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"content": "\u003cp>While Oakland wades into a \u003ca href=\"http://ww2.kqed.org/arts/2015/07/28/artists-aghast-at-anti-public-art-lawsuit-against-oakland/\" target=\"_blank\" rel=\"noopener\">lawsuit\u003c/a> against the city’s percent for art ordinance, a new piece of public art on a private development quietly went up in San Francisco’s mid-Market neighborhood and was unveiled Tuesday.\u003c/p>\n\u003cfigure id=\"attachment_10943506\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10943506\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1400Mission6401.jpg\" alt=\"The entrance of 1400 Mission. (Photo: Sarah Hotchkiss/KQED)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1400Mission6401.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1400Mission6401-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The entrance of 1400 Mission. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Wrapping around the north-east corner of \u003ca href=\"http://1400missionsf.com/\" target=\"_blank\" rel=\"noopener\">1400 Mission\u003c/a> at the intersection of Jessie and 10th Streets, is a newly painted Sol LeWitt acrylic piece, \u003cem>Wall Drawing #1012\u003c/em>. Installed on site by a team of seven over the course of four weeks, the five-color geometric design by the famed late conceptual artist originally graced the exterior of a Los Angeles pool house, before it was purchased by Tishman Speyer, the building’s developers.\u003c/p>\n\u003cp>Situated next door to the luxury apartment complex \u003ca href=\"http://rentnema.com/\" target=\"_blank\" rel=\"noopener\">NEMA\u003c/a> (not just a residential building but “a design-driven lifestyle pioneer,” according to its website) and across the street from Twitter HQ, 1400 Mission looks deceptively like another high-end housing development. But the nearly-finished 190-unit building is actually filled with below market rate housing. \u003c/p>\n\u003cfigure id=\"attachment_10943417\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10943417\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1400Mission640.jpg\" alt='\"Each home comes with its own washer and dryer, kitchen appliances, ample closet space, and granite countertops.\" Digital rendering of unit inside 1400 Mission. (Photo: 1400missionsf.com)' width=\"640\" height=\"337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1400Mission640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1400Mission640-400x211.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Each home comes with its own washer and dryer, kitchen appliances, ample closet space, and granite countertops.” Digital rendering of unit inside 1400 Mission. (Photo: 1400missionsf.com)\u003c/figcaption>\u003c/figure>\n\u003cp>Local nonprofits like the Mission Economic Development Agency and the San Francisco LGBT Community Center worked to place first-time homebuyers earning 100% or less of the area median income in the units. It was built in collaboration with the Tenderloin Neighborhood Development Corporation to fulfill Tishman Speyer’s inclusionary housing requirement for \u003ca href=\"http://luminasf.com/\" target=\"_blank\" rel=\"noopener\">LUMINA\u003c/a>, the developer’s fully market-rate SOMA high rise.\u003c/p>\n\u003cp>Back on the building’s exterior, the LeWitt wall drawing is 91.5 feet long and just over 9.5 feet tall. It’s rare to see a LeWitt out of doors — let alone on view to the public — for free. But \u003cem>Wall Drawing #1012\u003c/em> will be visible day and night, thanks to a bank of LED lights installed above the work.\u003c/p>\n\u003cfigure id=\"attachment_10943507\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10943507\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Colors640.jpg\" alt=\"Each block of color got seven layers of acrylic paint. (Photo: Sarah Hotchkiss/KQED)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Colors640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Colors640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Each block of color got seven layers of acrylic paint. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Takeshi Arita, a LeWitt installer with decades of experience on all types of LeWitt wall drawings — from graphite to colored pencil the vibrant hues of \u003cem>#1012\u003c/em> — led the team in executing what is really a set of written instructions, beginning with diligently preparing the wall surface. The team scaled scaffolding and worked for an entire week behind a mesh-covered fence on what appeared to be just a white wall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For a wall drawing made with acrylic, each section of color is taped off and layered with seven coats of paint, with sanding and wiping for dust between each coat. First-time LeWitt installers are trained to create straight masking tape lines, to make varied brushstrokes with wide bristle brushes and ultimately, to add final touch ups with cotton swabs after the paper is peeled away. Installers constantly trade roles and places on the wall, to maintain what seasoned LeWitt installer Amy Rathbone, quoting the artist, describes as “a universal hand.”\u003c/p>\n\u003cfigure id=\"attachment_10943508\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10943508\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Dogs640.jpg\" alt=\"Remnants of an ongoing battle with local dog owners. (Photo: Sarah Hotchkiss/KQED)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Dogs640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Dogs640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Remnants of an ongoing battle with local dog owners. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Christine Lee, a first time LeWitt installer with no previous mural or painting experience, relishes the simple tools and meditative aspects of the job. “A lot of stuff happens when you just spend time on the same corner for 24 days,” Lee says, referring to how attuned the install crew became to the neighborhood’s cycles of foot and car traffic, their fight against dust and the changing qualities of light. The installers also engaged in a lengthy battle against the dog owners of NEMA. Hand-drawn signs posted around the install site read, “Please no dog pee here. So smelly for us,” followed by a sad face.\u003c/p>\n\u003cp>The final step before the scaffolding, fence and mesh came down was a matte layer of Sheercoat, a clear, water-based acrylic copolymer that protects against graffiti attacks, UV rays and urban pollutants. Precita Eyes uses the same product on all of their murals. Members of the install team have voiced their concerns about the vulnerability of the piece on a public street corner. But maintenance of a LeWitt wall drawing is part of every sales contract, and Tishman Speyer will shoulder that responsibility.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, the future residents of 1400 Mission and the city of San Francisco just got a new piece of public art — our very first Sol LeWitt.\u003c/p>\n\n",
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"description": "A massive wall drawing by the late conceptual artist graces the exterior of a new mid-Market housing development.",
"title": "Below Market Rate Housing Gets High End Sol LeWitt Artwork | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While Oakland wades into a \u003ca href=\"http://ww2.kqed.org/arts/2015/07/28/artists-aghast-at-anti-public-art-lawsuit-against-oakland/\" target=\"_blank\" rel=\"noopener\">lawsuit\u003c/a> against the city’s percent for art ordinance, a new piece of public art on a private development quietly went up in San Francisco’s mid-Market neighborhood and was unveiled Tuesday.\u003c/p>\n\u003cfigure id=\"attachment_10943506\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10943506\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1400Mission6401.jpg\" alt=\"The entrance of 1400 Mission. (Photo: Sarah Hotchkiss/KQED)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1400Mission6401.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1400Mission6401-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The entrance of 1400 Mission. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Wrapping around the north-east corner of \u003ca href=\"http://1400missionsf.com/\" target=\"_blank\" rel=\"noopener\">1400 Mission\u003c/a> at the intersection of Jessie and 10th Streets, is a newly painted Sol LeWitt acrylic piece, \u003cem>Wall Drawing #1012\u003c/em>. Installed on site by a team of seven over the course of four weeks, the five-color geometric design by the famed late conceptual artist originally graced the exterior of a Los Angeles pool house, before it was purchased by Tishman Speyer, the building’s developers.\u003c/p>\n\u003cp>Situated next door to the luxury apartment complex \u003ca href=\"http://rentnema.com/\" target=\"_blank\" rel=\"noopener\">NEMA\u003c/a> (not just a residential building but “a design-driven lifestyle pioneer,” according to its website) and across the street from Twitter HQ, 1400 Mission looks deceptively like another high-end housing development. But the nearly-finished 190-unit building is actually filled with below market rate housing. \u003c/p>\n\u003cfigure id=\"attachment_10943417\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10943417\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/1400Mission640.jpg\" alt='\"Each home comes with its own washer and dryer, kitchen appliances, ample closet space, and granite countertops.\" Digital rendering of unit inside 1400 Mission. (Photo: 1400missionsf.com)' width=\"640\" height=\"337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1400Mission640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/1400Mission640-400x211.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Each home comes with its own washer and dryer, kitchen appliances, ample closet space, and granite countertops.” Digital rendering of unit inside 1400 Mission. (Photo: 1400missionsf.com)\u003c/figcaption>\u003c/figure>\n\u003cp>Local nonprofits like the Mission Economic Development Agency and the San Francisco LGBT Community Center worked to place first-time homebuyers earning 100% or less of the area median income in the units. It was built in collaboration with the Tenderloin Neighborhood Development Corporation to fulfill Tishman Speyer’s inclusionary housing requirement for \u003ca href=\"http://luminasf.com/\" target=\"_blank\" rel=\"noopener\">LUMINA\u003c/a>, the developer’s fully market-rate SOMA high rise.\u003c/p>\n\u003cp>Back on the building’s exterior, the LeWitt wall drawing is 91.5 feet long and just over 9.5 feet tall. It’s rare to see a LeWitt out of doors — let alone on view to the public — for free. But \u003cem>Wall Drawing #1012\u003c/em> will be visible day and night, thanks to a bank of LED lights installed above the work.\u003c/p>\n\u003cfigure id=\"attachment_10943507\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10943507\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Colors640.jpg\" alt=\"Each block of color got seven layers of acrylic paint. (Photo: Sarah Hotchkiss/KQED)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Colors640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Colors640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Each block of color got seven layers of acrylic paint. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Takeshi Arita, a LeWitt installer with decades of experience on all types of LeWitt wall drawings — from graphite to colored pencil the vibrant hues of \u003cem>#1012\u003c/em> — led the team in executing what is really a set of written instructions, beginning with diligently preparing the wall surface. The team scaled scaffolding and worked for an entire week behind a mesh-covered fence on what appeared to be just a white wall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For a wall drawing made with acrylic, each section of color is taped off and layered with seven coats of paint, with sanding and wiping for dust between each coat. First-time LeWitt installers are trained to create straight masking tape lines, to make varied brushstrokes with wide bristle brushes and ultimately, to add final touch ups with cotton swabs after the paper is peeled away. Installers constantly trade roles and places on the wall, to maintain what seasoned LeWitt installer Amy Rathbone, quoting the artist, describes as “a universal hand.”\u003c/p>\n\u003cfigure id=\"attachment_10943508\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10943508\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Dogs640.jpg\" alt=\"Remnants of an ongoing battle with local dog owners. (Photo: Sarah Hotchkiss/KQED)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Dogs640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Dogs640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Remnants of an ongoing battle with local dog owners. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Christine Lee, a first time LeWitt installer with no previous mural or painting experience, relishes the simple tools and meditative aspects of the job. “A lot of stuff happens when you just spend time on the same corner for 24 days,” Lee says, referring to how attuned the install crew became to the neighborhood’s cycles of foot and car traffic, their fight against dust and the changing qualities of light. The installers also engaged in a lengthy battle against the dog owners of NEMA. Hand-drawn signs posted around the install site read, “Please no dog pee here. So smelly for us,” followed by a sad face.\u003c/p>\n\u003cp>The final step before the scaffolding, fence and mesh came down was a matte layer of Sheercoat, a clear, water-based acrylic copolymer that protects against graffiti attacks, UV rays and urban pollutants. Precita Eyes uses the same product on all of their murals. Members of the install team have voiced their concerns about the vulnerability of the piece on a public street corner. But maintenance of a LeWitt wall drawing is part of every sales contract, and Tishman Speyer will shoulder that responsibility.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, the future residents of 1400 Mission and the city of San Francisco just got a new piece of public art — our very first Sol LeWitt.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Finally! Online Exhibitions Worth Your Time",
"headTitle": "Finally! Online Exhibitions Worth Your Time | KQED",
"content": "\u003cp>While most visual arts organizations kicked back this summer, \u003ca href=\"http://www.kadist.org/\" target=\"_blank\" rel=\"noopener\">Kadist\u003c/a>, a Paris and San Francisco-based art foundation, launched an entire online exhibition program.\u003c/p>\n\u003cp>These online exhibitions reflect a shift in how many contemporary audiences experience visual art — less in-person and more on screens (via sites such as \u003ca href=\"http://www.contemporaryartdaily.com/\" target=\"_blank\" rel=\"noopener\">Contemporary Art Daily\u003c/a>, or \u003ca href=\"http://www.nytimes.com/2015/08/05/arts/international/instagram-takes-on-growing-role-in-the-art-market.html?_r=0\" target=\"_blank\" rel=\"noopener\">gallery and artists’ Instagram feeds\u003c/a>). Instead of bemoaning the loss of the physical, Kadist’s online exhibitions exist for create simple frameworks for curators and artists to add some thoughtfulness to the web-based art experience.\u003c/p>\n\u003cfigure id=\"attachment_10934615\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10934615\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/OSE.jpg\" alt=\"Screenshot of Kadist's 'One Sentence Exhibition,' 2015. (Photo: Sarah Hotchkiss/KQED)\" width=\"640\" height=\"371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/OSE.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/OSE-400x232.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Screenshot of Kadist’s ‘One Sentence Exhibition,’ 2015. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Two online exhibitions series launched late May. \u003cem>\u003ca href=\"http://ose.kadist.org/\" target=\"_blank\" rel=\"noopener\">One Sentence Exhibition\u003c/a>\u003c/em> (\u003cem>OSE\u003c/em>) invites a curator to select a single sentence and make each word of that sentence a hyperlink to an image, video or online text. \u003ci>\u003ca href=\"http://thereader.kadist.org/\" target=\"_blank\" rel=\"noopener\">The Reader\u003c/a>\u003c/i> commissions artists to write short narratives in response to found paintings of anonymous women reading books.\u003c/p>\n\u003cp>\u003cem>OSE\u003c/em> employs the idea of “\u003ca href=\"https://en.wikipedia.org/wiki/Easter_egg_(media)\" target=\"_blank\" rel=\"noopener\">easter eggs\u003c/a>,” hidden messages and interactive features buried within computer programs or video games. Each link within an \u003cem>OSE\u003c/em> takes the viewer from a simple word to an unexpected destination — making the exhibition more like a treasure hunt than a walk through a gallery space.