for the trafficking of Native American objects may lead some collectors to dispose of the items rather than return them to tribes, even though the proposed legislation allows for an amnesty period for collectors to return federally protect items.\u003c/p>\n\u003cp>“In order to make these sacred objects come home, you have to think from the perspective of other people from other cultures,” he told tribal leaders during the hearing. “You have to think from the perspective of the collector themselves.”\u003c/p>\n\u003cp>He presented leaders from Isleta and Acoma pueblos and the Navajo Nation with sealed boxes that he said contained objects considered sacred by each of the tribes.\u003c/p>\n\u003cp>Tribal officials expressed offense at the move, saying the hearing was not the time or place for returning sacred items. They did not confirm whether the boxes, in fact, contained sacred items before a Bureau of Indian Affairs agent collected them, saying they were “evidence.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We practice our culture and use these items,” said Gov. Kurt Riley of Acoma Pueblo. “For someone else to tell us what is sacred and what is not, is inappropriate.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A diplomatic push for the return of Native American ceremonial objects from auction houses in Paris has been hampered by loopholes in U.S. laws that authorities and lawmakers say prohibit the trafficking of the federally protected items domestically but don’t explicitly ban dealers from exporting them to foreign markets.\u003c/p>\n\u003cp>The comments from U.S. Sens. Tom Udall and Martin Heinrich, both New Mexico Democrats, came Tuesday before a field hearing in Albuquerque, where tribal leaders and representatives of several federal agencies — including the U.S. State, Interior and Justice departments — testified that a growing international market for ceremonial objects that include masks and shields has made it difficult for tribes to track and repatriate stolen items.\u003c/p>\n\u003cp>“They are not pieces of art. They are spiritual objects deeply important for tribal identity,” Udall said. “Theft not only robs the tribes of a sacred object, it robs them of a piece of their spiritual identity.”\u003c/p>\n\u003cp>French officials have told the Obama administration that they often are unable to intervene in numerous auction house sales of the items at the request of the United States because American laws fall short of making it a crime to send the objects overseas, the senators said.\u003c/p>\n\u003cp>Both are co-sponsors of legislation that would prohibit dealers from exporting the federally protected tribal items and double the prison time to 10 years for violating a statute that criminalizes stealing or unlawfully removing tribal objects from reservations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A U.S. State Department official said French and American authorities will meet at the end of the month to discuss the issue.\u003c/p>\n\u003cp>“We have a very close partnership with the French,” Mark Taplin, a principal deputy assistant secretary within the U.S. Department of State who testified at the field hearing told The Associated Press. “This is one of the relatively few areas where we need to work on finding an agreement.”\u003c/p>\n\u003cp>The Paris auctions have presented a diplomatic dilemma for years between the United States and France. The upcoming bilateral talks between the two countries, and the proposed legislation come as Acoma Pueblo in western New Mexico awaits word on whether a ceremonial shield that was set for auction in May will be returned.\u003c/p>\n\u003cp>EVE auction house in Paris halted the planned sale of the shield after facing immense pressure from top U.S. officials — including Interior Secretary Sally Jewell — and pueblo leaders, who produced an affidavit alleging the shield had been taken during a break-in from an elder’s Acoma Pueblo home.\u003c/p>\n\u003cp>The centuries-old village sits atop a mesa west of Albuquerque.\u003c/p>\n\u003cp>Heinrich’s bill has been met with criticism from collectors who question how U.S. authorities will determine which tribal objects represent sacred ceremonial items. Gregory Schaaf, a historian and retired Native American Studies professor, testified that more criminal penalties for the trafficking of Native American objects may lead some collectors to dispose of the items rather than return them to tribes, even though the proposed legislation allows for an amnesty period for collectors to return federally protect items.\u003c/p>\n\u003cp>“In order to make these sacred objects come home, you have to think from the perspective of other people from other cultures,” he told tribal leaders during the hearing. “You have to think from the perspective of the collector themselves.”\u003c/p>\n\u003cp>He presented leaders from Isleta and Acoma pueblos and the Navajo Nation with sealed boxes that he said contained objects considered sacred by each of the tribes.\u003c/p>\n\u003cp>Tribal officials expressed offense at the move, saying the hearing was not the time or place for returning sacred items. They did not confirm whether the boxes, in fact, contained sacred items before a Bureau of Indian Affairs agent collected them, saying they were “evidence.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We practice our culture and use these items,” said Gov. Kurt Riley of Acoma Pueblo. “For someone else to tell us what is sacred and what is not, is inappropriate.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>(For mobile viewing, \u003ca href=\"https://youtu.be/ASRVpVN6fxU\" target=\"_blank\" rel=\"noopener\">open this video in your YouTube app\u003c/a>.)\u003c/em>\u003c/p>\n\u003cp>San Francisco artist Jane Kim has painted hundreds of species of plants and animals, from the Sierra’s disappearing bighorn sheep to a giant prehistoric owl that once roamed Cuba. But this year, the science illustrator, who co-founded \u003ca href=\"http://inkdwell.com\" target=\"_blank\" rel=\"noopener\">Ink Dwell studio\u003c/a>, turned her sights closer to home.\u003c/p>\n\u003cp>Kim lives just a few blocks away from Golden Gate Park, its 1,000 acres inhabited by thousands of plants and animals and frequented by 13 million visitors every year, and wanted to explore how the city’s beloved green space came about.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>How to View 360 Videos\u003c/h3>\n\u003cfigure>\u003ca href=\"https://youtu.be/ltH0FyoI4Gg\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/BisoninGG.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cul>\n\u003cli>For desktop viewing, the latest versions of the following browsers support 360 video:\u003cstrong> Chrome, Firefox and Internet Explorer\u003c/strong>. Click and drag to navigate around the frame.\u003c/li>\n\u003cli>For iOS or Android mobile viewing, \u003cstrong>open the video directly in your YouTube app\u003c/strong>: \u003ca href=\"https://youtu.be/ASRVpVN6fxU\" target=\"_blank\" rel=\"noopener\">https://youtu.be/GVnQ0Onax4Y\u003c/a>. Move your phone around or use your finger to navigate.\u003c/li>\n\u003cli>To use Google cardboard with your smartphone, click the cardboard icon in the bottom right within the YouTube app. To win a 360 cardboard viewer, check out \u003ca href=\"https://ww2.kqed.org/about/2016/10/21/vr-challenge-win-your-own-360-cardboard-viewer/\" target=\"_blank\" rel=\"noopener\">VR Challenge\u003c/a>.\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>As the de Young Museum’s \u003ca href=\"https://deyoung.famsf.org/programs/artist-studio/nonnative-june-artist-residence-jane-kim\" target=\"_blank\" rel=\"noopener\">June 2016 Artist-in-Residence\u003c/a>, she discovered that rapid growth from San Francisco’s “other” boom nearly 150 years ago — the Gold Rush — fueled the park’s creation, and how public opinion prominently influenced what has survived in the park over the years.\u003c/p>\n\u003cp>In this 360 video, KQED Arts captures Kim’s journey into Golden Gate Park’s past and present, immersing the viewer in areas inaccessible to the public — from the middle of the bison paddock to the historic nursery that helped establish the park’s earliest plantings. Animations reveal the radical transformation that San Francisco’s native coastal landscape underwent to become the Golden Gate Park we know and enjoy today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The ups and downs of species in and out of the park are directly a result of our own behavior and attitudes,” says Kim, who sees parallels between the park and greater San Francisco today. “I started to see similarities between sentiments of wanting to preserve native plants and wildlife in San Francisco and wanting to preserve native culture and people in San Francisco.”\u003c/p>\n\u003cp>Kim grounded her residency at de Young’s Kimball Gallery with a world map tracing the origins of the most common plants in park, as well as the birthplaces of museum visitors. She created several paintings depicting the complex interplay between animals, plants and people when they share the same space. One painting shows a pair of ravens perched in a eucalyptus, weaving a nest of iPhone lightning cables. In another, a coyote and fox play tug-of-war over a Facebook employee lanyard, against the backdrop of invasive ivy.\u003c/p>\n\u003cp>“I hope people ask themselves, ‘What character am I? Who do I relate with in this?’ And that we can move beyond the blanket native and non-native argument, to consider the whole system and how we can make decisions moving forward,” adds Kim, “because the decisions we continue to make are going to shape what Golden Gate Park is for the next 100 years.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>See works from Jane Kim’s de Young residency in \u003cstrong>CARBON\u003c/strong> at Gallerie Citi through Nov. 24. For more information on the exhibition visit \u003ca href=\"http://www.gallerieciti.com\" target=\"_blank\" rel=\"noopener\">gallerieciti.com\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>(For mobile viewing, \u003ca href=\"https://youtu.be/ASRVpVN6fxU\" target=\"_blank\" rel=\"noopener\">open this video in your YouTube app\u003c/a>.)\u003c/em>\u003c/p>\n\u003cp>San Francisco artist Jane Kim has painted hundreds of species of plants and animals, from the Sierra’s disappearing bighorn sheep to a giant prehistoric owl that once roamed Cuba. But this year, the science illustrator, who co-founded \u003ca href=\"http://inkdwell.com\" target=\"_blank\" rel=\"noopener\">Ink Dwell studio\u003c/a>, turned her sights closer to home.\u003c/p>\n\u003cp>Kim lives just a few blocks away from Golden Gate Park, its 1,000 acres inhabited by thousands of plants and animals and frequented by 13 million visitors every year, and wanted to explore how the city’s beloved green space came about.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>How to View 360 Videos\u003c/h3>\n\u003cfigure>\u003ca href=\"https://youtu.be/ltH0FyoI4Gg\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/BisoninGG.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cul>\n\u003cli>For desktop viewing, the latest versions of the following browsers support 360 video:\u003cstrong> Chrome, Firefox and Internet Explorer\u003c/strong>. Click and drag to navigate around the frame.\u003c/li>\n\u003cli>For iOS or Android mobile viewing, \u003cstrong>open the video directly in your YouTube app\u003c/strong>: \u003ca href=\"https://youtu.be/ASRVpVN6fxU\" target=\"_blank\" rel=\"noopener\">https://youtu.be/GVnQ0Onax4Y\u003c/a>. Move your phone around or use your finger to navigate.\u003c/li>\n\u003cli>To use Google cardboard with your smartphone, click the cardboard icon in the bottom right within the YouTube app. To win a 360 cardboard viewer, check out \u003ca href=\"https://ww2.kqed.org/about/2016/10/21/vr-challenge-win-your-own-360-cardboard-viewer/\" target=\"_blank\" rel=\"noopener\">VR Challenge\u003c/a>.\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>As the de Young Museum’s \u003ca href=\"https://deyoung.famsf.org/programs/artist-studio/nonnative-june-artist-residence-jane-kim\" target=\"_blank\" rel=\"noopener\">June 2016 Artist-in-Residence\u003c/a>, she discovered that rapid growth from San Francisco’s “other” boom nearly 150 years ago — the Gold Rush — fueled the park’s creation, and how public opinion prominently influenced what has survived in the park over the years.\u003c/p>\n\u003cp>In this 360 video, KQED Arts captures Kim’s journey into Golden Gate Park’s past and present, immersing the viewer in areas inaccessible to the public — from the middle of the bison paddock to the historic nursery that helped establish the park’s earliest plantings. Animations reveal the radical transformation that San Francisco’s native coastal landscape underwent to become the Golden Gate Park we know and enjoy today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The ups and downs of species in and out of the park are directly a result of our own behavior and attitudes,” says Kim, who sees parallels between the park and greater San Francisco today. “I started to see similarities between sentiments of wanting to preserve native plants and wildlife in San Francisco and wanting to preserve native culture and people in San Francisco.”\u003c/p>\n\u003cp>Kim grounded her residency at de Young’s Kimball Gallery with a world map tracing the origins of the most common plants in park, as well as the birthplaces of museum visitors. She created several paintings depicting the complex interplay between animals, plants and people when they share the same space. One painting shows a pair of ravens perched in a eucalyptus, weaving a nest of iPhone lightning cables. In another, a coyote and fox play tug-of-war over a Facebook employee lanyard, against the backdrop of invasive ivy.\u003c/p>\n\u003cp>“I hope people ask themselves, ‘What character am I? Who do I relate with in this?’ And that we can move beyond the blanket native and non-native argument, to consider the whole system and how we can make decisions moving forward,” adds Kim, “because the decisions we continue to make are going to shape what Golden Gate Park is for the next 100 years.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>See works from Jane Kim’s de Young residency in \u003cstrong>CARBON\u003c/strong> at Gallerie Citi through Nov. 24. For more information on the exhibition visit \u003ca href=\"http://www.gallerieciti.com\" target=\"_blank\" rel=\"noopener\">gallerieciti.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Graphic designer \u003ca href=\"http://helentseng.com/\" target=\"_blank\" rel=\"noopener\">Helen Tseng\u003c/a> and AI policy researcher \u003ca href=\"http://timhwang.org/\" target=\"_blank\" rel=\"noopener\">Tim Hwang\u003c/a> can’t quite remember when they first collaborated on an unusual project. “Was it the tiki thing?” asks Tseng. (That would be the Bay Area Tiki Society; Tseng designed the membership swag.)\u003c/p>\n\u003cp>“Or was it \u003ca href=\"http://tableflip.us/\" target=\"_blank\" rel=\"noopener\">TableFlip\u003c/a>?” Hwang says, referring to a daylong conference on the art and design of tabletop games.\u003c/p>\n\u003cp>Other joint ventures followed, including \u003ca href=\"http://helentseng.com/gruen-day/\" target=\"_blank\" rel=\"noopener\">Gruen Day 2015\u003c/a>, a celebration of 59 years of the enclosed American shopping center (a.k.a. the mall).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12214475\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/InternetSquare.jpg\" alt=\"InternetSquare\" width=\"1200\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-400x403.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-595x600.jpg 595w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-768x774.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-1170x1180.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-1180x1190.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-960x968.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp>Tseng and Hwang share an enthusiasm for under-celebrated, hiding-in-plain-sight topics, so it’s only fitting that the subject of their latest collaboration is a shared love for the early internet. \u003ci>\u003ca href=\"http://theinternet.show/\" target=\"_blank\" rel=\"noopener\">Internet! A Retrospective\u003c/a>\u003c/i>, on view Oct. 22 and 23 at San Francisco’s \u003ca href=\"http://www.spur.org/\" target=\"_blank\" rel=\"noopener\">SPUR\u003c/a>, brings together artworks, speakers and objects tied to the scrappy era of Web 1.0, a time when the possibilities of the internet seemed hindered only by the low bandwidth of our cranky dial-up modems.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There was this sense of excitement and possibility we remembered from the late ’90s and early 2000s,” Hwang says. “Now everyone’s excited about virtual reality, but there’s a lack of history in that excitement.”\u003c/p>\n\u003cfigure id=\"attachment_12214669\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12214669\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GeocitiesForever.jpg\" alt=\"Screen capture from Aanand Prasad's 'Geocities Forever.'\" width=\"1200\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GeocitiesForever.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GeocitiesForever-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GeocitiesForever-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GeocitiesForever-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GeocitiesForever-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GeocitiesForever-960x638.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Screen capture from Aanand Prasad’s ‘Geocities Forever.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tseng says she sees the aesthetics of the early web everywhere in design right now — a mixture of nostalgia and unhistorical attraction — but similarly, without much acknowledgement of the original content.\u003c/p>\n\u003cp>Because unlike other mediums and moments in visual history, the early internet is pretty much completely gone. Every now and then you might stumble across a webpage that looks like it came straight out of 1996, but those moments are few and far between.\u003c/p>\n\u003cp>No group of websites more strongly embodied the spirit and visual aesthetics of the early internet than GeoCities, a web-hosting service founded in 1994 that allowed users to build their own webpages for free.\u003c/p>\n\u003cfigure id=\"attachment_12214670\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12214670\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/CameronsWorld2.jpg\" alt=\"Screen capture from Cameron Atkins' 'Cameron's World.'\" width=\"1200\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/CameronsWorld2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/CameronsWorld2-400x190.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/CameronsWorld2-800x381.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/CameronsWorld2-768x365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/CameronsWorld2-1180x561.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/CameronsWorld2-960x457.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Screen capture from Cameron Atkins’ ‘Cameron’s World.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of Tseng’s earliest interactions with the internet took place on GeoCities. She’s particularly proud of a parody “under construction” page she built, complete with animated falling bricks.\u003c/p>\n\u003cp>When Yahoo!, which purchased GeoCities in 1999, announced a shutdown of the service in 2009, internet archivists and other hosting services rushed to both “save” the GeoCities pages and poach their customers. Several of the artists in \u003ci>Internet!\u003c/i> draw directly from those materials to build homages to what artist Cameron Akin calls “the lost days of unrefined self-expression.”\u003c/p>\n\u003cp>Askin’s \u003ci>\u003ca href=\"http://cameronsworld.net\" target=\"_blank\" rel=\"noopener\">Cameron’s World\u003c/a>\u003c/i>, a web-collage of text and images from thousands of archived GeoCities pages is a catalog of those lost days. The effect — a cascade of GIFs, cacophonous MIDI tunes and thematically-arranged visuals — is at once overwhelming and exhilarating. \u003ci>Cameron’s World\u003c/i> is so unlike the sleek, parallax-driven, Squarespace templates of today that it triggers a sense of acute loss.\u003c/p>\n\u003cfigure id=\"attachment_12214477\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12214477\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Dog.jpg\" alt=\"Screen capture from Olia Lialina's 'on the internet everybody knows you had a dog.'\" width=\"1200\" height=\"753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Dog.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Dog-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Dog-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Dog-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Dog-1180x740.