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Quite a big one: Dalí spent his summers at Monterey’s Hotel Del Monte over seven years in the 1940s, when he wasn’t shuttling back and forth between New York and Hollywood.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/251447185″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“There is a real significant connection between Monterey and Salvador Dalí,” says Marc Del Piero, a longtime board member for the \u003ca href=\"http://www.seemonterey.com/listings/monterey-history-%26-art-association/869/\" target=\"_blank\" rel=\"noopener\">Monterey History and Art Association\u003c/a>, which among other things, runs a museum at the foot of Fisherman’s Wharf.\u003c/p>\n\u003cp>Del Piero says public interest in things like its extensive maritime collection has been fading for years. “If what you’re selling no one wants to buy, you either need to change what you’re selling or plan on going out of business. And we’ve been around for nine decades. We’re not going out of business.”\u003c/p>\n\u003cfigure id=\"attachment_11397560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11397560 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18788_StantonCenter-qut-800x600.jpg\" alt=\"As it is now, even board members acknowledge tourists often walk right past the Museum of Monterey.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18788_StantonCenter-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18788_StantonCenter-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18788_StantonCenter-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18788_StantonCenter-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18788_StantonCenter-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18788_StantonCenter-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As it is now, even board members acknowledge tourists often walk right past the Museum of Monterey. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We knew we had to do something new and innovative,” association president Larry Chavez added. “Something that would grab tourists.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Highlighting local history is part of the organization’s mission, so when the board put out a request for proposals to remake the museum, they were taken with a pitch put forward by a Pebble Beach resident. Russian-born real estate investor Dmitry Piterman has a massive collection of work from Salvador Dalí — perhaps his personal passion could dovetail neatly with the museum’s institutional needs?\u003c/p>\n\u003cfigure id=\"attachment_11397439\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11397439\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Dali_5-e1457735187315-800x451.jpg\" alt=\"Dmitry Piterman, a real estate investor who splits his time between Pebble Beach and Oakland, has amassed the West Coast's biggest collection of works by Salvador Dali.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dali_5-e1457735187315-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dali_5-e1457735187315-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dali_5-e1457735187315-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dali_5-e1457735187315-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dali_5-e1457735187315-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dali_5-e1457735187315.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dmitry Piterman, a real estate investor who splits his time between Pebble Beach and Oakland, has amassed the West Coast’s biggest collection of works by Salvador Dali. \u003ccite>(Photo: Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piterman has been obsessed with Dalí since he was a college student at UC Berkeley. On a date one night, he wandered into a San Francisco art gallery and encountered the Dalí oil painting “Soft Construction with Boiled Beans.”\u003c/p>\n\u003cp>That painting anticipates the onset of the Spanish Civil War. Disjointed body parts clutch each other in a desperate wrestling match against a cloudy Catalonian sky. Dalí himself described it as “monstrous excrescences of arms and legs tearing at one another in a delirium of auto-strangulation.”\u003c/p>\n\u003cp>“It almost was borderline grotesque,” Piterman recalls. “The styling and the craftsmanship was really amazing, and it kinda make you stop and think. You know? What is he trying to say?”\u003c/p>\n\u003cp>The college student didn’t have money then, but Piterman began to study Dalí. He vacationed in Spain, and visited Figueres, Dalí’s birthplace and home to the foremost \u003ca href=\"http://www.salvador-dali.org/museus/teatre-museu-dali/en_index/\" target=\"_blank\" rel=\"noopener\">museum\u003c/a> of his work. As he did make money, Piterman moved to Spain and started to collect artwork. He collected everything he could get his hands on, but found the paintings expensive and often unattainable, locked up in museums and private collections.\u003c/p>\n\u003cp>But Dalí was prolific. He left a wealth of etchings, lithographs, sculptures and tapestries. There are more than 540 items in Piterman’s collection, and he’s not done yet. It’s the largest collection in the US outside of the \u003ca href=\"http://thedali.org/\" target=\"_blank\" rel=\"noopener\">Salvador Dalí Museum\u003c/a> in St. Petersburg, Florida.\u003c/p>\n\u003cfigure id=\"attachment_11397563\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11397563 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18789_Dali_7-qut.jpg\" alt='\"Asi las fastidia,\" a reworking of Francisco Goya by Salvador Dalí.' width=\"1200\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18789_Dali_7-qut.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18789_Dali_7-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18789_Dali_7-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18789_Dali_7-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18789_Dali_7-qut-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18789_Dali_7-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18789_Dali_7-qut-960x1280.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">“Asi las fastidia,” a reworking of Francisco Goya by Salvador Dalí. \u003ccite>(Photo: Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By Piterman’s own estimation, collection highlights include a print of Dalí’s most famous painting, \u003cem>\u003ca href=\"https://www.moma.org/learn/moma_learning/1168-2\" target=\"_blank\" rel=\"noopener\">The Persistence of Memory\u003c/a>\u003c/em>, as well as a provocative series of reworkings of Goya. “It’s not really plagiarism,” says Piterman. “He modified them and made them Dalínian. Some of it is comical. Some of it is serious.”\u003c/p>\n\u003cp>Piterman says the most compelling aspect of his collection for him is its breadth. “You can see a significant change,” he explains, over the course of Dalí’s lifetime. “A radical and a rebel in the 1930s and 40s, Dalí became religious at the end. He also improved his craftsmanship. His attention to detail became more and more precise.”\u003c/p>\n\u003cp>Following Piterman’s return to the US from Spain in 2007, he talked with people at UC Berkeley about housing \u003cem>some\u003c/em> of his growing collection. But he found at the Museum of Monterey he could take over the whole building and even rename it.\u003c/p>\n\u003cp>The old collection isn’t being decommissioned; just farmed out to places like the \u003ca href=\"http://www.nps.gov/safr/index.htm\" target=\"_blank\" rel=\"noopener\">San Francisco Maritime Museum\u003c/a>. This leaves the Museum of Monterey open to a complete remodel, financed by Piterman. There will be new paint, lighting, and flooring, but also a new concept to tie the building together.\u003c/p>\n\u003cfigure id=\"attachment_11397557\" class=\"wp-caption aligncenter\" style=\"max-width: 799px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11397557 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18786_Fraley_aerial_view_front_1920-qut.jpg\" alt=\"The Hotel Del Monte was a world-famous resort in Monterey that drew many celebrities, including Salvador Dalí. The US Navy purchased the property in 1942.\" width=\"799\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18786_Fraley_aerial_view_front_1920-qut.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18786_Fraley_aerial_view_front_1920-qut-400x242.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18786_Fraley_aerial_view_front_1920-qut-768x464.jpg 768w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003cfigcaption class=\"wp-caption-text\">The Hotel Del Monte was a world-famous resort in Monterey that drew many celebrities, including Salvador Dalí. The US Navy purchased the property in 1942. \u003ccite>(Photo: Courtesy of US Navy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piterman is still in preliminary meetings with contractors and artisans to come up with something befitting Dalí. “He was a provocateur: thinking outside the box, painting outside the box.” Piterman adds, “Every museum that houses Dalí work has kind of special look to it, from outside as well as inside.”\u003c/p>\n\u003cp>Piterman is particularly excited about the museum’s built-in theater. He anticipates a rotating playlist of documentaries and clips from the movies Dalí helped make. Dalí loved American pop culture. He worked for Walt Disney and Alfred Hitchcock. Among other things, Dalí designed the dream sequence in Alfred Hitchcock’s “Spellbound.”\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=ij7u61DTuRQ&w=420&h=315]\u003c/p>\n\u003cp>Dalí was also a regular on TV talk shows, including a visit to the Merv Griffin Show in 1965. For those who don’t want to watch the whole thing, let me excerpt a fun exchange.\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>\u003cstrong>Dalí: My work consists in the meticulous execution of my dreams.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Griffin: You dream your paintings.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dalí: Dalí dream in glorious technicolor! \u003c/strong>\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=AozSUIICbPc\u003c/p>\n\u003cp>Dalí’s penchant for showmanship, starting with his trademark curly cue mustache, makes it easy to dismiss just how radical many of his ideas were when first introduced. “Surrealism certainly influenced the emergency of abstract expressionism,” says Lila Staples Thorsen, an associate professor of art history at \u003ca href=\"https://csumb.edu/vpa\" target=\"_blank\" rel=\"noopener\">Cal State Monterey Bay\u003c/a>. “Rothko. Rauchenberg. So many of our mid-century greats were directly influenced by Dalí.”\u003c/p>\n\u003cp>Monterey, not so much. Though it celebrates many cultural luminaries from its past — John Steinbeck, Ed Ricketts, and Robert Louis Stevenson — Monterey has not claimed Dalí as one of its own.\u003c/p>\n\u003cp>Yet.\u003c/p>\n\u003cp>“This is a vibrant community in terms of art and culture,” Thorsen says. “For a fairly small area, we’ve got a terrific history, and a crowd of visitors and a crowd of residents that support the arts and are interested in the arts. So I think he [Piterman] could really make a go of it.”\u003c/p>\n\u003cp>It doesn’t hurt that Dadaism, a kissing cousin of Surrealism, is celebrating its \u003ca href=\"http://www.dadaworldfair.net/#cover-page\" target=\"_blank\" rel=\"noopener\">100\u003csup>th\u003c/sup> anniversary\u003c/a>, something that will generate events and press coverage this year, sparking a resurgence of public awareness for both movements.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Already, Dalí collectors are contacting Piterman and the Monterey History and Art Association to talk about loaning out pieces to the remade museum. Pieterman says he hopes to expand his collection, too, possibly with works that feature California subjects like Dalí’s 1970 series of the Golden Gate Bridge. If all goes smoothly, the museum in its new incarnation is expected to open in May, right around the anniversary of Dalí’s birthday on May 11.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Museum of Monterey is about to become home to the largest collection of works by Salvador Dalí on the West Coast. Does that sound bizarre? What connection, you ask, does the Spanish Surrealist painter have to this coastal city famous for sardines, fancy cars, and jazz? Quite a big one: Dalí spent his summers at Monterey’s Hotel Del Monte over seven years in the 1940s, when he wasn’t shuttling back and forth between New York and Hollywood.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/251447185″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/251447185″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“There is a real significant connection between Monterey and Salvador Dalí,” says Marc Del Piero, a longtime board member for the \u003ca href=\"http://www.seemonterey.com/listings/monterey-history-%26-art-association/869/\" target=\"_blank\" rel=\"noopener\">Monterey History and Art Association\u003c/a>, which among other things, runs a museum at the foot of Fisherman’s Wharf.\u003c/p>\n\u003cp>Del Piero says public interest in things like its extensive maritime collection has been fading for years. “If what you’re selling no one wants to buy, you either need to change what you’re selling or plan on going out of business. And we’ve been around for nine decades. We’re not going out of business.”\u003c/p>\n\u003cfigure id=\"attachment_11397560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11397560 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18788_StantonCenter-qut-800x600.jpg\" alt=\"As it is now, even board members acknowledge tourists often walk right past the Museum of Monterey.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18788_StantonCenter-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18788_StantonCenter-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18788_StantonCenter-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18788_StantonCenter-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18788_StantonCenter-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18788_StantonCenter-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As it is now, even board members acknowledge tourists often walk right past the Museum of Monterey. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We knew we had to do something new and innovative,” association president Larry Chavez added. “Something that would grab tourists.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Highlighting local history is part of the organization’s mission, so when the board put out a request for proposals to remake the museum, they were taken with a pitch put forward by a Pebble Beach resident. Russian-born real estate investor Dmitry Piterman has a massive collection of work from Salvador Dalí — perhaps his personal passion could dovetail neatly with the museum’s institutional needs?\u003c/p>\n\u003cfigure id=\"attachment_11397439\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11397439\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Dali_5-e1457735187315-800x451.jpg\" alt=\"Dmitry Piterman, a real estate investor who splits his time between Pebble Beach and Oakland, has amassed the West Coast's biggest collection of works by Salvador Dali.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dali_5-e1457735187315-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dali_5-e1457735187315-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dali_5-e1457735187315-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dali_5-e1457735187315-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dali_5-e1457735187315-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Dali_5-e1457735187315.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dmitry Piterman, a real estate investor who splits his time between Pebble Beach and Oakland, has amassed the West Coast’s biggest collection of works by Salvador Dali. \u003ccite>(Photo: Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piterman has been obsessed with Dalí since he was a college student at UC Berkeley. On a date one night, he wandered into a San Francisco art gallery and encountered the Dalí oil painting “Soft Construction with Boiled Beans.”\u003c/p>\n\u003cp>That painting anticipates the onset of the Spanish Civil War. Disjointed body parts clutch each other in a desperate wrestling match against a cloudy Catalonian sky. Dalí himself described it as “monstrous excrescences of arms and legs tearing at one another in a delirium of auto-strangulation.”\u003c/p>\n\u003cp>“It almost was borderline grotesque,” Piterman recalls. “The styling and the craftsmanship was really amazing, and it kinda make you stop and think. You know? What is he trying to say?”\u003c/p>\n\u003cp>The college student didn’t have money then, but Piterman began to study Dalí. He vacationed in Spain, and visited Figueres, Dalí’s birthplace and home to the foremost \u003ca href=\"http://www.salvador-dali.org/museus/teatre-museu-dali/en_index/\" target=\"_blank\" rel=\"noopener\">museum\u003c/a> of his work. As he did make money, Piterman moved to Spain and started to collect artwork. He collected everything he could get his hands on, but found the paintings expensive and often unattainable, locked up in museums and private collections.\u003c/p>\n\u003cp>But Dalí was prolific. He left a wealth of etchings, lithographs, sculptures and tapestries. There are more than 540 items in Piterman’s collection, and he’s not done yet. It’s the largest collection in the US outside of the \u003ca href=\"http://thedali.org/\" target=\"_blank\" rel=\"noopener\">Salvador Dalí Museum\u003c/a> in St. Petersburg, Florida.\u003c/p>\n\u003cfigure id=\"attachment_11397563\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11397563 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18789_Dali_7-qut.jpg\" alt='\"Asi las fastidia,\" a reworking of Francisco Goya by Salvador Dalí.' width=\"1200\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18789_Dali_7-qut.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18789_Dali_7-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18789_Dali_7-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18789_Dali_7-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18789_Dali_7-qut-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18789_Dali_7-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18789_Dali_7-qut-960x1280.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">“Asi las fastidia,” a reworking of Francisco Goya by Salvador Dalí. \u003ccite>(Photo: Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By Piterman’s own estimation, collection highlights include a print of Dalí’s most famous painting, \u003cem>\u003ca href=\"https://www.moma.org/learn/moma_learning/1168-2\" target=\"_blank\" rel=\"noopener\">The Persistence of Memory\u003c/a>\u003c/em>, as well as a provocative series of reworkings of Goya. “It’s not really plagiarism,” says Piterman. “He modified them and made them Dalínian. Some of it is comical. Some of it is serious.”\u003c/p>\n\u003cp>Piterman says the most compelling aspect of his collection for him is its breadth. “You can see a significant change,” he explains, over the course of Dalí’s lifetime. “A radical and a rebel in the 1930s and 40s, Dalí became religious at the end. He also improved his craftsmanship. His attention to detail became more and more precise.”\u003c/p>\n\u003cp>Following Piterman’s return to the US from Spain in 2007, he talked with people at UC Berkeley about housing \u003cem>some\u003c/em> of his growing collection. But he found at the Museum of Monterey he could take over the whole building and even rename it.\u003c/p>\n\u003cp>The old collection isn’t being decommissioned; just farmed out to places like the \u003ca href=\"http://www.nps.gov/safr/index.htm\" target=\"_blank\" rel=\"noopener\">San Francisco Maritime Museum\u003c/a>. This leaves the Museum of Monterey open to a complete remodel, financed by Piterman. There will be new paint, lighting, and flooring, but also a new concept to tie the building together.\u003c/p>\n\u003cfigure id=\"attachment_11397557\" class=\"wp-caption aligncenter\" style=\"max-width: 799px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11397557 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/RS18786_Fraley_aerial_view_front_1920-qut.jpg\" alt=\"The Hotel Del Monte was a world-famous resort in Monterey that drew many celebrities, including Salvador Dalí. The US Navy purchased the property in 1942.\" width=\"799\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18786_Fraley_aerial_view_front_1920-qut.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18786_Fraley_aerial_view_front_1920-qut-400x242.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/RS18786_Fraley_aerial_view_front_1920-qut-768x464.jpg 768w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003cfigcaption class=\"wp-caption-text\">The Hotel Del Monte was a world-famous resort in Monterey that drew many celebrities, including Salvador Dalí. The US Navy purchased the property in 1942. \u003ccite>(Photo: Courtesy of US Navy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piterman is still in preliminary meetings with contractors and artisans to come up with something befitting Dalí. “He was a provocateur: thinking outside the box, painting outside the box.” Piterman adds, “Every museum that houses Dalí work has kind of special look to it, from outside as well as inside.”