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"title": "Artist Gabby Miller Journeyed From Oakland to China by Cargo Ship",
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"content": "\u003cp>In August 2015, with funding from the Asian Cultural Council, Oakland-based artist Gabby Miller crossed the Pacific Ocean on the CMA CGM Gemini, a 380-meter-long container ship, to Xiamen, China.\u003c/p>\n\u003cfigure id=\"attachment_11445818\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445818\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Studio640.jpg\" alt=\"Working on portraits while on board the container ship.\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Studio640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Studio640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Working on portraits while on board the container ship. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On board, she developed \u003ci>\u003ca href=\"http://www.randomparts.org/gabby-miller\" target=\"_blank\" rel=\"noopener\">Turquoise Wake (Coal, Air, Chicken & Shit)\u003c/a>\u003c/i>, an ongoing project that explores the movement of goods, people and power across ocean lines. The body of work includes paintings she made with the ship’s engine oil, photographs she took at sea, fragments from family archives, and the piece \u003ci>609 Containers (1967)\u003c/i>, a pile of small-scale ceramic recreations of shipping containers.\u003c/p>\n\u003cp>For the past month, Miller has been in residence at Random Parts, a gallery space in Oakland, continuing her research into the history of containerization, processing conversations she had with crew members, drawing connections between global trade and her family history, and making new work. KQED Arts sat down with Miller to discuss her 21-day-long journey across the Pacific.\u003c/p>\n\u003cp>\u003cstrong>Your participation in the 2011 Occupy Oakland protests was one of many departure points for this project. Can you discuss how this experience fed your impulse to spend 21 days on a cargo ship crossing the Pacific Ocean to Xiamen, China?\u003c/strong>\u003c/p>\n\u003cp>Being part of such a huge group of people felt beyond the imagination, almost dream-like. It got me interested in port blockades — all these human beings physically stopping enormous machines. In researching the history of containerization, I learned that shipments from Oakland’s port escalated the Vietnam War. There’s this historical link between my two homelands — Vietnam and Oakland — between personal and geopolitical history.\u003c/p>\n\u003cfigure id=\"attachment_11445099\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445099\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Portraits1200.jpg\" alt=\"Forty portraits of sailors' families, painted while crossing the sea.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Forty portraits of sailors’ families, painted while crossing the sea. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It’s clear that your family history and sense of identity play key roles in your practice.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yeah, it’s big. A lot of my work has been trying to make sense of my parents’ union. My Vietnamese mother and white father met and married in Saigon at the height of the Vietnam War. Much of the life they’ve built together has been in resistance to Western imperialism.\u003c/p>\n\u003cp>Also, I have this mystery brown ethnicity, and I’m sort of mystery gendered, so in my practice, I’m doing the best I can to make sense of existing in multiple contexts.\u003c/p>\n\u003cp>\u003cstrong>Was it alienating or challenging to be on board with only men?\u003c/strong>\u003c/p>\n\u003cp>I had trepidation about being the only woman, and the only passenger on the boat with thirty sailors, but upon arrival, it was clear I was in a safe environment. The men were really thankful to have a break from the monotony of being at sea for 4-9 months. Being mixed race made it easier for me to navigate social relationships with the whole range of crew members.\u003c/p>\n\u003cfigure id=\"attachment_11445102\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445102\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Install1200.jpg\" alt=\"Gabby Miller, Installation view of 'Going East,' featuring heavy crude oil on canvas.\" width=\"1200\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-960x638.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gabby Miller, Installation view of ‘Going East,’ featuring heavy crude oil on canvas. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When did you start making paintings with the ship’s engine oil? \u003c/strong>\u003c/p>\n\u003cp>When we landed in Nakhodka, Russia to bunker. The chef realized I was an artist when I borrowed a jar to put the oil in, and he asked me to paint a portrait of him and his wife. I quickly got requests from every other crew member. I offered to paint whoever they wanted commemorated.\u003c/p>\n\u003cp>I opened up a studio in the swimming pool room and left the door open. People would stroll through after dinner, and it became a communing point. There were some pretty artistic souls on board. They started painting with me, and we had an art show. Gathered around the paintings, everyone could talk about the people they were missing, and it became a really poignant exchange, given that the boat was very racially divided.\u003c/p>\n\u003cfigure id=\"attachment_11445098\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445098\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Gallery1200.jpg\" alt=\"The artist's "studio" on board the container ship, with works on display.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The artist’s “studio” on board the container ship, with works on display. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you arrive at the title \u003ci>Turquoise Wake (Coal, Air, Chicken & Shit)\u003c/i>?\u003c/strong>\u003c/p>\n\u003cp>I was thinking of “wake” not just as in the stream of water behind the boat, but also as in after somebody has died, and in terms of wakefulness, coming to awareness in the Buddhist sense.\u003c/p>\n\u003cp>Turquoise is the color of the sea, of transformation. We associate turquoise with the American Southwest. But, early mining in turquoise happened in Iran in these Persian empires; it was the color of expansion in many ways.\u003c/p>\n\u003cp>My great grandfather was an engineer of coal mines, so I wanted to make this connection to my family legacy. Also, it’s currently under debate whether coal will be shipped from Oakland’s port, primarily to China and Vietnam.\u003c/p>\n\u003cp>Chicken, shit, and air are the three things that crossed the Pacific in containers with me. The air containers were getting sent to be refilled with tons of things. “Shit” is stuff that’s too expensive or illegal to recycle or dispose of in the States, like electronic parts. We send frozen chicken and fish to get processed in China because the labor and the materials are cheaper, and then send it back for consumption and send it around the world, which is insane.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11445096\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200.jpg\" alt=\"TurquoiseWake1200\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp>\u003cstrong>Can you discuss your piece \u003ci>609 Containers (1967)\u003c/i>, a pile of small-scale ceramic recreations of shipping containers?\u003c/strong>\u003c/p>\n\u003cp>I made this piece to tell the story of the connections between the escalation of the Vietnam War and the rise of containerization. 609 was ten times as many containers as the amount that could be transported on a regular ship previously, so this was revolutionary. The war, this logistically impossible thing, became very smooth.\u003c/p>\n\u003cp>I couldn’t have produced the work as easily in the US. I went to a traditional Vietnamese ceramic village to have them made. For them it was like, oh this is hardly anything, and for me I was like, this is a mass-scale project. So, there’s that underlying story of labor and mass production.\u003c/p>\n\u003cp>I’m still considering what it means to work at Random Parts, in this neighborhood. I can see containers coming in and out of the port. This neighborhood has been a southern Vietnamese diaspora for 40 years, and people here are facing violent gentrification. Again, there’s this connection between the local displacement and global displacement, which is so linked to world trade.\u003c/p>\n\u003cfigure id=\"attachment_11445097\" class=\"wp-caption aligncenter\" style=\"max-width: 1228px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445097\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Containers1200.jpg\" alt=\"Gabby Miller, '609 Containers (1967),' 2015.\" width=\"1228\" height=\"816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-960x638.jpg 960w\" sizes=\"(max-width: 1228px) 100vw, 1228px\">\u003cfigcaption class=\"wp-caption-text\">Gabby Miller, ‘609 Containers (1967),’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Regardless of the city, country, or neighborhood you’re working in, whether you’re on land or at sea, you’re attuned to the violence and the repercussions of trade, and bringing that into your practice.\u003c/strong>\u003c/p>\n\u003cp>Yeah, these really powerful underlying narratives of Western imperialism, of ownership of people and goods. I’m investigating the ways we’re embedded in history and how that history loops.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cb>Turquoise Wake (Coal, Air, Chicken & Shit)\u003c/b> is on view at Random Parts in Oakland through April 2, with an \u003ca href=\"https://www.facebook.com/events/176984612687569/\" target=\"_blank\" rel=\"noopener\">open studio event\u003c/a> on April 2, 2-6pm. For more information visit \u003ca href=\"http://www.randomparts.org/\" target=\"_blank\" rel=\"noopener\">randomparts.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In August 2015, with funding from the Asian Cultural Council, Oakland-based artist Gabby Miller crossed the Pacific Ocean on the CMA CGM Gemini, a 380-meter-long container ship, to Xiamen, China.\u003c/p>\n\u003cfigure id=\"attachment_11445818\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445818\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Studio640.jpg\" alt=\"Working on portraits while on board the container ship.\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Studio640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Studio640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Working on portraits while on board the container ship. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On board, she developed \u003ci>\u003ca href=\"http://www.randomparts.org/gabby-miller\" target=\"_blank\" rel=\"noopener\">Turquoise Wake (Coal, Air, Chicken & Shit)\u003c/a>\u003c/i>, an ongoing project that explores the movement of goods, people and power across ocean lines. The body of work includes paintings she made with the ship’s engine oil, photographs she took at sea, fragments from family archives, and the piece \u003ci>609 Containers (1967)\u003c/i>, a pile of small-scale ceramic recreations of shipping containers.\u003c/p>\n\u003cp>For the past month, Miller has been in residence at Random Parts, a gallery space in Oakland, continuing her research into the history of containerization, processing conversations she had with crew members, drawing connections between global trade and her family history, and making new work. KQED Arts sat down with Miller to discuss her 21-day-long journey across the Pacific.\u003c/p>\n\u003cp>\u003cstrong>Your participation in the 2011 Occupy Oakland protests was one of many departure points for this project. Can you discuss how this experience fed your impulse to spend 21 days on a cargo ship crossing the Pacific Ocean to Xiamen, China?\u003c/strong>\u003c/p>\n\u003cp>Being part of such a huge group of people felt beyond the imagination, almost dream-like. It got me interested in port blockades — all these human beings physically stopping enormous machines. In researching the history of containerization, I learned that shipments from Oakland’s port escalated the Vietnam War. There’s this historical link between my two homelands — Vietnam and Oakland — between personal and geopolitical history.\u003c/p>\n\u003cfigure id=\"attachment_11445099\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445099\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Portraits1200.jpg\" alt=\"Forty portraits of sailors' families, painted while crossing the sea.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Portraits1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Forty portraits of sailors’ families, painted while crossing the sea. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It’s clear that your family history and sense of identity play key roles in your practice.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yeah, it’s big. A lot of my work has been trying to make sense of my parents’ union. My Vietnamese mother and white father met and married in Saigon at the height of the Vietnam War. Much of the life they’ve built together has been in resistance to Western imperialism.\u003c/p>\n\u003cp>Also, I have this mystery brown ethnicity, and I’m sort of mystery gendered, so in my practice, I’m doing the best I can to make sense of existing in multiple contexts.\u003c/p>\n\u003cp>\u003cstrong>Was it alienating or challenging to be on board with only men?\u003c/strong>\u003c/p>\n\u003cp>I had trepidation about being the only woman, and the only passenger on the boat with thirty sailors, but upon arrival, it was clear I was in a safe environment. The men were really thankful to have a break from the monotony of being at sea for 4-9 months. Being mixed race made it easier for me to navigate social relationships with the whole range of crew members.\u003c/p>\n\u003cfigure id=\"attachment_11445102\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445102\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Install1200.jpg\" alt=\"Gabby Miller, Installation view of 'Going East,' featuring heavy crude oil on canvas.\" width=\"1200\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Install1200-960x638.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gabby Miller, Installation view of ‘Going East,’ featuring heavy crude oil on canvas. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When did you start making paintings with the ship’s engine oil? \u003c/strong>\u003c/p>\n\u003cp>When we landed in Nakhodka, Russia to bunker. The chef realized I was an artist when I borrowed a jar to put the oil in, and he asked me to paint a portrait of him and his wife. I quickly got requests from every other crew member. I offered to paint whoever they wanted commemorated.\u003c/p>\n\u003cp>I opened up a studio in the swimming pool room and left the door open. People would stroll through after dinner, and it became a communing point. There were some pretty artistic souls on board. They started painting with me, and we had an art show. Gathered around the paintings, everyone could talk about the people they were missing, and it became a really poignant exchange, given that the boat was very racially divided.\u003c/p>\n\u003cfigure id=\"attachment_11445098\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445098\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Gallery1200.jpg\" alt=\"The artist's "studio" on board the container ship, with works on display.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Gallery1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The artist’s “studio” on board the container ship, with works on display. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you arrive at the title \u003ci>Turquoise Wake (Coal, Air, Chicken & Shit)\u003c/i>?\u003c/strong>\u003c/p>\n\u003cp>I was thinking of “wake” not just as in the stream of water behind the boat, but also as in after somebody has died, and in terms of wakefulness, coming to awareness in the Buddhist sense.\u003c/p>\n\u003cp>Turquoise is the color of the sea, of transformation. We associate turquoise with the American Southwest. But, early mining in turquoise happened in Iran in these Persian empires; it was the color of expansion in many ways.\u003c/p>\n\u003cp>My great grandfather was an engineer of coal mines, so I wanted to make this connection to my family legacy. Also, it’s currently under debate whether coal will be shipped from Oakland’s port, primarily to China and Vietnam.\u003c/p>\n\u003cp>Chicken, shit, and air are the three things that crossed the Pacific in containers with me. The air containers were getting sent to be refilled with tons of things. “Shit” is stuff that’s too expensive or illegal to recycle or dispose of in the States, like electronic parts. We send frozen chicken and fish to get processed in China because the labor and the materials are cheaper, and then send it back for consumption and send it around the world, which is insane.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11445096\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200.jpg\" alt=\"TurquoiseWake1200\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/TurquoiseWake1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp>\u003cstrong>Can you discuss your piece \u003ci>609 Containers (1967)\u003c/i>, a pile of small-scale ceramic recreations of shipping containers?\u003c/strong>\u003c/p>\n\u003cp>I made this piece to tell the story of the connections between the escalation of the Vietnam War and the rise of containerization. 609 was ten times as many containers as the amount that could be transported on a regular ship previously, so this was revolutionary. The war, this logistically impossible thing, became very smooth.\u003c/p>\n\u003cp>I couldn’t have produced the work as easily in the US. I went to a traditional Vietnamese ceramic village to have them made. For them it was like, oh this is hardly anything, and for me I was like, this is a mass-scale project. So, there’s that underlying story of labor and mass production.\u003c/p>\n\u003cp>I’m still considering what it means to work at Random Parts, in this neighborhood. I can see containers coming in and out of the port. This neighborhood has been a southern Vietnamese diaspora for 40 years, and people here are facing violent gentrification. Again, there’s this connection between the local displacement and global displacement, which is so linked to world trade.\u003c/p>\n\u003cfigure id=\"attachment_11445097\" class=\"wp-caption aligncenter\" style=\"max-width: 1228px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11445097\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Containers1200.jpg\" alt=\"Gabby Miller, '609 Containers (1967),' 2015.\" width=\"1228\" height=\"816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Containers1200-960x638.jpg 960w\" sizes=\"(max-width: 1228px) 100vw, 1228px\">\u003cfigcaption class=\"wp-caption-text\">Gabby Miller, ‘609 Containers (1967),’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Regardless of the city, country, or neighborhood you’re working in, whether you’re on land or at sea, you’re attuned to the violence and the repercussions of trade, and bringing that into your practice.\u003c/strong>\u003c/p>\n\u003cp>Yeah, these really powerful underlying narratives of Western imperialism, of ownership of people and goods. I’m investigating the ways we’re embedded in history and how that history loops.\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>\u003ci>\u003cb>Turquoise Wake (Coal, Air, Chicken & Shit)\u003c/b> is on view at Random Parts in Oakland through April 2, with an \u003ca href=\"https://www.facebook.com/events/176984612687569/\" target=\"_blank\" rel=\"noopener\">open studio event\u003c/a> on April 2, 2-6pm. For more information visit \u003ca href=\"http://www.randomparts.org/\" target=\"_blank\" rel=\"noopener\">randomparts.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "DIY Artists Paint the Town Strange, with Some Help From George R.R. Martin",