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Dog-960x602.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Screen capture from Olia Lialina’s ‘on the internet everybody knows you had a dog.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly, Olia Lialina’s \u003ci>\u003ca href=\"http://dogs.geocities.institute/\" target=\"_blank\" rel=\"noopener\">on the internet everybody knows you had a dog\u003c/a>\u003c/i> provides a seemingly never-ending slideshow of GeoCities homepages featuring pet pooches while a MIDI version of Procol Harum’s “A Whiter Shade of Pale” plays on and on and on. It’s boring, but mesmerizing, which could also double as a description of my own experiences with the early internet (AIM, anyone?).\u003c/p>\n\u003cp>Tseng and Hwang are interested in making those ephemeral, personal experiences visible. Morehshin Allahyari’s \u003ci>\u003ca href=\"http://www.morehshin.com/in-mere-spaces-all-things-are-side-by-side-i-2014-present/\" target=\"_blank\" rel=\"noopener\">In Mere Spaces All Things Are Side By Side I\u003c/a>\u003c/i> is a video work that mines the Iranian-born artist’s Yahoo! chat histories from a four-year-long online relationship. The text of her conversations, plagued by evasive language and dropped internet connections, plays out against a bleak 3D-rendered interior space. “My slow and interrupted online being can not escape the oppression of the country I live in,” she types. “But persisting to be online every day is my only way of resisting it.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/108968300?portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>It’s hard not to feel nostalgia in the presence of the early internet, but Tseng and Hwang hope, beyond that, \u003ci>Internet! A Retrospective\u003c/i> provides a sense of context and continuity for the internet of 2016. As Hwang points out, the current iteration of the internet — and its seemingly unfettered growth — is just “another historical blip” in the Bay Area’s long history of digital connection.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Internet! A Retrospective’ is on view at SPUR in San Francisco, Oct. 22 and 23, 11am-5pm, with an opening reception on Saturday, Oct. 22, 6-9pm. For more information and to donate to the opening night reception (proceeds benefit the Internet Archive), visit \u003ca href=\"http://theinternet.show/\" target=\"_blank\" rel=\"noopener\">theinternet.show\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Celebrating the Bright Lights, Big GeoCities of the Early Internet | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Graphic designer \u003ca href=\"http://helentseng.com/\" target=\"_blank\" rel=\"noopener\">Helen Tseng\u003c/a> and AI policy researcher \u003ca href=\"http://timhwang.org/\" target=\"_blank\" rel=\"noopener\">Tim Hwang\u003c/a> can’t quite remember when they first collaborated on an unusual project. “Was it the tiki thing?” asks Tseng. (That would be the Bay Area Tiki Society; Tseng designed the membership swag.)\u003c/p>\n\u003cp>“Or was it \u003ca href=\"http://tableflip.us/\" target=\"_blank\" rel=\"noopener\">TableFlip\u003c/a>?” Hwang says, referring to a daylong conference on the art and design of tabletop games.\u003c/p>\n\u003cp>Other joint ventures followed, including \u003ca href=\"http://helentseng.com/gruen-day/\" target=\"_blank\" rel=\"noopener\">Gruen Day 2015\u003c/a>, a celebration of 59 years of the enclosed American shopping center (a.k.a. the mall).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12214475\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/InternetSquare.jpg\" alt=\"InternetSquare\" width=\"1200\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-400x403.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-595x600.jpg 595w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-768x774.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-1170x1180.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-1180x1190.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-960x968.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/InternetSquare-150x150.jpg 150w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp>Tseng and Hwang share an enthusiasm for under-celebrated, hiding-in-plain-sight topics, so it’s only fitting that the subject of their latest collaboration is a shared love for the early internet. \u003ci>\u003ca href=\"http://theinternet.show/\" target=\"_blank\" rel=\"noopener\">Internet! A Retrospective\u003c/a>\u003c/i>, on view Oct. 22 and 23 at San Francisco’s \u003ca href=\"http://www.spur.org/\" target=\"_blank\" rel=\"noopener\">SPUR\u003c/a>, brings together artworks, speakers and objects tied to the scrappy era of Web 1.0, a time when the possibilities of the internet seemed hindered only by the low bandwidth of our cranky dial-up modems.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There was this sense of excitement and possibility we remembered from the late ’90s and early 2000s,” Hwang says. “Now everyone’s excited about virtual reality, but there’s a lack of history in that excitement.”\u003c/p>\n\u003cfigure id=\"attachment_12214669\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12214669\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GeocitiesForever.jpg\" alt=\"Screen capture from Aanand Prasad's 'Geocities Forever.'\" width=\"1200\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GeocitiesForever.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GeocitiesForever-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GeocitiesForever-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GeocitiesForever-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GeocitiesForever-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GeocitiesForever-960x638.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Screen capture from Aanand Prasad’s ‘Geocities Forever.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tseng says she sees the aesthetics of the early web everywhere in design right now — a mixture of nostalgia and unhistorical attraction — but similarly, without much acknowledgement of the original content.\u003c/p>\n\u003cp>Because unlike other mediums and moments in visual history, the early internet is pretty much completely gone. Every now and then you might stumble across a webpage that looks like it came straight out of 1996, but those moments are few and far between.\u003c/p>\n\u003cp>No group of websites more strongly embodied the spirit and visual aesthetics of the early internet than GeoCities, a web-hosting service founded in 1994 that allowed users to build their own webpages for free.\u003c/p>\n\u003cfigure id=\"attachment_12214670\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12214670\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/CameronsWorld2.jpg\" alt=\"Screen capture from Cameron Atkins' 'Cameron's World.'\" width=\"1200\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/CameronsWorld2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/CameronsWorld2-400x190.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/CameronsWorld2-800x381.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/CameronsWorld2-768x365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/CameronsWorld2-1180x561.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/CameronsWorld2-960x457.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Screen capture from Cameron Atkins’ ‘Cameron’s World.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of Tseng’s earliest interactions with the internet took place on GeoCities. She’s particularly proud of a parody “under construction” page she built, complete with animated falling bricks.\u003c/p>\n\u003cp>When Yahoo!, which purchased GeoCities in 1999, announced a shutdown of the service in 2009, internet archivists and other hosting services rushed to both “save” the GeoCities pages and poach their customers. Several of the artists in \u003ci>Internet!\u003c/i> draw directly from those materials to build homages to what artist Cameron Akin calls “the lost days of unrefined self-expression.”\u003c/p>\n\u003cp>Askin’s \u003ci>\u003ca href=\"http://cameronsworld.net\" target=\"_blank\" rel=\"noopener\">Cameron’s World\u003c/a>\u003c/i>, a web-collage of text and images from thousands of archived GeoCities pages is a catalog of those lost days. The effect — a cascade of GIFs, cacophonous MIDI tunes and thematically-arranged visuals — is at once overwhelming and exhilarating. \u003ci>Cameron’s World\u003c/i> is so unlike the sleek, parallax-driven, Squarespace templates of today that it triggers a sense of acute loss.\u003c/p>\n\u003cfigure id=\"attachment_12214477\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12214477\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Dog.jpg\" alt=\"Screen capture from Olia Lialina's 'on the internet everybody knows you had a dog.'\" width=\"1200\" height=\"753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Dog.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Dog-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Dog-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Dog-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Dog-1180x740.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Dog-960x602.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Screen capture from Olia Lialina’s ‘on the internet everybody knows you had a dog.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly, Olia Lialina’s \u003ci>\u003ca href=\"http://dogs.geocities.institute/\" target=\"_blank\" rel=\"noopener\">on the internet everybody knows you had a dog\u003c/a>\u003c/i> provides a seemingly never-ending slideshow of GeoCities homepages featuring pet pooches while a MIDI version of Procol Harum’s “A Whiter Shade of Pale” plays on and on and on. It’s boring, but mesmerizing, which could also double as a description of my own experiences with the early internet (AIM, anyone?).\u003c/p>\n\u003cp>Tseng and Hwang are interested in making those ephemeral, personal experiences visible. Morehshin Allahyari’s \u003ci>\u003ca href=\"http://www.morehshin.com/in-mere-spaces-all-things-are-side-by-side-i-2014-present/\" target=\"_blank\" rel=\"noopener\">In Mere Spaces All Things Are Side By Side I\u003c/a>\u003c/i> is a video work that mines the Iranian-born artist’s Yahoo! chat histories from a four-year-long online relationship. The text of her conversations, plagued by evasive language and dropped internet connections, plays out against a bleak 3D-rendered interior space. “My slow and interrupted online being can not escape the oppression of the country I live in,” she types. “But persisting to be online every day is my only way of resisting it.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/108968300?portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>It’s hard not to feel nostalgia in the presence of the early internet, but Tseng and Hwang hope, beyond that, \u003ci>Internet! A Retrospective\u003c/i> provides a sense of context and continuity for the internet of 2016. As Hwang points out, the current iteration of the internet — and its seemingly unfettered growth — is just “another historical blip” in the Bay Area’s long history of digital connection.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Internet! A Retrospective’ is on view at SPUR in San Francisco, Oct. 22 and 23, 11am-5pm, with an opening reception on Saturday, Oct. 22, 6-9pm. For more information and to donate to the opening night reception (proceeds benefit the Internet Archive), visit \u003ca href=\"http://theinternet.show/\" target=\"_blank\" rel=\"noopener\">theinternet.show\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "25 Years After the Rodney King Beating, How Have We Changed?",
"headTitle": "25 Years After the Rodney King Beating, How Have We Changed? | KQED",
"content": "\u003cp>In the early hours of March 3, 1991, Rodney King was severely beaten by Los Angeles police officers after a high speed chase through a maze of residential neighborhoods and freeways. A video of the incident was filmed from a bystander’s balcony, making it perhaps the first viral piece of documentation of police brutality in America. \u003c/p>\n\u003cp>The clip of the four officers aggressively swinging batons and feet at King — while at least four officers stood by and watched — spread quickly from one news network to the next, igniting outrage that would erupt into a week-long riot the following year, when the officers were acquitted of using excessive force against King. The rioting fanned out across Los Angeles in a wild and dangerous wave, causing 56 deaths, over 2,300 injuries, nearly 7,000 fires and, some argue, a further racial divide across the nation.\u003c/p>\n\u003cfigure id=\"attachment_12218205\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Emory-Douglas-Political-Gridlock-Police-Terror-USA-1200.jpg\" alt=\"Emory Douglas, 'Police Terror USA.'\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-12218205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Emory-Douglas-Political-Gridlock-Police-Terror-USA-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Emory-Douglas-Political-Gridlock-Police-Terror-USA-1200-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Emory-Douglas-Political-Gridlock-Police-Terror-USA-1200-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Emory-Douglas-Political-Gridlock-Police-Terror-USA-1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Emory-Douglas-Political-Gridlock-Police-Terror-USA-1200-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Emory-Douglas-Political-Gridlock-Police-Terror-USA-1200-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Emory-Douglas-Political-Gridlock-Police-Terror-USA-1200-960x1280.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas, ‘Police Terror USA.’ \u003ccite>(Courtesy of Betti Ono Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peering back over the last two and a half decades, \u003ci>\u003ca href=\"http://viral-rk25.squarespace.com/\" target=\"_blank\" rel=\"noopener\">VIRAL: 25 Years From Rodney King\u003c/a>\u003c/i>, a multi-media art exhibit at \u003ca href=\"https://bettiono.com/\" target=\"_blank\" rel=\"noopener\">Betti Ono Gallery\u003c/a> in Oakland, asks the question everyone wants an answer to: \u003ci>So, America, how have we changed?\u003c/i>\u003c/p>\n\u003cp>Curator Daryl Elaine Stenvoll-Wells, founder of \u003ca href=\"https://www.facebook.com/VIRAL.RK25/?fref=ts\" target=\"_blank\" rel=\"noopener\">Art Responders\u003c/a> (a social media community that allows artists to share creative responses to police brutality, born at the rise of the \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> movement), helps guide the conversation. The traveling show first debuted in Los Angeles last fall. The current exhibition closes, appropriately, on Oct. 22, the \u003ca href=\"http://www.october22.org/\" target=\"_blank\" rel=\"noopener\">National Day of Protest Against Police Brutality.\u003c/a>\u003c/p>\n\u003cp>At Betti Ono, a timeline of incidents stretches along the gallery walls, highlighting significant laws and socio-technical developments related to police violence against people of color. \u003ci>VIRAL\u003c/i>’s timeline points to major turning points within the criminal justice system and corresponding rises in violent incidents by police. Among these are the \u003ca href=\"http://www.npr.org/2014/09/12/347736999/20-years-later-major-crime-bill-viewed-as-terrible-mistake\" target=\"_blank\" rel=\"noopener\">1994 Criminal Justice Act\u003c/a>, which called for tougher punishment of crimes and increased numbers of law enforcement (in lieu of education and other crime preventing measures).\u003c/p>\n\u003cfigure id=\"attachment_12218208\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Zupa-_Do-Not-Cross_1200.jpg\" alt=\"Zupa, 'Do Not Cross.'\" width=\"1200\" height=\"1595\" class=\"size-full wp-image-12218208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zupa-_Do-Not-Cross_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zupa-_Do-Not-Cross_1200-400x532.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zupa-_Do-Not-Cross_1200-451x600.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zupa-_Do-Not-Cross_1200-768x1021.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zupa-_Do-Not-Cross_1200-888x1180.jpg 888w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zupa-_Do-Not-Cross_1200-1180x1568.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zupa-_Do-Not-Cross_1200-960x1276.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Zupa, ‘Do Not Cross.’ \u003ccite>(Courtesy of Betti Ono Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Commentary and fact sheets through the gallery discuss topics such as racial disparities in non-violent crimes, settlement amounts in wrongful death suits, and the inherent flaws in stop and search laws. Notes on violence against people with physical and mental disabilities are also included among the exhibition’s visual art.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And the names we all know by now, for all of the wrong reasons, are there too. Sandra Bland. Oscar Grant. Amadou Diallo. Michael Brown. Alex Nieto. Eric Garner. And too many more to include in this space. The loss and grief felt by their families is too immense to be held in a gallery, but it can be felt lingering between its walls. \u003c/p>\n\u003cp>Since Rodney King, similar incidents have been captured on dash cams, body cams and the cell phones of passersby. Evidence of police misconduct is everywhere, yet few in law enforcement are held accountable for the deaths of unarmed men, women and children. \u003cem>So, America, what has changed?\u003c/em>\u003c/p>\n\u003cp>With or without the \u003ci>VIRAL\u003c/i> fact sheets (and the three audio boxes with headphones playing songs by Bay Area favorites like The Coup, Dead Prez, KRS-One, Talib Kweli, Lauryn Hill and Yasiin Bey), the visual work is stark and at times gut-wrenching. \u003c/p>\n\u003cfigure id=\"attachment_12218206\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Overstreet-Ducasse-_Winter-Fashion_1200.jpg\" alt=\"Overstreet Ducasse, 'Winter Fashion.'\" width=\"1200\" height=\"1788\" class=\"size-full wp-image-12218206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Overstreet-Ducasse-_Winter-Fashion_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Overstreet-Ducasse-_Winter-Fashion_1200-400x596.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Overstreet-Ducasse-_Winter-Fashion_1200-403x600.jpg 403w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Overstreet-Ducasse-_Winter-Fashion_1200-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Overstreet-Ducasse-_Winter-Fashion_1200-792x1180.jpg 792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Overstreet-Ducasse-_Winter-Fashion_1200-1180x1758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Overstreet-Ducasse-_Winter-Fashion_1200-960x1430.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Overstreet Ducasse, ‘Winter Fashion.’ \u003ccite>(Courtesy of Betti Ono Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Featured artists include Alice Patrick, Sanae Robinson, Susan Mah, Tina Ybarra, Molly Segal, Overstreet Ducasse, Emory Douglas, Paul Barron, Not My Government, Ravi Zupa and many others. The work ranges from depictions of police brutality to portraits of those whose lives were lost, and everything in between. The show is ambitious and vast and touches on the complex and overwhelming emotions the subject matter evokes.\u003c/p>\n\u003cp>Despite the heaviness, a small spark of hope appears on the walls of Betti Ono, however overshadowed it may seem by the current political climate in America. More people are speaking up and taking to the streets. More groups are developing to push back against racism and police brutality, demanding accountability and an end to senseless killings.\u003c/p>\n\u003cp>\u003ci>VIRAL\u003c/i> is a critical piece of the historic moment we are all navigating, and calls, without subtlety, for action. It is an experience for anyone who cares about where we can go from here. To stand in the gallery — engulfed in a timeline of the last 25 years of documented police brutality against people of color — is to stand in equal parts rage and despair, asking again and again and again: \u003ci>So, America, when will this end?\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>VIRAL: 25 Years From Rodney King\u003c/b> is on view at Betti Ono Gallery in Oakland through Oct. 22. For more information visit \u003ca href=\"http://viral-rk25.squarespace.com/\" target=\"_blank\" rel=\"noopener\">viral-rk25.squarespace.com\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early hours of March 3, 1991, Rodney King was severely beaten by Los Angeles police officers after a high speed chase through a maze of residential neighborhoods and freeways. A video of the incident was filmed from a bystander’s balcony, making it perhaps the first viral piece of documentation of police brutality in America. \u003c/p>\n\u003cp>The clip of the four officers aggressively swinging batons and feet at King — while at least four officers stood by and watched — spread quickly from one news network to the next, igniting outrage that would erupt into a week-long riot the following year, when the officers were acquitted of using excessive force against King. The rioting fanned out across Los Angeles in a wild and dangerous wave, causing 56 deaths, over 2,300 injuries, nearly 7,000 fires and, some argue, a further racial divide across the nation.