\u003c/p>\n\u003cp>Piterman is particularly excited about the museum’s built-in theater. He anticipates a rotating playlist of documentaries and clips from the movies Dalí helped make. Dalí loved American pop culture. He worked for Walt Disney and Alfred Hitchcock. Among other things, Dalí designed the dream sequence in Alfred Hitchcock’s “Spellbound.”\u003c/p>\n\u003cp>\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/ij7u61DTuRQ'\n title='//www.youtube.com/embed/ij7u61DTuRQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dalí was also a regular on TV talk shows, including a visit to the Merv Griffin Show in 1965. For those who don’t want to watch the whole thing, let me excerpt a fun exchange.\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>\u003cstrong>Dalí: My work consists in the meticulous execution of my dreams.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Griffin: You dream your paintings.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dalí: Dalí dream in glorious technicolor! \u003c/strong>\u003c/em>\u003c/p>\u003c/blockquote>\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/AozSUIICbPc'\n title='//www.youtube.com/embed/AozSUIICbPc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dalí’s penchant for showmanship, starting with his trademark curly cue mustache, makes it easy to dismiss just how radical many of his ideas were when first introduced. “Surrealism certainly influenced the emergency of abstract expressionism,” says Lila Staples Thorsen, an associate professor of art history at \u003ca href=\"https://csumb.edu/vpa\" target=\"_blank\" rel=\"noopener\">Cal State Monterey Bay\u003c/a>. “Rothko. Rauchenberg. So many of our mid-century greats were directly influenced by Dalí.”\u003c/p>\n\u003cp>Monterey, not so much. Though it celebrates many cultural luminaries from its past — John Steinbeck, Ed Ricketts, and Robert Louis Stevenson — Monterey has not claimed Dalí as one of its own.\u003c/p>\n\u003cp>Yet.\u003c/p>\n\u003cp>“This is a vibrant community in terms of art and culture,” Thorsen says. “For a fairly small area, we’ve got a terrific history, and a crowd of visitors and a crowd of residents that support the arts and are interested in the arts. So I think he [Piterman] could really make a go of it.”\u003c/p>\n\u003cp>It doesn’t hurt that Dadaism, a kissing cousin of Surrealism, is celebrating its \u003ca href=\"http://www.dadaworldfair.net/#cover-page\" target=\"_blank\" rel=\"noopener\">100\u003csup>th\u003c/sup> anniversary\u003c/a>, something that will generate events and press coverage this year, sparking a resurgence of public awareness for both movements.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Already, Dalí collectors are contacting Piterman and the Monterey History and Art Association to talk about loaning out pieces to the remade museum. Pieterman says he hopes to expand his collection, too, possibly with works that feature California subjects like Dalí’s 1970 series of the Golden Gate Bridge. If all goes smoothly, the museum in its new incarnation is expected to open in May, right around the anniversary of Dalí’s birthday on May 11.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you Google “what do the women say?”, you get a fever of listicles like “\u003ca href=\"http://wallstreetinsanity.com/30-things-women-say-and-what-they-really-mean/\" target=\"_blank\" rel=\"noopener\">30 Things Women Say And What They Really Mean\u003c/a>” and “\u003ca href=\"http://list25.com/25-things-women-say-that-men-misunderstand/\" target=\"_blank\" rel=\"noopener\">25 Things Women Say That Men Misunderstand\u003c/a>”.\u003c/p>\n\u003cp>Undeterred by such inanities, \u003ca href=\"http://www.goldenthread.org/\" target=\"_blank\" rel=\"noopener\">Golden Thread Productions\u003c/a>’ annual International Women’s Day Celebration on Saturday, Mar. 12 at the La Peña Cultural Center in Berkeley — titled \u003cem>What do the Women Say?\u003c/em> — tackles the question in a much more spiritual and creative way.\u003c/p>\n\u003cp>Previous iterations of this one-day festival devoted, since 2011, to exploring the work of Middle Eastern women artists have focused on such themes as activism, sex and sexuality, and female solo performers. This year, the topic is Bay Area women artists who build community through their art.\u003c/p>\n\u003cfigure id=\"attachment_11394570\" class=\"wp-caption aligncenter\" style=\"max-width: 978px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11394570 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790.png\" alt=\"The Aswat Women’s Ensemble. The group performs as part of Golden Thread’s annual International Women’s Day celebration, ‘What Do The Women Say?’\" width=\"978\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790.png 978w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-400x201.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-800x402.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-768x386.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-960x482.png 960w\" sizes=\"(max-width: 978px) 100vw, 978px\">\u003cfigcaption class=\"wp-caption-text\">The Aswat Women’s Ensemble. The group performs as part of Golden Thread’s annual International Women’s Day celebration, ‘What Do The Women Say?’ \u003ccite>(Photo: Courtesy of Zawaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The women featured are accomplished artists renowned for the excellence of their artistry,” says Golden Thread founding artistic director Torange Yeghiazarian. “But they are also leaders, who have founded important organizations, trained and championed other artists, and worked endlessly to celebrate and preserve culture and history for Middle Eastern immigrant communities in the Bay Area. This is a community that faces growing hostility and has to battle common misconceptions of the well-intended. These artists choose to lift up their community through their art, and document our existence as an immigrant community that has voice and matters.”\u003c/p>\n\u003cp>At the centerpiece of the event is a concert by \u003ca href=\"http://zawaya.org/site/aswat-ensemble/\" target=\"_blank\" rel=\"noopener\">The Aswat Ensemble\u003c/a>, one of the jewels the Bay Area music landscape. The group’s sweet spot is songs from the Arab world, old and new, performed on traditional musical instruments like the qanun (trapezoidal zither), ‘oud (lute), and nay (reed flute). They have terrific singers too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Arab World Folk Medley by Aswat Ensemble تشكيلة أغاني فلكلورية عربية\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/RUqNLBEm2uY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>For the Golden Thread event, the \u003ca href=\"http://zawaya.org/site/women-ensemble/\" target=\"_blank\" rel=\"noopener\">Aswat Women’s Ensemble\u003c/a> brings to life classic songs from some of Arabic music’s most famous divas — Asmahan, Fairouz, Shadia, and Dalida.\u003c/p>\n\u003cp>Another highlight of this year’s lineup is a sneak peak at the latest play by Betty Shamieh, a prolific, San Francisco-raised dramatist of Palestinian roots with 15 plays to her name. Among other accolades, Shamieh holds the distinction of becoming, in 2004, the first Palestinian-American to premiere a play off-Broadway — \u003cem>Roar\u003c/em>, a Palestinian domestic drama. Nora el Samahy, a vibrant local actress who frequently performs with Golden Thread and has appeared in plays by Shamieh in the past, performs sections from the playwright’s latest work, \u003cem>The Strangest\u003c/em>.\u003c/p>\n\u003cp>Other artists featured at the celebration include Sharlyn Sawyer, founding artistic director of \u003ca href=\"http://www.dancesilkroad.org/\" target=\"_blank\" rel=\"noopener\">Ballet Afsaneh\u003c/a>, a Bay Area performance company focusing on the dance, poetry, and music of the Silk Road; visual artist and curator Taraneh Hemami, who has curated exhibitions in venues like the \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> and \u003ca href=\"https://www.soex.org/index.php\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a> around the themes of displacement, preservation and representation; and Nabila Mango, co-founder of \u003ca href=\"http://zawaya.org/site/\" target=\"_blank\" rel=\"noopener\">Zawaya\u003c/a>, the Aswat Ensemble’s parent organization, which seeks to preserve and promote the Arab arts in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Experience Golden Thread Productions’ ‘\u003c/span>What Do the Women Say?’ on Saturday, Mar. 12 at\u003cb> \u003c/b>La Peña Cultural Center\u003cspan style=\"font-weight: 400\"> in\u003c/span>\u003cspan style=\"font-weight: 400\"> Berkeley. Information and tickets \u003ca href=\"http://www.goldenthread.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you Google “what do the women say?”, you get a fever of listicles like “\u003ca href=\"http://wallstreetinsanity.com/30-things-women-say-and-what-they-really-mean/\" target=\"_blank\" rel=\"noopener\">30 Things Women Say And What They Really Mean\u003c/a>” and “\u003ca href=\"http://list25.com/25-things-women-say-that-men-misunderstand/\" target=\"_blank\" rel=\"noopener\">25 Things Women Say That Men Misunderstand\u003c/a>”.\u003c/p>\n\u003cp>Undeterred by such inanities, \u003ca href=\"http://www.goldenthread.org/\" target=\"_blank\" rel=\"noopener\">Golden Thread Productions\u003c/a>’ annual International Women’s Day Celebration on Saturday, Mar. 12 at the La Peña Cultural Center in Berkeley — titled \u003cem>What do the Women Say?\u003c/em> — tackles the question in a much more spiritual and creative way.\u003c/p>\n\u003cp>Previous iterations of this one-day festival devoted, since 2011, to exploring the work of Middle Eastern women artists have focused on such themes as activism, sex and sexuality, and female solo performers. This year, the topic is Bay Area women artists who build community through their art.\u003c/p>\n\u003cfigure id=\"attachment_11394570\" class=\"wp-caption aligncenter\" style=\"max-width: 978px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11394570 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790.png\" alt=\"The Aswat Women’s Ensemble. The group performs as part of Golden Thread’s annual International Women’s Day celebration, ‘What Do The Women Say?’\" width=\"978\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790.png 978w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-400x201.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-800x402.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-768x386.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-960x482.png 960w\" sizes=\"(max-width: 978px) 100vw, 978px\">\u003cfigcaption class=\"wp-caption-text\">The Aswat Women’s Ensemble. The group performs as part of Golden Thread’s annual International Women’s Day celebration, ‘What Do The Women Say?’ \u003ccite>(Photo: Courtesy of Zawaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The women featured are accomplished artists renowned for the excellence of their artistry,” says Golden Thread founding artistic director Torange Yeghiazarian. “But they are also leaders, who have founded important organizations, trained and championed other artists, and worked endlessly to celebrate and preserve culture and history for Middle Eastern immigrant communities in the Bay Area. This is a community that faces growing hostility and has to battle common misconceptions of the well-intended. These artists choose to lift up their community through their art, and document our existence as an immigrant community that has voice and matters.”\u003c/p>\n\u003cp>At the centerpiece of the event is a concert by \u003ca href=\"http://zawaya.org/site/aswat-ensemble/\" target=\"_blank\" rel=\"noopener\">The Aswat Ensemble\u003c/a>, one of the jewels the Bay Area music landscape. The group’s sweet spot is songs from the Arab world, old and new, performed on traditional musical instruments like the qanun (trapezoidal zither), ‘oud (lute), and nay (reed flute). They have terrific singers too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Arab World Folk Medley by Aswat Ensemble تشكيلة أغاني فلكلورية عربية\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/RUqNLBEm2uY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>For the Golden Thread event, the \u003ca href=\"http://zawaya.org/site/women-ensemble/\" target=\"_blank\" rel=\"noopener\">Aswat Women’s Ensemble\u003c/a> brings to life classic songs from some of Arabic music’s most famous divas — Asmahan, Fairouz, Shadia, and Dalida.\u003c/p>\n\u003cp>Another highlight of this year’s lineup is a sneak peak at the latest play by Betty Shamieh, a prolific, San Francisco-raised dramatist of Palestinian roots with 15 plays to her name. Among other accolades, Shamieh holds the distinction of becoming, in 2004, the first Palestinian-American to premiere a play off-Broadway — \u003cem>Roar\u003c/em>, a Palestinian domestic drama. Nora el Samahy, a vibrant local actress who frequently performs with Golden Thread and has appeared in plays by Shamieh in the past, performs sections from the playwright’s latest work, \u003cem>The Strangest\u003c/em>.\u003c/p>\n\u003cp>Other artists featured at the celebration include Sharlyn Sawyer, founding artistic director of \u003ca href=\"http://www.dancesilkroad.org/\" target=\"_blank\" rel=\"noopener\">Ballet Afsaneh\u003c/a>, a Bay Area performance company focusing on the dance, poetry, and music of the Silk Road; visual artist and curator Taraneh Hemami, who has curated exhibitions in venues like the \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> and \u003ca href=\"https://www.soex.org/index.php\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a> around the themes of displacement, preservation and representation; and Nabila Mango, co-founder of \u003ca href=\"http://zawaya.org/site/\" target=\"_blank\" rel=\"noopener\">Zawaya\u003c/a>, the Aswat Ensemble’s parent organization, which seeks to preserve and promote the Arab arts in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Experience Golden Thread Productions’ ‘\u003c/span>What Do the Women Say?’ on Saturday, Mar. 12 at\u003cb> \u003c/b>La Peña Cultural Center\u003cspan style=\"font-weight: 400\"> in\u003c/span>\u003cspan style=\"font-weight: 400\"> Berkeley. Information and tickets \u003ca href=\"http://www.goldenthread.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We here at \u003ca href=\"http://www.npr.org/sections/thesalt/\" target=\"_blank\">The Salt\u003c/a> like to bring you serious journalistic tails from the world of food. But hey, we like to unleash our silly side, too — and like the rest of the world, we've got a soft spot for man's (and woman's) best friend.\u003c/p>\n\u003cp>So of course, we're howling with delight at the latest food images charming the Internet: Meme-meister Karen Zack's clever Twitter photos highlighting the eerie resemblance between mutts and meals. In some cases, it takes dogged determination to separate the canines from the cuisine.\u003c/p>\n\u003cp>Puppy or bagel? Chihuahua or muffin? These are the gnawing questions raised by Zack, who tweets from \u003ca href=\"https://twitter.com/teenybiscuit\">@teenybiscuit\u003c/a>. She's a freelance assistant director in media production who splits her time between Portland, Ore., and Seattle. But she tells us she's looking to get into advertising strategy (we hear she's good with the puparazzi).\u003c/p>\n\u003cp>Previously, she's pointered out the similarities between other animals and foods (duckling or plantain?), but it's the dogs that have sunk their teeth into the Internet's funny bone. Zack says her image comparing Labradoodles to fried chicken got things going — call it the bark heard round the world.\u003c/p>\n\u003cp>And her fetching work has imitators nipping at her heels. (See Dalmatian or chocolate chip ice cream? Pug or loaf? Shar-Pei or croissant?)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ironically, though it's Zack's mutt mugs that have made the Internet sit and stay, she says she herself has a cat ... named Toast.\u003c/p>\n\u003cp>Yappy Friday, everyone!\u003c/p>\n\u003cp>https://twitter.com/teenybiscuit/status/707727863571582978\u003c/p>\n\u003cp>https://twitter.com/teenybiscuit/status/705232709220769792\u003c/p>\n\u003cp>https://twitter.com/teenybiscuit/status/707004279324696577\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/lucifixion/status/708136391344037888\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Canine+Or+Cuisine%3F+This+Photo+Meme+Is+Fetching+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We here at \u003ca href=\"http://www.npr.org/sections/thesalt/\" target=\"_blank\">The Salt\u003c/a> like to bring you serious journalistic tails from the world of food. But hey, we like to unleash our silly side, too — and like the rest of the world, we've got a soft spot for man's (and woman's) best friend.\u003c/p>\n\u003cp>So of course, we're howling with delight at the latest food images charming the Internet: Meme-meister Karen Zack's clever Twitter photos highlighting the eerie resemblance between mutts and meals. In some cases, it takes dogged determination to separate the canines from the cuisine.\u003c/p>\n\u003cp>Puppy or bagel? Chihuahua or muffin? These are the gnawing questions raised by Zack, who tweets from \u003ca href=\"https://twitter.com/teenybiscuit\">@teenybiscuit\u003c/a>. She's a freelance assistant director in media production who splits her time between Portland, Ore., and Seattle. But she tells us she's looking to get into advertising strategy (we hear she's good with the puparazzi).\u003c/p>\n\u003cp>Previously, she's pointered out the similarities between other animals and foods (duckling or plantain?), but it's the dogs that have sunk their teeth into the Internet's funny bone. Zack says her image comparing Labradoodles to fried chicken got things going — call it the bark heard round the world.\u003c/p>\n\u003cp>And her fetching work has imitators nipping at her heels. (See Dalmatian or chocolate chip ice cream? Pug or loaf? Shar-Pei or croissant?)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In January 2016, Oakland’s City Limits held a \u003ca href=\"http://www.curiouslydirect.com/#!Cutty-Limits-Whose-Child-Is-This/c95u/5696e31a0cf263fc5a89ec07\" target=\"_blank\" rel=\"noopener\">one-night-only exhibition\u003c/a> of new works by several artists, including \u003cem>Bay Area Painting Right Now\u003c/em> alumna\u003ca href=\"http://ww2.kqed.org/arts/2015/07/30/bay-area-painting-right-now-lana-williams-breaks-the-rules/\" target=\"_blank\" rel=\"noopener\"> Lana Williams\u003c/a>. It was a terrific show; I hope you saw it! But while several pieces stayed on my mind over the following days, the one I still can’t get over is \u003ca href=\"http://www.samspano.com/\" target=\"_blank\" rel=\"noopener\">Sam Spano\u003c/a>’s \u003cem>In The Realm Of The Senses.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11385041\" class=\"wp-caption alignright\" style=\"max-width: 619px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop.jpg\" alt=\"Sam Spano, ‘In The Realm of the Senses,’ 2015.\" width=\"619\" height=\"640\" class=\"size-full wp-image-11385041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop.jpg 619w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop-400x414.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop-580x600.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop-32x32.jpg 32w\" sizes=\"(max-width: 619px) 100vw, 619px\">\u003cfigcaption class=\"wp-caption-text\">Sam Spano, ‘In The Realm of the Senses,’ 2015. \u003ccite>(Photo: Kristine Eudey; Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>In The Realm Of The Senses\u003c/em> is a sculpture of a dog in lotus pose sitting on a black platform on top of a decorative rug. The dog’s eyes are closed tightly; it assumes the serene concentration befitting its quest for peace. And yet, in Spano’s installation, the dog meditates in front of a mirror. Does the dog’s focus stray so it can sneak a peek? Does it admire its own transcendental bliss in action?\u003c/p>\n\u003cp>Spano purchased the figure online and painted on its surface. The rug and the mirror imbue the dog with a certain glamor, a kind of splendid Cali narcissism we hardly ever associate with loyal, cuddly canines.\u003c/p>\n\u003cp>\u003cem>In The Realm Of the Senses\u003c/em> is funny, of course. But it also cues key themes pervasive in Spano’s work: pleasure, the domestic, and the coincidence of the two.\u003c/p>\n\u003cp>The pleasure of the interior, which of course includes meals and snacks, is a fundamental influence on every element of his painting, starting with color. Spano’s paints and brushes lie on a small table in his studio. Above it, on the wall, are three list poems, descending nouns with stray adjectives. Each phrase corresponds to an idea of color. And it’s true, each is an inimitable visual experience.\u003c/p>\n\u003cfigure id=\"attachment_11376951\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/samspano_list.jpg\" alt=\"Color list poems in the studio.\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-11376951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-960x640.