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"content": "\u003cp>A U.S. judge said Tuesday that a celebrated artist was right when he insisted he didn’t paint a work now owned by a retired prison worker, a finding that likely ensures the piece will now be worth a fraction of the previous estimated value of $10 million or more.\u003c/p>\n\u003cp>The ruling came at the end of an unusual bench trial in Chicago that pitted Scottish-born Peter Doig against Canadian Robert Fletcher, who paid just $100 in the 1970s for the desert landscape painting and had hoped for a windfall of millions of dollars in retirement.\u003c/p>\n\u003cp>Authenticity disputes typically arise long after an artist dies, not when the artist is alive and flatly denies a work is his. This case created a stir in the art world, where the principle is widely accepted that artists’ word on whether a work is theirs or not is final.\u003c/p>\n\u003cp>Presiding Judge Gary Feinerman spent nearly two hours explaining his decision and going through evidence, from high school yearbooks to prison records, all of which demonstrated, he said, that Doig “absolutely did not paint the work in question.”\u003c/p>\n\u003cp>In a written statement after the verdict entirely in his favor, Doig, 57, said “justice prevailed, but it was way too long in coming.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That a living artist has to defend the authorship of his own work should never have come to pass,” he said.\u003c/p>\n\u003cp>The trial stemmed from Fletcher’s 2013 lawsuit in Chicago, where one auctioneer was located, in which he sought millions in damages after the painting’s projected sale price tanked following Doig’s disavowal of it. The judge ruled Fletcher wasn’t entitled to any money.\u003c/p>\n\u003cfigure id=\"attachment_11975566\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Doig-suit-1180x664.jpg\" alt=\"Attorney William Zieske (left) and his client Robert Fletcher (right) speak to reporters at the US federal courthouse in Chicago on August 23, 2016, after losing their lawsuit against artist Peter Doig. They accused him of falsely denying authorship of a painting. \" width=\"640\" height=\"360\" class=\"size-large wp-image-11975566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Attorney William Zieske (left) and his client Robert Fletcher (right) speak to reporters at the US federal courthouse in Chicago on August 23, 2016, after losing their lawsuit against artist Peter Doig.\u003cbr>They accused him of falsely denying authorship of a painting. \u003ccite>(Photo: Nova Safo/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The evidence, the judge said, showed this was a case of imperfect memories, coincidences and mistaken identity. He said it was a different Peter Doige, who spelled his name with an “e,” who created the artwork. Feinerman rejected the idea that Doig, the renowned artist, and Doige were the same person.\u003c/p>\n\u003cp>Fletcher, 62, testified that he bought the painting of a desert landscape while Doig was serving prison time in Canada’s Thunder Bay Correctional Center. But Feinerman said it was Doige — who was several years older and painted at the time — who was briefly in prison.\u003c/p>\n\u003cp>After Tuesday’s decision, when a reporter asked Fletcher if he was still convinced the man he bought the painting from in prison and the internationally acclaimed artist were one and the same despite the judge’s conclusion, he responded: “I am.”\u003c/p>\n\u003cp>Doig, who attended the trial last week but listened to the verdict by telephone, sharply criticized Fletcher’s lawsuit.\u003c/p>\n\u003cp>“That the plaintiffs in this case have shamelessly tried to deny another artist his legacy for money is despicable,” he said.\u003c/p>\n\u003cp>Fletcher’s attorney, William Zieske, said the suit was brought in good faith and an appeal is possible.\u003c/p>\n\u003cp>A key witness for Doig was a Canadian woman, Marilyn Doige Bovard, who told the court the painting was by her now-deceased brother, Peter Doige. She confirmed her brother had been in prison where Fletcher worked in the mid to late ’70s.\u003c/p>\n\u003cp>Doig, who now lives in Trinidad, said he’s never been in prison. While he lived in Canada at the time, he said he was attending school in Toronto, 500 miles from the prison. Feinerman said yearbooks proved Doig was, in fact, in Toronto when Fletcher said he was in prison.\u003c/p>\n\u003cp>Doig’s works are prized for their ethereal scenes often with subjects appearing as ghostly figures. His painting of someone slumped over a canoe, entitled “Swamped,” sold last year at Christie’s for $25.9 million, according to the auction company’s website.\u003c/p>\n\u003cp>Some artists worried the case could set a bad precedent and lead to similar lawsuits, said Amy Adler, who teaches art and the law at New York University School of Law.\u003c/p>\n\u003cp>“This case inspires terror in some artists who fear they could end up in court for denying that a work they did not do isn’t theirs,” Adler said.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That a living artist has to defend the authorship of his own work should never have come to pass,” he said.\u003c/p>\n\u003cp>The trial stemmed from Fletcher’s 2013 lawsuit in Chicago, where one auctioneer was located, in which he sought millions in damages after the painting’s projected sale price tanked following Doig’s disavowal of it. The judge ruled Fletcher wasn’t entitled to any money.\u003c/p>\n\u003cfigure id=\"attachment_11975566\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Doig-suit-1180x664.jpg\" alt=\"Attorney William Zieske (left) and his client Robert Fletcher (right) speak to reporters at the US federal courthouse in Chicago on August 23, 2016, after losing their lawsuit against artist Peter Doig. They accused him of falsely denying authorship of a painting. \" width=\"640\" height=\"360\" class=\"size-large wp-image-11975566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Attorney William Zieske (left) and his client Robert Fletcher (right) speak to reporters at the US federal courthouse in Chicago on August 23, 2016, after losing their lawsuit against artist Peter Doig.\u003cbr>They accused him of falsely denying authorship of a painting. \u003ccite>(Photo: Nova Safo/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The evidence, the judge said, showed this was a case of imperfect memories, coincidences and mistaken identity. He said it was a different Peter Doige, who spelled his name with an “e,” who created the artwork. Feinerman rejected the idea that Doig, the renowned artist, and Doige were the same person.\u003c/p>\n\u003cp>Fletcher, 62, testified that he bought the painting of a desert landscape while Doig was serving prison time in Canada’s Thunder Bay Correctional Center. But Feinerman said it was Doige — who was several years older and painted at the time — who was briefly in prison.\u003c/p>\n\u003cp>After Tuesday’s decision, when a reporter asked Fletcher if he was still convinced the man he bought the painting from in prison and the internationally acclaimed artist were one and the same despite the judge’s conclusion, he responded: “I am.”\u003c/p>\n\u003cp>Doig, who attended the trial last week but listened to the verdict by telephone, sharply criticized Fletcher’s lawsuit.\u003c/p>\n\u003cp>“That the plaintiffs in this case have shamelessly tried to deny another artist his legacy for money is despicable,” he said.\u003c/p>\n\u003cp>Fletcher’s attorney, William Zieske, said the suit was brought in good faith and an appeal is possible.\u003c/p>\n\u003cp>A key witness for Doig was a Canadian woman, Marilyn Doige Bovard, who told the court the painting was by her now-deceased brother, Peter Doige. She confirmed her brother had been in prison where Fletcher worked in the mid to late ’70s.\u003c/p>\n\u003cp>Doig, who now lives in Trinidad, said he’s never been in prison. While he lived in Canada at the time, he said he was attending school in Toronto, 500 miles from the prison. Feinerman said yearbooks proved Doig was, in fact, in Toronto when Fletcher said he was in prison.\u003c/p>\n\u003cp>Doig’s works are prized for their ethereal scenes often with subjects appearing as ghostly figures. His painting of someone slumped over a canoe, entitled “Swamped,” sold last year at Christie’s for $25.9 million, according to the auction company’s website.\u003c/p>\n\u003cp>Some artists worried the case could set a bad precedent and lead to similar lawsuits, said Amy Adler, who teaches art and the law at New York University School of Law.\u003c/p>\n\u003cp>“This case inspires terror in some artists who fear they could end up in court for denying that a work they did not do isn’t theirs,” Adler said.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Open Your Eyes Behind Steve Kahn's Closed Doors at Casemore Kirkeby",
"headTitle": "Open Your Eyes Behind Steve Kahn’s Closed Doors at Casemore Kirkeby | KQED",
"content": "\u003cp>I didn’t plan on seeing this show. Sometimes you go looking for one thing and you find another. What’s that saying? When one door closes, another door opens. Cringe at this hackneyed utterance, but it just so happens to be the perfect analogy for \u003ca href=\"http://www.stevekahn-fineart.com/\" target=\"_blank\" rel=\"noopener\">Steve Kahn\u003c/a>’s sleek solo show at Casemore Kirkeby, \u003ci>\u003ca href=\"http://casemorekirkeby.com/exhibition/steve-kahn/\" target=\"_blank\" rel=\"noopener\">Mural Triptychs & Door/Window Constructions\u003c/a>\u003c/i> — and not just because his subject matter includes doors.\u003c/p>\n\u003cfigure id=\"attachment_11952134\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952134\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08.jpg\" alt=\"Installation view of 'Mural Triptychs & Door/Window Constructions.'\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08-960x640.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Mural Triptychs & Door/Window Constructions.’ \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1970s Hollywood, Kahn made a bit of extra money by shooting photographs for a bondage magazine in run-down rent-by-the-day one-room apartments. That commercial work parlayed into photographs of a more artistic sort, and one day, when a hired model didn’t show up, Kahn photographed the empty room itself. (When one door closes…)\u003c/p>\n\u003cp>“The container became more interesting than the content it contained,” he says of the series, which he calls \u003ci>The Hollywood Suites\u003c/i>. These works, on view at Casemore Kirkeby for the first time in 35 years, are remarkably contemporary, in part because Kahn’s prints, with their luscious blacks and analog graininess, look fantastic (dare I say, sexy?), and in part because the psychological space of interiors is infinitely, timelessly rich. (Local practitioners \u003ca href=\"http://www.amymho.com/\" target=\"_blank\" rel=\"noopener\">Amy M. Ho\u003c/a> and \u003ca href=\"http://www.cybelelyle.com/\" target=\"_blank\" rel=\"noopener\">Cybele Lyle\u003c/a> consistently mine that field to excellent results.)\u003c/p>\n\u003cfigure id=\"attachment_11952137\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952137\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24.jpg\" alt=\"Installation view of Steve Kahn, 'Window #22' from 'The Hollywood Suites,' 1976.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24-960x640.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Steve Kahn, ‘Window #22’ from ‘The Hollywood Suites,’ 1976. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kahn’s vintage prints of doors, windows, corners, hallways and missing mirrors are devoid of almost any signs of life. The geometric edges of these dark-carpeted, dingy-walled spaces become segmented and scrambled as Kahn arranges Polaroids and gelatin silver prints in orientations that may or may not resemble the actual rooms he photographed.\u003c/p>\n\u003cp>The effect is claustrophobic and disconcerting. Did terrible things happen at the site of these high-contrast images? Or, to a lesser degree, do the Hollywood suites capture feelings of isolation and desperation? In \u003ci>Quadrant #1\u003c/i> (below), four Polaroids in a grid create a fictitious view into a carpeted, four-walled and totally enclosed space. It’s a room with no entry and no exit; the possibility of another door opening isn’t even an option here. Similarly, \u003ci>Triptych #10\u003c/i> shows a wall that appears real enough, but something about the scale is strange — the angles of the corners seem improbable.\u003c/p>\n\u003cfigure id=\"attachment_11952138\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952138\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30.jpg\" alt=\"Installation view of Steve Kahn, 'Quadrant #1,' 1976.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30-960x640.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Steve Kahn, ‘Quadrant #1,’ 1976. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By rephotographing his Polaroids with 35mm film, and in turn, rephotographing those gelatin silver prints with a large-format camera, Kahn created “generations” of his own images, scaling up output at each turn. And yet, each iteration retains some of the initial immediacy of the Polaroid. Kahn replaces the white edges of his Polaroids with thin strips of mat board or slight spaces between his aluminum-mounted prints.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The “mural triptychs” of the exhibition’s dryly factual title are the largest works in the show, smooth gelatin silver prints laid out three wide or stacked three wide. Kahn’s own experiments with presentation clearly flow from these triptychs to the \u003ci>Door/Window Constructions\u003c/i>. Abandoning even the formality of same-sized panels, these uneven triptychs evoke that other saying about closed doors and open windows, a variation on a theme. Some of Kahn’s windows don’t give you the views you might hope for, trapped as you are amidst his “no-exit” spaces. In \u003ci>Door/Window #3\u003c/i>, Kahn flanks a fictional double door with smoggy 1978 views of downtown Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_11952135\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952135\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/hsbd_07.jpg\" alt=\"Steve Kahn, 'Bound Door #7' from 'The Hollywood Suites,' 1976.\" width=\"1024\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07-788x600.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07-960x731.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Steve Kahn, ‘Bound Door #7’ from ‘The Hollywood Suites,’ 1976. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s tucked into the back room of Casemore Kirkeby where you finally accept you’re forever indoors in Kahn’s images, but where you also realize you might not care. The real treats line up against the back room gallery’s gray walls: small gelatin silver prints of windows with ill-fitting curtains, the places where shaped mirrors used to hang, and Kahn’s “bound doors.” Part \u003ca href=\"http://www.jandlbooks.org/HS_strings.html\" target=\"_blank\" rel=\"noopener\">Harry Smith string figures\u003c/a> and part ridiculous bondage exercise, these images (and Kahn’s strategically scratched polaroids in \u003ci>Acting Out\u003c/i>) show the man behind the camera interested in not just the formal qualities of his work, but in the process and the play involved in making it.\u003c/p>\n\u003cp>Shut your own door behind you and step through the doors at 1275 Minnesota St. for an analogy-affirming art viewing experience.\u003c/p>\n\u003cfigure id=\"attachment_11952127\" class=\"wp-caption aligncenter\" style=\"max-width: 977px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952127\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/acting_out.jpg\" alt=\"Steve Kahn, 'Acting Out,' 1976.\" width=\"977\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out.jpg 977w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out-400x419.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out-572x600.jpg 572w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out-768x805.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out-960x1006.jpg 960w\" sizes=\"(max-width: 977px) 100vw, 977px\">\u003cfigcaption class=\"wp-caption-text\">Steve Kahn, ‘Acting Out,’ 1976. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Mural Triptychs & Door/Window Constructions\u003c/b> is on view at Casemore Kirkeby in San Francisco through Sept. 10. For more information, visit \u003ca href=\"http://casemorekirkeby.com/exhibition/steve-kahn/\" target=\"_blank\" rel=\"noopener\">casemorekirkeby.com\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In photographing run-down, rent-by-the-day rooms in 1970s Hollywood, Steve Kahn created fictitious spaces that look as fresh as they are psychologically evocative. ",
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"description": "In photographing run-down, rent-by-the-day rooms in 1970s Hollywood, Steve Kahn created fictitious spaces that look as fresh as they are psychologically evocative. ",
"title": "Open Your Eyes Behind Steve Kahn's Closed Doors at Casemore Kirkeby | KQED",
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"headline": "Open Your Eyes Behind Steve Kahn's Closed Doors at Casemore Kirkeby",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I didn’t plan on seeing this show. Sometimes you go looking for one thing and you find another. What’s that saying? When one door closes, another door opens. Cringe at this hackneyed utterance, but it just so happens to be the perfect analogy for \u003ca href=\"http://www.stevekahn-fineart.com/\" target=\"_blank\" rel=\"noopener\">Steve Kahn\u003c/a>’s sleek solo show at Casemore Kirkeby, \u003ci>\u003ca href=\"http://casemorekirkeby.com/exhibition/steve-kahn/\" target=\"_blank\" rel=\"noopener\">Mural Triptychs & Door/Window Constructions\u003c/a>\u003c/i> — and not just because his subject matter includes doors.\u003c/p>\n\u003cfigure id=\"attachment_11952134\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952134\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08.jpg\" alt=\"Installation view of 'Mural Triptychs & Door/Window Constructions.'\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_08-960x640.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Mural Triptychs & Door/Window Constructions.’ \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1970s Hollywood, Kahn made a bit of extra money by shooting photographs for a bondage magazine in run-down rent-by-the-day one-room apartments. That commercial work parlayed into photographs of a more artistic sort, and one day, when a hired model didn’t show up, Kahn photographed the empty room itself. (When one door closes…)\u003c/p>\n\u003cp>“The container became more interesting than the content it contained,” he says of the series, which he calls \u003ci>The Hollywood Suites\u003c/i>. These works, on view at Casemore Kirkeby for the first time in 35 years, are remarkably contemporary, in part because Kahn’s prints, with their luscious blacks and analog graininess, look fantastic (dare I say, sexy?), and in part because the psychological space of interiors is infinitely, timelessly rich. (Local practitioners \u003ca href=\"http://www.amymho.com/\" target=\"_blank\" rel=\"noopener\">Amy M. Ho\u003c/a> and \u003ca href=\"http://www.cybelelyle.com/\" target=\"_blank\" rel=\"noopener\">Cybele Lyle\u003c/a> consistently mine that field to excellent results.)\u003c/p>\n\u003cfigure id=\"attachment_11952137\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952137\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24.jpg\" alt=\"Installation view of Steve Kahn, 'Window #22' from 'The Hollywood Suites,' 1976.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_24-960x640.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Steve Kahn, ‘Window #22’ from ‘The Hollywood Suites,’ 1976. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kahn’s vintage prints of doors, windows, corners, hallways and missing mirrors are devoid of almost any signs of life. The geometric edges of these dark-carpeted, dingy-walled spaces become segmented and scrambled as Kahn arranges Polaroids and gelatin silver prints in orientations that may or may not resemble the actual rooms he photographed.\u003c/p>\n\u003cp>The effect is claustrophobic and disconcerting. Did terrible things happen at the site of these high-contrast images? Or, to a lesser degree, do the Hollywood suites capture feelings of isolation and desperation? In \u003ci>Quadrant #1\u003c/i> (below), four Polaroids in a grid create a fictitious view into a carpeted, four-walled and totally enclosed space. It’s a room with no entry and no exit; the possibility of another door opening isn’t even an option here. Similarly, \u003ci>Triptych #10\u003c/i> shows a wall that appears real enough, but something about the scale is strange — the angles of the corners seem improbable.\u003c/p>\n\u003cfigure id=\"attachment_11952138\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952138\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30.jpg\" alt=\"Installation view of Steve Kahn, 'Quadrant #1,' 1976.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/casemore_kirkeby_steve_kahn_2016_installation_30-960x640.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Steve Kahn, ‘Quadrant #1,’ 1976. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By rephotographing his Polaroids with 35mm film, and in turn, rephotographing those gelatin silver prints with a large-format camera, Kahn created “generations” of his own images, scaling up output at each turn. And yet, each iteration retains some of the initial immediacy of the Polaroid. Kahn replaces the white edges of his Polaroids with thin strips of mat board or slight spaces between his aluminum-mounted prints.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The “mural triptychs” of the exhibition’s dryly factual title are the largest works in the show, smooth gelatin silver prints laid out three wide or stacked three wide. Kahn’s own experiments with presentation clearly flow from these triptychs to the \u003ci>Door/Window Constructions\u003c/i>. Abandoning even the formality of same-sized panels, these uneven triptychs evoke that other saying about closed doors and open windows, a variation on a theme. Some of Kahn’s windows don’t give you the views you might hope for, trapped as you are amidst his “no-exit” spaces. In \u003ci>Door/Window #3\u003c/i>, Kahn flanks a fictional double door with smoggy 1978 views of downtown Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_11952135\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952135\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/hsbd_07.jpg\" alt=\"Steve Kahn, 'Bound Door #7' from 'The Hollywood Suites,' 1976.\" width=\"1024\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07-788x600.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hsbd_07-960x731.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Steve Kahn, ‘Bound Door #7’ from ‘The Hollywood Suites,’ 1976. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s tucked into the back room of Casemore Kirkeby where you finally accept you’re forever indoors in Kahn’s images, but where you also realize you might not care. The real treats line up against the back room gallery’s gray walls: small gelatin silver prints of windows with ill-fitting curtains, the places where shaped mirrors used to hang, and Kahn’s “bound doors.” Part \u003ca href=\"http://www.jandlbooks.org/HS_strings.html\" target=\"_blank\" rel=\"noopener\">Harry Smith string figures\u003c/a> and part ridiculous bondage exercise, these images (and Kahn’s strategically scratched polaroids in \u003ci>Acting Out\u003c/i>) show the man behind the camera interested in not just the formal qualities of his work, but in the process and the play involved in making it.