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"content": "\u003cp>When you step into the House of Eternal Return, it feels a bit like walking into your family home — and finding yourself lost in a PeeWee’s Playhouse on steroids. Or amphetamines. Or better yet, some undiscovered alien narcotic.\u003c/p>\n\u003cp>Set up in the industrial district of Santa Fe, N.M., the new permanent art exhibition is a far cry from the fine arts galleries and museums for which Santa Fe is known. Think of it instead as a kind of art amusement park, built by an arts collective called Meow Wolf and largely funded by a surprising benefactor: George R.R. Martin.\u003c/p>\n\u003cp>But before we get ahead of ourselves, let’s start with the tour: When I arrive around 10 the night before the exhibition opens, dozens of Meow Wolf’s 135 artists are scrambling to put the finishing touches on their meticulously crafted installations.\u003c/p>\n\u003cp>One of those installations, a two-story Victorian house built from scratch, marks the entrance to the exhibition. All around it are uncanny reminders of the Seligs — the fictional family ostensibly lived here. I’m told the family has curiously disappeared after a break in the space-time continuum, and like all visitors, I’m set loose by the artists to explore the interdimensional mystery.\u003c/p>\n\u003cp>“It’s not art that you stand back from and look at,” says Chadney Everett, the painter and former film prop-maker who designed the house. “It’s art that you interact with and you experience in a very visceral way.”\u003c/p>\n\u003cfigure id=\"attachment_11444590\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1180x787.jpg\" alt='\"The Aquarium\", by Matt King — with fish sculpted by Sarah Bradle' width=\"640\" height=\"427\" class=\"size-large wp-image-11444590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“The Aquarium”, by Matt King — with fish sculpted by Sarah Bradle \u003ccite>(Photo: Lindsey Kennedy/Courtesy of Meow Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like most of the people I meet here, he’s got a cultlike dedication to Meow Wolf’s vision of immersive, interactive art — and to making it accessible to everyone. Despite suffering from a herniated disk, he’s been putting in 14 hours a day to finish.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s been really hard, but it’s so worth it. We’re gonna be open in a couple days, and then I’ll rest and fix my spine,” he laughs.\u003c/p>\n\u003cp>I opt to crawl through the family fireplace into a series of prehistoric caves, with a glowing, 12-foot mastodon skeleton at their center. Sculptor Matt Crimmins turned its rib cage into a radiant makeshift marimba.\u003c/p>\n\u003cp>“We’re still trying to work out the kinks, but it’s getting there,” he says.\u003c/p>\n\u003cp>The same could be said of Meow Wolf as a whole. Founding member Vince Kadlubek explains that when the collective started eight years ago, it was just a small band of creative 20-somethings who felt out of place in Santa Fe’s high-brow art establishment.\u003c/p>\n\u003cp>“We kind of always felt like we were on the outside looking in.”\u003c/p>\n\u003cp>So, they started their own DIY venue in a defunct barbershop. As the collective grew in size and popularity, Kadlubek says, their immersive shows grew more elaborate.\u003c/p>\n\u003cp>But they still didn’t have a large space of their own.\u003c/p>\n\u003cp>“We all knew that it could work, but we just didn’t have the heavy hitter,” Kadlubek says. “We needed somebody to take a risk on us.”\u003c/p>\n\u003cp>That’s where George R.R. Martin comes in. The mastermind behind A\u003cem> Song of Ice and Fire\u003c/em> — the massively popular book series that spawned the massively popular \u003cem>Game of Thrones\u003c/em> TV series — has become something of a latter-day Medici in his adopted hometown of Santa Fe. He has already reopened an old art house movie theater and converted a vacant high school into artist studios.\u003c/p>\n\u003cp>Martin didn’t plan on buying an old bowling alley — but when Meow Wolf showed him the space and told him what they planned to do with it, he couldn’t resist.\u003c/p>\n\u003cp>“They explained this vision of a Victorian house, unmoored in time and space with a haunted forest and a magical cave system, and portals to other worlds,” Martin says. “And of course, it pushed all my buttons. I love that kind of stuff.”\u003c/p>\n\u003cp>Martin bought and leased the place to Meow Wolf for 10 years, and spent an additional $2.5 million in renovations. That was enough to help Meow Wolf raise more money from investors to build their art complex, which includes a nonprofit education center for children and a makerspace, offering artists training and access to expensive equipment.\u003c/p>\n\u003cfigure id=\"attachment_11444591\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1180x885.jpg\" alt=\"A wood mosaic wall and door, created by Lance Ryan McGoldrick.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11444591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A wood mosaic wall and door, created by Lance Ryan McGoldrick. \u003ccite>(Photo: Lindsey Kennedy/Courtesy of Meow Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the process, Meow Wolf has gone from DIY collective to a for-profit company. Now, in addition to solving problems like how to cut a bus in half or rig animatronic eyeballs to follow passersby, Meow Wolf must focus on ticket sales, too. The group’s future depends on its ability to bring in enough new and repeat visitors to sustain and grow the business.\u003c/p>\n\u003cp>Artist Megan Ronniger says the complex brings something unique to the city’s art ecosystem.\u003c/p>\n\u003cp>“You’ve got these large institutions, museums and universities, you’ve got your commercial galleries, and then you have the experimental spaces. And they’re all hopefully informing one another,” she says.\u003c/p>\n\u003cp>With investors and city officials and one internationally famous fantasy author backing them, Meow Wolf is playing in a different league than it did in in its early days.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps for that reason, when I leave the House of Eternal Return — as I’d expect of any art establishment worth its salt — I exit through the gift shop. \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=DIY+Artists+Paint+The+Town+Strange%2C+With+Some+Help+From+George+R.R.+Martin&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you step into the House of Eternal Return, it feels a bit like walking into your family home — and finding yourself lost in a PeeWee’s Playhouse on steroids. Or amphetamines. Or better yet, some undiscovered alien narcotic.\u003c/p>\n\u003cp>Set up in the industrial district of Santa Fe, N.M., the new permanent art exhibition is a far cry from the fine arts galleries and museums for which Santa Fe is known. Think of it instead as a kind of art amusement park, built by an arts collective called Meow Wolf and largely funded by a surprising benefactor: George R.R. Martin.\u003c/p>\n\u003cp>But before we get ahead of ourselves, let’s start with the tour: When I arrive around 10 the night before the exhibition opens, dozens of Meow Wolf’s 135 artists are scrambling to put the finishing touches on their meticulously crafted installations.\u003c/p>\n\u003cp>One of those installations, a two-story Victorian house built from scratch, marks the entrance to the exhibition. All around it are uncanny reminders of the Seligs — the fictional family ostensibly lived here. I’m told the family has curiously disappeared after a break in the space-time continuum, and like all visitors, I’m set loose by the artists to explore the interdimensional mystery.\u003c/p>\n\u003cp>“It’s not art that you stand back from and look at,” says Chadney Everett, the painter and former film prop-maker who designed the house. “It’s art that you interact with and you experience in a very visceral way.”\u003c/p>\n\u003cfigure id=\"attachment_11444590\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1180x787.jpg\" alt='\"The Aquarium\", by Matt King — with fish sculpted by Sarah Bradle' width=\"640\" height=\"427\" class=\"size-large wp-image-11444590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“The Aquarium”, by Matt King — with fish sculpted by Sarah Bradle \u003ccite>(Photo: Lindsey Kennedy/Courtesy of Meow Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like most of the people I meet here, he’s got a cultlike dedication to Meow Wolf’s vision of immersive, interactive art — and to making it accessible to everyone. Despite suffering from a herniated disk, he’s been putting in 14 hours a day to finish.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s been really hard, but it’s so worth it. We’re gonna be open in a couple days, and then I’ll rest and fix my spine,” he laughs.\u003c/p>\n\u003cp>I opt to crawl through the family fireplace into a series of prehistoric caves, with a glowing, 12-foot mastodon skeleton at their center. Sculptor Matt Crimmins turned its rib cage into a radiant makeshift marimba.\u003c/p>\n\u003cp>“We’re still trying to work out the kinks, but it’s getting there,” he says.\u003c/p>\n\u003cp>The same could be said of Meow Wolf as a whole. Founding member Vince Kadlubek explains that when the collective started eight years ago, it was just a small band of creative 20-somethings who felt out of place in Santa Fe’s high-brow art establishment.\u003c/p>\n\u003cp>“We kind of always felt like we were on the outside looking in.”\u003c/p>\n\u003cp>So, they started their own DIY venue in a defunct barbershop. As the collective grew in size and popularity, Kadlubek says, their immersive shows grew more elaborate.\u003c/p>\n\u003cp>But they still didn’t have a large space of their own.\u003c/p>\n\u003cp>“We all knew that it could work, but we just didn’t have the heavy hitter,” Kadlubek says. “We needed somebody to take a risk on us.”\u003c/p>\n\u003cp>That’s where George R.R. Martin comes in. The mastermind behind A\u003cem> Song of Ice and Fire\u003c/em> — the massively popular book series that spawned the massively popular \u003cem>Game of Thrones\u003c/em> TV series — has become something of a latter-day Medici in his adopted hometown of Santa Fe. He has already reopened an old art house movie theater and converted a vacant high school into artist studios.\u003c/p>\n\u003cp>Martin didn’t plan on buying an old bowling alley — but when Meow Wolf showed him the space and told him what they planned to do with it, he couldn’t resist.\u003c/p>\n\u003cp>“They explained this vision of a Victorian house, unmoored in time and space with a haunted forest and a magical cave system, and portals to other worlds,” Martin says. “And of course, it pushed all my buttons. I love that kind of stuff.”\u003c/p>\n\u003cp>Martin bought and leased the place to Meow Wolf for 10 years, and spent an additional $2.5 million in renovations. That was enough to help Meow Wolf raise more money from investors to build their art complex, which includes a nonprofit education center for children and a makerspace, offering artists training and access to expensive equipment.\u003c/p>\n\u003cfigure id=\"attachment_11444591\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1180x885.jpg\" alt=\"A wood mosaic wall and door, created by Lance Ryan McGoldrick.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11444591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A wood mosaic wall and door, created by Lance Ryan McGoldrick. \u003ccite>(Photo: Lindsey Kennedy/Courtesy of Meow Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the process, Meow Wolf has gone from DIY collective to a for-profit company. Now, in addition to solving problems like how to cut a bus in half or rig animatronic eyeballs to follow passersby, Meow Wolf must focus on ticket sales, too. The group’s future depends on its ability to bring in enough new and repeat visitors to sustain and grow the business.\u003c/p>\n\u003cp>Artist Megan Ronniger says the complex brings something unique to the city’s art ecosystem.\u003c/p>\n\u003cp>“You’ve got these large institutions, museums and universities, you’ve got your commercial galleries, and then you have the experimental spaces. And they’re all hopefully informing one another,” she says.\u003c/p>\n\u003cp>With investors and city officials and one internationally famous fantasy author backing them, Meow Wolf is playing in a different league than it did in in its early days.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps for that reason, when I leave the House of Eternal Return — as I’d expect of any art establishment worth its salt — I exit through the gift shop. \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=DIY+Artists+Paint+The+Town+Strange%2C+With+Some+Help+From+George+R.R.+Martin&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Artisanal Plastic: Japan's Fake Food Is A Real Art",
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"content": "\u003cp>\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/03/spagetti.jpg\" alt=\"spagetti food art\" width=\"600\" height=\"450\" class=\"aligncenter size-full wp-image-108072\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/03/spagetti.jpg 600w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/spagetti-400x300.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>From the windows of restaurants, grocers and department stores, they beckon: Perfectly swirled ice cream in a cone, elaborately whipped cakes topped with red strawberries, a glistening piece of raw fish atop rice.\u003c/p>\n\u003cp>They're meant to whet your appetite, but don't bite them: These are plastic display foods, and they're ubiquitous in Japan — designed to advertise the foods available for purchase inside. They're also big business: A fake mug of beer, for instance, can sell for U.S. $150, says photographer Norbert Schoerner.\u003c/p>\n\u003cp>Schoerner first encountered Japan's intricate display foods during his first trip to Japan in the 1990s. \"I not only found it quite odd and surreal, but it also sort of triggered a fascination with the idea of the process and the whole culture that sits behind that,\" he says.\u003c/p>\n\u003cp>You might think of these display foods as \"artisanal plastic\" — that pineapple or pasta dish in polyvinyl chloride was likely hand-crafted by a highly trained artist. \"There's quite an intricate craftsmanship that goes into that,\" Schoerner says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His new book, \u003cem>Nearly Eternal\u003c/em>, co-authored with art director Steve Nakamura, visually explores the questions of reality versus artifice such fake foods raise. \"In a way, the book is less about food than about how we formulate our desire,\" he tells us.\u003c/p>\n\u003cp>Actually, Schoerner and Nakamura didn't so much author the book as create it: There are no words, save for this inscription from the Bible that opens the book — it's designed to \"point people in the right direction,\" Schoerner says.\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>\"All man's efforts are for his mouth, yet his appetite is never satisfied\" — Ecclesiastes 6:7\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>I asked Schoerner for insights into some of the images.\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/03/eggs.jpg\" alt=\"egg art\" width=\"600\" height=\"450\" class=\"aligncenter size-full wp-image-108070\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/03/eggs.jpg 600w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/eggs-400x300.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Upon first glance, I assumed this image was set up for the shoot — with someone delicately gripping an egg yolk in between chopsticks. Come to find out, \"this piece was not custom made for the shoot. The piece actually exists as a display food,\" Schoerner told me. It's all one plastic piece.\u003c/p>\n\u003cp>He says it's meant to mimic the raw eggs that are often dropped into soup ramens and hot broths in Japan to produce a slightly poached egg.\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/03/shot07_088_edited-7b1ddab972405fad5893b87852057a07cfb76921.jpg\" alt=\"Praying Mantis\" width=\"1730\" height=\"1298\" class=\"aligncenter size-full wp-image-108056\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/03/shot07_088_edited-7b1ddab972405fad5893b87852057a07cfb76921.jpg 1730w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/shot07_088_edited-7b1ddab972405fad5893b87852057a07cfb76921-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/shot07_088_edited-7b1ddab972405fad5893b87852057a07cfb76921-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/shot07_088_edited-7b1ddab972405fad5893b87852057a07cfb76921-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/shot07_088_edited-7b1ddab972405fad5893b87852057a07cfb76921-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/shot07_088_edited-7b1ddab972405fad5893b87852057a07cfb76921-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/shot07_088_edited-7b1ddab972405fad5893b87852057a07cfb76921-960x720.jpg 960w\" sizes=\"(max-width: 1730px) 100vw, 1730px\">\u003c/p>\n\u003cp>This image, the book's cover art, is \"a very powerful image, because the fruit doesn't look artificial at all,\" he says — until you touch it. \"If you actually pick one up, you realize how artificial they are.