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"content": "\u003cp>If there’s any time to appreciate football-focused art, it’s \u003cem>right now,\u003c/em> as Super Bowl 50 approaches. So a South Bay art gallery is capitalizing on the excitement over the “big game” to feature artists whose work hangs at Levi’s Stadium, where this year’s Super Bowl will be hosted.\u003c/p>\n\u003cp>JCO’s Place in Los Gatos opened the new exhibition called \u003ca href=\"http://www.jcosplace.com/nfl.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Art of the NFL\u003c/em>\u003c/a>, on Jan. 12. The idea for it came about last year when the’s gallery owner, Julie Jenkins, visited Levi’s Stadium and was “totally floored” by the art collection on the upper decks, according to Bridget McMahon, the gallery’s director. The work had been collected and installed in the stadium by a curatorial agency called \u003ca href=\"http://www.sportart.net/\" target=\"_blank\" rel=\"noopener\">Sports & the Arts\u003c/a>, who commissioned more than 100 pieces of art for the stadium that celebrated the 49ers specifically, and also a general love of the game.\u003c/p>\n\u003cp>“So we partnered with Sports & the Arts,” McMahon says, “and had some of their artists make some pieces in that same vein for us.”\u003c/p>\n\u003cp>The JCO’s Place exhibit features six artists whose work is up at the stadium. About half the pieces are replicas of what’s in Levi’s, including a California flag collage made with 49ers memorabilia by artist \u003ca href=\"http://derekgores.com/\" target=\"_blank\" rel=\"noopener\">Derek Gores\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11267638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11267638 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut-800x454.jpg\" alt=\"Nick Brown • Dreamcatcher • 24 X 42 • Oil on Panel\" width=\"800\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut-800x454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut-400x227.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut.jpg 931w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Brown • Dreamcatcher • 24 X 42 • Oil on Panel \u003ccite>(Courtesy JCO's Place)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local artists are featured prominently, including \u003ca href=\"http://www.gordonsmedt.com/\" target=\"_blank\" rel=\"noopener\">Gordon Smedt\u003c/a>, \u003ca href=\"http://www.milton510.com/\" target=\"_blank\" rel=\"noopener\">Milton Bowens\u003c/a>, \u003ca href=\"http://www.rwagnerart.com/\" target=\"_blank\" rel=\"noopener\">Russ Wagner\u003c/a> and \u003ca href=\"http://nickbrownart.com\" target=\"_blank\" rel=\"noopener\">Nick Brown\u003c/a>. Brown was born and raised in central California, and he has more than 14 oil paintings in the Levi’s Stadium collection. His oil painting “Dreamcatcher” depicts \u003ca href=\"https://en.wikipedia.org/wiki/The_Catch_(American_football)\" target=\"_blank\" rel=\"noopener\">Dwight Clark’s legendary 1982 NFC Championship game catch\u003c/a>, relocated to a dreamscape of yellow grass and rolling green hills.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I grew up playing tons of sports, and I played football all the way through college,” says Brown. “We grew up loving the Niners and the Giants.” His dad was at the game when Clark made the catch. When JCO called, that moment was the first idea that came to mind.\u003c/p>\n\u003cp>Brown wanted to evoke the simplicity of a pickup game, but there was nothing slap dash about the painting. He watched videos of the play “over and over and over.” He pressed family members who played football into posing.\u003c/p>\n\u003cp>For the landscape, Brown picked a spot he’s photographed repeatedly while driving north of the Grapevine on Interstate 5, heightening the colors to approximate the green of the after a rain has soaked the hills.\u003c/p>\n\u003cp>Brown and his parents got meet the former wide receiver at a January 14 reception at JCO’s introducing the exhibit. “It was everything and more than I could have dreamed of,” says Brown. “It was kind of surreal.” Clark even drew out the play on the back of the painting.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/243825916″ 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>McMahon says she’s spotted some local high school football players wandering through the gallery in recent days.\u003c/p>\n\u003cp>“We designed this exhibition to engage everyone from the casual football fan to the hardcore football aficionado, from the art lover to the art collector,” McMahon says. “It’s been interesting to have people come in who might not necessarily stop into an art gallery.”\u003c/p>\n\u003cp>“The assumption that you have about football art – or sports art in general – is that it’s going to be totally cheesy, right?” McMahon says. “But you have artists making innovative and interesting works that really celebrate the game by highlighting some aspects of it that you don’t typically see.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The exhibit continues through – when else? Feb. 7, the day of the Big Game.\u003c/p>\n\u003cfigure id=\"attachment_11267745\" class=\"wp-caption aligncenter\" style=\"max-width: 671px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11267745\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut-671x600.jpg\" alt=\"Gordon Smedt • End Zone • 48 X 54 • Oil on Canvas\" width=\"671\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut-671x600.jpg 671w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut-400x358.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut-768x686.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut.jpg 895w\" sizes=\"(max-width: 671px) 100vw, 671px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Smedt • End Zone • 48 X 54 • Oil on Canvas \u003ccite>(Courtesy JCO's Place)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"title": "Art of the NFL: A Timely Tribute to Football in Los Gatos | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there’s any time to appreciate football-focused art, it’s \u003cem>right now,\u003c/em> as Super Bowl 50 approaches. So a South Bay art gallery is capitalizing on the excitement over the “big game” to feature artists whose work hangs at Levi’s Stadium, where this year’s Super Bowl will be hosted.\u003c/p>\n\u003cp>JCO’s Place in Los Gatos opened the new exhibition called \u003ca href=\"http://www.jcosplace.com/nfl.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Art of the NFL\u003c/em>\u003c/a>, on Jan. 12. The idea for it came about last year when the’s gallery owner, Julie Jenkins, visited Levi’s Stadium and was “totally floored” by the art collection on the upper decks, according to Bridget McMahon, the gallery’s director. The work had been collected and installed in the stadium by a curatorial agency called \u003ca href=\"http://www.sportart.net/\" target=\"_blank\" rel=\"noopener\">Sports & the Arts\u003c/a>, who commissioned more than 100 pieces of art for the stadium that celebrated the 49ers specifically, and also a general love of the game.\u003c/p>\n\u003cp>“So we partnered with Sports & the Arts,” McMahon says, “and had some of their artists make some pieces in that same vein for us.”\u003c/p>\n\u003cp>The JCO’s Place exhibit features six artists whose work is up at the stadium. About half the pieces are replicas of what’s in Levi’s, including a California flag collage made with 49ers memorabilia by artist \u003ca href=\"http://derekgores.com/\" target=\"_blank\" rel=\"noopener\">Derek Gores\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11267638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11267638 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut-800x454.jpg\" alt=\"Nick Brown • Dreamcatcher • 24 X 42 • Oil on Panel\" width=\"800\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut-800x454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut-400x227.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut.jpg 931w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Brown • Dreamcatcher • 24 X 42 • Oil on Panel \u003ccite>(Courtesy JCO's Place)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local artists are featured prominently, including \u003ca href=\"http://www.gordonsmedt.com/\" target=\"_blank\" rel=\"noopener\">Gordon Smedt\u003c/a>, \u003ca href=\"http://www.milton510.com/\" target=\"_blank\" rel=\"noopener\">Milton Bowens\u003c/a>, \u003ca href=\"http://www.rwagnerart.com/\" target=\"_blank\" rel=\"noopener\">Russ Wagner\u003c/a> and \u003ca href=\"http://nickbrownart.com\" target=\"_blank\" rel=\"noopener\">Nick Brown\u003c/a>. Brown was born and raised in central California, and he has more than 14 oil paintings in the Levi’s Stadium collection. His oil painting “Dreamcatcher” depicts \u003ca href=\"https://en.wikipedia.org/wiki/The_Catch_(American_football)\" target=\"_blank\" rel=\"noopener\">Dwight Clark’s legendary 1982 NFC Championship game catch\u003c/a>, relocated to a dreamscape of yellow grass and rolling green hills.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I grew up playing tons of sports, and I played football all the way through college,” says Brown. “We grew up loving the Niners and the Giants.” His dad was at the game when Clark made the catch. When JCO called, that moment was the first idea that came to mind.\u003c/p>\n\u003cp>Brown wanted to evoke the simplicity of a pickup game, but there was nothing slap dash about the painting. He watched videos of the play “over and over and over.” He pressed family members who played football into posing.\u003c/p>\n\u003cp>For the landscape, Brown picked a spot he’s photographed repeatedly while driving north of the Grapevine on Interstate 5, heightening the colors to approximate the green of the after a rain has soaked the hills.\u003c/p>\n\u003cp>Brown and his parents got meet the former wide receiver at a January 14 reception at JCO’s introducing the exhibit. “It was everything and more than I could have dreamed of,” says Brown. “It was kind of surreal.” Clark even drew out the play on the back of the painting.\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/243825916″&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/243825916″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>McMahon says she’s spotted some local high school football players wandering through the gallery in recent days.\u003c/p>\n\u003cp>“We designed this exhibition to engage everyone from the casual football fan to the hardcore football aficionado, from the art lover to the art collector,” McMahon says. “It’s been interesting to have people come in who might not necessarily stop into an art gallery.”\u003c/p>\n\u003cp>“The assumption that you have about football art – or sports art in general – is that it’s going to be totally cheesy, right?” McMahon says. “But you have artists making innovative and interesting works that really celebrate the game by highlighting some aspects of it that you don’t typically see.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The exhibit continues through – when else? Feb. 7, the day of the Big Game.\u003c/p>\n\u003cfigure id=\"attachment_11267745\" class=\"wp-caption aligncenter\" style=\"max-width: 671px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11267745\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut-671x600.jpg\" alt=\"Gordon Smedt • End Zone • 48 X 54 • Oil on Canvas\" width=\"671\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut-671x600.jpg 671w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut-400x358.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut-768x686.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut.jpg 895w\" sizes=\"(max-width: 671px) 100vw, 671px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Smedt • End Zone • 48 X 54 • Oil on Canvas \u003ccite>(Courtesy JCO's Place)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-painting-right-now-maysha-mohamedis-aerobic-abstractions",
"title": "Bay Area Painting Right Now: Maysha Mohamedi's Aerobic Abstractions",
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"headTitle": "Bay Area Painting Right Now: Maysha Mohamedi’s Aerobic Abstractions | KQED",
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"content": "\u003cp>When I boarded BART on a beautiful December Saturday to visit \u003ca href=\"http://www.mayshamohamedi.com/\" target=\"_blank\" rel=\"noopener\">Maysha Mohamedi\u003c/a>’s San Francisco studio, I found myself on an unexpectedly crowded train — full of Santas.\u003c/p>\n\u003cp>Yes, it was SantaCon, a day of atonement for all the non-SantaCon days we carelessly enjoy and take for granted. I dug into my earphones, listening to Anna Joy Springer sing, \u003ca href=\"https://www.youtube.com/watch?v=pAKQ09GGQFs\" target=\"_blank\" rel=\"noopener\">“I wish California would fall in the ocean / and everyone would die.”\u003c/a>\u003c/p>\n\u003cp>Art, as usual, helped.\u003c/p>\n\u003cp>The next day, I learned the \u003ca href=\"https://books.google.com/books?id=reYDAAAAMBAJ&lpg=PA68&ots=wTk4oiZwAW&dq=mother%20jones%20santa%20copenhagen&pg=PA70#v=onepage&q&f=false\">story of SantaCon\u003c/a>, which originated in San Francisco as a surrealist homage to an original action undertaken by Danish anarchists in 1974. The anarchists broke into a department store and gave merchandise away for free before being beaten by the Danish police.\u003c/p>\n\u003cfigure id=\"attachment_11244012\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11244012\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/MayshaDtlCart.jpg\" alt=\"A painting in progress and Mohamedi's cart of painting supplies.\" width=\"1500\" height=\"1115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-1180x877.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-960x714.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A painting in progress and Mohamedi’s cart of painting supplies. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I belabor this terrible history not to connect Mohamedi’s extraordinary work to SantaCon. Rather, what the secret radical history of SantaCon suggests is an allegory for looking at paintings: that even something which appears quite obvious or simple invites a longer and deeper look. The longer I look at her paintings, the more I know about how they came to be made, the richer and more powerful they become for me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We look at one of these paintings, and she tells me the background is kind of yellow. I feel ashamed and semi color-blind. But with encouragement and time I see it too.\u003c/p>\n\u003cfigure id=\"attachment_11241021\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11241021\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45.jpg\" alt=\"Mohamedi at work\" width=\"1500\" height=\"1001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-960x641.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Mohamedi at work \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even at first glance, there is an enormous amount of information in her work. The panels are massive and there is a lot of space in them. Her shapes, while abstract, express an enormous amount of feeling. Long, wide ribbons of oil unfold on the panels with great movement. The marks are almost rhythmic, translating the movements of Mohamedi’s body into a residual kinetic activity on wood. By contrast, thin, wan, etched webs of paint provoke an almost claustrophobic focus.\u003c/p>\n\u003cp>This complexity of ground and multiplicity of meaning in the marks Mohamedi makes result from the intricacy of her process. Typically, she makes two paintings at a time, laying the gigantic panels on the floor of her studio. She washes them over and over with different textures and colors of tinted gesso. A painting’s ground is extremely layered, and never simply white.\u003c/p>\n\u003cp>As the successive layers of gesso dry, Mohamedi shifts her attention to the conceptual armature of the piece. “I typically invest these paintings with one idea,” she tells me. This investment, which occurs over time, is a gestational process for shapes and motifs to coalesce.\u003c/p>\n\u003cfigure id=\"attachment_11262530\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/GlassesToolFIX.jpg\" alt=\"Inside Mohamedi's studio, one of the artist's tools.\" width=\"1500\" height=\"1115\" class=\"size-full wp-image-11262530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-1180x877.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-960x714.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Inside Mohamedi’s studio, one of the artist’s tools. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She pours relatively thin oil paint directly onto the panels in wide lines, refining them with her gloved hands. She also uses homemade tools (I got to handle two of these: a paper clip and a jumbo crayon attached to a long dowel.) Moving around the paintings, the marks she makes are literal expressions of how her bodily presence influences her works.\u003c/p>\n\u003cp>This aerobic, durational process, as well as Mohamedi’s “investment” of ideas in these paintings, make them, for me, narrative in two senses. One is simply the somatic, gestural, aerobic, conceptual tale of Maysha Mohamedi making a painting: her tools, her movements, her hands. Her abstract paintings also infer story through titles, and the emotional returns on the “one idea” in which she invests.\u003c/p>\n\u003cfigure id=\"attachment_11241024\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11241024\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BBBFF_DIPTYCH-e1452728843997.jpg\" alt=\"Maysha Mohamedi, 'Bleeding Green Below 40 Feet,' 2015.\" width=\"1500\" height=\"724\">\u003cfigcaption class=\"wp-caption-text\">Maysha Mohamedi, ‘Bleeding Green Below 40 Feet,’ 2015. \u003ccite>(Photo courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking at the extraordinary diptych \u003cem>Bleeding Green Below 40 Feet\u003c/em>, for instance, Mohamedi speaks of the painting’s theme in the context of its origin. While working in an office with scientists at the California Academy of Sciences, Mohamedi learned that humans can’t see red at a certain depth of the ocean. If deep sea divers cut themselves while on the job, they need to be able to recognize their own blood in the water, where it now appears green.\u003c/p>\n\u003cp>\u003cem>Bleeding Green\u003c/em>’s grays and blues, as well as the almost watery quality of the thin oil paint finessed by her fingers, evoke not only the color spectrum and feel of the aquatic, but also a mood of fear, uncertainty and morbidity. The origin story of \u003cem>Bleeding Green\u003c/em> also recalls Mohamedi’s own background in the sciences. She trained for years to be a research scientist. \u003cem>Bleeding Green\u003c/em>, more than the mere reiteration of a cool piece of science trivia, is also, in part, the story of her life.