\u003c/p>\n\u003cp>Shut your own door behind you and step through the doors at 1275 Minnesota St. for an analogy-affirming art viewing experience.\u003c/p>\n\u003cfigure id=\"attachment_11952127\" class=\"wp-caption aligncenter\" style=\"max-width: 977px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11952127\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/acting_out.jpg\" alt=\"Steve Kahn, 'Acting Out,' 1976.\" width=\"977\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out.jpg 977w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out-400x419.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out-572x600.jpg 572w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out-768x805.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/acting_out-960x1006.jpg 960w\" sizes=\"(max-width: 977px) 100vw, 977px\">\u003cfigcaption class=\"wp-caption-text\">Steve Kahn, ‘Acting Out,’ 1976. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Mural Triptychs & Door/Window Constructions\u003c/b> is on view at Casemore Kirkeby in San Francisco through Sept. 10. For more information, visit \u003ca href=\"http://casemorekirkeby.com/exhibition/steve-kahn/\" target=\"_blank\" rel=\"noopener\">casemorekirkeby.com\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Another day, another way in which the run-up to this year's election feels less like an actual political process taking place in the United States in the year 2016 and more like, I dunno, a sentient Monty Python sketch that was funny at first but then rapidly got \u003cem>way\u003c/em> out of hand.\u003c/p>\n\u003cp>The latest: A naked, none-too-flattering statue of real estate tycoon and presidential candidate Donald Trump appeared this morning at Jane Warner Plaza in the Castro; \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2016/08/18/anarchists-unveil-naked-donald-trump-statues-in-several-u-s-cities/\" target=\"_blank\">according to the \u003cem>Washington Post\u003c/em>\u003c/a>, similar statues appeared in public spaces in New York, Cleveland, Los Angeles, and Seattle.\u003c/p>\n\u003cp>https://www.instagram.com/p/BJQX85DjmbG/\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The statues, to which \u003cem>\u003ca href=\"http://www.sfweekly.com/uncategorized/nsfw-guerrilla-art-group-indecline-installs-naked-trump-statue-castro/\" target=\"_blank\">SF Weekly\u003c/a>\u003c/em> tipped us early this morning, are the work of guerrilla/anarchist artist collective INDECLINE, who left placards bearing their name and the project's fairly straightforward title at each statue's base.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/feet.jpg\">\u003cimg class=\"wp-image-33385 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/feet-800x600.jpg\" alt=\"feet\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/feet-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/feet-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/feet-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/feet.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>The group told the \u003cem>Post\u003c/em> through an anonymous spokesperson that “like it or not, Trump is a larger-than-life figure in world culture at the moment. Looking back in history, that’s how those figures were memorialized and idolized in their time — with statues.”\u003c/p>\n\u003cp>The collective also posted the video below to YouTube, answering some of the \"how\" questions surrounding these statues, if not necessarily the \"why\"s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f7TeTzOgkMs\u003c/p>\n\u003cp>Of note: The artist, going by Ginger here, seems to be kindred spirits with Los Angeles artist Illma Gore, who was \u003ca href=\"https://ww2.kqed.org/arts/2016/03/29/license-to-illma-naked-trump-portrait-gets-artist-banned-from-facebook-ebay/\" target=\"_blank\">banned from Facebook and eBay\u003c/a> in March after her nude portraits of Trump -- which depict the politician with, shall we say, smaller-than-average equipment in his nether regions -- went viral.\u003c/p>\n\u003cp>https://www.instagram.com/p/BJQp6o3j0hj/\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>But apparently size truly doesn't matter -- at least not to the city government departments tasked with setting and enforcing rules about nude statues in public places. As of this writing, the statue in New York City's Union Square had already been removed. (Ours here in San Francisco is still hanging out, wearing a \u003ca href=\"http://sf.funcheap.com/city-guide/san-franciscos-naked-donald-trump-statue/\" target=\"_blank\">\"Make America Gay Again\" \u003c/a>cap.) Asked for a statement, NYC Parks Department spokesperson Sam Biderman issued the following:\u003c/p>\n\u003cp>\"NYC Parks stands firmly against any unpermitted erection in city parks, no matter how small.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Update, Aug. 19: \u003c/strong>Our local nude Trump was \u003ca href=\"http://www.sfgate.com/bayarea/article/Naked-Trump-statue-removed-from-Castro-9172813.php\" target=\"_blank\">removed by city workers this morning\u003c/a>, but word on the street is Irish bar Lefty O'Doul's is working to provide it with a new home.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Another day, another way in which the run-up to this year's election feels less like an actual political process taking place in the United States in the year 2016 and more like, I dunno, a sentient Monty Python sketch that was funny at first but then rapidly got \u003cem>way\u003c/em> out of hand.\u003c/p>\n\u003cp>The latest: A naked, none-too-flattering statue of real estate tycoon and presidential candidate Donald Trump appeared this morning at Jane Warner Plaza in the Castro; \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2016/08/18/anarchists-unveil-naked-donald-trump-statues-in-several-u-s-cities/\" target=\"_blank\">according to the \u003cem>Washington Post\u003c/em>\u003c/a>, similar statues appeared in public spaces in New York, Cleveland, Los Angeles, and Seattle.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cp>The statues, to which \u003cem>\u003ca href=\"http://www.sfweekly.com/uncategorized/nsfw-guerrilla-art-group-indecline-installs-naked-trump-statue-castro/\" target=\"_blank\">SF Weekly\u003c/a>\u003c/em> tipped us early this morning, are the work of guerrilla/anarchist artist collective INDECLINE, who left placards bearing their name and the project's fairly straightforward title at each statue's base.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/feet.jpg\">\u003cimg class=\"wp-image-33385 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/feet-800x600.jpg\" alt=\"feet\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/feet-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/feet-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/feet-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/feet.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>The group told the \u003cem>Post\u003c/em> through an anonymous spokesperson that “like it or not, Trump is a larger-than-life figure in world culture at the moment. Looking back in history, that’s how those figures were memorialized and idolized in their time — with statues.”\u003c/p>\n\u003cp>The collective also posted the video below to YouTube, answering some of the \"how\" questions surrounding these statues, if not necessarily the \"why\"s.\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/f7TeTzOgkMs'\n title='//www.youtube.com/embed/f7TeTzOgkMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Of note: The artist, going by Ginger here, seems to be kindred spirits with Los Angeles artist Illma Gore, who was \u003ca href=\"https://ww2.kqed.org/arts/2016/03/29/license-to-illma-naked-trump-portrait-gets-artist-banned-from-facebook-ebay/\" target=\"_blank\">banned from Facebook and eBay\u003c/a> in March after her nude portraits of Trump -- which depict the politician with, shall we say, smaller-than-average equipment in his nether regions -- went viral.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cp>But apparently size truly doesn't matter -- at least not to the city government departments tasked with setting and enforcing rules about nude statues in public places. As of this writing, the statue in New York City's Union Square had already been removed. (Ours here in San Francisco is still hanging out, wearing a \u003ca href=\"http://sf.funcheap.com/city-guide/san-franciscos-naked-donald-trump-statue/\" target=\"_blank\">\"Make America Gay Again\" \u003c/a>cap.) Asked for a statement, NYC Parks Department spokesperson Sam Biderman issued the following:\u003c/p>\n\u003cp>\"NYC Parks stands firmly against any unpermitted erection in city parks, no matter how small.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Update, Aug. 19: \u003c/strong>Our local nude Trump was \u003ca href=\"http://www.sfgate.com/bayarea/article/Naked-Trump-statue-removed-from-Castro-9172813.php\" target=\"_blank\">removed by city workers this morning\u003c/a>, but word on the street is Irish bar Lefty O'Doul's is working to provide it with a new home.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "painter-romaine-brooks-challenged-conventions-in-shades-of-gray",
"title": "Painter Romaine Brooks Challenged Conventions in Shades of Gray",
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"content": "\u003cp>Twentieth century painter Romaine Brooks introduces herself in a 1923 self-portrait: She wears a narrowly cut, long, black riding jacket with a white blouse. She has short cropped hair, and her eyes are shadowed by a black high hat. There’s the slightest smudge of maybe pink on her lips — otherwise the whole portrait is black and various shades of gray.\u003c/p>\n\u003cfigure id=\"attachment_11948187\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-677x1180.jpg\" alt=\"A wealthy American living in Paris, Romaine Brooks had the freedom to paint whatever and however she wanted. Don't let her sober, 1923 'Self-Portrait' fool you — Smithsonian curator Virginia Mecklenburg says in the 1910s and 1920s, Brooks and her circle of friends had plenty of fun in Paris.\" width=\"640\" height=\"1116\" class=\"size-large wp-image-11948187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-677x1180.jpg 677w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-400x697.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-344x600.jpg 344w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-768x1339.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff.jpg 803w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A wealthy American living in Paris, Romaine Brooks had the freedom to paint whatever and however she wanted. Don’t let her sober, 1923 ‘Self-Portrait’ fool you — Smithsonian curator Virginia Mecklenburg says in the 1910s and 1920s, Brooks and her circle of friends had plenty of fun in Paris. \u003ccite>(Photo: Courtesy of Smithsonian American Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An American who lived in Paris, Brooks conveys loneliness, strength and vulnerability, says Joe Lucchesi, consulting curator of \u003ca href=\"http://americanart.si.edu/exhibitions/archive/2016/brooks/\" target=\"_blank\" rel=\"noopener\">an exhibit of Brooks’ work\u003c/a> at the Smithsonian — “a kind of careworn but very strong presence all combined in one.”\u003c/p>\n\u003cp>Brooks painted androgynous women and depicted nudes so melancholy they’d make Renoir’s pink ladies weep. She left most of her work to the American Art Museum, where her work is currently on view.\u003c/p>\n\u003cp>The women she paints share a severe palette and a certain mood. In their man-tailored jackets, their aesthetic sensibilities, their intense love relationships, Brooks’ women moved in the artistic circles of 1920s Paris. Poets, novelists, socialites, photographers and painters, they were fashionable and rich. Their money helped insulate them from social constraints of their day.\u003c/p>\n\u003cp>In Brooks’ case, money freed her to paint whatever and however she wanted — the unconventional, androgynous women, the limited, gloomy palette — and to ignore what her Big Guy contemporaries were doing — Picasso and Matisse, whose vivid and revolutionary canvases filled the homes of Gertrude Stein and family.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She really painted as though Picasso and Matisse didn’t exist,” Lucchesi says.\u003c/p>\n\u003cfigure id=\"attachment_11948188\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-1180x648.jpg\" alt=\"Brooks' 1910 "Azalées Blanches" (White Azaleas) recalls Édouard Manet's 1863 "Olympia."\" width=\"640\" height=\"351\" class=\"size-large wp-image-11948188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-1180x648.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-400x220.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-800x439.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-960x527.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1.jpg 1400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Brooks’ 1910 “Azalées Blanches” (White Azaleas) recalls Édouard Manet’s 1863 “Olympia.” \u003ccite>(Photo: Courtesy of Smithsonian American Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Critics liked her, but she didn’t sell much — she didn’t have to. She’d inherited a fortune after a miserable childhood (her unpublished memoir is called \u003cem>No Pleasant Memories\u003c/em>). And so Brooks could mix her whites and blacks into shades of grays and paint \u003cem>White Azaleas\u003c/em> — her 1910 take on Édouard Manet’s famous \u003ca href=\"http://www.musee-orsay.fr/en/collections/works-in-focus/search.html?no_cache=1&zoom=1&tx_damzoom_pi1%5BshowUid%5D=4042\" target=\"_blank\" rel=\"noopener\">Olympia\u003c/a>, nude reclining on couch, staring into space, as a servant brings her a huge arrangement of flowers.\u003c/p>\n\u003cp>“It’s wistful in some ways,” says Smithsonian curator Virginia Mecklenburg. “Wistful, maybe wishful also, but there’s an erotic undertone to Brooks’ nudes. There is some sort of a longing … if not [for] sexual encounter, for emotional intimacy is probably a better way to put it.”\u003c/p>\n\u003cfigure id=\"attachment_11948189\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-851x1180.jpg\" alt='Brooks sold reproductions of her 1914 \"La France Croisée\" to raise money for the Red Cross during World War I.' width=\"640\" height=\"887\" class=\"size-large wp-image-11948189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-851x1180.jpg 851w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-400x554.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-433x600.jpg 433w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-768x1065.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-960x1331.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63.jpg 1010w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Brooks sold reproductions of her 1914 “La France Croisée” to raise money for the Red Cross during World War I. \u003ccite>(Photo: Courtesy of Smithsonian American Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her bare body twists in our direction — she’s making herself very available. But there’s no come hither in the twist, just melancholy gloom.\u003c/p>\n\u003cp>Brooks and her circle of wealthy women lead gloomy lives on canvas, but Mecklenburg says on the streets, it was different.\u003c/p>\n\u003cp>“They were having a good time in Paris in the teens and the ’20s,” she says. “On the Bois de Boulogne, taking carriage rides, on horses, going to parties, there was a really active, high-energy, friendly, fun relationship among all these women.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At \u003ca href=\"http://americanart.si.edu/exhibitions/archive/2016/brooks/\" target=\"_blank\" rel=\"noopener\">the Romaine Brooks show\u003c/a> at the American Art Museum, you might wish some of that fun showed up on the canvases — but what \u003cem>is \u003c/em>there is a brave sense of modernity and freedom. \u003c/p>\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=Painter+Romaine+Brooks+Challenged+Conventions+In+Shades+Of+Gray&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twentieth century painter Romaine Brooks introduces herself in a 1923 self-portrait: She wears a narrowly cut, long, black riding jacket with a white blouse. She has short cropped hair, and her eyes are shadowed by a black high hat. There’s the slightest smudge of maybe pink on her lips — otherwise the whole portrait is black and various shades of gray.\u003c/p>\n\u003cfigure id=\"attachment_11948187\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-677x1180.jpg\" alt=\"A wealthy American living in Paris, Romaine Brooks had the freedom to paint whatever and however she wanted. Don't let her sober, 1923 'Self-Portrait' fool you — Smithsonian curator Virginia Mecklenburg says in the 1910s and 1920s, Brooks and her circle of friends had plenty of fun in Paris.\" width=\"640\" height=\"1116\" class=\"size-large wp-image-11948187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-677x1180.jpg 677w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-400x697.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-344x600.jpg 344w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff-768x1339.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_self-portrait_enl-3c3d466eb8610513d8fe77325b60b6c184b593ff.jpg 803w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A wealthy American living in Paris, Romaine Brooks had the freedom to paint whatever and however she wanted. Don’t let her sober, 1923 ‘Self-Portrait’ fool you — Smithsonian curator Virginia Mecklenburg says in the 1910s and 1920s, Brooks and her circle of friends had plenty of fun in Paris. \u003ccite>(Photo: Courtesy of Smithsonian American Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An American who lived in Paris, Brooks conveys loneliness, strength and vulnerability, says Joe Lucchesi, consulting curator of \u003ca href=\"http://americanart.si.edu/exhibitions/archive/2016/brooks/\" target=\"_blank\" rel=\"noopener\">an exhibit of Brooks’ work\u003c/a> at the Smithsonian — “a kind of careworn but very strong presence all combined in one.”\u003c/p>\n\u003cp>Brooks painted androgynous women and depicted nudes so melancholy they’d make Renoir’s pink ladies weep. She left most of her work to the American Art Museum, where her work is currently on view.\u003c/p>\n\u003cp>The women she paints share a severe palette and a certain mood. In their man-tailored jackets, their aesthetic sensibilities, their intense love relationships, Brooks’ women moved in the artistic circles of 1920s Paris. Poets, novelists, socialites, photographers and painters, they were fashionable and rich. Their money helped insulate them from social constraints of their day.\u003c/p>\n\u003cp>In Brooks’ case, money freed her to paint whatever and however she wanted — the unconventional, androgynous women, the limited, gloomy palette — and to ignore what her Big Guy contemporaries were doing — Picasso and Matisse, whose vivid and revolutionary canvases filled the homes of Gertrude Stein and family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She really painted as though Picasso and Matisse didn’t exist,” Lucchesi says.\u003c/p>\n\u003cfigure id=\"attachment_11948188\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-1180x648.jpg\" alt=\"Brooks' 1910 "Azalées Blanches" (White Azaleas) recalls Édouard Manet's 1863 "Olympia."\" width=\"640\" height=\"351\" class=\"size-large wp-image-11948188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-1180x648.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-400x220.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-800x439.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1-960x527.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_azalees-blanches_enl-dd3383d4135d4e09406d9c3fd471bb34737d84d1.jpg 1400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Brooks’ 1910 “Azalées Blanches” (White Azaleas) recalls Édouard Manet’s 1863 “Olympia.” \u003ccite>(Photo: Courtesy of Smithsonian American Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Critics liked her, but she didn’t sell much — she didn’t have to. She’d inherited a fortune after a miserable childhood (her unpublished memoir is called \u003cem>No Pleasant Memories\u003c/em>). And so Brooks could mix her whites and blacks into shades of grays and paint \u003cem>White Azaleas\u003c/em> — her 1910 take on Édouard Manet’s famous \u003ca href=\"http://www.musee-orsay.fr/en/collections/works-in-focus/search.html?no_cache=1&zoom=1&tx_damzoom_pi1%5BshowUid%5D=4042\" target=\"_blank\" rel=\"noopener\">Olympia\u003c/a>, nude reclining on couch, staring into space, as a servant brings her a huge arrangement of flowers.\u003c/p>\n\u003cp>“It’s wistful in some ways,” says Smithsonian curator Virginia Mecklenburg. “Wistful, maybe wishful also, but there’s an erotic undertone to Brooks’ nudes. There is some sort of a longing … if not [for] sexual encounter, for emotional intimacy is probably a better way to put it.”\u003c/p>\n\u003cfigure id=\"attachment_11948189\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-851x1180.jpg\" alt='Brooks sold reproductions of her 1914 \"La France Croisée\" to raise money for the Red Cross during World War I.' width=\"640\" height=\"887\" class=\"size-large wp-image-11948189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-851x1180.jpg 851w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-400x554.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-433x600.jpg 433w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-768x1065.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63-960x1331.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/brooks_la-france-croisee_enl-bbdc97994926f28b6a3eecccec7a2a167fcd7a63.jpg 1010w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Brooks sold reproductions of her 1914 “La France Croisée” to raise money for the Red Cross during World War I. \u003ccite>(Photo: Courtesy of Smithsonian American Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her bare body twists in our direction — she’s making herself very available. But there’s no come hither in the twist, just melancholy gloom.\u003c/p>\n\u003cp>Brooks and her circle of wealthy women lead gloomy lives on canvas, but Mecklenburg says on the streets, it was different.\u003c/p>\n\u003cp>“They were having a good time in Paris in the teens and the ’20s,” she says. “On the Bois de Boulogne, taking carriage rides, on horses, going to parties, there was a really active, high-energy, friendly, fun relationship among all these women.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At \u003ca href=\"http://americanart.si.edu/exhibitions/archive/2016/brooks/\" target=\"_blank\" rel=\"noopener\">the Romaine Brooks show\u003c/a> at the American Art Museum, you might wish some of that fun showed up on the canvases — but what \u003cem>is \u003c/em>there is a brave sense of modernity and freedom. \u003c/p>\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=Painter+Romaine+Brooks+Challenged+Conventions+In+Shades+Of+Gray&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Overdue ‘Eva Hesse’ a Fitting Homage to Sculptor’s Brief, Brilliant Career",
"headTitle": "Overdue ‘Eva Hesse’ a Fitting Homage to Sculptor’s Brief, Brilliant Career | KQED",