\" The praying mantis, on the other hand, looks fake, but it's real. \"You'd think it'd be quite hard to wrangle, but it was really, really patient — the praying mantis. The lighting setup and placing the food was more complicated than getting the praying mantis.\"\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/03/steak-toast.jpg\" alt=\"steak-toast\" width=\"600\" height=\"449\" class=\"aligncenter size-full wp-image-108073\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/03/steak-toast.jpg 600w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/steak-toast-400x299.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\"Both [the steak and the toast], I'd say, are classics within the environment of display foods,\" Schoerner says. \"What's important about the image itself is mainly the contrast between those two elements, because they represent very different spheres of a culinary context. What it comes down to is that the toast and butter looks really amazing and really quite tasty, whereas the meat itself, it's certainly retained its artificial quality in the image.\"\u003c/p>\n\u003cp>That contrast between what seems real and fake creates tension in the image, Schoerner says. \"We showed it to a few people and they go, 'Yeah, what's that? A picture of a piece of toast? What's the big deal?' \"\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/03/coffee.jpg\" alt=\"coffee\" width=\"600\" height=\"794\" class=\"aligncenter size-full wp-image-108069\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/03/coffee.jpg 600w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/coffee-400x529.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\"The product [coffee cup and cream] itself is probably one of the first ones I really noticed,\" while traveling in Japan, he says. \"I don't really know why the culture has created surreal aspects for [the coffee cup product and the pasta product (at top)] because with all the other display foods, they strive for realism. ... Within the book, they very much function as a couple of marker points\" to highlight that hey, this is fake food.\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/03/apple.jpg\" alt=\"apple\" width=\"600\" height=\"449\" class=\"aligncenter size-full wp-image-108067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/03/apple.jpg 600w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/apple-400x299.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\"I hate to tell you, that one is real,\" Schoerner says. In Japan, he says, there's a side culture — \"championships and display shows — where people who make the display foods or people who do it as a hobby compare their craft. And within that culture, we've come across a few people who started to create rotten food. I mean, you can find tomatoes with ants crawling all over them, and moldy bananas or whatnot. So it's very odd. There is potential oxymoron contained in this practice [of creating rotten plastic].\"\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/03/nails-strawberry.jpg\" alt=\"nails-strawberry\" width=\"600\" height=\"449\" class=\"aligncenter size-full wp-image-108071\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/03/nails-strawberry.jpg 600w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/nails-strawberry-400x299.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>The image, he says, \"plays with the notion of beauty, meaning this idea of a beauty ad with the fingernails. There's hardly any retouching in this picture, so the fingernails really look like that. They've got this lacquered sort of chrome-y texture to them. We really liked the contrast with the strawberry. ... It looks quite fake, I think.\"\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/03/cake.jpg\" alt=\"cake\" width=\"600\" height=\"449\" class=\"aligncenter size-full wp-image-108068\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/03/cake.jpg 600w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/cake-400x299.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\"That's the only [plastic food] that we weren't allowed to take away [from the manufacturer]. So we shot that one at the factory. It's too heavy and too expensive and too fragile. I can't remember what the exact price was, but I think you're looking at about $500 of cake. \" \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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"excerpt": "Intricately crafted replicas of all sorts of dishes and drink — cakes, sushi and even beer — are ubiquitous window displays in Japan. A new book visually explores the culture of \u003cem>Nearly Eternal\u003c/em> food.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His new book, \u003cem>Nearly Eternal\u003c/em>, co-authored with art director Steve Nakamura, visually explores the questions of reality versus artifice such fake foods raise. \"In a way, the book is less about food than about how we formulate our desire,\" he tells us.\u003c/p>\n\u003cp>Actually, Schoerner and Nakamura didn't so much author the book as create it: There are no words, save for this inscription from the Bible that opens the book — it's designed to \"point people in the right direction,\" Schoerner says.\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>\"All man's efforts are for his mouth, yet his appetite is never satisfied\" — Ecclesiastes 6:7\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>I asked Schoerner for insights into some of the images.\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/03/eggs.jpg\" alt=\"egg art\" width=\"600\" height=\"450\" class=\"aligncenter size-full wp-image-108070\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/03/eggs.jpg 600w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/eggs-400x300.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Upon first glance, I assumed this image was set up for the shoot — with someone delicately gripping an egg yolk in between chopsticks. Come to find out, \"this piece was not custom made for the shoot. The piece actually exists as a display food,\" Schoerner told me. It's all one plastic piece.\u003c/p>\n\u003cp>He says it's meant to mimic the raw eggs that are often dropped into soup ramens and hot broths in Japan to produce a slightly poached egg.\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/03/shot07_088_edited-7b1ddab972405fad5893b87852057a07cfb76921.jpg\" alt=\"Praying Mantis\" width=\"1730\" height=\"1298\" class=\"aligncenter size-full wp-image-108056\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/03/shot07_088_edited-7b1ddab972405fad5893b87852057a07cfb76921.jpg 1730w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/shot07_088_edited-7b1ddab972405fad5893b87852057a07cfb76921-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/shot07_088_edited-7b1ddab972405fad5893b87852057a07cfb76921-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/shot07_088_edited-7b1ddab972405fad5893b87852057a07cfb76921-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/shot07_088_edited-7b1ddab972405fad5893b87852057a07cfb76921-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/shot07_088_edited-7b1ddab972405fad5893b87852057a07cfb76921-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/shot07_088_edited-7b1ddab972405fad5893b87852057a07cfb76921-960x720.jpg 960w\" sizes=\"(max-width: 1730px) 100vw, 1730px\">\u003c/p>\n\u003cp>This image, the book's cover art, is \"a very powerful image, because the fruit doesn't look artificial at all,\" he says — until you touch it. \"If you actually pick one up, you realize how artificial they are.\" The praying mantis, on the other hand, looks fake, but it's real. \"You'd think it'd be quite hard to wrangle, but it was really, really patient — the praying mantis. The lighting setup and placing the food was more complicated than getting the praying mantis.\"\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/03/steak-toast.jpg\" alt=\"steak-toast\" width=\"600\" height=\"449\" class=\"aligncenter size-full wp-image-108073\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/03/steak-toast.jpg 600w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/steak-toast-400x299.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\"Both [the steak and the toast], I'd say, are classics within the environment of display foods,\" Schoerner says. \"What's important about the image itself is mainly the contrast between those two elements, because they represent very different spheres of a culinary context. What it comes down to is that the toast and butter looks really amazing and really quite tasty, whereas the meat itself, it's certainly retained its artificial quality in the image.\"\u003c/p>\n\u003cp>That contrast between what seems real and fake creates tension in the image, Schoerner says. \"We showed it to a few people and they go, 'Yeah, what's that? A picture of a piece of toast? What's the big deal?' \"\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/03/coffee.jpg\" alt=\"coffee\" width=\"600\" height=\"794\" class=\"aligncenter size-full wp-image-108069\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/03/coffee.jpg 600w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/coffee-400x529.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\"The product [coffee cup and cream] itself is probably one of the first ones I really noticed,\" while traveling in Japan, he says. \"I don't really know why the culture has created surreal aspects for [the coffee cup product and the pasta product (at top)] because with all the other display foods, they strive for realism. ... Within the book, they very much function as a couple of marker points\" to highlight that hey, this is fake food.\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/03/apple.jpg\" alt=\"apple\" width=\"600\" height=\"449\" class=\"aligncenter size-full wp-image-108067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/03/apple.jpg 600w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/apple-400x299.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\"I hate to tell you, that one is real,\" Schoerner says. In Japan, he says, there's a side culture — \"championships and display shows — where people who make the display foods or people who do it as a hobby compare their craft. And within that culture, we've come across a few people who started to create rotten food. I mean, you can find tomatoes with ants crawling all over them, and moldy bananas or whatnot. So it's very odd. There is potential oxymoron contained in this practice [of creating rotten plastic].\"\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/03/nails-strawberry.jpg\" alt=\"nails-strawberry\" width=\"600\" height=\"449\" class=\"aligncenter size-full wp-image-108071\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/03/nails-strawberry.jpg 600w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/nails-strawberry-400x299.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>The image, he says, \"plays with the notion of beauty, meaning this idea of a beauty ad with the fingernails. There's hardly any retouching in this picture, so the fingernails really look like that. They've got this lacquered sort of chrome-y texture to them. We really liked the contrast with the strawberry. ... It looks quite fake, I think.\"\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/03/cake.jpg\" alt=\"cake\" width=\"600\" height=\"449\" class=\"aligncenter size-full wp-image-108068\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/03/cake.jpg 600w, https://ww2.kqed.org/app/uploads/sites/24/2016/03/cake-400x299.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\"That's the only [plastic food] that we weren't allowed to take away [from the manufacturer]. So we shot that one at the factory. It's too heavy and too expensive and too fragile. I can't remember what the exact price was, but I think you're looking at about $500 of cake. \" \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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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/03/TDL20160325.mp3\u003c/p>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11433821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433821\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/008-800x495.jpg\" alt=\"UC Theatre President David Mayeri\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">UC Theatre President David Mayeri \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March: 26: \u003c/strong>The great New Orleans bandleader \u003ca href=\"http://www.theuctheatre.org/event/1049945-trombone-shorty-orleans-berkeley/\" target=\"_blank\" rel=\"noopener\">Trombone Shorty \u003c/a>plays Berkeley’s \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">UC Theatre \u003c/a>Saturday night, but the real story here is the venue. The UC Theatre, a movie house built in 1917, has been closed for 14 years, but now it’s been reborn as a non-profit music venue under the leadership of \u003ca href=\"http://ww2.kqed.org/arts/2016/03/21/in-downtown-berkeley-a-grand-rebirth-for-the-uc-theatre/\" target=\"_blank\" rel=\"noopener\">David Mayeri,\u003c/a> the former COO of the now defunct \u003ca href=\"https://en.wikipedia.org/wiki/Bill_Graham_(promoter)\" target=\"_blank\" rel=\"noopener\">Bill Graham Presents\u003c/a>. Mayeri says he’s committed to bringing top national bands to the UC — thereby saving East Bay residents a trip to the Fillmore and other clubs in SF — and offer plenty of community events, including the \u003ca href=\"http://www.theuctheatre.org/event/1059179-bmg-community-event-berkeley-berkeley/\" target=\"_blank\" rel=\"noopener\">Berkeley High School School Jazz Band on June 3\u003c/a>. Upcoming shows include a Dark Star Orchestra residency \u003ca href=\"http://www.theuctheatre.org/event/1027921-dark-star-orchestra-berkeley/\" target=\"_blank\" rel=\"noopener\">April 7-9\u003c/a>, Los Lobos on \u003ca href=\"http://www.theuctheatre.org/event/1033461-los-lobos-berkeley/\" target=\"_blank\" rel=\"noopener\">May 13\u003c/a>, and Joe Jackson on \u003ca href=\"http://www.theuctheatre.org/event/1124359-joe-jackson-berkeley/\" target=\"_blank\" rel=\"noopener\">June 22\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11433823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433823\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-800x534.jpg\" alt=\"Lorri Holt as Colette in the show 'Colette Uncensored'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lorri Holt as Colette in the show ‘Colette Uncensored’ \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 31-May 14:\u003c/strong> Colette, born Sidonie-Gabrielle Colette, is known for her work in vaudeville, her many affairs with men and women, and the feminism that imbued the heroines of her novels. She’s best known for the short story “Gigi,” which inspired the Broadway play (starring Audrey Hepburn, who Colette picked herself), and the Hollywood musical. Now Bay Area actress Lorri Holt (wonderful in Masha and Vanya and Sonia and Spike last year at Berkeley Rep) and Zack Rogow have researched and written \u003cem>\u003ca href=\"http://themarsh.org/colette_uncensored/lorri-holt/\" target=\"_blank\" rel=\"noopener\">Colette Uncensored\u003c/a>\u003c/em>, a bioplay about Colette, including excerpts from a newly published collection of her writings. David Ford directs, which makes us even more eager to see it. Details are \u003ca href=\"http://themarsh.org/colette_uncensored/lorri-holt/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t5x-ImlFUiE\u003c/p>\n\u003cp>\u003cstrong>March 25:\u003c/strong> Rachel Efron writes emotionally charged songs that live at the intersection of jazz and pop. “For me, it’s always been that intersection between words and melody, which is I feel where I live. On her new EP \u003cem>Angel No More,\u003c/em> she sounds kind of angry on the title song: “It’s you who knocked me down/Now I’m crawling falling all the way home/I’m your angel no more.” But Efron said in an interview that she’s not so much angry, just more human: “It’s about a person who’s been living as an idealized version of herself, and when she can’t sustain that anymore, everyone grieves it.” At her gig at the \u003ca href=\"http://redpoppyarthouse.org/\" target=\"_blank\" rel=\"noopener\">Red Poppy Art House\u003c/a>, Efron says she’ll play with bassist \u003ca href=\"http://www.aarongermain.com/\" target=\"_blank\" rel=\"noopener\">Aaron Germain\u003c/a>, as filmmaker Mirissa Neff somehow turns the club into a music box. Details \u003ca href=\"http://redpoppyarthouse.org/event/rachel-efron/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11433825\" class=\"wp-caption aligncenter\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433825\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Stephen-French-547x600.jpg\" alt=\"A stereograph by Stephen French from 1967\" width=\"547\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-547x600.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-400x439.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-768x842.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-960x1053.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French.jpg 1000w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">A stereograph by Stephen French from 1967 \u003ccite>(Photo:Douglas Sandberg/San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Sept. 18:\u003c/strong> Here’s a way to learn about an important piece of local art history: The San Jose Museum of Art is celebrating artists who began working in the South Bay in the 60’s, after they were recruited by what was then San Jose State College, now San Jose State University. The exhibit features work from the permanent collection of artists like Geoffrey Bowman, Rupert Garcia, Erin Goodwin-Guerrero, and others who also helped found the museum. Find details \u003ca href=\"http://sjmusart.org/exhibition/artists-residence-san-joses-20th-century-vanguard\" target=\"_blank\" rel=\"noopener\">here on \u003cem>Artists in Residence: San Jose’s 20th-Century Vanguard.