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Color list poems in the studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Take “chocolate pudding” for instance. Yes, it’s dark brown. But it’s also sui generis, chocolate pudding unto itself — more a jiggly feeling than a fact of light. This is the conceptual apparatus underlying Spano’s canvasses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most of the conceptual colors on these lists are edible or potable. Spano’s association of color with comestibles underscores his work’s grounding in domestic themes. But it’s not just the sensible and gustatory memory of food and drink behind his feel for color. His work insistently takes place indoors, in the places where we purr and rest, feed and play. In the places where we are — theoretically — the least mediated and the most ourselves.\u003c/p>\n\u003cp>For a new series, Spano conceptualized and documented a domestic interior with his friend Katie Burge. The scenes took place in her home, where she pursued an ordinary afternoon: lounging in her robe, using an exfoliating facial mask, smoking weed out of a bong. \u003c/p>\n\u003cfigure id=\"attachment_11385043\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SpanoComp.jpg\" alt=\"Work in the studio.\" width=\"1500\" height=\"1059\" class=\"size-full wp-image-11385043\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-960x678.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Work in the studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nothing is especially extraordinary about these scenes — except, perhaps, that Spano and Burge buck the traditional gender dynamic that usually characterizes such a scenario. Instead of ‘directing’ Burge, Spano followed her lead. Her decisions, her movements, her ideas were the source material for the work to come. While Burge went about her afternoon, Spano took hundreds of photographs, seeds for the vast array of artworks this afternoon would inspire.\u003c/p>\n\u003cp>Spano’s works take a number of forms, from abstract and figurative paintings to breathtaking charcoal drawings. The paintings themselves are of wildly different styles and approached. Burge’s robe, with its ornamentation against solid color, becomes the departure point for abstract renderings of color and shape. Another painting, showing Burge exhaling a sweet cubic gallon of marijuana smoke, gives Spano the opportunity to luxuriously spread dense puffs of white rhythmically around the canvas (is “weed smoke” a good candidate for Spano’s list poem?).\u003c/p>\n\u003cfigure id=\"attachment_11376953\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/KQED_SamSpano.jpg\" alt=\"Work in progress by Sam Spano.\" width=\"1500\" height=\"1001\" class=\"size-full wp-image-11376953\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-960x641.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Work in progress by Sam Spano. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We discuss the future paintings in the series, and Spano describes with relish his plans for an oil painting of Burge in a sticky facial mask, savoring the textures to come.\u003c/p>\n\u003cp>Looking at dozens of drawings, watercolors and oil paintings, all showing Burge in her domestic space, recalls a long and fraught history of men representing women alone in their personal spaces. Spano is aware of this history, which has historically sublimated, indeed helped create, the powerful and violent “male gaze.”\u003c/p>\n\u003cfigure id=\"attachment_11376950\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/KQED_SamSpano_18-e1457315917748.jpg\" alt=\"A Sam Spano painting in the studio.\" width=\"427\" height=\"640\" class=\"size-full wp-image-11376950\">\u003cfigcaption class=\"wp-caption-text\">A Sam Spano painting in the studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But while his project obviously recalls and cites centuries of such problematic scenes in western paintings, the approach and specifics of his representation feel different, if obviously not fully redemptive, by virtue of his thoughtfulness and care. The series reads to me more like a tribute to Sam and Katie’s friendship than the hard gaze of an auteur representing the female body for mere consumption.\u003c/p>\n\u003cp>The humor in Spano’s work treads a very fine line between irony and earnest delight. I mean, of course \u003cem>In The Realm Of The Senses \u003c/em>is funny. And yet in conversation, another dimension appears.\u003c/p>\n\u003cp>Spano describes a long period during which he repeatedly painted wolves. The wolf, he realized eventually, represented his own feelings. In his own painful and difficult time, the wolf was both fear and ferocity. This wolf, he tells me, gradually turned into the wolf’s famously mellow cousin: the dog.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If \u003cem>In The Realm Of the Senses\u003c/em> produces an ironic distance that even we Californians need in order to recognize our own beauty and silliness, it also hearkens to Sam Spano’s increasing okayness in the world. In some way it stands in as a sublime emblem of everything chill, everything delicious.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In January 2016, Oakland’s City Limits held a \u003ca href=\"http://www.curiouslydirect.com/#!Cutty-Limits-Whose-Child-Is-This/c95u/5696e31a0cf263fc5a89ec07\" target=\"_blank\" rel=\"noopener\">one-night-only exhibition\u003c/a> of new works by several artists, including \u003cem>Bay Area Painting Right Now\u003c/em> alumna\u003ca href=\"http://ww2.kqed.org/arts/2015/07/30/bay-area-painting-right-now-lana-williams-breaks-the-rules/\" target=\"_blank\" rel=\"noopener\"> Lana Williams\u003c/a>. It was a terrific show; I hope you saw it! But while several pieces stayed on my mind over the following days, the one I still can’t get over is \u003ca href=\"http://www.samspano.com/\" target=\"_blank\" rel=\"noopener\">Sam Spano\u003c/a>’s \u003cem>In The Realm Of The Senses.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11385041\" class=\"wp-caption alignright\" style=\"max-width: 619px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop.jpg\" alt=\"Sam Spano, ‘In The Realm of the Senses,’ 2015.\" width=\"619\" height=\"640\" class=\"size-full wp-image-11385041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop.jpg 619w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop-400x414.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop-580x600.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop-32x32.jpg 32w\" sizes=\"(max-width: 619px) 100vw, 619px\">\u003cfigcaption class=\"wp-caption-text\">Sam Spano, ‘In The Realm of the Senses,’ 2015. \u003ccite>(Photo: Kristine Eudey; Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>In The Realm Of The Senses\u003c/em> is a sculpture of a dog in lotus pose sitting on a black platform on top of a decorative rug. The dog’s eyes are closed tightly; it assumes the serene concentration befitting its quest for peace. And yet, in Spano’s installation, the dog meditates in front of a mirror. Does the dog’s focus stray so it can sneak a peek? Does it admire its own transcendental bliss in action?\u003c/p>\n\u003cp>Spano purchased the figure online and painted on its surface. The rug and the mirror imbue the dog with a certain glamor, a kind of splendid Cali narcissism we hardly ever associate with loyal, cuddly canines.\u003c/p>\n\u003cp>\u003cem>In The Realm Of the Senses\u003c/em> is funny, of course. But it also cues key themes pervasive in Spano’s work: pleasure, the domestic, and the coincidence of the two.\u003c/p>\n\u003cp>The pleasure of the interior, which of course includes meals and snacks, is a fundamental influence on every element of his painting, starting with color. Spano’s paints and brushes lie on a small table in his studio. Above it, on the wall, are three list poems, descending nouns with stray adjectives. Each phrase corresponds to an idea of color. And it’s true, each is an inimitable visual experience.\u003c/p>\n\u003cfigure id=\"attachment_11376951\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/samspano_list.jpg\" alt=\"Color list poems in the studio.\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-11376951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-960x640.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Color list poems in the studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Take “chocolate pudding” for instance. Yes, it’s dark brown. But it’s also sui generis, chocolate pudding unto itself — more a jiggly feeling than a fact of light. This is the conceptual apparatus underlying Spano’s canvasses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most of the conceptual colors on these lists are edible or potable. Spano’s association of color with comestibles underscores his work’s grounding in domestic themes. But it’s not just the sensible and gustatory memory of food and drink behind his feel for color. His work insistently takes place indoors, in the places where we purr and rest, feed and play. In the places where we are — theoretically — the least mediated and the most ourselves.\u003c/p>\n\u003cp>For a new series, Spano conceptualized and documented a domestic interior with his friend Katie Burge. The scenes took place in her home, where she pursued an ordinary afternoon: lounging in her robe, using an exfoliating facial mask, smoking weed out of a bong. \u003c/p>\n\u003cfigure id=\"attachment_11385043\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SpanoComp.jpg\" alt=\"Work in the studio.\" width=\"1500\" height=\"1059\" class=\"size-full wp-image-11385043\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-960x678.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Work in the studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nothing is especially extraordinary about these scenes — except, perhaps, that Spano and Burge buck the traditional gender dynamic that usually characterizes such a scenario. Instead of ‘directing’ Burge, Spano followed her lead. Her decisions, her movements, her ideas were the source material for the work to come. While Burge went about her afternoon, Spano took hundreds of photographs, seeds for the vast array of artworks this afternoon would inspire.\u003c/p>\n\u003cp>Spano’s works take a number of forms, from abstract and figurative paintings to breathtaking charcoal drawings. The paintings themselves are of wildly different styles and approached. Burge’s robe, with its ornamentation against solid color, becomes the departure point for abstract renderings of color and shape. Another painting, showing Burge exhaling a sweet cubic gallon of marijuana smoke, gives Spano the opportunity to luxuriously spread dense puffs of white rhythmically around the canvas (is “weed smoke” a good candidate for Spano’s list poem?).\u003c/p>\n\u003cfigure id=\"attachment_11376953\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/KQED_SamSpano.jpg\" alt=\"Work in progress by Sam Spano.\" width=\"1500\" height=\"1001\" class=\"size-full wp-image-11376953\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-960x641.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Work in progress by Sam Spano. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We discuss the future paintings in the series, and Spano describes with relish his plans for an oil painting of Burge in a sticky facial mask, savoring the textures to come.\u003c/p>\n\u003cp>Looking at dozens of drawings, watercolors and oil paintings, all showing Burge in her domestic space, recalls a long and fraught history of men representing women alone in their personal spaces. Spano is aware of this history, which has historically sublimated, indeed helped create, the powerful and violent “male gaze.”\u003c/p>\n\u003cfigure id=\"attachment_11376950\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/KQED_SamSpano_18-e1457315917748.jpg\" alt=\"A Sam Spano painting in the studio.\" width=\"427\" height=\"640\" class=\"size-full wp-image-11376950\">\u003cfigcaption class=\"wp-caption-text\">A Sam Spano painting in the studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But while his project obviously recalls and cites centuries of such problematic scenes in western paintings, the approach and specifics of his representation feel different, if obviously not fully redemptive, by virtue of his thoughtfulness and care. The series reads to me more like a tribute to Sam and Katie’s friendship than the hard gaze of an auteur representing the female body for mere consumption.\u003c/p>\n\u003cp>The humor in Spano’s work treads a very fine line between irony and earnest delight. I mean, of course \u003cem>In The Realm Of The Senses \u003c/em>is funny. And yet in conversation, another dimension appears.\u003c/p>\n\u003cp>Spano describes a long period during which he repeatedly painted wolves. The wolf, he realized eventually, represented his own feelings. In his own painful and difficult time, the wolf was both fear and ferocity. This wolf, he tells me, gradually turned into the wolf’s famously mellow cousin: the dog.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If \u003cem>In The Realm Of the Senses\u003c/em> produces an ironic distance that even we Californians need in order to recognize our own beauty and silliness, it also hearkens to Sam Spano’s increasing okayness in the world. In some way it stands in as a sublime emblem of everything chill, everything delicious.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Anthony Discenza Crafts Alternate, Overlapping Realities at Catharine Clark",
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"content": "\u003cp>The free takeaway from Anthony Discenza’s current solo show at Catharine Clark Gallery (the labyrinthine-titled \u003ci>Anthony Discenza Presents A Novel: An Exhibition by Anthony Discenza\u003c/i>) is an inky newsprint edition optionally pre-placed in a matte plastic bag. The bag is meant to protect clothes, hands and accessories from the black pigment within, but possibly also from the ideas within — mind-bendy meditations on identity, exhibition-making and the work of being an artist.\u003c/p>\n\u003cfigure id=\"attachment_11378449\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11378449\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Discenza_Lost-Cats640.jpg\" alt=\"Anthony Discenza, 'Lost Cats--Black (Phil, Doug, Marie, Romeo, Spoon, Roy)\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Discenza_Lost-Cats640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Discenza_Lost-Cats640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Discenza, ‘Lost Cats–Black (Phil, Doug, Marie, Romeo, Spoon, Roy) \u003ccite>(Courtesy of the artist and Catharine Clark Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The premise of \u003ci>Anthony Discenza Presents A Novel\u003c/i> is that of an artist named Anthony Discenza exploring “the history of an unrealized exhibition by Bay Area artist Anthony Discenza.” If that isn’t confusing enough, the aforementioned unrealized exhibition, tentatively titled “A Novel,” was meant to take place in late winter of 2016 — a time decidedly unhistorical. Instead of an exhibition remade, we see the makings of an exhibition: photocopied research materials, studies and considerations.\u003c/p>\n\u003cp>The show at Catharine Clark is fragmentary, filled with vinyl text pieces, ghostly inkjet prints, a sound installation and a scattering of mysterious rubber wedges (wheel chocks for trucks). The objects share a type of deadpan and monochromatic humor that keeps the viewer forever off-balance, questioning the rationale behind each piece.\u003c/p>\n\u003cfigure id=\"attachment_11378553\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11378553\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Discenza_Material-List-1-e1457083494562.jpg\" alt=\"Anthony Discenza, 'Materials List for an Unrealized Artwork No. 1,' 2015.\" width=\"1200\" height=\"760\">\u003cfigcaption class=\"wp-caption-text\">Anthony Discenza, ‘Materials List for an Unrealized Artwork No. 1,’ 2015. \u003ccite>(Courtesy of the artist and Catharine Clark Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Text-based work (on walls, neon tubes and in frames) is offset by layered compositions of often-unidentifiable objects. On the floor, a stacked arrangement of re-densified polypropylene packing foam resembles oversized chunks of charcoal. These things are opaque in meaning, but solid in form.\u003c/p>\n\u003cp>It’s \u003ci>Study for an Essay (On the Disappointments)\u003c/i> that really destabilized my viewing experience. The inkjet print looks just like a photocopy of a book spread, showing a portion of an essay written by somebody named Anthony Discenza. The subject is \u003ci>The Disappointments\u003c/i>, a novel written by somebody named Lane Hobbs who may or may not be real. And so, “the disappointments” are now the feelings I have after reading part of an essay about a book that sounds amazing, but might not exist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The passages within this essay effectively capture the dissociative effect of wandering through Discenza’s show: “…the book does possess a distinct feeling of unreality, a suggestion that the events described could be taking place entirely in the mind of one of its characters, or perhaps in some alternate reality \u003ci>almost\u003c/i> identical to our own.”\u003c/p>\n\u003cfigure id=\"attachment_11378450\" class=\"wp-caption alignright\" style=\"max-width: 360px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11378450\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Discenza_media-room640.jpg\" alt=\"Anthony Discenza, 'Is Your Life Finished? Have You Achieved Every Dream, Every Goal, Followed Every Idea and Had Every Experience You Wanted to Have?,' 2016.\" width=\"360\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Discenza_media-room640.jpg 360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Discenza_media-room640-338x600.jpg 338w\" sizes=\"(max-width: 360px) 100vw, 360px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Discenza, ‘Is Your Life Finished? Have You Achieved Every Dream, Every Goal, Followed Every Idea and Had Every Experience You Wanted to Have?,’ 2016. \u003ccite>(Courtesy of the artist and Catharine Clark Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the above could describe many things — that split second when you don’t recognize yourself in an unexpected mirror, Jonathan Lethem’s novel \u003ci>Chronic City\u003c/i> or any Charlie Kaufman film, at all — it provides a framework upon which to hang the disparate elements of the surrounding exhibition.\u003c/p>\n\u003cp>The soundtrack for this journey of confusion, distrust, anxiety and (possibly, ultimately) acceptance is the final element of the exhibition, a sound installation in a darkened room filled with toppled PA speakers playing guided hypnosis MP3s. Overlapping voices of men and women telling me to relax and breathe deeply had the opposite effect. Their words, along with a droning hum that I may or may not have imagined, filled me with dread.\u003c/p>\n\u003cp>This isn’t a bad thing. How often do you step into an exhibition that makes you feel, truly, anything? Discenza’s ability to conjure emotion, make my brain work (perhaps even hurt) and leave me with something I actually want to ponder over, talk about and puzzle through is a surprisingly rare thing.\u003c/p>\n\u003cp>Away from the hypnosis hum, I spread out the newsprint takeaway to spend some time with the Anthonys described within: one a sympathetic but critical observer, the other a self-doubting, conflicted and underperforming artist. Within these inky pages, the disparate narrative threads, objects and images inside the gallery start to weave together into a story not quite science fiction, but some version of reality \u003ci>almost\u003c/i> identical to our own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>Anthony Discenza Presents A Novel: An Exhibition by Anthony Discenza\u003c/i>\u003c/b> is on view at Catharine Clark Gallery in San Francisco through April 16. For more information visit \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener\">cclarkgallery.com\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The free takeaway from Anthony Discenza’s current solo show at Catharine Clark Gallery (the labyrinthine-titled \u003ci>Anthony Discenza Presents A Novel: An Exhibition by Anthony Discenza\u003c/i>) is an inky newsprint edition optionally pre-placed in a matte plastic bag. The bag is meant to protect clothes, hands and accessories from the black pigment within, but possibly also from the ideas within — mind-bendy meditations on identity, exhibition-making and the work of being an artist.\u003c/p>\n\u003cfigure id=\"attachment_11378449\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11378449\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Discenza_Lost-Cats640.jpg\" alt=\"Anthony Discenza, 'Lost Cats--Black (Phil, Doug, Marie, Romeo, Spoon, Roy)\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Discenza_Lost-Cats640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Discenza_Lost-Cats640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Discenza, ‘Lost Cats–Black (Phil, Doug, Marie, Romeo, Spoon, Roy) \u003ccite>(Courtesy of the artist and Catharine Clark Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The premise of \u003ci>Anthony Discenza Presents A Novel\u003c/i> is that of an artist named Anthony Discenza exploring “the history of an unrealized exhibition by Bay Area artist Anthony Discenza.” If that isn’t confusing enough, the aforementioned unrealized exhibition, tentatively titled “A Novel,” was meant to take place in late winter of 2016 — a time decidedly unhistorical. Instead of an exhibition remade, we see the makings of an exhibition: photocopied research materials, studies and considerations.