\u003c/p>\n\u003cfigure id=\"attachment_12218205\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Emory-Douglas-Political-Gridlock-Police-Terror-USA-1200.jpg\" alt=\"Emory Douglas, 'Police Terror USA.'\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-12218205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Emory-Douglas-Political-Gridlock-Police-Terror-USA-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Emory-Douglas-Political-Gridlock-Police-Terror-USA-1200-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Emory-Douglas-Political-Gridlock-Police-Terror-USA-1200-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Emory-Douglas-Political-Gridlock-Police-Terror-USA-1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Emory-Douglas-Political-Gridlock-Police-Terror-USA-1200-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Emory-Douglas-Political-Gridlock-Police-Terror-USA-1200-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Emory-Douglas-Political-Gridlock-Police-Terror-USA-1200-960x1280.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas, ‘Police Terror USA.’ \u003ccite>(Courtesy of Betti Ono Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peering back over the last two and a half decades, \u003ci>\u003ca href=\"http://viral-rk25.squarespace.com/\" target=\"_blank\" rel=\"noopener\">VIRAL: 25 Years From Rodney King\u003c/a>\u003c/i>, a multi-media art exhibit at \u003ca href=\"https://bettiono.com/\" target=\"_blank\" rel=\"noopener\">Betti Ono Gallery\u003c/a> in Oakland, asks the question everyone wants an answer to: \u003ci>So, America, how have we changed?\u003c/i>\u003c/p>\n\u003cp>Curator Daryl Elaine Stenvoll-Wells, founder of \u003ca href=\"https://www.facebook.com/VIRAL.RK25/?fref=ts\" target=\"_blank\" rel=\"noopener\">Art Responders\u003c/a> (a social media community that allows artists to share creative responses to police brutality, born at the rise of the \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> movement), helps guide the conversation. The traveling show first debuted in Los Angeles last fall. The current exhibition closes, appropriately, on Oct. 22, the \u003ca href=\"http://www.october22.org/\" target=\"_blank\" rel=\"noopener\">National Day of Protest Against Police Brutality.\u003c/a>\u003c/p>\n\u003cp>At Betti Ono, a timeline of incidents stretches along the gallery walls, highlighting significant laws and socio-technical developments related to police violence against people of color. \u003ci>VIRAL\u003c/i>’s timeline points to major turning points within the criminal justice system and corresponding rises in violent incidents by police. Among these are the \u003ca href=\"http://www.npr.org/2014/09/12/347736999/20-years-later-major-crime-bill-viewed-as-terrible-mistake\" target=\"_blank\" rel=\"noopener\">1994 Criminal Justice Act\u003c/a>, which called for tougher punishment of crimes and increased numbers of law enforcement (in lieu of education and other crime preventing measures).\u003c/p>\n\u003cfigure id=\"attachment_12218208\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Zupa-_Do-Not-Cross_1200.jpg\" alt=\"Zupa, 'Do Not Cross.'\" width=\"1200\" height=\"1595\" class=\"size-full wp-image-12218208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zupa-_Do-Not-Cross_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zupa-_Do-Not-Cross_1200-400x532.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zupa-_Do-Not-Cross_1200-451x600.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zupa-_Do-Not-Cross_1200-768x1021.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zupa-_Do-Not-Cross_1200-888x1180.jpg 888w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zupa-_Do-Not-Cross_1200-1180x1568.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Zupa-_Do-Not-Cross_1200-960x1276.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Zupa, ‘Do Not Cross.’ \u003ccite>(Courtesy of Betti Ono Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Commentary and fact sheets through the gallery discuss topics such as racial disparities in non-violent crimes, settlement amounts in wrongful death suits, and the inherent flaws in stop and search laws. Notes on violence against people with physical and mental disabilities are also included among the exhibition’s visual art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And the names we all know by now, for all of the wrong reasons, are there too. Sandra Bland. Oscar Grant. Amadou Diallo. Michael Brown. Alex Nieto. Eric Garner. And too many more to include in this space. The loss and grief felt by their families is too immense to be held in a gallery, but it can be felt lingering between its walls. \u003c/p>\n\u003cp>Since Rodney King, similar incidents have been captured on dash cams, body cams and the cell phones of passersby. Evidence of police misconduct is everywhere, yet few in law enforcement are held accountable for the deaths of unarmed men, women and children. \u003cem>So, America, what has changed?\u003c/em>\u003c/p>\n\u003cp>With or without the \u003ci>VIRAL\u003c/i> fact sheets (and the three audio boxes with headphones playing songs by Bay Area favorites like The Coup, Dead Prez, KRS-One, Talib Kweli, Lauryn Hill and Yasiin Bey), the visual work is stark and at times gut-wrenching. \u003c/p>\n\u003cfigure id=\"attachment_12218206\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Overstreet-Ducasse-_Winter-Fashion_1200.jpg\" alt=\"Overstreet Ducasse, 'Winter Fashion.'\" width=\"1200\" height=\"1788\" class=\"size-full wp-image-12218206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Overstreet-Ducasse-_Winter-Fashion_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Overstreet-Ducasse-_Winter-Fashion_1200-400x596.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Overstreet-Ducasse-_Winter-Fashion_1200-403x600.jpg 403w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Overstreet-Ducasse-_Winter-Fashion_1200-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Overstreet-Ducasse-_Winter-Fashion_1200-792x1180.jpg 792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Overstreet-Ducasse-_Winter-Fashion_1200-1180x1758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Overstreet-Ducasse-_Winter-Fashion_1200-960x1430.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Overstreet Ducasse, ‘Winter Fashion.’ \u003ccite>(Courtesy of Betti Ono Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Featured artists include Alice Patrick, Sanae Robinson, Susan Mah, Tina Ybarra, Molly Segal, Overstreet Ducasse, Emory Douglas, Paul Barron, Not My Government, Ravi Zupa and many others. The work ranges from depictions of police brutality to portraits of those whose lives were lost, and everything in between. The show is ambitious and vast and touches on the complex and overwhelming emotions the subject matter evokes.\u003c/p>\n\u003cp>Despite the heaviness, a small spark of hope appears on the walls of Betti Ono, however overshadowed it may seem by the current political climate in America. More people are speaking up and taking to the streets. More groups are developing to push back against racism and police brutality, demanding accountability and an end to senseless killings.\u003c/p>\n\u003cp>\u003ci>VIRAL\u003c/i> is a critical piece of the historic moment we are all navigating, and calls, without subtlety, for action. It is an experience for anyone who cares about where we can go from here. To stand in the gallery — engulfed in a timeline of the last 25 years of documented police brutality against people of color — is to stand in equal parts rage and despair, asking again and again and again: \u003ci>So, America, when will this end?\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>VIRAL: 25 Years From Rodney King\u003c/b> is on view at Betti Ono Gallery in Oakland through Oct. 22. For more information visit \u003ca href=\"http://viral-rk25.squarespace.com/\" target=\"_blank\" rel=\"noopener\">viral-rk25.squarespace.com\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "crossing-cultures-the-compelling-tug-of-chinese-memories-on-belle-yang",
"title": "Crossing Cultures: The Compelling Tug of Chinese Memories on Belle Yang",
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"headTitle": "Crossing Cultures: The Compelling Tug of Chinese Memories on Belle Yang | KQED",
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"content": "\u003cp>Belle Yang wasn’t always graciously fascinated with her parents tales of days gone by. The family arrived in the San Francisco Bay Area when she was just 7 years old, and like many children of immigrants, Yang was eager to put the old world behind her.\u003c/p>\n\u003cp>“Growing up here,” she says, “I started to go my own way.”\u003c/p>\n\u003cfigure id=\"attachment_12200553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12200553\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-800x450.jpg\" alt=\"The Yang family, early upon their arrival in San Francisco in 1967, looking a little shell-shocked.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut.jpg 994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Yang family, early upon their arrival in San Francisco in 1967, looking a little shell-shocked. \u003ccite>(Photo: Courtesy of Joseph Laning)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yang is more frank in the autobiography on her web site, where she writes that she “raged” against the language, iconography, beliefs of her parents: “I wanted to run away from the Chinese universe I had been born into and launch into an American world view, free of the weight of memories.”\u003c/p>\n\u003cp>But after college, in her mid-20s, a relationship went sour, and her physically-abusive boyfriend became a violent stalker. Yang fled to China to escape. For three years, she toured the country and studied classical Chinese art.\u003c/p>\n\u003cfigure id=\"attachment_12200544\" class=\"wp-caption alignright\" style=\"max-width: 429px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12200544\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-429x600.jpg\" alt=\"A panel from Belle Yang's graphic novel Forget Sorrow: An Ancestral Tale.\" width=\"429\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-429x600.jpg 429w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-400x559.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-768x1074.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-844x1180.jpg 844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-1180x1650.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-960x1342.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut.jpg 1916w\" sizes=\"(max-width: 429px) 100vw, 429px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Belle Yang’s graphic novel Forget Sorrow: An Ancestral Tale. \u003ccite>(Photo: Courtesy of Belle Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, in 1989, the Tiananmen Square Massacre snapped her to attention. Yang watched in horror as Chinese troops fired on unarmed protesters. Yang wasn’t among the protesters, but the massacre proved to be an “a-ha” moment. She was watching something eerily similar to her own personal experience with the ex-boyfriend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was watching the government silencing and mentally abusing its own citizens,” Yang says. “That hit home, and I realized that when I got home, I wanted to serve as a witness to these events.”\u003c/p>\n\u003cp>\u003cstrong>Back In The US, With A Different Attitude\u003c/strong>\u003c/p>\n\u003cp>After three years in China, Yang was ready to relate to her parents with much more intimacy. She wasn’t simply more fluent in Chinese language and art. She had traveled over the landscapes her parents had traversed when they were young.\u003c/p>\n\u003cp>Initially, the stories they told her were snippets of half-awakened memories – not enough detail to constitute a complete narrative. But she persevered. “I set the stories down, and it just grew,” she said.\u003c/p>\n\u003cp>Eventually, she published her first book, \u003ca href=\"http://belleyang.com/adult-nonfiction/baba-a-return-to-china-upon/\" target=\"_blank\" rel=\"noopener\">\u003cem>Baba: A Return to China Upon My Father’s Shoulders\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12203141\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12203141\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/10-cat-at-window-800x452.jpg\" alt='Detail from \"Cat At Window,\" by Belle Yang. Steeped in Chinese tradition, but also evocative of Henri Matisse and Marc Chagall.' width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window.jpg 1222w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from “Cat At Window,” by Belle Yang. Steeped in Chinese tradition, but also evocative of Henri Matisse and Marc Chagall. \u003ccite>(Photo: Courtesy of Belle Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over roughly three decades, she’s published 10 illustrated books and a graphic novel.\u003c/p>\n\u003cp>\u003cstrong>Folksy Treatment of Dark History\u003c/strong>\u003c/p>\n\u003cp>For her work, Yang draws on her classic Chinese training and the influence of her father, who’s also an artist. But Yang’s art is a personal amalgamation of her travels through China and Europe. Many of her bright, folksy illustrations bring to mind Marc Chagall, famous for his dreamy depictions of Eastern European Jewish folk culture, a culture that no longer exists. That’s another parallel with the subject matter of Yang’s work.\u003c/p>\n\u003cp>“I fell in love with the folk art that was colorful and naïve and just playful,” she says.\u003c/p>\n\u003cp>There’s another way in which Yang differs. Unlike Chagall’s post-Holocaust work, more nightmarish than dreamy, Yang’s art inhabits a calm, witty space where the viewer is invited to observe the pain and sadness of China’s blood soaked 20\u003csup>th\u003c/sup> century from a safe distance. Some of her books are for children; some are decidedly not.\u003c/p>\n\u003cfigure id=\"attachment_12200547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12200547 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-800x451.jpg\" alt='Detail from \"Fishmonger\" relates a story of post-Communist China, when her father returned to a village where he had many friends, only to find people too afraid to talk to him. The village children, the eyes and ears of local party officials, followed close on his heels until he left.' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut.jpg 1740w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from “Fishmonger” relates a story of Communist China, when her father returned to a village where he had many friends, only to find people too afraid to talk to him. The village children, the eyes and ears of local party officials, followed close on his heels until he left. \u003ccite>(Photo: Courtesy of Belle Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The dark seems darker when juxtaposed by something light, bright,” Yang says. “The incongruity of humor makes the words plus pictures much bigger.”\u003c/p>\n\u003cp>\u003cstrong>A Mission to Keep Chinese History Alive\u003c/strong>\u003c/p>\n\u003cp>Gene Luen Yang of San Jose swims in similar artistic waters. He’s a graphic novelist – no relation – who has also mined his experience as a Chinese-American in illustrated books and graphic novels.\u003c/p>\n\u003cp>He compares Belle Yang’s work with that of Art Spiegelman, whose graphic novel \u003ca href=\"https://www.amazon.com/Maus-Survivors-Tale-Art-Spiegelman/dp/0141014083\" target=\"_blank\" rel=\"noopener\">\u003cem>Maus\u003c/em>\u003c/a>, about the Holocaust, is credited with helping people see graphic novels and the like as fitting places to explore tough topics.\u003c/p>\n\u003cp>“Maus is drawn in a way that emphasizes the personal nature of the events,” he says. “Belle’s does the exact same thing. Her art is about drawing the reader into the story.”\u003c/p>\n\u003cfigure id=\"attachment_12200548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12200548 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-800x450.jpg\" alt=\"Detail from the cover art for "Hanna Is My Name: A Young Immigrant's Story."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut.jpg 999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from the cover art for “Hanna Is My Name: A Young Immigrant’s Story.” \u003ccite>(Photo: Courtesy of Belle Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gene Yang adds Belle Yang’s work chronicles a history lost to many Chinese-Americans, especially those who parents aren’t as open with their memories, or whose Chinese language skills make it difficult to grasp the subtleties.\u003c/p>\n\u003cp>“Chinese history always feels new to me,” he says. “We are so familiar with European history, that the history of any other country, including the country our ancestors came from feels foreign and now.” Yang’s work, he says, “is bringing something to me that ought to be familiar with me but isn’t.”\u003c/p>\n\u003cp>\u003cstrong>A Few More Stories to Collect and Retell\u003c/strong>\u003c/p>\n\u003cp>Now 56 years old, Belle still lives with her parents. Yang’s dad is 88. Her mom is 84, and because Laning sleepwalks, Belle sleeps in the same room. Which provides yet more material for future stories because her mom also talks in her sleep.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/295564261″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“And she enunciates so clearly! She speaks Japanese, she speaks Mandarin Chinese, and also Fujianese, which is a dialect in Taiwan. She has conversations with \u003cem>her\u003c/em> mother at times. I don’t know what that will become, but it could be an interesting project,” Yang said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>You can see for yourself at the \u003cstrong>\u003ca href=\"https://www.scu.edu/desaisset/exhibitions/belleyang/\" target=\"_blank\" rel=\"noopener\">de Saisset Museum\u003c/a>\u003c/strong> at Santa Clara University, which is hosting an exhibition of her work through December 4, 2016.\u003c/em>\u003c/p>\n\n",