\u003c/em> \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v37BnyHefnY\u003c/p>\n\u003cp>\u003cstrong>March 26:\u003c/strong> Bring your dog, your blanket and a warm coat to this show. \u003ca href=\"http://proxysf.net/blog/?item=7167\" target=\"_blank\" rel=\"noopener\">Proxy\u003c/a> is an almost year-round, free (Cheap Thrill!), outdoor movie series at the intersection of Octavia and Hayes streets in San Francisco. The spring season opens Saturday night with Laurie Anderson’s film \u003cem>Heart of a Dog.\u003c/em> The screening will also be a place for those in need of pooches, as the San Francisco Animal Care and Control will be offering dogs for adoption from 5-7pm. Details \u003ca href=\"http://proxysf.net/events/?item=7175\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GJF5Wa5qizE&list=PLHh4DG6GTyTrvYNNEAe9QbuATWb67L1Tv\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31: \u003c/strong>The band\u003ca href=\"http://intoitoverit.com/\" target=\"_blank\" rel=\"noopener\"> Into It Over it \u003c/a>is supposed to be really one man — Evan Weiss — but his third album, \u003cem>Standards,\u003c/em> feels very like a collaboration. Weiss and drummer Josh Sparks holed up in a Vermont cabin for months writing the songs, and the drum work is a dense and wonderful battery for these smart songs. Then they came to San Francisco to work with \u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">John Vanderslice at his Tiny Telephone Studios\u003c/a>. \u003ca href=\"http://www.socialhallsf.com/events/detail/306063\" target=\"_blank\" rel=\"noopener\">Weiss and Sparks play the Social Hall in San Francisco on Thursday\u003c/a> along with The World is a Beautiful Place & I am No Longer Afraid to Die. Could be a magic night.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_11433821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433821\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/008-800x495.jpg\" alt=\"UC Theatre President David Mayeri\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/008-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">UC Theatre President David Mayeri \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March: 26: \u003c/strong>The great New Orleans bandleader \u003ca href=\"http://www.theuctheatre.org/event/1049945-trombone-shorty-orleans-berkeley/\" target=\"_blank\" rel=\"noopener\">Trombone Shorty \u003c/a>plays Berkeley’s \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">UC Theatre \u003c/a>Saturday night, but the real story here is the venue. The UC Theatre, a movie house built in 1917, has been closed for 14 years, but now it’s been reborn as a non-profit music venue under the leadership of \u003ca href=\"http://ww2.kqed.org/arts/2016/03/21/in-downtown-berkeley-a-grand-rebirth-for-the-uc-theatre/\" target=\"_blank\" rel=\"noopener\">David Mayeri,\u003c/a> the former COO of the now defunct \u003ca href=\"https://en.wikipedia.org/wiki/Bill_Graham_(promoter)\" target=\"_blank\" rel=\"noopener\">Bill Graham Presents\u003c/a>. Mayeri says he’s committed to bringing top national bands to the UC — thereby saving East Bay residents a trip to the Fillmore and other clubs in SF — and offer plenty of community events, including the \u003ca href=\"http://www.theuctheatre.org/event/1059179-bmg-community-event-berkeley-berkeley/\" target=\"_blank\" rel=\"noopener\">Berkeley High School School Jazz Band on June 3\u003c/a>. Upcoming shows include a Dark Star Orchestra residency \u003ca href=\"http://www.theuctheatre.org/event/1027921-dark-star-orchestra-berkeley/\" target=\"_blank\" rel=\"noopener\">April 7-9\u003c/a>, Los Lobos on \u003ca href=\"http://www.theuctheatre.org/event/1033461-los-lobos-berkeley/\" target=\"_blank\" rel=\"noopener\">May 13\u003c/a>, and Joe Jackson on \u003ca href=\"http://www.theuctheatre.org/event/1124359-joe-jackson-berkeley/\" target=\"_blank\" rel=\"noopener\">June 22\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11433823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433823\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-800x534.jpg\" alt=\"Lorri Holt as Colette in the show 'Colette Uncensored'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Colette-Uncensored-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lorri Holt as Colette in the show ‘Colette Uncensored’ \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 31-May 14:\u003c/strong> Colette, born Sidonie-Gabrielle Colette, is known for her work in vaudeville, her many affairs with men and women, and the feminism that imbued the heroines of her novels. She’s best known for the short story “Gigi,” which inspired the Broadway play (starring Audrey Hepburn, who Colette picked herself), and the Hollywood musical. Now Bay Area actress Lorri Holt (wonderful in Masha and Vanya and Sonia and Spike last year at Berkeley Rep) and Zack Rogow have researched and written \u003cem>\u003ca href=\"http://themarsh.org/colette_uncensored/lorri-holt/\" target=\"_blank\" rel=\"noopener\">Colette Uncensored\u003c/a>\u003c/em>, a bioplay about Colette, including excerpts from a newly published collection of her writings. David Ford directs, which makes us even more eager to see it. Details are \u003ca href=\"http://themarsh.org/colette_uncensored/lorri-holt/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\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/t5x-ImlFUiE'\n title='//www.youtube.com/embed/t5x-ImlFUiE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 25:\u003c/strong> Rachel Efron writes emotionally charged songs that live at the intersection of jazz and pop. “For me, it’s always been that intersection between words and melody, which is I feel where I live. On her new EP \u003cem>Angel No More,\u003c/em> she sounds kind of angry on the title song: “It’s you who knocked me down/Now I’m crawling falling all the way home/I’m your angel no more.” But Efron said in an interview that she’s not so much angry, just more human: “It’s about a person who’s been living as an idealized version of herself, and when she can’t sustain that anymore, everyone grieves it.” At her gig at the \u003ca href=\"http://redpoppyarthouse.org/\" target=\"_blank\" rel=\"noopener\">Red Poppy Art House\u003c/a>, Efron says she’ll play with bassist \u003ca href=\"http://www.aarongermain.com/\" target=\"_blank\" rel=\"noopener\">Aaron Germain\u003c/a>, as filmmaker Mirissa Neff somehow turns the club into a music box. Details \u003ca href=\"http://redpoppyarthouse.org/event/rachel-efron/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11433825\" class=\"wp-caption aligncenter\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433825\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Stephen-French-547x600.jpg\" alt=\"A stereograph by Stephen French from 1967\" width=\"547\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-547x600.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-400x439.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-768x842.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French-960x1053.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Stephen-French.jpg 1000w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">A stereograph by Stephen French from 1967 \u003ccite>(Photo:Douglas Sandberg/San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Sept. 18:\u003c/strong> Here’s a way to learn about an important piece of local art history: The San Jose Museum of Art is celebrating artists who began working in the South Bay in the 60’s, after they were recruited by what was then San Jose State College, now San Jose State University. The exhibit features work from the permanent collection of artists like Geoffrey Bowman, Rupert Garcia, Erin Goodwin-Guerrero, and others who also helped found the museum. Find details \u003ca href=\"http://sjmusart.org/exhibition/artists-residence-san-joses-20th-century-vanguard\" target=\"_blank\" rel=\"noopener\">here on \u003cem>Artists in Residence: San Jose’s 20th-Century Vanguard.\u003c/em> \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/v37BnyHefnY'\n title='//www.youtube.com/embed/v37BnyHefnY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 26:\u003c/strong> Bring your dog, your blanket and a warm coat to this show. \u003ca href=\"http://proxysf.net/blog/?item=7167\" target=\"_blank\" rel=\"noopener\">Proxy\u003c/a> is an almost year-round, free (Cheap Thrill!), outdoor movie series at the intersection of Octavia and Hayes streets in San Francisco. The spring season opens Saturday night with Laurie Anderson’s film \u003cem>Heart of a Dog.\u003c/em> The screening will also be a place for those in need of pooches, as the San Francisco Animal Care and Control will be offering dogs for adoption from 5-7pm. Details \u003ca href=\"http://proxysf.net/events/?item=7175\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\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/GJF5Wa5qizE'\n title='//www.youtube.com/embed/GJF5Wa5qizE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31: \u003c/strong>The band\u003ca href=\"http://intoitoverit.com/\" target=\"_blank\" rel=\"noopener\"> Into It Over it \u003c/a>is supposed to be really one man — Evan Weiss — but his third album, \u003cem>Standards,\u003c/em> feels very like a collaboration. Weiss and drummer Josh Sparks holed up in a Vermont cabin for months writing the songs, and the drum work is a dense and wonderful battery for these smart songs. Then they came to San Francisco to work with \u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">John Vanderslice at his Tiny Telephone Studios\u003c/a>. \u003ca href=\"http://www.socialhallsf.com/events/detail/306063\" target=\"_blank\" rel=\"noopener\">Weiss and Sparks play the Social Hall in San Francisco on Thursday\u003c/a> along with The World is a Beautiful Place & I am No Longer Afraid to Die. Could be a magic night.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For the past seven years \u003ca href=\"http://www.sonja-hinrichsen.com\" target=\"_blank\" rel=\"noopener\">Sonja Hinrichsen\u003c/a> has made snow drawings all over the world. Over time she’s come to terms with the completely unpredictable nature of her work. Though she spends months planning her projects, she can never be sure if the weather will cooperate, until the appointed day arrived. If there’s no snow, there’s no canvas. If the snow is falling, she has to wait out the storm. Even when conditions are perfect and her creation is complete, it’s a race against time to photograph the work before the next snowfall covers it up or it simply melts away.\u003c/p>\n\u003caside class=\"pullquote alignright\">I am perfectly fine with my work disappearing. Because as an artist and also an environmentalist I feel like I don’t need to add additional stuff to this world.\u003cbr>\n\u003ccite>Sonja Hinrichsen\u003c/cite>\u003c/aside>\n\u003cp>Snow drawings started as play for Hinrichsen in 2009 during a winter hike in Colorado’s Rocky Mountains. Imprinting labyrinthine patterns on the pristine snow as she walked, she would listen to the crunch of her snowshoes and the sound of her breath and be transported to a kind of meditative state. It wasn’t until after her next foray on a frozen river that she got the chance to fly overhead to photograph the results. She was amazed by how impressive the spirals appeared from above, and how much more “canvas” she had covered. Then it struck her, if she involved volunteers, she could create drawings on an even larger scale.\u003c/p>\n\u003cp>Climate change and fluctuations in snowfall around the world, especially in California, have added to Hinrichsen’s challenge to be in the right place at the right time to create her best work. Ironically, after years of drought-driven, low snow pack in the Northern Sierra, this winter’s El Nino storm system provided near perfect conditions. On President’s Day weekend volunteers from the Bay Area, Reno and nearby Truckee gathered at UC Berkeley’s \u003ca href=\"http://sagehen.berkeley.edu\" target=\"_blank\" rel=\"noopener\">Sagehen Creek Field Station\u003c/a> to help Hinrichsen create her first project in the California. The KQED Arts crew strapped on snowshoes and followed the group as they worked for two days to fill 60 acres of meadowland with spirals of varying sizes and shapes.\u003c/p>\n\u003cfigure id=\"attachment_11431551\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11431551\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-1180x787.jpg\" alt=\"Snow drawings at Lake Catamount, Colorado in 2013 \" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Snow drawings at Lake Catamount, Colorado in 2013 \u003ccite>(Photo: Sonja Hinrichsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The following Monday, as Hinrichsen flew over the meadows with a local pilot to photograph the drawings, the temperature rose to near record levels for February. Just a few days later the snow, along with the drawings, had melted away. But the ephemeral nature of her work is just fine.\u003c/p>\n\u003cp>“It stays in the photographs and in the memories of the people who participated in it, so it still fulfills its purpose,” Hinrichsen says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the past seven years \u003ca href=\"http://www.sonja-hinrichsen.com\" target=\"_blank\" rel=\"noopener\">Sonja Hinrichsen\u003c/a> has made snow drawings all over the world. Over time she’s come to terms with the completely unpredictable nature of her work. Though she spends months planning her projects, she can never be sure if the weather will cooperate, until the appointed day arrived. If there’s no snow, there’s no canvas. If the snow is falling, she has to wait out the storm. Even when conditions are perfect and her creation is complete, it’s a race against time to photograph the work before the next snowfall covers it up or it simply melts away.\u003c/p>\n\u003caside class=\"pullquote alignright\">I am perfectly fine with my work disappearing. Because as an artist and also an environmentalist I feel like I don’t need to add additional stuff to this world.\u003cbr>\n\u003ccite>Sonja Hinrichsen\u003c/cite>\u003c/aside>\n\u003cp>Snow drawings started as play for Hinrichsen in 2009 during a winter hike in Colorado’s Rocky Mountains. Imprinting labyrinthine patterns on the pristine snow as she walked, she would listen to the crunch of her snowshoes and the sound of her breath and be transported to a kind of meditative state. It wasn’t until after her next foray on a frozen river that she got the chance to fly overhead to photograph the results. She was amazed by how impressive the spirals appeared from above, and how much more “canvas” she had covered. Then it struck her, if she involved volunteers, she could create drawings on an even larger scale.\u003c/p>\n\u003cp>Climate change and fluctuations in snowfall around the world, especially in California, have added to Hinrichsen’s challenge to be in the right place at the right time to create her best work. Ironically, after years of drought-driven, low snow pack in the Northern Sierra, this winter’s El Nino storm system provided near perfect conditions. On President’s Day weekend volunteers from the Bay Area, Reno and nearby Truckee gathered at UC Berkeley’s \u003ca href=\"http://sagehen.berkeley.edu\" target=\"_blank\" rel=\"noopener\">Sagehen Creek Field Station\u003c/a> to help Hinrichsen create her first project in the California. The KQED Arts crew strapped on snowshoes and followed the group as they worked for two days to fill 60 acres of meadowland with spirals of varying sizes and shapes.\u003c/p>\n\u003cfigure id=\"attachment_11431551\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11431551\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-1180x787.jpg\" alt=\"Snow drawings at Lake Catamount, Colorado in 2013 \" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Snow drawings at Lake Catamount, Colorado in 2013 \u003ccite>(Photo: Sonja Hinrichsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The following Monday, as Hinrichsen flew over the meadows with a local pilot to photograph the drawings, the temperature rose to near record levels for February. Just a few days later the snow, along with the drawings, had melted away. But the ephemeral nature of her work is just fine.\u003c/p>\n\u003cp>“It stays in the photographs and in the memories of the people who participated in it, so it still fulfills its purpose,” Hinrichsen says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Behind the matte black front doors facing Mission Street, Ratio 3’s gallery space is improbably white and airy. Every single time I visit, I become further convinced the gallery’s interior is larger than its exterior. Those high ceilings and expansive floor plan can’t possibly exist in the space between a Foot Locker and “L. Quan Check Cashing and Healing Arts Centre.” \u003c/p>\n\u003cp>The television show \u003ci>Doctor Who\u003c/i> explains this effect as “\u003ca href=\"http://tardis.wikia.com/wiki/Dimensional_transcendentalism\" target=\"_blank\" rel=\"noopener\">dimensional transcendentalism\u003c/a>.” Your mother might helpfully explain that black is always slimming. Optical illusions and time travel aside, the spaciousness of Ratio 3’s interior is only enhanced by the current exhibition: an installation of work by Miriam Böhm, Felix Gonzalez-Torres, Sol LeWitt, Mitzi Pederson and Fred Sandback.\u003c/p>\n\u003cfigure id=\"attachment_11431081\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/FGTSand1200.jpg\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Felix Gonzalez-Torres, ‘”Untitled” (Portrait of Dad)’ and Fred Sandback, ‘Untitled (Sculptural Study, Cornered Construction).’ \u003ccite>(Courtesy of Ratio 3, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Vanishing Point\u003c/i> is a group show of just seven pieces. Presenting giants of minimalist and conceptual art alongside gallery artists Böhm and Pederson, Ratio 3 offers up an impressive art historical lineage for their contemporary artists. Should Bohm and Pederson be positioned as inheritors of this legacy? Without heavy-handed didacticism, \u003ci>Vanishing Point\u003c/i> makes a fairly persuasive argument for yes. \u003c/p>\n\u003cp>Works by LeWitt, Gonzalez-Torres and Sandback share more than just walls within major museum collections. Their work is prescriptive, their “dimensions variable,” their installations interpretations of often enigmatic rules. Just inside the gallery’s front doors, LeWitt’s subtle \u003ci>Wall Drawing #383\u003c/i>, executed under the supervision of the Sol LeWitt Estate, extends floor to ceiling. Precise vertical, horizontal and diagonal lines combine to create the image of a cube, establishing an exhibition-wide trend of simple lines introducing dimensionality and depth. \u003c/p>\n\u003cfigure id=\"attachment_11431084\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Sandback1200.jpg\" alt=\"Fred Sandback, 'Untitled (Sculptural Study, Cornered Construction),' 1984/2013.