\u003c/p>\n\u003cp>These paintings are remarkably non-referential. Mohamedi makes them intuitively, and they are not dependent on previous imagery, nor do they typically comment on the history of art. One exception is \u003cem>Dompteuse\u003c/em> (French for “lion tamer”), a painting recently featured in a group show at \u003ca href=\"http://www.bustamantegill.com/\" target=\"_blank\" rel=\"noopener\">Bustamante Gill\u003c/a> gallery in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_11241025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11241025\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm.jpg\" alt=\"Maysha Mohamedi, 'Dompteuse,' 2015.\" width=\"800\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm-400x370.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm-649x600.jpg 649w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm-768x710.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maysha Mohamedi, ‘Dompteuse,’ 2015. \u003ccite>(Photo courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inspired by \u003ca href=\"http://www.artnet.com/artists/otto-dix/dompteuse-NhkWesLAsyZQW1IwP8ogdg2\" target=\"_blank\" rel=\"noopener\">an Otto Dix print\u003c/a>, Mohamedi’s \u003cem>Dompteuse\u003c/em> hearkens only obliquely to an image of an animal trainer. As Mohamedi explained, during the painting’s gestational period, she was in the process of toilet training her son. “I \u003cem>felt\u003c/em> like an animal trainer,” she says. The residual imagery and feeling of this trying process resound in the visual field of \u003cem>Dompteuse\u003c/em>, while the expressionist artwork inspiring it informed the conceptual process.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Looking at these paintings, I feel the sublime vertigo of learning something new. Mohamedi’s paintings withhold narrative, and yet offer the abundance of feeling we seek in our encounters with narratives. She makes the paintings through a relentless physical and intellectual process unique to her, and yet each panting’s structure is delicate and ornate for all that relentless effort. At once intimate and oblique, approachable and difficult, these paintings warrant patience, a little lingering. It pays off.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I boarded BART on a beautiful December Saturday to visit \u003ca href=\"http://www.mayshamohamedi.com/\" target=\"_blank\" rel=\"noopener\">Maysha Mohamedi\u003c/a>’s San Francisco studio, I found myself on an unexpectedly crowded train — full of Santas.\u003c/p>\n\u003cp>Yes, it was SantaCon, a day of atonement for all the non-SantaCon days we carelessly enjoy and take for granted. I dug into my earphones, listening to Anna Joy Springer sing, \u003ca href=\"https://www.youtube.com/watch?v=pAKQ09GGQFs\" target=\"_blank\" rel=\"noopener\">“I wish California would fall in the ocean / and everyone would die.”\u003c/a>\u003c/p>\n\u003cp>Art, as usual, helped.\u003c/p>\n\u003cp>The next day, I learned the \u003ca href=\"https://books.google.com/books?id=reYDAAAAMBAJ&lpg=PA68&ots=wTk4oiZwAW&dq=mother%20jones%20santa%20copenhagen&pg=PA70#v=onepage&q&f=false\">story of SantaCon\u003c/a>, which originated in San Francisco as a surrealist homage to an original action undertaken by Danish anarchists in 1974. The anarchists broke into a department store and gave merchandise away for free before being beaten by the Danish police.\u003c/p>\n\u003cfigure id=\"attachment_11244012\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11244012\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/MayshaDtlCart.jpg\" alt=\"A painting in progress and Mohamedi's cart of painting supplies.\" width=\"1500\" height=\"1115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-1180x877.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-960x714.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A painting in progress and Mohamedi’s cart of painting supplies. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I belabor this terrible history not to connect Mohamedi’s extraordinary work to SantaCon. Rather, what the secret radical history of SantaCon suggests is an allegory for looking at paintings: that even something which appears quite obvious or simple invites a longer and deeper look. The longer I look at her paintings, the more I know about how they came to be made, the richer and more powerful they become for me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We look at one of these paintings, and she tells me the background is kind of yellow. I feel ashamed and semi color-blind. But with encouragement and time I see it too.\u003c/p>\n\u003cfigure id=\"attachment_11241021\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11241021\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45.jpg\" alt=\"Mohamedi at work\" width=\"1500\" height=\"1001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-960x641.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Mohamedi at work \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even at first glance, there is an enormous amount of information in her work. The panels are massive and there is a lot of space in them. Her shapes, while abstract, express an enormous amount of feeling. Long, wide ribbons of oil unfold on the panels with great movement. The marks are almost rhythmic, translating the movements of Mohamedi’s body into a residual kinetic activity on wood. By contrast, thin, wan, etched webs of paint provoke an almost claustrophobic focus.\u003c/p>\n\u003cp>This complexity of ground and multiplicity of meaning in the marks Mohamedi makes result from the intricacy of her process. Typically, she makes two paintings at a time, laying the gigantic panels on the floor of her studio. She washes them over and over with different textures and colors of tinted gesso. A painting’s ground is extremely layered, and never simply white.\u003c/p>\n\u003cp>As the successive layers of gesso dry, Mohamedi shifts her attention to the conceptual armature of the piece. “I typically invest these paintings with one idea,” she tells me. This investment, which occurs over time, is a gestational process for shapes and motifs to coalesce.\u003c/p>\n\u003cfigure id=\"attachment_11262530\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/GlassesToolFIX.jpg\" alt=\"Inside Mohamedi's studio, one of the artist's tools.\" width=\"1500\" height=\"1115\" class=\"size-full wp-image-11262530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-1180x877.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-960x714.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Inside Mohamedi’s studio, one of the artist’s tools. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She pours relatively thin oil paint directly onto the panels in wide lines, refining them with her gloved hands. She also uses homemade tools (I got to handle two of these: a paper clip and a jumbo crayon attached to a long dowel.) Moving around the paintings, the marks she makes are literal expressions of how her bodily presence influences her works.\u003c/p>\n\u003cp>This aerobic, durational process, as well as Mohamedi’s “investment” of ideas in these paintings, make them, for me, narrative in two senses. One is simply the somatic, gestural, aerobic, conceptual tale of Maysha Mohamedi making a painting: her tools, her movements, her hands. Her abstract paintings also infer story through titles, and the emotional returns on the “one idea” in which she invests.\u003c/p>\n\u003cfigure id=\"attachment_11241024\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11241024\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BBBFF_DIPTYCH-e1452728843997.jpg\" alt=\"Maysha Mohamedi, 'Bleeding Green Below 40 Feet,' 2015.\" width=\"1500\" height=\"724\">\u003cfigcaption class=\"wp-caption-text\">Maysha Mohamedi, ‘Bleeding Green Below 40 Feet,’ 2015. \u003ccite>(Photo courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking at the extraordinary diptych \u003cem>Bleeding Green Below 40 Feet\u003c/em>, for instance, Mohamedi speaks of the painting’s theme in the context of its origin. While working in an office with scientists at the California Academy of Sciences, Mohamedi learned that humans can’t see red at a certain depth of the ocean. If deep sea divers cut themselves while on the job, they need to be able to recognize their own blood in the water, where it now appears green.\u003c/p>\n\u003cp>\u003cem>Bleeding Green\u003c/em>’s grays and blues, as well as the almost watery quality of the thin oil paint finessed by her fingers, evoke not only the color spectrum and feel of the aquatic, but also a mood of fear, uncertainty and morbidity. The origin story of \u003cem>Bleeding Green\u003c/em> also recalls Mohamedi’s own background in the sciences. She trained for years to be a research scientist. \u003cem>Bleeding Green\u003c/em>, more than the mere reiteration of a cool piece of science trivia, is also, in part, the story of her life.\u003c/p>\n\u003cp>These paintings are remarkably non-referential. Mohamedi makes them intuitively, and they are not dependent on previous imagery, nor do they typically comment on the history of art. One exception is \u003cem>Dompteuse\u003c/em> (French for “lion tamer”), a painting recently featured in a group show at \u003ca href=\"http://www.bustamantegill.com/\" target=\"_blank\" rel=\"noopener\">Bustamante Gill\u003c/a> gallery in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_11241025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11241025\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm.jpg\" alt=\"Maysha Mohamedi, 'Dompteuse,' 2015.\" width=\"800\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm-400x370.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm-649x600.jpg 649w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm-768x710.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maysha Mohamedi, ‘Dompteuse,’ 2015. \u003ccite>(Photo courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inspired by \u003ca href=\"http://www.artnet.com/artists/otto-dix/dompteuse-NhkWesLAsyZQW1IwP8ogdg2\" target=\"_blank\" rel=\"noopener\">an Otto Dix print\u003c/a>, Mohamedi’s \u003cem>Dompteuse\u003c/em> hearkens only obliquely to an image of an animal trainer. As Mohamedi explained, during the painting’s gestational period, she was in the process of toilet training her son. “I \u003cem>felt\u003c/em> like an animal trainer,” she says. The residual imagery and feeling of this trying process resound in the visual field of \u003cem>Dompteuse\u003c/em>, while the expressionist artwork inspiring it informed the conceptual process.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Looking at these paintings, I feel the sublime vertigo of learning something new. Mohamedi’s paintings withhold narrative, and yet offer the abundance of feeling we seek in our encounters with narratives. She makes the paintings through a relentless physical and intellectual process unique to her, and yet each panting’s structure is delicate and ornate for all that relentless effort. At once intimate and oblique, approachable and difficult, these paintings warrant patience, a little lingering. It pays off.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Back in the early 1970s, a couple of UC Santa Cruz students wanted to take a class in letterpress book printing. There being no such class, SB Masters and Tom Whitridge lined up a potential teacher, respected San Francisco typographer Jack Stauffacher, and then a grant to cover his pay. Soon after that, poet and printer William Everson began teaching at UCSC, too. Over time, the program grew to offer UCSC students all sorts of classes, in typography, design, printmaking and book making.\u003c/p>\n\u003cp>A new exhibit at the \u003ca href=\"http://cowell.ucsc.edu/smith-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">Eloise Pickard Smith Gallery\u003c/a> that opens this weekend called \u003ca href=\"https://events.ucsc.edu/event/3443\" target=\"_blank\" rel=\"noopener noreferrer\">Pressing On: Selected Works from the Cowell Press\u003c/a> explores the legacy of the UCSC program. On Saturday, there will be a panel discussion at the Page Smith Library that features the current head of the program, \u003ca href=\"http://www.gary-young.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Young\u003c/a>, and a couple of star alums, including \u003ca href=\"http://movingpartspress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Felicia Rice\u003c/a> and \u003ca href=\"http://www.tomkillion.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Killion\u003c/a>.\u003c/p>\n\u003cp>“That was a wonderful moment in time at UC Santa Cruz,” says Killion, whose work has been exhibited in California, New York and Europe. “There were all these wonderful professors who had come to participate in a world-class experiment.”\u003c/p>\n\u003cp>Killion hails from Marin County and currently lives near Point Reyes. But for many decades, he lived in Santa Cruz County, starting with a stint at UC Santa Cruz in the early 1970s. That’s where his career started — “inadvertently,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11268205\" class=\"wp-caption aligncenter\" style=\"max-width: 701px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11268205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Pogonip-701x600.jpeg\" alt=\"“Santa Cruz from the Pogonip,” more or less the view from Cowell College, UCSC, a multi-block woodcut print from 2002 by Tom Killion.\" width=\"701\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip-701x600.jpeg 701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip-400x342.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip.jpeg 720w\" sizes=\"(max-width: 701px) 100vw, 701px\">\u003cfigcaption class=\"wp-caption-text\">“Santa Cruz from the Pogonip,” more or less the view from Cowell College, UCSC, a multi-block woodcut print from 2002 by Tom Killion. \u003ccite>(Courtesy: Tom Killion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was a history major making a book of linoleum prints of Mt. Tamalpais in his spare time when a friend told him about a class taught by Stauffacher. “He had a Zen way of teaching. He didn’t show us how to print. So the students showed each other the technical aspects. He’d be talking about the great European type designers of the 20th century – which was way over our heads – but it got us inspired,” Killion says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Killion was hooked. He went on to spend the summer after he graduated making his book, \u003cem>28 views of Mount Tamalpais\u003c/em>, inspired by Hokusai’s \u003ca href=\"http://www.hokusaionline.co.uk/code/36_views_mount_fuji.html\" target=\"_blank\" rel=\"noopener noreferrer\">36 Views of Mount Fuji\u003c/a>. Thus began Killion’s long career celebrating the coastal landscape of California in a style adapted from the traditional Japanese aesthetic of \u003ca href=\"https://en.wikipedia.org/wiki/Ukiyo-e\" target=\"_blank\" rel=\"noopener noreferrer\">Ukiyo-ë\u003c/a>.\u003c/p>\n\u003cp>Rice arrived in 1974. “When I came to Santa Cruz, it was because of the Press. I found exactly what I needed,” Rice says, whose work has been exhibited all over the world.\u003c/p>\n\u003cfigure id=\"attachment_11265765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11265765 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-800x537.jpg\" alt=\"Felicia Rice has done a lot of work with Chicano/a artists, including Codex Espangliensis, including performance texts and poems by Guillermo Gómez-Peña with collage imagery by Enrique Chagoya.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-960x644.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Rice has done a lot of work with Chicano/a artists, including Codex Espangliensis, including performance texts and poems by Guillermo Gómez-Peña with collage imagery by Enrique Chagoya. \u003ccite>(Courtesy Felicia Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Santa Cruz developed a book arts community, Rice says, that soon became a well-regarded hub nationally and internationally. Many students went on to work in book design in New York, and digital design in Silicon Valley.\u003c/p>\n\u003cp>“It was a very tight group of people who were anxious to teach and learn from each other,” Rice says.\u003c/p>\n\u003cp>[contextly_sidebar id=”C29qtkB1iei9oLJyF0FncB8UWTmdayFk”] Thanks to Silicon Valley, she says, fine-art printing has been revolutionized. “We were practicing an archaic craft, and over the years, as digital tools made more things possible to more people, everybody got involved.” She adds the craft has gone from being dominated by men to being dominated by women. “I was one of the few women doing it, and now that is not the case!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who’s coming up now through Cowell Press? Judge for yourself. \u003cem>Pressing On\u003c/em> features work from current students, as well as from the archives, and will be up at the Eloise Pickard Smith Gallery through March 4.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in the early 1970s, a couple of UC Santa Cruz students wanted to take a class in letterpress book printing. There being no such class, SB Masters and Tom Whitridge lined up a potential teacher, respected San Francisco typographer Jack Stauffacher, and then a grant to cover his pay. Soon after that, poet and printer William Everson began teaching at UCSC, too. Over time, the program grew to offer UCSC students all sorts of classes, in typography, design, printmaking and book making.\u003c/p>\n\u003cp>A new exhibit at the \u003ca href=\"http://cowell.ucsc.edu/smith-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">Eloise Pickard Smith Gallery\u003c/a> that opens this weekend called \u003ca href=\"https://events.ucsc.edu/event/3443\" target=\"_blank\" rel=\"noopener noreferrer\">Pressing On: Selected Works from the Cowell Press\u003c/a> explores the legacy of the UCSC program. On Saturday, there will be a panel discussion at the Page Smith Library that features the current head of the program, \u003ca href=\"http://www.gary-young.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Young\u003c/a>, and a couple of star alums, including \u003ca href=\"http://movingpartspress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Felicia Rice\u003c/a> and \u003ca href=\"http://www.tomkillion.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Killion\u003c/a>.\u003c/p>\n\u003cp>“That was a wonderful moment in time at UC Santa Cruz,” says Killion, whose work has been exhibited in California, New York and Europe. “There were all these wonderful professors who had come to participate in a world-class experiment.”\u003c/p>\n\u003cp>Killion hails from Marin County and currently lives near Point Reyes. But for many decades, he lived in Santa Cruz County, starting with a stint at UC Santa Cruz in the early 1970s. That’s where his career started — “inadvertently,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11268205\" class=\"wp-caption aligncenter\" style=\"max-width: 701px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11268205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Pogonip-701x600.jpeg\" alt=\"“Santa Cruz from the Pogonip,” more or less the view from Cowell College, UCSC, a multi-block woodcut print from 2002 by Tom Killion.\" width=\"701\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip-701x600.jpeg 701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip-400x342.