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"title": "Crossing Cultures: The Compelling Tug of Chinese Memories on Belle Yang | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Belle Yang wasn’t always graciously fascinated with her parents tales of days gone by. The family arrived in the San Francisco Bay Area when she was just 7 years old, and like many children of immigrants, Yang was eager to put the old world behind her.\u003c/p>\n\u003cp>“Growing up here,” she says, “I started to go my own way.”\u003c/p>\n\u003cfigure id=\"attachment_12200553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12200553\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-800x450.jpg\" alt=\"The Yang family, early upon their arrival in San Francisco in 1967, looking a little shell-shocked.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21480_81-joseph-laning-belle-new-immigrants-1967-qut.jpg 994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Yang family, early upon their arrival in San Francisco in 1967, looking a little shell-shocked. \u003ccite>(Photo: Courtesy of Joseph Laning)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yang is more frank in the autobiography on her web site, where she writes that she “raged” against the language, iconography, beliefs of her parents: “I wanted to run away from the Chinese universe I had been born into and launch into an American world view, free of the weight of memories.”\u003c/p>\n\u003cp>But after college, in her mid-20s, a relationship went sour, and her physically-abusive boyfriend became a violent stalker. Yang fled to China to escape. For three years, she toured the country and studied classical Chinese art.\u003c/p>\n\u003cfigure id=\"attachment_12200544\" class=\"wp-caption alignright\" style=\"max-width: 429px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12200544\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-429x600.jpg\" alt=\"A panel from Belle Yang's graphic novel Forget Sorrow: An Ancestral Tale.\" width=\"429\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-429x600.jpg 429w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-400x559.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-768x1074.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-844x1180.jpg 844w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-1180x1650.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut-960x1342.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21475_44-ForgetSorrow_Page_014-qut.jpg 1916w\" sizes=\"(max-width: 429px) 100vw, 429px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Belle Yang’s graphic novel Forget Sorrow: An Ancestral Tale. \u003ccite>(Photo: Courtesy of Belle Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, in 1989, the Tiananmen Square Massacre snapped her to attention. Yang watched in horror as Chinese troops fired on unarmed protesters. Yang wasn’t among the protesters, but the massacre proved to be an “a-ha” moment. She was watching something eerily similar to her own personal experience with the ex-boyfriend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was watching the government silencing and mentally abusing its own citizens,” Yang says. “That hit home, and I realized that when I got home, I wanted to serve as a witness to these events.”\u003c/p>\n\u003cp>\u003cstrong>Back In The US, With A Different Attitude\u003c/strong>\u003c/p>\n\u003cp>After three years in China, Yang was ready to relate to her parents with much more intimacy. She wasn’t simply more fluent in Chinese language and art. She had traveled over the landscapes her parents had traversed when they were young.\u003c/p>\n\u003cp>Initially, the stories they told her were snippets of half-awakened memories – not enough detail to constitute a complete narrative. But she persevered. “I set the stories down, and it just grew,” she said.\u003c/p>\n\u003cp>Eventually, she published her first book, \u003ca href=\"http://belleyang.com/adult-nonfiction/baba-a-return-to-china-upon/\" target=\"_blank\" rel=\"noopener\">\u003cem>Baba: A Return to China Upon My Father’s Shoulders\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12203141\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12203141\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/10-cat-at-window-800x452.jpg\" alt='Detail from \"Cat At Window,\" by Belle Yang. Steeped in Chinese tradition, but also evocative of Henri Matisse and Marc Chagall.' width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/10-cat-at-window.jpg 1222w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from “Cat At Window,” by Belle Yang. Steeped in Chinese tradition, but also evocative of Henri Matisse and Marc Chagall. \u003ccite>(Photo: Courtesy of Belle Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over roughly three decades, she’s published 10 illustrated books and a graphic novel.\u003c/p>\n\u003cp>\u003cstrong>Folksy Treatment of Dark History\u003c/strong>\u003c/p>\n\u003cp>For her work, Yang draws on her classic Chinese training and the influence of her father, who’s also an artist. But Yang’s art is a personal amalgamation of her travels through China and Europe. Many of her bright, folksy illustrations bring to mind Marc Chagall, famous for his dreamy depictions of Eastern European Jewish folk culture, a culture that no longer exists. That’s another parallel with the subject matter of Yang’s work.\u003c/p>\n\u003cp>“I fell in love with the folk art that was colorful and naïve and just playful,” she says.\u003c/p>\n\u003cp>There’s another way in which Yang differs. Unlike Chagall’s post-Holocaust work, more nightmarish than dreamy, Yang’s art inhabits a calm, witty space where the viewer is invited to observe the pain and sadness of China’s blood soaked 20\u003csup>th\u003c/sup> century from a safe distance. Some of her books are for children; some are decidedly not.\u003c/p>\n\u003cfigure id=\"attachment_12200547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12200547 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-800x451.jpg\" alt='Detail from \"Fishmonger\" relates a story of post-Communist China, when her father returned to a village where he had many friends, only to find people too afraid to talk to him. The village children, the eyes and ears of local party officials, followed close on his heels until he left.' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21477_25-fishmonger-qut.jpg 1740w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from “Fishmonger” relates a story of Communist China, when her father returned to a village where he had many friends, only to find people too afraid to talk to him. The village children, the eyes and ears of local party officials, followed close on his heels until he left. \u003ccite>(Photo: Courtesy of Belle Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The dark seems darker when juxtaposed by something light, bright,” Yang says. “The incongruity of humor makes the words plus pictures much bigger.”\u003c/p>\n\u003cp>\u003cstrong>A Mission to Keep Chinese History Alive\u003c/strong>\u003c/p>\n\u003cp>Gene Luen Yang of San Jose swims in similar artistic waters. He’s a graphic novelist – no relation – who has also mined his experience as a Chinese-American in illustrated books and graphic novels.\u003c/p>\n\u003cp>He compares Belle Yang’s work with that of Art Spiegelman, whose graphic novel \u003ca href=\"https://www.amazon.com/Maus-Survivors-Tale-Art-Spiegelman/dp/0141014083\" target=\"_blank\" rel=\"noopener\">\u003cem>Maus\u003c/em>\u003c/a>, about the Holocaust, is credited with helping people see graphic novels and the like as fitting places to explore tough topics.\u003c/p>\n\u003cp>“Maus is drawn in a way that emphasizes the personal nature of the events,” he says. “Belle’s does the exact same thing. Her art is about drawing the reader into the story.”\u003c/p>\n\u003cfigure id=\"attachment_12200548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12200548 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-800x450.jpg\" alt=\"Detail from the cover art for "Hanna Is My Name: A Young Immigrant's Story."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21478_30-hannah-is-my-name-qut.jpg 999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from the cover art for “Hanna Is My Name: A Young Immigrant’s Story.” \u003ccite>(Photo: Courtesy of Belle Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gene Yang adds Belle Yang’s work chronicles a history lost to many Chinese-Americans, especially those who parents aren’t as open with their memories, or whose Chinese language skills make it difficult to grasp the subtleties.\u003c/p>\n\u003cp>“Chinese history always feels new to me,” he says. “We are so familiar with European history, that the history of any other country, including the country our ancestors came from feels foreign and now.” Yang’s work, he says, “is bringing something to me that ought to be familiar with me but isn’t.”\u003c/p>\n\u003cp>\u003cstrong>A Few More Stories to Collect and Retell\u003c/strong>\u003c/p>\n\u003cp>Now 56 years old, Belle still lives with her parents. Yang’s dad is 88. Her mom is 84, and because Laning sleepwalks, Belle sleeps in the same room. Which provides yet more material for future stories because her mom also talks in her sleep.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/295564261″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/295564261″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“And she enunciates so clearly! She speaks Japanese, she speaks Mandarin Chinese, and also Fujianese, which is a dialect in Taiwan. She has conversations with \u003cem>her\u003c/em> mother at times. I don’t know what that will become, but it could be an interesting project,” Yang said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>You can see for yourself at the \u003cstrong>\u003ca href=\"https://www.scu.edu/desaisset/exhibitions/belleyang/\" target=\"_blank\" rel=\"noopener\">de Saisset Museum\u003c/a>\u003c/strong> at Santa Clara University, which is hosting an exhibition of her work through December 4, 2016.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Artist David Hockney Says the Drive to Create Pictures 'Is Deep Within Us'",
"headTitle": "Artist David Hockney Says the Drive to Create Pictures ‘Is Deep Within Us’ | KQED",
"content": "\u003cp>Artist David Hockney is obsessed with looking. He looks and looks; and then, in his works, he makes \u003cem>us\u003c/em> see what \u003cem>he\u003c/em> sees.\u003c/p>\n\u003cp>The artist says looking and showing are as old as time. “I think the first person to draw an animal on a wall would have perhaps been watched by someone. And then, when he’d got the animal down, the person would’ve grunted or something, and said, ‘I’ve seen something like that.’ ”\u003c/p>\n\u003cp>At nearly 80 years old, Hockney is busier than ever: He’s the subject of a \u003ca href=\"http://www.imdb.com/title/tt4008606/?ref_=ref_ext_NYT\" target=\"_blank\" rel=\"noopener\">new documentary\u003c/a>; he has \u003ca href=\"http://www.tate.org.uk/whats-on/tate-britain/exhibition/david-hockney\" target=\"_blank\" rel=\"noopener\">a big retrospective\u003c/a> in the works at Tate Britain; and he has a new book, \u003cem>A History of Pictures: From the Cave to the Computer Screen\u003c/em>.\u003c/p>\n\u003cp>Hockney believes making pictures is part of human DNA. “Very young people pick up a crayon and start to draw, don’t they? Very, very young people,” he says. ” … I think the idea of making pictures is deep within us.”\u003c/p>\n\u003cp>Today, swap crayons for smart phones and everyone’s making pictures. They may not be artistic, but technically they’re aces. “You can’t take a bad picture, really,” Hockney says. “You can’t take an underexposed picture; you can’t even take an out of focus picture now. My father’s pictures were — he used to take a lot of photographs and they were always a bit out of focus and underexposed. Always. And he died just before the automatic camera came in and the automatic focus. And he’d have been in his element then.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Picking Favorites\u003c/strong>\u003c/p>\n\u003cp>Hockney’s \u003cem>A History of Pictures\u003c/em> is chock-full of images — a few photos, but mostly reproductions of paintings he’s loved looking at over the years. His favorite is a quick pen and ink drawing Rembrandt made in 1656. (\u003ca href=\"http://www.britishmuseum.org/research/publications/online_research_catalogues/catalogue_image.aspx?objectId=765074&partId=1&orig=%2fresearch%2fpublications%2fonline_research_catalogues%2frussian_icons%2fcatalogue_of_russian_icons.aspx&sortBy=catNumber&numPages=10¤tPage=1&catalogueOnly=True&catparentPageId=27094&output=bibliography%2f!!%2fOR%2f!!%2f5806%2f!%2f%2f!%2fCatalogue+of+Drawings+by+Rembrandt+and+his+School+in+the+British+Museum%2f!%2f%2f!!%2f%2f!!!%2f&asset_id=18374001\" target=\"_blank\" rel=\"noopener\">You can see it here.\u003c/a>) It shows a mother, a father and a sister teaching a little child to walk. The jot of a curve makes a shoulder; a flick of the brush shows the father squatting, encouraging the child. Hockney thinks it’s a virtuoso piece.\u003c/p>\n\u003cp>“You see the tenderness of the drawing, I think. But you also see … the marks that made the drawing as well,” he says. “I mean, you can look at the mother and see the little ragged dress she has on, but then you see the marks that were made to do this and how few there are.”\u003c/p>\n\u003cp>The drawing is minimal and universal. “Any person anywhere in the world has seen something like this and experienced it,” Hockney says.\u003c/p>\n\u003cp>In addition to Rembrandt, Hockney is crazy for Pablo Picasso (his hero) and Caravaggio. He credits the late 16th-century Italian painter with inventing Hollywood lighting. For example, Caravaggio’s 1599 painting \u003cem>Judith Beheading Holofernes\u003c/em>: “I mean, this is lighting that’s not natural,” he says. No sun could shine so brightly on Judith’s breast and then disappear to make such dark velvety shadows right behind her. Only movies can illuminate like that.\u003c/p>\n\u003cfigure id=\"attachment_12199182\" class=\"wp-caption aligncenter\" style=\"max-width: 798px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-798x600.jpg\" alt='Hockney says late 16th century Italian painter Caravaggio \"invented Hollywood lighting.\" Above is his 1599 work, \"Judith Beheading Holofernes.\"' width=\"798\" height=\"600\" class=\"size-medium wp-image-12199182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-1180x888.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-1920x1444.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-960x722.jpg 960w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003cfigcaption class=\"wp-caption-text\">Hockney says late 16th century Italian painter Caravaggio “invented Hollywood lighting.” Above is his 1599 work, “Judith Beheading Holofernes.” \u003ccite>(Photo: Galleria Nazionale d'Arte Antica, Barberini Palace, Rome/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“I Do Get A Deep Pleasure From Looking”\u003c/strong>\u003c/p>\n\u003cp>Light, and where it comes from, is every painter’s preoccupation. And for Hockney, light on water is a particular fascination. “Say a swimming pool: The water is transparent. How do you paint transparency?” he asks. “It’s always a nice problem to me. … Water in a swimming pool is transparent and it has reflections and things. That’s what [it’s] all about — reflections.”\u003c/p>\n\u003cp>Hockney is known for bright, flat paintings of Los Angeles and vivid English landscapes. His best-known painting — 1967’s \u003cem>A Bigger Splash\u003c/em> — shows a California swimming pool the moment after someone has jumped in. (\u003ca href=\"http://www.tate.org.uk/art/artworks/hockney-a-bigger-splash-t03254\" target=\"_blank\" rel=\"noopener\">You can see it here.\u003c/a>) A tan diving board angles in from the bottom right and a lively white splash rises up from the aquamarine water.\u003c/p>\n\u003cp>“I spent longer on the splash than on any other thing in the painting,” Hockney says. “I spent about a week painting it because it’s painted with small brushes. … I mean I didn’t want to just take a brush and splash it like that. I wanted to paint it slowly, and I thought, \u003cem>Then it contradicts the splash, really\u003c/em>.”\u003c/p>\n\u003cp>So many of Hockney’s works are joyful. They feature sundrenched California scenes, British woodlands brimming with fuchsia and neon-green trees, the Grand Canyon in vivid oranges. (When he showed the canyon pieces in London, he put big mirrors in the gallery corners to add dimension to the paintings.)\u003c/p>\n\u003cp>Hockney says the first thing he looks at in anyone’s painting is the surface, “the paint itself and so on. And then you might then see a figure; then you might see something else. But I think, first of all, you see the surface.” It’s a painter’s way of looking. Someone else might look first at the pear, the face, the horse — but not Hockney.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That artist believes painting can change the world. In the midst of all our miseries, he says, art lets us see the world as beautiful, thrilling and mysterious. “I do get a deep pleasure from looking,” he says. “I mean, I can look at a little puddle on a road in Yorkshire and just have the rain falling on it and think it’s marvelous. … I see the world as very beautiful.” \u003c/p>\n\u003cfigure id=\"attachment_12199183\" class=\"wp-caption aligncenter\" style=\"max-width: 717px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-717x600.jpg\" alt='Hockney painted \"Self-Portrait with Blue Guitar\" in 1977.' width=\"717\" height=\"600\" class=\"size-medium wp-image-12199183\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-717x600.jpg 717w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-400x335.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-768x643.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-1180x987.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-1920x1607.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-960x803.jpg 960w\" sizes=\"(max-width: 717px) 100vw, 717px\">\u003cfigcaption class=\"wp-caption-text\">Hockney painted “Self-Portrait with Blue Guitar” in 1977. \u003ccite>(Photo: Richard Schmidt/Museum of Modern Art, Ludwig Foundation, Vienna/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Artist+David+Hockney+Says+The+Drive+To+Create+Pictures+%27Is+Deep+Within+Us%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artist David Hockney is obsessed with looking. He looks and looks; and then, in his works, he makes \u003cem>us\u003c/em> see what \u003cem>he\u003c/em> sees.\u003c/p>\n\u003cp>The artist says looking and showing are as old as time. “I think the first person to draw an animal on a wall would have perhaps been watched by someone. And then, when he’d got the animal down, the person would’ve grunted or something, and said, ‘I’ve seen something like that.’ ”\u003c/p>\n\u003cp>At nearly 80 years old, Hockney is busier than ever: He’s the subject of a \u003ca href=\"http://www.imdb.com/title/tt4008606/?ref_=ref_ext_NYT\" target=\"_blank\" rel=\"noopener\">new documentary\u003c/a>; he has \u003ca href=\"http://www.tate.org.uk/whats-on/tate-britain/exhibition/david-hockney\" target=\"_blank\" rel=\"noopener\">a big retrospective\u003c/a> in the works at Tate Britain; and he has a new book, \u003cem>A History of Pictures: From the Cave to the Computer Screen\u003c/em>.\u003c/p>\n\u003cp>Hockney believes making pictures is part of human DNA. “Very young people pick up a crayon and start to draw, don’t they? Very, very young people,” he says. ” … I think the idea of making pictures is deep within us.”\u003c/p>\n\u003cp>Today, swap crayons for smart phones and everyone’s making pictures. They may not be artistic, but technically they’re aces. “You can’t take a bad picture, really,” Hockney says. “You can’t take an underexposed picture; you can’t even take an out of focus picture now. My father’s pictures were — he used to take a lot of photographs and they were always a bit out of focus and underexposed. Always. And he died just before the automatic camera came in and the automatic focus. And he’d have been in his element then.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Picking Favorites\u003c/strong>\u003c/p>\n\u003cp>Hockney’s \u003cem>A History of Pictures\u003c/em> is chock-full of images — a few photos, but mostly reproductions of paintings he’s loved looking at over the years. His favorite is a quick pen and ink drawing Rembrandt made in 1656. (\u003ca href=\"http://www.britishmuseum.org/research/publications/online_research_catalogues/catalogue_image.aspx?objectId=765074&partId=1&orig=%2fresearch%2fpublications%2fonline_research_catalogues%2frussian_icons%2fcatalogue_of_russian_icons.aspx&sortBy=catNumber&numPages=10¤tPage=1&catalogueOnly=True&catparentPageId=27094&output=bibliography%2f!!%2fOR%2f!!%2f5806%2f!%2f%2f!%2fCatalogue+of+Drawings+by+Rembrandt+and+his+School+in+the+British+Museum%2f!%2f%2f!!%2f%2f!!!%2f&asset_id=18374001\" target=\"_blank\" rel=\"noopener\">You can see it here.\u003c/a>) It shows a mother, a father and a sister teaching a little child to walk. The jot of a curve makes a shoulder; a flick of the brush shows the father squatting, encouraging the child. Hockney thinks it’s a virtuoso piece.\u003c/p>\n\u003cp>“You see the tenderness of the drawing, I think. But you also see … the marks that made the drawing as well,” he says. “I mean, you can look at the mother and see the little ragged dress she has on, but then you see the marks that were made to do this and how few there are.”\u003c/p>\n\u003cp>The drawing is minimal and universal. “Any person anywhere in the world has seen something like this and experienced it,” Hockney says.\u003c/p>\n\u003cp>In addition to Rembrandt, Hockney is crazy for Pablo Picasso (his hero) and Caravaggio. He credits the late 16th-century Italian painter with inventing Hollywood lighting. For example, Caravaggio’s 1599 painting \u003cem>Judith Beheading Holofernes\u003c/em>: “I mean, this is lighting that’s not natural,” he says. No sun could shine so brightly on Judith’s breast and then disappear to make such dark velvety shadows right behind her. Only movies can illuminate like that.\u003c/p>\n\u003cfigure id=\"attachment_12199182\" class=\"wp-caption aligncenter\" style=\"max-width: 798px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-798x600.jpg\" alt='Hockney says late 16th century Italian painter Caravaggio \"invented Hollywood lighting.\" Above is his 1599 work, \"Judith Beheading Holofernes.\"' width=\"798\" height=\"600\" class=\"size-medium wp-image-12199182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-1180x888.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-1920x1444.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-960x722.jpg 960w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003cfigcaption class=\"wp-caption-text\">Hockney says late 16th century Italian painter Caravaggio “invented Hollywood lighting.” Above is his 1599 work, “Judith Beheading Holofernes.” \u003ccite>(Photo: Galleria Nazionale d'Arte Antica, Barberini Palace, Rome/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“I Do Get A Deep Pleasure From Looking”\u003c/strong>\u003c/p>\n\u003cp>Light, and where it comes from, is every painter’s preoccupation. And for Hockney, light on water is a particular fascination. “Say a swimming pool: The water is transparent. How do you paint transparency?” he asks. “It’s always a nice problem to me. … Water in a swimming pool is transparent and it has reflections and things. That’s what [it’s] all about — reflections.”