\u003c/p>\n\u003cp>The show at Catharine Clark is fragmentary, filled with vinyl text pieces, ghostly inkjet prints, a sound installation and a scattering of mysterious rubber wedges (wheel chocks for trucks). The objects share a type of deadpan and monochromatic humor that keeps the viewer forever off-balance, questioning the rationale behind each piece.\u003c/p>\n\u003cfigure id=\"attachment_11378553\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11378553\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Discenza_Material-List-1-e1457083494562.jpg\" alt=\"Anthony Discenza, 'Materials List for an Unrealized Artwork No. 1,' 2015.\" width=\"1200\" height=\"760\">\u003cfigcaption class=\"wp-caption-text\">Anthony Discenza, ‘Materials List for an Unrealized Artwork No. 1,’ 2015. \u003ccite>(Courtesy of the artist and Catharine Clark Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Text-based work (on walls, neon tubes and in frames) is offset by layered compositions of often-unidentifiable objects. On the floor, a stacked arrangement of re-densified polypropylene packing foam resembles oversized chunks of charcoal. These things are opaque in meaning, but solid in form.\u003c/p>\n\u003cp>It’s \u003ci>Study for an Essay (On the Disappointments)\u003c/i> that really destabilized my viewing experience. The inkjet print looks just like a photocopy of a book spread, showing a portion of an essay written by somebody named Anthony Discenza. The subject is \u003ci>The Disappointments\u003c/i>, a novel written by somebody named Lane Hobbs who may or may not be real. And so, “the disappointments” are now the feelings I have after reading part of an essay about a book that sounds amazing, but might not exist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The passages within this essay effectively capture the dissociative effect of wandering through Discenza’s show: “…the book does possess a distinct feeling of unreality, a suggestion that the events described could be taking place entirely in the mind of one of its characters, or perhaps in some alternate reality \u003ci>almost\u003c/i> identical to our own.”\u003c/p>\n\u003cfigure id=\"attachment_11378450\" class=\"wp-caption alignright\" style=\"max-width: 360px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11378450\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Discenza_media-room640.jpg\" alt=\"Anthony Discenza, 'Is Your Life Finished? Have You Achieved Every Dream, Every Goal, Followed Every Idea and Had Every Experience You Wanted to Have?,' 2016.\" width=\"360\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Discenza_media-room640.jpg 360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Discenza_media-room640-338x600.jpg 338w\" sizes=\"(max-width: 360px) 100vw, 360px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Discenza, ‘Is Your Life Finished? Have You Achieved Every Dream, Every Goal, Followed Every Idea and Had Every Experience You Wanted to Have?,’ 2016. \u003ccite>(Courtesy of the artist and Catharine Clark Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the above could describe many things — that split second when you don’t recognize yourself in an unexpected mirror, Jonathan Lethem’s novel \u003ci>Chronic City\u003c/i> or any Charlie Kaufman film, at all — it provides a framework upon which to hang the disparate elements of the surrounding exhibition.\u003c/p>\n\u003cp>The soundtrack for this journey of confusion, distrust, anxiety and (possibly, ultimately) acceptance is the final element of the exhibition, a sound installation in a darkened room filled with toppled PA speakers playing guided hypnosis MP3s. Overlapping voices of men and women telling me to relax and breathe deeply had the opposite effect. Their words, along with a droning hum that I may or may not have imagined, filled me with dread.\u003c/p>\n\u003cp>This isn’t a bad thing. How often do you step into an exhibition that makes you feel, truly, anything? Discenza’s ability to conjure emotion, make my brain work (perhaps even hurt) and leave me with something I actually want to ponder over, talk about and puzzle through is a surprisingly rare thing.\u003c/p>\n\u003cp>Away from the hypnosis hum, I spread out the newsprint takeaway to spend some time with the Anthonys described within: one a sympathetic but critical observer, the other a self-doubting, conflicted and underperforming artist. Within these inky pages, the disparate narrative threads, objects and images inside the gallery start to weave together into a story not quite science fiction, but some version of reality \u003ci>almost\u003c/i> identical to our own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>Anthony Discenza Presents A Novel: An Exhibition by Anthony Discenza\u003c/i>\u003c/b> is on view at Catharine Clark Gallery in San Francisco through April 16. For more information visit \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener\">cclarkgallery.com\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Women Are Empowered, Vulnerable and ‘Perfect’ at Galería de la Raza",
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"content": "\u003cp>My first glimpse of the Mission’s \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener\">Galería de la Raza\u003c/a> is the kind face of an indigenous woman smiling sagely at me through the gallery’s windows, defiance reflected in her warm eyes while large pink roses frame her face like a sigil of beauty and protection.\u003c/p>\n\u003cp>The wall-length mural, titled \u003ci>Justice for Indigenous Women\u003c/i>, is a piece by \u003ca href=\"http://jessicasabogal.com/\" target=\"_blank\" rel=\"noopener\">Jessica Sabogal\u003c/a>, whose work inspired Galería’s new show \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=6396\" target=\"_blank\" rel=\"noopener\">\u003ci>Womxn Are Perfect!\u003c/i>\u003c/a>, which opens Saturday, March 5 at 6pm.\u003c/p>\n\u003cp>Sabogal, Galería de la Raza’s digital mural project coordinator, previously worked on the 2014 show \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=5364\" target=\"_blank\" rel=\"noopener\">\u003ci>Women are Perfect (If You Let Them!)\u003c/i>\u003c/a>, a series of murals celebrating the different bodies and identities of women. The message resounded with Galería director Ani Rivera, who decided to extend the project into the current \u003ci>Womxn are Perfect!\u003c/i> group exhibition.\u003c/p>\n\u003cp>“For me, politically saying ‘women are perfect’ is just accepting them for who they are and their value as they are right now,” Rivera says. “You’re a work in progress, and that’s okay — you’re perfect.”\u003c/p>\n\u003cfigure id=\"attachment_11377384\" class=\"wp-caption alignnone\" style=\"max-width: 794px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11377384 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_66451.jpg\" alt=\"'Womxn Are Perfect!' is a collection of pieces from 30 different artists on the topic of women's perfection.\" width=\"794\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_66451.jpg 794w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_66451-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_66451-768x432.jpg 768w\" sizes=\"(max-width: 794px) 100vw, 794px\">\u003cfigcaption class=\"wp-caption-text\">‘Womxn Are Perfect!’ is a collection of pieces from 30 different artists on the topic of women’s perfection. \u003ccite>(Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rivera, Sabogal, and the rest of the gallery’s curatorial committee received 135 responses to their nationwide open call this January, with interpretations of the phrase “women are perfect” addressing violence, oppression and ideas on the female body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Perfection is different for everybody because we all carry different ethnic experiences, body abilities, some of us are born in the wrong body — what does that mean for someone who identifies as a woman?” Rivera says. “So we wanted to talk about the physical body elements and how they’re challenged or accepted.”\u003c/p>\n\u003cp>San Francisco-based artist \u003ca href=\"http://cynthiabrannvall.com/\" target=\"_blank\" rel=\"noopener\">Cynthia Brannvall\u003c/a> directly confronts these expectations of physical perfection through her piece \u003ci>Portrait Medallions\u003c/i>, a collage of vaginas constructed out of porcelain and lace in various shapes.\u003c/p>\n\u003cp>“The work was really investigating how the material signifier can evoke the idea of a feminine presence and also a little of that sexual delight,” Brannvall says. “My piece brings in an element of desire and pleasure and an affirmation of the beauty of the female form.”\u003c/p>\n\u003cfigure id=\"attachment_11377521\" class=\"wp-caption alignnone\" style=\"max-width: 770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11377521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Untitled-770x600.jpg\" alt=\"Cynthia Brannvall's "Portrait Medallions."\" width=\"770\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Untitled-770x600.jpg 770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Untitled-400x312.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Untitled-768x598.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Untitled.jpg 800w\" sizes=\"(max-width: 770px) 100vw, 770px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Brannvall’s “Portrait Medallions.” \u003ccite>(Courtesy: Cynthia Brannvall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another piece by South Bay artist \u003ca href=\"http://elianacetto.com/\" target=\"_blank\" rel=\"noopener\">Eliana Cetto\u003c/a> deals with the vulnerability of the female body in public. Cetto filmed herself undressing in front of a green screen onto which different public places in her San Jose neighborhood are projected.\u003c/p>\n\u003cp>“I basically created a virtual place where I could feel empowered and I can point out to the viewer that I’m not really safe whether I’m clothed or unclothed — it’s really the gaze of the viewer and the eyes of the people on the street that are the culprit,” Cetto says.\u003c/p>\n\u003cfigure id=\"attachment_11377386\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11377386 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_66471-450x600.jpg\" alt=\"The exhibit addresses violence, oppression and ideas on the female body in an attempt to deconstruct female perfection.\" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_66471-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_66471-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_66471.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">The exhibit addresses violence, oppression and ideas on the female body in an attempt to deconstruct female perfection. \u003ccite>(Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rivera says she hopes that the collection’s examination of the ways women perceive their own perfection and connection to womanhood will inspire conversations and create opportunities for young women and children. Galería de la Raza itself has a history of being a women-led space, with the current staff largely filled by women of color.\u003c/p>\n\u003cp>“Women have always been part of the Galería history — we’re very intentional about creating opportunities for women, about training women in arts production and administration, about providing a platform for oppressed and marginalized people,” Rivera says. “Our survival is dependent on being able to reach out to new voices and being able to give them a space.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>Womxn Are Perfect!\u003c/i>\u003c/b> holds an opening reception on Saturday, March 5, 6-9pm at Galería de la Raza in San Francisco. The exhibition is on view through March 26. For more information visit \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener\">galeriadelaraza.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My first glimpse of the Mission’s \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener\">Galería de la Raza\u003c/a> is the kind face of an indigenous woman smiling sagely at me through the gallery’s windows, defiance reflected in her warm eyes while large pink roses frame her face like a sigil of beauty and protection.\u003c/p>\n\u003cp>The wall-length mural, titled \u003ci>Justice for Indigenous Women\u003c/i>, is a piece by \u003ca href=\"http://jessicasabogal.com/\" target=\"_blank\" rel=\"noopener\">Jessica Sabogal\u003c/a>, whose work inspired Galería’s new show \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=6396\" target=\"_blank\" rel=\"noopener\">\u003ci>Womxn Are Perfect!\u003c/i>\u003c/a>, which opens Saturday, March 5 at 6pm.\u003c/p>\n\u003cp>Sabogal, Galería de la Raza’s digital mural project coordinator, previously worked on the 2014 show \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=5364\" target=\"_blank\" rel=\"noopener\">\u003ci>Women are Perfect (If You Let Them!)\u003c/i>\u003c/a>, a series of murals celebrating the different bodies and identities of women. The message resounded with Galería director Ani Rivera, who decided to extend the project into the current \u003ci>Womxn are Perfect!\u003c/i> group exhibition.\u003c/p>\n\u003cp>“For me, politically saying ‘women are perfect’ is just accepting them for who they are and their value as they are right now,” Rivera says. “You’re a work in progress, and that’s okay — you’re perfect.”\u003c/p>\n\u003cfigure id=\"attachment_11377384\" class=\"wp-caption alignnone\" style=\"max-width: 794px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11377384 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_66451.jpg\" alt=\"'Womxn Are Perfect!' is a collection of pieces from 30 different artists on the topic of women's perfection.\" width=\"794\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_66451.jpg 794w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_66451-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_66451-768x432.jpg 768w\" sizes=\"(max-width: 794px) 100vw, 794px\">\u003cfigcaption class=\"wp-caption-text\">‘Womxn Are Perfect!’ is a collection of pieces from 30 different artists on the topic of women’s perfection. \u003ccite>(Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rivera, Sabogal, and the rest of the gallery’s curatorial committee received 135 responses to their nationwide open call this January, with interpretations of the phrase “women are perfect” addressing violence, oppression and ideas on the female body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Perfection is different for everybody because we all carry different ethnic experiences, body abilities, some of us are born in the wrong body — what does that mean for someone who identifies as a woman?” Rivera says. “So we wanted to talk about the physical body elements and how they’re challenged or accepted.”\u003c/p>\n\u003cp>San Francisco-based artist \u003ca href=\"http://cynthiabrannvall.com/\" target=\"_blank\" rel=\"noopener\">Cynthia Brannvall\u003c/a> directly confronts these expectations of physical perfection through her piece \u003ci>Portrait Medallions\u003c/i>, a collage of vaginas constructed out of porcelain and lace in various shapes.\u003c/p>\n\u003cp>“The work was really investigating how the material signifier can evoke the idea of a feminine presence and also a little of that sexual delight,” Brannvall says. “My piece brings in an element of desire and pleasure and an affirmation of the beauty of the female form.”\u003c/p>\n\u003cfigure id=\"attachment_11377521\" class=\"wp-caption alignnone\" style=\"max-width: 770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11377521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Untitled-770x600.jpg\" alt=\"Cynthia Brannvall's "Portrait Medallions."\" width=\"770\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Untitled-770x600.jpg 770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Untitled-400x312.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Untitled-768x598.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Untitled.jpg 800w\" sizes=\"(max-width: 770px) 100vw, 770px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Brannvall’s “Portrait Medallions.” \u003ccite>(Courtesy: Cynthia Brannvall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another piece by South Bay artist \u003ca href=\"http://elianacetto.com/\" target=\"_blank\" rel=\"noopener\">Eliana Cetto\u003c/a> deals with the vulnerability of the female body in public. Cetto filmed herself undressing in front of a green screen onto which different public places in her San Jose neighborhood are projected.\u003c/p>\n\u003cp>“I basically created a virtual place where I could feel empowered and I can point out to the viewer that I’m not really safe whether I’m clothed or unclothed — it’s really the gaze of the viewer and the eyes of the people on the street that are the culprit,” Cetto says.\u003c/p>\n\u003cfigure id=\"attachment_11377386\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11377386 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_66471-450x600.jpg\" alt=\"The exhibit addresses violence, oppression and ideas on the female body in an attempt to deconstruct female perfection.\" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_66471-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_66471-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_66471.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">The exhibit addresses violence, oppression and ideas on the female body in an attempt to deconstruct female perfection. \u003ccite>(Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rivera says she hopes that the collection’s examination of the ways women perceive their own perfection and connection to womanhood will inspire conversations and create opportunities for young women and children. Galería de la Raza itself has a history of being a women-led space, with the current staff largely filled by women of color.\u003c/p>\n\u003cp>“Women have always been part of the Galería history — we’re very intentional about creating opportunities for women, about training women in arts production and administration, about providing a platform for oppressed and marginalized people,” Rivera says. “Our survival is dependent on being able to reach out to new voices and being able to give them a space.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>Womxn Are Perfect!\u003c/i>\u003c/b> holds an opening reception on Saturday, March 5, 6-9pm at Galería de la Raza in San Francisco. The exhibition is on view through March 26. For more information visit \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener\">galeriadelaraza.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Anish Kapoor Gets Blackest Black To Himself, Enrages Everyone",