"content": "\u003cp>Certain artists become famous not just for what they achieve, but for what the art historical consensus \u003cem>believes\u003c/em> they could have achieved had they not died young. Jean-Michel Basquiat, Francesca Woodman, Keith Haring, Felix Gonzalez-Torres — none reached the age befitting a mid-career retrospective, all left us with the tantalizing beginnings of potentially monumental art practices.\u003c/p>\n\u003cfigure id=\"attachment_11944806\" class=\"wp-caption alignright\" style=\"max-width: 432px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Poster640.jpg\" alt=\"Opening Friday, Aug. 19 in San Francisco and San Rafael.\" width=\"432\" height=\"640\" class=\"size-full wp-image-11944806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Poster640.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Poster640-400x593.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Poster640-405x600.jpg 405w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003cfigcaption class=\"wp-caption-text\">Opening Friday, Aug. 19 in San Francisco and San Rafael. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sculptor Eva Hesse is a member of this “what might have been” club, a prodigious and adventurous maker who died in 1970 at the age of 34, just five years after bursting onto the New York art scene with her particular brand of “eccentric abstraction.” \u003c/p>\n\u003cp>Marcie Begleiter’s new documentary on Hesse (remarkably, the \u003cem>first\u003c/em> documentary about Hesse’s life and work), simply titled \u003ci>\u003ca href=\"http://www.evahessedoc.com/\" target=\"_blank\" rel=\"noopener\">Eva Hesse\u003c/a>\u003c/i>, dwells not so much on the imagined possibilities of a lengthy career, but on Hesse’s dedication to her art. Hesse’s work is beautiful and important, yes, but Begleiter’s lens focuses on her ability to transform emotional turmoil, personal tragedy and even her own uncertainty into art that was wholly her own. \u003c/p>\n\u003cp>Born into a Jewish family in Hamburg, Germany in 1936, Hesse and her older sister Helen were evacuated via \u003ca href=\"https://en.wikipedia.org/wiki/Kindertransport\" target=\"_blank\" rel=\"noopener\">Kindertransport\u003c/a> to the Netherlands in 1938, away from the Nazi regime. Reunited six months later, the Hesses immigrated to New York City in 1939. They were the only members of their extended family to escape the Holocaust. Learning this, Hesse’s mentally unstable mother took her own life when her youngest daughter was just ten years old.\u003c/p>\n\u003cfigure id=\"attachment_11944741\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/HesseAlbers1200.jpg\" alt=\"Eva Hesse and Josef Albers at Yale.\" width=\"1200\" height=\"949\" class=\"size-full wp-image-11944741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-759x600.jpg 759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-1180x933.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-960x759.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eva Hesse and Josef Albers at Yale. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Begleiter’s retelling, Hesse’s early trauma and sense of isolation fostered within the artist a single-minded focus on her career. After studies at Pratt, Cooper Union and under Josef Albers at Yale, Hesse was determined to “make it” as a painter in New York. “I’m almost too anxious for every moment and every future moment,” she wrote in her journals. “I will paint against every rule.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But painting was not her path. In 1964, Hesse and her then-husband Tom Doyle flew to Kettwig, Germany, for a year-long residency courtesy of a German textile factory owner. There, in the midst of a tumultuous marriage and haunted by the ghosts of her early childhood, Hesse began experimenting with three-dimensional work. She coiled rope on top of canvases, attached appendages to frames, and built up surfaces with texture and color.\u003c/p>\n\u003cp>Despite the playful and bold arrangements of these artworks — hovering partway between painting and sculpture — the documentary shows Hesse full of self-doubt in Germany.\u003c/p>\n\u003cfigure id=\"attachment_11944743\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/HesseGermany1200.jpg\" alt=\"Eva Hesse in Kettwig, Germany, 1964.\" width=\"1200\" height=\"880\" class=\"size-full wp-image-11944743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-1180x865.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-960x704.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eva Hesse in Kettwig, Germany, 1964. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one letter exchange between Hesse and her dear friend Sol LeWitt, the famous Minimalist patiently coaches Hesse through her studio frustrations. “Stop worrying about big deep things,” he writes. “You must practice being stupid, dumb, unthinking, empty. Then you’ll be able to do.”\u003c/p>\n\u003cp>Begleiter’s glimpse into this early uncertainty makes Hesse’s later confidence in the fine art world all the more impressive. Her life was full of simultaneous extremes. In 1966, her marriage ended in divorce, her father suddenly died and Lucy Lippard curated Hesse’s formal yet exuberant work into the group show \u003ci>Eccentric Abstraction\u003c/i> at New York’s Fischbach Gallery. \u003c/p>\n\u003cp>Assured of her own skill, she even managed to dismiss the rampant sexism of the 1960s art world. Hilton Kramer of \u003ci>The New York Times\u003c/i> labeled one of her \u003ci>Eccentric Abstraction\u003c/i> sculptures a mere mimic of Jackson Pollock’s drip paintings. Hesse refused to allow herself to be relegated to the background as a “female artist.” \u003c/p>\n\u003cfigure id=\"attachment_11944742\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/HesseEccentric1200.jpg\" alt=\"Eva Hesse in front of her work 'Metronomic Irregularity II,' in 'Eccentric Abstraction.'\" width=\"1200\" height=\"811\" class=\"size-full wp-image-11944742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-1180x797.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-960x649.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eva Hesse in front of her work ‘Metronomic Irregularity II,’ in ‘Eccentric Abstraction.’ \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The best way to beat discrimination in art is by art,” Hesse wrote. “Excellence has no sex.”\u003c/p>\n\u003cp>As if to prove this point singlehandedly, she returned to Fischbach Gallery in 1968 for her first solo show, filled with strange material investigations and impressive, mesmerizing sculpture. “This is a first one-man show of uncommon interest,” wrote the very same \u003ci>New York Times\u003c/i> critic. In the documentary, Selma Blair (playing the voice of Eva Hesse) reads his adulatory review in its entirety. \u003c/p>\n\u003cp>In her short time as a showing artist, Hesse was part of a cadre of talented artist friends, many of whom lend their talking heads to the documentary. Lucy Lippard, Nancy Holt, Sylvia and Robert Mangold, Richard Serra, Carl Andre and Dan Graham all make appearances. Their contemporary successes — and vitality — make Hesse’s 1970 death all the more heart-wrenching.\u003c/p>\n\u003cfigure id=\"attachment_11944744\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/HesseHumor1200.jpg\" alt=\"Hesse's sense of absurdity shines as she "interacts" with her sculpture.\" width=\"1200\" height=\"809\" class=\"size-full wp-image-11944744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-1180x796.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-960x647.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hesse’s sense of absurdity shines as she “interacts” with her sculpture. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Begleiter doesn’t spend much time dwelling on the issue of whether or not Hesse’s materials — epoxy, rubber, fiberglass, various polymers — hastened her demise, as many believe. (Hesse died from brain tumors.) The best analog for her brief career comes from Hesse herself, who cared little about the archival qualities of her own work. “Life doesn’t last, art doesn’t last, it doesn’t matter,” she wrote.\u003c/p>\n\u003cp>To her, making the work, and making as much of it as possible, was the best part of being an artist. She took LeWitt’s advice to heart, replacing “making it” with “doing it” and securing her rightful place in art history in the process.\u003c/p>\n\u003cp>https://youtu.be/aov6R8qmf10\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Eva Hesse’ opens Friday, Aug. 19 at the \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theater\u003c/a> in San Francisco and the \u003ca href=\"http://rafaelfilm.cafilm.org/\" target=\"_blank\" rel=\"noopener\">Christopher B. Smith Rafael Film Center\u003c/a> in San Rafael.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The first-ever documentary on the life and work of groundbreaking sculptor Eva Hesse provides welcome insight into a triumphant career tragically cut short.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Certain artists become famous not just for what they achieve, but for what the art historical consensus \u003cem>believes\u003c/em> they could have achieved had they not died young. Jean-Michel Basquiat, Francesca Woodman, Keith Haring, Felix Gonzalez-Torres — none reached the age befitting a mid-career retrospective, all left us with the tantalizing beginnings of potentially monumental art practices.\u003c/p>\n\u003cfigure id=\"attachment_11944806\" class=\"wp-caption alignright\" style=\"max-width: 432px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Poster640.jpg\" alt=\"Opening Friday, Aug. 19 in San Francisco and San Rafael.\" width=\"432\" height=\"640\" class=\"size-full wp-image-11944806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Poster640.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Poster640-400x593.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Poster640-405x600.jpg 405w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003cfigcaption class=\"wp-caption-text\">Opening Friday, Aug. 19 in San Francisco and San Rafael. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sculptor Eva Hesse is a member of this “what might have been” club, a prodigious and adventurous maker who died in 1970 at the age of 34, just five years after bursting onto the New York art scene with her particular brand of “eccentric abstraction.” \u003c/p>\n\u003cp>Marcie Begleiter’s new documentary on Hesse (remarkably, the \u003cem>first\u003c/em> documentary about Hesse’s life and work), simply titled \u003ci>\u003ca href=\"http://www.evahessedoc.com/\" target=\"_blank\" rel=\"noopener\">Eva Hesse\u003c/a>\u003c/i>, dwells not so much on the imagined possibilities of a lengthy career, but on Hesse’s dedication to her art. Hesse’s work is beautiful and important, yes, but Begleiter’s lens focuses on her ability to transform emotional turmoil, personal tragedy and even her own uncertainty into art that was wholly her own. \u003c/p>\n\u003cp>Born into a Jewish family in Hamburg, Germany in 1936, Hesse and her older sister Helen were evacuated via \u003ca href=\"https://en.wikipedia.org/wiki/Kindertransport\" target=\"_blank\" rel=\"noopener\">Kindertransport\u003c/a> to the Netherlands in 1938, away from the Nazi regime. Reunited six months later, the Hesses immigrated to New York City in 1939. They were the only members of their extended family to escape the Holocaust. Learning this, Hesse’s mentally unstable mother took her own life when her youngest daughter was just ten years old.\u003c/p>\n\u003cfigure id=\"attachment_11944741\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/HesseAlbers1200.jpg\" alt=\"Eva Hesse and Josef Albers at Yale.\" width=\"1200\" height=\"949\" class=\"size-full wp-image-11944741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-759x600.jpg 759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-1180x933.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseAlbers1200-960x759.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eva Hesse and Josef Albers at Yale. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Begleiter’s retelling, Hesse’s early trauma and sense of isolation fostered within the artist a single-minded focus on her career. After studies at Pratt, Cooper Union and under Josef Albers at Yale, Hesse was determined to “make it” as a painter in New York. “I’m almost too anxious for every moment and every future moment,” she wrote in her journals. “I will paint against every rule.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But painting was not her path. In 1964, Hesse and her then-husband Tom Doyle flew to Kettwig, Germany, for a year-long residency courtesy of a German textile factory owner. There, in the midst of a tumultuous marriage and haunted by the ghosts of her early childhood, Hesse began experimenting with three-dimensional work. She coiled rope on top of canvases, attached appendages to frames, and built up surfaces with texture and color.\u003c/p>\n\u003cp>Despite the playful and bold arrangements of these artworks — hovering partway between painting and sculpture — the documentary shows Hesse full of self-doubt in Germany.\u003c/p>\n\u003cfigure id=\"attachment_11944743\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/HesseGermany1200.jpg\" alt=\"Eva Hesse in Kettwig, Germany, 1964.\" width=\"1200\" height=\"880\" class=\"size-full wp-image-11944743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-1180x865.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseGermany1200-960x704.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eva Hesse in Kettwig, Germany, 1964. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one letter exchange between Hesse and her dear friend Sol LeWitt, the famous Minimalist patiently coaches Hesse through her studio frustrations. “Stop worrying about big deep things,” he writes. “You must practice being stupid, dumb, unthinking, empty. Then you’ll be able to do.”\u003c/p>\n\u003cp>Begleiter’s glimpse into this early uncertainty makes Hesse’s later confidence in the fine art world all the more impressive. Her life was full of simultaneous extremes. In 1966, her marriage ended in divorce, her father suddenly died and Lucy Lippard curated Hesse’s formal yet exuberant work into the group show \u003ci>Eccentric Abstraction\u003c/i> at New York’s Fischbach Gallery. \u003c/p>\n\u003cp>Assured of her own skill, she even managed to dismiss the rampant sexism of the 1960s art world. Hilton Kramer of \u003ci>The New York Times\u003c/i> labeled one of her \u003ci>Eccentric Abstraction\u003c/i> sculptures a mere mimic of Jackson Pollock’s drip paintings. Hesse refused to allow herself to be relegated to the background as a “female artist.” \u003c/p>\n\u003cfigure id=\"attachment_11944742\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/HesseEccentric1200.jpg\" alt=\"Eva Hesse in front of her work 'Metronomic Irregularity II,' in 'Eccentric Abstraction.'\" width=\"1200\" height=\"811\" class=\"size-full wp-image-11944742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-1180x797.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseEccentric1200-960x649.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eva Hesse in front of her work ‘Metronomic Irregularity II,’ in ‘Eccentric Abstraction.’ \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The best way to beat discrimination in art is by art,” Hesse wrote. “Excellence has no sex.”\u003c/p>\n\u003cp>As if to prove this point singlehandedly, she returned to Fischbach Gallery in 1968 for her first solo show, filled with strange material investigations and impressive, mesmerizing sculpture. “This is a first one-man show of uncommon interest,” wrote the very same \u003ci>New York Times\u003c/i> critic. In the documentary, Selma Blair (playing the voice of Eva Hesse) reads his adulatory review in its entirety. \u003c/p>\n\u003cp>In her short time as a showing artist, Hesse was part of a cadre of talented artist friends, many of whom lend their talking heads to the documentary. Lucy Lippard, Nancy Holt, Sylvia and Robert Mangold, Richard Serra, Carl Andre and Dan Graham all make appearances. Their contemporary successes — and vitality — make Hesse’s 1970 death all the more heart-wrenching.\u003c/p>\n\u003cfigure id=\"attachment_11944744\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/HesseHumor1200.jpg\" alt=\"Hesse's sense of absurdity shines as she "interacts" with her sculpture.\" width=\"1200\" height=\"809\" class=\"size-full wp-image-11944744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-1180x796.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/HesseHumor1200-960x647.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hesse’s sense of absurdity shines as she “interacts” with her sculpture. \u003ccite>(Courtesy of Zeitgeist Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Begleiter doesn’t spend much time dwelling on the issue of whether or not Hesse’s materials — epoxy, rubber, fiberglass, various polymers — hastened her demise, as many believe. (Hesse died from brain tumors.) The best analog for her brief career comes from Hesse herself, who cared little about the archival qualities of her own work. “Life doesn’t last, art doesn’t last, it doesn’t matter,” she wrote.\u003c/p>\n\u003cp>To her, making the work, and making as much of it as possible, was the best part of being an artist. She took LeWitt’s advice to heart, replacing “making it” with “doing it” and securing her rightful place in art history in the process.\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/aov6R8qmf10'\n title='//www.youtube.com/embed/aov6R8qmf10'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Eva Hesse’ opens Friday, Aug. 19 at the \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theater\u003c/a> in San Francisco and the \u003ca href=\"http://rafaelfilm.cafilm.org/\" target=\"_blank\" rel=\"noopener\">Christopher B. Smith Rafael Film Center\u003c/a> in San Rafael.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Distilling The Story Of California Wine, One Label At A Time",
"title": "Distilling The Story Of California Wine, One Label At A Time",
"headTitle": "Bay Area Bites | KQED Food",
"content": "\u003cul>[gallery type=\"slideshow\" link=\"none\" size=\"full\" ids=\"111507,111506,111505,111504,111503,111502,111500,111498,111497,111512\"]\u003c/ul>\n\u003cp>For the first half of the 20th century, nobody would have \u003ca href=\"http://www.npr.org/sections/thesalt/2016/05/24/479163882/the-judgment-of-paris-the-blind-taste-test-that-decanted-the-wine-world\">ever compared the wines\u003c/a> of California's Napa Valley to the great wines of France.\u003c/p>\n\u003cp>\"It's amazing when you think about it,\" says Amy Azzarito, online strategist at the University of California, Davis, library. \"California wines were a joke for a long time. And they're not anymore.\"\u003c/p>\n\u003cp>UC Davis and a man named Maynard Amerine are two central reasons for that turnaround. With a project called \u003ca href=\"https://labelthis.lib.ucdavis.edu/\">Label This\u003c/a>, The Peter J. Shields Library is asking the public to help them distill Amerine's legacy and trace the history of the wine industry in California and across the world.\u003c/p>\n\u003cp>A professor at UC Davis and a pioneer in the fields of wine-making and tasting, Amerine, who died in 1998, explored the world in the mid-1900s with the goal of helping California vineyards to grow better grapes.\u003c/p>\n\u003cp>\"He traveled around the state, he traveled to Europe, drinking wine, learning about wine,\" Azzarito says, \"and then relayed that to California growers to bring that level of production up to the standard that he was drinking in Europe.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Peter J. Shields Library now has all of Amerine's papers and assembled artifacts, from his hiring to his retirement in 1974. That includes 5,200 wine bottle labels, which the library has recently digitized, spanning the late 1800s to the 1960s.\u003c/p>\n\u003cp>To determine exactly what its archives contain, the library recently launched a slick web app that allows anyone with Internet access to flip through Amerine's wine label collection. Users can draw a box over a label to mark any text or images; later, they'll be able to transcribe the text and identify the imagery.\u003c/p>\n\u003cp>Azzarito says the program uses a platform called \u003ca href=\"https://www.nypl.org/blog/2015/11/23/scribe-framework-community-transcription\">Scribe\u003c/a>, which was developed by the New York Public Library for a similar project Azzarito created in 2011.\u003c/p>\n\u003cp>That effort, \u003ca href=\"http://menus.nypl.org/\">\"What's on the menu?\",\u003c/a> asked users to transcribe some 9,000 historical restaurant menus and register prices, then geotag the restaurant locations. The library was then able to build a database of menus, tagged with keywords and searchable by date and location, for the librarians and other researchers to feast upon.\u003c/p>\n\u003cp>UC Davis librarians want to accomplish something similar: Create a database of wines sorted by variety, alcohol content, label design, manufacturer and vineyard location.\u003c/p>\n\u003cp>It's an appropriate project for The Peter J. Shields Library, which contains the largest wine research library in the world — 30,000 volumes in over 50 languages. Librarians there support academics and research at UC Davis's Department of Viticulture and Enology, viticulture being the science and study of grapes, and enology being the study of wines.\u003c/p>\n\u003cp>After the repeal of Prohibition in 1933, UC Davis — located an hour away from Napa Valley — was charged with conducting research for the recovering California wine industry and helping to improve the state's grape-growing efforts.\u003c/p>\n\u003cp>\"The university's goal isn't to create that one brilliant bottle of wine,\" says Axel Borg, a food and wine librarian at UC Davis. \"It's to create 9,999 bottles of good wine.\"\u003c/p>\n\u003cp>Amerine, a plant physiologist who grew up in Modesto, Calif. – home of \u003ca href=\"http://www.gallo.com/\">Gallo\u003c/a>, the world's largest winery – was one of the first people hired for this project. In 1935, he joined Alfred J. Winkler in the just-formed Department of Viticulture and Enology.\u003c/p>\n\u003cp>Amerine and Winkler's primary task was figuring out which wine-making grapes grow best in certain climates. Their \u003ca href=\"http://www.winewisdom.com/articles/facts-and-figures/winklers-climate-regions/\">1944 study\u003c/a> on grape zones essentially told farmers where to plant grapes for different types of wine, such as chardonnay or Cabernet.\u003c/p>\n\u003cp>Along with Edward Rossler, a statistician at UC Davis, Amerine was the first to apply sensory science to the wine field, writing the book – \u003ca href=\"https://www.amazon.com/Wines-Sensory-Evaluation-Maynard-Amerine/dp/0716714795\">literally\u003c/a> – on how to taste and evaluate wine.\u003c/p>\n\u003cp>\"If you did what Amerine told you,\" Azzarito says, \"you would make great wine.\"\u003c/p>\n\u003cp>Turning wine-making into a science required a lot of wine-drinking. As his wine-label collection shows, Amerine was a methodical collector. He kept wine labels in a notebook, often grading them and noting whom he drank with.\u003c/p>\n\u003cp>Those grades were no light judgments.\u003c/p>\n\u003cp>\"If these are the pinot noirs that he thinks are an A, he's coming back to California to say this is what our pinots should be like,\" Azzarito says.\u003c/p>\n\u003cp>Azzarito and Borg hope that, by sorting through Amerine's labels – just the surface of the library's historical artifacts – they can begin to understand the forces that shaped California's wine industry into the global powerhouse it is today.\u003c/p>\n\u003cp>Because what Amerine wanted, California made. And the world consumed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/ul>\n\u003cp>For the first half of the 20th century, nobody would have \u003ca href=\"http://www.npr.org/sections/thesalt/2016/05/24/479163882/the-judgment-of-paris-the-blind-taste-test-that-decanted-the-wine-world\">ever compared the wines\u003c/a> of California's Napa Valley to the great wines of France.\u003c/p>\n\u003cp>\"It's amazing when you think about it,\" says Amy Azzarito, online strategist at the University of California, Davis, library. \"California wines were a joke for a long time. And they're not anymore.