\u003c/p>\n\u003cp>Hockney is known for bright, flat paintings of Los Angeles and vivid English landscapes. His best-known painting — 1967’s \u003cem>A Bigger Splash\u003c/em> — shows a California swimming pool the moment after someone has jumped in. (\u003ca href=\"http://www.tate.org.uk/art/artworks/hockney-a-bigger-splash-t03254\" target=\"_blank\" rel=\"noopener\">You can see it here.\u003c/a>) A tan diving board angles in from the bottom right and a lively white splash rises up from the aquamarine water.\u003c/p>\n\u003cp>“I spent longer on the splash than on any other thing in the painting,” Hockney says. “I spent about a week painting it because it’s painted with small brushes. … I mean I didn’t want to just take a brush and splash it like that. I wanted to paint it slowly, and I thought, \u003cem>Then it contradicts the splash, really\u003c/em>.”\u003c/p>\n\u003cp>So many of Hockney’s works are joyful. They feature sundrenched California scenes, British woodlands brimming with fuchsia and neon-green trees, the Grand Canyon in vivid oranges. (When he showed the canyon pieces in London, he put big mirrors in the gallery corners to add dimension to the paintings.)\u003c/p>\n\u003cp>Hockney says the first thing he looks at in anyone’s painting is the surface, “the paint itself and so on. And then you might then see a figure; then you might see something else. But I think, first of all, you see the surface.” It’s a painter’s way of looking. Someone else might look first at the pear, the face, the horse — but not Hockney.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That artist believes painting can change the world. In the midst of all our miseries, he says, art lets us see the world as beautiful, thrilling and mysterious. “I do get a deep pleasure from looking,” he says. “I mean, I can look at a little puddle on a road in Yorkshire and just have the rain falling on it and think it’s marvelous. … I see the world as very beautiful.” \u003c/p>\n\u003cfigure id=\"attachment_12199183\" class=\"wp-caption aligncenter\" style=\"max-width: 717px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-717x600.jpg\" alt='Hockney painted \"Self-Portrait with Blue Guitar\" in 1977.' width=\"717\" height=\"600\" class=\"size-medium wp-image-12199183\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-717x600.jpg 717w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-400x335.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-768x643.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-1180x987.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-1920x1607.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-960x803.jpg 960w\" sizes=\"(max-width: 717px) 100vw, 717px\">\u003cfigcaption class=\"wp-caption-text\">Hockney painted “Self-Portrait with Blue Guitar” in 1977. \u003ccite>(Photo: Richard Schmidt/Museum of Modern Art, Ludwig Foundation, Vienna/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Artist+David+Hockney+Says+The+Drive+To+Create+Pictures+%27Is+Deep+Within+Us%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-sculpture-right-now-alyssa-lempesis-wants-to-gross-you-out",
"title": "Bay Area Sculpture Right Now: Alyssa Lempesis Wants to Gross You Out",
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"headTitle": "Bay Area Sculpture Right Now: Alyssa Lempesis Wants to Gross You Out | KQED",
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"content": "\u003cp>According to my audio recording of our studio visit, I spent nearly four whole minutes touching one of \u003ca href=\"http://alyssalempesis.com/\" target=\"_blank\" rel=\"noopener\">Alyssa Lempesis\u003c/a>’ sculptures, a set of hands cast out of stretchy “flesh-colored” rubber. \u003c/p>\n\u003cp>I feel bad relating this detail, since most people probably won’t get the chance to enjoy what was to me a simultaneously thrilling and disgusting tactile experience.\u003c/p>\n\u003cp>Inside West Oakland’s \u003ca href=\"https://aggregatespacegallery.org/\" target=\"_blank\" rel=\"noopener\">Aggregate Space Gallery\u003c/a>, up a set of steep stairs to a lofted studio, Lempesis works on surreal organic-looking sculptures and eerie stop-motion animation videos. She wants you to want to touch her work; she identifies with your struggle to keep your hands to yourself. \u003c/p>\n\u003cfigure id=\"attachment_12167818\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/HandsHair.jpg\" alt=\"The cast rubber hands; a smaller sculptural work in the studio (L–R).\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The cast rubber hands; A smaller sculptural work in the studio. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m a dangerous person in galleries and museums,” she says. “I’m definitely the kind of person where the security guard is like, ‘Ma’am, please back away from the object, you stay behind the line.’”\u003c/p>\n\u003cp>Part of the tactile attraction in Lempesis’ work is the mystery of its making. Her material lists read like the ingredients of a witchy concoction: nylon flock, Magic Smooth, epoxy, aggregates, hair (real \u003ci>and\u003c/i> fake), sand, atomized metal powder, wool, sausage casings, foams, silicone, latex, Vaseline, the list goes on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The resulting sculptures resemble internal organs, deep-sea creatures, crusty growths and other oddities of the natural world — the types of things that elicit a complicated combination of attraction and revulsion. \u003c/p>\n\u003cfigure id=\"attachment_12167821\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/HairLeg.jpg\" alt=\"Material and artwork storage in Lempesis' studio; Sculptures 'flick,' 'crumb' and 'clot,' from left to right.\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Material and artwork storage in Lempesis’ studio; sculptures ‘flick,’ ‘crumb’ and ‘clot’ (L–R). \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Drawn to art from an early age, Lempesis went to college intending to study theatrical design. But at the beginning of her sophomore year at UC Berkeley, she fell ill and had to drop out of school to move home. “It was really intense for me,” she says. “I had issues with my immune system and it was sort of debilitating. I was really out of commission for a while.”\u003c/p>\n\u003cp>“After it was all said and done, after all these medications and being in and out of the doctor’s, they told me they had no idea what caused it,” she says.\u003c/p>\n\u003cp>It was a serious illness, she says, but the unknowability of her ailment was “also kind of absurd.” As she recovered, Lempesis felt more than ever that she wanted to commit herself to studying art, beginning with a sculpture class at her local community college. \u003c/p>\n\u003cfigure id=\"attachment_12167820\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/ToolsInProg.jpg\" alt=\"Tools in Lempesis' studio; A sculpture in progress.\" width=\"1200\" height=\"837\" class=\"size-full wp-image-12167820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-400x279.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-960x670.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tools in Lempesis’ studio; A sculpture in progress. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I found momentum taking that course,” she says. “I think that whole issue with being really confronted by my body shifted my awareness of my insides. It shifted my awareness of what I was doing with my work. All this stuff that we walk around with in our bodies that we can’t see — how does it affect us and how we choose to abstract it and make it funny and approachable?”\u003c/p>\n\u003cp>Lempesis’ definition of “approachable” might be a bit different from most people’s understanding of the word. During her April 2016 exhibition at \u003ca href=\"http://www.alterspace.gallery/a/alyssa-lempesis-gulp/\" target=\"_blank\" rel=\"noopener\">Alter Space Gallery\u003c/a>, I watched people watch \u003ci>Gulp\u003c/i>, a short stop-motion animation filled with gooey limbs swathed in blue and fuchsia light. Children squealed in delight to see movements that resembled bodily functions rendered large-scale and autonomous. Some viewers turned sideways, a classic horror-movie watching tactic meant to limit one’s exposure to upsetting images.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/183908032\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Lempesis says the most common reaction she gets to her work is “Ew, gross!” It makes her day.\u003c/p>\n\u003cp>“There’s something really visceral about stuff moving on its own,” she says. She didn’t start translating her static sculptures into the subjects of stop-motion animations until the end of her MFA program at UC Davis. “I already anthropomorphized my work in the studio,” she says. “I always imagined them moving and so it was only natural that they would start to move.”\u003c/p>\n\u003cp>While her static sculptures and the works she makes for stop-motion animation inform one another, they don’t enter each other’s worlds. One of the biggest differences between the two is the intensity of observation to which Lempesis subjects stop-motion props. \u003c/p>\n\u003cfigure id=\"attachment_12167823\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/StopMotion.jpg\" alt=\"Lempesis' stop-motion set-up, complete with colored lights.\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lempesis’ stop-motion set-up, complete with colored lights. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to spending days, weeks or months meticulously arranging and shooting the frames for a single video, she photographs most of her animations through a macro lens, giving her incredibly detailed views of her tableaux. “It kind of changes the way I think about what I put into my materials,” she says. “Some things that I can’t see with my eye, I can see under my lens.”\u003c/p>\n\u003cp>And beyond what’s actually there, Lempesis’ animations allow her to imbue objects with her own creative imagination. “The way I imagine these things moving or the way I get to experience them while making them, I now get to show you an animation,” she says. “It’s so much more physical and visceral and tactile. I squeeze things and mix things. Things are always sort of twitching and moving and shifting when I’m making them.”\u003c/p>\n\u003cp>“I don’t want my stuff to be dead,” she says of the sculptures and animations alike. “I want it to look alive.”\u003c/p>\n\u003cfigure id=\"attachment_12167817\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/SculptureStudies.jpg\" alt=\"Creature-like sculptures in Lempesis' studio.\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167817\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Creature-like sculptures in Lempesis’ studio. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her videos look like clips deemed too weird for \u003ci>Planet Earth\u003c/i>, a combination of filmmaker and biologist Jean Painlevé’s “\u003ca href=\"https://www.youtube.com/channel/UCrmhlRYQ44_PXsc6Qst30Ng/videos\" target=\"_blank\" rel=\"noopener\">scientific-poetic cinema\u003c/a>” and Wes Anderson’s \u003ci>The Life Aquatic with Steve Zissou\u003c/i>.\u003c/p>\n\u003cp>The references to fictionalized underwater creatures aren’t accidental. “I went to the aquarium and was like, ‘Yes! Sea life! This is it! This looks like the land that I want things to live in,’” she says.\u003c/p>\n\u003cp>An oft-quoted statistic from the National Ocean Service states: “For all of our reliance on the ocean, 95 percent of this realm remains unexplored, unseen by human eyes. On land, another frequently repeated estimate (\u003ca href=\"https://www.bostonglobe.com/ideas/2014/09/13/your-body-mostly-microbes-actually-have-idea/qlcoKot4wfUXecjeVaFKFN/story.html\" target=\"_blank\" rel=\"noopener\">that might be wildly inaccurate\u003c/a>, but still breeds discomfort) claims humans are “ten parts microbe, and one part human.” Lempesis revels in these numbers, and in the visual and conceptual similarities between the mysterious underwater terrain and our mysterious bodily insides. \u003c/p>\n\u003cfigure id=\"attachment_12167822\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Books.jpg\" alt=\"Reference books and research in Lempesis' studio; A spread in 'This Living Reef.'\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Reference books and research in Lempesis’ studio; A spread in ‘This Living Reef.’ \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My insides have always been alien to me, and now I’m interested in the alien and unknown of the underwater,” she says. “I like to dig under the surface of things. I want to go deep, under the skin, under the ocean.”\u003c/p>\n\u003cp>If you can stomach it — which you should — she’ll bring you along for the ride.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>See Alyssa Lempesis’ work in person at CSU Stanislaus in Turlock, on view in the Building Imagination Center through Oct. 27. Visit \u003ca href=\"http://buildingimagination.com/?ai1ec_event=artist-reception-alyssa-lempesis&instance_id=4313\" target=\"_blank\" rel=\"noopener\">buildingimagination.com\u003c/a> for more information.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Dive under the surface — of both the human body and the ocean's waves — for the inspiration behind this Oakland-based artist's creature-like sculptures and eerie stop-motion animations. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>According to my audio recording of our studio visit, I spent nearly four whole minutes touching one of \u003ca href=\"http://alyssalempesis.com/\" target=\"_blank\" rel=\"noopener\">Alyssa Lempesis\u003c/a>’ sculptures, a set of hands cast out of stretchy “flesh-colored” rubber. \u003c/p>\n\u003cp>I feel bad relating this detail, since most people probably won’t get the chance to enjoy what was to me a simultaneously thrilling and disgusting tactile experience.\u003c/p>\n\u003cp>Inside West Oakland’s \u003ca href=\"https://aggregatespacegallery.org/\" target=\"_blank\" rel=\"noopener\">Aggregate Space Gallery\u003c/a>, up a set of steep stairs to a lofted studio, Lempesis works on surreal organic-looking sculptures and eerie stop-motion animation videos. She wants you to want to touch her work; she identifies with your struggle to keep your hands to yourself. \u003c/p>\n\u003cfigure id=\"attachment_12167818\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/HandsHair.jpg\" alt=\"The cast rubber hands; a smaller sculptural work in the studio (L–R).\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The cast rubber hands; A smaller sculptural work in the studio. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m a dangerous person in galleries and museums,” she says. “I’m definitely the kind of person where the security guard is like, ‘Ma’am, please back away from the object, you stay behind the line.’”\u003c/p>\n\u003cp>Part of the tactile attraction in Lempesis’ work is the mystery of its making. Her material lists read like the ingredients of a witchy concoction: nylon flock, Magic Smooth, epoxy, aggregates, hair (real \u003ci>and\u003c/i> fake), sand, atomized metal powder, wool, sausage casings, foams, silicone, latex, Vaseline, the list goes on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The resulting sculptures resemble internal organs, deep-sea creatures, crusty growths and other oddities of the natural world — the types of things that elicit a complicated combination of attraction and revulsion. \u003c/p>\n\u003cfigure id=\"attachment_12167821\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/HairLeg.jpg\" alt=\"Material and artwork storage in Lempesis' studio; Sculptures 'flick,' 'crumb' and 'clot,' from left to right.\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Material and artwork storage in Lempesis’ studio; sculptures ‘flick,’ ‘crumb’ and ‘clot’ (L–R). \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Drawn to art from an early age, Lempesis went to college intending to study theatrical design. But at the beginning of her sophomore year at UC Berkeley, she fell ill and had to drop out of school to move home. “It was really intense for me,” she says. “I had issues with my immune system and it was sort of debilitating. I was really out of commission for a while.”\u003c/p>\n\u003cp>“After it was all said and done, after all these medications and being in and out of the doctor’s, they told me they had no idea what caused it,” she says.\u003c/p>\n\u003cp>It was a serious illness, she says, but the unknowability of her ailment was “also kind of absurd.” As she recovered, Lempesis felt more than ever that she wanted to commit herself to studying art, beginning with a sculpture class at her local community college. \u003c/p>\n\u003cfigure id=\"attachment_12167820\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/ToolsInProg.jpg\" alt=\"Tools in Lempesis' studio; A sculpture in progress.\" width=\"1200\" height=\"837\" class=\"size-full wp-image-12167820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-400x279.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-960x670.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tools in Lempesis’ studio; A sculpture in progress. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I found momentum taking that course,” she says. “I think that whole issue with being really confronted by my body shifted my awareness of my insides. It shifted my awareness of what I was doing with my work. All this stuff that we walk around with in our bodies that we can’t see — how does it affect us and how we choose to abstract it and make it funny and approachable?”\u003c/p>\n\u003cp>Lempesis’ definition of “approachable” might be a bit different from most people’s understanding of the word. During her April 2016 exhibition at \u003ca href=\"http://www.alterspace.gallery/a/alyssa-lempesis-gulp/\" target=\"_blank\" rel=\"noopener\">Alter Space Gallery\u003c/a>, I watched people watch \u003ci>Gulp\u003c/i>, a short stop-motion animation filled with gooey limbs swathed in blue and fuchsia light. Children squealed in delight to see movements that resembled bodily functions rendered large-scale and autonomous. Some viewers turned sideways, a classic horror-movie watching tactic meant to limit one’s exposure to upsetting images.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/183908032\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Lempesis says the most common reaction she gets to her work is “Ew, gross!” It makes her day.\u003c/p>\n\u003cp>“There’s something really visceral about stuff moving on its own,” she says. She didn’t start translating her static sculptures into the subjects of stop-motion animations until the end of her MFA program at UC Davis. “I already anthropomorphized my work in the studio,” she says. “I always imagined them moving and so it was only natural that they would start to move.”\u003c/p>\n\u003cp>While her static sculptures and the works she makes for stop-motion animation inform one another, they don’t enter each other’s worlds. One of the biggest differences between the two is the intensity of observation to which Lempesis subjects stop-motion props. \u003c/p>\n\u003cfigure id=\"attachment_12167823\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/StopMotion.jpg\" alt=\"Lempesis' stop-motion set-up, complete with colored lights.\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lempesis’ stop-motion set-up, complete with colored lights. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to spending days, weeks or months meticulously arranging and shooting the frames for a single video, she photographs most of her animations through a macro lens, giving her incredibly detailed views of her tableaux. “It kind of changes the way I think about what I put into my materials,” she says. “Some things that I can’t see with my eye, I can see under my lens.”\u003c/p>\n\u003cp>And beyond what’s actually there, Lempesis’ animations allow her to imbue objects with her own creative imagination. “The way I imagine these things moving or the way I get to experience them while making them, I now get to show you an animation,” she says. “It’s so much more physical and visceral and tactile. I squeeze things and mix things. Things are always sort of twitching and moving and shifting when I’m making them.”\u003c/p>\n\u003cp>“I don’t want my stuff to be dead,” she says of the sculptures and animations alike. “I want it to look alive.”\u003c/p>\n\u003cfigure id=\"attachment_12167817\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/SculptureStudies.jpg\" alt=\"Creature-like sculptures in Lempesis' studio.\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167817\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Creature-like sculptures in Lempesis’ studio. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her videos look like clips deemed too weird for \u003ci>Planet Earth\u003c/i>, a combination of filmmaker and biologist Jean Painlevé’s “\u003ca href=\"https://www.youtube.com/channel/UCrmhlRYQ44_PXsc6Qst30Ng/videos\" target=\"_blank\" rel=\"noopener\">scientific-poetic cinema\u003c/a>” and Wes Anderson’s \u003ci>The Life Aquatic with Steve Zissou\u003c/i>.\u003c/p>\n\u003cp>The references to fictionalized underwater creatures aren’t accidental. “I went to the aquarium and was like, ‘Yes! Sea life! This is it! This looks like the land that I want things to live in,’” she says.\u003c/p>\n\u003cp>An oft-quoted statistic from the National Ocean Service states: “For all of our reliance on the ocean, 95 percent of this realm remains unexplored, unseen by human eyes. On land, another frequently repeated estimate (\u003ca href=\"https://www.bostonglobe.com/ideas/2014/09/13/your-body-mostly-microbes-actually-have-idea/qlcoKot4wfUXecjeVaFKFN/story.html\" target=\"_blank\" rel=\"noopener\">that might be wildly inaccurate\u003c/a>, but still breeds discomfort) claims humans are “ten parts microbe, and one part human.” Lempesis revels in these numbers, and in the visual and conceptual similarities between the mysterious underwater terrain and our mysterious bodily insides. \u003c/p>\n\u003cfigure id=\"attachment_12167822\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Books.jpg\" alt=\"Reference books and research in Lempesis' studio; A spread in 'This Living Reef.'\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Reference books and research in Lempesis’ studio; A spread in ‘This Living Reef.’ \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My insides have always been alien to me, and now I’m interested in the alien and unknown of the underwater,” she says. “I like to dig under the surface of things. I want to go deep, under the skin, under the ocean.”\u003c/p>\n\u003cp>If you can stomach it — which you should — she’ll bring you along for the ride.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>See Alyssa Lempesis’ work in person at CSU Stanislaus in Turlock, on view in the Building Imagination Center through Oct. 27. Visit \u003ca href=\"http://buildingimagination.com/?ai1ec_event=artist-reception-alyssa-lempesis&instance_id=4313\" target=\"_blank\" rel=\"noopener\">buildingimagination.com\u003c/a> for more information.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "uc-santa-cruz-lands-massive-photo-archive-chronicling-california-history",