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip.jpeg 720w\" sizes=\"(max-width: 701px) 100vw, 701px\">\u003cfigcaption class=\"wp-caption-text\">“Santa Cruz from the Pogonip,” more or less the view from Cowell College, UCSC, a multi-block woodcut print from 2002 by Tom Killion. \u003ccite>(Courtesy: Tom Killion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was a history major making a book of linoleum prints of Mt. Tamalpais in his spare time when a friend told him about a class taught by Stauffacher. “He had a Zen way of teaching. He didn’t show us how to print. So the students showed each other the technical aspects. He’d be talking about the great European type designers of the 20th century – which was way over our heads – but it got us inspired,” Killion says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Killion was hooked. He went on to spend the summer after he graduated making his book, \u003cem>28 views of Mount Tamalpais\u003c/em>, inspired by Hokusai’s \u003ca href=\"http://www.hokusaionline.co.uk/code/36_views_mount_fuji.html\" target=\"_blank\" rel=\"noopener noreferrer\">36 Views of Mount Fuji\u003c/a>. Thus began Killion’s long career celebrating the coastal landscape of California in a style adapted from the traditional Japanese aesthetic of \u003ca href=\"https://en.wikipedia.org/wiki/Ukiyo-e\" target=\"_blank\" rel=\"noopener noreferrer\">Ukiyo-ë\u003c/a>.\u003c/p>\n\u003cp>Rice arrived in 1974. “When I came to Santa Cruz, it was because of the Press. I found exactly what I needed,” Rice says, whose work has been exhibited all over the world.\u003c/p>\n\u003cfigure id=\"attachment_11265765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11265765 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-800x537.jpg\" alt=\"Felicia Rice has done a lot of work with Chicano/a artists, including Codex Espangliensis, including performance texts and poems by Guillermo Gómez-Peña with collage imagery by Enrique Chagoya.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-960x644.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Rice has done a lot of work with Chicano/a artists, including Codex Espangliensis, including performance texts and poems by Guillermo Gómez-Peña with collage imagery by Enrique Chagoya. \u003ccite>(Courtesy Felicia Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Santa Cruz developed a book arts community, Rice says, that soon became a well-regarded hub nationally and internationally. Many students went on to work in book design in New York, and digital design in Silicon Valley.\u003c/p>\n\u003cp>“It was a very tight group of people who were anxious to teach and learn from each other,” Rice says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp> Thanks to Silicon Valley, she says, fine-art printing has been revolutionized. “We were practicing an archaic craft, and over the years, as digital tools made more things possible to more people, everybody got involved.” She adds the craft has gone from being dominated by men to being dominated by women. “I was one of the few women doing it, and now that is not the case!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who’s coming up now through Cowell Press? Judge for yourself. \u003cem>Pressing On\u003c/em> features work from current students, as well as from the archives, and will be up at the Eloise Pickard Smith Gallery through March 4.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For the Super Bowl’s golden anniversary, Annice Jacoby is making a blanket.\u003c/p>\n\u003cp>The blanket doesn’t show the insignias of the two competing teams. The handmade bed covering doesn’t bear much at all, in fact, aside from the symbol of two hands raised palms-up, silk-screened in black and white.\u003c/p>\n\u003cp>While Super Bowl 50 will attract a deluge of well-heeled tourists to the Bay Area over the next few weeks, Jacoby’s \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">blanket art project\u003c/a> attempts to draw attention to a part of the city people would much rather ignore: those struggling with homelessness.\u003c/p>\n\u003cp>In response to Mayor Ed Lee’s \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Nothing-like-a-Super-Bowl-to-fix-S-F-s-6472820.php\" target=\"_blank\" rel=\"noopener\">plans\u003c/a> to move the homeless community out of the streets in preparation for the Super Bowl, citing safety and legal issues, Jacoby, a co-founder of the art organization \u003ca href=\"https://www.facebook.com/SFCityOfPoets\" target=\"_blank\" rel=\"noopener\">City of Poets\u003c/a>, teamed up with several local partners including \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness\u003c/a> to create a series of handmade blankets to give away to people living on the streets.\u003c/p>\n\u003cp>“What we’re doing is geared around the fact that the city has chosen to have a clean sweep to make the city a little more appealing for the Super Bowl party,” Jacoby says. “The intense escalation of the issue has created a public numbness. Our goal is to use creativity to unite.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jacoby and her team are working around the clock to make the blankets. Their handiwork doubles as a waterproof poncho with inside pockets to hold a book, a sandwich and a pair of socks. Project collaborator has composed a special song, which the group hopes will inspire others to join their cause.\u003c/p>\n\u003cp>Volunteers will distribute the blankets to those in need during the nine-day Super Bowl event and encourage the public to use social media or speak to public officials directly every time they spot one of the special blankets out in the community.\u003c/p>\n\u003cp>“We wanted to start distributing and documenting on social media the week before the Super Bowl, since that’s when people will be really focusing on San Francisco on a national level,” says Mary Hogue, co-owner of \u003ca href=\"https://www.facebook.com/missionpraxis/\" target=\"_blank\" rel=\"noopener\">Praxis\u003c/a>, a locally-made clothing store and community art space, and one of the partners on the project.\u003c/p>\n\u003cp>Jacoby approached Hogue and her business partner Aerin Willey to host sewing circles which would not only gather the helping hands needed for production, but also encourage discussion on the issue of homelessness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s giving people something to do that’s helpful and creative,” Hogue says. “It’s an act of aggressive movement in a non-divisive way. The average person on the street has a sense of helplessness and we’re trying to change it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the Super Bowl’s golden anniversary, Annice Jacoby is making a blanket.\u003c/p>\n\u003cp>The blanket doesn’t show the insignias of the two competing teams. The handmade bed covering doesn’t bear much at all, in fact, aside from the symbol of two hands raised palms-up, silk-screened in black and white.\u003c/p>\n\u003cp>While Super Bowl 50 will attract a deluge of well-heeled tourists to the Bay Area over the next few weeks, Jacoby’s \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">blanket art project\u003c/a> attempts to draw attention to a part of the city people would much rather ignore: those struggling with homelessness.\u003c/p>\n\u003cp>In response to Mayor Ed Lee’s \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Nothing-like-a-Super-Bowl-to-fix-S-F-s-6472820.php\" target=\"_blank\" rel=\"noopener\">plans\u003c/a> to move the homeless community out of the streets in preparation for the Super Bowl, citing safety and legal issues, Jacoby, a co-founder of the art organization \u003ca href=\"https://www.facebook.com/SFCityOfPoets\" target=\"_blank\" rel=\"noopener\">City of Poets\u003c/a>, teamed up with several local partners including \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness\u003c/a> to create a series of handmade blankets to give away to people living on the streets.\u003c/p>\n\u003cp>“What we’re doing is geared around the fact that the city has chosen to have a clean sweep to make the city a little more appealing for the Super Bowl party,” Jacoby says. “The intense escalation of the issue has created a public numbness. Our goal is to use creativity to unite.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jacoby and her team are working around the clock to make the blankets. Their handiwork doubles as a waterproof poncho with inside pockets to hold a book, a sandwich and a pair of socks. Project collaborator has composed a special song, which the group hopes will inspire others to join their cause.\u003c/p>\n\u003cp>Volunteers will distribute the blankets to those in need during the nine-day Super Bowl event and encourage the public to use social media or speak to public officials directly every time they spot one of the special blankets out in the community.\u003c/p>\n\u003cp>“We wanted to start distributing and documenting on social media the week before the Super Bowl, since that’s when people will be really focusing on San Francisco on a national level,” says Mary Hogue, co-owner of \u003ca href=\"https://www.facebook.com/missionpraxis/\" target=\"_blank\" rel=\"noopener\">Praxis\u003c/a>, a locally-made clothing store and community art space, and one of the partners on the project.\u003c/p>\n\u003cp>Jacoby approached Hogue and her business partner Aerin Willey to host sewing circles which would not only gather the helping hands needed for production, but also encourage discussion on the issue of homelessness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s giving people something to do that’s helpful and creative,” Hogue says. “It’s an act of aggressive movement in a non-divisive way. The average person on the street has a sense of helplessness and we’re trying to change it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Asunder No More, SFAC Gallery Expands and Reopens in Civic Center",
"headTitle": "Asunder No More, SFAC Gallery Expands and Reopens in Civic Center | KQED",
"content": "\u003cp>Things were bit groovier in 1970, when the San Francisco Arts Commission founded a gallery space called “\u003ca href=\"http://sflib1.sfpl.org:82/record=b1040562~S0\" target=\"_blank\" rel=\"noopener\">Capricorn Asunder\u003c/a>” at 155 Grove Street. Think about it: can you imagine a city agency in the San Francisco of 2016 naming anything after an astrological sign, let alone adorning its doors with images of a fish-tailed goat? \u003c/p>\n\u003cp>Times got less groovy, of course. But the SFAC Gallery continued its programming in what we know as the Grove Street Window Gallery — until the Loma Prieta earthquake in 1989 and a temporary move to the War Memorial Veterans Building in 1996. “Temporary” stretched for 17 years, until the Veterans Building closed its doors for a two-year, $160 million seismic retrofitting project in 2013. \u003c/p>\n\u003cfigure id=\"attachment_11263136\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/ranu.jpg\" alt=\"Ranu Mukherjee, 'Home and the World,' 2015. \" width=\"640\" height=\"360\" class=\"size-full wp-image-11263136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ranu.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ranu-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ranu Mukherjee, ‘Home and the World,’ 2015. \u003ccite>(Courtesy of the artist and Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The SFAC Gallery reopens after this long hiatus on Friday, Jan. 22 with 2,400 square-feet of exhibition space just down the hall from its old quarters in the northeast corner of the building. With expanded gallery space, the opening encompasses a new commission, a small solo show and a 10-person group exhibition.\u003c/p>\n\u003cp>The first of the three is \u003ci>Enter: 126\u003c/i>, a yearly series set to transform a nondescript glass-doored entryway into something that better telegraphs, “This is an art space, come look!”\u003c/p>\n\u003cp>A collaboration between architect Annette Jannotta and media artist Olivia Ting, \u003ci>Coalescence\u003c/i>, as the entryway installation is titled, reuses packing tubes from the gallery’s new lighting system. Silent video shot within the Veterans Building projects across the cylindrical surfaces as they hang from the ceiling. Resembling giant wind chimes or the disembodied tubes of a pipe organ, \u003ci>Coalescence\u003c/i> hovers between representation and abstraction, gently flickering an invitation to hallway passersby.\u003c/p>\n\u003cfigure id=\"attachment_11263137\" class=\"wp-caption alignright\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/omalley.jpg\" alt=\"Susan O'Malley, print from 'Advice From My Eighty-Year-Old Self' series, 2015.\" width=\"496\" height=\"640\" class=\"size-full wp-image-11263137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/omalley.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/omalley-400x516.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/omalley-465x600.jpg 465w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Susan O’Malley, print from ‘Advice From My Eighty-Year-Old Self’ series, 2015. \u003ccite>(Courtesy of Mara O'Malley Boord)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moving inside, the SFAC Gallery next hosts a small tribute to the late artist \u003ca href=\"http://ww2.kqed.org/arts/2015/03/02/celebrating-the-life-of-artist-and-curator-susan-omalley-1976-2015/\" target=\"_blank\" rel=\"noopener\">Susan O’Malley\u003c/a> in the form of photographs of her projects, three video pieces and a wall of colorful text-filled posters. The videos \u003ci>A Few Yards in San Jose\u003c/i> and \u003ci>How to be an Artist-in-Residence in San Jose\u003c/i> show O’Malley as a merry prankster messing around in suburban San Jose. She uses turquoise garden hoses, cloud-shaped bushes and tire swings in tightly-edited and wonderfully silly vignettes. They’re vivid demonstrations of O’Malley embodying the sentiments similar to those she later gathered in the series \u003ci>Advice From My Eighty-Year-Old Self\u003c/i>, a collection of imperatives published by \u003ca href=\"http://www.chroniclebooks.com/titles/advice-from-my-80-year-old-self.html\" target=\"_blank\" rel=\"noopener\">Chronicle Books\u003c/a> and installed as bus kiosk posters up and down Market Street this month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shifting from an intimate memorial-like display to the gallery’s larger exhibition space and a completely separate show is a bit jarring. The walls open up, with tall windows facing McAllister Street. The elaborately titled \u003ci>Bring it Home: (Re)Locating Cultural Legacy Through the Body\u003c/i> fills the expanded gallery space with everything from a wall drawing to textile works to projected video.\u003c/p>\n\u003cp>Co-curated by SFAC Galleries director Meg Shiffler and independent curator Kevin B. Chen, \u003ci>Bring it Home\u003c/i> brings together artists looking at the body as a site of struggle and reconciliation. Human figures abound. Jeremiah Barber’s rice paper and ink doppelgänger melts into a black pedestal for \u003ci>Half Mass\u003c/i>. A woman sweeps away colonial architecture in Ranu Mukherjee’s hybrid video \u003ci>Home and the World\u003c/i>. In Summer Mei Ling Lee’s \u003ci>Into the Nearness of Distance III\u003c/i>, cyanotype on cheesecloth images of her family members, already only visible from an angle, will slowly fade as they expose to sunlight.\u003c/p>\n\u003cfigure id=\"attachment_11263138\" class=\"wp-caption alignright\" style=\"max-width: 435px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/sherpa_edited-1.jpg\" alt=\"Tsherin Sherpa, '54 Views of Wisdom and Compassion,' 2014.\" width=\"435\" height=\"640\" class=\"size-full wp-image-11263138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/sherpa_edited-1.jpg 435w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/sherpa_edited-1-400x589.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/sherpa_edited-1-408x600.jpg 408w\" sizes=\"(max-width: 435px) 100vw, 435px\">\u003cfigcaption class=\"wp-caption-text\">Tsherin Sherpa, ’54 Views of Wisdom and Compassion,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other works reference bodies through absence. Guillermo Gómez-Peña, who will perform at the gallery on March 11, contributes a quote from \u003ci>In Defence of Performance Art\u003c/i> as wall vinyl. “Our main artwork is our own body…” it reads in part. Vic De La Rosa’s serapes convey messages both for and about the Mexican-American experience. One reads, simply, “assimilate.”\u003c/p>\n\u003cp>But sometimes the bodies aren’t even human. Carolyn Janssen’s phenomenal \u003ci>In any case, you are always there\u003c/i>, a triptych print on panel over a wall-sized background image depicts tiny, often grotesque figures in a fantastical digital landscape; Hieronymus Bosch meets Second Life. Zeina Barakeh’s six-minute video \u003ci>Homeland Insecurity\u003c/i> unfolds as centaurs invade a land of anthropomorphic horses to the glitchy beat of a synthetic drum. And Tsherin Sherpa’s brilliantly-hued \u003ci>54 Views of Wisdom and Compassion\u003c/i>resembles a giant sliding block puzzle, the shuffled image of a blue god with red-rimmed eyes. \u003c/p>\n\u003cp>With a calendar of public events scheduled throughout the exhibition, the SFAC Gallery is eager to reassert the War Memorial Veterans Building as its home base after two years “asunder.” The gallery’s mission, to make contemporary art accessible to broad audiences, will be better served in this new, larger floorplan. More business-as-usual than splashy grand reopening, the three opening exhibitions ground the programming with established local names and introduce a few welcome newcomers, but the most exciting thing about the whole space might simply be that there’s more of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>San Francisco Arts Commission Gallery grand opening celebration\u003c/b> takes place Friday, Jan. 22, 6-9pm. \u003ci>Bring it Home: (Re)Locating Cultural Legacy Through the Body\u003c/i> and \u003ci>Do More of What You Love\u003c/i> are on view through May 7, 2016. \u003ci>Enter: 126 Coalescence\u003c/i> is on view through Dec. 17, 2016. For more information visit \u003ca href=\"http://www.sfartscommission.org/gallery/\" target=\"_blank\" rel=\"noopener\">sfartscommission.org/gallery\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Things were bit groovier in 1970, when the San Francisco Arts Commission founded a gallery space called “\u003ca href=\"http://sflib1.sfpl.org:82/record=b1040562~S0\" target=\"_blank\" rel=\"noopener\">Capricorn Asunder\u003c/a>” at 155 Grove Street. Think about it: can you imagine a city agency in the San Francisco of 2016 naming anything after an astrological sign, let alone adorning its doors with images of a fish-tailed goat? \u003c/p>\n\u003cp>Times got less groovy, of course. But the SFAC Gallery continued its programming in what we know as the Grove Street Window Gallery — until the Loma Prieta earthquake in 1989 and a temporary move to the War Memorial Veterans Building in 1996. “Temporary” stretched for 17 years, until the Veterans Building closed its doors for a two-year, $160 million seismic retrofitting project in 2013. \u003c/p>\n\u003cfigure id=\"attachment_11263136\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/ranu.jpg\" alt=\"Ranu Mukherjee, 'Home and the World,' 2015. \" width=\"640\" height=\"360\" class=\"size-full wp-image-11263136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ranu.