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"content": "\u003cp>Imagine you’re in preschool. Crayolas are your jam. You’re coloring up a storm. You reach for the black crayon to add some dark squiggles to your abstract expressionist masterpiece, and this other kid takes it away. You look for another black crayon. Again, taken away. In fact, every single black crayon in the entire preschool — nay, the entire world — is in the clutches of this one kid. And you can’t use any of them. \u003c/p>\n\u003cfigure id=\"attachment_11375254\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Vantablack640.jpg\" alt=\"Vantablack-coated aluminium foil.\" width=\"640\" height=\"480\" class=\"size-full wp-image-11375254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vantablack640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vantablack640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vantablack-coated aluminium foil. \u003ccite>(Courtesy of Surrey NanoSystems)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>‘Why?’ you ask. ‘Why can’t I use the black?’\u003c/p>\n\u003cp>Because, I say: Anish Kapoor.\u003c/p>\n\u003cp>Sir Anish Kapoor, the Indian-born British artist responsible for Chicago’s \u003ci>\u003ca href=\"https://www.google.com/search?q=Cloud+Gate&rlz=1C1PRFC_enUS638US638&espv=2&biw=1920&bih=921&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiwycm_qqPLAhVEyGMKHVisDswQ_AUIBygC&dpr=1\" target=\"_blank\" rel=\"noopener\">Cloud Gate\u003c/a>\u003c/i> (a.k.a. “the bean”) has long worked to mine the emotional and psychological effects of color, surface and depth. His sculptures made from polished stainless steel twist and distort reality; objects coated with raw pigment seem to flatten to pure color.\u003c/p>\n\u003cp>In 2014, Kapoor began working with \u003ca href=\"http://www.surreynanosystems.com/vantablack/faqs\" target=\"_blank\" rel=\"noopener\">Vantablack\u003c/a>, a new product developed by the British company Surrey NanoSystems. The carbon nanotube material was dubbed “the blackest of blacks,” and is, according to the Guinness Book of World Records, the world’s darkest man-made substance. \u003c/p>\n\u003cfigure id=\"attachment_11375359\" class=\"wp-caption aligncenter\" style=\"max-width: 792px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/GoodmanFull.jpg\" alt=\"Julia Goodman, 'Angelic Organics,' 2015.\" width=\"792\" height=\"612\" class=\"size-full wp-image-11375359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GoodmanFull.jpg 792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GoodmanFull-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GoodmanFull-776x600.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GoodmanFull-768x593.jpg 768w\" sizes=\"(max-width: 792px) 100vw, 792px\">\u003cfigcaption class=\"wp-caption-text\">Julia Goodman, ‘Angelic Organics,’ 2015. \u003ccite>(Photo: Leo Selvaggio; Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Awesome, the world said. Anish Kapoor will do amazing, great and probably beautiful things with this material we can’t even afford to understand. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But then the \u003ca href=\"http://www.surreynanosystems.com/\" target=\"_blank\" rel=\"noopener\">Surrey NanoSystems\u003c/a> website announced all future artistic applications of Vantablack would be reserved exclusively for Anish Kapoor, stating: “We have… chosen to license Vantablack S-VIS [the spray-on version] exclusively to Kapoor Studios UK to explore its use in works of art. This exclusive licence limits the coating’s use in the field of art, but does not extend to any other sectors.”\u003c/p>\n\u003cp>Artists everywhere were peeved, including those in the Bay Area. “It sounds like a gimmick to me,” says artist \u003ca href=\"http://www.jagoodman.com/\" target=\"_blank\" rel=\"noopener\">Julia Goodman\u003c/a>, who makes low-relief handmade paper sculptures and works with beets. \u003c/p>\n\u003cfigure id=\"attachment_11375251\" class=\"wp-caption alignright\" style=\"max-width: 423px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Cummings640.jpg\" alt=\"Torreya Cummings, 'Water & Power,' 2013.\" width=\"423\" height=\"640\" class=\"size-full wp-image-11375251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cummings640.jpg 423w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cummings640-400x605.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cummings640-397x600.jpg 397w\" sizes=\"(max-width: 423px) 100vw, 423px\">\u003cfigcaption class=\"wp-caption-text\">Torreya Cummings, ‘Water & Power,’ 2013. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I understand why it’s an appropriate material for Anish Kapoor to use,” says Oakland-based artist \u003ca href=\"http://torreya.info/TORREYA-CUMMINGS\" target=\"_blank\" rel=\"noopener\">Torreya Cummings\u003c/a>. “But it’s the part where he won’t let others use it that’s weird.”\u003c/p>\n\u003cp>“It’s like, dude,” sculptor \u003ca href=\"http://tamraseal.com/\" target=\"_blank\" rel=\"noopener\">Tamra Seal\u003c/a> says, “share the goods.”\u003c/p>\n\u003cp>Granted, Vantablack is likely out of reach to most earthly denizens even without Kapoor accepting exclusive rights. On NanoSystems’ FAQ page, the question of “Can I apply Vantablack to my car?” (obviously the first thing on my mind) is answered with, “Though this would undoubtedly result in an amazing looking motor… this [is] an impractical proposition for most people. It would also be incredibly expensive.” \u003c/p>\n\u003cp>But now we can’t even dream of turning our cars into Batmobiles in the name of art. “I had no designs to ever use it,” says artist \u003ca href=\"http://www.nandoalvarezperez.com/index.html\" target=\"_blank\" rel=\"noopener\">Nando Alavarez-Perez\u003c/a>, “but then it was like f— you, you a–hole.” \u003c/p>\n\u003cfigure id=\"attachment_11375253\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Halo640.jpg\" alt=\"Tamra Seal, 'Halo,' 2014-2015.\" width=\"427\" height=\"640\" class=\"size-full wp-image-11375253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Halo640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Halo640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Tamra Seal, ‘Halo,’ 2014-2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists have developed secret studio methods and invented new materials (\u003ca href=\"https://en.wikipedia.org/wiki/International_Klein_Blue\" target=\"_blank\" rel=\"noopener\">International Klein Blue\u003c/a> comes to mind), but they did it on their own, through the sweat and labor of their studio practices. \u003c/p>\n\u003cp>Secrets can be useful tools for artists, Seal says. In a recent group show at Oakland’s \u003ca href=\"http://citylimitsgallery.com/exhibitions/mysticpizza/index.html\" target=\"_blank\" rel=\"noopener\">City Limits\u003c/a>, her sculpture \u003ci>Halo\u003c/i> was made of “plastic, paint and secret ingredient.” Knowing exactly how something was made and what it was made out of sometimes demystifies a work, she thinks. “Now they have to scratch their head and contemplate it. How did she make this?”\u003c/p>\n\u003cp>But for Kapoor and his Vantablack, the issue isn’t a pleasant conundrum so much as a nagging reminder of the obscene wealth (and ego) of the art-world elite. \u003c/p>\n\u003cp>“The idea of owning something he didn’t invent himself feels really wrong to me,” says Goodman. “I’m building on such a long history of making rag paper. To try to truncate and isolate myself from that feels like a disservice to the work and the community of artist papermakers I work in.”\u003c/p>\n\u003cp>As the blog \u003ca href=\"http://who-wore-it-better.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Who Wore It Better\u003c/a> clearly shows, artwork doppelgängers constantly manifest. “Things are in the air,” says Cummings. “Art is reflecting consciousness and experience and reality, there are going to be things that overlap and coincide.”\u003c/p>\n\u003cfigure id=\"attachment_11375256\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/totems-8.jpg\" alt=\"Nando Alvarez-Perez, Installation view of 'Totems for a Flattened Now,' CEPA Gallery, Buffalo, NY, 2016.\" width=\"700\" height=\"467\" class=\"size-full wp-image-11375256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/totems-8.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/totems-8-400x267.jpg 400w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Nando Alvarez-Perez, Installation view of ‘Totems for a Flattened Now,’ CEPA Gallery, Buffalo, NY, 2016. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is Kapoor so insecure about competition that he needs to corner the market on Vantablack? “It would be great if I was the only artist allowed to use extruded aluminum,” Alvarez-Perez jokes. “But even when I say that it sounds so insane!”\u003c/p>\n\u003cp>Would any of the artists surveyed for this article like to claim a particular material for their own exclusive use? Not a one. “I do love my materials, it’s true,” says Goodman. “But I don’t want to own my materials. I think work is best when it’s in conversation and not isolated.”\u003c/p>\n\u003cp>If anything, Seal says, she would want to invent a new material of her own, Yves Klein-style. \u003c/p>\n\u003cp>These Bay Area artists are just too darn nice to spout ill will. So I’ll do it for them. If NanoSystems’ other collaboration is any indicator of what the future holds, Kapoor’s exclusive rights will culminate in an artwork resembling this inane Vantablack-coated container of Lynx deodorant body spray:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bvlaNLkf-BU\u003c/p>\n\n",
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"excerpt": "If you could secure exclusive rights to an artistic material, would you do it? Bay Area artists weigh in on art world ethics. ",
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"title": "Anish Kapoor Gets Blackest Black To Himself, Enrages Everyone | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine you’re in preschool. Crayolas are your jam. You’re coloring up a storm. You reach for the black crayon to add some dark squiggles to your abstract expressionist masterpiece, and this other kid takes it away. You look for another black crayon. Again, taken away. In fact, every single black crayon in the entire preschool — nay, the entire world — is in the clutches of this one kid. And you can’t use any of them. \u003c/p>\n\u003cfigure id=\"attachment_11375254\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Vantablack640.jpg\" alt=\"Vantablack-coated aluminium foil.\" width=\"640\" height=\"480\" class=\"size-full wp-image-11375254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vantablack640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vantablack640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vantablack-coated aluminium foil. \u003ccite>(Courtesy of Surrey NanoSystems)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>‘Why?’ you ask. ‘Why can’t I use the black?’\u003c/p>\n\u003cp>Because, I say: Anish Kapoor.\u003c/p>\n\u003cp>Sir Anish Kapoor, the Indian-born British artist responsible for Chicago’s \u003ci>\u003ca href=\"https://www.google.com/search?q=Cloud+Gate&rlz=1C1PRFC_enUS638US638&espv=2&biw=1920&bih=921&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiwycm_qqPLAhVEyGMKHVisDswQ_AUIBygC&dpr=1\" target=\"_blank\" rel=\"noopener\">Cloud Gate\u003c/a>\u003c/i> (a.k.a. “the bean”) has long worked to mine the emotional and psychological effects of color, surface and depth. His sculptures made from polished stainless steel twist and distort reality; objects coated with raw pigment seem to flatten to pure color.\u003c/p>\n\u003cp>In 2014, Kapoor began working with \u003ca href=\"http://www.surreynanosystems.com/vantablack/faqs\" target=\"_blank\" rel=\"noopener\">Vantablack\u003c/a>, a new product developed by the British company Surrey NanoSystems. The carbon nanotube material was dubbed “the blackest of blacks,” and is, according to the Guinness Book of World Records, the world’s darkest man-made substance. \u003c/p>\n\u003cfigure id=\"attachment_11375359\" class=\"wp-caption aligncenter\" style=\"max-width: 792px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/GoodmanFull.jpg\" alt=\"Julia Goodman, 'Angelic Organics,' 2015.\" width=\"792\" height=\"612\" class=\"size-full wp-image-11375359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GoodmanFull.jpg 792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GoodmanFull-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GoodmanFull-776x600.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GoodmanFull-768x593.jpg 768w\" sizes=\"(max-width: 792px) 100vw, 792px\">\u003cfigcaption class=\"wp-caption-text\">Julia Goodman, ‘Angelic Organics,’ 2015. \u003ccite>(Photo: Leo Selvaggio; Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Awesome, the world said. Anish Kapoor will do amazing, great and probably beautiful things with this material we can’t even afford to understand. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But then the \u003ca href=\"http://www.surreynanosystems.com/\" target=\"_blank\" rel=\"noopener\">Surrey NanoSystems\u003c/a> website announced all future artistic applications of Vantablack would be reserved exclusively for Anish Kapoor, stating: “We have… chosen to license Vantablack S-VIS [the spray-on version] exclusively to Kapoor Studios UK to explore its use in works of art. This exclusive licence limits the coating’s use in the field of art, but does not extend to any other sectors.”\u003c/p>\n\u003cp>Artists everywhere were peeved, including those in the Bay Area. “It sounds like a gimmick to me,” says artist \u003ca href=\"http://www.jagoodman.com/\" target=\"_blank\" rel=\"noopener\">Julia Goodman\u003c/a>, who makes low-relief handmade paper sculptures and works with beets. \u003c/p>\n\u003cfigure id=\"attachment_11375251\" class=\"wp-caption alignright\" style=\"max-width: 423px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Cummings640.jpg\" alt=\"Torreya Cummings, 'Water & Power,' 2013.\" width=\"423\" height=\"640\" class=\"size-full wp-image-11375251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cummings640.jpg 423w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cummings640-400x605.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cummings640-397x600.jpg 397w\" sizes=\"(max-width: 423px) 100vw, 423px\">\u003cfigcaption class=\"wp-caption-text\">Torreya Cummings, ‘Water & Power,’ 2013. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I understand why it’s an appropriate material for Anish Kapoor to use,” says Oakland-based artist \u003ca href=\"http://torreya.info/TORREYA-CUMMINGS\" target=\"_blank\" rel=\"noopener\">Torreya Cummings\u003c/a>. “But it’s the part where he won’t let others use it that’s weird.”\u003c/p>\n\u003cp>“It’s like, dude,” sculptor \u003ca href=\"http://tamraseal.com/\" target=\"_blank\" rel=\"noopener\">Tamra Seal\u003c/a> says, “share the goods.”\u003c/p>\n\u003cp>Granted, Vantablack is likely out of reach to most earthly denizens even without Kapoor accepting exclusive rights. On NanoSystems’ FAQ page, the question of “Can I apply Vantablack to my car?” (obviously the first thing on my mind) is answered with, “Though this would undoubtedly result in an amazing looking motor… this [is] an impractical proposition for most people. It would also be incredibly expensive.” \u003c/p>\n\u003cp>But now we can’t even dream of turning our cars into Batmobiles in the name of art. “I had no designs to ever use it,” says artist \u003ca href=\"http://www.nandoalvarezperez.com/index.html\" target=\"_blank\" rel=\"noopener\">Nando Alavarez-Perez\u003c/a>, “but then it was like f— you, you a–hole.” \u003c/p>\n\u003cfigure id=\"attachment_11375253\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Halo640.jpg\" alt=\"Tamra Seal, 'Halo,' 2014-2015.\" width=\"427\" height=\"640\" class=\"size-full wp-image-11375253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Halo640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Halo640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Tamra Seal, ‘Halo,’ 2014-2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists have developed secret studio methods and invented new materials (\u003ca href=\"https://en.wikipedia.org/wiki/International_Klein_Blue\" target=\"_blank\" rel=\"noopener\">International Klein Blue\u003c/a> comes to mind), but they did it on their own, through the sweat and labor of their studio practices. \u003c/p>\n\u003cp>Secrets can be useful tools for artists, Seal says. In a recent group show at Oakland’s \u003ca href=\"http://citylimitsgallery.com/exhibitions/mysticpizza/index.html\" target=\"_blank\" rel=\"noopener\">City Limits\u003c/a>, her sculpture \u003ci>Halo\u003c/i> was made of “plastic, paint and secret ingredient.” Knowing exactly how something was made and what it was made out of sometimes demystifies a work, she thinks. “Now they have to scratch their head and contemplate it. How did she make this?”\u003c/p>\n\u003cp>But for Kapoor and his Vantablack, the issue isn’t a pleasant conundrum so much as a nagging reminder of the obscene wealth (and ego) of the art-world elite. \u003c/p>\n\u003cp>“The idea of owning something he didn’t invent himself feels really wrong to me,” says Goodman. “I’m building on such a long history of making rag paper. To try to truncate and isolate myself from that feels like a disservice to the work and the community of artist papermakers I work in.”\u003c/p>\n\u003cp>As the blog \u003ca href=\"http://who-wore-it-better.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Who Wore It Better\u003c/a> clearly shows, artwork doppelgängers constantly manifest. “Things are in the air,” says Cummings. “Art is reflecting consciousness and experience and reality, there are going to be things that overlap and coincide.”\u003c/p>\n\u003cfigure id=\"attachment_11375256\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/totems-8.jpg\" alt=\"Nando Alvarez-Perez, Installation view of 'Totems for a Flattened Now,' CEPA Gallery, Buffalo, NY, 2016.\" width=\"700\" height=\"467\" class=\"size-full wp-image-11375256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/totems-8.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/totems-8-400x267.jpg 400w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Nando Alvarez-Perez, Installation view of ‘Totems for a Flattened Now,’ CEPA Gallery, Buffalo, NY, 2016. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is Kapoor so insecure about competition that he needs to corner the market on Vantablack? “It would be great if I was the only artist allowed to use extruded aluminum,” Alvarez-Perez jokes. “But even when I say that it sounds so insane!”\u003c/p>\n\u003cp>Would any of the artists surveyed for this article like to claim a particular material for their own exclusive use? Not a one. “I do love my materials, it’s true,” says Goodman. “But I don’t want to own my materials. I think work is best when it’s in conversation and not isolated.”\u003c/p>\n\u003cp>If anything, Seal says, she would want to invent a new material of her own, Yves Klein-style. \u003c/p>\n\u003cp>These Bay Area artists are just too darn nice to spout ill will. So I’ll do it for them. If NanoSystems’ other collaboration is any indicator of what the future holds, Kapoor’s exclusive rights will culminate in an artwork resembling this inane Vantablack-coated container of Lynx deodorant body spray:\u003c/p>\n\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/bvlaNLkf-BU'\n title='//www.youtube.com/embed/bvlaNLkf-BU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Museum of Monterey is about to become home to the largest collection of works by Salvador Dalí on the West Coast, thanks to the arrival of 543 original etchings, lithographs, sculptures and tapestries by the Spanish surrealist artist. The collection will join the \u003ca href=\"http://www.montereybayaquarium.org/\" target=\"_blank\" rel=\"noopener\">Aquarium\u003c/a> and the \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">Jazz Festival\u003c/a> as one of Monterey’s major tourist draws.\u003c/p>\n\u003cp>It’s not as bizarre an idea as you might think. Dalí lived in Monterey off and on for seven years in the 1940s. The artist was a regular at the city’s famous Hotel Del Monte, the historic starting point for the 17-mile drive.\u003c/p>\n\u003cp>Watch Paramount Pictures’ coverage of a surrealist fundraiser Dalí threw for European artists displaced by World War II in 1941.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=vg6i4E0Woak]\u003c/p>\n\u003cp>Stars like Bob Hope, Clark Gable, Bing Crosby, and Alfred Hitchcock reportedly attended, too. Dalí was not above fraternizing with local artists, though. He was an early member of the \u003ca href=\"http://carmelart.org/history/\" target=\"_blank\" rel=\"noopener\">Carmel Art Association\u003c/a>, actively participating in the group’s activities when he wasn’t in New York or Hollywood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last year, the Monterey History and Art Association went looking for a fresh focus for the Museum of Monterey. Since its start in 1992, the institution, which doesn’t charge admission, has attracted fewer than 25,000 visitors a year and has failed to break even.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/251082631″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=’166′ iframe=”true” /]\u003c/p>\n\u003cp>Highlighting local history is part of the organization’s mission. So after a call went out for fresh ideas, board members were excited to hear from a local businessman keen to share his Dalí collection with the public –- a collection unmatched by anything outside Europe or \u003ca href=\"http://thedali.org/\" target=\"_blank\" rel=\"noopener\">The Dalí\u003c/a> \u003ca href=\"http://thedali.org/\" target=\"_blank\" rel=\"noopener\">Museum\u003c/a> in Florida.\u003c/p>\n\u003cp>\u003cstrong>Nuts for Dalí\u003c/strong>\u003c/p>\n\u003cp>Dmitry Piterman maintains homes in Oakland and Pebble Beach, and he’s mad for Dalí. After earning a track scholarship to UC Berkeley, Piterman competed in the US Olympic trials for the 1992 games in Barcelona. He failed to qualify. But as a result of his visit to Spain, Piterman discovered Dalí. As Piterman’s career in real estate blossomed over the years, he plowed a fair bit of his spare income into Dalí’s art work.\u003c/p>\n\u003cp>Piterman has exhibited his collection before in Spain and Belgium. Now he’ll get to have a strong hand in the day-to-day management of the exhibition space in Monterey, and at a museum that is putting his collection front and center.\u003c/p>\n\u003cp>Association president Larry Chavez says he hopes to add to the collection from the museum’s own archives as well as from future purchases Piterman might make and from other Dalí art collectors.\u003c/p>\n\u003cp>\u003cstrong>The Fate of the Existing Collection\u003c/strong>\u003c/p>\n\u003cp>What’s going to happen to the existing collection? Work that was on loan is going back to its original owners. Much of it is headed to the \u003ca href=\"http://www.nps.gov/safr/index.htm\" target=\"_blank\" rel=\"noopener\">San Francisco Maritime Museum\u003c/a>. Local outfits like the \u003ca href=\"http://monterey.org/library/California-History-Room\" target=\"_blank\" rel=\"noopener\">Monterey Public Library\u003c/a> and the \u003ca href=\"http://www.dliflc.edu/about/command-history-office-3/\" target=\"_blank\" rel=\"noopener\">Defense Language Institute\u003c/a> will house other materials. Chavez adds there will also be a small exhibit of non-Dalí items at the museum and/or another location nearby.\u003c/p>\n\u003cp>Monterey County vigorously celebrates writers who’ve spent time in the region, including John Steinbeck, Robert Louis Stevenson, Robinson Jeffers, Henry Miller and Jack Kerouac. Dalí’s connection to the city is much less well known.\u003c/p>\n\u003cp>“Dalí, with his extravagance and with his out of the box thinking, probably chose Monterey because he found this a little haven for himself,” says Chavez.\u003c/p>\n\u003cp>The new Dalí museum will open in May, just in time for the summer tourist season.