\" width=\"1200\" height=\"946\" class=\"size-full wp-image-11431084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-400x315.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-761x600.jpg 761w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-768x605.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-1180x930.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-960x757.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Fred Sandback, ‘Untitled (Sculptural Study, Cornered Construction),’ 1984/2013. \u003ccite>(Courtesy of Ratio 3, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LeWitt’s ideograph of a cube takes shape, albeit flatly, in Gonzalez-Torres’ \u003ci>“Untitled” (Portrait of Dad)\u003c/i>, a rectangle of individually wrapped candies on the main gallery floor. The arrangement of ghostly, shiny sweets might be the dimensions of a twin-sized bed, or the size of a burial plot. Of the three instruction-based works on view in \u003ci>Vanishing Point\u003c/i>, just \u003ci>“Untitled”\u003c/i> was determined by Ratio 3’s staff alone; LeWitt and Sandback’s estates dispatched emissaries to install their respective works.\u003c/p>\n\u003cfigure id=\"attachment_11431082\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Pederson640.jpg\" alt=\"Mitzi Pederson, 'Untitled,' 2016.\" width=\"426\" height=\"640\" class=\"size-full wp-image-11431082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Pederson640.jpg 426w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Pederson640-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Pederson640-399x600.jpg 399w\" sizes=\"(max-width: 426px) 100vw, 426px\">\u003cfigcaption class=\"wp-caption-text\">Mitzi Pederson, ‘Untitled,’ 2016. \u003ccite>(Courtesy of Ratio 3, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Böhm and Pederson’s pieces follow any rules, their logic is interior. Flanking Gonzalez-Torres’ candy spill are Pederson’s two rough-edged sculptures, made from thin arcs of plywood tightly bound with thread. Bowing out from the walls, these untitled works are the only pieces in the show to curve, or in any way depart from the straight lines, edges and precise corners that otherwise dominate \u003ci>Vanishing Point\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sandback’s \u003ci>Untitled (Sculptural Study, Cornered Construction)\u003c/i> is a line drawing in the air, rendered in taut strings of red and black yarn. In the afternoon, light from the gallery’s two high windows (another architectural facet completely invisible from Mission Street) spreads across the north wall and spills down to the concrete floor, casting linear shadows as it hits Sandback’s work. The sculpture, created in 1984 but first realized in 2013, ten years after the artist’s death, resembles the strings of a giant musical instrument. After freely picking up a Gonzalez-Torres candy (or two), it is unbearably tempting to pluck a string.\u003c/p>\n\u003cfigure id=\"attachment_11431077\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/DetailI_1200.jpg\" alt=\"Miriam Böhm, 'Detail I,' 2015.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-11431077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-960x720.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Miriam Böhm, ‘Detail I,’ 2015. \u003ccite>(Courtesy of Ratio 3, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the second gallery, the fuzzy quality of Sandback’s yarn appears like an apparition in Böhm’s black-and-white photographs, her hand-drawn parallelograms adding angles and planes to tableaux of what appear to be pieces of foam core on grey grounds. Over the years of seeing Böhm’s work in solo and group exhibitions at Ratio 3, the content of her photographs have grown more and more reductive as she continually flattens and compresses three-dimensional space. On one wall, the image of \u003ci>Detail I\u003c/i> is expanded as a wallpaper print, possibly the flattest an image can get. But after LeWitt’s floor to ceiling wall drawing, I wanted Böhm to similarly envelop me with the scale of her work. Because of its edges, \u003ci>Detail I\u003c/i> remains object-like.\u003c/p>\n\u003cp>Seeing Gonzalez-Torres, LeWitt and Sandback’s work in the context of a free gallery exhibition is a rare treat, but it’s also a presentation of the expected. Pederson and Böhm’s work doesn’t carry the same gravitas that come with having the words “estate of” attached to your name, but that’s a good thing. The past becomes a frame of reference for a future open to experimentation. Minimalism needs more purple pink paint. Conceptual art can be a work in progress. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Vanishing Point\u003c/b> is on view at Ratio 3 in San Francisco through May 14, 2016. For more information visit \u003ca href=\"http://www.ratio3.org/\" target=\"_blank\" rel=\"noopener\">ratio3.org\u003c/a>. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Behind the matte black front doors facing Mission Street, Ratio 3’s gallery space is improbably white and airy. Every single time I visit, I become further convinced the gallery’s interior is larger than its exterior. Those high ceilings and expansive floor plan can’t possibly exist in the space between a Foot Locker and “L. Quan Check Cashing and Healing Arts Centre.” \u003c/p>\n\u003cp>The television show \u003ci>Doctor Who\u003c/i> explains this effect as “\u003ca href=\"http://tardis.wikia.com/wiki/Dimensional_transcendentalism\" target=\"_blank\" rel=\"noopener\">dimensional transcendentalism\u003c/a>.” Your mother might helpfully explain that black is always slimming. Optical illusions and time travel aside, the spaciousness of Ratio 3’s interior is only enhanced by the current exhibition: an installation of work by Miriam Böhm, Felix Gonzalez-Torres, Sol LeWitt, Mitzi Pederson and Fred Sandback.\u003c/p>\n\u003cfigure id=\"attachment_11431081\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/FGTSand1200.jpg\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Felix Gonzalez-Torres, ‘”Untitled” (Portrait of Dad)’ and Fred Sandback, ‘Untitled (Sculptural Study, Cornered Construction).’ \u003ccite>(Courtesy of Ratio 3, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Vanishing Point\u003c/i> is a group show of just seven pieces. Presenting giants of minimalist and conceptual art alongside gallery artists Böhm and Pederson, Ratio 3 offers up an impressive art historical lineage for their contemporary artists. Should Bohm and Pederson be positioned as inheritors of this legacy? Without heavy-handed didacticism, \u003ci>Vanishing Point\u003c/i> makes a fairly persuasive argument for yes. \u003c/p>\n\u003cp>Works by LeWitt, Gonzalez-Torres and Sandback share more than just walls within major museum collections. Their work is prescriptive, their “dimensions variable,” their installations interpretations of often enigmatic rules. Just inside the gallery’s front doors, LeWitt’s subtle \u003ci>Wall Drawing #383\u003c/i>, executed under the supervision of the Sol LeWitt Estate, extends floor to ceiling. Precise vertical, horizontal and diagonal lines combine to create the image of a cube, establishing an exhibition-wide trend of simple lines introducing dimensionality and depth. \u003c/p>\n\u003cfigure id=\"attachment_11431084\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Sandback1200.jpg\" alt=\"Fred Sandback, 'Untitled (Sculptural Study, Cornered Construction),' 1984/2013.\" width=\"1200\" height=\"946\" class=\"size-full wp-image-11431084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-400x315.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-761x600.jpg 761w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-768x605.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-1180x930.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sandback1200-960x757.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Fred Sandback, ‘Untitled (Sculptural Study, Cornered Construction),’ 1984/2013. \u003ccite>(Courtesy of Ratio 3, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LeWitt’s ideograph of a cube takes shape, albeit flatly, in Gonzalez-Torres’ \u003ci>“Untitled” (Portrait of Dad)\u003c/i>, a rectangle of individually wrapped candies on the main gallery floor. The arrangement of ghostly, shiny sweets might be the dimensions of a twin-sized bed, or the size of a burial plot. Of the three instruction-based works on view in \u003ci>Vanishing Point\u003c/i>, just \u003ci>“Untitled”\u003c/i> was determined by Ratio 3’s staff alone; LeWitt and Sandback’s estates dispatched emissaries to install their respective works.\u003c/p>\n\u003cfigure id=\"attachment_11431082\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Pederson640.jpg\" alt=\"Mitzi Pederson, 'Untitled,' 2016.\" width=\"426\" height=\"640\" class=\"size-full wp-image-11431082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Pederson640.jpg 426w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Pederson640-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Pederson640-399x600.jpg 399w\" sizes=\"(max-width: 426px) 100vw, 426px\">\u003cfigcaption class=\"wp-caption-text\">Mitzi Pederson, ‘Untitled,’ 2016. \u003ccite>(Courtesy of Ratio 3, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Böhm and Pederson’s pieces follow any rules, their logic is interior. Flanking Gonzalez-Torres’ candy spill are Pederson’s two rough-edged sculptures, made from thin arcs of plywood tightly bound with thread. Bowing out from the walls, these untitled works are the only pieces in the show to curve, or in any way depart from the straight lines, edges and precise corners that otherwise dominate \u003ci>Vanishing Point\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sandback’s \u003ci>Untitled (Sculptural Study, Cornered Construction)\u003c/i> is a line drawing in the air, rendered in taut strings of red and black yarn. In the afternoon, light from the gallery’s two high windows (another architectural facet completely invisible from Mission Street) spreads across the north wall and spills down to the concrete floor, casting linear shadows as it hits Sandback’s work. The sculpture, created in 1984 but first realized in 2013, ten years after the artist’s death, resembles the strings of a giant musical instrument. After freely picking up a Gonzalez-Torres candy (or two), it is unbearably tempting to pluck a string.\u003c/p>\n\u003cfigure id=\"attachment_11431077\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/DetailI_1200.jpg\" alt=\"Miriam Böhm, 'Detail I,' 2015.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-11431077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/DetailI_1200-960x720.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Miriam Böhm, ‘Detail I,’ 2015. \u003ccite>(Courtesy of Ratio 3, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the second gallery, the fuzzy quality of Sandback’s yarn appears like an apparition in Böhm’s black-and-white photographs, her hand-drawn parallelograms adding angles and planes to tableaux of what appear to be pieces of foam core on grey grounds. Over the years of seeing Böhm’s work in solo and group exhibitions at Ratio 3, the content of her photographs have grown more and more reductive as she continually flattens and compresses three-dimensional space. On one wall, the image of \u003ci>Detail I\u003c/i> is expanded as a wallpaper print, possibly the flattest an image can get. But after LeWitt’s floor to ceiling wall drawing, I wanted Böhm to similarly envelop me with the scale of her work. Because of its edges, \u003ci>Detail I\u003c/i> remains object-like.\u003c/p>\n\u003cp>Seeing Gonzalez-Torres, LeWitt and Sandback’s work in the context of a free gallery exhibition is a rare treat, but it’s also a presentation of the expected. Pederson and Böhm’s work doesn’t carry the same gravitas that come with having the words “estate of” attached to your name, but that’s a good thing. The past becomes a frame of reference for a future open to experimentation. Minimalism needs more purple pink paint. Conceptual art can be a work in progress. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Vanishing Point\u003c/b> is on view at Ratio 3 in San Francisco through May 14, 2016. For more information visit \u003ca href=\"http://www.ratio3.org/\" target=\"_blank\" rel=\"noopener\">ratio3.org\u003c/a>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Fine Art Museums of San Francisco (FAMSF), which manages both the de Young and Legion of Honor museums, announced Tuesday that it hired a new director.\u003c/p>\n\u003cp>Austrian-born Max Hollein will be filling the organization’s top position starting June 3, according to the \u003ca href=\"http://www.sfgate.com/art/article/Frankfurt-museum-director-to-head-Fine-Arts-6969720.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>. Hollein currently lives in Germany, where he is director of three of the country’s notable museums: the Schirn Kunsthalle, Städel Museum and the Liebieghaus Sculpture Collection.\u003c/p>\n\u003cp>Hollein replaces former director Colin Bailey, who left in April last year for the director position at the Morgan Library & Museum in New York City, just two years after taking the FAMSF job. A 12-person committee, led by former Banana Republic president Jack Calhoun, spent the past year searching for Bailey’s replacement.\u003c/p>\n\u003cp>As director, Hollein will be in charge of 550 employees and an annual budget of $60 million, some of it supplied by the city.\u003c/p>\n\u003cp>To learn more about the hire, read the \u003ca href=\"http://www.famsf.org/press-room/fine-arts-museums-san-francisco-announce-director\" target=\"_blank\" rel=\"noopener\">FAMSF’s announcement online\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Fine Art Museums of San Francisco (FAMSF), which manages both the de Young and Legion of Honor museums, announced Tuesday that it hired a new director.\u003c/p>\n\u003cp>Austrian-born Max Hollein will be filling the organization’s top position starting June 3, according to the \u003ca href=\"http://www.sfgate.com/art/article/Frankfurt-museum-director-to-head-Fine-Arts-6969720.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>. Hollein currently lives in Germany, where he is director of three of the country’s notable museums: the Schirn Kunsthalle, Städel Museum and the Liebieghaus Sculpture Collection.\u003c/p>\n\u003cp>Hollein replaces former director Colin Bailey, who left in April last year for the director position at the Morgan Library & Museum in New York City, just two years after taking the FAMSF job. A 12-person committee, led by former Banana Republic president Jack Calhoun, spent the past year searching for Bailey’s replacement.\u003c/p>\n\u003cp>As director, Hollein will be in charge of 550 employees and an annual budget of $60 million, some of it supplied by the city.\u003c/p>\n\u003cp>To learn more about the hire, read the \u003ca href=\"http://www.famsf.org/press-room/fine-arts-museums-san-francisco-announce-director\" target=\"_blank\" rel=\"noopener\">FAMSF’s announcement online\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“Drink wine. Eat soup. Ask questions.” These are choreographer Cid Pearlman’s instructions to the audience before curtain at \u003cem>\u003ca href=\"http://www.cidpearlman.org/\" target=\"_blank\" rel=\"noopener\">Economies of Effort: 3\u003c/a>.\u003c/em> These words are far from the soothing “silence your cellphones and locate the nearest emergency exit” that we’ve come to expect at the kickoff of a dance performance, and serve to set the tone for the entertaining and provocative experience that is to come.\u003c/p>\n\u003cp>The initial two-weekend-long run of the production at \u003ca href=\"http://www.felixkulpa.com\" target=\"_blank\" rel=\"noopener\">Felix Kulpa Gallery\u003c/a> in Santa Cruz (the company moves to the Joe Goode Annex, San Francisco, in April) takes place in a courtyard bristling with fanciful fountains and sculptures made of found objects. The backdrop includes, among other objects, half-melted vintage Apple computers, a phone booth that looks suspiciously like the scene of a crime, and a PG&E utility pole resting at a graceful angle against the gallery fence. Much of the hardware is the handiwork of Robbie Schoen, sculptor, gallery director, and Cid Pearlman accomplice on this and other projects. The area is also strewn about with plywood boxes constructed by the dancers themselves in \u003cem>\u003ca href=\"http://www.cidpearlman.org/economies-of-effort-1\" target=\"_blank\" rel=\"noopener\">Economies of Effort:1\u003c/a>\u003c/em>, an earlier incarnation of this performance series.\u003c/p>\n\u003cp>At the top of the show, Pearlman’s company of 15 dancers disperses to various corners of the sculpture garden and gallery to engage each other in mysterious and intriguing rituals. Between outbursts of dance, they take turns chopping vegetables and stirring the soup in a stockpot simmering on a burner in the garden.\u003c/p>\n\u003cp>The audience is invited to wander.\u003c/p>\n\u003cfigure id=\"attachment_11423324\" class=\"wp-caption aligncenter\" style=\"max-width: 718px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11423324 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-718x600.jpg\" alt=\"Cid Pearlman's Economies of Effort:3 (Photo: Adam Freidin) \" width=\"718\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-718x600.jpg 718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-400x334.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-768x642.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-1180x986.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-960x802.