\u003c/p>\n\u003cfigure id=\"attachment_10934713\" class=\"wp-caption aligncenter\" style=\"max-width: 1354px\">\u003ca href=\"http://ose.kadist.org/Frieling/a-voice-comes-to-one-in-the-dark-imagine#voice\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10934713 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/voice.jpg\" alt=\"Screenshot from Rudolf Frieling's 'One Sentence Exhibition' featuring a video of Billie Whitelaw performing Samuel Beckett's 'Not I,' 1973. (Photo: Sarah Hotchkiss/KQED) \" width=\"1354\" height=\"929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/voice.jpg 1354w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/voice-400x274.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/voice-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/voice-1180x810.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/voice-960x659.jpg 960w\" sizes=\"(max-width: 1354px) 100vw, 1354px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screenshot from Rudolf Frieling’s ‘One Sentence Exhibition’ featuring a video of Billie Whitelaw performing Samuel Beckett’s ‘Not I,’ 1973. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Without exhibition architecture to direct a viewer’s experience, the \u003ci>OSE\u003c/i> links can be viewed in any order. And by clicking beyond each link’s initial landing page, viewers can further explore the obscure corners of the internet. Or not. In the first \u003ci>OSE\u003c/i>, SFMOMA curator Rudolph Frieling’s exhibition currently includes a dead link. The page simply reads, “millionsofcolours.wordpress.com is no longer available. The authors have deleted this site.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kadist curator and advisor Joseph del Pesco sees this problem as an inevitable part of the project. “Because it’s so new, I’m still thinking about how long the sentences live online, do they expire once their time is up?” del Pesco says. “Maybe in a way it’s recognizing the limits of the internet to accept that ending… and have a shelf life so to speak.”\u003c/p>\n\u003cfigure id=\"attachment_10934715\" class=\"wp-caption alignright\" style=\"max-width: 580px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10934715\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Reader.png\" alt=\"Image from Kadist's email announcement of the launch of 'The Reader,' May 2015. (Photo: Kadist Art Foundation)\" width=\"580\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Reader.png 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Reader-400x410.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Reader-32x32.png 32w\" sizes=\"(max-width: 580px) 100vw, 580px\">\u003cfigcaption class=\"wp-caption-text\">Image from Kadist’s email announcement at launch of ‘The Reader,’ May 2015. Featuring Harold Knight’s ‘The Reader,’ 1910. (Photo: Kadist Art Foundation)\u003c/figcaption>\u003c/figure>\n\u003cp>While \u003ci>OSE\u003c/i> is all about creating new contexts for existing online material, \u003cem>\u003ca href=\"http://thereader.kadist.org/\" target=\"_blank\" rel=\"noopener\">The Reader\u003c/a>\u003c/em> goes a step further, asking artists to create new content in response to online images. The images of reading women are gathered by del Pesco and Enar de Dios Rodriguez, his partner in this series, from the digital holdings of museums around the world.\u003c/p>\n\u003cp>Artists write a short narrative about a painting of their choice; that text is read out loud and recorded as an audio track. Somewhat akin to museum audio guides, these tracks play only when a viewer hovers their cursor over the associated painting’s online image. This sustained act of listening is actually quite foreign — especially in the distracted context of multiple browser tabs and frantic online multitasking.\u003c/p>\n\u003cp>Like \u003cem>OSE\u003c/em>, the conceit of \u003cem>The Reader\u003c/em> is open to vastly different interpretations. Mexican artist Adriana Lara imagines two young women reading the Marquis de Sade in Arthur George Walker’s slightly ominous painting from the early 20th century. Paris-based Marcelline Delbecq reads her own poetic reflection in French on Albert Bartholomé’s 1883 work \u003cem>The Artist’s Wife Reading\u003c/em>. Contributions from Cairo-based Malak Helmy and the Puerto Rican artist Beatriz Santiago Muñoz are forthcoming.\u003c/p>\n\u003cfigure id=\"attachment_10934717\" class=\"wp-caption alignright\" style=\"max-width: 686px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10934717\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/deSade.jpg\" alt=\"Arthur George Walker, 'Two Girls Reading,' early 20th century. (Photo: Royal Academy of Arts; Supplied by The Public Catalogue Foundation)\" width=\"686\" height=\"830\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/deSade.jpg 686w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/deSade-400x484.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/deSade-496x600.jpg 496w\" sizes=\"(max-width: 686px) 100vw, 686px\">\u003cfigcaption class=\"wp-caption-text\">Arthur George Walker, ‘Two Girls Reading,’ early 20th century. (Photo: Royal Academy of Arts; Supplied by The Public Catalogue Foundation)\u003c/figcaption>\u003c/figure>\n\u003cp>For del Pesco and Rodriguez, \u003cem>The Reader\u003c/em>’s paintings document a particular moment in history. “It was only in the 19th century that the reading public in the western world achieved mass literacy,” says del Pesco, citing the spread of education and the shortening of the work day. Women were a large and growing part of that readership.