"title": "UC Santa Cruz Lands Massive Photo Archive Chronicling California History",
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"content": "\u003cp>Husband-and-wife photographers Pirkle Jones and Ruth-Marion Baruch had a ringside seat to much of California’s mid 20\u003csup>th\u003c/sup> century. They took tens of thousands of pictures of migrant workers, environmentally threatened communities and perhaps most famously, the Black Panthers during their hey day in Oakland.\u003c/p>\n\u003cp>The vast majority of their work — more than 12,000 prints and 25,000 negatives — \u003ca href=\"http://news.ucsc.edu/2016/10/jones-baruch-gift.html\" target=\"_blank\" rel=\"noopener\">now call UC Santa Cruz home\u003c/a>. It’s the largest single gift in the campus’s history, with an estimated value of $32 million.\u003c/p>\n\u003cp>“They were people who were very interested in documenting social, and political and environmental issues,” says Elisabeth Remak-Honnef, who heads of Special Collections and Archives at UC Santa Cruz.\u003c/p>\n\u003cfigure id=\"attachment_12155711\" class=\"wp-caption alignright\" style=\"max-width: 403px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12155711\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-403x600.jpg\" alt=\"Ruth-Marion Baruch, Mother and child, Free Huey Rally, Oakland, 1968\" width=\"403\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-403x600.jpg 403w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-400x596.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-792x1180.jpg 792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-1180x1758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-960x1430.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut.jpg 1800w\" sizes=\"(max-width: 403px) 100vw, 403px\">\u003cfigcaption class=\"wp-caption-text\">Ruth-Marion Baruch, Mother and child, Free Huey Rally, Oakland, 1968 \u003ccite>(Photo: Courtesy of Special Collections, University Library, UC Santa Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remak-Honnef figures it’ll take at least two years to catalog everything, including a selection of works by big names Jones and Baruch studied and worked with: Ansel Adams, Dorothea Lange, and Edward Weston. But some of the Black Panther photographs have already been sent to the Oakland Museum for this weekend’s opening of \u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">All Power to the People: Black Panthers at 50\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Drawn to California\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Baruch was born in Berlin, and immigrated to New York City in 1927. She got an undergraduate degree at the University of Missouri but came west to attend the California School of Fine Arts (now the San Francisco Art Institute), where she studied with the likes of Ansel Adams, Minor White, Homer Page, and Edward Weston\u003c/p>\n\u003cp>Jones, originally from Shreveport, Louisiana, joined the first class taught by Ansel Adams in 1946. He became Adams’ assistant in 1949 and taught at the school for 28 years, beginning in 1952.\u003c/p>\n\u003cp>Jones and Adams became friends, as well as colleagues, and met Baruch through Adams.\u003c/p>\n\u003cp>Jones and Adams co-taught a summer session at UC Santa Cruz called “Words and Images” in 1969. Though Jones settled in Mill Valley with Baruch, he never forgot UCSC. “He thought [Santa Cruz] was a very beautiful place,” says Remak-Honnef. “He liked the quirkiness of the campus. He liked the political activism on the campus.”\u003c/p>\n\u003cp>The archive will be housed in \u003ca href=\"http://guides.library.ucsc.edu/c.php?g=119809&p=2394http://guides.library.ucsc.edu/speccoll/jones-slideshow444\" target=\"_blank\" rel=\"noopener\">McHenry Library’s Special Collections\u003c/a>, already home to a smaller collection the couple \u003ca href=\"http://www1.ucsc.edu/currents/02-03/01-06/pirkle_jones.html\" target=\"_blank\" rel=\"noopener\">gave to UC Santa Cruz in 2003\u003c/a>. “I really feel this collection has come home to where it belonged and where it was intended to end up,” Remak-Honnef added.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/286053711″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cstrong>Black Panther Days\u003c/strong>\u003c/p>\n\u003cp>The Panther series of photographs came about in 1968 when Baruch was introduced to Kathleen Cleaver, wife of Black Panther party leader Eldridge Cleaver. Given unprecedented access to the inner circle of the Black Panthers, Jones and Baruch took photographs from July through October of that year.\u003c/p>\n\u003cp>The photos caused an uproar at the time. San Francisco’s de Young Museum, which was mounting a show, was tempted to cancel the exhibition, but went ahead. The show drew 100,000 visitors.\u003c/p>\n\u003cp>In 2004, Jones told the \u003ca href=\"http://www.latimes.com/local/obituaries/la-me-pirkle-jones24-2009mar24-story.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Los Angeles Times\u003c/em>\u003c/a>, “I had professional clients who said, ‘What in the world are you doing photographing Panthers?’ I’d just sort of shrug my shoulders. I did the talking through the photographs.'”\u003c/p>\n\u003cp>\u003cstrong>Haight Ashbury\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12155521\" class=\"wp-caption alignright\" style=\"max-width: 383px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12155521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-383x600.jpg\" alt=\"Ruth-Marion Baruch: Gypsy couple, Haight Ashbury, 1967\" width=\"383\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-383x600.jpg 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-400x627.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-768x1203.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-753x1180.jpg 753w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-1180x1849.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-960x1504.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut.jpg 1800w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003cfigcaption class=\"wp-caption-text\">Ruth-Marion Baruch: Gypsy couple, Haight Ashbury, 1967 \u003ccite>(Photo: Courtesy of Special Collections, University Library, UC Santa Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remak-Honnef says UC Santa Cruz also plans to loan items to the de Young Museum in San Francisco for their upcoming Summer of Love exhibition.\u003c/p>\n\u003cp>“I find that the photos that Ruth-Marion Baruch’s photographs of people are absolutely extraordinary,” Remak Honnef said. “She had a way of capturing human beings that I think was just superb.”\u003c/p>\n\u003cp>That said, not all the photos are of people. Both photographers had a keen interested in Bay Area landscapes, cityscapes, and environmental politics.\u003c/p>\n\u003cp>Jones collaborated with Lange on “The Death of a Valley 1956,” which portrayed the Berryessa Valley in Napa County during the year before completion of the Monticello Dam that flooded the valley. (See photo above.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The stories Pirkle and Ruth-Marion captured from the 1940s through the 1970s are just as relevant today as when they were created,” Remak Honnef muses. “50 years later, we’re still addressing the very same questions.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Husband-and-wife photographers Pirkle Jones and Ruth-Marion Baruch had a ringside seat to much of California’s mid 20\u003csup>th\u003c/sup> century. They took tens of thousands of pictures of migrant workers, environmentally threatened communities and perhaps most famously, the Black Panthers during their hey day in Oakland.\u003c/p>\n\u003cp>The vast majority of their work — more than 12,000 prints and 25,000 negatives — \u003ca href=\"http://news.ucsc.edu/2016/10/jones-baruch-gift.html\" target=\"_blank\" rel=\"noopener\">now call UC Santa Cruz home\u003c/a>. It’s the largest single gift in the campus’s history, with an estimated value of $32 million.\u003c/p>\n\u003cp>“They were people who were very interested in documenting social, and political and environmental issues,” says Elisabeth Remak-Honnef, who heads of Special Collections and Archives at UC Santa Cruz.\u003c/p>\n\u003cfigure id=\"attachment_12155711\" class=\"wp-caption alignright\" style=\"max-width: 403px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12155711\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-403x600.jpg\" alt=\"Ruth-Marion Baruch, Mother and child, Free Huey Rally, Oakland, 1968\" width=\"403\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-403x600.jpg 403w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-400x596.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-792x1180.jpg 792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-1180x1758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut-960x1430.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21344_BlackPanther1-qut.jpg 1800w\" sizes=\"(max-width: 403px) 100vw, 403px\">\u003cfigcaption class=\"wp-caption-text\">Ruth-Marion Baruch, Mother and child, Free Huey Rally, Oakland, 1968 \u003ccite>(Photo: Courtesy of Special Collections, University Library, UC Santa Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remak-Honnef figures it’ll take at least two years to catalog everything, including a selection of works by big names Jones and Baruch studied and worked with: Ansel Adams, Dorothea Lange, and Edward Weston. But some of the Black Panther photographs have already been sent to the Oakland Museum for this weekend’s opening of \u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">All Power to the People: Black Panthers at 50\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Drawn to California\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Baruch was born in Berlin, and immigrated to New York City in 1927. She got an undergraduate degree at the University of Missouri but came west to attend the California School of Fine Arts (now the San Francisco Art Institute), where she studied with the likes of Ansel Adams, Minor White, Homer Page, and Edward Weston\u003c/p>\n\u003cp>Jones, originally from Shreveport, Louisiana, joined the first class taught by Ansel Adams in 1946. He became Adams’ assistant in 1949 and taught at the school for 28 years, beginning in 1952.\u003c/p>\n\u003cp>Jones and Adams became friends, as well as colleagues, and met Baruch through Adams.\u003c/p>\n\u003cp>Jones and Adams co-taught a summer session at UC Santa Cruz called “Words and Images” in 1969. Though Jones settled in Mill Valley with Baruch, he never forgot UCSC. “He thought [Santa Cruz] was a very beautiful place,” says Remak-Honnef. “He liked the quirkiness of the campus. He liked the political activism on the campus.”\u003c/p>\n\u003cp>The archive will be housed in \u003ca href=\"http://guides.library.ucsc.edu/c.php?g=119809&p=2394http://guides.library.ucsc.edu/speccoll/jones-slideshow444\" target=\"_blank\" rel=\"noopener\">McHenry Library’s Special Collections\u003c/a>, already home to a smaller collection the couple \u003ca href=\"http://www1.ucsc.edu/currents/02-03/01-06/pirkle_jones.html\" target=\"_blank\" rel=\"noopener\">gave to UC Santa Cruz in 2003\u003c/a>. “I really feel this collection has come home to where it belonged and where it was intended to end up,” Remak-Honnef added.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/286053711″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/286053711″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Black Panther Days\u003c/strong>\u003c/p>\n\u003cp>The Panther series of photographs came about in 1968 when Baruch was introduced to Kathleen Cleaver, wife of Black Panther party leader Eldridge Cleaver. Given unprecedented access to the inner circle of the Black Panthers, Jones and Baruch took photographs from July through October of that year.\u003c/p>\n\u003cp>The photos caused an uproar at the time. San Francisco’s de Young Museum, which was mounting a show, was tempted to cancel the exhibition, but went ahead. The show drew 100,000 visitors.\u003c/p>\n\u003cp>In 2004, Jones told the \u003ca href=\"http://www.latimes.com/local/obituaries/la-me-pirkle-jones24-2009mar24-story.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Los Angeles Times\u003c/em>\u003c/a>, “I had professional clients who said, ‘What in the world are you doing photographing Panthers?’ I’d just sort of shrug my shoulders. I did the talking through the photographs.'”\u003c/p>\n\u003cp>\u003cstrong>Haight Ashbury\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12155521\" class=\"wp-caption alignright\" style=\"max-width: 383px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12155521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-383x600.jpg\" alt=\"Ruth-Marion Baruch: Gypsy couple, Haight Ashbury, 1967\" width=\"383\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-383x600.jpg 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-400x627.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-768x1203.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-753x1180.jpg 753w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-1180x1849.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut-960x1504.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21345_Haight-qut.jpg 1800w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003cfigcaption class=\"wp-caption-text\">Ruth-Marion Baruch: Gypsy couple, Haight Ashbury, 1967 \u003ccite>(Photo: Courtesy of Special Collections, University Library, UC Santa Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remak-Honnef says UC Santa Cruz also plans to loan items to the de Young Museum in San Francisco for their upcoming Summer of Love exhibition.\u003c/p>\n\u003cp>“I find that the photos that Ruth-Marion Baruch’s photographs of people are absolutely extraordinary,” Remak Honnef said. “She had a way of capturing human beings that I think was just superb.”\u003c/p>\n\u003cp>That said, not all the photos are of people. Both photographers had a keen interested in Bay Area landscapes, cityscapes, and environmental politics.\u003c/p>\n\u003cp>Jones collaborated with Lange on “The Death of a Valley 1956,” which portrayed the Berryessa Valley in Napa County during the year before completion of the Monticello Dam that flooded the valley. (See photo above.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The stories Pirkle and Ruth-Marion captured from the 1940s through the 1970s are just as relevant today as when they were created,” Remak Honnef muses. “50 years later, we’re still addressing the very same questions.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Art and Psychiatry On Trial: The Strange Case of Pierce v. Oremland",
"headTitle": "Art and Psychiatry On Trial: The Strange Case of Pierce v. Oremland | KQED",
"content": "\u003cp>When he died earlier this year, Dr. Jerome D. Oremland was hailed as a leading Bay Area psychiatrist, an art collector and the author of multiple books exploring the overlapping realms of art and psychology.\u003c/p>\n\u003cp>Now, his estate is embroiled in a malpractice lawsuit set for trial Oct. 3 in the San Francisco Superior Court. The suit claims Oremland violated professional boundaries and induced a patient, John Pierce, to give him at least a dozen rare works of art by masters such as French modernist Henri Matisse and Italian Renaissance artist Raphael.\u003c/p>\n\u003cfigure id=\"attachment_12151605\" class=\"wp-caption aligncenter\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12151605\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/MatisseDrawing.jpg\" alt=\"Henri Matisse, 'Nu debout,' 1904.\" width=\"520\" height=\"753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MatisseDrawing.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MatisseDrawing-400x579.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MatisseDrawing-414x600.jpg 414w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">Henri Matisse, ‘Nu debout,’ 1904. \u003ccite>(Recorded in the Henri Matisse Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pierce’s lawsuit, filed in 2015 before the psychiatrist died, also claims Oremland improperly used his patient as a private detective to conduct “unsavory” investigations, as a handyman to clean his swimming pool, and as “essentially a personal servant,” before manipulating Pierce in an attempt to cover up his allegedly unethical use of a vulnerable patient.\u003c/p>\n\u003cp>In court records, lawyers for Oremland’s estate deny the allegations. They say the patient consented to any business dealings he may have had with Oremland, and any art he gave the doctor was given willingly as payment for psychiatric treatment.\u003c/p>\n\u003ch3>The patient and the psychiatrist\u003c/h3>\n\u003cp>Pierce, the lawsuit says, had a history of psychological difficulties and several hospitalizations before he began intensive therapy with Oremland in 1984.\u003c/p>\n\u003cfigure id=\"attachment_12151608\" class=\"wp-caption aligncenter\" style=\"max-width: 334px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12151608\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Pierce.jpg\" alt=\"John Pierce\" width=\"334\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Pierce.jpg 334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Pierce-313x600.jpg 313w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003cfigcaption class=\"wp-caption-text\">John Pierce. (Photo courtesy John Pierce)\u003c/figcaption>\u003c/figure>\n\u003cp>Oremland was a prominent psychiatrist with a “regal manner,” a “Renaissance man” known for opulent soirees at his Sausalito home and his exacting standards in all things, the \u003cem>San Francisco Chronicle\u003c/em> reported in \u003ca href=\"http://www.sfgate.com/bayarea/article/Dr-Jerome-Oremland-noted-Bay-Area-psychiatrist-6864140.php\" target=\"_blank\" rel=\"noopener\">an obituary\u003c/a> published upon Oremland’s death in February 2016. He died from cancer at age 87.\u003c/p>\n\u003caside class=\"pullquote alignright\">Pierce and Oremland met three times a week for 26 years.\u003c/aside>\n\u003cp>In addition to his private practice, Oremland had served as chief of psychiatry at Children’s Hospital in San Francisco and taught clinical psychiatry at UCSF. His interest in the arts led him to write a novel titled \u003ci>\u003ca href=\"https://www.amazon.com/Man-Who-Killed-Caravaggio/dp/1426960883/ref=sr_1_1?s=books&ie=UTF8&qid=1475098069&sr=1-1\" target=\"_blank\" rel=\"noopener\">The Man Who Killed Caravaggio\u003c/a>\u003c/i>, about the Italian painter, and the nonfiction book \u003cem>Michelangelo’s Sistine Ceiling: A Psychoanalytic Study of Creativity\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pierce and Oremland met three times a week for 26 years, before gradually reducing the sessions and ending them altogether in mid-2014. Meanwhile, Pierce was a successful building contractor and, like Oremland, collected art.