\"\u003c/p>\n\u003cp>UC Davis and a man named Maynard Amerine are two central reasons for that turnaround. With a project called \u003ca href=\"https://labelthis.lib.ucdavis.edu/\">Label This\u003c/a>, The Peter J. Shields Library is asking the public to help them distill Amerine's legacy and trace the history of the wine industry in California and across the world.\u003c/p>\n\u003cp>A professor at UC Davis and a pioneer in the fields of wine-making and tasting, Amerine, who died in 1998, explored the world in the mid-1900s with the goal of helping California vineyards to grow better grapes.\u003c/p>\n\u003cp>\"He traveled around the state, he traveled to Europe, drinking wine, learning about wine,\" Azzarito says, \"and then relayed that to California growers to bring that level of production up to the standard that he was drinking in Europe.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Peter J. Shields Library now has all of Amerine's papers and assembled artifacts, from his hiring to his retirement in 1974. That includes 5,200 wine bottle labels, which the library has recently digitized, spanning the late 1800s to the 1960s.\u003c/p>\n\u003cp>To determine exactly what its archives contain, the library recently launched a slick web app that allows anyone with Internet access to flip through Amerine's wine label collection. Users can draw a box over a label to mark any text or images; later, they'll be able to transcribe the text and identify the imagery.\u003c/p>\n\u003cp>Azzarito says the program uses a platform called \u003ca href=\"https://www.nypl.org/blog/2015/11/23/scribe-framework-community-transcription\">Scribe\u003c/a>, which was developed by the New York Public Library for a similar project Azzarito created in 2011.\u003c/p>\n\u003cp>That effort, \u003ca href=\"http://menus.nypl.org/\">\"What's on the menu?\",\u003c/a> asked users to transcribe some 9,000 historical restaurant menus and register prices, then geotag the restaurant locations. The library was then able to build a database of menus, tagged with keywords and searchable by date and location, for the librarians and other researchers to feast upon.\u003c/p>\n\u003cp>UC Davis librarians want to accomplish something similar: Create a database of wines sorted by variety, alcohol content, label design, manufacturer and vineyard location.\u003c/p>\n\u003cp>It's an appropriate project for The Peter J. Shields Library, which contains the largest wine research library in the world — 30,000 volumes in over 50 languages. Librarians there support academics and research at UC Davis's Department of Viticulture and Enology, viticulture being the science and study of grapes, and enology being the study of wines.\u003c/p>\n\u003cp>After the repeal of Prohibition in 1933, UC Davis — located an hour away from Napa Valley — was charged with conducting research for the recovering California wine industry and helping to improve the state's grape-growing efforts.\u003c/p>\n\u003cp>\"The university's goal isn't to create that one brilliant bottle of wine,\" says Axel Borg, a food and wine librarian at UC Davis. \"It's to create 9,999 bottles of good wine.\"\u003c/p>\n\u003cp>Amerine, a plant physiologist who grew up in Modesto, Calif. – home of \u003ca href=\"http://www.gallo.com/\">Gallo\u003c/a>, the world's largest winery – was one of the first people hired for this project. In 1935, he joined Alfred J. Winkler in the just-formed Department of Viticulture and Enology.\u003c/p>\n\u003cp>Amerine and Winkler's primary task was figuring out which wine-making grapes grow best in certain climates. Their \u003ca href=\"http://www.winewisdom.com/articles/facts-and-figures/winklers-climate-regions/\">1944 study\u003c/a> on grape zones essentially told farmers where to plant grapes for different types of wine, such as chardonnay or Cabernet.\u003c/p>\n\u003cp>Along with Edward Rossler, a statistician at UC Davis, Amerine was the first to apply sensory science to the wine field, writing the book – \u003ca href=\"https://www.amazon.com/Wines-Sensory-Evaluation-Maynard-Amerine/dp/0716714795\">literally\u003c/a> – on how to taste and evaluate wine.\u003c/p>\n\u003cp>\"If you did what Amerine told you,\" Azzarito says, \"you would make great wine.\"\u003c/p>\n\u003cp>Turning wine-making into a science required a lot of wine-drinking. As his wine-label collection shows, Amerine was a methodical collector. He kept wine labels in a notebook, often grading them and noting whom he drank with.\u003c/p>\n\u003cp>Those grades were no light judgments.\u003c/p>\n\u003cp>\"If these are the pinot noirs that he thinks are an A, he's coming back to California to say this is what our pinots should be like,\" Azzarito says.\u003c/p>\n\u003cp>Azzarito and Borg hope that, by sorting through Amerine's labels – just the surface of the library's historical artifacts – they can begin to understand the forces that shaped California's wine industry into the global powerhouse it is today.\u003c/p>\n\u003cp>Because what Amerine wanted, California made. And the world consumed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "From Darkroom To Kitchen: A Time Capsule Of Recipes From Midcentury Photographers",
"title": "From Darkroom To Kitchen: A Time Capsule Of Recipes From Midcentury Photographers",
"headTitle": "Bay Area Bites | KQED Food",
"content": "\u003cp>In 1977, Deborah Barsel, a bored assistant registrar at the \u003ca href=\"https://www.eastman.org/\">George Eastman Museum\u003c/a> in Rochester, N.Y., decided to try a fun side project. She would create a cookbook made up of recipes and images from famous photographers of the day. She sent letters to various artists and put an ad in the museum's magazine asking for submissions. In return, she received 120 photos, recipes and even a postcard from urban photographer John Gossage saying simply: \"I eat out.\"\u003c/p>\n\u003cp>Then, like the projects of so many who leave their jobs for graduate school, the submissions were filed in a box titled \"Photographer's Cookbook\" and stored away for 35 years. The museum's current curator Lisa Hostetler found the box and brought it to print.\u003c/p>\n\u003cp>\u003cem>The Photographer's Cookbook \u003c/em>is a testament to the lost art of recipe writing. Today, thousands of recipes are just a quick Google search away, but there's often very little personality to accompany the bare lists of ingredients and instructions. Then there are the recipes in this book — many of which are not the photographers' dream recipes or even the most impressive items in their culinary arsenals.\u003c/p>\n\u003cfigure id=\"attachment_111474\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/pcb_10_enl-3de12bab496a6bddf94d76e7f93ae17d356b0a5f.jpg\" alt=\"Stephen Shore, New York City, New York, September–October 1972, with the recipe: Stephen Shore's Key Lime Pie Supreme.\" width=\"1500\" height=\"999\" class=\"size-full wp-image-111474\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_10_enl-3de12bab496a6bddf94d76e7f93ae17d356b0a5f.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_10_enl-3de12bab496a6bddf94d76e7f93ae17d356b0a5f-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_10_enl-3de12bab496a6bddf94d76e7f93ae17d356b0a5f-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_10_enl-3de12bab496a6bddf94d76e7f93ae17d356b0a5f-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_10_enl-3de12bab496a6bddf94d76e7f93ae17d356b0a5f-1440x959.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_10_enl-3de12bab496a6bddf94d76e7f93ae17d356b0a5f-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_10_enl-3de12bab496a6bddf94d76e7f93ae17d356b0a5f-960x639.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Shore, New York City, New York, September–October 1972, with the recipe: Stephen Shore's Key Lime Pie Supreme. \u003ccite>(Stephen Shore/Courtesy of Stephen Shore and 303 Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Portrait photographer Hans Namuth's peasant bread is less a recipe than a praise of the individuality of bread. Rather than giving exact times, he writes that the baker should \"let rise until doubled in size. (One hour? Two? It depends on the time of year, the temperature of your house, etc.)\" Even the baking temperature itself depends on the oven. He notes, \"I have baked bread in many ovens (always preferring gas ovens) and never found two alike.\"\u003c/p>\n\u003cp>Eileen Cowin writes in the introduction to a recipe for \"vegetable cheese casserole\" that she once read a Tom Robbins novel that mentioned a spray-on substance that made everything taste like chocolate chip cookies. \"That would be my favorite recipe if I could find it. Since I haven't ... \" she trails off, before writing down the ingredients for the much more realistic casserole.\u003c/p>\n\u003cfigure id=\"attachment_111475\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/pcb_4_enl-f6a6f6334d77fbe8ad06935dcadb07046ce5142c.jpg\" alt=\"Imogen Cunningham, My Kitchen Sink, 1947, with the recipe: Imogen Cunningham's Borscht.\" width=\"1500\" height=\"1176\" class=\"size-full wp-image-111475\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_4_enl-f6a6f6334d77fbe8ad06935dcadb07046ce5142c.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_4_enl-f6a6f6334d77fbe8ad06935dcadb07046ce5142c-400x314.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_4_enl-f6a6f6334d77fbe8ad06935dcadb07046ce5142c-800x627.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_4_enl-f6a6f6334d77fbe8ad06935dcadb07046ce5142c-768x602.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_4_enl-f6a6f6334d77fbe8ad06935dcadb07046ce5142c-1440x1129.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_4_enl-f6a6f6334d77fbe8ad06935dcadb07046ce5142c-1180x925.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_4_enl-f6a6f6334d77fbe8ad06935dcadb07046ce5142c-960x753.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Imogen Cunningham, My Kitchen Sink, 1947, with the recipe: Imogen Cunningham's Borscht. \u003ccite>(Imogen Cunningham/Imogen Cunningham Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ralph Steiner sent in an offbeat recipe for the loftily named \"zwei vier minute eier,\" or \"two four-minute eggs.\" This is not a guy you should ask to cook you breakfast, much less put in a cookbook, yet his recipe speaks volumes about the type of person he was outside of his photography and experimental films. He proudly states that his two greatest culinary accomplishments are \"How to take a box of cornflakes down from the shelf\" and \"How to boil 2 four-minute eggs.\" He instructs readers to \"watch one's watch watchfully for 240 seconds\" after dropping the eggs into the hot water.\u003c/p>\n\u003cfigure id=\"attachment_111476\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/pcb_3_enl-4b61d0a65db076dcfe44081e52ecfa4637aa46d9.jpg\" alt=\"William Eggleston, Untitled, 1976; from the series Election Eve, with the recipe: William Eggleston's Cheese Grits Casserole.\" width=\"1500\" height=\"1014\" class=\"size-full wp-image-111476\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_3_enl-4b61d0a65db076dcfe44081e52ecfa4637aa46d9.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_3_enl-4b61d0a65db076dcfe44081e52ecfa4637aa46d9-400x270.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_3_enl-4b61d0a65db076dcfe44081e52ecfa4637aa46d9-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_3_enl-4b61d0a65db076dcfe44081e52ecfa4637aa46d9-768x519.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_3_enl-4b61d0a65db076dcfe44081e52ecfa4637aa46d9-1440x973.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_3_enl-4b61d0a65db076dcfe44081e52ecfa4637aa46d9-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_3_enl-4b61d0a65db076dcfe44081e52ecfa4637aa46d9-960x649.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">William Eggleston, Untitled, 1976; from the series Election Eve, with the recipe: William Eggleston's Cheese Grits Casserole. \u003ccite>(William Eggleston/Eggleston Artistic Trust, Courtesy of Cheim & Read, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Forget walking a mile in someone's shoes — the best way to get to know someone is to spend a day (not literally) in their stomach. Each photographer chose one photo to go with the recipes, so the recipes themselves are just part of the fun. The photos are subject to artistic license, however. They are often more representative of the photographer's work than of the recipes themselves.\u003c/p>\n\u003cfigure id=\"attachment_111477\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/pcb_1_enl-be439002c7256acc35222e70fa51251ee9ddb936.jpg\" alt=\"Ansel Adams, Still Life, San Francisco, 1932, with the recipe: Ansel Adams's Poached Eggs in Beer.\" width=\"1200\" height=\"1500\" class=\"size-full wp-image-111477\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_1_enl-be439002c7256acc35222e70fa51251ee9ddb936.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_1_enl-be439002c7256acc35222e70fa51251ee9ddb936-400x500.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_1_enl-be439002c7256acc35222e70fa51251ee9ddb936-800x1000.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_1_enl-be439002c7256acc35222e70fa51251ee9ddb936-768x960.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_1_enl-be439002c7256acc35222e70fa51251ee9ddb936-1180x1475.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_1_enl-be439002c7256acc35222e70fa51251ee9ddb936-960x1200.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ansel Adams, Still Life, San Francisco, 1932, with the recipe: Ansel Adams's Poached Eggs in Beer. \u003ccite>(Ansel Adams/The Ansel Adams Publishing Rights Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neal Slavin, who specializes in group portraits of everything from bingo clubs to pugs to Miss America contestants, is one of the few who took a photo directly for the cookbook\u003cem>.\u003c/em> At first glance, his hot dog recipe is simple. But he then proceeds to give 12 different frankfurter toppings themed to \"regional costumes\": the New York frankfurter (with sauerkraut); the Southern frankfurter (macaroni and cheese, bacon and even more cheddar cheese); and the Polynesian frankfurter (pineapple rings, cantaloupe and chutney). In the photograph, all 12 types of hot dogs are grouped together in their full culinary glory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some, like Americana photographer Stephen Shore, who many consider the godfather of the type of food diary photography that regularly graces Instagram, chose a photo that has less to do with the recipe and more to do with a jarring juxtaposition of food and art. Despite the sweetness of the food, Shore's recipe for \"key lime pie supreme\" contains no extra narrative. The photo, titled only \"New York City, New York,\" shows the remnants of what looks like a late night — a cup of coffee spilling into its saucer, a stained table cloth, a cigar and the check signed by Shore himself. If this was a night that had a key lime pie in it, the dessert is long gone.\u003c/p>\n\u003cp>The book's introduction notes that cooking and photography — particularly darkroom photography — have similar subjective elements of mixing, experimentation and tweaking. A person's favorite recipe can shed light on who they are, where they come from, how they view life — or whether they'd just like to forget about cooking and eat out.\u003c/p>\n\u003cfigure id=\"attachment_111478\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/pcb_2_enl-527510b8caa3e5408f37b4b112f65228383d49f0.jpg\" alt=\"Ralph Steiner, Ham and Eggs, advertisement for The Delineator, 1929, with the recipe: Ralph Steiner's Zwei Vier Minuten Eier.\" width=\"1500\" height=\"1176\" class=\"size-full wp-image-111478\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_2_enl-527510b8caa3e5408f37b4b112f65228383d49f0.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_2_enl-527510b8caa3e5408f37b4b112f65228383d49f0-400x314.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_2_enl-527510b8caa3e5408f37b4b112f65228383d49f0-800x627.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_2_enl-527510b8caa3e5408f37b4b112f65228383d49f0-768x602.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_2_enl-527510b8caa3e5408f37b4b112f65228383d49f0-1440x1129.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_2_enl-527510b8caa3e5408f37b4b112f65228383d49f0-1180x925.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_2_enl-527510b8caa3e5408f37b4b112f65228383d49f0-960x753.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Steiner, Ham and Eggs, advertisement for The Delineator, 1929, with the recipe: Ralph Steiner's Zwei Vier Minuten Eier. \u003ccite>(Ralph Steiner/Estate of Ralph Steiner, Courtesy of George Eastman Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>\u003ca name=\"eggs\">\u003c/a>Recipe: Ansel Adams's Eggs Poached In Beer\u003c/h3>\n\u003cp>1⁄4 cup (1/8 pound) butter\u003c/p>\n\u003cp>Mixed spices\u003c/p>\n\u003cp>Dash sherry\u003c/p>\n\u003cp>1 bottle dark malt liquor or strong ale (ordinary beer is not strong enough)\u003c/p>\n\u003cp>1/4 teaspoon salt\u003c/p>\n\u003cp>2 eggs\u003c/p>\n\u003cp>2 pieces toast\u003c/p>\n\u003cp>Dash paprika\u003c/p>\n\u003cp>Melt butter in microwave oven, but do not allow to brown. Add a dash of mixed spices and sherry.\u003c/p>\n\u003cp>In a small bowl, microwave malt or ale with 1/4 teaspoon salt just to the boiling point. Carefully slide eggs into this hot liquid, cover with paper plate or glass bowl (to retain thermal heat), and cook as desired in microwave. (See note below on microwave cooking.)\u003c/p>\n\u003cp>While eggs are cooking in microwave, make two pieces of toast. Spread part of the butter-spice mix over the toast.\u003c/p>\n\u003cp>Serve eggs on the toast, and pour over the rest of the butter-spice mix. Add a dash of paprika.\u003c/p>\n\u003cp>\u003cem>Note on microwave cooking:\u003c/em>\u003c/p>\n\u003cp>I like my eggs poached soft. I find that 1 egg in the hot ale or malt takes about 1 minute to cook, 2 eggs about 2 minutes, etc., all the way up to 8 eggs about 8 minutes. When working with as many as 8 eggs, the bowl should be moved around every 2–3 minutes.\u003c/p>\n\u003ch3>\u003ca name=\"eier\">\u003c/a>Ralph Steiner's Zwei Vier Minuten Eier\u003c/h3>\n\u003cp>Basically I am more a Basse Cuisine than a Haut Cuisine chef. I got my Cordon Blue not in Paris but in Erie, Pennsylvania. There I learned two accomplishments:\u003c/p>\n\u003cp>a. How to take a box of corn flakes down from the shelf.\u003c/p>\n\u003cp>b. How to boil 2 four minute eggs.\u003c/p>\n\u003cp>Eggs are important! You, of course, recall Samuel Butler's famous solution of the ancient question: \"Which came first, the chicken or the egg?\" He said: \"The egg came first: a chicken is only an egg's way of making another egg.\"\u003c/p>\n\u003cp>Now for my \"favorite\"/only recipe:\u003c/p>\n\u003cp>One puts water an egg's diameter deep into a pan. Turns heat on. When boiling briskly, drop two eggs in from low altitude. Turn heat off. One watches one's watch watchfully for two hundred and forty seconds. At the stroke of two forty, one removes eggs. On opening eggs I always manage to get some bits of shell—or is it \"will\" in my eggs. I never know when to use \"shell\" and when to use \"will.\" Never mind; a bit of shell ingested gives a man shell power.\u003c/p>\n\u003ch3>\u003ca name=\"grits\">\u003c/a>William Eggleston's Cheese Grits Casserole\u003c/h3>\n\u003cp>\u003cem>Makes 6-8 servings\u003c/em>\u003c/p>\n\u003cp>1 cup grits\u003c/p>\n\u003cp>1 teaspoon salt\u003c/p>\n\u003cp>4 cups water\u003c/p>\n\u003cp>1 stick butter\u003c/p>\n\u003cp>1/2 pound velveeta cheese\u003c/p>\n\u003cp>3 eggs, slightly beaten\u003c/p>\n\u003cp>1/3 cup milk\u003c/p>\n\u003cp>Cook as usual grits in salted water until done. Then add butter, cheese, eggs, and milk. Stir until melted smooth. Place in quart casserole, and bake for 1 hour at 350 degrees.\u003c/p>\n\u003ch3>\u003ca name=\"borscht\">\u003c/a>Imogen Cunningham's Borscht\u003c/h3>\n\u003cp>For one thing I do not consider Alice B. Toklas a GREAT cook. Very likely her cooking contributed to the death of Gertrude and herself. Besides her beef stew cooked in burgundy, I can think only of her beautiful soups beginning with gazpacho from everywhere. I do not know how to put it, but exotic eatery is very interesting to me. I think we are all TOO addicted to salt and that we can get enough in vegetables that offer it. We do not know the flavor of anything because we doctor it too much. While I am on soups, I should tell you what I do for borscht. I make a good soup of beef and meat and bones; put some fresh beets in, and when I am ready to serve it, I make it half mine and half Manischewitz (commercial bottle of borscht). I prefer it cold with sour cream.\u003c/p>\n\u003ch3>\u003ca name=\"frankfurters\">\u003c/a>Neal Slavin: Nylen's Frankfurters in Full Dress\u003c/h3>\n\u003cp>My most delightful and favorite \"tidbit gastronomique\" is called the \"Nylen Full-Dress Frank.\" It's named after a professional colleague, Judy Nylen, who not by chance is also its creator ...\u003c/p>\n\u003cp>The frankfurter need not be left naked! It can be formalized, decked out, and ethnicized for a sumptuous midnight snack or fun party fare. Condiments, garnishes, and accents can take on any theme. Those described below are \"regional costumes\" to be grouped buffet style for a party so guests can create their own masterpieces.\u003c/p>\n\u003cp>\u003cem>Serves 24\u003c/em>\u003c/p>\n\u003cp>48 Frankfurters\u003c/p>\n\u003cp>48 Buns\u003c/p>\n\u003cp>Bring 6 quarts of water to a boil in one or more large pots. Remove pots from heat, and put in frankfurters. Cover and let stand 7 minutes. Frankfurters can be served right from the pot, or kept warm on a hot tray set on low. They will last several hours in warm water.\u003c/p>\n\u003cp>Buns can be warmed in an electric bun warmer or an improvised version created by placing a basket in an electric frying pan or wok, wrapping buns in a large napkin and covering.\u003c/p>\n\u003cp>\u003cstrong>DRESSINGS:\u003c/strong>\u003c/p>\n\u003cp>\u003cem>New Yorker\u003c/em>\u003c/p>\n\u003cp>2 cups sauerkraut\u003c/p>\n\u003cp>Heat sauerkraut through and keep warm on hot tray; smother frankfurter.\u003c/p>\n\u003cp>\u003cem>German\u003c/em>\u003c/p>\n\u003cp>1 cup applesauce\u003c/p>\n\u003cp>1 cup crab apples, sliced\u003c/p>\n\u003cp>Spoon applesauce over frankfurter, and garnish with crab apples.\u003c/p>\n\u003cp>\u003cem>Californian\u003c/em>\u003c/p>\n\u003cp>1 pint cherry tomatoes, sliced\u003c/p>\n\u003cp>1 head of curly Spanish lettuce\u003c/p>\n\u003cp>1/2 cup Thousand Island dressing\u003c/p>\n\u003cp>Place lettuce under frankfurter which has been sliced lengthwise; stuff with tomato slices down the center and top with dressing.\u003c/p>\n\u003cp>\u003cem>Southern\u003c/em>\u003c/p>\n\u003cp>2 cups frozen macaroni and cheese, baked according to package\u003c/p>\n\u003cp>1/2 pound bacon, cut in half and fried lightly crisp\u003c/p>\n\u003cp>1 cup cheddar cheese\u003c/p>\n\u003cp>Spoon macaroni onto bun, put in frankfurter, cover with a little more macaroni, top with bacon and grated cheese, and melt in toaster oven.\u003c/p>\n\u003cp>\u003cem>Mexican\u003c/em>\u003c/p>\n\u003cp>4 frying peppers, in rings\u003c/p>\n\u003cp>2 cups chili, without beans\u003c/p>\n\u003cp>1 cup onion, finely chopped\u003c/p>\n\u003cp>Heat chili through, and keep warm on hot tray. String peppers, 3 or 4, on to frankfurter, top with chili and onions.\u003c/p>\n\u003cp>\u003cem>Chinese\u003c/em>\u003c/p>\n\u003cp>1/2 cup water chestnuts, sliced\u003c/p>\n\u003cp>1 cup canned sliced peaches\u003c/p>\n\u003cp>1/2 cup bamboo shoots, sliced\u003c/p>\n\u003cp>1/2 cup sweet and sour sauce\u003c/p>\n\u003cp>Cut frankfurter in short, diagonal slits, and stuff these with water chestnuts. Top with peaches, bamboo shoots, and sauce.\u003c/p>\n\u003cp>\u003cem>Middle Eastern\u003c/em>\u003c/p>\n\u003cp>1 cup kumquats, peeled and quartered\u003c/p>\n\u003cp>1 large red onion, sliced in rings\u003c/p>\n\u003cp>1/2 cup mayonnaise\u003c/p>\n\u003cp>Slice frankfurter lengthwise and stuff with 3 or 4 kumquat quarters, alternating with red onion. Surround with mayonnaise.\u003c/p>\n\u003cp>\u003cem>Irish\u003c/em>\u003c/p>\n\u003cp>2 cups pickle relish—Emerald style\u003c/p>\n\u003cp>1 small bunch watercress\u003c/p>\n\u003cp>Smother frankfurter in relish, and garnish with watercress \"clovers.\"\u003c/p>\n\u003cp>\u003cem>New Englander\u003c/em>\u003c/p>\n\u003cp>2 cups baked beans\u003c/p>\n\u003cp>1 bunch curly parsley\u003c/p>\n\u003cp>Heat beans through, and keep warm on hot tray; spoon over frankfurter, and garnish with parsley.\u003c/p>\n\u003cp>\u003cem>Polynesian\u003c/em>\u003c/p>\n\u003cp>1 cup pineapple rings, halved\u003c/p>\n\u003cp>1/2 cantaloupe, cubed\u003c/p>\n\u003cp>1/2 cup Major Grey's Chutney (may substitute any mango chutney)\u003c/p>\n\u003cp>Place pineapple rings over frankfurter, garnish with cantaloupe, and top with chutney.\u003c/p>\n\u003cp>\u003cem>All American\u003c/em>\u003c/p>\n\u003cp>1 cup brown mustard (or any favorite)\u003c/p>\n\u003cp>1/4 cup snipped chives\u003c/p>\n\u003cp>Smother frankfurter in traditional manner.\u003c/p>\n\u003cp>\u003cem>Italian\u003c/em>\u003c/p>\n\u003cp>1 cup pizza sauce\u003c/p>\n\u003cp>1 cup grated mozzarella cheese\u003c/p>\n\u003cp>1 red bell pepper, in thin strips\u003c/p>\n\u003cp>1 green pepper, sliced in thin strips\u003c/p>\n\u003cp>12 fresh mushrooms, sliced\u003c/p>\n\u003cp>Keep pizza sauce warm on hot tray. Spoon over bun, put in frankfurter, and top with grated cheese, pepper strips, and mushrooms. Put frankfurter in toaster oven to melt cheese.\u003c/p>\n\u003ch3>\u003ca name=\"pie\">\u003c/a>Stephen Shore's Key Lime Pie Supreme\u003c/h3>\n\u003cp>\u003cem>Crust:\u003c/em>\u003c/p>\n\u003cp>Make graham cracker crust following instructions on box, but increasing all the quantities 50 percent. Be sure to use brown sugar.\u003c/p>\n\u003cp>\u003cem>Filling:\u003c/em>\u003c/p>\n\u003cp>1 cup sugar\u003c/p>\n\u003cp>1/4 cup flour\u003c/p>\n\u003cp>3 tablespoons corn starch\u003c/p>\n\u003cp>1/4 teaspoon salt\u003c/p>\n\u003cp>2 cups water\u003c/p>\n\u003cp>3 egg yolks\u003c/p>\n\u003cp>1 tablespoon butter\u003c/p>\n\u003cp>Juice of 2 large limes (approximately 1/3 to 1/2 cup)\u003c/p>\n\u003cp>Grated rind of 2 limes\u003c/p>\n\u003cp>One container of heavy whipping cream\u003c/p>\n\u003cp>Combine sugar, flour, cornstarch, and salt in a saucepan, and stir in water gradually. Cook on medium heat until thickened. Add the beaten egg yolks gradually and return to a low heat and cook for 2 minutes stirring constantly.\u003c/p>\n\u003cp>Stir in the butter, lime juice, and rind and allow them to cool slightly. Pour into the baked pastry shell and cool.\u003c/p>\n\u003cp>\u003cem>Topping:\u003c/em>\u003c/p>\n\u003cp>Make whipped cream with 1 container of heavy whipping cream and sweeten with sugar. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"excerpt": "Ansel Adams' poached eggs. William Eggleston's cheese grits casserole. Four decades after being hidden away in a museum, a collection of images and recipes from famed artists finally sees the light.",