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ranu-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ranu Mukherjee, ‘Home and the World,’ 2015. \u003ccite>(Courtesy of the artist and Gallery Wendi Norris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The SFAC Gallery reopens after this long hiatus on Friday, Jan. 22 with 2,400 square-feet of exhibition space just down the hall from its old quarters in the northeast corner of the building. With expanded gallery space, the opening encompasses a new commission, a small solo show and a 10-person group exhibition.\u003c/p>\n\u003cp>The first of the three is \u003ci>Enter: 126\u003c/i>, a yearly series set to transform a nondescript glass-doored entryway into something that better telegraphs, “This is an art space, come look!”\u003c/p>\n\u003cp>A collaboration between architect Annette Jannotta and media artist Olivia Ting, \u003ci>Coalescence\u003c/i>, as the entryway installation is titled, reuses packing tubes from the gallery’s new lighting system. Silent video shot within the Veterans Building projects across the cylindrical surfaces as they hang from the ceiling. Resembling giant wind chimes or the disembodied tubes of a pipe organ, \u003ci>Coalescence\u003c/i> hovers between representation and abstraction, gently flickering an invitation to hallway passersby.\u003c/p>\n\u003cfigure id=\"attachment_11263137\" class=\"wp-caption alignright\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/omalley.jpg\" alt=\"Susan O'Malley, print from 'Advice From My Eighty-Year-Old Self' series, 2015.\" width=\"496\" height=\"640\" class=\"size-full wp-image-11263137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/omalley.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/omalley-400x516.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/omalley-465x600.jpg 465w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Susan O’Malley, print from ‘Advice From My Eighty-Year-Old Self’ series, 2015. \u003ccite>(Courtesy of Mara O'Malley Boord)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moving inside, the SFAC Gallery next hosts a small tribute to the late artist \u003ca href=\"http://ww2.kqed.org/arts/2015/03/02/celebrating-the-life-of-artist-and-curator-susan-omalley-1976-2015/\" target=\"_blank\" rel=\"noopener\">Susan O’Malley\u003c/a> in the form of photographs of her projects, three video pieces and a wall of colorful text-filled posters. The videos \u003ci>A Few Yards in San Jose\u003c/i> and \u003ci>How to be an Artist-in-Residence in San Jose\u003c/i> show O’Malley as a merry prankster messing around in suburban San Jose. She uses turquoise garden hoses, cloud-shaped bushes and tire swings in tightly-edited and wonderfully silly vignettes. They’re vivid demonstrations of O’Malley embodying the sentiments similar to those she later gathered in the series \u003ci>Advice From My Eighty-Year-Old Self\u003c/i>, a collection of imperatives published by \u003ca href=\"http://www.chroniclebooks.com/titles/advice-from-my-80-year-old-self.html\" target=\"_blank\" rel=\"noopener\">Chronicle Books\u003c/a> and installed as bus kiosk posters up and down Market Street this month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shifting from an intimate memorial-like display to the gallery’s larger exhibition space and a completely separate show is a bit jarring. The walls open up, with tall windows facing McAllister Street. The elaborately titled \u003ci>Bring it Home: (Re)Locating Cultural Legacy Through the Body\u003c/i> fills the expanded gallery space with everything from a wall drawing to textile works to projected video.\u003c/p>\n\u003cp>Co-curated by SFAC Galleries director Meg Shiffler and independent curator Kevin B. Chen, \u003ci>Bring it Home\u003c/i> brings together artists looking at the body as a site of struggle and reconciliation. Human figures abound. Jeremiah Barber’s rice paper and ink doppelgänger melts into a black pedestal for \u003ci>Half Mass\u003c/i>. A woman sweeps away colonial architecture in Ranu Mukherjee’s hybrid video \u003ci>Home and the World\u003c/i>. In Summer Mei Ling Lee’s \u003ci>Into the Nearness of Distance III\u003c/i>, cyanotype on cheesecloth images of her family members, already only visible from an angle, will slowly fade as they expose to sunlight.\u003c/p>\n\u003cfigure id=\"attachment_11263138\" class=\"wp-caption alignright\" style=\"max-width: 435px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/sherpa_edited-1.jpg\" alt=\"Tsherin Sherpa, '54 Views of Wisdom and Compassion,' 2014.\" width=\"435\" height=\"640\" class=\"size-full wp-image-11263138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/sherpa_edited-1.jpg 435w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/sherpa_edited-1-400x589.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/sherpa_edited-1-408x600.jpg 408w\" sizes=\"(max-width: 435px) 100vw, 435px\">\u003cfigcaption class=\"wp-caption-text\">Tsherin Sherpa, ’54 Views of Wisdom and Compassion,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other works reference bodies through absence. Guillermo Gómez-Peña, who will perform at the gallery on March 11, contributes a quote from \u003ci>In Defence of Performance Art\u003c/i> as wall vinyl. “Our main artwork is our own body…” it reads in part. Vic De La Rosa’s serapes convey messages both for and about the Mexican-American experience. One reads, simply, “assimilate.”\u003c/p>\n\u003cp>But sometimes the bodies aren’t even human. Carolyn Janssen’s phenomenal \u003ci>In any case, you are always there\u003c/i>, a triptych print on panel over a wall-sized background image depicts tiny, often grotesque figures in a fantastical digital landscape; Hieronymus Bosch meets Second Life. Zeina Barakeh’s six-minute video \u003ci>Homeland Insecurity\u003c/i> unfolds as centaurs invade a land of anthropomorphic horses to the glitchy beat of a synthetic drum. And Tsherin Sherpa’s brilliantly-hued \u003ci>54 Views of Wisdom and Compassion\u003c/i>resembles a giant sliding block puzzle, the shuffled image of a blue god with red-rimmed eyes. \u003c/p>\n\u003cp>With a calendar of public events scheduled throughout the exhibition, the SFAC Gallery is eager to reassert the War Memorial Veterans Building as its home base after two years “asunder.” The gallery’s mission, to make contemporary art accessible to broad audiences, will be better served in this new, larger floorplan. More business-as-usual than splashy grand reopening, the three opening exhibitions ground the programming with established local names and introduce a few welcome newcomers, but the most exciting thing about the whole space might simply be that there’s more of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>San Francisco Arts Commission Gallery grand opening celebration\u003c/b> takes place Friday, Jan. 22, 6-9pm. \u003ci>Bring it Home: (Re)Locating Cultural Legacy Through the Body\u003c/i> and \u003ci>Do More of What You Love\u003c/i> are on view through May 7, 2016. \u003ci>Enter: 126 Coalescence\u003c/i> is on view through Dec. 17, 2016. For more information visit \u003ca href=\"http://www.sfartscommission.org/gallery/\" target=\"_blank\" rel=\"noopener\">sfartscommission.org/gallery\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Chris Thorson's 'Recognition' Isn't What it Looks Like",
"headTitle": "Chris Thorson’s ‘Recognition’ Isn’t What it Looks Like | KQED",
"content": "\u003cp>Upon first glance at the floor of the Spotlight Gallery in the \u003ca href=\"http://napavalleymuseum.org/\" target=\"_blank\" rel=\"noopener\">Napa Valley Museum\u003c/a> in Yountville, we might feel a natural urge to clean up. A scattering of cigarette butts and plastic bags seem carelessly left behind by a crew of busy maintenance workers. Nearby, produce boxes filled with semi-rotten apples and melons create the same instinct — the impulse to quickly discard without a second thought. As a society, we tend to regard anything that isn’t shiny, new and completely intact as worthless and disposable. This is particularly true of unsightly trash or anything, really, that we deem unimportant.\u003c/p>\n\u003cfigure id=\"attachment_11248581\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11248581 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/thorson-cigarettes-1180x885.jpg\" alt=\"Chris Thorson, 'Sleepers' and 'Nice Days,' 2011-15.\" width=\"640\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">Chris Thorson, ‘Sleepers’ and ‘Nice Days,’ 2011-15. \u003ccite>(Courtesy: the artist and Napa Valley Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon closer examination of the discarded cigarettes and wads of pastel-colored chewing gum, however, the painstaking detail of artist \u003ca href=\"http://christhorsonstudio.com/\" target=\"_blank\" rel=\"noopener\">Chris Thorson\u003c/a>’s elaborately realistic trompe l’oeil sculptures creates a subtle and then blunt shift in how we think about the ways we contribute to a culture of waste.\u003c/p>\n\u003cp>Thorson’s installations in \u003ci>Recognition\u003c/i> simultaneously create a sensation of repulsion and awe, causing us to peer as close as possible to each careful and unsightly detail. In her piece \u003ci>Bro Palace\u003c/i>, Thorson sets up a space anyone who has spent any time with adolescent boys (or girls) will experience as familiar — dirty socks, a set of keys, an empty ketchup packet, a plastic takeout bag and remote controls are strewn across a bedroom rug. Instead of using dirty clothing collected from a dorm room, each sock in the installation is handmade by Thorson with hydrocal, gouache and pastel; items such as the ketchup packet and a grape vine stripped of its fruit are a combination of cast bronze and enamel.\u003c/p>\n\u003cfigure id=\"attachment_11260367\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11260367\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BroPalace640.jpg\" alt=\"Chris Thorson, detail from 'Bro Palace' installation.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BroPalace640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BroPalace640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chris Thorson, detail from ‘Bro Palace’ installation. \u003ccite>(Courtesy: the artist and Napa Valley Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thorson’s refrigerator installation, a personal favorite, includes seven rotting and sprouting potatoes (Yukon Golds, Century Russets and Viking Reds) displayed across the top of a minifridge. Added humorous touches include a “High from California” marijuana leaf refrigerator magnet and a magnet with the cast of \u003cem>Buffy the Vampire Slayer\u003c/em>, both affixed to the refrigerator’s small door. Nearby, a plastic shopping bag made of beeswax, organic silk and natural dyes made from plants grown by Thorson herself lies haphazardly on the floor. The potatoes’ eerily realistic appearance (oil paint on direct cast bronze and hydrocal) offers another reminder of how easily we take for granted the abundance and accessibility of perishable food items, while hunger remains a critical issue in so many parts of the world.\u003c/p>\n\u003cfigure id=\"attachment_11248689\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11248689\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/thorson-fridge-museum-e1453256289683.jpg\" alt=\"Chris Thorson, installation view of 'Recognition.'\" width=\"640\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">Chris Thorson, installation view of ‘Recognition.’ \u003ccite>(Courtesy: the artist and Napa Valley Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thorson’s work is brilliantly crafted and requires double and triple takes to fully appreciate the introspection and philosophical musings it prompts. Whether we’re looking at a set of keys, a crate of withering apples, a crumpled, musty-looking sweater or a discarded takeout bag, her pieces offer a crucial shift in our perspectives of the things we need, want, easily acquire and just as easily cast aside.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>Recognition\u003c/i>\u003c/b> is on view at the Napa Valley Museum in Yountville through March 20. For more information visit \u003ca href=\"http://napavalleymuseum.org/exhibition/recognition/\" target=\"_blank\" rel=\"noopener\">napavalleymuseum.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Upon first glance at the floor of the Spotlight Gallery in the \u003ca href=\"http://napavalleymuseum.org/\" target=\"_blank\" rel=\"noopener\">Napa Valley Museum\u003c/a> in Yountville, we might feel a natural urge to clean up. A scattering of cigarette butts and plastic bags seem carelessly left behind by a crew of busy maintenance workers. Nearby, produce boxes filled with semi-rotten apples and melons create the same instinct — the impulse to quickly discard without a second thought. As a society, we tend to regard anything that isn’t shiny, new and completely intact as worthless and disposable. This is particularly true of unsightly trash or anything, really, that we deem unimportant.\u003c/p>\n\u003cfigure id=\"attachment_11248581\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11248581 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/thorson-cigarettes-1180x885.jpg\" alt=\"Chris Thorson, 'Sleepers' and 'Nice Days,' 2011-15.\" width=\"640\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">Chris Thorson, ‘Sleepers’ and ‘Nice Days,’ 2011-15. \u003ccite>(Courtesy: the artist and Napa Valley Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon closer examination of the discarded cigarettes and wads of pastel-colored chewing gum, however, the painstaking detail of artist \u003ca href=\"http://christhorsonstudio.com/\" target=\"_blank\" rel=\"noopener\">Chris Thorson\u003c/a>’s elaborately realistic trompe l’oeil sculptures creates a subtle and then blunt shift in how we think about the ways we contribute to a culture of waste.\u003c/p>\n\u003cp>Thorson’s installations in \u003ci>Recognition\u003c/i> simultaneously create a sensation of repulsion and awe, causing us to peer as close as possible to each careful and unsightly detail. In her piece \u003ci>Bro Palace\u003c/i>, Thorson sets up a space anyone who has spent any time with adolescent boys (or girls) will experience as familiar — dirty socks, a set of keys, an empty ketchup packet, a plastic takeout bag and remote controls are strewn across a bedroom rug. Instead of using dirty clothing collected from a dorm room, each sock in the installation is handmade by Thorson with hydrocal, gouache and pastel; items such as the ketchup packet and a grape vine stripped of its fruit are a combination of cast bronze and enamel.\u003c/p>\n\u003cfigure id=\"attachment_11260367\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11260367\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BroPalace640.jpg\" alt=\"Chris Thorson, detail from 'Bro Palace' installation.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BroPalace640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BroPalace640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chris Thorson, detail from ‘Bro Palace’ installation. \u003ccite>(Courtesy: the artist and Napa Valley Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thorson’s refrigerator installation, a personal favorite, includes seven rotting and sprouting potatoes (Yukon Golds, Century Russets and Viking Reds) displayed across the top of a minifridge. Added humorous touches include a “High from California” marijuana leaf refrigerator magnet and a magnet with the cast of \u003cem>Buffy the Vampire Slayer\u003c/em>, both affixed to the refrigerator’s small door. Nearby, a plastic shopping bag made of beeswax, organic silk and natural dyes made from plants grown by Thorson herself lies haphazardly on the floor. The potatoes’ eerily realistic appearance (oil paint on direct cast bronze and hydrocal) offers another reminder of how easily we take for granted the abundance and accessibility of perishable food items, while hunger remains a critical issue in so many parts of the world.\u003c/p>\n\u003cfigure id=\"attachment_11248689\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11248689\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/thorson-fridge-museum-e1453256289683.jpg\" alt=\"Chris Thorson, installation view of 'Recognition.'\" width=\"640\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">Chris Thorson, installation view of ‘Recognition.’ \u003ccite>(Courtesy: the artist and Napa Valley Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thorson’s work is brilliantly crafted and requires double and triple takes to fully appreciate the introspection and philosophical musings it prompts. Whether we’re looking at a set of keys, a crate of withering apples, a crumpled, musty-looking sweater or a discarded takeout bag, her pieces offer a crucial shift in our perspectives of the things we need, want, easily acquire and just as easily cast aside.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>Recognition\u003c/i>\u003c/b> is on view at the Napa Valley Museum in Yountville through March 20. For more information visit \u003ca href=\"http://napavalleymuseum.org/exhibition/recognition/\" target=\"_blank\" rel=\"noopener\">napavalleymuseum.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/01/TDL01152016.mp3\u003c/p>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=VzXYvyFqM4Y\u003c/p>\n\u003cp>\u003cstrong>Jan. 17:\u003c/strong> Ignacio Piñeiro founded this band in 1927 and it’s continued to thrive since then, despite frequent changes in personnel over the years. Piñeiro himself was a great rumbero and helped develop “son Cubano” — a music genre that marries Spanish traditional songs with African rhythms — before he died in 1969. These days Eugenio “Raspa” Rodríguez and Francisco “El Matador” Oropesa lead the band, and they played a marvelously tight set here in San Francisco a few years ago. Expect the same when they play Sunday night at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/septeto-nacional/\" target=\"_blank\" rel=\"noopener\">Brava Theater\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11246854\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246854\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg\" alt=\"Symphony Silicon Valley presents 'Raiders of the Lost Ark'\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Symphony Silicon Valley presents ‘Raiders of the Lost Ark’ \u003ccite>(Photo: 21st Century Symphony Orchestra.