\u003c/p>\n\u003cp>Inspired in part by Fred Wilson’s \u003cem>Mining the Museum\u003c/em>, in which the artist rearranged objects in the Maryland Historical Society’s collection to highlight missing or ignored narratives — particularly the history of slavery — del Pesco believes there’s great value in revisiting past works. “This idea of a radical reinterpretation of an existing artwork that can have a transformative force is something that has continued to be an interest of mine,” he says.\u003c/p>\n\u003cp>Beyond the online exhibitions, Kadist’s San Francisco staff is exploring other platforms for their programming, including \u003ca href=\"https://instagram.com/kadistfoundation/\" target=\"_blank\" rel=\"noopener\">Instagram takeovers\u003c/a>, \u003ca href=\"https://vimeo.com/113333691\" target=\"_blank\" rel=\"noopener\">animated interviews\u003c/a> and a free limited-edition download of a \u003ca href=\"http://mystictruths.kadist.org\" target=\"_blank\" rel=\"noopener\">custom typeface\u003c/a>.\u003c/p>\n\u003cp>As technology advances and art audiences spend more and more of their time glued to screens, Kadist proves that meaningful — and challenging — art experiences can exist without physical proximity to art objects. With their well-designed and simple yet exponentially expansive frameworks, these exhibition series carve out a bit of time spent online fueled by something far more interesting than click bait — namely the ideas, discoveries and connections embedded within.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite their online expansion, Kadist won’t be scrapping their brick and mortar space in San Francisco any time soon. Catch the next IRL group exhibition, \u003cem>A Painting is a Painting isn’t a Painting\u003c/em>, curated by Hamza Walker on Sept. 24, 2015.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While most visual arts organizations kicked back this summer, \u003ca href=\"http://www.kadist.org/\" target=\"_blank\" rel=\"noopener\">Kadist\u003c/a>, a Paris and San Francisco-based art foundation, launched an entire online exhibition program.\u003c/p>\n\u003cp>These online exhibitions reflect a shift in how many contemporary audiences experience visual art — less in-person and more on screens (via sites such as \u003ca href=\"http://www.contemporaryartdaily.com/\" target=\"_blank\" rel=\"noopener\">Contemporary Art Daily\u003c/a>, or \u003ca href=\"http://www.nytimes.com/2015/08/05/arts/international/instagram-takes-on-growing-role-in-the-art-market.html?_r=0\" target=\"_blank\" rel=\"noopener\">gallery and artists’ Instagram feeds\u003c/a>). Instead of bemoaning the loss of the physical, Kadist’s online exhibitions exist for create simple frameworks for curators and artists to add some thoughtfulness to the web-based art experience.\u003c/p>\n\u003cfigure id=\"attachment_10934615\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10934615\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/OSE.jpg\" alt=\"Screenshot of Kadist's 'One Sentence Exhibition,' 2015. (Photo: Sarah Hotchkiss/KQED)\" width=\"640\" height=\"371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/OSE.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/OSE-400x232.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Screenshot of Kadist’s ‘One Sentence Exhibition,’ 2015. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Two online exhibitions series launched late May. \u003cem>\u003ca href=\"http://ose.kadist.org/\" target=\"_blank\" rel=\"noopener\">One Sentence Exhibition\u003c/a>\u003c/em> (\u003cem>OSE\u003c/em>) invites a curator to select a single sentence and make each word of that sentence a hyperlink to an image, video or online text. \u003ci>\u003ca href=\"http://thereader.kadist.org/\" target=\"_blank\" rel=\"noopener\">The Reader\u003c/a>\u003c/i> commissions artists to write short narratives in response to found paintings of anonymous women reading books.\u003c/p>\n\u003cp>\u003cem>OSE\u003c/em> employs the idea of “\u003ca href=\"https://en.wikipedia.org/wiki/Easter_egg_(media)\" target=\"_blank\" rel=\"noopener\">easter eggs\u003c/a>,” hidden messages and interactive features buried within computer programs or video games. Each link within an \u003cem>OSE\u003c/em> takes the viewer from a simple word to an unexpected destination — making the exhibition more like a treasure hunt than a walk through a gallery space.\u003c/p>\n\u003cfigure id=\"attachment_10934713\" class=\"wp-caption aligncenter\" style=\"max-width: 1354px\">\u003ca href=\"http://ose.kadist.org/Frieling/a-voice-comes-to-one-in-the-dark-imagine#voice\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10934713 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/voice.jpg\" alt=\"Screenshot from Rudolf Frieling's 'One Sentence Exhibition' featuring a video of Billie Whitelaw performing Samuel Beckett's 'Not I,' 1973. (Photo: Sarah Hotchkiss/KQED) \" width=\"1354\" height=\"929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/voice.jpg 1354w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/voice-400x274.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/voice-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/voice-1180x810.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/voice-960x659.jpg 960w\" sizes=\"(max-width: 1354px) 100vw, 1354px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screenshot from Rudolf Frieling’s ‘One Sentence Exhibition’ featuring a video of Billie Whitelaw performing Samuel Beckett’s ‘Not I,’ 1973. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Without exhibition architecture to direct a viewer’s experience, the \u003ci>OSE\u003c/i> links can be viewed in any order. And by clicking beyond each link’s initial landing page, viewers can further explore the obscure corners of the internet. Or not. In the first \u003ci>OSE\u003c/i>, SFMOMA curator Rudolph Frieling’s exhibition currently includes a dead link. The page simply reads, “millionsofcolours.wordpress.com is no longer available. The authors have deleted this site.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kadist curator and advisor Joseph del Pesco sees this problem as an inevitable part of the project. “Because it’s so new, I’m still thinking about how long the sentences live online, do they expire once their time is up?” del Pesco says. “Maybe in a way it’s recognizing the limits of the internet to accept that ending… and have a shelf life so to speak.”\u003c/p>\n\u003cfigure id=\"attachment_10934715\" class=\"wp-caption alignright\" style=\"max-width: 580px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10934715\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Reader.png\" alt=\"Image from Kadist's email announcement of the launch of 'The Reader,' May 2015. (Photo: Kadist Art Foundation)\" width=\"580\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Reader.png 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Reader-400x410.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Reader-32x32.png 32w\" sizes=\"(max-width: 580px) 100vw, 580px\">\u003cfigcaption class=\"wp-caption-text\">Image from Kadist’s email announcement at launch of ‘The Reader,’ May 2015. Featuring Harold Knight’s ‘The Reader,’ 1910. (Photo: Kadist Art Foundation)\u003c/figcaption>\u003c/figure>\n\u003cp>While \u003ci>OSE\u003c/i> is all about creating new contexts for existing online material, \u003cem>\u003ca href=\"http://thereader.kadist.org/\" target=\"_blank\" rel=\"noopener\">The Reader\u003c/a>\u003c/em> goes a step further, asking artists to create new content in response to online images. The images of reading women are gathered by del Pesco and Enar de Dios Rodriguez, his partner in this series, from the digital holdings of museums around the world.\u003c/p>\n\u003cp>Artists write a short narrative about a painting of their choice; that text is read out loud and recorded as an audio track. Somewhat akin to museum audio guides, these tracks play only when a viewer hovers their cursor over the associated painting’s online image. This sustained act of listening is actually quite foreign — especially in the distracted context of multiple browser tabs and frantic online multitasking.\u003c/p>\n\u003cp>Like \u003cem>OSE\u003c/em>, the conceit of \u003cem>The Reader\u003c/em> is open to vastly different interpretations. Mexican artist Adriana Lara imagines two young women reading the Marquis de Sade in Arthur George Walker’s slightly ominous painting from the early 20th century. Paris-based Marcelline Delbecq reads her own poetic reflection in French on Albert Bartholomé’s 1883 work \u003cem>The Artist’s Wife Reading\u003c/em>. Contributions from Cairo-based Malak Helmy and the Puerto Rican artist Beatriz Santiago Muñoz are forthcoming.\u003c/p>\n\u003cfigure id=\"attachment_10934717\" class=\"wp-caption alignright\" style=\"max-width: 686px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10934717\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/deSade.jpg\" alt=\"Arthur George Walker, 'Two Girls Reading,' early 20th century. (Photo: Royal Academy of Arts; Supplied by The Public Catalogue Foundation)\" width=\"686\" height=\"830\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/deSade.jpg 686w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/deSade-400x484.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/deSade-496x600.jpg 496w\" sizes=\"(max-width: 686px) 100vw, 686px\">\u003cfigcaption class=\"wp-caption-text\">Arthur George Walker, ‘Two Girls Reading,’ early 20th century. (Photo: Royal Academy of Arts; Supplied by The Public Catalogue Foundation)\u003c/figcaption>\u003c/figure>\n\u003cp>For del Pesco and Rodriguez, \u003cem>The Reader\u003c/em>’s paintings document a particular moment in history. “It was only in the 19th century that the reading public in the western world achieved mass literacy,” says del Pesco, citing the spread of education and the shortening of the work day. Women were a large and growing part of that readership.\u003c/p>\n\u003cp>Inspired in part by Fred Wilson’s \u003cem>Mining the Museum\u003c/em>, in which the artist rearranged objects in the Maryland Historical Society’s collection to highlight missing or ignored narratives — particularly the history of slavery — del Pesco believes there’s great value in revisiting past works. “This idea of a radical reinterpretation of an existing artwork that can have a transformative force is something that has continued to be an interest of mine,” he says.\u003c/p>\n\u003cp>Beyond the online exhibitions, Kadist’s San Francisco staff is exploring other platforms for their programming, including \u003ca href=\"https://instagram.com/kadistfoundation/\" target=\"_blank\" rel=\"noopener\">Instagram takeovers\u003c/a>, \u003ca href=\"https://vimeo.com/113333691\" target=\"_blank\" rel=\"noopener\">animated interviews\u003c/a> and a free limited-edition download of a \u003ca href=\"http://mystictruths.kadist.org\" target=\"_blank\" rel=\"noopener\">custom typeface\u003c/a>.\u003c/p>\n\u003cp>As technology advances and art audiences spend more and more of their time glued to screens, Kadist proves that meaningful — and challenging — art experiences can exist without physical proximity to art objects. With their well-designed and simple yet exponentially expansive frameworks, these exhibition series carve out a bit of time spent online fueled by something far more interesting than click bait — namely the ideas, discoveries and connections embedded within.