\u003c/p>\n\u003cp>\u003cstrong>Dalí on \u003cem>What’s My Line\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f7SSkVpM4lE\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Museum of Monterey is about to become home to the largest collection of works by Salvador Dalí on the West Coast, thanks to the arrival of 543 original etchings, lithographs, sculptures and tapestries by the Spanish surrealist artist. The collection will join the \u003ca href=\"http://www.montereybayaquarium.org/\" target=\"_blank\" rel=\"noopener\">Aquarium\u003c/a> and the \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">Jazz Festival\u003c/a> as one of Monterey’s major tourist draws.\u003c/p>\n\u003cp>It’s not as bizarre an idea as you might think. Dalí lived in Monterey off and on for seven years in the 1940s. The artist was a regular at the city’s famous Hotel Del Monte, the historic starting point for the 17-mile drive.\u003c/p>\n\u003cp>Watch Paramount Pictures’ coverage of a surrealist fundraiser Dalí threw for European artists displaced by World War II in 1941.\u003c/p>\n\u003cp>\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/vg6i4E0Woak'\n title='//www.youtube.com/embed/vg6i4E0Woak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Stars like Bob Hope, Clark Gable, Bing Crosby, and Alfred Hitchcock reportedly attended, too. Dalí was not above fraternizing with local artists, though. He was an early member of the \u003ca href=\"http://carmelart.org/history/\" target=\"_blank\" rel=\"noopener\">Carmel Art Association\u003c/a>, actively participating in the group’s activities when he wasn’t in New York or Hollywood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year, the Monterey History and Art Association went looking for a fresh focus for the Museum of Monterey. Since its start in 1992, the institution, which doesn’t charge admission, has attracted fewer than 25,000 visitors a year and has failed to break even.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='’166′'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/251082631″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/251082631″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Highlighting local history is part of the organization’s mission. So after a call went out for fresh ideas, board members were excited to hear from a local businessman keen to share his Dalí collection with the public –- a collection unmatched by anything outside Europe or \u003ca href=\"http://thedali.org/\" target=\"_blank\" rel=\"noopener\">The Dalí\u003c/a> \u003ca href=\"http://thedali.org/\" target=\"_blank\" rel=\"noopener\">Museum\u003c/a> in Florida.\u003c/p>\n\u003cp>\u003cstrong>Nuts for Dalí\u003c/strong>\u003c/p>\n\u003cp>Dmitry Piterman maintains homes in Oakland and Pebble Beach, and he’s mad for Dalí. After earning a track scholarship to UC Berkeley, Piterman competed in the US Olympic trials for the 1992 games in Barcelona. He failed to qualify. But as a result of his visit to Spain, Piterman discovered Dalí. As Piterman’s career in real estate blossomed over the years, he plowed a fair bit of his spare income into Dalí’s art work.\u003c/p>\n\u003cp>Piterman has exhibited his collection before in Spain and Belgium. Now he’ll get to have a strong hand in the day-to-day management of the exhibition space in Monterey, and at a museum that is putting his collection front and center.\u003c/p>\n\u003cp>Association president Larry Chavez says he hopes to add to the collection from the museum’s own archives as well as from future purchases Piterman might make and from other Dalí art collectors.\u003c/p>\n\u003cp>\u003cstrong>The Fate of the Existing Collection\u003c/strong>\u003c/p>\n\u003cp>What’s going to happen to the existing collection? Work that was on loan is going back to its original owners. Much of it is headed to the \u003ca href=\"http://www.nps.gov/safr/index.htm\" target=\"_blank\" rel=\"noopener\">San Francisco Maritime Museum\u003c/a>. Local outfits like the \u003ca href=\"http://monterey.org/library/California-History-Room\" target=\"_blank\" rel=\"noopener\">Monterey Public Library\u003c/a> and the \u003ca href=\"http://www.dliflc.edu/about/command-history-office-3/\" target=\"_blank\" rel=\"noopener\">Defense Language Institute\u003c/a> will house other materials. Chavez adds there will also be a small exhibit of non-Dalí items at the museum and/or another location nearby.\u003c/p>\n\u003cp>Monterey County vigorously celebrates writers who’ve spent time in the region, including John Steinbeck, Robert Louis Stevenson, Robinson Jeffers, Henry Miller and Jack Kerouac. Dalí’s connection to the city is much less well known.\u003c/p>\n\u003cp>“Dalí, with his extravagance and with his out of the box thinking, probably chose Monterey because he found this a little haven for himself,” says Chavez.\u003c/p>\n\u003cp>The new Dalí museum will open in May, just in time for the summer tourist season.\u003c/p>\n\u003cp>\u003cstrong>Dalí on \u003cem>What’s My Line\u003c/em>\u003c/strong>\u003c/p>\n\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/f7SSkVpM4lE'\n title='//www.youtube.com/embed/f7SSkVpM4lE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"slug": "sfo-exhibit-shows-how-artists-adapted-art-nouveau-to-rock-posters",
"title": "SFO Exhibit Shows How Artists Adapted Art Nouveau to Rock Posters",
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"content": "\u003cp>If you’ve wandered through the International Terminal Main Hall Departures Lobby at SFO this month, you may have noticed SFO Museum’s newest exhibit, \u003ca href=\"http://www.flysfo.com/museum/exhibitions/allure-art-nouveau\" target=\"_blank\" rel=\"noopener\">\u003cem>The Allure of Art Nouveau: 1890–1914\u003c/em>\u003c/a>. It focuses on a movement that inspired incredible creativity in everything from jewelry to architecture, and was inspired by nature at a time when the harsh, dehumanizing aspects of the Industrial Revolution were freaking people out.\u003c/p>\n\u003cfigure id=\"attachment_11361672\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11361672 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-400x296.jpg\" alt=\"Snake lamp 1900 from Vienna, Austria. On loan at SFO from Age of Elegance in Mill Valley.\" width=\"400\" height=\"296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-960x711.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut.jpg 1093w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Snake lamp 1900 from Vienna, Austria. On loan at SFO from Age of Elegance in Mill Valley. \u003ccite>(Courtesy SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In contrast, Art Nouveau celebrated organic life: curling tendrils of vegetation, vivid colors, and lots and lots of curvaceous women. Art Nouveau slid out of fashion by World War I, but echoes of its influence have burbled up through the decades — most notably during the heyday of rock concert posters and handbills in the late 1960s and early ’70s. Some of those artists are alive and well, and still living in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003ca href=\"http://www.normanorr.com/project-gallery/graphic-illustrations/vintage-fillmore-posters\" target=\"_blank\" rel=\"noopener\">Norman Orr\u003c/a>, who did about a dozen posters for Bill Graham from 1970 to ’71, says he was influenced by was the Moravian artist \u003ca href=\"http://www.alfonsmucha.org\" target=\"_blank\" rel=\"noopener\">Alphonse Mucha\u003c/a> (1860-1939). “It was the sensuality of the graceful, flowing lines of the Mucha work, and the way that the female form was combined with the sensuality of the line work that I found to be most appealing.”\u003c/p>\n\u003cfigure id=\"attachment_11361680\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11361680 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18639_Poco-qut.jpg\" alt=\"Poco at Fillmore West (1971).\" width=\"480\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18639_Poco-qut.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18639_Poco-qut-400x313.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Poco at Fillmore West (1971). \u003ccite>(Courtesy Norman Orr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In my poster for the Poco concert,” Orr says, “I employ a flowing quality to many of the design elements. The snake element, and stylized foliage are reflections of the admiration that I had for the Art Nouveau style.” Orr, now based in Mountain View, still works in a medium – wood – those artists would appreciate.\u003c/p>\n\u003cp>\u003ca href=\"http://www.jimphillips.com/rockpage.html\" target=\"_blank\" rel=\"noopener\">Jim Phillips\u003c/a> of Santa Cruz goes even further.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Art Nouveau was a blossom on a vine that has crept and spread through every civilization since the first primitive man carved a snake coiled around his knife handle. God commanded Moses to adorn the ark with gold cherubim spreading their wings, and Egyptian art such as the King Tut sarcophagus were milestones in the importance of decoration. Kings demanded their crowns and chariots be sculpted with endless ornamental and figurative designs, countless artists and craftsmen worked tirelessly for thousands of years on every conceivable surface to the point where it seems that most every figure and floral pattern possible had been done. Art Nouveau seems to be an organic ejaculation of all that was art until then.”\u003c/p>\n\u003cfigure id=\"attachment_11361792\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11361792 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18640_Clinton-qut-400x600.jpg\" alt=\"George Clinton at Maritime Hall\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18640_Clinton-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18640_Clinton-qut.jpg 528w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">George Clinton at Maritime Hall \u003ccite>(Courtesy Jim Phillips)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those sensuously drawn women, along with the bulbous letters and flat space inspired by Japanese woodblock prints, would come to define what we think of when we think of San Francisco Bay Area’s Psychedelic rock scene of the late ’60s. Which is not to say LSD and marijuana had nothing to do with the art, but again, look at those images up top. Let’s just say imitation is often considered the sincerest form of flattery. It’s also true many rock era artists were pulling inspiration from pop art and the advertising of the day.\u003c/p>\n\u003cp>The aesthetic has lingered through the decades. Phillips sees the influence in his 1996 handbill for George Clinton at Maritime Hall, “with the wistful soul-piercing look of a colorfully lit and adorned woman, with the lettering for Clinton made from feathers.” He adds: “I do not consider that my posters were done in an Art Nouveau style per se, but for me the movement was an essential element that I did attempt a nod towards.”\u003c/p>\n\u003cp>The SFO Museum recently featured the Bay Area’s most psychedelic chapter in art history with an exhibit called \u003ca href=\"http://www.flysfo.com/museum/exhibitions/when-art-rocked-san-francisco-music-posters-1966%E2%80%931971\" target=\"_blank\" rel=\"noopener\">When Art Rocked: San Francisco Music Posters 1966–1971\u003c/a>. The guest curator was Ben Marks of the \u003ca href=\"http://www.trps.org/\" target=\"_blank\" rel=\"noopener\">Rock Poster Society\u003c/a>, (whose byline you will recognize from many articles written for \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20063\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>).\u003c/p>\n\u003cp>“You can draw a straight line between Art Nouveau and psychedelic rock posters,” Martin Hohn, president of the Rock Poster Society, says. “Mucha, Jules Chéret, Aubrey Beardsley. Borrow from everything. The world is your palette. It was all meant to be populist art. It was always meant to be disposable.” He later adds: “What the artists were saying graphically was the same thing the rock bands were saying musically.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The sheer number of concerts held during those years created an enormous demand for eye-catching graphic art,” Marks wrote for \u003ca href=\"http://boingboing.net/2014/10/14/when-art-rocked.html\" target=\"_blank\" rel=\"noopener\">Boing Boing\u003c/a> when the exhibit was up. Back then, the posters and handbills were an easy way for artists to make a little bit of money off of concert promoters like Bill Graham. Today, the originals can fetch thousands of dollars from collectors. It’s not difficult to see why.\u003c/p>\n\u003cfigure id=\"attachment_11362032\" class=\"wp-caption aligncenter\" style=\"max-width: 434px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11362032\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lef%C3%A8vre-Utile-qut-434x600.jpg\" alt=\"Poster for Biscuits Lefèvre-Utile (1896), by Alphonse Mucha.\" width=\"434\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-434x600.jpg 434w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-400x553.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-768x1062.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-853x1180.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-1180x1632.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-960x1327.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut.jpg 1186w\" sizes=\"(max-width: 434px) 100vw, 434px\">\u003cfigcaption class=\"wp-caption-text\">Poster for Biscuits Lefèvre-Utile (1896), by Alphonse Mucha. \u003ccite>(Courtesy Art Renewal Center Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve wandered through the International Terminal Main Hall Departures Lobby at SFO this month, you may have noticed SFO Museum’s newest exhibit, \u003ca href=\"http://www.flysfo.com/museum/exhibitions/allure-art-nouveau\" target=\"_blank\" rel=\"noopener\">\u003cem>The Allure of Art Nouveau: 1890–1914\u003c/em>\u003c/a>. It focuses on a movement that inspired incredible creativity in everything from jewelry to architecture, and was inspired by nature at a time when the harsh, dehumanizing aspects of the Industrial Revolution were freaking people out.\u003c/p>\n\u003cfigure id=\"attachment_11361672\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11361672 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-400x296.jpg\" alt=\"Snake lamp 1900 from Vienna, Austria. On loan at SFO from Age of Elegance in Mill Valley.\" width=\"400\" height=\"296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-960x711.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut.jpg 1093w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Snake lamp 1900 from Vienna, Austria. On loan at SFO from Age of Elegance in Mill Valley. \u003ccite>(Courtesy SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In contrast, Art Nouveau celebrated organic life: curling tendrils of vegetation, vivid colors, and lots and lots of curvaceous women. Art Nouveau slid out of fashion by World War I, but echoes of its influence have burbled up through the decades — most notably during the heyday of rock concert posters and handbills in the late 1960s and early ’70s. Some of those artists are alive and well, and still living in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003ca href=\"http://www.normanorr.com/project-gallery/graphic-illustrations/vintage-fillmore-posters\" target=\"_blank\" rel=\"noopener\">Norman Orr\u003c/a>, who did about a dozen posters for Bill Graham from 1970 to ’71, says he was influenced by was the Moravian artist \u003ca href=\"http://www.alfonsmucha.org\" target=\"_blank\" rel=\"noopener\">Alphonse Mucha\u003c/a> (1860-1939). “It was the sensuality of the graceful, flowing lines of the Mucha work, and the way that the female form was combined with the sensuality of the line work that I found to be most appealing.”\u003c/p>\n\u003cfigure id=\"attachment_11361680\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11361680 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18639_Poco-qut.jpg\" alt=\"Poco at Fillmore West (1971).\" width=\"480\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18639_Poco-qut.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18639_Poco-qut-400x313.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Poco at Fillmore West (1971). \u003ccite>(Courtesy Norman Orr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In my poster for the Poco concert,” Orr says, “I employ a flowing quality to many of the design elements. The snake element, and stylized foliage are reflections of the admiration that I had for the Art Nouveau style.” Orr, now based in Mountain View, still works in a medium – wood – those artists would appreciate.\u003c/p>\n\u003cp>\u003ca href=\"http://www.jimphillips.com/rockpage.html\" target=\"_blank\" rel=\"noopener\">Jim Phillips\u003c/a> of Santa Cruz goes even further.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Art Nouveau was a blossom on a vine that has crept and spread through every civilization since the first primitive man carved a snake coiled around his knife handle. God commanded Moses to adorn the ark with gold cherubim spreading their wings, and Egyptian art such as the King Tut sarcophagus were milestones in the importance of decoration. Kings demanded their crowns and chariots be sculpted with endless ornamental and figurative designs, countless artists and craftsmen worked tirelessly for thousands of years on every conceivable surface to the point where it seems that most every figure and floral pattern possible had been done. Art Nouveau seems to be an organic ejaculation of all that was art until then.”\u003c/p>\n\u003cfigure id=\"attachment_11361792\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11361792 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18640_Clinton-qut-400x600.jpg\" alt=\"George Clinton at Maritime Hall\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18640_Clinton-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18640_Clinton-qut.jpg 528w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">George Clinton at Maritime Hall \u003ccite>(Courtesy Jim Phillips)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those sensuously drawn women, along with the bulbous letters and flat space inspired by Japanese woodblock prints, would come to define what we think of when we think of San Francisco Bay Area’s Psychedelic rock scene of the late ’60s. Which is not to say LSD and marijuana had nothing to do with the art, but again, look at those images up top. Let’s just say imitation is often considered the sincerest form of flattery. It’s also true many rock era artists were pulling inspiration from pop art and the advertising of the day.\u003c/p>\n\u003cp>The aesthetic has lingered through the decades. Phillips sees the influence in his 1996 handbill for George Clinton at Maritime Hall, “with the wistful soul-piercing look of a colorfully lit and adorned woman, with the lettering for Clinton made from feathers.” He adds: “I do not consider that my posters were done in an Art Nouveau style per se, but for me the movement was an essential element that I did attempt a nod towards.”\u003c/p>\n\u003cp>The SFO Museum recently featured the Bay Area’s most psychedelic chapter in art history with an exhibit called \u003ca href=\"http://www.flysfo.com/museum/exhibitions/when-art-rocked-san-francisco-music-posters-1966%E2%80%931971\" target=\"_blank\" rel=\"noopener\">When Art Rocked: San Francisco Music Posters 1966–1971\u003c/a>. The guest curator was Ben Marks of the \u003ca href=\"http://www.trps.org/\" target=\"_blank\" rel=\"noopener\">Rock Poster Society\u003c/a>, (whose byline you will recognize from many articles written for \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20063\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>).\u003c/p>\n\u003cp>“You can draw a straight line between Art Nouveau and psychedelic rock posters,” Martin Hohn, president of the Rock Poster Society, says. “Mucha, Jules Chéret, Aubrey Beardsley. Borrow from everything. The world is your palette. It was all meant to be populist art. It was always meant to be disposable.” He later adds: “What the artists were saying graphically was the same thing the rock bands were saying musically.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The sheer number of concerts held during those years created an enormous demand for eye-catching graphic art,” Marks wrote for \u003ca href=\"http://boingboing.net/2014/10/14/when-art-rocked.html\" target=\"_blank\" rel=\"noopener\">Boing Boing\u003c/a> when the exhibit was up. Back then, the posters and handbills were an easy way for artists to make a little bit of money off of concert promoters like Bill Graham. Today, the originals can fetch thousands of dollars from collectors. It’s not difficult to see why.\u003c/p>\n\u003cfigure id=\"attachment_11362032\" class=\"wp-caption aligncenter\" style=\"max-width: 434px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11362032\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lef%C3%A8vre-Utile-qut-434x600.jpg\" alt=\"Poster for Biscuits Lefèvre-Utile (1896), by Alphonse Mucha.\" width=\"434\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-434x600.jpg 434w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-400x553.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-768x1062.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-853x1180.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-1180x1632.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-960x1327.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut.jpg 1186w\" sizes=\"(max-width: 434px) 100vw, 434px\">\u003cfigcaption class=\"wp-caption-text\">Poster for Biscuits Lefèvre-Utile (1896), by Alphonse Mucha. \u003ccite>(Courtesy Art Renewal Center Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "SOMArts’ ‘Timeless Motion’ Electrifies Invisible Forces",