\u003c/p>\n\u003cp>But along the way, the lawsuit claims, Oremland also breached professional boundaries and exploited a vulnerable patient for his own gain.\u003c/p>\n\u003ch3>Trading art for therapy\u003c/h3>\n\u003cp>Pierce, now 67, says in court papers that during therapy sessions with the psychiatrist, he was induced to give Oremland a dozen “high end” art works, including paintings by Matisse, Luca Giordano, Nicolaes Maes and Ferdinand Bol; drawings by Raphael, Joan Miró and Edvard Munch; and a bust of Egon Schiele.\u003c/p>\n\u003cfigure id=\"attachment_12151609\" class=\"wp-caption aligncenter\" style=\"max-width: 535px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12151609\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Schiele.jpg\" alt=\"Bust of Egon Schiele\" width=\"535\" height=\"708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Schiele.jpg 535w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Schiele-400x529.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Schiele-453x600.jpg 453w\" sizes=\"(max-width: 535px) 100vw, 535px\">\u003cfigcaption class=\"wp-caption-text\">Bust of Egon Schiele\u003c/figcaption>\u003c/figure>\n\u003cp>During one session, he claims, the psychiatrist convinced Pierce to buy 12 rare David Park woodcuts titled \u003cem>Genesis\u003c/em>, and to give him eight of them.\u003c/p>\n\u003caside class=\"pullquote alignright\">The lawsuit claims Oremland received the artwork at a “fraction” of its value.\u003c/aside>\n\u003cp>Oremland also allegedly “cajoled” Pierce into convincing a friend to sell a rare Albrecht Dürer book, \u003cem>The Little Passion\u003c/em>, to a socialite who was also one of Oremland’s patients. As a commission on the $15,000 sale, the lawsuit claims, Oremland received an old master print. (The lawsuit does not specify the artist.)\u003c/p>\n\u003cp>Although the art was supposedly payment for therapy, the lawsuit claims, Oremland used many of their sessions to solicit art, propose financial schemes and discuss other subjects unrelated to treatment.\u003c/p>\n\u003cp>Geoffrey Spellberg, Pierce’s attorney, said in an interview that the lawsuit claims Oremland received the artwork at a “fraction” of its value and “basically stole it under the guise of providing psychotherapy.”\u003c/p>\n\u003cp>David Shuey and Lisa Ungerer, attorneys for Oremland’s estate, did not respond to requests for comment.\u003c/p>\n\u003ch3>Drawing the line\u003c/h3>\n\u003cp>The American Psychiatric Association’s ethics guidelines warn psychiatrists to respect professional boundaries, because patients “may be especially vulnerable to undue influences.” The APA continues: “the psychiatrist should be sensitive and careful that his/her conduct does not physically, sexually, psychologically, spiritually or financially exploit or harm the patient.”\u003c/p>\n\u003cp>In an interview, Dr. Charles Dike, a member of the APA ethics committee and assistant professor of psychiatry at Yale University, declined comment on the Orlemand lawsuit specifically. He noted that sexual relations with current and former patients are strictly prohibited, and that other involvements outside the therapeutic relationship — such as business dealings, accepting gifts and bartering goods for treatment — are strongly discouraged because they can likewise undermine therapy and lead to exploitation.\u003c/p>\n\u003cfigure id=\"attachment_12151607\" class=\"wp-caption aligncenter\" style=\"max-width: 559px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12151607 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678.jpg\" alt=\"Joan Miró, 'Femme et oiseau dans la nuit,' 1972.\" width=\"559\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678.jpg 559w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678-400x540.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678-444x600.jpg 444w\" sizes=\"(max-width: 559px) 100vw, 559px\">\u003cfigcaption class=\"wp-caption-text\">Joan Miró, ‘Femme et oiseau dans la nuit,’ 1972.\u003c/figcaption>\u003c/figure>\n\u003cp>The frequency of such boundary violations is unknown. \u003cem>Current Psychiatry\u003c/em>, a professional journal, reported in 2008 that an estimated 6 to 10 percent of psychiatrists engaged in sexual relationships with patients. Other kinds of boundary violations occur more often, the journal said.\u003c/p>\n\u003cp>The article concluded, “Don’t foster dependence, use patients for your own gratification, have extra-therapeutic contact, or accept gifts or services from patients.”\u003c/p>\n\u003ch3>Private investigations\u003c/h3>\n\u003cp>The lawsuit maintains Orlemand extracted more than just art from Pierce. During several sessions, the lawsuit claims, Oremland led him to invest in the Cascade Acceptance Corporation, an investment firm with which Oremland had a relationship. Pierce did so, it says, and lost about $350,000.\u003c/p>\n\u003cp>The psychiatrist also allegedly persuaded Pierce, a licensed private detective, to conduct various investigations, some involving other patients.\u003c/p>\n\u003caside class=\"pullquote alignright\">Oremland allegedly had Pierce make repairs on his home, offices and rental units, clear out the home of his deceased brother, and clean his pool.\u003c/aside>\n\u003cp>In one instance, Oremland allegedly revealed to Pierce that another patient was concerned about mysterious charges to the credit card of her husband. At Oremland’s request, Pierce investigated and confirmed the charges were from a “lap dancing establishment,” the lawsuit says.\u003c/p>\n\u003cp>The lawsuit does not identify the patient or her husband.\u003c/p>\n\u003cp>Oremland also prevailed upon Pierce to investigate the man who was to marry his youngest daughter, the lawsuit says.\u003c/p>\n\u003cp>Pierce’s lawsuit claims Oremland used him as “essentially a personal servant.” In a court declaration, he said, “It was common during a therapy session for Dr. Oremland to interrupt the therapy and give me direction as to what work he wanted me to perform.”\u003c/p>\n\u003cp>Oremland allegedly had Pierce make repairs on his home, offices and rental units, clear out the home of his deceased brother, and clean his pool — work the lawsuit values at $200,000.\u003c/p>\n\u003cp>The psychiatrist sometimes invited him to parties for the San Francisco Ballet, the lawsuit says, where he became obligated to make contributions.\u003c/p>\n\u003cp>All the while, Oremland failed to maintain professional objectivity and misdiagnosed Pierce, the lawsuit claims, telling him at one point that he “suffered from bad thoughts” but “I love you.”\u003c/p>\n\u003ch3>‘Legitimate Payment for Therapy’\u003c/h3>\n\u003cp>In 2012, Oremland allegedly moved to cover up his exploitation of Pierce by drafting a statement for Pierce to sign that said the psychiatrist had acted only in Pierce’s interests. A copy of the statement filed in court says, “In summary, Dr. Oremland, he has never profited from our relationship in any way other than the professional fees I pay him.” Pierce claims that Oremland coerced him to sign it.\u003c/p>\n\u003caside class=\"pullquote alignright\">The estate denies Pierce is owed anything.\u003c/aside>\n\u003cp>In the lawsuit, Pierce demands the return of the artwork, compensation for his work, and repayment of fees he paid Oremland. The estate denies Pierce is owed anything.\u003c/p>\n\u003cp>In court records, John D. Teter, the executor of Oremland’s estate, insists that any transfers of art from Pierce to the psychiatrist were legitimate payment for therapy; he further denies that Pierce was injured. Teter did not respond to a request for comment.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Seth Rosenfeld, formerly a staff reporter for the \u003c/em>San Francisco Chronicle\u003cem>, is a San Francisco-based freelance journalist whose work has appeared in the \u003c/em>New York Times\u003cem>, the \u003c/em>Los Angeles Times\u003cem> and \u003c/em>Harper’s Magazine\u003cem>, among other publications. He is the author of \u003c/em>Subversives: The FBI’s War on Student Radicals, and Reagan’s Rise to Power\u003cem>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Did a prominent San Francisco psychiatrist convince a former patient to give him rare works of art -- and more -- in exchange for therapy? ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When he died earlier this year, Dr. Jerome D. Oremland was hailed as a leading Bay Area psychiatrist, an art collector and the author of multiple books exploring the overlapping realms of art and psychology.\u003c/p>\n\u003cp>Now, his estate is embroiled in a malpractice lawsuit set for trial Oct. 3 in the San Francisco Superior Court. The suit claims Oremland violated professional boundaries and induced a patient, John Pierce, to give him at least a dozen rare works of art by masters such as French modernist Henri Matisse and Italian Renaissance artist Raphael.\u003c/p>\n\u003cfigure id=\"attachment_12151605\" class=\"wp-caption aligncenter\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12151605\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/MatisseDrawing.jpg\" alt=\"Henri Matisse, 'Nu debout,' 1904.\" width=\"520\" height=\"753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MatisseDrawing.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MatisseDrawing-400x579.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/MatisseDrawing-414x600.jpg 414w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">Henri Matisse, ‘Nu debout,’ 1904. \u003ccite>(Recorded in the Henri Matisse Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pierce’s lawsuit, filed in 2015 before the psychiatrist died, also claims Oremland improperly used his patient as a private detective to conduct “unsavory” investigations, as a handyman to clean his swimming pool, and as “essentially a personal servant,” before manipulating Pierce in an attempt to cover up his allegedly unethical use of a vulnerable patient.\u003c/p>\n\u003cp>In court records, lawyers for Oremland’s estate deny the allegations. They say the patient consented to any business dealings he may have had with Oremland, and any art he gave the doctor was given willingly as payment for psychiatric treatment.\u003c/p>\n\u003ch3>The patient and the psychiatrist\u003c/h3>\n\u003cp>Pierce, the lawsuit says, had a history of psychological difficulties and several hospitalizations before he began intensive therapy with Oremland in 1984.\u003c/p>\n\u003cfigure id=\"attachment_12151608\" class=\"wp-caption aligncenter\" style=\"max-width: 334px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12151608\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Pierce.jpg\" alt=\"John Pierce\" width=\"334\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Pierce.jpg 334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Pierce-313x600.jpg 313w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003cfigcaption class=\"wp-caption-text\">John Pierce. (Photo courtesy John Pierce)\u003c/figcaption>\u003c/figure>\n\u003cp>Oremland was a prominent psychiatrist with a “regal manner,” a “Renaissance man” known for opulent soirees at his Sausalito home and his exacting standards in all things, the \u003cem>San Francisco Chronicle\u003c/em> reported in \u003ca href=\"http://www.sfgate.com/bayarea/article/Dr-Jerome-Oremland-noted-Bay-Area-psychiatrist-6864140.php\" target=\"_blank\" rel=\"noopener\">an obituary\u003c/a> published upon Oremland’s death in February 2016. He died from cancer at age 87.\u003c/p>\n\u003caside class=\"pullquote alignright\">Pierce and Oremland met three times a week for 26 years.\u003c/aside>\n\u003cp>In addition to his private practice, Oremland had served as chief of psychiatry at Children’s Hospital in San Francisco and taught clinical psychiatry at UCSF. His interest in the arts led him to write a novel titled \u003ci>\u003ca href=\"https://www.amazon.com/Man-Who-Killed-Caravaggio/dp/1426960883/ref=sr_1_1?s=books&ie=UTF8&qid=1475098069&sr=1-1\" target=\"_blank\" rel=\"noopener\">The Man Who Killed Caravaggio\u003c/a>\u003c/i>, about the Italian painter, and the nonfiction book \u003cem>Michelangelo’s Sistine Ceiling: A Psychoanalytic Study of Creativity\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pierce and Oremland met three times a week for 26 years, before gradually reducing the sessions and ending them altogether in mid-2014. Meanwhile, Pierce was a successful building contractor and, like Oremland, collected art.\u003c/p>\n\u003cp>But along the way, the lawsuit claims, Oremland also breached professional boundaries and exploited a vulnerable patient for his own gain.\u003c/p>\n\u003ch3>Trading art for therapy\u003c/h3>\n\u003cp>Pierce, now 67, says in court papers that during therapy sessions with the psychiatrist, he was induced to give Oremland a dozen “high end” art works, including paintings by Matisse, Luca Giordano, Nicolaes Maes and Ferdinand Bol; drawings by Raphael, Joan Miró and Edvard Munch; and a bust of Egon Schiele.\u003c/p>\n\u003cfigure id=\"attachment_12151609\" class=\"wp-caption aligncenter\" style=\"max-width: 535px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12151609\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Schiele.jpg\" alt=\"Bust of Egon Schiele\" width=\"535\" height=\"708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Schiele.jpg 535w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Schiele-400x529.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Schiele-453x600.jpg 453w\" sizes=\"(max-width: 535px) 100vw, 535px\">\u003cfigcaption class=\"wp-caption-text\">Bust of Egon Schiele\u003c/figcaption>\u003c/figure>\n\u003cp>During one session, he claims, the psychiatrist convinced Pierce to buy 12 rare David Park woodcuts titled \u003cem>Genesis\u003c/em>, and to give him eight of them.\u003c/p>\n\u003caside class=\"pullquote alignright\">The lawsuit claims Oremland received the artwork at a “fraction” of its value.\u003c/aside>\n\u003cp>Oremland also allegedly “cajoled” Pierce into convincing a friend to sell a rare Albrecht Dürer book, \u003cem>The Little Passion\u003c/em>, to a socialite who was also one of Oremland’s patients. As a commission on the $15,000 sale, the lawsuit claims, Oremland received an old master print. (The lawsuit does not specify the artist.)\u003c/p>\n\u003cp>Although the art was supposedly payment for therapy, the lawsuit claims, Oremland used many of their sessions to solicit art, propose financial schemes and discuss other subjects unrelated to treatment.\u003c/p>\n\u003cp>Geoffrey Spellberg, Pierce’s attorney, said in an interview that the lawsuit claims Oremland received the artwork at a “fraction” of its value and “basically stole it under the guise of providing psychotherapy.”\u003c/p>\n\u003cp>David Shuey and Lisa Ungerer, attorneys for Oremland’s estate, did not respond to requests for comment.\u003c/p>\n\u003ch3>Drawing the line\u003c/h3>\n\u003cp>The American Psychiatric Association’s ethics guidelines warn psychiatrists to respect professional boundaries, because patients “may be especially vulnerable to undue influences.” The APA continues: “the psychiatrist should be sensitive and careful that his/her conduct does not physically, sexually, psychologically, spiritually or financially exploit or harm the patient.”\u003c/p>\n\u003cp>In an interview, Dr. Charles Dike, a member of the APA ethics committee and assistant professor of psychiatry at Yale University, declined comment on the Orlemand lawsuit specifically. He noted that sexual relations with current and former patients are strictly prohibited, and that other involvements outside the therapeutic relationship — such as business dealings, accepting gifts and bartering goods for treatment — are strongly discouraged because they can likewise undermine therapy and lead to exploitation.\u003c/p>\n\u003cfigure id=\"attachment_12151607\" class=\"wp-caption aligncenter\" style=\"max-width: 559px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12151607 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678.jpg\" alt=\"Joan Miró, 'Femme et oiseau dans la nuit,' 1972.\" width=\"559\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678.jpg 559w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678-400x540.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Miro-e1475608680678-444x600.jpg 444w\" sizes=\"(max-width: 559px) 100vw, 559px\">\u003cfigcaption class=\"wp-caption-text\">Joan Miró, ‘Femme et oiseau dans la nuit,’ 1972.\u003c/figcaption>\u003c/figure>\n\u003cp>The frequency of such boundary violations is unknown. \u003cem>Current Psychiatry\u003c/em>, a professional journal, reported in 2008 that an estimated 6 to 10 percent of psychiatrists engaged in sexual relationships with patients. Other kinds of boundary violations occur more often, the journal said.\u003c/p>\n\u003cp>The article concluded, “Don’t foster dependence, use patients for your own gratification, have extra-therapeutic contact, or accept gifts or services from patients.”\u003c/p>\n\u003ch3>Private investigations\u003c/h3>\n\u003cp>The lawsuit maintains Orlemand extracted more than just art from Pierce. During several sessions, the lawsuit claims, Oremland led him to invest in the Cascade Acceptance Corporation, an investment firm with which Oremland had a relationship. Pierce did so, it says, and lost about $350,000.\u003c/p>\n\u003cp>The psychiatrist also allegedly persuaded Pierce, a licensed private detective, to conduct various investigations, some involving other patients.\u003c/p>\n\u003caside class=\"pullquote alignright\">Oremland allegedly had Pierce make repairs on his home, offices and rental units, clear out the home of his deceased brother, and clean his pool.\u003c/aside>\n\u003cp>In one instance, Oremland allegedly revealed to Pierce that another patient was concerned about mysterious charges to the credit card of her husband. At Oremland’s request, Pierce investigated and confirmed the charges were from a “lap dancing establishment,” the lawsuit says.\u003c/p>\n\u003cp>The lawsuit does not identify the patient or her husband.\u003c/p>\n\u003cp>Oremland also prevailed upon Pierce to investigate the man who was to marry his youngest daughter, the lawsuit says.\u003c/p>\n\u003cp>Pierce’s lawsuit claims Oremland used him as “essentially a personal servant.” In a court declaration, he said, “It was common during a therapy session for Dr. Oremland to interrupt the therapy and give me direction as to what work he wanted me to perform.”\u003c/p>\n\u003cp>Oremland allegedly had Pierce make repairs on his home, offices and rental units, clear out the home of his deceased brother, and clean his pool — work the lawsuit values at $200,000.\u003c/p>\n\u003cp>The psychiatrist sometimes invited him to parties for the San Francisco Ballet, the lawsuit says, where he became obligated to make contributions.\u003c/p>\n\u003cp>All the while, Oremland failed to maintain professional objectivity and misdiagnosed Pierce, the lawsuit claims, telling him at one point that he “suffered from bad thoughts” but “I love you.”\u003c/p>\n\u003ch3>‘Legitimate Payment for Therapy’\u003c/h3>\n\u003cp>In 2012, Oremland allegedly moved to cover up his exploitation of Pierce by drafting a statement for Pierce to sign that said the psychiatrist had acted only in Pierce’s interests. A copy of the statement filed in court says, “In summary, Dr. Oremland, he has never profited from our relationship in any way other than the professional fees I pay him.” Pierce claims that Oremland coerced him to sign it.\u003c/p>\n\u003caside class=\"pullquote alignright\">The estate denies Pierce is owed anything.\u003c/aside>\n\u003cp>In the lawsuit, Pierce demands the return of the artwork, compensation for his work, and repayment of fees he paid Oremland. The estate denies Pierce is owed anything.\u003c/p>\n\u003cp>In court records, John D. Teter, the executor of Oremland’s estate, insists that any transfers of art from Pierce to the psychiatrist were legitimate payment for therapy; he further denies that Pierce was injured. Teter did not respond to a request for comment.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Seth Rosenfeld, formerly a staff reporter for the \u003c/em>San Francisco Chronicle\u003cem>, is a San Francisco-based freelance journalist whose work has appeared in the \u003c/em>New York Times\u003cem>, the \u003c/em>Los Angeles Times\u003cem> and \u003c/em>Harper’s Magazine\u003cem>, among other publications. He is the author of \u003c/em>Subversives: The FBI’s War on Student Radicals, and Reagan’s Rise to Power\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Artful Dodger: Oodles of Art to Observe this October",