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite their online expansion, Kadist won’t be scrapping their brick and mortar space in San Francisco any time soon. Catch the next IRL group exhibition, \u003cem>A Painting is a Painting isn’t a Painting\u003c/em>, curated by Hamza Walker on Sept. 24, 2015.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Artist David Huffman explores ideas about identity, cultural trauma and social relationships through paintings, performance and sculptures that revolve around the symbolism of basketball and the space program. In this episode of Art School, watch Huffman at work in his studio as he explains his visual language that manifests as multi-layered imagery, blending abstraction with a psychologically-charged narrative.\u003c/p>\n\u003cp>Spend more time Huffman's symbolically-rich imagery by browsing this image gallery of his work, and practice your own abstractions using the video at the end of this page as your guide.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\n[gallery type=\"slideshow\" link=\"none\" size=\"medium\" ids=\"745,747,741,742,732,734,735,737,740,739,746,743,744,736,738,733,730,727,729,728,731\"]\u003cbr>\n\u003c/aside>\n\u003cp>Huffman has created many studies in personally relevant symbology. Discover your own creative capability by practicing visual abstraction with an object that is meaningful to you. Huffman throws out some ideas (and more three-pointers) for inspiration in part two of this episode of Art School.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Y0NyVU1hyTE?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Visit \u003ca href=\"http://david-huffman.com/\" target=\"_blank\">David-Huffman.com\u003c/a> to keep up with this Bay Area legend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artist David Huffman explores ideas about identity, cultural trauma and social relationships through paintings, performance and sculptures that revolve around the symbolism of basketball and the space program. In this episode of Art School, watch Huffman at work in his studio as he explains his visual language that manifests as multi-layered imagery, blending abstraction with a psychologically-charged narrative.\u003c/p>\n\u003cp>Spend more time Huffman's symbolically-rich imagery by browsing this image gallery of his work, and practice your own abstractions using the video at the end of this page as your guide.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n\u003c/aside>\n\u003cp>Huffman has created many studies in personally relevant symbology. Discover your own creative capability by practicing visual abstraction with an object that is meaningful to you. Huffman throws out some ideas (and more three-pointers) for inspiration in part two of this episode of Art School.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Y0NyVU1hyTE?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Visit \u003ca href=\"http://david-huffman.com/\" target=\"_blank\">David-Huffman.com\u003c/a> to keep up with this Bay Area legend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://web.stanford.edu/group/religiouslife/cgi-bin/wordpress/about-orl/orl-staff/the-very-rev-dr-jane-shaw/\" target=\"_blank\" rel=\"noopener\">Stanford University’s Jane Shaw \u003c/a>is a kind of empathy activist.\u003c/p>\n\u003cp>“How do you make the leap,” she said a few days ago, “to understand the experience of another person is really what empathy’s about.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/222258730″ 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>Shaw, Stanford’s Dean for Religious Life, was showing me around a small-but-choice exhibit called \u003ca href=\"http://museum.stanford.edu/view/exhibition_sched_new.html#Empathy\" target=\"_blank\" rel=\"noopener\">\u003cem>Empathy\u003c/em>, \u003c/a>at Stanford’s \u003ca href=\"http://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10933933\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jane-Shaw-e1441297287793-400x364.jpg\" alt=\"Jane Shaw, Dean for Religious Life at Stanford University\" width=\"400\" height=\"364\" class=\"size-thumbnail wp-image-10933933\">\u003cfigcaption class=\"wp-caption-text\">Jane Shaw, Dean for Religious Life at Stanford University \u003ccite>(Courtesy: Jane Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is a companion piece to a class on empathy Shaw is teaching this fall, and a way for any museum goer to engage with a hot topic these days for religious scholars, neuroscientists, artists and politicians.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Everyone from President Barack Obama to social psychologists are reporting a deficit in empathy and or a lack of compassion among college students, and a corresponding rise in narcissism.\u003c/p>\n\u003cp>“We live in a pretty individualistic society,” Shaw said, “It’s all about the selfie… which is me, me, me, right?”\u003c/p>\n\u003cp>But Bay Area residents have a surprising number of ways to refresh their empathy skills through the arts, including Shaw’s exhibit.\u003c/p>\n\u003cp>There’s a pair of Diane Arbus photos: one of a tattooed man and another of female impersonator that Shaw notes raise issues about “the difference between objectifying the strange, and empathizing with the strange.”\u003c/p>\n\u003cp>The key images in the show may be a series of four etchings by Hans Beham, based on Jesus’ parable about the Prodigal Son.