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"description": "Ansel Adams' poached eggs. William Eggleston's cheese grits casserole. Four decades after being hidden away in a museum, a collection of images and recipes from famed artists finally sees the light.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1977, Deborah Barsel, a bored assistant registrar at the \u003ca href=\"https://www.eastman.org/\">George Eastman Museum\u003c/a> in Rochester, N.Y., decided to try a fun side project. She would create a cookbook made up of recipes and images from famous photographers of the day. She sent letters to various artists and put an ad in the museum's magazine asking for submissions. In return, she received 120 photos, recipes and even a postcard from urban photographer John Gossage saying simply: \"I eat out.\"\u003c/p>\n\u003cp>Then, like the projects of so many who leave their jobs for graduate school, the submissions were filed in a box titled \"Photographer's Cookbook\" and stored away for 35 years. The museum's current curator Lisa Hostetler found the box and brought it to print.\u003c/p>\n\u003cp>\u003cem>The Photographer's Cookbook \u003c/em>is a testament to the lost art of recipe writing. Today, thousands of recipes are just a quick Google search away, but there's often very little personality to accompany the bare lists of ingredients and instructions. Then there are the recipes in this book — many of which are not the photographers' dream recipes or even the most impressive items in their culinary arsenals.\u003c/p>\n\u003cfigure id=\"attachment_111474\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/pcb_10_enl-3de12bab496a6bddf94d76e7f93ae17d356b0a5f.jpg\" alt=\"Stephen Shore, New York City, New York, September–October 1972, with the recipe: Stephen Shore's Key Lime Pie Supreme.\" width=\"1500\" height=\"999\" class=\"size-full wp-image-111474\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_10_enl-3de12bab496a6bddf94d76e7f93ae17d356b0a5f.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_10_enl-3de12bab496a6bddf94d76e7f93ae17d356b0a5f-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_10_enl-3de12bab496a6bddf94d76e7f93ae17d356b0a5f-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_10_enl-3de12bab496a6bddf94d76e7f93ae17d356b0a5f-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_10_enl-3de12bab496a6bddf94d76e7f93ae17d356b0a5f-1440x959.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_10_enl-3de12bab496a6bddf94d76e7f93ae17d356b0a5f-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_10_enl-3de12bab496a6bddf94d76e7f93ae17d356b0a5f-960x639.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Shore, New York City, New York, September–October 1972, with the recipe: Stephen Shore's Key Lime Pie Supreme. \u003ccite>(Stephen Shore/Courtesy of Stephen Shore and 303 Gallery, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Portrait photographer Hans Namuth's peasant bread is less a recipe than a praise of the individuality of bread. Rather than giving exact times, he writes that the baker should \"let rise until doubled in size. (One hour? Two? It depends on the time of year, the temperature of your house, etc.)\" Even the baking temperature itself depends on the oven. He notes, \"I have baked bread in many ovens (always preferring gas ovens) and never found two alike.\"\u003c/p>\n\u003cp>Eileen Cowin writes in the introduction to a recipe for \"vegetable cheese casserole\" that she once read a Tom Robbins novel that mentioned a spray-on substance that made everything taste like chocolate chip cookies. \"That would be my favorite recipe if I could find it. Since I haven't ... \" she trails off, before writing down the ingredients for the much more realistic casserole.\u003c/p>\n\u003cfigure id=\"attachment_111475\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/pcb_4_enl-f6a6f6334d77fbe8ad06935dcadb07046ce5142c.jpg\" alt=\"Imogen Cunningham, My Kitchen Sink, 1947, with the recipe: Imogen Cunningham's Borscht.\" width=\"1500\" height=\"1176\" class=\"size-full wp-image-111475\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_4_enl-f6a6f6334d77fbe8ad06935dcadb07046ce5142c.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_4_enl-f6a6f6334d77fbe8ad06935dcadb07046ce5142c-400x314.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_4_enl-f6a6f6334d77fbe8ad06935dcadb07046ce5142c-800x627.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_4_enl-f6a6f6334d77fbe8ad06935dcadb07046ce5142c-768x602.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_4_enl-f6a6f6334d77fbe8ad06935dcadb07046ce5142c-1440x1129.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_4_enl-f6a6f6334d77fbe8ad06935dcadb07046ce5142c-1180x925.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_4_enl-f6a6f6334d77fbe8ad06935dcadb07046ce5142c-960x753.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Imogen Cunningham, My Kitchen Sink, 1947, with the recipe: Imogen Cunningham's Borscht. \u003ccite>(Imogen Cunningham/Imogen Cunningham Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ralph Steiner sent in an offbeat recipe for the loftily named \"zwei vier minute eier,\" or \"two four-minute eggs.\" This is not a guy you should ask to cook you breakfast, much less put in a cookbook, yet his recipe speaks volumes about the type of person he was outside of his photography and experimental films. He proudly states that his two greatest culinary accomplishments are \"How to take a box of cornflakes down from the shelf\" and \"How to boil 2 four-minute eggs.\" He instructs readers to \"watch one's watch watchfully for 240 seconds\" after dropping the eggs into the hot water.\u003c/p>\n\u003cfigure id=\"attachment_111476\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/pcb_3_enl-4b61d0a65db076dcfe44081e52ecfa4637aa46d9.jpg\" alt=\"William Eggleston, Untitled, 1976; from the series Election Eve, with the recipe: William Eggleston's Cheese Grits Casserole.\" width=\"1500\" height=\"1014\" class=\"size-full wp-image-111476\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_3_enl-4b61d0a65db076dcfe44081e52ecfa4637aa46d9.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_3_enl-4b61d0a65db076dcfe44081e52ecfa4637aa46d9-400x270.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_3_enl-4b61d0a65db076dcfe44081e52ecfa4637aa46d9-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_3_enl-4b61d0a65db076dcfe44081e52ecfa4637aa46d9-768x519.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_3_enl-4b61d0a65db076dcfe44081e52ecfa4637aa46d9-1440x973.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_3_enl-4b61d0a65db076dcfe44081e52ecfa4637aa46d9-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_3_enl-4b61d0a65db076dcfe44081e52ecfa4637aa46d9-960x649.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">William Eggleston, Untitled, 1976; from the series Election Eve, with the recipe: William Eggleston's Cheese Grits Casserole. \u003ccite>(William Eggleston/Eggleston Artistic Trust, Courtesy of Cheim & Read, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Forget walking a mile in someone's shoes — the best way to get to know someone is to spend a day (not literally) in their stomach. Each photographer chose one photo to go with the recipes, so the recipes themselves are just part of the fun. The photos are subject to artistic license, however. They are often more representative of the photographer's work than of the recipes themselves.\u003c/p>\n\u003cfigure id=\"attachment_111477\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/pcb_1_enl-be439002c7256acc35222e70fa51251ee9ddb936.jpg\" alt=\"Ansel Adams, Still Life, San Francisco, 1932, with the recipe: Ansel Adams's Poached Eggs in Beer.\" width=\"1200\" height=\"1500\" class=\"size-full wp-image-111477\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_1_enl-be439002c7256acc35222e70fa51251ee9ddb936.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_1_enl-be439002c7256acc35222e70fa51251ee9ddb936-400x500.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_1_enl-be439002c7256acc35222e70fa51251ee9ddb936-800x1000.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_1_enl-be439002c7256acc35222e70fa51251ee9ddb936-768x960.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_1_enl-be439002c7256acc35222e70fa51251ee9ddb936-1180x1475.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_1_enl-be439002c7256acc35222e70fa51251ee9ddb936-960x1200.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ansel Adams, Still Life, San Francisco, 1932, with the recipe: Ansel Adams's Poached Eggs in Beer. \u003ccite>(Ansel Adams/The Ansel Adams Publishing Rights Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neal Slavin, who specializes in group portraits of everything from bingo clubs to pugs to Miss America contestants, is one of the few who took a photo directly for the cookbook\u003cem>.\u003c/em> At first glance, his hot dog recipe is simple. But he then proceeds to give 12 different frankfurter toppings themed to \"regional costumes\": the New York frankfurter (with sauerkraut); the Southern frankfurter (macaroni and cheese, bacon and even more cheddar cheese); and the Polynesian frankfurter (pineapple rings, cantaloupe and chutney). In the photograph, all 12 types of hot dogs are grouped together in their full culinary glory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some, like Americana photographer Stephen Shore, who many consider the godfather of the type of food diary photography that regularly graces Instagram, chose a photo that has less to do with the recipe and more to do with a jarring juxtaposition of food and art. Despite the sweetness of the food, Shore's recipe for \"key lime pie supreme\" contains no extra narrative. The photo, titled only \"New York City, New York,\" shows the remnants of what looks like a late night — a cup of coffee spilling into its saucer, a stained table cloth, a cigar and the check signed by Shore himself. If this was a night that had a key lime pie in it, the dessert is long gone.\u003c/p>\n\u003cp>The book's introduction notes that cooking and photography — particularly darkroom photography — have similar subjective elements of mixing, experimentation and tweaking. A person's favorite recipe can shed light on who they are, where they come from, how they view life — or whether they'd just like to forget about cooking and eat out.\u003c/p>\n\u003cfigure id=\"attachment_111478\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/pcb_2_enl-527510b8caa3e5408f37b4b112f65228383d49f0.jpg\" alt=\"Ralph Steiner, Ham and Eggs, advertisement for The Delineator, 1929, with the recipe: Ralph Steiner's Zwei Vier Minuten Eier.\" width=\"1500\" height=\"1176\" class=\"size-full wp-image-111478\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_2_enl-527510b8caa3e5408f37b4b112f65228383d49f0.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_2_enl-527510b8caa3e5408f37b4b112f65228383d49f0-400x314.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_2_enl-527510b8caa3e5408f37b4b112f65228383d49f0-800x627.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_2_enl-527510b8caa3e5408f37b4b112f65228383d49f0-768x602.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_2_enl-527510b8caa3e5408f37b4b112f65228383d49f0-1440x1129.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_2_enl-527510b8caa3e5408f37b4b112f65228383d49f0-1180x925.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pcb_2_enl-527510b8caa3e5408f37b4b112f65228383d49f0-960x753.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Steiner, Ham and Eggs, advertisement for The Delineator, 1929, with the recipe: Ralph Steiner's Zwei Vier Minuten Eier. \u003ccite>(Ralph Steiner/Estate of Ralph Steiner, Courtesy of George Eastman Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>\u003ca name=\"eggs\">\u003c/a>Recipe: Ansel Adams's Eggs Poached In Beer\u003c/h3>\n\u003cp>1⁄4 cup (1/8 pound) butter\u003c/p>\n\u003cp>Mixed spices\u003c/p>\n\u003cp>Dash sherry\u003c/p>\n\u003cp>1 bottle dark malt liquor or strong ale (ordinary beer is not strong enough)\u003c/p>\n\u003cp>1/4 teaspoon salt\u003c/p>\n\u003cp>2 eggs\u003c/p>\n\u003cp>2 pieces toast\u003c/p>\n\u003cp>Dash paprika\u003c/p>\n\u003cp>Melt butter in microwave oven, but do not allow to brown. Add a dash of mixed spices and sherry.\u003c/p>\n\u003cp>In a small bowl, microwave malt or ale with 1/4 teaspoon salt just to the boiling point. Carefully slide eggs into this hot liquid, cover with paper plate or glass bowl (to retain thermal heat), and cook as desired in microwave. (See note below on microwave cooking.)\u003c/p>\n\u003cp>While eggs are cooking in microwave, make two pieces of toast. Spread part of the butter-spice mix over the toast.\u003c/p>\n\u003cp>Serve eggs on the toast, and pour over the rest of the butter-spice mix. Add a dash of paprika.\u003c/p>\n\u003cp>\u003cem>Note on microwave cooking:\u003c/em>\u003c/p>\n\u003cp>I like my eggs poached soft. I find that 1 egg in the hot ale or malt takes about 1 minute to cook, 2 eggs about 2 minutes, etc., all the way up to 8 eggs about 8 minutes. When working with as many as 8 eggs, the bowl should be moved around every 2–3 minutes.\u003c/p>\n\u003ch3>\u003ca name=\"eier\">\u003c/a>Ralph Steiner's Zwei Vier Minuten Eier\u003c/h3>\n\u003cp>Basically I am more a Basse Cuisine than a Haut Cuisine chef. I got my Cordon Blue not in Paris but in Erie, Pennsylvania. There I learned two accomplishments:\u003c/p>\n\u003cp>a. How to take a box of corn flakes down from the shelf.\u003c/p>\n\u003cp>b. How to boil 2 four minute eggs.\u003c/p>\n\u003cp>Eggs are important! You, of course, recall Samuel Butler's famous solution of the ancient question: \"Which came first, the chicken or the egg?\" He said: \"The egg came first: a chicken is only an egg's way of making another egg.\"\u003c/p>\n\u003cp>Now for my \"favorite\"/only recipe:\u003c/p>\n\u003cp>One puts water an egg's diameter deep into a pan. Turns heat on. When boiling briskly, drop two eggs in from low altitude. Turn heat off. One watches one's watch watchfully for two hundred and forty seconds. At the stroke of two forty, one removes eggs. On opening eggs I always manage to get some bits of shell—or is it \"will\" in my eggs. I never know when to use \"shell\" and when to use \"will.\" Never mind; a bit of shell ingested gives a man shell power.\u003c/p>\n\u003ch3>\u003ca name=\"grits\">\u003c/a>William Eggleston's Cheese Grits Casserole\u003c/h3>\n\u003cp>\u003cem>Makes 6-8 servings\u003c/em>\u003c/p>\n\u003cp>1 cup grits\u003c/p>\n\u003cp>1 teaspoon salt\u003c/p>\n\u003cp>4 cups water\u003c/p>\n\u003cp>1 stick butter\u003c/p>\n\u003cp>1/2 pound velveeta cheese\u003c/p>\n\u003cp>3 eggs, slightly beaten\u003c/p>\n\u003cp>1/3 cup milk\u003c/p>\n\u003cp>Cook as usual grits in salted water until done. Then add butter, cheese, eggs, and milk. Stir until melted smooth. Place in quart casserole, and bake for 1 hour at 350 degrees.\u003c/p>\n\u003ch3>\u003ca name=\"borscht\">\u003c/a>Imogen Cunningham's Borscht\u003c/h3>\n\u003cp>For one thing I do not consider Alice B. Toklas a GREAT cook. Very likely her cooking contributed to the death of Gertrude and herself. Besides her beef stew cooked in burgundy, I can think only of her beautiful soups beginning with gazpacho from everywhere. I do not know how to put it, but exotic eatery is very interesting to me. I think we are all TOO addicted to salt and that we can get enough in vegetables that offer it. We do not know the flavor of anything because we doctor it too much. While I am on soups, I should tell you what I do for borscht. I make a good soup of beef and meat and bones; put some fresh beets in, and when I am ready to serve it, I make it half mine and half Manischewitz (commercial bottle of borscht). I prefer it cold with sour cream.\u003c/p>\n\u003ch3>\u003ca name=\"frankfurters\">\u003c/a>Neal Slavin: Nylen's Frankfurters in Full Dress\u003c/h3>\n\u003cp>My most delightful and favorite \"tidbit gastronomique\" is called the \"Nylen Full-Dress Frank.\" It's named after a professional colleague, Judy Nylen, who not by chance is also its creator ...\u003c/p>\n\u003cp>The frankfurter need not be left naked! It can be formalized, decked out, and ethnicized for a sumptuous midnight snack or fun party fare. Condiments, garnishes, and accents can take on any theme. Those described below are \"regional costumes\" to be grouped buffet style for a party so guests can create their own masterpieces.\u003c/p>\n\u003cp>\u003cem>Serves 24\u003c/em>\u003c/p>\n\u003cp>48 Frankfurters\u003c/p>\n\u003cp>48 Buns\u003c/p>\n\u003cp>Bring 6 quarts of water to a boil in one or more large pots. Remove pots from heat, and put in frankfurters. Cover and let stand 7 minutes. Frankfurters can be served right from the pot, or kept warm on a hot tray set on low. They will last several hours in warm water.\u003c/p>\n\u003cp>Buns can be warmed in an electric bun warmer or an improvised version created by placing a basket in an electric frying pan or wok, wrapping buns in a large napkin and covering.\u003c/p>\n\u003cp>\u003cstrong>DRESSINGS:\u003c/strong>\u003c/p>\n\u003cp>\u003cem>New Yorker\u003c/em>\u003c/p>\n\u003cp>2 cups sauerkraut\u003c/p>\n\u003cp>Heat sauerkraut through and keep warm on hot tray; smother frankfurter.\u003c/p>\n\u003cp>\u003cem>German\u003c/em>\u003c/p>\n\u003cp>1 cup applesauce\u003c/p>\n\u003cp>1 cup crab apples, sliced\u003c/p>\n\u003cp>Spoon applesauce over frankfurter, and garnish with crab apples.\u003c/p>\n\u003cp>\u003cem>Californian\u003c/em>\u003c/p>\n\u003cp>1 pint cherry tomatoes, sliced\u003c/p>\n\u003cp>1 head of curly Spanish lettuce\u003c/p>\n\u003cp>1/2 cup Thousand Island dressing\u003c/p>\n\u003cp>Place lettuce under frankfurter which has been sliced lengthwise; stuff with tomato slices down the center and top with dressing.\u003c/p>\n\u003cp>\u003cem>Southern\u003c/em>\u003c/p>\n\u003cp>2 cups frozen macaroni and cheese, baked according to package\u003c/p>\n\u003cp>1/2 pound bacon, cut in half and fried lightly crisp\u003c/p>\n\u003cp>1 cup cheddar cheese\u003c/p>\n\u003cp>Spoon macaroni onto bun, put in frankfurter, cover with a little more macaroni, top with bacon and grated cheese, and melt in toaster oven.\u003c/p>\n\u003cp>\u003cem>Mexican\u003c/em>\u003c/p>\n\u003cp>4 frying peppers, in rings\u003c/p>\n\u003cp>2 cups chili, without beans\u003c/p>\n\u003cp>1 cup onion, finely chopped\u003c/p>\n\u003cp>Heat chili through, and keep warm on hot tray. String peppers, 3 or 4, on to frankfurter, top with chili and onions.\u003c/p>\n\u003cp>\u003cem>Chinese\u003c/em>\u003c/p>\n\u003cp>1/2 cup water chestnuts, sliced\u003c/p>\n\u003cp>1 cup canned sliced peaches\u003c/p>\n\u003cp>1/2 cup bamboo shoots, sliced\u003c/p>\n\u003cp>1/2 cup sweet and sour sauce\u003c/p>\n\u003cp>Cut frankfurter in short, diagonal slits, and stuff these with water chestnuts. Top with peaches, bamboo shoots, and sauce.\u003c/p>\n\u003cp>\u003cem>Middle Eastern\u003c/em>\u003c/p>\n\u003cp>1 cup kumquats, peeled and quartered\u003c/p>\n\u003cp>1 large red onion, sliced in rings\u003c/p>\n\u003cp>1/2 cup mayonnaise\u003c/p>\n\u003cp>Slice frankfurter lengthwise and stuff with 3 or 4 kumquat quarters, alternating with red onion. Surround with mayonnaise.\u003c/p>\n\u003cp>\u003cem>Irish\u003c/em>\u003c/p>\n\u003cp>2 cups pickle relish—Emerald style\u003c/p>\n\u003cp>1 small bunch watercress\u003c/p>\n\u003cp>Smother frankfurter in relish, and garnish with watercress \"clovers.\"\u003c/p>\n\u003cp>\u003cem>New Englander\u003c/em>\u003c/p>\n\u003cp>2 cups baked beans\u003c/p>\n\u003cp>1 bunch curly parsley\u003c/p>\n\u003cp>Heat beans through, and keep warm on hot tray; spoon over frankfurter, and garnish with parsley.\u003c/p>\n\u003cp>\u003cem>Polynesian\u003c/em>\u003c/p>\n\u003cp>1 cup pineapple rings, halved\u003c/p>\n\u003cp>1/2 cantaloupe, cubed\u003c/p>\n\u003cp>1/2 cup Major Grey's Chutney (may substitute any mango chutney)\u003c/p>\n\u003cp>Place pineapple rings over frankfurter, garnish with cantaloupe, and top with chutney.\u003c/p>\n\u003cp>\u003cem>All American\u003c/em>\u003c/p>\n\u003cp>1 cup brown mustard (or any favorite)\u003c/p>\n\u003cp>1/4 cup snipped chives\u003c/p>\n\u003cp>Smother frankfurter in traditional manner.\u003c/p>\n\u003cp>\u003cem>Italian\u003c/em>\u003c/p>\n\u003cp>1 cup pizza sauce\u003c/p>\n\u003cp>1 cup grated mozzarella cheese\u003c/p>\n\u003cp>1 red bell pepper, in thin strips\u003c/p>\n\u003cp>1 green pepper, sliced in thin strips\u003c/p>\n\u003cp>12 fresh mushrooms, sliced\u003c/p>\n\u003cp>Keep pizza sauce warm on hot tray. Spoon over bun, put in frankfurter, and top with grated cheese, pepper strips, and mushrooms. Put frankfurter in toaster oven to melt cheese.\u003c/p>\n\u003ch3>\u003ca name=\"pie\">\u003c/a>Stephen Shore's Key Lime Pie Supreme\u003c/h3>\n\u003cp>\u003cem>Crust:\u003c/em>\u003c/p>\n\u003cp>Make graham cracker crust following instructions on box, but increasing all the quantities 50 percent. Be sure to use brown sugar.\u003c/p>\n\u003cp>\u003cem>Filling:\u003c/em>\u003c/p>\n\u003cp>1 cup sugar\u003c/p>\n\u003cp>1/4 cup flour\u003c/p>\n\u003cp>3 tablespoons corn starch\u003c/p>\n\u003cp>1/4 teaspoon salt\u003c/p>\n\u003cp>2 cups water\u003c/p>\n\u003cp>3 egg yolks\u003c/p>\n\u003cp>1 tablespoon butter\u003c/p>\n\u003cp>Juice of 2 large limes (approximately 1/3 to 1/2 cup)\u003c/p>\n\u003cp>Grated rind of 2 limes\u003c/p>\n\u003cp>One container of heavy whipping cream\u003c/p>\n\u003cp>Combine sugar, flour, cornstarch, and salt in a saucepan, and stir in water gradually. Cook on medium heat until thickened. Add the beaten egg yolks gradually and return to a low heat and cook for 2 minutes stirring constantly.\u003c/p>\n\u003cp>Stir in the butter, lime juice, and rind and allow them to cool slightly. Pour into the baked pastry shell and cool.\u003c/p>\n\u003cp>\u003cem>Topping:\u003c/em>\u003c/p>\n\u003cp>Make whipped cream with 1 container of heavy whipping cream and sweeten with sugar. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "remembering-jacques-terzian-founder-of-hunters-point-artists-colony",