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15-17: \u003c/strong>Hard to believe the first Indiana Jones movie, \u003ca href=\"http://www.imdb.com/title/tt0082971/\" target=\"_blank\" rel=\"noopener\">\u003cem>Raiders of the Lost Ark\u003c/em>, \u003c/a>is now 35 years old. The film, birthed from a collaboration between George Lucas and Steven Spielberg, is an update on the movie serials of yore and is still the best of the bunch. And there’s a fresh (if pricey) way to see the film this weekend as \u003ca href=\"https://www.symphonysiliconvalley.org/\" target=\"_blank\" rel=\"noopener\">Symphony Silicon Valley\u003c/a> (SVV) plays the \u003ca href=\"https://en.wikipedia.org/wiki/John_Williams\" target=\"_blank\" rel=\"noopener\">John Williams\u003c/a> film score live to accompany the film. This is a major trend for orchestras, trying to lure new audiences in the door. SSV did it last spring with \u003cem>the Lord of the Rings\u003c/em>, and the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar.aspx?gclid=CLr7-ay5qsoCFcRffgodk8sEFQ#kw=Films+and+Multimedia\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony has been digging into the great scores Bernard Herrmann \u003c/a>wrote for a number of Hitchcock films. \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php?pagecontID=208#showis188\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246731\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246731\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Dreamstate.png\" alt=\"Dreamstate at the Bill Graham Civic Center\" width=\"599\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate.png 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate-400x266.png 400w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">Dreamstate at the Bill Graham Civic Center\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 16-17: \u003c/strong>Trance music is an amazingly popular form of electronic dance music born in Germany (my daughter loves it), with concerts in Los Angeles selling out within hours. Think DJ’s on the stage, dialing up 125 beats per minute that build, and build, and build, and then release. \u003ca href=\"http://www.dreamstateusa.com/\" target=\"_blank\" rel=\"noopener\">Dreamstate fills the Bill Graham Auditorium Saturday and Sunday\u003c/a> with new and older acts including Aly and Fila, Cosmic Gate, Paul Oakenfold,, Paul Van Dyk and more. Don’t forget to hydrate.\u003c/p>\n\u003cfigure id=\"attachment_11246483\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg\" alt=\"Feathers Of Fire\" width=\"500\" height=\"238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire-400x190.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Feathers Of Fire \u003ccite>(Photo Credit: Finecutstudio.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 16-18:\u003c/strong> \u003cem>Feathers of Fire\u003c/em> is a tale from the ancient Persian epic Shahname, the Book of Kings. And it’s also the newest work by San Francisco \u003ca href=\"http://www.shadowlight.org/slp/index.cfm\" target=\"_blank\" rel=\"noopener\">shadow puppet master Larry Reed \u003c/a>in a production conceived and directed by Iranian American filmmaker \u003ca href=\"http://www.kingorama.com/\" target=\"_blank\" rel=\"noopener\">Hamid Rahmanian\u003c/a>. Reed called this production the IMAX of shadow theater, because the team is projecting videos, and the shadows of puppets and live actors onto a 30-by-15 foot screen. Expect magic, if you can get a ticket: As of Thursday, all but one show was sold out. \u003ca href=\"https://www.facebook.com/events/526630310836844/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a> and \u003ca href=\"http://fortmason.org/event/feathers-of-fire/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z3aklEgwjF8\u003c/p>\n\u003cp>\u003cstrong>Jan 18 & 19:\u003c/strong> Ty Segall may be the world’s best and prolific garage rocker. He’s contributed to 20 albums in the last few years, and the majority of his music is nasty, loud, fuzzy and strange, yet full of pop hooks. And even though he left San Francisco for Los Angeles a few years ago, we still love him. He’s been promoting his new album \u003cem>Emotional Mugger\u003c/em> with a series of bizarre videos, including one with him wearing what looks like a Jabba the Hut baby mask. He’s at the \u003ca href=\"http://thefillmore.com/event/ty-segall-the-muggers/\" target=\"_blank\" rel=\"noopener\">Fillmore for two nights.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246737\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246737\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg\" alt=\"Kelley Stoltz\" width=\"960\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-768x512.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz\u003c/figcaption>\u003c/figure>\n\u003cp>And for a sunnier indie sound, try San Francisco rocker \u003ca href=\"http://www.kelleystoltz.com/\" target=\"_blank\" rel=\"noopener\">Kelley Stoltz\u003c/a> at the Chapel. Stoltz, like Segall, has a new album out, \u003cem>In Triangle Time\u003c/em>. The show is a \u003cstrong>Cheap Thrill\u003c/strong> at just $15. \u003ca href=\"http://www.thechapelsf.com/event/1018653-kelley-stoltz-mattson-2-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>A couple of SHOUTouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jan. 17:\u003c/strong> I’m a fan of new music advocate and pianist Sarah Cahill. She’s presenting an eclectic program that includes a world premiere of a new work from the Bay Area’s Danny Clay at the \u003ca href=\"http://nvcm.org/season/season23/sarah-cahill/\" target=\"_blank\" rel=\"noopener\">Noe Valley Chamber Music series Sunday afternoon.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 14-Feb. 10:\u003c/strong> David Wiegand likes \u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">SOMArts new show \u003c/a>\u003cem>\u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">Visions Into Infinite Archives\u003c/a>,\u003c/em> curated by \u003ca href=\"http://blacksaltcollective.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Black Salt Collective\u003c/a>, which champions black, brown, and indigenous visions. It’s another \u003cstrong>Cheap Thrill,\u003c/strong> as admission to SOMArts is always free. \u003ci>(We also suggest reading \u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\" target=\"_blank\" rel=\"noopener\">Sarah Hotchkiss’s\u003c/a> review of \u003ca href=\"http://ww2.kqed.org/arts/2016/01/14/black-salt-collective-agitates-the-archive-with-visions-at-somarts/\" target=\"_blank\" rel=\"noopener\">‘Visions Into Archives’ here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\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/VzXYvyFqM4Y'\n title='//www.youtube.com/embed/VzXYvyFqM4Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 17:\u003c/strong> Ignacio Piñeiro founded this band in 1927 and it’s continued to thrive since then, despite frequent changes in personnel over the years. Piñeiro himself was a great rumbero and helped develop “son Cubano” — a music genre that marries Spanish traditional songs with African rhythms — before he died in 1969. These days Eugenio “Raspa” Rodríguez and Francisco “El Matador” Oropesa lead the band, and they played a marvelously tight set here in San Francisco a few years ago. Expect the same when they play Sunday night at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/septeto-nacional/\" target=\"_blank\" rel=\"noopener\">Brava Theater\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11246854\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246854\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg\" alt=\"Symphony Silicon Valley presents 'Raiders of the Lost Ark'\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Symphony Silicon Valley presents ‘Raiders of the Lost Ark’ \u003ccite>(Photo: 21st Century Symphony Orchestra.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15-17: \u003c/strong>Hard to believe the first Indiana Jones movie, \u003ca href=\"http://www.imdb.com/title/tt0082971/\" target=\"_blank\" rel=\"noopener\">\u003cem>Raiders of the Lost Ark\u003c/em>, \u003c/a>is now 35 years old. The film, birthed from a collaboration between George Lucas and Steven Spielberg, is an update on the movie serials of yore and is still the best of the bunch. And there’s a fresh (if pricey) way to see the film this weekend as \u003ca href=\"https://www.symphonysiliconvalley.org/\" target=\"_blank\" rel=\"noopener\">Symphony Silicon Valley\u003c/a> (SVV) plays the \u003ca href=\"https://en.wikipedia.org/wiki/John_Williams\" target=\"_blank\" rel=\"noopener\">John Williams\u003c/a> film score live to accompany the film. This is a major trend for orchestras, trying to lure new audiences in the door. SSV did it last spring with \u003cem>the Lord of the Rings\u003c/em>, and the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar.aspx?gclid=CLr7-ay5qsoCFcRffgodk8sEFQ#kw=Films+and+Multimedia\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony has been digging into the great scores Bernard Herrmann \u003c/a>wrote for a number of Hitchcock films. \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php?pagecontID=208#showis188\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246731\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246731\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Dreamstate.png\" alt=\"Dreamstate at the Bill Graham Civic Center\" width=\"599\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate.png 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate-400x266.png 400w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">Dreamstate at the Bill Graham Civic Center\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 16-17: \u003c/strong>Trance music is an amazingly popular form of electronic dance music born in Germany (my daughter loves it), with concerts in Los Angeles selling out within hours. Think DJ’s on the stage, dialing up 125 beats per minute that build, and build, and build, and then release. \u003ca href=\"http://www.dreamstateusa.com/\" target=\"_blank\" rel=\"noopener\">Dreamstate fills the Bill Graham Auditorium Saturday and Sunday\u003c/a> with new and older acts including Aly and Fila, Cosmic Gate, Paul Oakenfold,, Paul Van Dyk and more. Don’t forget to hydrate.\u003c/p>\n\u003cfigure id=\"attachment_11246483\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg\" alt=\"Feathers Of Fire\" width=\"500\" height=\"238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire-400x190.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Feathers Of Fire \u003ccite>(Photo Credit: Finecutstudio.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 16-18:\u003c/strong> \u003cem>Feathers of Fire\u003c/em> is a tale from the ancient Persian epic Shahname, the Book of Kings. And it’s also the newest work by San Francisco \u003ca href=\"http://www.shadowlight.org/slp/index.cfm\" target=\"_blank\" rel=\"noopener\">shadow puppet master Larry Reed \u003c/a>in a production conceived and directed by Iranian American filmmaker \u003ca href=\"http://www.kingorama.com/\" target=\"_blank\" rel=\"noopener\">Hamid Rahmanian\u003c/a>. Reed called this production the IMAX of shadow theater, because the team is projecting videos, and the shadows of puppets and live actors onto a 30-by-15 foot screen. Expect magic, if you can get a ticket: As of Thursday, all but one show was sold out. \u003ca href=\"https://www.facebook.com/events/526630310836844/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a> and \u003ca href=\"http://fortmason.org/event/feathers-of-fire/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/z3aklEgwjF8'\n title='//www.youtube.com/embed/z3aklEgwjF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan 18 & 19:\u003c/strong> Ty Segall may be the world’s best and prolific garage rocker. He’s contributed to 20 albums in the last few years, and the majority of his music is nasty, loud, fuzzy and strange, yet full of pop hooks. And even though he left San Francisco for Los Angeles a few years ago, we still love him. He’s been promoting his new album \u003cem>Emotional Mugger\u003c/em> with a series of bizarre videos, including one with him wearing what looks like a Jabba the Hut baby mask. He’s at the \u003ca href=\"http://thefillmore.com/event/ty-segall-the-muggers/\" target=\"_blank\" rel=\"noopener\">Fillmore for two nights.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246737\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246737\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg\" alt=\"Kelley Stoltz\" width=\"960\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-768x512.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz\u003c/figcaption>\u003c/figure>\n\u003cp>And for a sunnier indie sound, try San Francisco rocker \u003ca href=\"http://www.kelleystoltz.com/\" target=\"_blank\" rel=\"noopener\">Kelley Stoltz\u003c/a> at the Chapel. Stoltz, like Segall, has a new album out, \u003cem>In Triangle Time\u003c/em>. The show is a \u003cstrong>Cheap Thrill\u003c/strong> at just $15. \u003ca href=\"http://www.thechapelsf.com/event/1018653-kelley-stoltz-mattson-2-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>A couple of SHOUTouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jan. 17:\u003c/strong> I’m a fan of new music advocate and pianist Sarah Cahill. She’s presenting an eclectic program that includes a world premiere of a new work from the Bay Area’s Danny Clay at the \u003ca href=\"http://nvcm.org/season/season23/sarah-cahill/\" target=\"_blank\" rel=\"noopener\">Noe Valley Chamber Music series Sunday afternoon.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 14-Feb. 10:\u003c/strong> David Wiegand likes \u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">SOMArts new show \u003c/a>\u003cem>\u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">Visions Into Infinite Archives\u003c/a>,\u003c/em> curated by \u003ca href=\"http://blacksaltcollective.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Black Salt Collective\u003c/a>, which champions black, brown, and indigenous visions. It’s another \u003cstrong>Cheap Thrill,\u003c/strong> as admission to SOMArts is always free. \u003ci>(We also suggest reading \u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\" target=\"_blank\" rel=\"noopener\">Sarah Hotchkiss’s\u003c/a> review of \u003ca href=\"http://ww2.kqed.org/arts/2016/01/14/black-salt-collective-agitates-the-archive-with-visions-at-somarts/\" target=\"_blank\" rel=\"noopener\">‘Visions Into Archives’ here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Black Salt Collective Agitates the Archive with ‘Visions’ at SOMArts",
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"content": "\u003cp>Opening Thursday night in SOMArts’ main gallery, bright paintings, textiles, video screens and small wooden sculptures arranged altar-like in front of a salmon-colored wall welcome viewers to \u003ci>\u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">Visions Into Infinite Archives\u003c/a>\u003c/i>, a sprawling and thrilling group exhibition organized by the LA and Bay Area-based artists of \u003ca href=\"http://blacksaltcollective.squarespace.com/\" target=\"_blank\" rel=\"noopener\">Black Salt Collective\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11246493\" class=\"wp-caption alignright\" style=\"max-width: 607px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/group-photo.png\" alt=\"Black Salt Collective: Anna Luisa Petrisko, Adee Roberson, Grace Rosario Perkins, Sarah Biscarra-Dilley.\" width=\"607\" height=\"610\" class=\"size-full wp-image-11246493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo.png 607w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-400x402.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-597x600.png 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-75x75.png 75w\" sizes=\"(max-width: 607px) 100vw, 607px\">\u003cfigcaption class=\"wp-caption-text\">Black Salt Collective: Anna Luisa Petrisko, Adee Roberson, Grace Rosario Perkins, Sarah Biscarra-Dilley. \u003ccite>(Photo: Ramdasha Bikceem)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show features work by 30 artists of color, including the collaborative and individual work by Black Salt Collective members \u003ca href=\"http://sarahbiscarradilley.com/\" target=\"_blank\" rel=\"noopener\">Sarah Biscarra-Dilley\u003c/a>, \u003ca href=\"http://postmedium.com/gracerosarioperkins\" target=\"_blank\" rel=\"noopener\">Grace Rosario Perkins\u003c/a>, \u003ca href=\"http://www.jeepneysjeepneys.com/\" target=\"_blank\" rel=\"noopener\">Anna Luisa Petrisko\u003c/a> and \u003ca href=\"http://blackpineappleadee.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Adee Roberson\u003c/a>. Each fabric piece, papier-mâché mask, confrontational video or sculptural assemblage in \u003ci>Visions\u003c/i> represents a node in a web of relationships the organizers forged with the show’s artists. Instead of a linear or self-contained official record, the collective’s “archive as exhibition” is open, ever-expanding and deeply personal.\u003c/p>\n\u003cp>“The conceptual basis was to push against the finite and measurable archive that tends to represent people not in their own voices,” says Biscarra-Dilley. For Biscarra-Dilley, who is Chumash, this manifests in an intricately embroidered textile piece hung from SOMArt’s two-story-high rafters. Subtitled \u003ci>It took away her fear and made her strong\u003c/i>, the work includes a portion of text Biscarra-Dilley prefers to keep untranslated, limiting general access and reserving interpretation.\u003c/p>\n\u003cfigure id=\"attachment_11246496\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Jeepneys640.jpg\" alt=\"Jeepneys + some times, 'Let Me Be The One: A history of a decolonized service,' 2015-2016.\" width=\"640\" height=\"427\" class=\"size-full wp-image-11246496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Jeepneys640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Jeepneys640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jeepneys + some times, ‘Let Me Be The One: A history of a decolonized service,’ 2015-2016. \u003ccite>(Photo: Nastya Valentine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Additional individual work from members of the collective appears as a sculpture and video installation by Jeepneys (Petrisko) and \u003ci>some times\u003c/i> (an art project and bar run by LA-based \u003ca href=\"http://meghangordonstudio.com/\" target=\"_blank\" rel=\"noopener\">Meghan Gordon\u003c/a>). In a \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=0fKBhvDjuy0\" target=\"_blank\" rel=\"noopener\">Powers of 10\u003c/a>\u003c/i>-esque zoom-out from a Jeepneys performance at \u003ci>some times\u003c/i> last summer, SOMArts viewers see the performers watching and critiquing their own performance. The entire viewing experience takes place amidst the same brightly-painted stage furniture the performers used at \u003ci>some times\u003c/i>. \u003c/p>\n\u003cp>As a way of “archiving” a performance, especially one deemed potentially unsuccessful, \u003ci>Let Me Be The One: A history of decolonized service\u003c/i> is one of the most inventive (and generative) approaches to documentation I’ve ever seen. In a further meta moment, Jeepneys uses the entire tableau as the setting for an opening night performance.\u003c/p>\n\u003cfigure id=\"attachment_11246497\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/GallupMotelButchering640.jpg\" alt=\"Postcommodity, 'Gallup Motel Butchering,' 2011.\" width=\"640\" height=\"329\" class=\"size-full wp-image-11246497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GallupMotelButchering640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GallupMotelButchering640-400x206.