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539.jpg 1360w\" sizes=\"(max-width: 718px) 100vw, 718px\">\u003cfigcaption class=\"wp-caption-text\">Cid Pearlman’s ‘Economies of Effort:3’ (Photo: Adam Freidin)\u003c/figcaption>\u003c/figure>\n\u003cp>In one spot, dancers haul each other up to kiss the bright light at the top of a sagging street lamp. In another, a sextet of women repeatedly slams into a gallery wall, exploring it, scaling it, attacking it in impressive unison. Elsewhere, a quartet nuzzles and nudges a woman on top of a card table. At first the action seems playful. But when the group starts sloshing a basin of water over the woman’s head, thoughts of waterboarding come to mind.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In this whimsical playground, the interactions, though mostly lighthearted and droll, often seem deliberately ambiguous. Inside a plywood box, a pair of dancers clamber acrobatically around each other, and over and around a pair of chairs. A sliver of artificial turf lying outside the box, like a welcome mat or a hint of lawn, suggests that this modest space is their home. Their fun-loving maneuvers morph into something more serious: a commentary on the Bay Area housing crisis.\u003c/p>\n\u003cfigure id=\"attachment_11423325\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423325\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-800x533.jpg\" alt=\"Cid Pearlman's Economies of Effort:3 (Photo: Adam Freidin) \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cid Pearlman’s ‘Economies of Effort:3’ (Photo: Adam Freidin)\u003c/figcaption>\u003c/figure>\n\u003cp>The most searing sequence is a stylized wrestling match involving three men and a woman, who grapple barefoot inside the tight confines of an area inside the gallery painted checkerboard black and white. The dancers move to the haunting sounds of electric violin and cello emanating from a nearby laptop.\u003c/p>\n\u003cp>\u003cem>Economies of Effort\u003c/em> is a title that suggests hard times and hard work. But for the audience (limited to 35 in each run) the performance feels luxurious. Watching these distinctive dancers at such close quarters, at whatever angles we choose, with the liberty to come and go and share our thoughts with others as we please, is a rare pleasure. We know the show is over when the dancers take their bows in an eerie light thrown off by the steam rising from the stockpot and the murmur of “soup’s ready” ripples through the crowd.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://cidpearlman.org/home\" target=\"_blank\" rel=\"noopener\">Economies of Effort:3\u003c/a>\u003c/em> runs for one more weekend in Santa Cruz (Mar. 24 – 27) then migrates to the Joe Goode Annex in San Francisco from Apr. 8 – 9. Admission is free, part of Cid Pearlman’s “Year of Free.”\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Drink wine. Eat soup. Ask questions.” These are choreographer Cid Pearlman’s instructions to the audience before curtain at \u003cem>\u003ca href=\"http://www.cidpearlman.org/\" target=\"_blank\" rel=\"noopener\">Economies of Effort: 3\u003c/a>.\u003c/em> These words are far from the soothing “silence your cellphones and locate the nearest emergency exit” that we’ve come to expect at the kickoff of a dance performance, and serve to set the tone for the entertaining and provocative experience that is to come.\u003c/p>\n\u003cp>The initial two-weekend-long run of the production at \u003ca href=\"http://www.felixkulpa.com\" target=\"_blank\" rel=\"noopener\">Felix Kulpa Gallery\u003c/a> in Santa Cruz (the company moves to the Joe Goode Annex, San Francisco, in April) takes place in a courtyard bristling with fanciful fountains and sculptures made of found objects. The backdrop includes, among other objects, half-melted vintage Apple computers, a phone booth that looks suspiciously like the scene of a crime, and a PG&E utility pole resting at a graceful angle against the gallery fence. Much of the hardware is the handiwork of Robbie Schoen, sculptor, gallery director, and Cid Pearlman accomplice on this and other projects. The area is also strewn about with plywood boxes constructed by the dancers themselves in \u003cem>\u003ca href=\"http://www.cidpearlman.org/economies-of-effort-1\" target=\"_blank\" rel=\"noopener\">Economies of Effort:1\u003c/a>\u003c/em>, an earlier incarnation of this performance series.\u003c/p>\n\u003cp>At the top of the show, Pearlman’s company of 15 dancers disperses to various corners of the sculpture garden and gallery to engage each other in mysterious and intriguing rituals. Between outbursts of dance, they take turns chopping vegetables and stirring the soup in a stockpot simmering on a burner in the garden.\u003c/p>\n\u003cp>The audience is invited to wander.\u003c/p>\n\u003cfigure id=\"attachment_11423324\" class=\"wp-caption aligncenter\" style=\"max-width: 718px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11423324 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-718x600.jpg\" alt=\"Cid Pearlman's Economies of Effort:3 (Photo: Adam Freidin) \" width=\"718\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-718x600.jpg 718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-400x334.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-768x642.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-1180x986.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-960x802.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539.jpg 1360w\" sizes=\"(max-width: 718px) 100vw, 718px\">\u003cfigcaption class=\"wp-caption-text\">Cid Pearlman’s ‘Economies of Effort:3’ (Photo: Adam Freidin)\u003c/figcaption>\u003c/figure>\n\u003cp>In one spot, dancers haul each other up to kiss the bright light at the top of a sagging street lamp. In another, a sextet of women repeatedly slams into a gallery wall, exploring it, scaling it, attacking it in impressive unison. Elsewhere, a quartet nuzzles and nudges a woman on top of a card table. At first the action seems playful. But when the group starts sloshing a basin of water over the woman’s head, thoughts of waterboarding come to mind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this whimsical playground, the interactions, though mostly lighthearted and droll, often seem deliberately ambiguous. Inside a plywood box, a pair of dancers clamber acrobatically around each other, and over and around a pair of chairs. A sliver of artificial turf lying outside the box, like a welcome mat or a hint of lawn, suggests that this modest space is their home. Their fun-loving maneuvers morph into something more serious: a commentary on the Bay Area housing crisis.\u003c/p>\n\u003cfigure id=\"attachment_11423325\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423325\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-800x533.jpg\" alt=\"Cid Pearlman's Economies of Effort:3 (Photo: Adam Freidin) \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cid Pearlman’s ‘Economies of Effort:3’ (Photo: Adam Freidin)\u003c/figcaption>\u003c/figure>\n\u003cp>The most searing sequence is a stylized wrestling match involving three men and a woman, who grapple barefoot inside the tight confines of an area inside the gallery painted checkerboard black and white. The dancers move to the haunting sounds of electric violin and cello emanating from a nearby laptop.\u003c/p>\n\u003cp>\u003cem>Economies of Effort\u003c/em> is a title that suggests hard times and hard work. But for the audience (limited to 35 in each run) the performance feels luxurious. Watching these distinctive dancers at such close quarters, at whatever angles we choose, with the liberty to come and go and share our thoughts with others as we please, is a rare pleasure. We know the show is over when the dancers take their bows in an eerie light thrown off by the steam rising from the stockpot and the murmur of “soup’s ready” ripples through the crowd.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://cidpearlman.org/home\" target=\"_blank\" rel=\"noopener\">Economies of Effort:3\u003c/a>\u003c/em> runs for one more weekend in Santa Cruz (Mar. 24 – 27) then migrates to the Joe Goode Annex in San Francisco from Apr. 8 – 9. Admission is free, part of Cid Pearlman’s “Year of Free.”\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the most tantalizing films I’ve ever seen is \u003cem>The Swimmer\u003c/em>, a surreal masterpiece from 1968 based on a John Cheever short story. It stars a middle-aged but still very buff and tan Burt Lancaster as a man who impulsively decides to swim home from a suburban summer garden party at a friend’s house by traversing all the many pools that lie between other people’s backyards and his own. As the afternoon unfolds, the bright, jovial atmosphere becomes broodingly autumnal, until our hero, exhausted in his Speedos after a series of unfortunate encounters and mishaps, finally arrives at his empty, derelict home.\u003c/p>\n\u003cp>Cheever’s chilly narrative, reimagined as a 41-minute ballet by company stalwart Yuri Possokhov, is the centerpiece of \u003cem>\u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">Sensorium\u003c/a>\u003c/em>, a splashy soiree of dance, music, food and booze organized by the San Francisco Ballet (SF Ballet) as a way to reel the millennial crowd into the War Memorial Opera House. The event did well last year, so it’s back again for a second iteration on Wednesday, Mar. 23.\u003c/p>\n\u003cfigure id=\"attachment_11428906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11428906\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg\" alt=\"Guests at SF Ballet's first Sensorium event in 2015\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1920x1262.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-960x631.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guests at SF Ballet’s first Sensorium event in 2015 \u003ccite>(Photo Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The choice of Possokhov’s \u003cem>Swimmer\u003c/em> for this event makes sense: Of all the pieces in SF Ballet’s recent history, it’s likely to be one of the most impressive to a young, tech-savvy crowd. Waves of Tom Waits music and immersive video depicting mid-century scenes of suburban Americana sweep the dance along.\u003c/p>\n\u003cp>Beyond the proscenium, \u003cem>Sensorium\u003c/em> gives audiences the chance to experience various pop-up events. These aren’t the usual thing. There’s a pair of massive 30-foot-long crashing wave video projections, inspired by \u003cem>Swimmer, \u003c/em>that you can actually walk through because the video is projected onto “theatrical string” like a 70s-style beaded curtain.\u003c/p>\n\u003cp>And the art-tech company \u003ca href=\"http://teleportlabs.com/\" target=\"_blank\" rel=\"noopener\">Teleport Labs\u003c/a> has created a virtual reality film piece based on a snippets of a rehearsal of \u003cem>Pas/Parts\u003c/em> — that’s the other ballet on the evening’s performance program choreographed by William Forsythe — that apparently can be experienced without those goofy-looking glasses and helmets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also, fashion designer Lan Jaenicke is setting up a “mini-atelier” in the lobby of the opera house where she and her team plan to create instant couture gowns tailor-made for a few lucky audience members…out of bed sheets.\u003c/p>\n\u003cp>But here’s what I’m personally most excited about: Professionals from the company are joining audience members on the dance floor after the main performance. After all, it’s not every day you get to boogie on down with ballet stars like Yuan Yuan Tan and Mathilde Froustey.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Ballet presents \u003cem>Sensorium\u003c/em> on Wednesday, Mar. 23 at the War Memorial Opera House in San Francisco. Head \u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. \u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the most tantalizing films I’ve ever seen is \u003cem>The Swimmer\u003c/em>, a surreal masterpiece from 1968 based on a John Cheever short story. It stars a middle-aged but still very buff and tan Burt Lancaster as a man who impulsively decides to swim home from a suburban summer garden party at a friend’s house by traversing all the many pools that lie between other people’s backyards and his own. As the afternoon unfolds, the bright, jovial atmosphere becomes broodingly autumnal, until our hero, exhausted in his Speedos after a series of unfortunate encounters and mishaps, finally arrives at his empty, derelict home.\u003c/p>\n\u003cp>Cheever’s chilly narrative, reimagined as a 41-minute ballet by company stalwart Yuri Possokhov, is the centerpiece of \u003cem>\u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">Sensorium\u003c/a>\u003c/em>, a splashy soiree of dance, music, food and booze organized by the San Francisco Ballet (SF Ballet) as a way to reel the millennial crowd into the War Memorial Opera House. The event did well last year, so it’s back again for a second iteration on Wednesday, Mar. 23.\u003c/p>\n\u003cfigure id=\"attachment_11428906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11428906\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg\" alt=\"Guests at SF Ballet's first Sensorium event in 2015\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1920x1262.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-960x631.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guests at SF Ballet’s first Sensorium event in 2015 \u003ccite>(Photo Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The choice of Possokhov’s \u003cem>Swimmer\u003c/em> for this event makes sense: Of all the pieces in SF Ballet’s recent history, it’s likely to be one of the most impressive to a young, tech-savvy crowd. Waves of Tom Waits music and immersive video depicting mid-century scenes of suburban Americana sweep the dance along.\u003c/p>\n\u003cp>Beyond the proscenium, \u003cem>Sensorium\u003c/em> gives audiences the chance to experience various pop-up events. These aren’t the usual thing. There’s a pair of massive 30-foot-long crashing wave video projections, inspired by \u003cem>Swimmer, \u003c/em>that you can actually walk through because the video is projected onto “theatrical string” like a 70s-style beaded curtain.\u003c/p>\n\u003cp>And the art-tech company \u003ca href=\"http://teleportlabs.com/\" target=\"_blank\" rel=\"noopener\">Teleport Labs\u003c/a> has created a virtual reality film piece based on a snippets of a rehearsal of \u003cem>Pas/Parts\u003c/em> — that’s the other ballet on the evening’s performance program choreographed by William Forsythe — that apparently can be experienced without those goofy-looking glasses and helmets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also, fashion designer Lan Jaenicke is setting up a “mini-atelier” in the lobby of the opera house where she and her team plan to create instant couture gowns tailor-made for a few lucky audience members…out of bed sheets.\u003c/p>\n\u003cp>But here’s what I’m personally most excited about: Professionals from the company are joining audience members on the dance floor after the main performance. After all, it’s not every day you get to boogie on down with ballet stars like Yuan Yuan Tan and Mathilde Froustey.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Ballet presents \u003cem>Sensorium\u003c/em> on Wednesday, Mar. 23 at the War Memorial Opera House in San Francisco. Head \u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Social Media Users Share Crying Tintin in Brussels Aftermath",
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"content": "\u003cp>A tearful, beloved cartoon adventurer, Tintin, quickly emerged as a symbol of solidarity in the chaotic aftermath of the Brussels bombings as social media users worldwide took to Facebook and other Web streams for check ins by loved ones potentially in harm’s way.\u003c/p>\n\u003cp>On Twitter, on Instagram and elsewhere around the internet, the red-haired reporter in his signature trench coat with his white dog Snowy — the creations of Belgian cartoonist Herge — were shared as shocked and saddened versions of their usually indomitable and irrepressible selves.\u003c/p>\n\u003cp>Some cartoonists drew “too soon” criticism for depicting the stars of the comic series The \u003cem>Adventures of Tintin\u003c/em> — made into a movie in 2011 by Steven Spielberg — as bloodied and battered.\u003c/p>\n\u003cp>Others on social media borrowed from the January 2015 Charlie Hebdo tragedy, using the hashtag #JeSuisBruxelles, or “I am Brussels,” just as those after the Paris attacks did when spreading the sentiment “JeSuisCharlie.”\u003c/p>\n\u003cp>Facebook, meanwhile, activated its “safety check” system yet again to help Tuesday within hours of the three deadly explosions at the Brussels airport and a metro station.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The system can provide an easy way for people to mark themselves as “safe” after a major disaster or crisis so that people searching for them will know they are unharmed. It has been used recently to help people communicate after major floods, earthquakes and other deadly attacks.\u003c/p>\n\u003cp>Facebook first deployed the service after the 2011 Fukushima tsunami and nuclear disaster in Japan. The company said it is still “working through” how and when it should be used. It was activated six times last year, providing notifications to more than 950 million people.\u003c/p>\n\u003cp>The Tintin cartoon books have been translated into 70-plus languages, from Chinese to Armenian, English to Spanish, just as social media users are lending their languages and voices of outrage, fear, defiance and concern to the cacophony following the blasts in Brussels.\u003c/p>\n\u003cp>The books have sold in the tens of millions of copies, but only in Belgium has the fearless reporter and his dog been ingrained in the DNA of most youngsters since the 1950s. Herge died in 1983 and is considered a national treasure in his native Belgium.\u003c/p>\n\u003cp>A more popular version of the Tintin meme in response to the explosions has him shedding a single tear as he hovers over a newspaper with a headline about the explosions, pal Snowy shaking nearby. Tintin utters “Mon Dieu,” or “My God.”\u003c/p>\n\u003cp>Accompanying Tintin in the flood of social media sentiment were altered images of Manneken Pis, a bronze statue of a naked boy urinating into a fountain’s basin not far from Brussels Town Hall.\u003c/p>\n\u003cp>One showed the boy as a simple red line drawing against a black background as he urinated from on high onto a machine gun. Another had him doing the same on taped-together sticks of dynamite with the words: “Pis and Love,” a peace sign drawn into the letter o.