"title": "Remembering Jacques Terzian, Founder of Hunter's Point Artists' Colony",
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"headTitle": "Remembering Jacques Terzian, Founder of Hunter’s Point Artists’ Colony | KQED",
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"content": "\u003cp>\u003ca href=\"http://jacquesterzian.com/#pages/profile.html\" target=\"_blank\" rel=\"noopener\">Jacques Terzian\u003c/a>, the artist responsible for founding the artists’ colony at San Francisco’s Hunter’s Point — one of the country’s largest such communities — died on Aug. 6. He was 94.\u003c/p>\n\u003cp>“The shipyard arts community has lost the person whose inspiration, vision and love for the arts and artists brought it into being,” Scott Madison wrote on the \u003ca href=\"http://shipyardartists.com/\" target=\"_blank\" rel=\"noopener\">Hunters Point Shipyard Artists’ website\u003c/a>. “The person who was, for more than two decades, its animated and animating spirit.”\u003c/p>\n\u003cp>Born in 1921 in Fresno, Terzian first came to Hunter’s Point in the 1940s as a shipyard worker, helping repair destroyers, cruisers and submarines that were damaged in the attacks on Pearl Harbor. After attending the Parsons School of Design in New York City, Terzian moved back to the Bay Area in 1951 to pursue a career in interior design.\u003c/p>\n\u003cp>A sculptor, Terzian was among a group of artists who were booted from a San Francisco warehouse space that was demolished to make way for Levi’s Plaza in the early ’70s. But being booted from the space did little to stop Terzian’s artistic pursuits. He doubled down in 1974 and started a new company, Patterns Ltd., which created found object-based industrial design products that ranged from furniture to wall installations.\u003c/p>\n\u003cp>\u003cstrong>Seeing the potential in a superfund site\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two years after the Hunter’s Point Naval Shipyard was decommissioned in 1974, a private contractor began subletting the leftover structures to various people, including Terzian, who saw the hidden potential of the stark military buildings. They were cheap to rent and had good light — though not much else. The buildings were in the middle of a \u003ca href=\"https://www.asbestos.com/shipyards/hunters-point-naval/\" target=\"_blank\" rel=\"noopener\">superfund site\u003c/a>, rife with industrial contamination.\u003c/p>\n\u003cp>Over the ensuing years, with the help of his son David and daughter Paula, Terzian converted the shipyard’s barracks into artist studios. By 1984, he had created about 300 such spaces, and in the process, established The Point, one of the largest artists’ colonies in the United States. (For context, \u003ca href=\"http://www.carmelcalifornia.com/\" target=\"_blank\" rel=\"noopener\">Carmel By the Sea\u003c/a>, another massive artist colony in California, only houses about 100 artists.) \u003c/p>\n\u003cp>“I found there were so many people that I knew that needed space, and wanted to rent space and sublease from me,” Terzian said in the documentary \u003ca href=\"http://www.thepointart.com/film.html\" target=\"_blank\" rel=\"noopener\">\u003ci>Making the Point \u003c/i>\u003c/a>about the transformation of the Hunter’s Point Shipyard into an arts hub. “I said, ‘Hell, this must be a money maker.’ I really felt that.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Making the Point\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/SFZtAFgcr6U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In the early 1980s, Terzian hosted one of the first recorded “open studios” events, where members of the public could wander around the resident artists’ workshops and potentially buy their art without having to go through a gallery or dealer. \u003ca href=\"http://shipyardartists.com/open-studios/\" target=\"_blank\" rel=\"noopener\">The Hunter’s Point Open Studios\u003c/a> has gone on on to become a landmark event in the San Francisco cultural calendar, attracting hundreds of people each year. The fall open studios takes place on Saturday, Oct. 15 and Sunday, Oct. 16 this year.\u003c/p>\n\u003cp>\u003cstrong>Long fight with the Navy\u003c/strong>\u003c/p>\n\u003cp>Despite the growing success of the colony, Terzian had to fight to keep it going. The battle began in 1985, when the Navy refused to renew its lease with Terzian’s contractor landlord due to plans to start up the shipyard again and house the USS Missouri there. A coalition of artists and environmentalists came together to oppose the military’s intentions, and for the next four years they succeeded in stopping evictions and derailing the housing of the famous \u003ca href=\"http://pearl-harbor.com/missouri/missouri.html\" target=\"_blank\" rel=\"noopener\">World War II battleship\u003c/a>. The Navy officially canceled its plan to house the “Mighty Mo” there in 1989, and in 1991 the base was officially closed.\u003c/p>\n\u003cp>“Without Jacques a lot of Bay Area artists could not have found affordable studio space, and that was in the 1980’s before it got to be almost impossible,” Karen Mangan commented on Hunters Point Shipyard Artists’ \u003ca href=\"https://www.facebook.com/shipyardartists/posts/10154348332627246\" target=\"_blank\" rel=\"noopener\">Facebook post\u003c/a> about Terzian’s death. “A huge thank you goes out to Jacques and his family for helping so many artists In this very important way.”\u003c/p>\n\u003cp>Terzian, who would joke that he wasn’t an artist, continued to make art throughout his life. He participated in open studios and had a retrospective of his work in 2011. He was also a fan of opera and classical music. When he died peacefully in bed at his home in Walnut Creek, he was listening to an oboe concerto, according to the \u003ca href=\"http://www.sfgate.com/bayarea/article/Jacques-Terzian-founder-of-Hunters-Point-artist-9140452.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He is survived by his two sons and three daughters, six grandchildren and four great grandchildren. \u003c/p>\n\n",
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"excerpt": "Terzian started one of the country's largest artists' colonies on a decommissioned military base in San Francisco and is also credited with hosting one of the first open studio events in the United States.",
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"title": "Remembering Jacques Terzian, Founder of Hunter's Point Artists' Colony | KQED",
"description": "Terzian started one of the country's largest artists' colonies on a decommissioned military base in San Francisco and is also credited with hosting one of the first open studio events in the United States.",
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"headline": "Remembering Jacques Terzian, Founder of Hunter's Point Artists' Colony",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://jacquesterzian.com/#pages/profile.html\" target=\"_blank\" rel=\"noopener\">Jacques Terzian\u003c/a>, the artist responsible for founding the artists’ colony at San Francisco’s Hunter’s Point — one of the country’s largest such communities — died on Aug. 6. He was 94.\u003c/p>\n\u003cp>“The shipyard arts community has lost the person whose inspiration, vision and love for the arts and artists brought it into being,” Scott Madison wrote on the \u003ca href=\"http://shipyardartists.com/\" target=\"_blank\" rel=\"noopener\">Hunters Point Shipyard Artists’ website\u003c/a>. “The person who was, for more than two decades, its animated and animating spirit.”\u003c/p>\n\u003cp>Born in 1921 in Fresno, Terzian first came to Hunter’s Point in the 1940s as a shipyard worker, helping repair destroyers, cruisers and submarines that were damaged in the attacks on Pearl Harbor. After attending the Parsons School of Design in New York City, Terzian moved back to the Bay Area in 1951 to pursue a career in interior design.\u003c/p>\n\u003cp>A sculptor, Terzian was among a group of artists who were booted from a San Francisco warehouse space that was demolished to make way for Levi’s Plaza in the early ’70s. But being booted from the space did little to stop Terzian’s artistic pursuits. He doubled down in 1974 and started a new company, Patterns Ltd., which created found object-based industrial design products that ranged from furniture to wall installations.\u003c/p>\n\u003cp>\u003cstrong>Seeing the potential in a superfund site\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two years after the Hunter’s Point Naval Shipyard was decommissioned in 1974, a private contractor began subletting the leftover structures to various people, including Terzian, who saw the hidden potential of the stark military buildings. They were cheap to rent and had good light — though not much else. The buildings were in the middle of a \u003ca href=\"https://www.asbestos.com/shipyards/hunters-point-naval/\" target=\"_blank\" rel=\"noopener\">superfund site\u003c/a>, rife with industrial contamination.\u003c/p>\n\u003cp>Over the ensuing years, with the help of his son David and daughter Paula, Terzian converted the shipyard’s barracks into artist studios. By 1984, he had created about 300 such spaces, and in the process, established The Point, one of the largest artists’ colonies in the United States. (For context, \u003ca href=\"http://www.carmelcalifornia.com/\" target=\"_blank\" rel=\"noopener\">Carmel By the Sea\u003c/a>, another massive artist colony in California, only houses about 100 artists.) \u003c/p>\n\u003cp>“I found there were so many people that I knew that needed space, and wanted to rent space and sublease from me,” Terzian said in the documentary \u003ca href=\"http://www.thepointart.com/film.html\" target=\"_blank\" rel=\"noopener\">\u003ci>Making the Point \u003c/i>\u003c/a>about the transformation of the Hunter’s Point Shipyard into an arts hub. “I said, ‘Hell, this must be a money maker.’ I really felt that.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Making the Point\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/SFZtAFgcr6U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In the early 1980s, Terzian hosted one of the first recorded “open studios” events, where members of the public could wander around the resident artists’ workshops and potentially buy their art without having to go through a gallery or dealer. \u003ca href=\"http://shipyardartists.com/open-studios/\" target=\"_blank\" rel=\"noopener\">The Hunter’s Point Open Studios\u003c/a> has gone on on to become a landmark event in the San Francisco cultural calendar, attracting hundreds of people each year. The fall open studios takes place on Saturday, Oct. 15 and Sunday, Oct. 16 this year.\u003c/p>\n\u003cp>\u003cstrong>Long fight with the Navy\u003c/strong>\u003c/p>\n\u003cp>Despite the growing success of the colony, Terzian had to fight to keep it going. The battle began in 1985, when the Navy refused to renew its lease with Terzian’s contractor landlord due to plans to start up the shipyard again and house the USS Missouri there. A coalition of artists and environmentalists came together to oppose the military’s intentions, and for the next four years they succeeded in stopping evictions and derailing the housing of the famous \u003ca href=\"http://pearl-harbor.com/missouri/missouri.html\" target=\"_blank\" rel=\"noopener\">World War II battleship\u003c/a>. The Navy officially canceled its plan to house the “Mighty Mo” there in 1989, and in 1991 the base was officially closed.\u003c/p>\n\u003cp>“Without Jacques a lot of Bay Area artists could not have found affordable studio space, and that was in the 1980’s before it got to be almost impossible,” Karen Mangan commented on Hunters Point Shipyard Artists’ \u003ca href=\"https://www.facebook.com/shipyardartists/posts/10154348332627246\" target=\"_blank\" rel=\"noopener\">Facebook post\u003c/a> about Terzian’s death. “A huge thank you goes out to Jacques and his family for helping so many artists In this very important way.”\u003c/p>\n\u003cp>Terzian, who would joke that he wasn’t an artist, continued to make art throughout his life. He participated in open studios and had a retrospective of his work in 2011. He was also a fan of opera and classical music. When he died peacefully in bed at his home in Walnut Creek, he was listening to an oboe concerto, according to the \u003ca href=\"http://www.sfgate.com/bayarea/article/Jacques-Terzian-founder-of-Hunters-Point-artist-9140452.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He is survived by his two sons and three daughters, six grandchildren and four great grandchildren. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Shepard Fairey Explains Why He's Popping Up All Over San Francisco",
"headTitle": "Shepard Fairey Explains Why He’s Popping Up All Over San Francisco | KQED",
"content": "\u003cp>In 2008, much of America welcomed longtime guerrilla artist \u003ca href=\"https://obeygiant.com/\" target=\"_blank\" rel=\"noopener\">Shepard Fairey\u003c/a>’s work into their homes and onto the bumpers of their cars. Fairey’s iconic \u003ca href=\"https://en.wikipedia.org/wiki/Barack_Obama_%22Hope%22_poster\" target=\"_blank\" rel=\"noopener\">‘HOPE’ poster of then-nominee Barack Obama\u003c/a> gazing thoughtfully toward a new future in red, white and blue became symbolic for a new America — one which signaled a much-welcomed change for many.\u003c/p>\n\u003cp>This election year, however, holds even more collective breath-holding. There is no controversy-free candidate, no beacon of light in the midst of the nation’s ever-present problems, and from Fairey, no inspiring campaign poster motivating Americans to vote. For this election cycle, Fairey is instead focusing on issues of voting rights, childhood poverty, gun culture, workers rights and mass incarceration with his current body of work, \u003cem>American Civics\u003c/em>, which includes two brand new public murals in San Francisco and an exhibition at the \u003ca href=\"http://www.sfae.com/index.php?pg=400135\" target=\"_blank\" rel=\"noopener\">San Francisco Art Exchange\u003c/a>. The work is a collaborative project between Fairey and the estate of photographer \u003ca href=\"http://www.jimmarshallphotographyllc.com/\" target=\"_blank\" rel=\"noopener\">Jim Marshall\u003c/a>, and includes Shepard’s signature serigraph interpretations of Marshall’s work as well as a collection of original photographs from Marshall’s estate.\u003c/p>\n\u003cfigure id=\"attachment_11940700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11940700\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/shepard-chavez-mural-800x534.jpg\" alt=\"Shepard Fairey completes a Cesar Chavez Mural in San Francisco.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-chavez-mural-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-chavez-mural-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-chavez-mural-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-chavez-mural-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-chavez-mural-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-chavez-mural.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shepard Fairey completes a Cesar Chavez Mural in San Francisco. \u003ccite>(Mark Jayson Quines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Jim liked my work and had mentioned the possibility of collaborating with me before he died,” says Fairey of the prolific photographer, who is primarily known for portraits of John Coltrane, Jimi Hendrix, Janis Joplin, the Beatles and other musicians. “The idea involved doing something around social justice; I didn’t realize how much work in that arena he had done. When I was able to look through the archives and we talked about issues we all cared about, I was able to find things that I thought would really visually embody those concepts.”\u003c/p>\n\u003cp>Among the photographs Fairey used for the project — as well as two large murals in San Francisco, completed in mid-August — are those of labor organizer \u003ca href=\"http://www.npr.org/2016/08/02/488428577/cesar-chavez-the-life-behind-a-legacy-of-farm-labor-rights\" target=\"_blank\" rel=\"noopener\">Cesar Chavez\u003c/a> and \u003ca href=\"http://www.nytimes.com/2007/05/24/obituaries/24chaney.html?_r=0\" target=\"_blank\" rel=\"noopener\">Fannie Lee Chaney\u003c/a>. Marshall photographed Chaney in 1964 as the FBI informed her that her African-American son, James Chaney, and two of his friends were killed by the Ku Klux Klan for registering black voters.\u003c/p>\n\u003cp>“The voting rights suppression that’s happening right now and also people of color being killed by the police made the Fannie Lee Chaney image very relevant to me,” says Fairey.\u003c/p>\n\u003cfigure id=\"attachment_11940704\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/shepard-poverty-print-450x600.jpg\" alt=\"Shepard Fairey x Jim Marshall, 'Two Americas,' American Civics Series (Serigraph, 2016).\" width=\"450\" height=\"600\" class=\"size-medium wp-image-11940704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-poverty-print-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-poverty-print-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-poverty-print-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-poverty-print-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-poverty-print-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-poverty-print-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-poverty-print.jpg 1500w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Shepard Fairey x Jim Marshall, ‘Two Americas,’ American Civics Series (Serigraph, 2016).\u003c/figcaption>\u003c/figure>\n\u003cp>The decision to create a mural of Cesar Chavez in San Francisco was a natural one for Los Angeles-based Fairey, who hopes to illuminate the importance of workers who provide valuable services in the city, along with their right to live with dignity during a time of skyrocketing costs of living in the Bay Area. The Chavez mural in Hayes Valley drew \u003ca href=\"http://www.ufwfoundation.org/\" target=\"_blank\" rel=\"noopener\">United Farm Workers Foundation\u003c/a> Executive Director Diana Tellefson Torres and her colleagues to San Francisco from their headquarters in Los Angeles to attend the opening of \u003cem>American Civics\u003c/em>. A percentage of the proceeds from the show’s sales will be donated to the organization; ten percent of sales from other prints will benefit the \u003ca href=\"http://www.naacpldf.org/\" target=\"_blank\" rel=\"noopener\">NAACP’s Legal Defense Fund\u003c/a>, the \u003ca href=\"http://shop.calibercollection.com/caliber-foundation\" target=\"_blank\" rel=\"noopener\">Caliber Foundation\u003c/a>, \u003ca href=\"http://www.cut50.org/\" target=\"_blank\" rel=\"noopener\">#cut50\u003c/a>, and \u003ca href=\"https://www.nokidhungry.org/\" target=\"_blank\" rel=\"noopener\">No Kid Hungry\u003c/a>; organizations that Fairey and the Jim Marshall estate selected together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s important for me to not only put a spotlight on the issues I care about, but to support people doing activist work on the ground,” says Fairey. “There are some people who ask ‘Why are these prints this expensive?’ But buying art is a luxury already. If you’re willing to spend X amount, spend a little more and have it do some good. That’s really important to me.”\u003c/p>\n\u003cp>The move from rebel street artist to celebrated public muralist hasn’t been an entirely straightforward process, though, and Fairey’s career continues to teeter in a gray area. Fairey does seek permission to display permanent public art; he’s also racked up 18 arrests and counting (his \u003ca href=\"https://www.theguardian.com/us-news/2015/oct/09/detroit-shepard-fairey-vandalism-case-arts-community\" target=\"_blank\" rel=\"noopener\">case in Detroit\u003c/a> is still open) for his more ‘independent’ work. (During Fairey’s stay in San Francisco, unsanctioned stencils and wheatpastes of his images have \u003ca href=\"https://www.instagram.com/p/BJLWYCVgarY/\" target=\"_blank\" rel=\"noopener\">popped up\u003c/a> \u003ca href=\"https://www.instagram.com/p/BJJzPgFDgT9/\" target=\"_blank\" rel=\"noopener\">around town\u003c/a> on billboards and walls.)\u003c/p>\n\u003cp>“Until there are more opportunities for artists to be a part of the conversation, I feel like artists have to create opportunities for themselves. And that’s what I did,” he says. “But I get it from both sides: I’m too corporate for the street, too street for the corporate.”\u003c/p>\n\u003cp>A common misconception that critics have of Fairey’s public murals is that the pieces have been commissioned, and therefore paid for, by donors. This is not the case, Fairey says, particularly with his latest San Francisco work, which Fairey funded entirely on his own.\u003c/p>\n\u003cfigure id=\"attachment_11940705\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/shepard-fannie-mural-787x1180.jpg\" alt=\"Shepard Fairey completes a Fannie Lee Chaney Mural in San Francisco.\" width=\"640\" height=\"960\" class=\"size-large wp-image-11940705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-fannie-mural-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-fannie-mural-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-fannie-mural-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-fannie-mural.jpg 854w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shepard Fairey completes a Fannie Lee Chaney Mural in San Francisco. \u003ccite>(Mark Jayson Quines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m never walking away with a profit. But you know, I make decent money with my artwork and my clothing line, so I have the luxury of being able to spend money on the public art that is so important to me. For years and years and years I was just doing it without permission, and taking risks, and getting arrested, but now I think it’s amazing that I get to do things that are going to stay around for a while. Street art is so ephemeral,” says Fairey. “But it’s democratizing art, giving people access to art without having to go to a gallery or museum, and having it be something that they interact with in their daily lives.”\u003c/p>\n\u003cp>Facilitating access to public art isn’t the only driving force behind Fairey’s work. He and wife Amanda had their first of two daughters eleven years ago, just before Al Gore’s documentary \u003cem>An Inconvenient Truth\u003c/em> was released. Looking at the long-term implications of climate change and what impact it would have on his children and future generations was another factor that also motivated him to vigorously support Obama in 2008, “even though it deviated from my rebel brand or rebel image,” he says.