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Postcommodity, ‘Gallup Motel Butchering,’ 2011. \u003ccite>(Courtesy: SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In what’s likely to be the most controversial work in the show, \u003ca href=\"http://postcommodity.com/\" target=\"_blank\" rel=\"noopener\">Postcommodity\u003c/a> (another multi-talented interdisciplinary artist collective) presents \u003ci>Gallup Motel Butchering\u003c/i>. The four-channel video shows a Navajo woman butchering and preparing a sheep for a family feast in the incongruous space of a motel bathroom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Similarly unflinching is Roberson’s massive wall piece, a combination of drum beats rendered as graphic patterns and images of both black women killed by the police and those the artist considers “seers and infinite beings.” \u003c/p>\n\u003cfigure id=\"attachment_11246498\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/CityGirls640.jpg\" alt=\"Paula Wilson, 'City Girls in the Desert,' 2013.\" width=\"427\" height=\"640\" class=\"size-full wp-image-11246498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/CityGirls640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/CityGirls640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Paula Wilson, ‘City Girls in the Desert,’ 2013. \u003ccite>(Courtesy: Johan Berggren Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the gallery, \u003ca href=\"http://paulajwilson.com/\" target=\"_blank\" rel=\"noopener\">Paula Wilson\u003c/a>’s \u003ci>City Girls in the Desert\u003c/i>, a textile work made up of screen prints, monotypes, machine and hand stitching stretches over 10 feet tall. Look closely for the embedded video screen in one figure’s hand. \u003c/p>\n\u003cp>Perkins’ work is sprinkled throughout the exhibition as papier-mâché masks, collaborations with her father (\u003ca href=\"http://olenperkins.whohook.com/\" target=\"_blank\" rel=\"noopener\">Olen Perkins\u003c/a>, responsible for the wonderful knob-nosed sculpture \u003ci>Snake brain\u003c/i>) and Xerox transfers affixed to the edges of the gallery’s movable walls. These vertical pieces, once united as strips of wallpaper, create a fitting metaphor for \u003ci>Visions Into Infinite Archives\u003c/i> as a whole. With Perkins’ work separated, occupying what is usually unused space, it’s as if a wall opened up to reveal a multitude of vibrant histories, personal narratives and potential futures behind its façade — all emblematic of a network that deserves more attention more often.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ci>Visions Into Infinite Archives\u003c/i>\u003c/strong> runs Jan. 14 – Feb. 10, 2016 at SOMArts in San Francisco. For a full list of accompanying events, including an afternoon of film screenings on Jan. 30, visit \u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">somarts.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opening Thursday night in SOMArts’ main gallery, bright paintings, textiles, video screens and small wooden sculptures arranged altar-like in front of a salmon-colored wall welcome viewers to \u003ci>\u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">Visions Into Infinite Archives\u003c/a>\u003c/i>, a sprawling and thrilling group exhibition organized by the LA and Bay Area-based artists of \u003ca href=\"http://blacksaltcollective.squarespace.com/\" target=\"_blank\" rel=\"noopener\">Black Salt Collective\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11246493\" class=\"wp-caption alignright\" style=\"max-width: 607px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/group-photo.png\" alt=\"Black Salt Collective: Anna Luisa Petrisko, Adee Roberson, Grace Rosario Perkins, Sarah Biscarra-Dilley.\" width=\"607\" height=\"610\" class=\"size-full wp-image-11246493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo.png 607w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-400x402.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-597x600.png 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/group-photo-75x75.png 75w\" sizes=\"(max-width: 607px) 100vw, 607px\">\u003cfigcaption class=\"wp-caption-text\">Black Salt Collective: Anna Luisa Petrisko, Adee Roberson, Grace Rosario Perkins, Sarah Biscarra-Dilley. \u003ccite>(Photo: Ramdasha Bikceem)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show features work by 30 artists of color, including the collaborative and individual work by Black Salt Collective members \u003ca href=\"http://sarahbiscarradilley.com/\" target=\"_blank\" rel=\"noopener\">Sarah Biscarra-Dilley\u003c/a>, \u003ca href=\"http://postmedium.com/gracerosarioperkins\" target=\"_blank\" rel=\"noopener\">Grace Rosario Perkins\u003c/a>, \u003ca href=\"http://www.jeepneysjeepneys.com/\" target=\"_blank\" rel=\"noopener\">Anna Luisa Petrisko\u003c/a> and \u003ca href=\"http://blackpineappleadee.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Adee Roberson\u003c/a>. Each fabric piece, papier-mâché mask, confrontational video or sculptural assemblage in \u003ci>Visions\u003c/i> represents a node in a web of relationships the organizers forged with the show’s artists. Instead of a linear or self-contained official record, the collective’s “archive as exhibition” is open, ever-expanding and deeply personal.\u003c/p>\n\u003cp>“The conceptual basis was to push against the finite and measurable archive that tends to represent people not in their own voices,” says Biscarra-Dilley. For Biscarra-Dilley, who is Chumash, this manifests in an intricately embroidered textile piece hung from SOMArt’s two-story-high rafters. Subtitled \u003ci>It took away her fear and made her strong\u003c/i>, the work includes a portion of text Biscarra-Dilley prefers to keep untranslated, limiting general access and reserving interpretation.\u003c/p>\n\u003cfigure id=\"attachment_11246496\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Jeepneys640.jpg\" alt=\"Jeepneys + some times, 'Let Me Be The One: A history of a decolonized service,' 2015-2016.\" width=\"640\" height=\"427\" class=\"size-full wp-image-11246496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Jeepneys640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Jeepneys640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jeepneys + some times, ‘Let Me Be The One: A history of a decolonized service,’ 2015-2016. \u003ccite>(Photo: Nastya Valentine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Additional individual work from members of the collective appears as a sculpture and video installation by Jeepneys (Petrisko) and \u003ci>some times\u003c/i> (an art project and bar run by LA-based \u003ca href=\"http://meghangordonstudio.com/\" target=\"_blank\" rel=\"noopener\">Meghan Gordon\u003c/a>). In a \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=0fKBhvDjuy0\" target=\"_blank\" rel=\"noopener\">Powers of 10\u003c/a>\u003c/i>-esque zoom-out from a Jeepneys performance at \u003ci>some times\u003c/i> last summer, SOMArts viewers see the performers watching and critiquing their own performance. The entire viewing experience takes place amidst the same brightly-painted stage furniture the performers used at \u003ci>some times\u003c/i>. \u003c/p>\n\u003cp>As a way of “archiving” a performance, especially one deemed potentially unsuccessful, \u003ci>Let Me Be The One: A history of decolonized service\u003c/i> is one of the most inventive (and generative) approaches to documentation I’ve ever seen. In a further meta moment, Jeepneys uses the entire tableau as the setting for an opening night performance.\u003c/p>\n\u003cfigure id=\"attachment_11246497\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/GallupMotelButchering640.jpg\" alt=\"Postcommodity, 'Gallup Motel Butchering,' 2011.\" width=\"640\" height=\"329\" class=\"size-full wp-image-11246497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GallupMotelButchering640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GallupMotelButchering640-400x206.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Postcommodity, ‘Gallup Motel Butchering,’ 2011. \u003ccite>(Courtesy: SOMArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In what’s likely to be the most controversial work in the show, \u003ca href=\"http://postcommodity.com/\" target=\"_blank\" rel=\"noopener\">Postcommodity\u003c/a> (another multi-talented interdisciplinary artist collective) presents \u003ci>Gallup Motel Butchering\u003c/i>. The four-channel video shows a Navajo woman butchering and preparing a sheep for a family feast in the incongruous space of a motel bathroom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Similarly unflinching is Roberson’s massive wall piece, a combination of drum beats rendered as graphic patterns and images of both black women killed by the police and those the artist considers “seers and infinite beings.” \u003c/p>\n\u003cfigure id=\"attachment_11246498\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/CityGirls640.jpg\" alt=\"Paula Wilson, 'City Girls in the Desert,' 2013.\" width=\"427\" height=\"640\" class=\"size-full wp-image-11246498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/CityGirls640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/CityGirls640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Paula Wilson, ‘City Girls in the Desert,’ 2013. \u003ccite>(Courtesy: Johan Berggren Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the gallery, \u003ca href=\"http://paulajwilson.com/\" target=\"_blank\" rel=\"noopener\">Paula Wilson\u003c/a>’s \u003ci>City Girls in the Desert\u003c/i>, a textile work made up of screen prints, monotypes, machine and hand stitching stretches over 10 feet tall. Look closely for the embedded video screen in one figure’s hand. \u003c/p>\n\u003cp>Perkins’ work is sprinkled throughout the exhibition as papier-mâché masks, collaborations with her father (\u003ca href=\"http://olenperkins.whohook.com/\" target=\"_blank\" rel=\"noopener\">Olen Perkins\u003c/a>, responsible for the wonderful knob-nosed sculpture \u003ci>Snake brain\u003c/i>) and Xerox transfers affixed to the edges of the gallery’s movable walls. These vertical pieces, once united as strips of wallpaper, create a fitting metaphor for \u003ci>Visions Into Infinite Archives\u003c/i> as a whole. With Perkins’ work separated, occupying what is usually unused space, it’s as if a wall opened up to reveal a multitude of vibrant histories, personal narratives and potential futures behind its façade — all emblematic of a network that deserves more attention more often.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ci>Visions Into Infinite Archives\u003c/i>\u003c/strong> runs Jan. 14 – Feb. 10, 2016 at SOMArts in San Francisco. For a full list of accompanying events, including an afternoon of film screenings on Jan. 30, visit \u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">somarts.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At software company \u003ca href=\"http://ww2.kqed.org/futureofyou/2015/06/05/at-autodesk-makers-explore-how-3-d-printing-is-transforming-medicine/\" target=\"_blank\" rel=\"noopener\">Autodesk\u003c/a> at San Francisco’s Pier 9, the 3D printers are humming. Here, people print all kinds of things, like biofabrics, prosthetic limbs, toys, jewelry and gadgets.\u003c/p>\n\u003cfigure id=\"attachment_11228541\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228541\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/File_000-1-800x600.jpeg\" alt=\"Morehshin Allahyari waits for a print to finish at Autodesk in San Francisco. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-960x720.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morehshin Allahyari waits for a print to finish at Autodesk in San Francisco. \u003ccite>(Photo: Adizah Eghan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But resident artist \u003ca href=\"http://www.morehshin.com/\" target=\"_blank\" rel=\"noopener\">Morehshin Allahyari\u003c/a> is using the technology to re-create a stone statue that’s over 2,000 years old.\u003c/p>\n\u003cp>It’s a chilly December afternoon, but it’s warm inside the 3D printing room. Allahyari stands at the waist-high printer in a black dress, purple tights and combat boots. Her face is framed by her short hair.\u003c/p>\n\u003cp>The printer’s UV light goes back and forth. Each movement delivers a single layer of liquid resin that quickly hardens from the UV rays. A translucent statue begins to take shape.\u003c/p>\n\u003cp>The statue is a miniature model of a life-size female figure that stood outside of the Mosul Museum in Iraq. This was before ISIS destroyed the statue along with other Hatrene sculptures and Assyrian artifacts using sledgehammers and power tools last February.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SS9yLgJ4sqo\u003c/p>\n\u003cp>In her project \u003cem>Material Speculation,\u003c/em> Allahyari is 3D modeling and printing some of those statues and artifacts that \u003ca href=\"http://news.nationalgeographic.com/2015/09/150901-isis-destruction-looting-ancient-sites-iraq-syria-archaeology/\" target=\"_blank\" rel=\"noopener\">ISIS destroyed.\u003c/a>\u003c/p>\n\u003cp>Over the past couple of years ISIS has looted and damaged over \u003ca href=\"http://www.aljazeera.com/news/2015/03/full-story-isil-takeover-mosul-museum-150309053022129.html\" target=\"_blank\" rel=\"noopener\">42 historical and archaeological sites\u003c/a>, some dating back as early as 7th century BCE. They’ve also burned books in Mosul libraries and destroyed artifacts at the archaeological site at Nimrud. The terrorist group claims these statues and figures promote idolatry. Not to mention, they are also seeking attention from the pieces they destroy and profit from the goods that they loot from these sites.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/241991695″ 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>“[ISIS is] trying to remove this rich history in order to start afresh and also to remove any kind of interethnic interactions,” Pamela Karimi, professor of Middle Eastern art at the University of Massachusetts, Dartmouth, says.\u003c/p>\n\u003cfigure id=\"attachment_11228542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228542\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Lamassu--800x563.jpg\" alt=\"The large winged human-headed bull known as Lamassu was one of the artifacts ISIS destroyed in February.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu-.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The large winged human-headed bull known as Lamassu was one of the artifacts ISIS destroyed in February. \u003ccite>(Courtesy: Morehshin Allahyari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Allahyari says her work is about re-establishing that connection to parts of the Middle East that have been separated by conflict.\u003c/p>\n\u003cp>“I’m originally from Iran. these artifacts are from Iraq. But these are all older, from 2,500 – 3,000 years ago, and this is when history was shared between all these countries,” says Allahyari.\u003c/p>\n\u003cp>Karimi says terrorists have destroyed historical artifacts in many parts of the world. But the destruction of sites in the Middle East is particularly significant.\u003c/p>\n\u003cp>“So the Middle East is where the world’s first cities emerged and the world’s first governmental entities were first introduced,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11228424\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228424\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/King-Uthal-800x563.jpg\" alt=\"King Uthal from Hatra, also destroyed in February. Hatrene sculptures have been chronically understudied.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Uthal from Hatra, also destroyed in February. Hatrene sculptures have been chronically understudied. \u003ccite>(Courtesy: Morehshin Allahyari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Allahyari says there was little information to draw from when she first set out to do her project. Wanting to address this issue for future generations, she turns her own works in tiny time capsules. She’s inserted a thumb drive loaded with PDF files, maps and other research relating to the destroyed artifacts inside each one.\u003c/p>\n\u003cp>“This is basically the way to go in the future: to not only create a nostalgic art work that reminds us what’s happening, but something that provides solutions for how you preserve the memory for future generations,” Karimi, a supporter of Allahyari, says.\u003c/p>\n\u003cp>\u003cstrong>How It’s Done\u003c/strong>\u003c/p>\n\u003cp>To make these to-scale statues Allahyari had to find images online and use them as source material to 3D model the artifacts. For most 3D models, people take hundreds of pictures of one item. Allahyari doesn’t have that luxury because the items she is modeling no longer exist, so she uses Flickr.\u003c/p>\n\u003cp>After creating a 3D model, she runs it through different software programs to fix meshes and errors. Then she does a test print to make sure everything looks good before printing the final model.\u003c/p>\n\u003cfigure id=\"attachment_11228654\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11228654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1180x885.jpg\" alt='A model of a female figure that stood outside of the Mosul Museum in Iraq. \"You can think about them as a technology and a way to resist the removal of history,\" says Allahyari.' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A model of a female figure that stood outside of the Mosul Museum in Iraq. “You can think about them as a technology and a way to resist the removal of history,” says Allahyari. \u003ccite>(Photo: Adizah Eghan/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most recent additions to \u003cem>Material Speculation\u003c/em> delve deep into ISIS’ social and cultural destruction of female forms in life and physically as sculptures.\u003c/p>\n\u003cp>“There’s this whole thing about violence against women which is part of what’s happening with ISIS,” Allahyari says. “But it’s actually not talked about as much as other things.”\u003c/p>\n\u003cp>Allahyari hopes to see her work displayed at the Mosul Museum in someday. The building is still standing but Baghdad, where it resides, is \u003ca href=\"http://www.kqed.org/a/forum/R201512290900\" target=\"_blank\" rel=\"noopener\">ISIS territory\u003c/a>, so no one can go in or out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Allahyari’s pieces will be featured in the show Archive Fever: Future Imaginings of Things Past at \u003ca href=\"http://www.b4bel4b.com/\" target=\"_blank\" rel=\"noopener\">B4BEL4B\u003c/a> art gallery in Oakland starting January 16th until the end of February.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At software company \u003ca href=\"http://ww2.kqed.org/futureofyou/2015/06/05/at-autodesk-makers-explore-how-3-d-printing-is-transforming-medicine/\" target=\"_blank\" rel=\"noopener\">Autodesk\u003c/a> at San Francisco’s Pier 9, the 3D printers are humming. Here, people print all kinds of things, like biofabrics, prosthetic limbs, toys, jewelry and gadgets.