\u003c/p>\n\u003cp>The boy, dating to around 1619, was created by Brussels sculptor Hieronimus Duquesnoy the Elder. He’s the father of sculptor François Duquesnoy. The statue has been repeatedly stolen and replaced. It is dressed in costumes on a regular weekly schedule, his wardrobe of several hundred outfits permanently housed in a museum.\u003c/p>\n\u003cp>Elsewhere around the Web, kind-hearted Belgians were tweeting offers of shelter to stranded travelers using the hashtag “PorteOuverte” or “OpenHouse” for non-French speakers. One in Antwerp threw in “food and Belgian beers for 1-3 people.”\u003c/p>\n\u003cp>Others taking to social media found comfort in sharing YouTube clips, photos and drawings of another famous figure in Belgium, singer-songwriter-actor Jacques Brel, who was known for his soothing ballads.\u003c/p>\n\u003cp>The straightforward hashtag “Brussels” continued with “JeSuisBruxelles” through the day on Twitter around the world, also accompanied by “PrayForBelgium.” Comment threads included “Tous Ensemble,” or “All Together,” but some social media users were more defiant.\u003c/p>\n\u003cp>An image of a cluster of Belgium’s famous “frites,” with one French fry standing above the others in a middle-finger salute, was accompanied by “I dont pray #jesuisbelge,” the latter for “I Am Belgian.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Raf Casert in Brussels and Brandon Bailey in San Francisco contributed to this report.\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>\u003cp>A tearful, beloved cartoon adventurer, Tintin, quickly emerged as a symbol of solidarity in the chaotic aftermath of the Brussels bombings as social media users worldwide took to Facebook and other Web streams for check ins by loved ones potentially in harm’s way.\u003c/p>\n\u003cp>On Twitter, on Instagram and elsewhere around the internet, the red-haired reporter in his signature trench coat with his white dog Snowy — the creations of Belgian cartoonist Herge — were shared as shocked and saddened versions of their usually indomitable and irrepressible selves.\u003c/p>\n\u003cp>Some cartoonists drew “too soon” criticism for depicting the stars of the comic series The \u003cem>Adventures of Tintin\u003c/em> — made into a movie in 2011 by Steven Spielberg — as bloodied and battered.\u003c/p>\n\u003cp>Others on social media borrowed from the January 2015 Charlie Hebdo tragedy, using the hashtag #JeSuisBruxelles, or “I am Brussels,” just as those after the Paris attacks did when spreading the sentiment “JeSuisCharlie.”\u003c/p>\n\u003cp>Facebook, meanwhile, activated its “safety check” system yet again to help Tuesday within hours of the three deadly explosions at the Brussels airport and a metro station.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The system can provide an easy way for people to mark themselves as “safe” after a major disaster or crisis so that people searching for them will know they are unharmed. It has been used recently to help people communicate after major floods, earthquakes and other deadly attacks.\u003c/p>\n\u003cp>Facebook first deployed the service after the 2011 Fukushima tsunami and nuclear disaster in Japan. The company said it is still “working through” how and when it should be used. It was activated six times last year, providing notifications to more than 950 million people.\u003c/p>\n\u003cp>The Tintin cartoon books have been translated into 70-plus languages, from Chinese to Armenian, English to Spanish, just as social media users are lending their languages and voices of outrage, fear, defiance and concern to the cacophony following the blasts in Brussels.\u003c/p>\n\u003cp>The books have sold in the tens of millions of copies, but only in Belgium has the fearless reporter and his dog been ingrained in the DNA of most youngsters since the 1950s. Herge died in 1983 and is considered a national treasure in his native Belgium.\u003c/p>\n\u003cp>A more popular version of the Tintin meme in response to the explosions has him shedding a single tear as he hovers over a newspaper with a headline about the explosions, pal Snowy shaking nearby. Tintin utters “Mon Dieu,” or “My God.”\u003c/p>\n\u003cp>Accompanying Tintin in the flood of social media sentiment were altered images of Manneken Pis, a bronze statue of a naked boy urinating into a fountain’s basin not far from Brussels Town Hall.\u003c/p>\n\u003cp>One showed the boy as a simple red line drawing against a black background as he urinated from on high onto a machine gun. Another had him doing the same on taped-together sticks of dynamite with the words: “Pis and Love,” a peace sign drawn into the letter o.\u003c/p>\n\u003cp>The boy, dating to around 1619, was created by Brussels sculptor Hieronimus Duquesnoy the Elder. He’s the father of sculptor François Duquesnoy. The statue has been repeatedly stolen and replaced. It is dressed in costumes on a regular weekly schedule, his wardrobe of several hundred outfits permanently housed in a museum.\u003c/p>\n\u003cp>Elsewhere around the Web, kind-hearted Belgians were tweeting offers of shelter to stranded travelers using the hashtag “PorteOuverte” or “OpenHouse” for non-French speakers. One in Antwerp threw in “food and Belgian beers for 1-3 people.”\u003c/p>\n\u003cp>Others taking to social media found comfort in sharing YouTube clips, photos and drawings of another famous figure in Belgium, singer-songwriter-actor Jacques Brel, who was known for his soothing ballads.\u003c/p>\n\u003cp>The straightforward hashtag “Brussels” continued with “JeSuisBruxelles” through the day on Twitter around the world, also accompanied by “PrayForBelgium.” Comment threads included “Tous Ensemble,” or “All Together,” but some social media users were more defiant.\u003c/p>\n\u003cp>An image of a cluster of Belgium’s famous “frites,” with one French fry standing above the others in a middle-finger salute, was accompanied by “I dont pray #jesuisbelge,” the latter for “I Am Belgian.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Raf Casert in Brussels and Brandon Bailey in San Francisco contributed to this report.\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": "More Than Mosh Pits, ‘Void California’ Displays the Art of a Punk Scene",
"headTitle": "More Than Mosh Pits, ‘Void California’ Displays the Art of a Punk Scene | KQED",
"content": "\u003cp>Punk rock is a rare music genre. It becomes the identity of its fans; they don’t just listen to punk, they become punks, and many stay that way well into adulthood.\u003c/p>\n\u003cp>I became a punk at 12. Two decades later, I still rock black-and-white band t-shirts and walk around with my headphones on, the Misfits and Black Flag blasting in my ears.\u003c/p>\n\u003cp>The magic of being punk is that it licenses a certain freedom from social norms. Thinking back to the moment when I realized I could just do what I wanted still feels as freeing and uplifting now as it did back then. The power and drive that freedom inspires on full display in the show \u003ci>Void California: 1975-1989\u003c/i>, curated by CCA’s graduating curatorial practice class at the \u003ca href=\"http://www.wattis.org/index?alt=1\" target=\"_blank\" rel=\"noopener\">Wattis Institute\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11427186\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11427186\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_1543-885x1180.jpg\" alt=\"Raymond Pettibon, 'Untitled' (I thought California would be different), 1989\" width=\"480\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543.jpg 1980w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Raymond Pettibon, ‘Untitled’ (I thought California would be different), 1989 \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The core of the punk ethos is “just go for it,” an attitude demonstrated in the prolific output of Raymond Pettibon, patron saint of punk art. His zines, paintings and drawings dominate the \u003cem>Void California \u003c/em>show, but with good reason. Pettibon’s work for Black Flag is iconic, and his style — menacing ink figures accompanied by disjointed phrases — conveyed the urban experience during a dangerous and desperate time.\u003c/p>\n\u003cp>The exhibit paints a comprehensive picture of what the spectrum of punk art looked like in the 14 years represented. On one side is the work intended to shock: the graphic photography of \u003ci>Vile\u003c/i> magazine and the crude, Ralph Steadman-like drawings of Fred Tomaselli.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other reaction-causing work — inciting fear instead of disgust — comes from \u003ca href=\"http://www.srl.org/\" target=\"_blank\" rel=\"noopener\">Survival Research Laboratories\u003c/a>, whose performances featured destructive, threatening machines smashing objects and lots (and I mean \u003cem>lots\u003c/em>) of fire. Their performances, which occurred in random parking lots, were described as both scary and exhilarating by those who saw them.\u003c/p>\n\u003cfigure id=\"attachment_11427184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11427184 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_1564-800x600.jpg\" alt=\"Bruce Kalberg, 'Su Tissue (Suburban Lawns),' 1984.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Kalberg, ‘Su Tissue (Suburban Lawns),’ 1984. \u003ccite>(Photo: Courtesy of Ewa Wojciak/Yes Press Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The majority of the work in \u003cem>Void California\u003c/em> comes from the other side of the spectrum, from artists seeking not to shock, but to make thought-provoking work. Photography by Ruby Ray and Bruce Kalberg would fit equally well into a “fine art” gallery exhibition, totally separate from its punk context. While Ray’s photos focus on characters in the San Francisco punk scene through a documentary lens that could belong to Lee Friedlander, Kalberg’s photos take LA’s most notable scenesters and portray them as rare, beautiful creatures caught in the wild. His shot of Screamers’ vocalist Tomato du Plenty in a spiky tribal outfit will burn into your consciousness like a sun flare.\u003c/p>\n\u003cp>While about half of the exhibition is art, the other half is made up of museum-worthy artifacts. Televisions screen short but influential documentaries from filmmakers like Joe “Target Video” Rees — namely his footage of the psychobilly kings the Cramps \u003ca href=\"https://www.youtube.com/watch?v=Fat2rswNJ1k\" target=\"_blank\" rel=\"noopener\">playing Napa Mental State Hospital\u003c/a> and former-Dead Kennedys frontman Jello Biafra’s San Francisco mayoral campaign.\u003c/p>\n\u003cp>Greta Snider’s schizophrenic 5-minute-long \u003ci>Hard Core Home Movie\u003c/i> is also well worth a viewing. The 16mm footage comes from the infamous San Francisco venue The Farm, a no-holds-barred punk venue, the likes of which would never be allowed to exist today.\u003c/p>\n\u003cfigure id=\"attachment_11427185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11427185 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_1545-800x600.jpg\" alt=\"Cameron Jamie, Screen shot from video compilation 'The Neotoma Tape,' 1995.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cameron Jamie, Screen shot from video compilation ‘The Neotoma Tape,’ 1995. \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.negativland.com/news/\" target=\"_blank\" rel=\"noopener\">Negativland\u003c/a>, Bay Area tape wizards known mostly for their \u003ca href=\"http://ww2.kqed.org/arts/2014/10/28/negativland-is-still-cultural-jamming-taking-on-our-masters/\" target=\"_blank\" rel=\"noopener\">far-from-subtle political commentary\u003c/a> and their pranks on the media (or \u003ca href=\"http://ww2.kqed.org/arts/2014/06/17/negativland-provides-tracks-for-infamous-single-asks-fans-to-remix/\" target=\"_blank\" rel=\"noopener\">whoever else they don’t like\u003c/a>), provide artifacts from \u003ci>A 10-8 Place,\u003c/i> their landmark concept album about life in Contra Costa County. Not only does the exhibition include a few of the hundreds of tape reels used to make the album, a vitrine holds a sampling of the grass clippings Negativland stuffed in each record they pressed.\u003c/p>\n\u003cp>For any casual gallery-goer, \u003ci>Void California\u003c/i> succeeds in proving the artistic merit of punk-made art from a pivotal moment in the state’s cultural history. But those who will appreciate this collection the most are the punk fans who seek to ingest any and all memorabilia from the genre that changed their lives.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Void California: 1975-1989\u003c/b> is on view at the CCA Wattis Institute for Contemporary Arts in San Francisco until April 9. Admission is free and gallery hours vary; for more information, visit \u003ca href=\"http://www.wattis.org/view?id=4,305\" target=\"_blank\" rel=\"noopener\">wattis.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "An exhibit at the Wattis Institute captures the fearless, almost impatient drive of California's punk artists of the '70s and '80s.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Punk rock is a rare music genre. It becomes the identity of its fans; they don’t just listen to punk, they become punks, and many stay that way well into adulthood.\u003c/p>\n\u003cp>I became a punk at 12. Two decades later, I still rock black-and-white band t-shirts and walk around with my headphones on, the Misfits and Black Flag blasting in my ears.\u003c/p>\n\u003cp>The magic of being punk is that it licenses a certain freedom from social norms. Thinking back to the moment when I realized I could just do what I wanted still feels as freeing and uplifting now as it did back then. The power and drive that freedom inspires on full display in the show \u003ci>Void California: 1975-1989\u003c/i>, curated by CCA’s graduating curatorial practice class at the \u003ca href=\"http://www.wattis.org/index?alt=1\" target=\"_blank\" rel=\"noopener\">Wattis Institute\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11427186\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11427186\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_1543-885x1180.jpg\" alt=\"Raymond Pettibon, 'Untitled' (I thought California would be different), 1989\" width=\"480\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1543.jpg 1980w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Raymond Pettibon, ‘Untitled’ (I thought California would be different), 1989 \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The core of the punk ethos is “just go for it,” an attitude demonstrated in the prolific output of Raymond Pettibon, patron saint of punk art. His zines, paintings and drawings dominate the \u003cem>Void California \u003c/em>show, but with good reason. Pettibon’s work for Black Flag is iconic, and his style — menacing ink figures accompanied by disjointed phrases — conveyed the urban experience during a dangerous and desperate time.\u003c/p>\n\u003cp>The exhibit paints a comprehensive picture of what the spectrum of punk art looked like in the 14 years represented. On one side is the work intended to shock: the graphic photography of \u003ci>Vile\u003c/i> magazine and the crude, Ralph Steadman-like drawings of Fred Tomaselli.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other reaction-causing work — inciting fear instead of disgust — comes from \u003ca href=\"http://www.srl.org/\" target=\"_blank\" rel=\"noopener\">Survival Research Laboratories\u003c/a>, whose performances featured destructive, threatening machines smashing objects and lots (and I mean \u003cem>lots\u003c/em>) of fire. Their performances, which occurred in random parking lots, were described as both scary and exhilarating by those who saw them.\u003c/p>\n\u003cfigure id=\"attachment_11427184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11427184 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_1564-800x600.jpg\" alt=\"Bruce Kalberg, 'Su Tissue (Suburban Lawns),' 1984.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1564-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Kalberg, ‘Su Tissue (Suburban Lawns),’ 1984. \u003ccite>(Photo: Courtesy of Ewa Wojciak/Yes Press Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The majority of the work in \u003cem>Void California\u003c/em> comes from the other side of the spectrum, from artists seeking not to shock, but to make thought-provoking work. Photography by Ruby Ray and Bruce Kalberg would fit equally well into a “fine art” gallery exhibition, totally separate from its punk context. While Ray’s photos focus on characters in the San Francisco punk scene through a documentary lens that could belong to Lee Friedlander, Kalberg’s photos take LA’s most notable scenesters and portray them as rare, beautiful creatures caught in the wild. His shot of Screamers’ vocalist Tomato du Plenty in a spiky tribal outfit will burn into your consciousness like a sun flare.\u003c/p>\n\u003cp>While about half of the exhibition is art, the other half is made up of museum-worthy artifacts. Televisions screen short but influential documentaries from filmmakers like Joe “Target Video” Rees — namely his footage of the psychobilly kings the Cramps \u003ca href=\"https://www.youtube.com/watch?v=Fat2rswNJ1k\" target=\"_blank\" rel=\"noopener\">playing Napa Mental State Hospital\u003c/a> and former-Dead Kennedys frontman Jello Biafra’s San Francisco mayoral campaign.\u003c/p>\n\u003cp>Greta Snider’s schizophrenic 5-minute-long \u003ci>Hard Core Home Movie\u003c/i> is also well worth a viewing. The 16mm footage comes from the infamous San Francisco venue The Farm, a no-holds-barred punk venue, the likes of which would never be allowed to exist today.\u003c/p>\n\u003cfigure id=\"attachment_11427185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11427185 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_1545-800x600.jpg\" alt=\"Cameron Jamie, Screen shot from video compilation 'The Neotoma Tape,' 1995.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_1545-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cameron Jamie, Screen shot from video compilation ‘The Neotoma Tape,’ 1995. \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.negativland.com/news/\" target=\"_blank\" rel=\"noopener\">Negativland\u003c/a>, Bay Area tape wizards known mostly for their \u003ca href=\"http://ww2.kqed.org/arts/2014/10/28/negativland-is-still-cultural-jamming-taking-on-our-masters/\" target=\"_blank\" rel=\"noopener\">far-from-subtle political commentary\u003c/a> and their pranks on the media (or \u003ca href=\"http://ww2.kqed.org/arts/2014/06/17/negativland-provides-tracks-for-infamous-single-asks-fans-to-remix/\" target=\"_blank\" rel=\"noopener\">whoever else they don’t like\u003c/a>), provide artifacts from \u003ci>A 10-8 Place,\u003c/i> their landmark concept album about life in Contra Costa County. Not only does the exhibition include a few of the hundreds of tape reels used to make the album, a vitrine holds a sampling of the grass clippings Negativland stuffed in each record they pressed.\u003c/p>\n\u003cp>For any casual gallery-goer, \u003ci>Void California\u003c/i> succeeds in proving the artistic merit of punk-made art from a pivotal moment in the state’s cultural history. But those who will appreciate this collection the most are the punk fans who seek to ingest any and all memorabilia from the genre that changed their lives.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Void California: 1975-1989\u003c/b> is on view at the CCA Wattis Institute for Contemporary Arts in San Francisco until April 9. Admission is free and gallery hours vary; for more information, visit \u003ca href=\"http://www.wattis.org/view?id=4,305\" target=\"_blank\" rel=\"noopener\">wattis.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "taraneh-hemami-creates-a-sense-of-place-for-displaced-iranians",