\u003c/p>\n\u003cp>“You know, I was a bit of a ‘Live Fast, Die Young’ punk rocker when I was younger. Not that I was a selfish nihilist or anything, but I was just: ‘OK, cool. This will work for the next five minutes’,” says Fairey. “I’m thinking about a lot more than the next five minutes now.”\u003c/p>\n\u003cfigure id=\"attachment_11940706\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/shepard-gun-culture-885x1180.jpg\" alt=\"Shepard Fairey x Jim Marshall, 'Gun Culture,' American Civics Series (Serigraph, 2016).\" width=\"640\" height=\"853\" class=\"size-large wp-image-11940706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-gun-culture-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-gun-culture-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-gun-culture-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-gun-culture-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-gun-culture.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shepard Fairey x Jim Marshall, ‘Gun Culture,’ American Civics Series (Serigraph, 2016).\u003c/figcaption>\u003c/figure>\n\u003cp>‘More than the next five minutes’ certainly includes the presidential election in November. While Fairey originally endorsed presidential hopeful Bernie Sanders, he says that Hillary Clinton has his support.\u003c/p>\n\u003cp>“I think that \u003ci>anyone\u003c/i>, even a trained chicken, would be superior to Donald Trump, so of course I support Hillary Clinton. She’s, I think, been on the right side of a lot of issues. But I’m very uncomfortable with her vote for the Iraq war, because I think it was not what she really felt in her heart. I think it was politically expeditious, and I don’t trust people that make decisions that way,” says Fairey. “But I think it would be devastating for the country to have Donald Trump as president.”\u003c/p>\n\u003cp>Fairey points to numerous issues he has with Clinton, and is fully aware that there are no ‘perfect’ candidates out there.\u003c/p>\n\u003cp>“Every election time I’m hoping there is going to be a candidate that aligns with those ideas, but what’s the saying? ‘Don’t let the perfect be the enemy of the good,’” says Fairey. In lieu of a candidate worthy of a repeat of his ‘HOPE’ poster, Fairey says he’ll continue working on issues, like the ones in \u003cem>American Civics\u003c/em>, that he feels passionate about. “Campaign finance reform, decreasing funding for the military, decreasing the power of lobbyists, moving toward a greener economy,” Fairey says, “I’m working toward all of those things.”\u003c/p>\n\u003cp>Much like Fairey’s criticisms of the electoral system and voting rights, he himself is no stranger to criticism as he walks the line between relatively newfound commercial success and his DIY street credit.\u003c/p>\n\u003cp>“It’s better to be driving the conversation than to be a spectator on the sidelines, even if I’m the victim of some hate,” he says. “I’m grateful to have the opportunities to do the things I do, even if it sometimes gets a negative response.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘American Civics’ is on display through September at the San Francisco Art Exchange, 458 Geary St, San Francisco. \u003ca href=\"http://www.sfae.com/index.php?pg=400135\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2008, much of America welcomed longtime guerrilla artist \u003ca href=\"https://obeygiant.com/\" target=\"_blank\" rel=\"noopener\">Shepard Fairey\u003c/a>’s work into their homes and onto the bumpers of their cars. Fairey’s iconic \u003ca href=\"https://en.wikipedia.org/wiki/Barack_Obama_%22Hope%22_poster\" target=\"_blank\" rel=\"noopener\">‘HOPE’ poster of then-nominee Barack Obama\u003c/a> gazing thoughtfully toward a new future in red, white and blue became symbolic for a new America — one which signaled a much-welcomed change for many.\u003c/p>\n\u003cp>This election year, however, holds even more collective breath-holding. There is no controversy-free candidate, no beacon of light in the midst of the nation’s ever-present problems, and from Fairey, no inspiring campaign poster motivating Americans to vote. For this election cycle, Fairey is instead focusing on issues of voting rights, childhood poverty, gun culture, workers rights and mass incarceration with his current body of work, \u003cem>American Civics\u003c/em>, which includes two brand new public murals in San Francisco and an exhibition at the \u003ca href=\"http://www.sfae.com/index.php?pg=400135\" target=\"_blank\" rel=\"noopener\">San Francisco Art Exchange\u003c/a>. The work is a collaborative project between Fairey and the estate of photographer \u003ca href=\"http://www.jimmarshallphotographyllc.com/\" target=\"_blank\" rel=\"noopener\">Jim Marshall\u003c/a>, and includes Shepard’s signature serigraph interpretations of Marshall’s work as well as a collection of original photographs from Marshall’s estate.\u003c/p>\n\u003cfigure id=\"attachment_11940700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11940700\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/shepard-chavez-mural-800x534.jpg\" alt=\"Shepard Fairey completes a Cesar Chavez Mural in San Francisco.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-chavez-mural-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-chavez-mural-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-chavez-mural-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-chavez-mural-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-chavez-mural-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-chavez-mural.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shepard Fairey completes a Cesar Chavez Mural in San Francisco. \u003ccite>(Mark Jayson Quines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Jim liked my work and had mentioned the possibility of collaborating with me before he died,” says Fairey of the prolific photographer, who is primarily known for portraits of John Coltrane, Jimi Hendrix, Janis Joplin, the Beatles and other musicians. “The idea involved doing something around social justice; I didn’t realize how much work in that arena he had done. When I was able to look through the archives and we talked about issues we all cared about, I was able to find things that I thought would really visually embody those concepts.”\u003c/p>\n\u003cp>Among the photographs Fairey used for the project — as well as two large murals in San Francisco, completed in mid-August — are those of labor organizer \u003ca href=\"http://www.npr.org/2016/08/02/488428577/cesar-chavez-the-life-behind-a-legacy-of-farm-labor-rights\" target=\"_blank\" rel=\"noopener\">Cesar Chavez\u003c/a> and \u003ca href=\"http://www.nytimes.com/2007/05/24/obituaries/24chaney.html?_r=0\" target=\"_blank\" rel=\"noopener\">Fannie Lee Chaney\u003c/a>. Marshall photographed Chaney in 1964 as the FBI informed her that her African-American son, James Chaney, and two of his friends were killed by the Ku Klux Klan for registering black voters.\u003c/p>\n\u003cp>“The voting rights suppression that’s happening right now and also people of color being killed by the police made the Fannie Lee Chaney image very relevant to me,” says Fairey.\u003c/p>\n\u003cfigure id=\"attachment_11940704\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/shepard-poverty-print-450x600.jpg\" alt=\"Shepard Fairey x Jim Marshall, 'Two Americas,' American Civics Series (Serigraph, 2016).\" width=\"450\" height=\"600\" class=\"size-medium wp-image-11940704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-poverty-print-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-poverty-print-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-poverty-print-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-poverty-print-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-poverty-print-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-poverty-print-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-poverty-print.jpg 1500w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Shepard Fairey x Jim Marshall, ‘Two Americas,’ American Civics Series (Serigraph, 2016).\u003c/figcaption>\u003c/figure>\n\u003cp>The decision to create a mural of Cesar Chavez in San Francisco was a natural one for Los Angeles-based Fairey, who hopes to illuminate the importance of workers who provide valuable services in the city, along with their right to live with dignity during a time of skyrocketing costs of living in the Bay Area. The Chavez mural in Hayes Valley drew \u003ca href=\"http://www.ufwfoundation.org/\" target=\"_blank\" rel=\"noopener\">United Farm Workers Foundation\u003c/a> Executive Director Diana Tellefson Torres and her colleagues to San Francisco from their headquarters in Los Angeles to attend the opening of \u003cem>American Civics\u003c/em>. A percentage of the proceeds from the show’s sales will be donated to the organization; ten percent of sales from other prints will benefit the \u003ca href=\"http://www.naacpldf.org/\" target=\"_blank\" rel=\"noopener\">NAACP’s Legal Defense Fund\u003c/a>, the \u003ca href=\"http://shop.calibercollection.com/caliber-foundation\" target=\"_blank\" rel=\"noopener\">Caliber Foundation\u003c/a>, \u003ca href=\"http://www.cut50.org/\" target=\"_blank\" rel=\"noopener\">#cut50\u003c/a>, and \u003ca href=\"https://www.nokidhungry.org/\" target=\"_blank\" rel=\"noopener\">No Kid Hungry\u003c/a>; organizations that Fairey and the Jim Marshall estate selected together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s important for me to not only put a spotlight on the issues I care about, but to support people doing activist work on the ground,” says Fairey. “There are some people who ask ‘Why are these prints this expensive?’ But buying art is a luxury already. If you’re willing to spend X amount, spend a little more and have it do some good. That’s really important to me.”\u003c/p>\n\u003cp>The move from rebel street artist to celebrated public muralist hasn’t been an entirely straightforward process, though, and Fairey’s career continues to teeter in a gray area. Fairey does seek permission to display permanent public art; he’s also racked up 18 arrests and counting (his \u003ca href=\"https://www.theguardian.com/us-news/2015/oct/09/detroit-shepard-fairey-vandalism-case-arts-community\" target=\"_blank\" rel=\"noopener\">case in Detroit\u003c/a> is still open) for his more ‘independent’ work. (During Fairey’s stay in San Francisco, unsanctioned stencils and wheatpastes of his images have \u003ca href=\"https://www.instagram.com/p/BJLWYCVgarY/\" target=\"_blank\" rel=\"noopener\">popped up\u003c/a> \u003ca href=\"https://www.instagram.com/p/BJJzPgFDgT9/\" target=\"_blank\" rel=\"noopener\">around town\u003c/a> on billboards and walls.)\u003c/p>\n\u003cp>“Until there are more opportunities for artists to be a part of the conversation, I feel like artists have to create opportunities for themselves. And that’s what I did,” he says. “But I get it from both sides: I’m too corporate for the street, too street for the corporate.”\u003c/p>\n\u003cp>A common misconception that critics have of Fairey’s public murals is that the pieces have been commissioned, and therefore paid for, by donors. This is not the case, Fairey says, particularly with his latest San Francisco work, which Fairey funded entirely on his own.\u003c/p>\n\u003cfigure id=\"attachment_11940705\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/shepard-fannie-mural-787x1180.jpg\" alt=\"Shepard Fairey completes a Fannie Lee Chaney Mural in San Francisco.\" width=\"640\" height=\"960\" class=\"size-large wp-image-11940705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-fannie-mural-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-fannie-mural-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-fannie-mural-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-fannie-mural.jpg 854w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shepard Fairey completes a Fannie Lee Chaney Mural in San Francisco. \u003ccite>(Mark Jayson Quines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m never walking away with a profit. But you know, I make decent money with my artwork and my clothing line, so I have the luxury of being able to spend money on the public art that is so important to me. For years and years and years I was just doing it without permission, and taking risks, and getting arrested, but now I think it’s amazing that I get to do things that are going to stay around for a while. Street art is so ephemeral,” says Fairey. “But it’s democratizing art, giving people access to art without having to go to a gallery or museum, and having it be something that they interact with in their daily lives.”\u003c/p>\n\u003cp>Facilitating access to public art isn’t the only driving force behind Fairey’s work. He and wife Amanda had their first of two daughters eleven years ago, just before Al Gore’s documentary \u003cem>An Inconvenient Truth\u003c/em> was released. Looking at the long-term implications of climate change and what impact it would have on his children and future generations was another factor that also motivated him to vigorously support Obama in 2008, “even though it deviated from my rebel brand or rebel image,” he says.\u003c/p>\n\u003cp>“You know, I was a bit of a ‘Live Fast, Die Young’ punk rocker when I was younger. Not that I was a selfish nihilist or anything, but I was just: ‘OK, cool. This will work for the next five minutes’,” says Fairey. “I’m thinking about a lot more than the next five minutes now.”\u003c/p>\n\u003cfigure id=\"attachment_11940706\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/shepard-gun-culture-885x1180.jpg\" alt=\"Shepard Fairey x Jim Marshall, 'Gun Culture,' American Civics Series (Serigraph, 2016).\" width=\"640\" height=\"853\" class=\"size-large wp-image-11940706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-gun-culture-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-gun-culture-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-gun-culture-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-gun-culture-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/shepard-gun-culture.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shepard Fairey x Jim Marshall, ‘Gun Culture,’ American Civics Series (Serigraph, 2016).\u003c/figcaption>\u003c/figure>\n\u003cp>‘More than the next five minutes’ certainly includes the presidential election in November. While Fairey originally endorsed presidential hopeful Bernie Sanders, he says that Hillary Clinton has his support.\u003c/p>\n\u003cp>“I think that \u003ci>anyone\u003c/i>, even a trained chicken, would be superior to Donald Trump, so of course I support Hillary Clinton. She’s, I think, been on the right side of a lot of issues. But I’m very uncomfortable with her vote for the Iraq war, because I think it was not what she really felt in her heart. I think it was politically expeditious, and I don’t trust people that make decisions that way,” says Fairey. “But I think it would be devastating for the country to have Donald Trump as president.”\u003c/p>\n\u003cp>Fairey points to numerous issues he has with Clinton, and is fully aware that there are no ‘perfect’ candidates out there.\u003c/p>\n\u003cp>“Every election time I’m hoping there is going to be a candidate that aligns with those ideas, but what’s the saying? ‘Don’t let the perfect be the enemy of the good,’” says Fairey. In lieu of a candidate worthy of a repeat of his ‘HOPE’ poster, Fairey says he’ll continue working on issues, like the ones in \u003cem>American Civics\u003c/em>, that he feels passionate about. “Campaign finance reform, decreasing funding for the military, decreasing the power of lobbyists, moving toward a greener economy,” Fairey says, “I’m working toward all of those things.”\u003c/p>\n\u003cp>Much like Fairey’s criticisms of the electoral system and voting rights, he himself is no stranger to criticism as he walks the line between relatively newfound commercial success and his DIY street credit.\u003c/p>\n\u003cp>“It’s better to be driving the conversation than to be a spectator on the sidelines, even if I’m the victim of some hate,” he says. “I’m grateful to have the opportunities to do the things I do, even if it sometimes gets a negative response.”\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>‘American Civics’ is on display through September at the San Francisco Art Exchange, 458 Geary St, San Francisco. \u003ca href=\"http://www.sfae.com/index.php?pg=400135\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Philly Artist Tastes the Rainbow and Saves the Wrappers",
"headTitle": "Philly Artist Tastes the Rainbow and Saves the Wrappers | KQED",
"content": "\u003cp>Sean Brown knows his way around a candy shop.\u003c/p>\n\u003cp>“My candy knowledge is pretty crazy,” he says. “Put me up against anyone in a candy battle — and I’ll beat them.”\u003c/p>\n\u003cfigure id=\"attachment_11944223\" class=\"wp-caption alignright\" style=\"max-width: 433px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-433x600.jpg\" alt=\"Philly-based artist Sean Brown transforms the refuse from candy wrappers into art.\" width=\"433\" height=\"600\" class=\"size-medium wp-image-11944223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-433x600.jpg 433w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-400x554.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-768x1064.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-852x1180.jpg 852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e.jpg 866w\" sizes=\"(max-width: 433px) 100vw, 433px\">\u003cfigcaption class=\"wp-caption-text\">Philly-based artist Sean Brown transforms the refuse from candy wrappers into art. \u003ccite>(Photo: Veronica Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But \u003ca href=\"https://seanebrown.wordpress.com/about/\" target=\"_blank\" rel=\"noopener\">Brown\u003c/a> is less interested in the candy than the wrappers. For the past five years, this Philly-based artist and (full disclosure!) former neighbor of mine, has been transforming the refuse from Skittles, Tootsie Pops, Starburst, Mamba — and whatever other candy he can get his hands on — into works of art.\u003c/p>\n\u003cp>Many of the pieces celebrate famous individuals or pay homage to the artists who inspire him. He’s done \u003ca href=\"https://seanebrown.files.wordpress.com/2014/09/st.jpg\">Questlove\u003c/a> in Tootsie Pops and \u003ca href=\"https://seanebrown.wordpress.com/2016/07/29/marilyn/\" target=\"_blank\" rel=\"noopener\">Warhol’s “Marilyn”\u003c/a> in Tootsie Pops, Mamba, Starburst and Andes Creme de Menthe Thins.\u003c/p>\n\u003cp>Brown, who’s been working as an artist since graduating from the Art Institute of Philadelphia in 2007, presents his work in art shows primarily in the Philadelphia and New York areas. His next show is this Sunday at \u003ca href=\"http://www.madgallerynyc.com/\" target=\"_blank\" rel=\"noopener\">MAD Gallery\u003c/a> in New York.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He’s sold over 100 of his candy wrapper works, which ranged in price from $50 for a simple depiction of a banana to $5,000 for a detailed remake of a Gustav Klimt work.\u003c/p>\n\u003cp>His hues are limited by his candy wrapper palette — which turns out to be no limitation at all.\u003c/p>\n\u003cfigure id=\"attachment_11944224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-960x1180.jpg\" alt='\"I Saw the Figure 5 in Starburst.\" Starburst wrappers, acrylic and ink on canvas. 2011.' width=\"640\" height=\"787\" class=\"size-large wp-image-11944224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-960x1180.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-400x492.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-488x600.jpg 488w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-768x944.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-1180x1451.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2.jpg 1627w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“I Saw the Figure 5 in Starburst.” Starburst wrappers, acrylic and ink on canvas. 2011. \u003ccite>(Photo: Courtesy of Sean Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had always liked taking candy wrappers off as neatly as possible, and I always liked to keep them as flat as possible,” Brown says. “One day I was sitting with a friend and eating a bunch of candy and I looked at the pile of trash and I thought, ‘I’m going to use this.’… I started putting them on canvasses.”\u003c/p>\n\u003cp>Brown’s first candy wrapper piece was a take on the painting “\u003ca href=\"http://www.metmuseum.org/art/collection/search/488315\" target=\"_blank\" rel=\"noopener\">I Saw the Figure 5 in Gold\u003c/a>” by Charles Demuth. Then he moved on to Warhol and Lichtenstein.\u003c/p>\n\u003cp>“The paintings that I liked, I would recreate but with candy wrappers,” Brown says.\u003c/p>\n\u003cfigure id=\"attachment_11944225\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-885x1180.jpg\" alt=\"At Brown's studio in Philadelphia, he stores candy wrappers by kind and color in Ziploc bags.\" width=\"640\" height=\"853\" class=\"size-large wp-image-11944225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">At Brown’s studio in Philadelphia, he stores candy wrappers by kind and color in Ziploc bags. \u003ccite>(Photo: Courtesy of Sean Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Brown’s art shows, he lays out a pile of candy along with a bucket that says, “Enjoy the candy! (I want your wrapper).”\u003c/p>\n\u003cp>These days, he says, “I mostly like other people to eat [the candy]. I’m trying to save myself the diabetes.” He gets a lot of wrappers from donations through word of mouth. “People get excited about the idea,” he says.\u003c/p>\n\u003cp>Tootsie Roll has also sent him boxes of candy and rolls of uncut wrappers.\u003c/p>\n\u003cfigure id=\"attachment_11944226\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-882x1180.jpg\" alt='\"Nat Geo Too.\" Tootsie Pop, Tootsie Roll Frooties, Mamba, Starburst, Now and Later and Andes Creme de Menthe Thins wrappers with gold leaf and ink on wood. 2015.' width=\"640\" height=\"856\" class=\"size-large wp-image-11944226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-882x1180.jpg 882w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-400x535.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-449x600.jpg 449w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-768x1027.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-1180x1579.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-960x1284.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773.jpg 1495w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Nat Geo Too.” Tootsie Pop, Tootsie Roll Frooties, Mamba, Starburst, Now and Later and Andes Creme de Menthe Thins wrappers with gold leaf and ink on wood. 2015. \u003ccite>(Photo: Courtesy of Sean Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown describes the Starburst color palette as grand.\u003c/p>\n\u003cp>“Starburst has 11 different shades of red” and also offers good flesh tones, he explains. “Mamba actually also has really good flesh tones. I think I like them better than Starburst. They’re softer and creamier.”\u003c/p>\n\u003cp>Brown is now working on a series he calls Mary POPpuns where — you guessed it — all the works involve puns. He’s already completed the series’s title piece, which relies heavily on lollipop wrappers.\u003c/p>\n\u003cp>Brown envisions candy wrappers will be a part of his art for years to come. “Candy is not going anywhere and they are always going to come out with new flavors and new colors. And [candy] offers that piece of nostalgia for some people.”