\u003c/p>\n\u003cfigure id=\"attachment_11228541\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228541\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/File_000-1-800x600.jpeg\" alt=\"Morehshin Allahyari waits for a print to finish at Autodesk in San Francisco. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-960x720.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morehshin Allahyari waits for a print to finish at Autodesk in San Francisco. \u003ccite>(Photo: Adizah Eghan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But resident artist \u003ca href=\"http://www.morehshin.com/\" target=\"_blank\" rel=\"noopener\">Morehshin Allahyari\u003c/a> is using the technology to re-create a stone statue that’s over 2,000 years old.\u003c/p>\n\u003cp>It’s a chilly December afternoon, but it’s warm inside the 3D printing room. Allahyari stands at the waist-high printer in a black dress, purple tights and combat boots. Her face is framed by her short hair.\u003c/p>\n\u003cp>The printer’s UV light goes back and forth. Each movement delivers a single layer of liquid resin that quickly hardens from the UV rays. A translucent statue begins to take shape.\u003c/p>\n\u003cp>The statue is a miniature model of a life-size female figure that stood outside of the Mosul Museum in Iraq. This was before ISIS destroyed the statue along with other Hatrene sculptures and Assyrian artifacts using sledgehammers and power tools last February.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SS9yLgJ4sqo'\n title='//www.youtube.com/embed/SS9yLgJ4sqo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In her project \u003cem>Material Speculation,\u003c/em> Allahyari is 3D modeling and printing some of those statues and artifacts that \u003ca href=\"http://news.nationalgeographic.com/2015/09/150901-isis-destruction-looting-ancient-sites-iraq-syria-archaeology/\" target=\"_blank\" rel=\"noopener\">ISIS destroyed.\u003c/a>\u003c/p>\n\u003cp>Over the past couple of years ISIS has looted and damaged over \u003ca href=\"http://www.aljazeera.com/news/2015/03/full-story-isil-takeover-mosul-museum-150309053022129.html\" target=\"_blank\" rel=\"noopener\">42 historical and archaeological sites\u003c/a>, some dating back as early as 7th century BCE. They’ve also burned books in Mosul libraries and destroyed artifacts at the archaeological site at Nimrud. The terrorist group claims these statues and figures promote idolatry. Not to mention, they are also seeking attention from the pieces they destroy and profit from the goods that they loot from these sites.\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/241991695″&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/241991695″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“[ISIS is] trying to remove this rich history in order to start afresh and also to remove any kind of interethnic interactions,” Pamela Karimi, professor of Middle Eastern art at the University of Massachusetts, Dartmouth, says.\u003c/p>\n\u003cfigure id=\"attachment_11228542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228542\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Lamassu--800x563.jpg\" alt=\"The large winged human-headed bull known as Lamassu was one of the artifacts ISIS destroyed in February.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu-.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The large winged human-headed bull known as Lamassu was one of the artifacts ISIS destroyed in February. \u003ccite>(Courtesy: Morehshin Allahyari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Allahyari says her work is about re-establishing that connection to parts of the Middle East that have been separated by conflict.\u003c/p>\n\u003cp>“I’m originally from Iran. these artifacts are from Iraq. But these are all older, from 2,500 – 3,000 years ago, and this is when history was shared between all these countries,” says Allahyari.\u003c/p>\n\u003cp>Karimi says terrorists have destroyed historical artifacts in many parts of the world. But the destruction of sites in the Middle East is particularly significant.\u003c/p>\n\u003cp>“So the Middle East is where the world’s first cities emerged and the world’s first governmental entities were first introduced,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11228424\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228424\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/King-Uthal-800x563.jpg\" alt=\"King Uthal from Hatra, also destroyed in February. Hatrene sculptures have been chronically understudied.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Uthal from Hatra, also destroyed in February. Hatrene sculptures have been chronically understudied. \u003ccite>(Courtesy: Morehshin Allahyari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Allahyari says there was little information to draw from when she first set out to do her project. Wanting to address this issue for future generations, she turns her own works in tiny time capsules. She’s inserted a thumb drive loaded with PDF files, maps and other research relating to the destroyed artifacts inside each one.\u003c/p>\n\u003cp>“This is basically the way to go in the future: to not only create a nostalgic art work that reminds us what’s happening, but something that provides solutions for how you preserve the memory for future generations,” Karimi, a supporter of Allahyari, says.\u003c/p>\n\u003cp>\u003cstrong>How It’s Done\u003c/strong>\u003c/p>\n\u003cp>To make these to-scale statues Allahyari had to find images online and use them as source material to 3D model the artifacts. For most 3D models, people take hundreds of pictures of one item. Allahyari doesn’t have that luxury because the items she is modeling no longer exist, so she uses Flickr.\u003c/p>\n\u003cp>After creating a 3D model, she runs it through different software programs to fix meshes and errors. Then she does a test print to make sure everything looks good before printing the final model.\u003c/p>\n\u003cfigure id=\"attachment_11228654\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11228654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1180x885.jpg\" alt='A model of a female figure that stood outside of the Mosul Museum in Iraq. \"You can think about them as a technology and a way to resist the removal of history,\" says Allahyari.' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A model of a female figure that stood outside of the Mosul Museum in Iraq. “You can think about them as a technology and a way to resist the removal of history,” says Allahyari. \u003ccite>(Photo: Adizah Eghan/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most recent additions to \u003cem>Material Speculation\u003c/em> delve deep into ISIS’ social and cultural destruction of female forms in life and physically as sculptures.\u003c/p>\n\u003cp>“There’s this whole thing about violence against women which is part of what’s happening with ISIS,” Allahyari says. “But it’s actually not talked about as much as other things.”\u003c/p>\n\u003cp>Allahyari hopes to see her work displayed at the Mosul Museum in someday. The building is still standing but Baghdad, where it resides, is \u003ca href=\"http://www.kqed.org/a/forum/R201512290900\" target=\"_blank\" rel=\"noopener\">ISIS territory\u003c/a>, so no one can go in or out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Allahyari’s pieces will be featured in the show Archive Fever: Future Imaginings of Things Past at \u003ca href=\"http://www.b4bel4b.com/\" target=\"_blank\" rel=\"noopener\">B4BEL4B\u003c/a> art gallery in Oakland starting January 16th until the end of February.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "David Ireland’s Cabinet of Curiosities Opens its Mission District Doors",
"headTitle": "David Ireland’s Cabinet of Curiosities Opens its Mission District Doors | KQED",
"content": "\u003cp>The unassuming light gray Victorian at the corner of 20th and Capp Streets is soon to be San Francisco’s first historic artist’s home. Unlike the \u003ca href=\"http://sb.cc.stonybrook.edu/pkhouse/\" target=\"_blank\" rel=\"noopener noreferrer\">Pollock-Krasner House\u003c/a> on Long Island or architect Philip Johnson’s \u003ca href=\"http://theglasshouse.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Glass House\u003c/a> in Connecticut, this building isn’t just the preserved home of a deceased artist. \u003ca href=\"http://500cappstreet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">500 Capp Street\u003c/a>, the former residence of David Ireland, is an artwork unto itself: a house-sized meditation on light, vernacular building materials, home furnishings and the detritus of everyday life. On Friday, Jan. 15, it opens its doors to the public for the first time.\u003c/p>\n\u003cp>If you’ve never heard of David Ireland or his home, you might be wondering why a Mission district house tour would garner excitement. You would also be just like me six years ago. We’re not alone: Ireland’s friend and colleague Jock Reynolds, current director of Yale University Art Gallery, is often quoted claiming Ireland is “the most influential West Coast artist you’ve never heard of.”\u003c/p>\n\u003cfigure id=\"attachment_11243410\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/6_DIH_Exterior_HenrikKam_2015.jpg\" alt=\"David Ireland House (exterior view), 2015.\" width=\"1200\" height=\"959\" class=\"size-full wp-image-11243410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/6_DIH_Exterior_HenrikKam_2015.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/6_DIH_Exterior_HenrikKam_2015-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/6_DIH_Exterior_HenrikKam_2015-751x600.jpg 751w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/6_DIH_Exterior_HenrikKam_2015-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/6_DIH_Exterior_HenrikKam_2015-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/6_DIH_Exterior_HenrikKam_2015-960x767.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">David Ireland House (exterior view), 2015. \u003ccite>(Henrik Kam/Courtesy: 500 Capp Street Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ireland died in May of 2009, two months before I moved to San Francisco to attend California College of the Arts (an institution he also attended, long before the school dropped “and Crafts” from the end of its name). \u003c/p>\n\u003cp>I learned about Ireland and his work in small, incomplete doses: a cursory grad school introduction to Bay Area art history and a visit to the \u003ca href=\"http://www.headlands.org/about/building-commission/david-ireland-rooms/\" target=\"_blank\" rel=\"noopener noreferrer\">Headlands Center for the Arts\u003c/a>, where in 1987 Ireland and sculptor Mark Thompson “rehabilitated” the foyer and meeting rooms of the former military barracks with the help of a small army of interns.\u003c/p>\n\u003cp>After grad school and the inevitable “what now” summer of panic, I got a job working as a registrar at an art storage company in 2012. Most of my day involved measuring art, entering those measurements into a database and finding a safe home for the art within a gargantuan, climate-controlled warehouse. Picture the end credits from \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=jDzV3qycOqM\" target=\"_blank\" rel=\"noopener noreferrer\">Indiana Jones: Raiders of the Lost Ark\u003c/a>\u003c/i>, and you’ve got the right idea.\u003c/p>\n\u003cfigure id=\"attachment_11243303\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/14_28.jpg\" alt=\"Interior views of David Ireland House.\" width=\"1200\" height=\"834\" class=\"size-full wp-image-11243303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/14_28.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/14_28-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/14_28-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/14_28-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/14_28-1180x820.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/14_28-960x667.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Interior views of David Ireland House. \u003ccite>(Photos: Henrik Kam / Courtesy: 500 Capp Street Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the course of several weeks in late 2012, hundreds of carefully-wrapped objects arrived at the warehouse from 500 Capp Street; David Ireland’s former home was slowly emptying of its contents to undergo structural upgrades. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They were the most interesting objects I measured in my time as a registrar: mason jars filled with dirt; gangly wire sculptures; box after box of what Ireland called “Dumbballs,” spheres of cement created by methodically tossing the material back and forth between his gloved hands.\u003c/p>\n\u003cp>Ireland filled his home with art and treated all activity within his home \u003ci>as\u003c/i> art. Separated from their context within 500 Capp Street, the objects that came under my purview were disembodied and strange. My attempt to understand how the house and its contents interacted was like examining jigsaw pieces one at a time, and trying to form a mental image of the puzzle box top.\u003c/p>\n\u003cfigure id=\"attachment_11243302\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/51_Cincelli_Ireland_Portrait_1.jpg\" alt=\"Portraits of David Ireland with Dumbball, 1998.\" width=\"1200\" height=\"911\" class=\"size-full wp-image-11243302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/51_Cincelli_Ireland_Portrait_1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/51_Cincelli_Ireland_Portrait_1-400x304.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/51_Cincelli_Ireland_Portrait_1-790x600.jpg 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/51_Cincelli_Ireland_Portrait_1-768x583.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/51_Cincelli_Ireland_Portrait_1-1180x896.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/51_Cincelli_Ireland_Portrait_1-960x729.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Portraits of David Ireland with Dumbball, 1998. \u003ccite>(Photo: Elisa Cicinelli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, that puzzle is complete and newly accessible. During Ireland’s lifetime, he hosted dinner parties, employed young artists as his assistants and showed many people around his home, but it was ultimately a private space. \u003c/p>\n\u003cp>When Bob Linder, artist and co-director of \u003ca href=\"http://www.capital.gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">CAPITAL\u003c/a> gallery, met Ireland as an SFAI undergrad in 1998, 500 Capp Street was still a secret, special destination. “People who got to come here would talk about it for weeks,” he says. \u003c/p>\n\u003cp>Ireland’s development as an artist is inextricably tied to the manual labor, or “maintenance work” as he called it, that he undertook at 500 Capp Street. In a 1983 \u003ci>California Magazine\u003c/i> interview, Ireland said, “So much of what I do is living my life, and art simply occurs in the process.”\u003c/p>\n\u003cfigure id=\"attachment_11243412\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/60_StevenKafetz_IrelandPortrait_1976.jpg\" alt=\"David Ireland working on the house, circa 1976.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11243412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/60_StevenKafetz_IrelandPortrait_1976.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/60_StevenKafetz_IrelandPortrait_1976-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/60_StevenKafetz_IrelandPortrait_1976-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/60_StevenKafetz_IrelandPortrait_1976-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/60_StevenKafetz_IrelandPortrait_1976-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/60_StevenKafetz_IrelandPortrait_1976-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">David Ireland working on the house, circa 1976. \u003ccite>(Photo: Steven Kayfetz / Courtesy: 500 Capp Street Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For him, there was no separation between functional object and art object, chair and sculpture. Periodically, items left the house on loan to an exhibition. Inevitably they returned and Ireland reincorporated them into his everyday surroundings.\u003c/p>\n\u003cp>Every material was “an art perfect material” to Ireland, regardless of whether it came from Flax, Discount Builder or the corner store. In a 2001 video interview with the Regional Oral History Office, \u003ca href=\"https://www.sfmoma.org/artist/David_Ireland/\" rel=\"noopener noreferrer\" target=\"_blank\">excerpted here\u003c/a> on SFMOMA’s website, he says, “You see, you have a supply of objects that are available. Which means anything, everything brought into proper focus and context can be an art object.”\u003c/p>\n\u003cp>He bought the Mission district home in 1975 for $50,000 from Paul John Greub, an accordion maker. With the purchase came the window signage “P. Greub, Accordions,” an elderly boarder named Daniel Gordon, and 89 years of accumulated objects, paint, patterned wallpaper and carpet.\u003c/p>\n\u003cp>He stripped the wallpaper, removed window casings, sanded the walls down to bare plaster and coated them in glossy polyurethane, sealing marks and cracks under a warm, reflective glow. Ireland considered his work on the house a “stabilization,” which is ironic considering the house’s precarious structural situation when Carlie Wilmans, executive director of the 500 Capp Street Foundation, purchased it in 2009. \u003c/p>\n\u003cfigure id=\"attachment_11243424\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/28_DIH_Interior_UpstairsGuestRoom_HenrikKam_2015.jpg\" alt=\"Upstairs guestroom in the David Ireland House.\" width=\"1200\" height=\"1258\" class=\"size-full wp-image-11243424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/28_DIH_Interior_UpstairsGuestRoom_HenrikKam_2015.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/28_DIH_Interior_UpstairsGuestRoom_HenrikKam_2015-400x419.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/28_DIH_Interior_UpstairsGuestRoom_HenrikKam_2015-572x600.jpg 572w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/28_DIH_Interior_UpstairsGuestRoom_HenrikKam_2015-768x805.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/28_DIH_Interior_UpstairsGuestRoom_HenrikKam_2015-1126x1180.jpg 1126w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/28_DIH_Interior_UpstairsGuestRoom_HenrikKam_2015-1180x1237.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/28_DIH_Interior_UpstairsGuestRoom_HenrikKam_2015-960x1006.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Upstairs guestroom in the David Ireland House. \u003ccite>(Photo: Henrik Kam / Courtesy: 500 Capp Street Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was important not to put a bell jar over the house,” Wilmans says, a reflection of Ireland’s own practice of moving objects throughout his home. The installations at 500 Capp Street will shift and change three to four times a year, curated by artists and non-artist professionals alike. The foundation will host artists-in-residence, special events and an archive and study center in its climate-controlled basement. \u003c/p>\n\u003cp>Beginning this Friday, artist docents, most of them recent grads from the San Francisco Art Institute’s New Genres department (another of Ireland’s alma maters), will lead two to three tours a day for eight people each. Demand is already high: as of publication, tours are sold out until Feb. 3.