"headTitle": "SOMArts’ ‘Timeless Motion’ Electrifies Invisible Forces | KQED",
"content": "\u003cp>In the late 19th century, at the dawn of the electric age, famous spiritualists traveled the country selling the promise of contact with “the other side.” An interest in unseen, possibly supernatural, energies developed apace with the introduction of electricity, that invisible force illuminating the night and animating formerly lifeless objects. In 2016, I thought of this legacy as I stepped into \u003ci>\u003ca href=\"http://www.somarts.org/timelessmotion/\" target=\"_blank\" rel=\"noopener\">Timeless Motion\u003c/a>\u003c/i>, a multimedia exhibition of local moving image artists currently on view at San Francisco’s SOMArts.\u003c/p>\n\u003cfigure id=\"attachment_11372517\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11372517 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Install.gif\" alt=\"Installion view of Scott Stark, 'Low-Res Arborscope,' 2016.\" width=\"1200\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Scott Stark, ‘Low-Res Arborscope,’ 2016. \u003ccite>(Photo: Dan Fenstermacher/SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first piece in the gallery is Scott Stark’s \u003cem>Low-Res Arborscope\u003c/em>, a wasteland as gray as Dorothy’s Kansas inhabited by a forest of dead tree parts. On one end a projector shoots its images toward slats of wood swinging in a fan’s breeze. The light that spills around the edges of this moving screen generates a force field, a no-go zone created by either the forbidding nature of the lifeless detritus or the perceived inviolability of art in a gallery setting. Whatever the cause and whatever the purpose, one begins to think post-apocalyptically of disasters in the making and what will be left behind.\u003c/p>\n\u003cp>This piece (though not my favorite in the show) effectively promotes \u003ci>Timeless Motion\u003c/i>’s thesis, creating a dead space in the middle of the gallery with clearly permeable borders between past, present and a possible future. The landscape, already harsh, is made more forbidding with the addition of electric light, which both illuminates and defines the installation as a kind of afterlife.\u003c/p>\n\u003cfigure id=\"attachment_11359170\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11359170 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/21401391844_1643f9dae7_k-e1456875336662.jpg\" alt=\"Paul Clipson, 'FUNERA ET SERPENTIUM,' 2015.\" width=\"1200\" height=\"573\">\u003cfigcaption class=\"wp-caption-text\">Paul Clipson, ‘FUNERA ET SERPENTIUM,’ 2015. \u003ccite>(Courtesy of the artist and SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In stark contrast (no pun intended, Scott), Paul Clipson’s 16mm film \u003cem>FUNERA ET SERPENTIUM\u003c/em> soothes the eye and calms the nervous system. Clipson works exclusively in celluloid, generating gorgeous multi-colored and multi-layered images with in-camera effects. His world seems populated with visual delight, which he eagerly captures and shares. The warmth of Clipson’s photographic process, even when the imagery is of cityscapes and electric light patterns, fosters an organic feeling, a celebration of human activity that feels positive — a kind of communion with both the natural world and the built environment.\u003c/p>\n\u003cp>In two other closed-off sections of the gallery, viewers encounter the sublime with Kerry Laitala’s \u003cem>The Retrospectroscope\u003c/em> and \u003cem>The Cosmoscope\u003c/em>, kinetic sculptures creating mind-bending worlds that threaten to engulf and destroy. Signs warn the viewer to beware of possible seizure-inducing effects before entering into the tiny curtained rooms where dangerous disks (exploded \u003ca href=\"https://en.wikipedia.org/wiki/Zoetrope\" target=\"_blank\" rel=\"noopener\">zoetropes\u003c/a>, 19th-century inventions that predicted cinema) swirl in front of strobe lights.\u003c/p>\n\u003cfigure id=\"attachment_11372526\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11372526 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Cosmo1200.jpg\" alt=\"Kerry Laitala, Detail of 'The Cosmoscope,' 2016.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cosmo1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cosmo1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cosmo1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cosmo1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cosmo1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cosmo1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kerry Laitala, Detail of ‘The Cosmoscope,’ 2016. \u003ccite>(Photo: Dan Fenstermacher/SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The combination of cramped space, swirling motion and flashing lights created instant nausea for me. Laitala’s works offered an experience of beauty ultimately denied (to me) by their own dangerous nature. Another 19th-century allusion came to mind — that of a medicine man offering cures but selling poisons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Laitala’s other works, called “Cosmo-Electro-photographs” confirm \u003ci>Timeless Motion\u003c/i>’s desire to connect electricity and spirituality. A group of large prints resembling mandalas are actually camera-less photos, the result of electrical discharge from etched plates — invisible forces captured, frozen and hung on the wall.\u003c/p>\n\u003cp>Mark Wilson continues this fascination with pre-20th century signs and symbols in works spread across the walls of the exhibition. Once again referencing the zoetrope in presentation, Wilson’s pieces also concern themselves with ritual images and relics of ancient cultures now rendered silent and unknowable.\u003c/p>\n\u003cfigure id=\"attachment_11372521\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11372521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Quillian1200.jpg\" alt=\"Viewer and Kathleen Quillian's 'Expanded View,' 2016.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Quillian1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Quillian1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Quillian1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Quillian1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Quillian1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Quillian1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Viewer and Kathleen Quillian’s ‘Expanded View,’ 2016. \u003ccite>(Photo: Dan Fenstermacher/SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kathleen Quillian’s \u003cem>Expanded View\u003c/em> is both a stop-motion animated video (reminiscent of Lewis Klahr, Martha Colburn, and Larry Jordan’s work) and a flat explosion of the images she used to create that animation affixed to the wall. The animated video is frenetic and full of witty juxtapositions, but the static collages trap and dissipate the video’s energy, perhaps in an attempt to reverse the polarity of the exhibition. Where electricity brings the other works to life, Quillian demonstrates how its lack causes a tiny death.\u003c/p>\n\u003cfigure id=\"attachment_11372523\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11372523\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Tele640.jpg\" alt=\"Viewer and Keith Evans' 'Lenticle to the Sun,' 2016.\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Tele640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Tele640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Viewer and Keith Evans’ ‘Lenticle to the Sun,’ 2016. \u003ccite>(Photo: Dan Fenstermacher/SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elsewhere, Keith Evans’ \u003cem>Lenticle to the Sun\u003c/em> is an installation built into the floor of the gallery. A phonograph causes bicycle wheels to slowly rotate under a large piece of Plexiglas; a telescope sits on top of the plexi, pointing at a projection high up on an opposite wall. Look through the telescope lens and see a mystery. Perhaps this is always how we ponder the sky; and perhaps \u003cem>Lenticle to the Sun\u003c/em> is merely a description of looking, a questioning of the nature of what we see but can never truly know.\u003c/p>\n\u003cp>The final work in the show, Jeanne Liotta’s \u003cem>Diagram Squared\u003c/em>, is equally mysterious. A short video of 1970s scientific animations project onto two inkjet prints. Though the animations were created to demonstrate specific processes, Liotta strips them of their soundtracks and therefore their didactic content. The will to explain is stifled by our inability to comprehend. But what can we know? The universe is in timeless motion, guided by dark matter and unseen forces we may never detect, much less understand.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ci>Timeless Motion\u003c/i>\u003c/strong> is on view through March 23, 2016 at SOMArts in San Francisco. For more information visit \u003ca href=\"http://www.somarts.org/\" target=\"_blank\" rel=\"noopener\">somarts.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the late 19th century, at the dawn of the electric age, famous spiritualists traveled the country selling the promise of contact with “the other side.” An interest in unseen, possibly supernatural, energies developed apace with the introduction of electricity, that invisible force illuminating the night and animating formerly lifeless objects. In 2016, I thought of this legacy as I stepped into \u003ci>\u003ca href=\"http://www.somarts.org/timelessmotion/\" target=\"_blank\" rel=\"noopener\">Timeless Motion\u003c/a>\u003c/i>, a multimedia exhibition of local moving image artists currently on view at San Francisco’s SOMArts.\u003c/p>\n\u003cfigure id=\"attachment_11372517\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11372517 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Install.gif\" alt=\"Installion view of Scott Stark, 'Low-Res Arborscope,' 2016.\" width=\"1200\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Scott Stark, ‘Low-Res Arborscope,’ 2016. \u003ccite>(Photo: Dan Fenstermacher/SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first piece in the gallery is Scott Stark’s \u003cem>Low-Res Arborscope\u003c/em>, a wasteland as gray as Dorothy’s Kansas inhabited by a forest of dead tree parts. On one end a projector shoots its images toward slats of wood swinging in a fan’s breeze. The light that spills around the edges of this moving screen generates a force field, a no-go zone created by either the forbidding nature of the lifeless detritus or the perceived inviolability of art in a gallery setting. Whatever the cause and whatever the purpose, one begins to think post-apocalyptically of disasters in the making and what will be left behind.\u003c/p>\n\u003cp>This piece (though not my favorite in the show) effectively promotes \u003ci>Timeless Motion\u003c/i>’s thesis, creating a dead space in the middle of the gallery with clearly permeable borders between past, present and a possible future. The landscape, already harsh, is made more forbidding with the addition of electric light, which both illuminates and defines the installation as a kind of afterlife.\u003c/p>\n\u003cfigure id=\"attachment_11359170\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11359170 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/21401391844_1643f9dae7_k-e1456875336662.jpg\" alt=\"Paul Clipson, 'FUNERA ET SERPENTIUM,' 2015.\" width=\"1200\" height=\"573\">\u003cfigcaption class=\"wp-caption-text\">Paul Clipson, ‘FUNERA ET SERPENTIUM,’ 2015. \u003ccite>(Courtesy of the artist and SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In stark contrast (no pun intended, Scott), Paul Clipson’s 16mm film \u003cem>FUNERA ET SERPENTIUM\u003c/em> soothes the eye and calms the nervous system. Clipson works exclusively in celluloid, generating gorgeous multi-colored and multi-layered images with in-camera effects. His world seems populated with visual delight, which he eagerly captures and shares. The warmth of Clipson’s photographic process, even when the imagery is of cityscapes and electric light patterns, fosters an organic feeling, a celebration of human activity that feels positive — a kind of communion with both the natural world and the built environment.\u003c/p>\n\u003cp>In two other closed-off sections of the gallery, viewers encounter the sublime with Kerry Laitala’s \u003cem>The Retrospectroscope\u003c/em> and \u003cem>The Cosmoscope\u003c/em>, kinetic sculptures creating mind-bending worlds that threaten to engulf and destroy. Signs warn the viewer to beware of possible seizure-inducing effects before entering into the tiny curtained rooms where dangerous disks (exploded \u003ca href=\"https://en.wikipedia.org/wiki/Zoetrope\" target=\"_blank\" rel=\"noopener\">zoetropes\u003c/a>, 19th-century inventions that predicted cinema) swirl in front of strobe lights.\u003c/p>\n\u003cfigure id=\"attachment_11372526\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11372526 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Cosmo1200.jpg\" alt=\"Kerry Laitala, Detail of 'The Cosmoscope,' 2016.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cosmo1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cosmo1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cosmo1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cosmo1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cosmo1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cosmo1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kerry Laitala, Detail of ‘The Cosmoscope,’ 2016. \u003ccite>(Photo: Dan Fenstermacher/SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The combination of cramped space, swirling motion and flashing lights created instant nausea for me. Laitala’s works offered an experience of beauty ultimately denied (to me) by their own dangerous nature. Another 19th-century allusion came to mind — that of a medicine man offering cures but selling poisons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Laitala’s other works, called “Cosmo-Electro-photographs” confirm \u003ci>Timeless Motion\u003c/i>’s desire to connect electricity and spirituality. A group of large prints resembling mandalas are actually camera-less photos, the result of electrical discharge from etched plates — invisible forces captured, frozen and hung on the wall.\u003c/p>\n\u003cp>Mark Wilson continues this fascination with pre-20th century signs and symbols in works spread across the walls of the exhibition. Once again referencing the zoetrope in presentation, Wilson’s pieces also concern themselves with ritual images and relics of ancient cultures now rendered silent and unknowable.\u003c/p>\n\u003cfigure id=\"attachment_11372521\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11372521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Quillian1200.jpg\" alt=\"Viewer and Kathleen Quillian's 'Expanded View,' 2016.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Quillian1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Quillian1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Quillian1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Quillian1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Quillian1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Quillian1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Viewer and Kathleen Quillian’s ‘Expanded View,’ 2016. \u003ccite>(Photo: Dan Fenstermacher/SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kathleen Quillian’s \u003cem>Expanded View\u003c/em> is both a stop-motion animated video (reminiscent of Lewis Klahr, Martha Colburn, and Larry Jordan’s work) and a flat explosion of the images she used to create that animation affixed to the wall. The animated video is frenetic and full of witty juxtapositions, but the static collages trap and dissipate the video’s energy, perhaps in an attempt to reverse the polarity of the exhibition. Where electricity brings the other works to life, Quillian demonstrates how its lack causes a tiny death.\u003c/p>\n\u003cfigure id=\"attachment_11372523\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11372523\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Tele640.jpg\" alt=\"Viewer and Keith Evans' 'Lenticle to the Sun,' 2016.\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Tele640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Tele640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Viewer and Keith Evans’ ‘Lenticle to the Sun,’ 2016. \u003ccite>(Photo: Dan Fenstermacher/SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elsewhere, Keith Evans’ \u003cem>Lenticle to the Sun\u003c/em> is an installation built into the floor of the gallery. A phonograph causes bicycle wheels to slowly rotate under a large piece of Plexiglas; a telescope sits on top of the plexi, pointing at a projection high up on an opposite wall. Look through the telescope lens and see a mystery. Perhaps this is always how we ponder the sky; and perhaps \u003cem>Lenticle to the Sun\u003c/em> is merely a description of looking, a questioning of the nature of what we see but can never truly know.\u003c/p>\n\u003cp>The final work in the show, Jeanne Liotta’s \u003cem>Diagram Squared\u003c/em>, is equally mysterious. A short video of 1970s scientific animations project onto two inkjet prints. Though the animations were created to demonstrate specific processes, Liotta strips them of their soundtracks and therefore their didactic content. The will to explain is stifled by our inability to comprehend. But what can we know? The universe is in timeless motion, guided by dark matter and unseen forces we may never detect, much less understand.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ci>Timeless Motion\u003c/i>\u003c/strong> is on view through March 23, 2016 at SOMArts in San Francisco. For more information visit \u003ca href=\"http://www.somarts.org/\" target=\"_blank\" rel=\"noopener\">somarts.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>March has an urgency about it — likely due to the month’s name doubling as an imperative to walk determinedly. And so I urge you to move yourself, by whatever means of locomotion you prefer, to as many art events you can this month.\u003c/p>\n\u003cp>But where to start? The event everyone’s going to be talking about is the grand opening of \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a> on March 18, the Dogpatch neighborhood arts complex backed by Deborah and Andy Rappaport. Boasting 11 gallery spaces, approximately 30 studios, art storage services and more, the ambitious development is sure to put on one heck of an inaugural party — stay tuned for an official report on all the galleries’ first exhibitions in the weeks to come.\u003c/p>\n\u003cp>And here are five more suggestions, just for fun.\u003c/p>\n\u003cfigure id=\"attachment_11368069\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11368069 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Rothfeld640.jpg\" alt=\"Detail of Mike Rothfeld sculpture.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Rothfeld640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Rothfeld640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Mike Rothfeld sculpture. \u003ccite>(Courtesy Alter Space)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Katelyn Eichwald & Peter Shear; Mike Rothfeld, \u003ci>In the Region of the Disprovable\u003c/i>\u003c/h3>\n\u003ch5>Alter Space, San Francisco\u003cbr>\nMarch 5 – April 16, 2016\u003c/h5>\n\u003cp>In Alter Space’s main galleries, out-of-towners \u003ca href=\"http://alterspace.co/exhibitions/katelyn-eichwald-peter-shear/\" target=\"_blank\" rel=\"noopener\">Katelyn Eichwald and Peter Shear\u003c/a> present a self-titled exhibition of paintings. Eichwald’s canvasses are full of crudely rendered figures — women reclining, reading, smoking in tubs. Shear’s brightly colored abstract works are a veritable smorgasbord of small-scale abstraction — each utilizing a different method, palette and pattern. But the cherry topper on this exhibition cycle is a new work by \u003ca href=\"http://alterspace.co/exhibitions/mike-rothfeld/\" target=\"_blank\" rel=\"noopener\">Mike Rothfeld\u003c/a> in the Peephole Gallery. With lo-fi materials, Rothfeld crafts sometimes ominous, often hilarious sci-fi scenarios, sparking the viewer’s creative thinking as they parse out a narrative from the gooey, glowing or alien objects at hand.\u003c/p>\n\u003cfigure id=\"attachment_11368070\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11368070\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Butler640.jpg\" alt=\"Luke Butler, 'Portrait of the Artist,' 2015.\" width=\"640\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Butler640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Butler640-400x284.