"headTitle": "Artful Dodger: Oodles of Art to Observe this October | KQED",
"content": "\u003cp>You’ve already paid heed to the \u003ca href=\"https://ww2.kqed.org/arts/2016/09/06/fall-visual-arts-picks-be-sure-to-see-these-eight-exhibits/\" target=\"_blank\" rel=\"noopener\">fall arts guide\u003c/a> and marked your calendar for the two major exhibitions not to be missed this month, right? \u003c/p>\n\u003cp>Just in case: \u003ci>\u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50%5D\" target=\"_blank\" rel=\"noopener\">All Power to the People: The Black Panthers at 50\u003c/a>\u003c/i> opens Oct. 8 at the Oakland Museum of California; and \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/bruce-conner-its-all-true/\" target=\"_blank\" rel=\"noopener\">Bruce Conner: It’s All True\u003c/a>\u003c/i> opens Oct. 29 at the San Francisco Museum of Modern Art.\u003c/p>\n\u003cp>With those behemoths out of the way, we can focus on some of the smaller, more far-flung art happenings this month. Grab your layers and get out there!\u003c/p>\n\u003cfigure id=\"attachment_12146161\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Quillian640.jpg\" alt=\"Kathleen Quillian, 'The Speed of Disembodiment.'\" width=\"640\" height=\"480\" class=\"size-full wp-image-12146161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Quillian640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Quillian640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kathleen Quillian, ‘The Speed of Disembodiment.’ \u003ccite>(Courtesy of Royal NoneSuch Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.royalnonesuchgallery.com/special-event/\" target=\"_blank\" rel=\"noopener\">Kathleen Quillian, \u003ci>The Speed of Disembodiment\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Thursday, Oct. 6, 7-9pm\u003cbr>\nRoyal NoneSuch Gallery, Oakland\u003cbr>\nFREE!\u003c/h5>\n\u003cp>As co-founder and co-director of \u003ca href=\"http://shapeshifterscinema.com/\" target=\"_blank\" rel=\"noopener\">Shapeshifters Cinema\u003c/a>, a monthly expanded cinema series for things that don’t quite fit on the silver screen of the movie theater \u003ci>or\u003c/i> the white walls of the gallery, \u003ca href=\"http://www.kathleenquillian.com/\" target=\"_blank\" rel=\"noopener\">Kathleen Quillian\u003c/a>’s own work is similarly hard to pin down. \u003ci>The Speed of Disembodiment\u003c/i> combines 16mm film, 35mm slides and video to examine how technology has shaped our understanding of time and space, as well as our surroundings throughout history. As we blindly embrace progress, Quillin asks, how have we distanced ourselves from a natural sense of wonder?\u003c/p>\n\u003cp>\u003cstrong>BONUS:\u003c/strong> Hang around RNG ’til the weekend for a last chance to catch the results of the gallery’s \u003ca href=\"https://ww2.kqed.org/arts/2016/06/23/oakland-gallery-morphs-into-movie-studio-for-summer-of-artist-residencies/\" target=\"_blank\" rel=\"noopener\">summer-long residency series\u003c/a>, with videos by Bonanza, Amber Cady, Carolyn Janssen and Kate Rhoades. The \u003ci>Royal Production Company Video Exhibition\u003c/i> is on view Saturdays and Sundays, from 1-4pm, through Oct. 9.\u003c/p>\n\u003cfigure id=\"attachment_12146162\" class=\"wp-caption alignright\" style=\"max-width: 596px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/SitesUnseen.jpg\" alt=\"Barry McGee, 'Moscone Contemporary Art Centre & Garage' in progress.\" width=\"596\" height=\"598\" class=\"size-full wp-image-12146162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SitesUnseen.jpg 596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SitesUnseen-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SitesUnseen-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SitesUnseen-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SitesUnseen-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SitesUnseen-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SitesUnseen-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SitesUnseen-150x150.jpg 150w\" sizes=\"(max-width: 596px) 100vw, 596px\">\u003cfigcaption class=\"wp-caption-text\">Barry McGee, ‘Moscone Contemporary Art Centre & Garage’ in progress. \u003ccite>(Courtesy of Sites Unseen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.facebook.com/events/699577846861807/706270749525850/\" target=\"_blank\" rel=\"noopener\">Sites Unseen Public Art Presentation\u003c/a>\u003c/h3>\n\u003ch5>Sunday, Oct. 9, 3-6pm\u003cbr>\nAdjacent to Moscone Center Garage at 255 Third Street, San Francisco\u003cbr>\nFREE!\u003c/h5>\n\u003cp>\u003ca href=\"http://sitesunseen.org\" target=\"_blank\" rel=\"noopener\">Sites Unseen\u003c/a>, a new project to bring public art into the alleys of San Francisco’s Yerba Buena neighborhood, celebrates its first large-scale installation, a mural by \u003ca href=\"https://ww2.kqed.org/arts/2015/04/03/a-neighborhood-thing-the-mission-art-scene-in-the-90s-2/\" target=\"_blank\" rel=\"noopener\">Mission School\u003c/a> star Barry McGee, with a launch party next to a parking garage. This isn’t as odd a location as it might seem. McGee’s brightly colored geometric patterns, enigmatic characters and block lettering now adorn the exterior of the Moscone Center Garage, refashioned as the \u003ci>Moscone Contemporary Art Centre & Garage\u003c/i>. Local artists Ramekon O’Arwisters and Leah Rosenberg add temporary color to the event, along with participation by the Los Angeles-based collective Fallen Fruit. \u003c/p>\n\u003cfigure id=\"attachment_12146164\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sunrise640.jpg\" alt=\"Mik Gaspay, 'Sunrise' in progress, 2016.\" width=\"640\" height=\"360\" class=\"size-full wp-image-12146164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sunrise640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sunrise640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mik Gaspay, ‘Sunrise’ in progress, 2016. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Mik Gaspay, \u003ci>Sunrise\u003c/i>\u003c/h3>\n\u003ch5>Public celebration: Sunday, Oct. 23, 11am; On view beginning Oct. 15\u003cbr>\nChinese Culture Center, San Francisco\u003cbr>\nFREE!\u003c/h5>\n\u003cp>Remember back in June 2015, when the Chinese Culture Center opened a call for artwork proposals to create an “\u003ca href=\"https://ww2.kqed.org/arts/2015/06/10/bridge-project-to-put-chinatown-on-the-public-art-map/\" target=\"_blank\" rel=\"noopener\">innovative open space\u003c/a>” on the Portsmouth Square pedestrian bridge? Installation is now nearing completion on \u003ci>Sunrise\u003c/i>, a massive tile mosaic created by local artist and commission recipient \u003ca href=\"http://www.mikgaspay.net/\" target=\"_blank\" rel=\"noopener\">Mik Gaspay\u003c/a>. By my shaky calculations, the 850-square-foot piece, an image of a rising sun appropriately placed on the bridge’s eastern side, involves 122,400 individual one-inch tiles. And don’t worry, the public celebration of the installation occurs more than a few hours after actual sunrise.\u003c/p>\n\u003cfigure id=\"attachment_12146163\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Staging640.jpg\" alt=\"Image by Melanie Treuhaft.\" width=\"640\" height=\"359\" class=\"size-full wp-image-12146163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Staging640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Staging640-400x224.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Image by Melanie Treuhaft. \u003ccite>(Courtesy of CTRL+SHFT Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ctrlshftcollective.com/\" target=\"_blank\" rel=\"noopener\">Melanie Treuhaft, Tammy LePham and Shanna Sordahl, \u003ci>Staging\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Oct. 21–23, 2016\u003cbr>\nCTRL+SHFT Collective, Oakland\u003cbr>\nFREE!\u003c/h5>\n\u003cp>Don’t miss the small window in which to see this culminating exhibition by three collaborators — a visual artist with a background in theater, an architect, and a sound artist — as they combine architecture, sound and installation into “a conceptual framework that allows for multiple unintended consequences” (according to the press release). This sounds like art surprises, and I love art surprises. The work will be made during a three-week residency at CTRL+SHFT, a West Oakland studio and exhibition space fittingly dedicated to “hybridization and experimentation.”\u003c/p>\n\u003cfigure id=\"attachment_12146165\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Wilner640.jpg\" alt=\"Martin Wilner, 'January 2015: Jill Tarter (Making History: The Case Histories)' (recto), 2015.\" width=\"640\" height=\"640\" class=\"size-full wp-image-12146165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Wilner640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Wilner640-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Wilner640-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Wilner640-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Wilner640-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Wilner640-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Wilner640-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Wilner640-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Wilner640-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wilner, ‘January 2015: Jill Tarter (Making History: The Case Histories)’ (recto), 2015. \u003ccite>(Courtesy of NUMU Los Gatos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/10/28/making-contact-seti-artists-in-residence\" target=\"_blank\" rel=\"noopener\">\u003ci>Making Contact: SETI Artists in Residence\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Oct. 28, 2016–March 5, 2017\u003cbr>\nNew Museum Los Gatos\u003cbr>\nTickets: $6-10 (free for visitors 18 and younger)\u003c/h5>\n\u003cp>The \u003ca href=\"http://www.seti.org/\" target=\"_blank\" rel=\"noopener\">SETI Institute\u003c/a>, founded in 1984, currently employs over 130 scientists, educators and support staff in its mission to “explore, understand and explain the origin, nature and prevalence of life in the universe.” Beginning in 2010, the institute also welcomes artists in residence into its fold. Now, work by seven of those artists is on view, including drawings by New York-based artist and psychiatrist Martin Wilner, who documented his monthly conversations with SETI scientists in \u003ca href=\"https://en.wikipedia.org/wiki/Exquisite_corpse\" target=\"_blank\" rel=\"noopener\">exquisite corpse\u003c/a>-like illustrated diaries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’ve already paid heed to the \u003ca href=\"https://ww2.kqed.org/arts/2016/09/06/fall-visual-arts-picks-be-sure-to-see-these-eight-exhibits/\" target=\"_blank\" rel=\"noopener\">fall arts guide\u003c/a> and marked your calendar for the two major exhibitions not to be missed this month, right? \u003c/p>\n\u003cp>Just in case: \u003ci>\u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50%5D\" target=\"_blank\" rel=\"noopener\">All Power to the People: The Black Panthers at 50\u003c/a>\u003c/i> opens Oct. 8 at the Oakland Museum of California; and \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/bruce-conner-its-all-true/\" target=\"_blank\" rel=\"noopener\">Bruce Conner: It’s All True\u003c/a>\u003c/i> opens Oct. 29 at the San Francisco Museum of Modern Art.\u003c/p>\n\u003cp>With those behemoths out of the way, we can focus on some of the smaller, more far-flung art happenings this month. Grab your layers and get out there!\u003c/p>\n\u003cfigure id=\"attachment_12146161\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Quillian640.jpg\" alt=\"Kathleen Quillian, 'The Speed of Disembodiment.'\" width=\"640\" height=\"480\" class=\"size-full wp-image-12146161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Quillian640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Quillian640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kathleen Quillian, ‘The Speed of Disembodiment.’ \u003ccite>(Courtesy of Royal NoneSuch Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.royalnonesuchgallery.com/special-event/\" target=\"_blank\" rel=\"noopener\">Kathleen Quillian, \u003ci>The Speed of Disembodiment\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Thursday, Oct. 6, 7-9pm\u003cbr>\nRoyal NoneSuch Gallery, Oakland\u003cbr>\nFREE!\u003c/h5>\n\u003cp>As co-founder and co-director of \u003ca href=\"http://shapeshifterscinema.com/\" target=\"_blank\" rel=\"noopener\">Shapeshifters Cinema\u003c/a>, a monthly expanded cinema series for things that don’t quite fit on the silver screen of the movie theater \u003ci>or\u003c/i> the white walls of the gallery, \u003ca href=\"http://www.kathleenquillian.com/\" target=\"_blank\" rel=\"noopener\">Kathleen Quillian\u003c/a>’s own work is similarly hard to pin down. \u003ci>The Speed of Disembodiment\u003c/i> combines 16mm film, 35mm slides and video to examine how technology has shaped our understanding of time and space, as well as our surroundings throughout history. As we blindly embrace progress, Quillin asks, how have we distanced ourselves from a natural sense of wonder?\u003c/p>\n\u003cp>\u003cstrong>BONUS:\u003c/strong> Hang around RNG ’til the weekend for a last chance to catch the results of the gallery’s \u003ca href=\"https://ww2.kqed.org/arts/2016/06/23/oakland-gallery-morphs-into-movie-studio-for-summer-of-artist-residencies/\" target=\"_blank\" rel=\"noopener\">summer-long residency series\u003c/a>, with videos by Bonanza, Amber Cady, Carolyn Janssen and Kate Rhoades. The \u003ci>Royal Production Company Video Exhibition\u003c/i> is on view Saturdays and Sundays, from 1-4pm, through Oct. 9.\u003c/p>\n\u003cfigure id=\"attachment_12146162\" class=\"wp-caption alignright\" style=\"max-width: 596px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/SitesUnseen.jpg\" alt=\"Barry McGee, 'Moscone Contemporary Art Centre & Garage' in progress.\" width=\"596\" height=\"598\" class=\"size-full wp-image-12146162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SitesUnseen.jpg 596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SitesUnseen-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SitesUnseen-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SitesUnseen-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SitesUnseen-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SitesUnseen-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SitesUnseen-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SitesUnseen-150x150.jpg 150w\" sizes=\"(max-width: 596px) 100vw, 596px\">\u003cfigcaption class=\"wp-caption-text\">Barry McGee, ‘Moscone Contemporary Art Centre & Garage’ in progress. \u003ccite>(Courtesy of Sites Unseen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.facebook.com/events/699577846861807/706270749525850/\" target=\"_blank\" rel=\"noopener\">Sites Unseen Public Art Presentation\u003c/a>\u003c/h3>\n\u003ch5>Sunday, Oct. 9, 3-6pm\u003cbr>\nAdjacent to Moscone Center Garage at 255 Third Street, San Francisco\u003cbr>\nFREE!\u003c/h5>\n\u003cp>\u003ca href=\"http://sitesunseen.org\" target=\"_blank\" rel=\"noopener\">Sites Unseen\u003c/a>, a new project to bring public art into the alleys of San Francisco’s Yerba Buena neighborhood, celebrates its first large-scale installation, a mural by \u003ca href=\"https://ww2.kqed.org/arts/2015/04/03/a-neighborhood-thing-the-mission-art-scene-in-the-90s-2/\" target=\"_blank\" rel=\"noopener\">Mission School\u003c/a> star Barry McGee, with a launch party next to a parking garage. This isn’t as odd a location as it might seem. McGee’s brightly colored geometric patterns, enigmatic characters and block lettering now adorn the exterior of the Moscone Center Garage, refashioned as the \u003ci>Moscone Contemporary Art Centre & Garage\u003c/i>. Local artists Ramekon O’Arwisters and Leah Rosenberg add temporary color to the event, along with participation by the Los Angeles-based collective Fallen Fruit. \u003c/p>\n\u003cfigure id=\"attachment_12146164\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sunrise640.jpg\" alt=\"Mik Gaspay, 'Sunrise' in progress, 2016.\" width=\"640\" height=\"360\" class=\"size-full wp-image-12146164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sunrise640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sunrise640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mik Gaspay, ‘Sunrise’ in progress, 2016. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Mik Gaspay, \u003ci>Sunrise\u003c/i>\u003c/h3>\n\u003ch5>Public celebration: Sunday, Oct. 23, 11am; On view beginning Oct. 15\u003cbr>\nChinese Culture Center, San Francisco\u003cbr>\nFREE!\u003c/h5>\n\u003cp>Remember back in June 2015, when the Chinese Culture Center opened a call for artwork proposals to create an “\u003ca href=\"https://ww2.kqed.org/arts/2015/06/10/bridge-project-to-put-chinatown-on-the-public-art-map/\" target=\"_blank\" rel=\"noopener\">innovative open space\u003c/a>” on the Portsmouth Square pedestrian bridge? Installation is now nearing completion on \u003ci>Sunrise\u003c/i>, a massive tile mosaic created by local artist and commission recipient \u003ca href=\"http://www.mikgaspay.net/\" target=\"_blank\" rel=\"noopener\">Mik Gaspay\u003c/a>. By my shaky calculations, the 850-square-foot piece, an image of a rising sun appropriately placed on the bridge’s eastern side, involves 122,400 individual one-inch tiles. And don’t worry, the public celebration of the installation occurs more than a few hours after actual sunrise.\u003c/p>\n\u003cfigure id=\"attachment_12146163\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Staging640.jpg\" alt=\"Image by Melanie Treuhaft.\" width=\"640\" height=\"359\" class=\"size-full wp-image-12146163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Staging640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Staging640-400x224.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Image by Melanie Treuhaft. \u003ccite>(Courtesy of CTRL+SHFT Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ctrlshftcollective.com/\" target=\"_blank\" rel=\"noopener\">Melanie Treuhaft, Tammy LePham and Shanna Sordahl, \u003ci>Staging\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Oct. 21–23, 2016\u003cbr>\nCTRL+SHFT Collective, Oakland\u003cbr>\nFREE!\u003c/h5>\n\u003cp>Don’t miss the small window in which to see this culminating exhibition by three collaborators — a visual artist with a background in theater, an architect, and a sound artist — as they combine architecture, sound and installation into “a conceptual framework that allows for multiple unintended consequences” (according to the press release). This sounds like art surprises, and I love art surprises. The work will be made during a three-week residency at CTRL+SHFT, a West Oakland studio and exhibition space fittingly dedicated to “hybridization and experimentation.”\u003c/p>\n\u003cfigure id=\"attachment_12146165\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Wilner640.jpg\" alt=\"Martin Wilner, 'January 2015: Jill Tarter (Making History: The Case Histories)' (recto), 2015.\" width=\"640\" height=\"640\" class=\"size-full wp-image-12146165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Wilner640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Wilner640-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Wilner640-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Wilner640-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Wilner640-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Wilner640-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Wilner640-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Wilner640-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Wilner640-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Martin Wilner, ‘January 2015: Jill Tarter (Making History: The Case Histories)’ (recto), 2015. \u003ccite>(Courtesy of NUMU Los Gatos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/10/28/making-contact-seti-artists-in-residence\" target=\"_blank\" rel=\"noopener\">\u003ci>Making Contact: SETI Artists in Residence\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>Oct. 28, 2016–March 5, 2017\u003cbr>\nNew Museum Los Gatos\u003cbr>\nTickets: $6-10 (free for visitors 18 and younger)\u003c/h5>\n\u003cp>The \u003ca href=\"http://www.seti.org/\" target=\"_blank\" rel=\"noopener\">SETI Institute\u003c/a>, founded in 1984, currently employs over 130 scientists, educators and support staff in its mission to “explore, understand and explain the origin, nature and prevalence of life in the universe.” Beginning in 2010, the institute also welcomes artists in residence into its fold. Now, work by seven of those artists is on view, including drawings by New York-based artist and psychiatrist Martin Wilner, who documented his monthly conversations with SETI scientists in \u003ca href=\"https://en.wikipedia.org/wiki/Exquisite_corpse\" target=\"_blank\" rel=\"noopener\">exquisite corpse\u003c/a>-like illustrated diaries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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