\u003c/p>\n\u003cfigure id=\"attachment_11243422\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/46_DIH_Jensen-addition_HenrikKam_2015.jpg\" alt=\"Inside Jensen Architect’s addition, a converted Garage Gallery installed with Ireland works on paper.\" width=\"1200\" height=\"839\" class=\"size-full wp-image-11243422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/46_DIH_Jensen-addition_HenrikKam_2015.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/46_DIH_Jensen-addition_HenrikKam_2015-400x280.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/46_DIH_Jensen-addition_HenrikKam_2015-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/46_DIH_Jensen-addition_HenrikKam_2015-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/46_DIH_Jensen-addition_HenrikKam_2015-1180x825.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/46_DIH_Jensen-addition_HenrikKam_2015-960x671.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inside Jensen Architect’s addition, a converted Garage Gallery installed with Ireland works on paper. \u003ccite>(Photo: Henrik Kam / Courtesy 500 Capp Street Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those us who rent, scrape by and dream of exerting artistic control over our own homes, 500 Capp Street is an inspiring place, once you wrap your head around the inconceivable reality of a San Francisco artist owning their own home, let alone turning it into an artwork. 500 Capp Street is a reminder that even the most mundane of activities — sweeping a stoop or sharing stories with friends — can be part of an artistic practice, a way to glean value and satisfaction from the everyday.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>500 Capp Street\u003c/strong> opens Jan. 15 in San Francisco with a weekend of celebratory events, coinciding with multiple David Ireland-focused exhibitions and events across the city. See this month’s \u003ca href=\"http://ww2.kqed.org/arts/2016/01/04/artful-dodger-visual-art-happenings-for-a-new-year/\">Artful Dodger\u003c/a> for more information. For tickets and more information, visit \u003ca href=\"http://500cappstreet.org/visit/\" target=\"_blank\" rel=\"noopener noreferrer\">500cappstreet.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The unassuming light gray Victorian at the corner of 20th and Capp Streets is soon to be San Francisco’s first historic artist’s home. Unlike the \u003ca href=\"http://sb.cc.stonybrook.edu/pkhouse/\" target=\"_blank\" rel=\"noopener noreferrer\">Pollock-Krasner House\u003c/a> on Long Island or architect Philip Johnson’s \u003ca href=\"http://theglasshouse.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Glass House\u003c/a> in Connecticut, this building isn’t just the preserved home of a deceased artist. \u003ca href=\"http://500cappstreet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">500 Capp Street\u003c/a>, the former residence of David Ireland, is an artwork unto itself: a house-sized meditation on light, vernacular building materials, home furnishings and the detritus of everyday life. On Friday, Jan. 15, it opens its doors to the public for the first time.\u003c/p>\n\u003cp>If you’ve never heard of David Ireland or his home, you might be wondering why a Mission district house tour would garner excitement. You would also be just like me six years ago. We’re not alone: Ireland’s friend and colleague Jock Reynolds, current director of Yale University Art Gallery, is often quoted claiming Ireland is “the most influential West Coast artist you’ve never heard of.”\u003c/p>\n\u003cfigure id=\"attachment_11243410\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/6_DIH_Exterior_HenrikKam_2015.jpg\" alt=\"David Ireland House (exterior view), 2015.\" width=\"1200\" height=\"959\" class=\"size-full wp-image-11243410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/6_DIH_Exterior_HenrikKam_2015.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/6_DIH_Exterior_HenrikKam_2015-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/6_DIH_Exterior_HenrikKam_2015-751x600.jpg 751w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/6_DIH_Exterior_HenrikKam_2015-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/6_DIH_Exterior_HenrikKam_2015-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/6_DIH_Exterior_HenrikKam_2015-960x767.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">David Ireland House (exterior view), 2015. \u003ccite>(Henrik Kam/Courtesy: 500 Capp Street Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ireland died in May of 2009, two months before I moved to San Francisco to attend California College of the Arts (an institution he also attended, long before the school dropped “and Crafts” from the end of its name). \u003c/p>\n\u003cp>I learned about Ireland and his work in small, incomplete doses: a cursory grad school introduction to Bay Area art history and a visit to the \u003ca href=\"http://www.headlands.org/about/building-commission/david-ireland-rooms/\" target=\"_blank\" rel=\"noopener noreferrer\">Headlands Center for the Arts\u003c/a>, where in 1987 Ireland and sculptor Mark Thompson “rehabilitated” the foyer and meeting rooms of the former military barracks with the help of a small army of interns.\u003c/p>\n\u003cp>After grad school and the inevitable “what now” summer of panic, I got a job working as a registrar at an art storage company in 2012. Most of my day involved measuring art, entering those measurements into a database and finding a safe home for the art within a gargantuan, climate-controlled warehouse. Picture the end credits from \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=jDzV3qycOqM\" target=\"_blank\" rel=\"noopener noreferrer\">Indiana Jones: Raiders of the Lost Ark\u003c/a>\u003c/i>, and you’ve got the right idea.\u003c/p>\n\u003cfigure id=\"attachment_11243303\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/14_28.jpg\" alt=\"Interior views of David Ireland House.\" width=\"1200\" height=\"834\" class=\"size-full wp-image-11243303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/14_28.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/14_28-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/14_28-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/14_28-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/14_28-1180x820.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/14_28-960x667.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Interior views of David Ireland House. \u003ccite>(Photos: Henrik Kam / Courtesy: 500 Capp Street Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the course of several weeks in late 2012, hundreds of carefully-wrapped objects arrived at the warehouse from 500 Capp Street; David Ireland’s former home was slowly emptying of its contents to undergo structural upgrades. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They were the most interesting objects I measured in my time as a registrar: mason jars filled with dirt; gangly wire sculptures; box after box of what Ireland called “Dumbballs,” spheres of cement created by methodically tossing the material back and forth between his gloved hands.\u003c/p>\n\u003cp>Ireland filled his home with art and treated all activity within his home \u003ci>as\u003c/i> art. Separated from their context within 500 Capp Street, the objects that came under my purview were disembodied and strange. My attempt to understand how the house and its contents interacted was like examining jigsaw pieces one at a time, and trying to form a mental image of the puzzle box top.\u003c/p>\n\u003cfigure id=\"attachment_11243302\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/51_Cincelli_Ireland_Portrait_1.jpg\" alt=\"Portraits of David Ireland with Dumbball, 1998.\" width=\"1200\" height=\"911\" class=\"size-full wp-image-11243302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/51_Cincelli_Ireland_Portrait_1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/51_Cincelli_Ireland_Portrait_1-400x304.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/51_Cincelli_Ireland_Portrait_1-790x600.jpg 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/51_Cincelli_Ireland_Portrait_1-768x583.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/51_Cincelli_Ireland_Portrait_1-1180x896.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/51_Cincelli_Ireland_Portrait_1-960x729.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Portraits of David Ireland with Dumbball, 1998. \u003ccite>(Photo: Elisa Cicinelli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, that puzzle is complete and newly accessible. During Ireland’s lifetime, he hosted dinner parties, employed young artists as his assistants and showed many people around his home, but it was ultimately a private space. \u003c/p>\n\u003cp>When Bob Linder, artist and co-director of \u003ca href=\"http://www.capital.gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">CAPITAL\u003c/a> gallery, met Ireland as an SFAI undergrad in 1998, 500 Capp Street was still a secret, special destination. “People who got to come here would talk about it for weeks,” he says. \u003c/p>\n\u003cp>Ireland’s development as an artist is inextricably tied to the manual labor, or “maintenance work” as he called it, that he undertook at 500 Capp Street. In a 1983 \u003ci>California Magazine\u003c/i> interview, Ireland said, “So much of what I do is living my life, and art simply occurs in the process.”\u003c/p>\n\u003cfigure id=\"attachment_11243412\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/60_StevenKafetz_IrelandPortrait_1976.jpg\" alt=\"David Ireland working on the house, circa 1976.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11243412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/60_StevenKafetz_IrelandPortrait_1976.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/60_StevenKafetz_IrelandPortrait_1976-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/60_StevenKafetz_IrelandPortrait_1976-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/60_StevenKafetz_IrelandPortrait_1976-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/60_StevenKafetz_IrelandPortrait_1976-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/60_StevenKafetz_IrelandPortrait_1976-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">David Ireland working on the house, circa 1976. \u003ccite>(Photo: Steven Kayfetz / Courtesy: 500 Capp Street Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For him, there was no separation between functional object and art object, chair and sculpture. Periodically, items left the house on loan to an exhibition. Inevitably they returned and Ireland reincorporated them into his everyday surroundings.\u003c/p>\n\u003cp>Every material was “an art perfect material” to Ireland, regardless of whether it came from Flax, Discount Builder or the corner store. In a 2001 video interview with the Regional Oral History Office, \u003ca href=\"https://www.sfmoma.org/artist/David_Ireland/\" rel=\"noopener noreferrer\" target=\"_blank\">excerpted here\u003c/a> on SFMOMA’s website, he says, “You see, you have a supply of objects that are available. Which means anything, everything brought into proper focus and context can be an art object.”\u003c/p>\n\u003cp>He bought the Mission district home in 1975 for $50,000 from Paul John Greub, an accordion maker. With the purchase came the window signage “P. Greub, Accordions,” an elderly boarder named Daniel Gordon, and 89 years of accumulated objects, paint, patterned wallpaper and carpet.\u003c/p>\n\u003cp>He stripped the wallpaper, removed window casings, sanded the walls down to bare plaster and coated them in glossy polyurethane, sealing marks and cracks under a warm, reflective glow. Ireland considered his work on the house a “stabilization,” which is ironic considering the house’s precarious structural situation when Carlie Wilmans, executive director of the 500 Capp Street Foundation, purchased it in 2009. \u003c/p>\n\u003cfigure id=\"attachment_11243424\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/28_DIH_Interior_UpstairsGuestRoom_HenrikKam_2015.jpg\" alt=\"Upstairs guestroom in the David Ireland House.\" width=\"1200\" height=\"1258\" class=\"size-full wp-image-11243424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/28_DIH_Interior_UpstairsGuestRoom_HenrikKam_2015.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/28_DIH_Interior_UpstairsGuestRoom_HenrikKam_2015-400x419.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/28_DIH_Interior_UpstairsGuestRoom_HenrikKam_2015-572x600.jpg 572w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/28_DIH_Interior_UpstairsGuestRoom_HenrikKam_2015-768x805.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/28_DIH_Interior_UpstairsGuestRoom_HenrikKam_2015-1126x1180.jpg 1126w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/28_DIH_Interior_UpstairsGuestRoom_HenrikKam_2015-1180x1237.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/28_DIH_Interior_UpstairsGuestRoom_HenrikKam_2015-960x1006.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Upstairs guestroom in the David Ireland House. \u003ccite>(Photo: Henrik Kam / Courtesy: 500 Capp Street Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was important not to put a bell jar over the house,” Wilmans says, a reflection of Ireland’s own practice of moving objects throughout his home. The installations at 500 Capp Street will shift and change three to four times a year, curated by artists and non-artist professionals alike. The foundation will host artists-in-residence, special events and an archive and study center in its climate-controlled basement. \u003c/p>\n\u003cp>Beginning this Friday, artist docents, most of them recent grads from the San Francisco Art Institute’s New Genres department (another of Ireland’s alma maters), will lead two to three tours a day for eight people each. Demand is already high: as of publication, tours are sold out until Feb. 3.\u003c/p>\n\u003cfigure id=\"attachment_11243422\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/46_DIH_Jensen-addition_HenrikKam_2015.jpg\" alt=\"Inside Jensen Architect’s addition, a converted Garage Gallery installed with Ireland works on paper.\" width=\"1200\" height=\"839\" class=\"size-full wp-image-11243422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/46_DIH_Jensen-addition_HenrikKam_2015.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/46_DIH_Jensen-addition_HenrikKam_2015-400x280.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/46_DIH_Jensen-addition_HenrikKam_2015-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/46_DIH_Jensen-addition_HenrikKam_2015-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/46_DIH_Jensen-addition_HenrikKam_2015-1180x825.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/46_DIH_Jensen-addition_HenrikKam_2015-960x671.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inside Jensen Architect’s addition, a converted Garage Gallery installed with Ireland works on paper. \u003ccite>(Photo: Henrik Kam / Courtesy 500 Capp Street Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those us who rent, scrape by and dream of exerting artistic control over our own homes, 500 Capp Street is an inspiring place, once you wrap your head around the inconceivable reality of a San Francisco artist owning their own home, let alone turning it into an artwork. 500 Capp Street is a reminder that even the most mundane of activities — sweeping a stoop or sharing stories with friends — can be part of an artistic practice, a way to glean value and satisfaction from the everyday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>500 Capp Street\u003c/strong> opens Jan. 15 in San Francisco with a weekend of celebratory events, coinciding with multiple David Ireland-focused exhibitions and events across the city. See this month’s \u003ca href=\"http://ww2.kqed.org/arts/2016/01/04/artful-dodger-visual-art-happenings-for-a-new-year/\">Artful Dodger\u003c/a> for more information. For tickets and more information, visit \u003ca href=\"http://500cappstreet.org/visit/\" target=\"_blank\" rel=\"noopener noreferrer\">500cappstreet.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Lego says it’s \u003ca href=\"http://www.lego.com/en-us/aboutus/news-room/2016/january/adjusted-guidelines-for-bulk-sales\" target=\"_blank\" rel=\"noopener\">changing its guidelines\u003c/a> for the purchase of large amounts of its iconic toy bricks, a policy that generated a social-media firestorm when used to block sales to \u003ca href=\"http://ww2.kqed.org/arts/series/ai-weiwei-on-alcatraz/\" target=\"_blank\" rel=\"noopener\">Chinese artist Ai Weiwei\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”EcodlGcbJMFUCS35XZ11YHYwKdDibnNE”]\u003c/p>\n\u003cp>The company said in a statement that it will no longer ask people who want to buy the bricks in bulk what they’re using them for:\u003c/p>\n\u003cblockquote>\n\u003cp>“Instead, the customers will be asked to make it clear — if they intend to display their LEGO creations in public — that the LEGO Group does not support or endorse the specific projects.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In October, Ai said Lego had refused to sell him the bricks he needed for an exhibition on free speech at Australia’s National Gallery of Victoria. He intended to use the bricks to create portraits of freedom advocates.\u003c/p>\n\u003cp>A frequent critic of China who was imprisoned by the government, Ai accused the Danish company of censorship and said it was afraid to offend Beijing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the company’s decision, supporters of Ai \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/10/26/451925443/fans-flood-artist-ai-weiwei-with-offers-of-legos\" target=\"_blank\" rel=\"noopener\">set up donation points around the world\u003c/a> for people to donate used bricks. Ai also told NPR that he was flooded with messages of support on social media:\u003c/p>\n\u003cblockquote>\n\u003cp>“They’re not necessarily museum goers, but they understand what is the most important meaning of art, which is to really express yourself successfully and to really defend the essential values.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Ai said pressure from his supporters had pressured Lego to change its policy on bulk orders, and told The Associated Press that it was a “good move”:\u003c/p>\n\u003cblockquote>\n\u003cp>“Lego is a language which everybody can appreciate and should be able to use it according to their will, and that’s what all freedom of expression is about.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lego+Says+It%27s+Changing+Its+Policy+After+Ai+Weiwei+Controversy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "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",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"science-friday": {
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