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Luke Butler, ‘Portrait of the Artist,’ 2015. \u003ccite>(Courtesy Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Luke Butler, \u003ci>Afterimage\u003c/i>\u003c/h3>\n\u003ch5>Jessica Silverman Gallery, San Francisco\u003cbr>\nMarch 10 – April 16, 2016\u003c/h5>\n\u003cp>Speaking of science fiction, it’s been four years since \u003ca href=\"http://jessicasilvermangallery.com/exhibitions/7251/\" target=\"_blank\" rel=\"noopener\">Luke Butler\u003c/a>‘s last media-inspired exhibition at Jessica Silverman. His new body of work includes a continuation of his “The End” paintings, canvases that appear to be stills of movie end credits, all produced by “L BUTLER PICTURES.” The self-portraiture becomes figurative in a series of paintings depicting the artist himself prone on the ground, surrounded by painting supplies. Explicitly or indirectly depicting his own tragicomic death, Butler’s delicately crafted memento mori invite close looking and plenty of dry chuckles.\u003c/p>\n\u003cfigure id=\"attachment_11368071\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11368071\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Samara640.jpg\" alt=\"Samara Golden, 'A Fall of Corners,' 2015. Installation view at CANADA New York.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Samara640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Samara640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Samara Golden, ‘A Fall of Corners,’ 2015. Installation view at CANADA New York. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Samara Golden, \u003ci>A Trap in Soft Division\u003c/i>\u003c/h3>\n\u003ch5>Yerba Buena Center for the Arts, San Francisco\u003cbr>\nMarch 11 – May 29, 2016\u003c/h5>\n\u003cp>My first introduction to Los Angeles-based \u003ca href=\"http://ybca.org/samara-golden\" target=\"_blank\" rel=\"noopener\">Samara Golden\u003c/a>‘s work was a hallucinatory installation at LA’s \u003ca href=\"http://nightgallery.ca/event.php?id=91\" target=\"_blank\" rel=\"noopener\">Night Gallery\u003c/a>, where she fabricated — with little more than lighting, foam board and fabric — scenes of an endlessly reflecting night club, an eerily abandoned car crash and a kitchen filled with the creepiest cat-shaped cushions imaginable. Golden’s new commission for YBCA is her largest installation to date; look forward to a entering an artwork that will likely fill you with dread — but in the best way possible.\u003c/p>\n\u003cfigure id=\"attachment_11368072\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11368072\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Negativland.jpg\" alt=\"Negativland, Poster Map from 'A Big 10-8 Place,' 1983.\" width=\"640\" height=\"392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Negativland.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Negativland-400x245.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, Poster Map from ‘A Big 10-8 Place,’ 1983. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Void California: 1975 – 1989\u003c/i>\u003c/h3>\n\u003ch5>CCA Wattis Institute for Contemporary Arts, San Francisco\u003cbr>\nMarch 11 – April 9, 2016\u003c/h5>\n\u003cp>CCA’s graduating curatorial practice students bring together \u003ca href=\"http://www.wattis.org/view?id=4,305\" target=\"_blank\" rel=\"noopener\">a deeply researched exhibition\u003c/a> of artwork, ephemera, video and sound from California’s punk heyday. Positioning itself against Hot Topic-esque nostalgia, the exhibition dives into the ways in which artists and collectives like Raymond Pettibon, Melody Sumner Carnahan, Negativland and We Got Power used portable recording equipment and cheap, easily reproducible media to document and spread an alternative narrative to the mainstream (and increasingly conservative) culture. A series of events may prove the punk spirit lives on, starting with opening night performance by Brontez Purnell.\u003c/p>\n\u003cfigure id=\"attachment_11368073\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11368073\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Hott640.jpg\" alt=\"Carrie Hott, Project Space installation at Headlands, Summer 2014.\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hott640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hott640-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Hott, Project Space installation at Headlands, Summer 2014. \u003ccite>(Courtesy Headlands Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Carrie Hott, \u003ci>Key Room\u003c/i>\u003c/h3>\n\u003ch5>Headlands Center for the Arts, Marin Headlands\u003cbr>\nOpens March 20, 12-5pm\u003c/h5>\n\u003cp>The latest in an illustrious series of permanent artist commissions at the Headlands, \u003ci>\u003ca href=\"http://www.headlands.org/the-key-room/\" target=\"_blank\" rel=\"noopener\">The Key Room\u003c/a>\u003c/i> is both an installation and visitor resource center. Two years in the making, Oakland-based artist Carrie Hott’s project touches on the Headlands’ long and complicated history (from dairy farming to missile base to arts center) through archival materials, archeological displays, Hott’s own artworks and a bank of phones playing local sounds, interviews and testimonials. With a talent for connecting disparate subjects (whaling, oil lamps and black out curtains, to name a few) in visually arresting ways, this “unlocking” will be well worth the trip via tunnel or scenic coastal route.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>March has an urgency about it — likely due to the month’s name doubling as an imperative to walk determinedly. And so I urge you to move yourself, by whatever means of locomotion you prefer, to as many art events you can this month.\u003c/p>\n\u003cp>But where to start? The event everyone’s going to be talking about is the grand opening of \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a> on March 18, the Dogpatch neighborhood arts complex backed by Deborah and Andy Rappaport. Boasting 11 gallery spaces, approximately 30 studios, art storage services and more, the ambitious development is sure to put on one heck of an inaugural party — stay tuned for an official report on all the galleries’ first exhibitions in the weeks to come.\u003c/p>\n\u003cp>And here are five more suggestions, just for fun.\u003c/p>\n\u003cfigure id=\"attachment_11368069\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11368069 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Rothfeld640.jpg\" alt=\"Detail of Mike Rothfeld sculpture.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Rothfeld640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Rothfeld640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Mike Rothfeld sculpture. \u003ccite>(Courtesy Alter Space)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Katelyn Eichwald & Peter Shear; Mike Rothfeld, \u003ci>In the Region of the Disprovable\u003c/i>\u003c/h3>\n\u003ch5>Alter Space, San Francisco\u003cbr>\nMarch 5 – April 16, 2016\u003c/h5>\n\u003cp>In Alter Space’s main galleries, out-of-towners \u003ca href=\"http://alterspace.co/exhibitions/katelyn-eichwald-peter-shear/\" target=\"_blank\" rel=\"noopener\">Katelyn Eichwald and Peter Shear\u003c/a> present a self-titled exhibition of paintings. Eichwald’s canvasses are full of crudely rendered figures — women reclining, reading, smoking in tubs. Shear’s brightly colored abstract works are a veritable smorgasbord of small-scale abstraction — each utilizing a different method, palette and pattern. But the cherry topper on this exhibition cycle is a new work by \u003ca href=\"http://alterspace.co/exhibitions/mike-rothfeld/\" target=\"_blank\" rel=\"noopener\">Mike Rothfeld\u003c/a> in the Peephole Gallery. With lo-fi materials, Rothfeld crafts sometimes ominous, often hilarious sci-fi scenarios, sparking the viewer’s creative thinking as they parse out a narrative from the gooey, glowing or alien objects at hand.\u003c/p>\n\u003cfigure id=\"attachment_11368070\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11368070\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Butler640.jpg\" alt=\"Luke Butler, 'Portrait of the Artist,' 2015.\" width=\"640\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Butler640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Butler640-400x284.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Luke Butler, ‘Portrait of the Artist,’ 2015. \u003ccite>(Courtesy Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Luke Butler, \u003ci>Afterimage\u003c/i>\u003c/h3>\n\u003ch5>Jessica Silverman Gallery, San Francisco\u003cbr>\nMarch 10 – April 16, 2016\u003c/h5>\n\u003cp>Speaking of science fiction, it’s been four years since \u003ca href=\"http://jessicasilvermangallery.com/exhibitions/7251/\" target=\"_blank\" rel=\"noopener\">Luke Butler\u003c/a>‘s last media-inspired exhibition at Jessica Silverman. His new body of work includes a continuation of his “The End” paintings, canvases that appear to be stills of movie end credits, all produced by “L BUTLER PICTURES.” The self-portraiture becomes figurative in a series of paintings depicting the artist himself prone on the ground, surrounded by painting supplies. Explicitly or indirectly depicting his own tragicomic death, Butler’s delicately crafted memento mori invite close looking and plenty of dry chuckles.\u003c/p>\n\u003cfigure id=\"attachment_11368071\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11368071\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Samara640.jpg\" alt=\"Samara Golden, 'A Fall of Corners,' 2015. Installation view at CANADA New York.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Samara640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Samara640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Samara Golden, ‘A Fall of Corners,’ 2015. Installation view at CANADA New York. \u003ccite>(Courtesy YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Samara Golden, \u003ci>A Trap in Soft Division\u003c/i>\u003c/h3>\n\u003ch5>Yerba Buena Center for the Arts, San Francisco\u003cbr>\nMarch 11 – May 29, 2016\u003c/h5>\n\u003cp>My first introduction to Los Angeles-based \u003ca href=\"http://ybca.org/samara-golden\" target=\"_blank\" rel=\"noopener\">Samara Golden\u003c/a>‘s work was a hallucinatory installation at LA’s \u003ca href=\"http://nightgallery.ca/event.php?id=91\" target=\"_blank\" rel=\"noopener\">Night Gallery\u003c/a>, where she fabricated — with little more than lighting, foam board and fabric — scenes of an endlessly reflecting night club, an eerily abandoned car crash and a kitchen filled with the creepiest cat-shaped cushions imaginable. Golden’s new commission for YBCA is her largest installation to date; look forward to a entering an artwork that will likely fill you with dread — but in the best way possible.\u003c/p>\n\u003cfigure id=\"attachment_11368072\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11368072\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Negativland.jpg\" alt=\"Negativland, Poster Map from 'A Big 10-8 Place,' 1983.\" width=\"640\" height=\"392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Negativland.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Negativland-400x245.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, Poster Map from ‘A Big 10-8 Place,’ 1983. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Void California: 1975 – 1989\u003c/i>\u003c/h3>\n\u003ch5>CCA Wattis Institute for Contemporary Arts, San Francisco\u003cbr>\nMarch 11 – April 9, 2016\u003c/h5>\n\u003cp>CCA’s graduating curatorial practice students bring together \u003ca href=\"http://www.wattis.org/view?id=4,305\" target=\"_blank\" rel=\"noopener\">a deeply researched exhibition\u003c/a> of artwork, ephemera, video and sound from California’s punk heyday. Positioning itself against Hot Topic-esque nostalgia, the exhibition dives into the ways in which artists and collectives like Raymond Pettibon, Melody Sumner Carnahan, Negativland and We Got Power used portable recording equipment and cheap, easily reproducible media to document and spread an alternative narrative to the mainstream (and increasingly conservative) culture. A series of events may prove the punk spirit lives on, starting with opening night performance by Brontez Purnell.\u003c/p>\n\u003cfigure id=\"attachment_11368073\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11368073\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Hott640.jpg\" alt=\"Carrie Hott, Project Space installation at Headlands, Summer 2014.\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hott640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hott640-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Hott, Project Space installation at Headlands, Summer 2014. \u003ccite>(Courtesy Headlands Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Carrie Hott, \u003ci>Key Room\u003c/i>\u003c/h3>\n\u003ch5>Headlands Center for the Arts, Marin Headlands\u003cbr>\nOpens March 20, 12-5pm\u003c/h5>\n\u003cp>The latest in an illustrious series of permanent artist commissions at the Headlands, \u003ci>\u003ca href=\"http://www.headlands.org/the-key-room/\" target=\"_blank\" rel=\"noopener\">The Key Room\u003c/a>\u003c/i> is both an installation and visitor resource center. Two years in the making, Oakland-based artist Carrie Hott’s project touches on the Headlands’ long and complicated history (from dairy farming to missile base to arts center) through archival materials, archeological displays, Hott’s own artworks and a bank of phones playing local sounds, interviews and testimonials. With a talent for connecting disparate subjects (whaling, oil lamps and black out curtains, to name a few) in visually arresting ways, this “unlocking” will be well worth the trip via tunnel or scenic coastal route.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The San Francisco Department of Recreation and Parks has chosen landscape architecture firm Gustafson Guthrie Nichol (GGN) to lead the redesign of two parks along San Francisco’s India Basin shoreline, SF Recs and Parks announced late last week. The development is the latest in a string of “creative placemaking” projects in the Bay Area aimed at making the region more livable and creatively engaging.\u003c/p>\n\u003cp>The firm won a design competition that asked applicants to reimagine two sites — 900 Innes and India Basin Shoreline Park — as a single, 1.5-mile-long stretch of park space along the city’s southeast shoreline. SF Recs and Parks required the proposals to include five design elements: continuous connector trails, bike paths, increased access to the shoreline, enhanced habitats and gathering spaces. The design firms were also asked to restore the historic Shipwright’s Cottage at 900 Innes as well as find ways to provide recreation, such as human-powered boating.\u003c/p>\n\u003cfigure id=\"attachment_11370080\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11370080\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/GGN_IB_View_Aerialshrunk.jpg\" alt=\"Aerial view of GGN's proposal for India Basin Park\" width=\"600\" height=\"312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GGN_IB_View_Aerialshrunk.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GGN_IB_View_Aerialshrunk-400x208.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Aerial view of GGN’s proposal for India Basin Park \u003ccite>(Courtesy: San Francisco Department of Recreation and Parks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seattle-based GGN beat 19 other firms for the project. GGN is known internationally for its work. The company’s portfolio includes projects for the Bill & Melinda Gates Foundation Campus in Seattle, the Lurie Garden at Millennium Park in Chicago, and several projects with the Smithsonian Institution in Washington, D.C., including the National Museum of African American History and Culture.\u003c/p>\n\u003cp>“India Basin includes a rare expanse of original tideflats and preserved boatyard architecture, says Shannon Nichol, founding principal of GGN. “Our approach to the competition further softened the shoreline, added walking routes across Innes Avenue between the water and the neighborhood, and sized the park’s spaces for everyday activities.”\u003c/p>\n\u003cp>Located in what the parks department describes as “a long-neglected corner of the city,” India Basin is one of San Francisco’s last remaining tracts of wetlands, sitting in a post-industrial area near Bayview Hunter’s Point with few amenities nearby. City officials say the park project will give new recreational access to nearby communities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"description": "The San Francisco Department of Recreation and Parks has chosen landscape architecture firm Gustafson Guthrie Nichol (GGN) to lead the redesign of two parks along San Francisco's India Basin shoreline, SF Recs and Parks announced late last week. The development is the latest in a string of "creative placemaking" projects in the Bay Area aimed at making the region more livable and creatively engaging. The firm won a design competition that asked applicants to reimagine two sites -- 900 Innes and India Basin Shoreline Park -- as a single, 1.5-mile-long stretch of park space along the city's southeast shoreline. SF Recs and Parks required the proposals",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Department of Recreation and Parks has chosen landscape architecture firm Gustafson Guthrie Nichol (GGN) to lead the redesign of two parks along San Francisco’s India Basin shoreline, SF Recs and Parks announced late last week. The development is the latest in a string of “creative placemaking” projects in the Bay Area aimed at making the region more livable and creatively engaging.\u003c/p>\n\u003cp>The firm won a design competition that asked applicants to reimagine two sites — 900 Innes and India Basin Shoreline Park — as a single, 1.5-mile-long stretch of park space along the city’s southeast shoreline. SF Recs and Parks required the proposals to include five design elements: continuous connector trails, bike paths, increased access to the shoreline, enhanced habitats and gathering spaces. The design firms were also asked to restore the historic Shipwright’s Cottage at 900 Innes as well as find ways to provide recreation, such as human-powered boating.\u003c/p>\n\u003cfigure id=\"attachment_11370080\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11370080\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/GGN_IB_View_Aerialshrunk.jpg\" alt=\"Aerial view of GGN's proposal for India Basin Park\" width=\"600\" height=\"312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GGN_IB_View_Aerialshrunk.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GGN_IB_View_Aerialshrunk-400x208.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Aerial view of GGN’s proposal for India Basin Park \u003ccite>(Courtesy: San Francisco Department of Recreation and Parks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seattle-based GGN beat 19 other firms for the project. GGN is known internationally for its work. The company’s portfolio includes projects for the Bill & Melinda Gates Foundation Campus in Seattle, the Lurie Garden at Millennium Park in Chicago, and several projects with the Smithsonian Institution in Washington, D.C., including the National Museum of African American History and Culture.\u003c/p>\n\u003cp>“India Basin includes a rare expanse of original tideflats and preserved boatyard architecture, says Shannon Nichol, founding principal of GGN. “Our approach to the competition further softened the shoreline, added walking routes across Innes Avenue between the water and the neighborhood, and sized the park’s spaces for everyday activities.”\u003c/p>\n\u003cp>Located in what the parks department describes as “a long-neglected corner of the city,” India Basin is one of San Francisco’s last remaining tracts of wetlands, sitting in a post-industrial area near Bayview Hunter’s Point with few amenities nearby. City officials say the park project will give new recreational access to nearby communities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"link": "/californiareportmagazine",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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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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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"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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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"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": {
"id": "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"
},
"link": "/radio/program/hidden-brain",
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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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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"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
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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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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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
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"source": "npr"
},
"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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"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": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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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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"source": "pbs"
},
"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",
"subscribe": {
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