\u003c/p>\n\u003cfigure id=\"attachment_11944227\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-885x1180.jpg\" alt=\""Mary Jane's Bones & Bows." Mary Jane wrappers with ink and acrylic screen print on canvas. Artwork by Sean Brown. 2012.\" width=\"640\" height=\"853\" class=\"size-large wp-image-11944227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Mary Jane’s Bones & Bows.” Mary Jane wrappers with ink and acrylic screen print on canvas. Artwork by Sean Brown. 2012. \u003ccite>(Photo: Carolyn Beans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nostalgia is exactly what prompted my brother to buy me this piece, one of 99 bananas that make up a Warhol-inspired series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My grandmother kept a cabinet full of candy within easy reach of her grand kids. I always went for the Mary Janes. But I never thought to save the wrappers. \u003c/p>\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=Philly+Artist+Tastes+The+Rainbow+And+Saves+The+Wrappers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Philly-based artist Sean Brown transforms the refuse from Skittles, Tootsie Pops, Starburst, Mamba — and whatever other candy he can get his hands on — into works of art.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sean Brown knows his way around a candy shop.\u003c/p>\n\u003cp>“My candy knowledge is pretty crazy,” he says. “Put me up against anyone in a candy battle — and I’ll beat them.”\u003c/p>\n\u003cfigure id=\"attachment_11944223\" class=\"wp-caption alignright\" style=\"max-width: 433px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-433x600.jpg\" alt=\"Philly-based artist Sean Brown transforms the refuse from candy wrappers into art.\" width=\"433\" height=\"600\" class=\"size-medium wp-image-11944223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-433x600.jpg 433w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-400x554.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-768x1064.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e-852x1180.jpg 852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/seanbrown_enl-738b3b517930f9010f3a26ff907a7732c754b40e.jpg 866w\" sizes=\"(max-width: 433px) 100vw, 433px\">\u003cfigcaption class=\"wp-caption-text\">Philly-based artist Sean Brown transforms the refuse from candy wrappers into art. \u003ccite>(Photo: Veronica Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But \u003ca href=\"https://seanebrown.wordpress.com/about/\" target=\"_blank\" rel=\"noopener\">Brown\u003c/a> is less interested in the candy than the wrappers. For the past five years, this Philly-based artist and (full disclosure!) former neighbor of mine, has been transforming the refuse from Skittles, Tootsie Pops, Starburst, Mamba — and whatever other candy he can get his hands on — into works of art.\u003c/p>\n\u003cp>Many of the pieces celebrate famous individuals or pay homage to the artists who inspire him. He’s done \u003ca href=\"https://seanebrown.files.wordpress.com/2014/09/st.jpg\">Questlove\u003c/a> in Tootsie Pops and \u003ca href=\"https://seanebrown.wordpress.com/2016/07/29/marilyn/\" target=\"_blank\" rel=\"noopener\">Warhol’s “Marilyn”\u003c/a> in Tootsie Pops, Mamba, Starburst and Andes Creme de Menthe Thins.\u003c/p>\n\u003cp>Brown, who’s been working as an artist since graduating from the Art Institute of Philadelphia in 2007, presents his work in art shows primarily in the Philadelphia and New York areas. His next show is this Sunday at \u003ca href=\"http://www.madgallerynyc.com/\" target=\"_blank\" rel=\"noopener\">MAD Gallery\u003c/a> in New York.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He’s sold over 100 of his candy wrapper works, which ranged in price from $50 for a simple depiction of a banana to $5,000 for a detailed remake of a Gustav Klimt work.\u003c/p>\n\u003cp>His hues are limited by his candy wrapper palette — which turns out to be no limitation at all.\u003c/p>\n\u003cfigure id=\"attachment_11944224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-960x1180.jpg\" alt='\"I Saw the Figure 5 in Starburst.\" Starburst wrappers, acrylic and ink on canvas. 2011.' width=\"640\" height=\"787\" class=\"size-large wp-image-11944224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-960x1180.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-400x492.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-488x600.jpg 488w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-768x944.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2-1180x1451.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/number-5_small_enl-cedfd92f650839dbb40d581f6822e5661a8ddbb2.jpg 1627w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“I Saw the Figure 5 in Starburst.” Starburst wrappers, acrylic and ink on canvas. 2011. \u003ccite>(Photo: Courtesy of Sean Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had always liked taking candy wrappers off as neatly as possible, and I always liked to keep them as flat as possible,” Brown says. “One day I was sitting with a friend and eating a bunch of candy and I looked at the pile of trash and I thought, ‘I’m going to use this.’… I started putting them on canvasses.”\u003c/p>\n\u003cp>Brown’s first candy wrapper piece was a take on the painting “\u003ca href=\"http://www.metmuseum.org/art/collection/search/488315\" target=\"_blank\" rel=\"noopener\">I Saw the Figure 5 in Gold\u003c/a>” by Charles Demuth. Then he moved on to Warhol and Lichtenstein.\u003c/p>\n\u003cp>“The paintings that I liked, I would recreate but with candy wrappers,” Brown says.\u003c/p>\n\u003cfigure id=\"attachment_11944225\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-885x1180.jpg\" alt=\"At Brown's studio in Philadelphia, he stores candy wrappers by kind and color in Ziploc bags.\" width=\"640\" height=\"853\" class=\"size-large wp-image-11944225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/wrapper-palette-3_small_enl-e85d4e4ef18644307abf5aba647b6d495ef4be85.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">At Brown’s studio in Philadelphia, he stores candy wrappers by kind and color in Ziploc bags. \u003ccite>(Photo: Courtesy of Sean Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Brown’s art shows, he lays out a pile of candy along with a bucket that says, “Enjoy the candy! (I want your wrapper).”\u003c/p>\n\u003cp>These days, he says, “I mostly like other people to eat [the candy]. I’m trying to save myself the diabetes.” He gets a lot of wrappers from donations through word of mouth. “People get excited about the idea,” he says.\u003c/p>\n\u003cp>Tootsie Roll has also sent him boxes of candy and rolls of uncut wrappers.\u003c/p>\n\u003cfigure id=\"attachment_11944226\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-882x1180.jpg\" alt='\"Nat Geo Too.\" Tootsie Pop, Tootsie Roll Frooties, Mamba, Starburst, Now and Later and Andes Creme de Menthe Thins wrappers with gold leaf and ink on wood. 2015.' width=\"640\" height=\"856\" class=\"size-large wp-image-11944226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-882x1180.jpg 882w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-400x535.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-449x600.jpg 449w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-768x1027.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-1180x1579.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773-960x1284.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/nat-geo_small_enl-dfc9554796c353d3e33a897c2eebf7919358a773.jpg 1495w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Nat Geo Too.” Tootsie Pop, Tootsie Roll Frooties, Mamba, Starburst, Now and Later and Andes Creme de Menthe Thins wrappers with gold leaf and ink on wood. 2015. \u003ccite>(Photo: Courtesy of Sean Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown describes the Starburst color palette as grand.\u003c/p>\n\u003cp>“Starburst has 11 different shades of red” and also offers good flesh tones, he explains. “Mamba actually also has really good flesh tones. I think I like them better than Starburst. They’re softer and creamier.”\u003c/p>\n\u003cp>Brown is now working on a series he calls Mary POPpuns where — you guessed it — all the works involve puns. He’s already completed the series’s title piece, which relies heavily on lollipop wrappers.\u003c/p>\n\u003cp>Brown envisions candy wrappers will be a part of his art for years to come. “Candy is not going anywhere and they are always going to come out with new flavors and new colors. And [candy] offers that piece of nostalgia for some people.”\u003c/p>\n\u003cfigure id=\"attachment_11944227\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-885x1180.jpg\" alt=\""Mary Jane's Bones & Bows." Mary Jane wrappers with ink and acrylic screen print on canvas. Artwork by Sean Brown. 2012.\" width=\"640\" height=\"853\" class=\"size-large wp-image-11944227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/banana_small_enl-bf4e3c9584e8864fdb70d1540d0a32c2cd8e1603.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Mary Jane’s Bones & Bows.” Mary Jane wrappers with ink and acrylic screen print on canvas. Artwork by Sean Brown. 2012. \u003ccite>(Photo: Carolyn Beans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nostalgia is exactly what prompted my brother to buy me this piece, one of 99 bananas that make up a Warhol-inspired series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My grandmother kept a cabinet full of candy within easy reach of her grand kids. I always went for the Mary Janes. But I never thought to save the wrappers. \u003c/p>\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=Philly+Artist+Tastes+The+Rainbow+And+Saves+The+Wrappers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Sacred Powwow Draws Native Americans to California Foothills",
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"content": "\u003cp>They came from all over the U.S. to the small foothill town of O'Neals. Members of Indian tribes as far away as South Dakota converged for a powwow to help celebrate the 45th anniversary of the \u003ca href=\"http://sierramonomuseum.org/\">Sierra Mono Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the last two summers, wildfires forced cancellation of the \u003c/span>\u003cspan style=\"font-weight: 400\">long-standing \u003ca href=\"https://en.wikipedia.org/wiki/Pow_wow\">powwow\u003c/a>. But not this year.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On a big lawn in front of a local high school, a ring of tents surrounded a dance circle. Everyone seemed to know the rules: “Come in from the East -- that’s where the sun comes up -- and dance clockwise,” Richard Gonzalez explained. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“And everybody knows that you don’t run across. This is not a playground. The powwow circle is sacred, like a church,\" he said.\u003c/span>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/278043358\" 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>\u003cspan style=\"font-weight: 400\">Gonzalez is Lipan Apache. He’s a Vietnam veteran visiting from Texas, but he grew up near here in Fresno. He and a handful of other vets led an opening procession around the circle. Then the dance competitions started.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Away from the contests, in the air-conditioned gym, 86-year-old North Fork Mono Indian Leona Chepo sat with a small group of vendors selling her hand-woven traditional baskets.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These intricate baskets made of deer grass and sedge root are what got this powwow started. “We were losing our baskets,” said Chepo. “People were stealing them from families and selling them for cheap, you know, for their beer.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That was in the late '60s, Chepo said, so she and a group of other Mono Indians began looking for a way to protect the baskets -- an important part of their heritage. They decided to start a museum. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11049384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/Powwow2-800x584.jpg\" alt=\"The Sierra Mono Museum's 45th annual powwow started with a procession around the dance circle on Aug. 6. \" width=\"800\" height=\"584\" class=\"size-medium wp-image-11049384\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2-800x584.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2-400x292.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2-1180x861.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2-960x701.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Sierra Mono Museum's 45th annual powwow started with a procession around the dance circle on Aug. 6. \u003ccite>(The Sierra Mono Museum's 45th annual powwow started with a procession around the dance circle on Aug. 6. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">To help fund their new endeavor, they got creative. Mono women showed others how to make acorn mush. They sold watermelon. And Chepo’s aunt made baskets while visitors watched.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\"Once,\" Chepo said, “we made the ugliest beads you ever saw! Our first time to make medallions, they didn’t have no shape. And people bought them. I couldn’t believe it!”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Finally, they invited some dancers and it grew into a powwow from there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some 45 years later, it’s a local tradition -- and it’s part of a way of life for many Native Americans who spend weekends going to powwows across the country.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At last weekend's event, there were Shawnee and Kiawah from Oklahoma, Apache from Texas and Chukchansi, Tachi Yokut and other tribes from all over California. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Along the edge of the circle, 16-year-old Dylan Ashley was getting ready to dance. He’d come all the way from the Pine Ridge Indian Reservation in South Dakota. “We found out there’s a powwow, so we came to check it out,\" he said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dylan is from the Oglala Lakota tribe. He was wearing a bustle made of eagle feathers, and a porcupine hair crest on his head. He was preparing to do a traditional dance. “When you’re dancing you’re telling a story,” he said. “You’re hunting or you’re going into a war.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He gripped his eagle talon staff and walked into the circle. He got low to the ground and stepped to the drumbeat while his little sister, Chelyse Hines, watched. “It just makes me feel very happy,” she said. “I love it!” When Dylan walked out, he was shiny with sweat and he couldn’t stop smiling.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He came with his aunt, Helene Gaddie, who said at home in South Dakota they dance all the time. But Dylan’s sisters live in California, and they rarely go to powwows. Gaddie is trying to change that by helping them learn to dance. She said it’s a way of strengthening their identity. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You get to feel free, and know that no matter how hard the United States government tried to abolish native people, we’re still here.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Near the end of the first day of the powwow, Mono elder Leona Chepo was still sitting in the gym with her baskets. She laughed with her niece, Sandy Clark, about how the powwow barely breaks even. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a lot of work and we’re tired,” Clark said, “but at the end of the day we love it.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> Chepo taught Clark how to weave her own baskets, and in the powwow raffle this year, Clark’s basket was the top prize. \u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They came from all over the U.S. to the small foothill town of O'Neals. Members of Indian tribes as far away as South Dakota converged for a powwow to help celebrate the 45th anniversary of the \u003ca href=\"http://sierramonomuseum.org/\">Sierra Mono Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the last two summers, wildfires forced cancellation of the \u003c/span>\u003cspan style=\"font-weight: 400\">long-standing \u003ca href=\"https://en.wikipedia.org/wiki/Pow_wow\">powwow\u003c/a>. But not this year.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On a big lawn in front of a local high school, a ring of tents surrounded a dance circle. Everyone seemed to know the rules: “Come in from the East -- that’s where the sun comes up -- and dance clockwise,” Richard Gonzalez explained. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“And everybody knows that you don’t run across. This is not a playground. The powwow circle is sacred, like a church,\" he said.\u003c/span>\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/278043358&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/278043358'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Gonzalez is Lipan Apache. He’s a Vietnam veteran visiting from Texas, but he grew up near here in Fresno. He and a handful of other vets led an opening procession around the circle. Then the dance competitions started.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Away from the contests, in the air-conditioned gym, 86-year-old North Fork Mono Indian Leona Chepo sat with a small group of vendors selling her hand-woven traditional baskets.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These intricate baskets made of deer grass and sedge root are what got this powwow started. “We were losing our baskets,” said Chepo. “People were stealing them from families and selling them for cheap, you know, for their beer.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That was in the late '60s, Chepo said, so she and a group of other Mono Indians began looking for a way to protect the baskets -- an important part of their heritage. They decided to start a museum. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11049384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/Powwow2-800x584.jpg\" alt=\"The Sierra Mono Museum's 45th annual powwow started with a procession around the dance circle on Aug. 6. \" width=\"800\" height=\"584\" class=\"size-medium wp-image-11049384\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2-800x584.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2-400x292.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2-1180x861.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2-960x701.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Sierra Mono Museum's 45th annual powwow started with a procession around the dance circle on Aug. 6. \u003ccite>(The Sierra Mono Museum's 45th annual powwow started with a procession around the dance circle on Aug. 6. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">To help fund their new endeavor, they got creative. Mono women showed others how to make acorn mush. They sold watermelon. And Chepo’s aunt made baskets while visitors watched.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\"Once,\" Chepo said, “we made the ugliest beads you ever saw! Our first time to make medallions, they didn’t have no shape. And people bought them. I couldn’t believe it!”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Finally, they invited some dancers and it grew into a powwow from there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some 45 years later, it’s a local tradition -- and it’s part of a way of life for many Native Americans who spend weekends going to powwows across the country.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At last weekend's event, there were Shawnee and Kiawah from Oklahoma, Apache from Texas and Chukchansi, Tachi Yokut and other tribes from all over California. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Along the edge of the circle, 16-year-old Dylan Ashley was getting ready to dance. He’d come all the way from the Pine Ridge Indian Reservation in South Dakota. “We found out there’s a powwow, so we came to check it out,\" he said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dylan is from the Oglala Lakota tribe. He was wearing a bustle made of eagle feathers, and a porcupine hair crest on his head. He was preparing to do a traditional dance. “When you’re dancing you’re telling a story,” he said. “You’re hunting or you’re going into a war.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He gripped his eagle talon staff and walked into the circle. He got low to the ground and stepped to the drumbeat while his little sister, Chelyse Hines, watched. “It just makes me feel very happy,” she said. “I love it!” When Dylan walked out, he was shiny with sweat and he couldn’t stop smiling.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He came with his aunt, Helene Gaddie, who said at home in South Dakota they dance all the time. But Dylan’s sisters live in California, and they rarely go to powwows. Gaddie is trying to change that by helping them learn to dance. She said it’s a way of strengthening their identity. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You get to feel free, and know that no matter how hard the United States government tried to abolish native people, we’re still here.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Near the end of the first day of the powwow, Mono elder Leona Chepo was still sitting in the gym with her baskets. She laughed with her niece, Sandy Clark, about how the powwow barely breaks even. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a lot of work and we’re tired,” Clark said, “but at the end of the day we love it.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> Chepo taught Clark how to weave her own baskets, and in the powwow raffle this year, Clark’s basket was the top prize. \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The ‘Negro Motorist Green Book’: Window on Yesterday, Lesson for Today",
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"content": "\u003cp>\u003cspan>C\u003c/span>andacy Taylor, a California writer and photographer, was looking for a new way to tell the tale of Route 66, the Mother Road that brought dirt-poor Dust Bowl migrants and generations of dreamers to the Golden State.\u003c/p>\n\u003cp>Taylor started driving the old federal highway back in the early 1990s while working \u003ca href=\"https://ww2.kqed.org/news/2016/08/13/the-green-book-project-route-66-candacy-taylor/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"https://ww2.kqed.org/news/2016/08/13/the-green-book-project-route-66-candacy-taylor/\" target=\"_blank\" title=\"The ‘Negro Motorist Green Book’: Window on Yesterday, Lesson for Today\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>\u003cspan>C\u003c/span>andacy Taylor, a California writer and photographer, was looking for a new way to tell the tale of Route 66, the Mother Road that brought dirt-poor Dust Bowl migrants and generations of dreamers to the Golden State.\u003c/p>\n\u003cp>Taylor started driving the old federal highway back in the early 1990s while working \u003ca href=\"https://ww2.kqed.org/news/2016/08/13/the-green-book-project-route-66-candacy-taylor/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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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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"tagline": "Politics from a personal perspective",
"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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},
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"title": "Rightnowish",
"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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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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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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