"title": "Taraneh Hemami Creates a Sense of Place for Displaced Iranians",
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"headTitle": "Taraneh Hemami Creates a Sense of Place for Displaced Iranians | KQED",
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"content": "\u003cp>Visual artist and curator \u003ca href=\"http://www.taranehhemami.com/\" target=\"_blank\" rel=\"noopener\">Taraneh Hemami\u003c/a> found herself at a crossroads after moving from Tehran, Iran to the U.S. to attend college nearly 30 years ago.\u003c/p>\n\u003cp>“After the first decade, I wanted to go home,” Hemami says. “But my dad died by the second decade, and it became clear that I was going to stay.”\u003c/p>\n\u003cfigure id=\"attachment_11424515\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11424515 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/taraneh-dad-800x560.jpg\" alt=\"Hemami and her father pose for a picture at a teahouse in Qom, Iran during her visit in 1990\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-dad.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-dad-400x280.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-dad-768x538.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hemami and her father pose for a picture at a teahouse in Qom, Iran during her visit in 1990 \u003ccite>(Courtesy of Taraneh Hemami.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time when her adoptive home has become rife with Islamophobic rhetoric and polarized views on the Muslim community, Hemami’s decision to stay in the U.S. and create work that facilitates difficult but necessary conversations around those conflicts has become all the more important.\u003c/p>\n\u003cp>“What really makes Taraneh unique is that she bridges the Iranian and American parts of our identity,” says Torange Yeghiazarian, executive director of \u003ca href=\"http://www.goldenthread.org/\" target=\"_blank\" rel=\"noopener\">Golden Thread Productions\u003c/a>, a San Francisco-based performing arts company focused on Middle Eastern work. “Other artists are more traditional or insular, but she’s active and present and brings more visibility to our community.”\u003c/p>\n\u003cp>While Hemami’s migration to the U.S. strongly informs her body of work, she says a brief visit to Iran in 1990 altered the focus and influences behind her art.\u003c/p>\n\u003cfigure id=\"attachment_11424518\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11424518\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/taraneh-old-800x542.jpg\" alt=\"Hemami, pictured at 17 before moving to Oregon for college (left) and in her green card photo (right).\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-old.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-old-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-old-768x520.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hemami, pictured at 17 before moving to Oregon for college (left) and in her green card photo (right). \u003ccite>(Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was immersed in my culture and I got to visit historic sites that renewed my interest in Islamic architecture and arts,” Hemami says. “At the same time, I was immersed in the family narrative again, and I was inspired by the traditions being handed down by women from each generation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hemami’s trip inspired \u003ca href=\"http://www.taranehhemami.com/sacred-space\" target=\"_blank\" rel=\"noopener\">\u003ci>Sacred Space\u003c/i>\u003c/a>, a project focused on giving voice to women, something she saw was lacking in Iran and the Iranian community in the U.S. The work features memories and wishes collected from women by the artist. The women’s sayings are wrapped around a shrine-like structure and tiled on small cleansing pools inspired by mosques.\u003c/p>\n\u003cfigure id=\"attachment_11423650\" class=\"wp-caption alignnone\" style=\"max-width: 741px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423650\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/pool-741x600.jpg\" alt=\"Hemami's "Sacred Space" installation at San Francisco's The Lab featured women's stories embedded into mosque architectures.\" width=\"741\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool-741x600.jpg 741w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool.jpg 800w\" sizes=\"(max-width: 741px) 100vw, 741px\">\u003cfigcaption class=\"wp-caption-text\">Hemami’s “Sacred Space” installation at San Francisco’s The Lab featured women’s stories embedded into mosque architectures. \u003ccite>(Photo: Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to deeply personal pieces like \u003cem>Sacred Space\u003c/em>, Hemami also creates works about the experiences of the broader Middle Eastern community. “Multiplicity is what I’m interested in; it’s important to reflect the complexity and diversity of the community,” Hemami says. “I wanted to deny the singular image of Arabs and Iranians in the media.”\u003c/p>\n\u003cp>For her project \u003ca href=\"https://www.taranehhemami.com/hall-of-reflections-2000-present%E2%80%9D\" target=\"_blank\" rel=\"noopener\">\u003ci>Hall of Reflections\u003c/i>\u003c/a>, Hemami collected photographs and letters from individuals to create collages representative of the group’s historical displacement after the Iranian revolution. “I created it post-9/11, when gathering spaces became especially important for people,” Hemami says. “I worked off archives from the community to give historical and personal context to the project. It allowed us to talk about who we are.”\u003c/p>\n\u003cfigure id=\"attachment_11423651\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423651\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/poolstuff-800x594.jpg\" alt=\""Ruins", one of the pieces in Hemami's "Hall of Reflections" project, is a collection of personal photographs and stories from Iranian immigrants.\" width=\"800\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolstuff.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolstuff-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolstuff-768x570.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ruins”, one of the pieces in Hemami’s “Hall of Reflections” project, is a collection of personal photographs and stories from Iranian immigrants. \u003ccite>(Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Works that address collective mourning and the reconstruction of histories, such as those by sculptor \u003ca href=\"http://whitecube.com/artists/doris_salcedo/\" target=\"_blank\" rel=\"noopener\">Doris Salcedo\u003c/a> and media artist \u003ca href=\"http://www.theatlasgroup.org/\" target=\"_blank\" rel=\"noopener\">Walid Raad\u003c/a>, serve as inspiration for Hemami, who holds a deep fascination for community art-making and participatory work.\u003c/p>\n\u003cp>For her most recent project \u003ca href=\"//www.taranehhemami.com/theory-of-survival%E2%80%9D\" target=\"”_blank”\" rel=\"noopener\">\u003ci>Theory of Survival\u003c/i>\u003c/a>, Hemami invited Californian artists and scholars to interpret and respond to material from the historical archives of the Iranian Students Association of Northern California, an anti-Shah student organization inspired by international anti-colonial movements in the 1960s and 70s. Together, the participants created art pieces exploring the violent history of dissent and radical movements in the Iranian community through varying mediums, like glass, textiles and digital photography.\u003c/p>\n\u003cfigure id=\"attachment_11423652\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423652\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/poolwall-800x528.jpg\" alt=\""Theory of Survival", Hemami's recent work, explores the history of dissent in the Iranian community.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolwall.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolwall-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolwall-768x507.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Theory of Survival”, Hemami’s recent work, explores the history of dissent in the Iranian community. \u003ccite>(Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as it taps into the community, Hemami’s work also provides the artist with a medium to come to terms with her own displacement. “The project started with me having lost stories of my family after being away for nearly 20 years,” Hemami says. “But being on the public platform invites me to do something more than personal reflections. My art practice, my teaching practice, my activism, and my community organizing are merging into one.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Visual artist and curator \u003ca href=\"http://www.taranehhemami.com/\" target=\"_blank\" rel=\"noopener\">Taraneh Hemami\u003c/a> found herself at a crossroads after moving from Tehran, Iran to the U.S. to attend college nearly 30 years ago.\u003c/p>\n\u003cp>“After the first decade, I wanted to go home,” Hemami says. “But my dad died by the second decade, and it became clear that I was going to stay.”\u003c/p>\n\u003cfigure id=\"attachment_11424515\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11424515 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/taraneh-dad-800x560.jpg\" alt=\"Hemami and her father pose for a picture at a teahouse in Qom, Iran during her visit in 1990\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-dad.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-dad-400x280.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-dad-768x538.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hemami and her father pose for a picture at a teahouse in Qom, Iran during her visit in 1990 \u003ccite>(Courtesy of Taraneh Hemami.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time when her adoptive home has become rife with Islamophobic rhetoric and polarized views on the Muslim community, Hemami’s decision to stay in the U.S. and create work that facilitates difficult but necessary conversations around those conflicts has become all the more important.\u003c/p>\n\u003cp>“What really makes Taraneh unique is that she bridges the Iranian and American parts of our identity,” says Torange Yeghiazarian, executive director of \u003ca href=\"http://www.goldenthread.org/\" target=\"_blank\" rel=\"noopener\">Golden Thread Productions\u003c/a>, a San Francisco-based performing arts company focused on Middle Eastern work. “Other artists are more traditional or insular, but she’s active and present and brings more visibility to our community.”\u003c/p>\n\u003cp>While Hemami’s migration to the U.S. strongly informs her body of work, she says a brief visit to Iran in 1990 altered the focus and influences behind her art.\u003c/p>\n\u003cfigure id=\"attachment_11424518\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11424518\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/taraneh-old-800x542.jpg\" alt=\"Hemami, pictured at 17 before moving to Oregon for college (left) and in her green card photo (right).\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-old.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-old-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/taraneh-old-768x520.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hemami, pictured at 17 before moving to Oregon for college (left) and in her green card photo (right). \u003ccite>(Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was immersed in my culture and I got to visit historic sites that renewed my interest in Islamic architecture and arts,” Hemami says. “At the same time, I was immersed in the family narrative again, and I was inspired by the traditions being handed down by women from each generation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hemami’s trip inspired \u003ca href=\"http://www.taranehhemami.com/sacred-space\" target=\"_blank\" rel=\"noopener\">\u003ci>Sacred Space\u003c/i>\u003c/a>, a project focused on giving voice to women, something she saw was lacking in Iran and the Iranian community in the U.S. The work features memories and wishes collected from women by the artist. The women’s sayings are wrapped around a shrine-like structure and tiled on small cleansing pools inspired by mosques.\u003c/p>\n\u003cfigure id=\"attachment_11423650\" class=\"wp-caption alignnone\" style=\"max-width: 741px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423650\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/pool-741x600.jpg\" alt=\"Hemami's "Sacred Space" installation at San Francisco's The Lab featured women's stories embedded into mosque architectures.\" width=\"741\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool-741x600.jpg 741w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/pool.jpg 800w\" sizes=\"(max-width: 741px) 100vw, 741px\">\u003cfigcaption class=\"wp-caption-text\">Hemami’s “Sacred Space” installation at San Francisco’s The Lab featured women’s stories embedded into mosque architectures. \u003ccite>(Photo: Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to deeply personal pieces like \u003cem>Sacred Space\u003c/em>, Hemami also creates works about the experiences of the broader Middle Eastern community. “Multiplicity is what I’m interested in; it’s important to reflect the complexity and diversity of the community,” Hemami says. “I wanted to deny the singular image of Arabs and Iranians in the media.”\u003c/p>\n\u003cp>For her project \u003ca href=\"https://www.taranehhemami.com/hall-of-reflections-2000-present%E2%80%9D\" target=\"_blank\" rel=\"noopener\">\u003ci>Hall of Reflections\u003c/i>\u003c/a>, Hemami collected photographs and letters from individuals to create collages representative of the group’s historical displacement after the Iranian revolution. “I created it post-9/11, when gathering spaces became especially important for people,” Hemami says. “I worked off archives from the community to give historical and personal context to the project. It allowed us to talk about who we are.”\u003c/p>\n\u003cfigure id=\"attachment_11423651\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423651\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/poolstuff-800x594.jpg\" alt=\""Ruins", one of the pieces in Hemami's "Hall of Reflections" project, is a collection of personal photographs and stories from Iranian immigrants.\" width=\"800\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolstuff.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolstuff-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolstuff-768x570.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ruins”, one of the pieces in Hemami’s “Hall of Reflections” project, is a collection of personal photographs and stories from Iranian immigrants. \u003ccite>(Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Works that address collective mourning and the reconstruction of histories, such as those by sculptor \u003ca href=\"http://whitecube.com/artists/doris_salcedo/\" target=\"_blank\" rel=\"noopener\">Doris Salcedo\u003c/a> and media artist \u003ca href=\"http://www.theatlasgroup.org/\" target=\"_blank\" rel=\"noopener\">Walid Raad\u003c/a>, serve as inspiration for Hemami, who holds a deep fascination for community art-making and participatory work.\u003c/p>\n\u003cp>For her most recent project \u003ca href=\"//www.taranehhemami.com/theory-of-survival%E2%80%9D\" target=\"”_blank”\" rel=\"noopener\">\u003ci>Theory of Survival\u003c/i>\u003c/a>, Hemami invited Californian artists and scholars to interpret and respond to material from the historical archives of the Iranian Students Association of Northern California, an anti-Shah student organization inspired by international anti-colonial movements in the 1960s and 70s. Together, the participants created art pieces exploring the violent history of dissent and radical movements in the Iranian community through varying mediums, like glass, textiles and digital photography.\u003c/p>\n\u003cfigure id=\"attachment_11423652\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423652\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/poolwall-800x528.jpg\" alt=\""Theory of Survival", Hemami's recent work, explores the history of dissent in the Iranian community.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolwall.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolwall-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/poolwall-768x507.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Theory of Survival”, Hemami’s recent work, explores the history of dissent in the Iranian community. \u003ccite>(Courtesy of Taraneh Hemami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as it taps into the community, Hemami’s work also provides the artist with a medium to come to terms with her own displacement. “The project started with me having lost stories of my family after being away for nearly 20 years,” Hemami says. “But being on the public platform invites me to do something more than personal reflections. My art practice, my teaching practice, my activism, and my community organizing are merging into one.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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