\u003c/p>\n\u003cp>The parable describes how the younger of two sons demands his inheritance, wastes it in wild living, then returns home, expecting to be punished. To his and his older brother’s surprise, the father greets the prodigal with open arms.\u003c/p>\n\u003cp>“I think the prodigal son story is important,” Shaw said, “because at different times we can all relate to all of the characters.\u003c/p>\n\u003cp>“Are we the father distraught by the son who’s gone off, and just unbelievably thrilled that the younger son has come home?” Shaw asks. “Or are we the older son who’s been good and dutiful, then when the younger son comes back, he’s the one who gets the fatted calf for him?”\u003c/p>\n\u003cp>The point, Shaw says, is not to judge, but to empathize — to put oneself in someone else’s shoes.\u003c/p>\n\u003cp>That’s an apt metaphor for the actress and playwright \u003ca href=\"https://live.stanford.edu/calendar/October-2015/all/all/all/Theater\" target=\"_blank\" rel=\"noopener\">Anna Deveare Smith\u003c/a>, who’ll be a guest lecturer for Shaw’s class. Smith is known for her documentary theater work about class and race, in which she embodies the words and physical tics of the people she interviews. She often works barefoot so she can better “walk in the words,” she says, “of her subjects.”\u003c/p>\n\u003cp>It’s a sign of the power of art, especially theater, to inspire empathy.\u003c/p>\n\u003cp>In fact Shaw’s class made me think about the preshow welcome I’ve often heard from Bill English, Artistic Director for San Francisco Playhouse.\u003c/p>\n\u003cp>“We like to think of ourselves as our community’s empathy gym,” is how Bill English opened a recent performance. “It’s a place where we come to work out our powers of compassion.\u003c/p>\n\u003cfigure id=\"attachment_10933935\" class=\"wp-caption alignright\" style=\"max-width: 361px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Bill-English-and-Susi-Damilano-e1441303876539.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10933935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Bill-English-and-Susi-Damilano-e1441303876539.png\" alt=\"San Francisco Playhouse Artistic Director Bill English and Executive Director Susi Damilano\" width=\"361\" height=\"216\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Playhouse Artistic Director Bill English and Executive Director Susi Damilano \u003ccite>(Courtesy San Francisco Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We identify with these actors up here. And we feel what they feel, we love what they love, and we hope what they hope for. And it’s our belief we can take that spirit of unity that we build together in the dark, out into the streets, and make our world a better place one play at a time.”\u003c/p>\n\u003cp>A comment that draws both laughs and applause for its heartfelt idealism.\u003c/p>\n\u003cp>The funny thing is when English talks about theater as an empathy gym, he sounds like \u003ca href=\"http://ssnl.stanford.edu/people\" target=\"_blank\" rel=\"noopener\">Jamil Zaki,\u003c/a> a Stanford professor and neuropsychologist doing research on empathy using new tools like brain scans from an MRI.\u003c/p>\n\u003cp>“I think of lots of different forms of art as empathy boot camp,” Zaki said.\u003c/p>\n\u003cp>A few years ago Zaki looked at that \u003ca href=\"http://www.scientificamerican.com/article/what-me-care/\" target=\"_blank\" rel=\"noopener\">research showing that college students are less empathetic today than 30 years ago.\u003c/a>\u003c/p>\n\u003cp>“It’s a lot easier to insult someone in a YouTube comment section when you’re anonymous and they’re anonymous, and you don’t have to see their reaction, than when you’re right in front of them,” Zaki said.\u003c/p>\n\u003cp>“The arts act as an antidote to that estrangement,” Zaki added, “[and] provide you with a very low risk way of entering worlds and lives and minds that are far from what you would normally experience.”\u003c/p>\n\u003cp>One study found that reading literature, but not junk fiction, increases a person’s ability to be empathetic. Though Zaki wondered “does reading make you more empathetic, or does being more empathetic make you want to read more fiction?”\u003c/p>\n\u003cp>People, and some animals, come into the world ready for empathy, because we’re born with what are called mirror neurons. And Zaki believes the arts can stimulate those neurons.\u003c/p>\n\u003cp>“So if you see a painting of someone being whipped,” Zaki said. “Or they’re weeping profusely. Then you take on that state. I’m sure that applies to visual art. I’m absolutely sure it applies to performance art where they’re actually posing expressions and experiencing things in front of you.”\u003c/p>\n\u003cp>Zaki said he had that experience when he and his research team, took in the Pixar film \u003ca href=\"http://www.pixar.com/features_films/Inside-Out\" target=\"_blank\" rel=\"noopener\">“Inside Out.”\u003c/a>\u003c/p>\n\u003cp>The movie gives voice to the turbulent emotional life of a young girl whose parents move to San Francisco so her dad can join a startup.\u003c/p>\n\u003cp>Zaki said he made a connection he didn’t expect, because he and his wife are about to have a daughter.\u003c/p>\n\u003cp>“And I’m thinking about that little girl (in the movie) and her connection to her parents,” Zaki said. “I felt I connected with that at a much deeper level, than I would have before when we didn’t know we were having a kid. ”\u003c/p>\n\u003cp>That’s an easy form of empathy for us, Zaki said. But people can make far greater empathetic leaps.\u003c/p>\n\u003cp>“Empathy is often work,” said Zaki. “It’s an effort that we make to find the commonalities between yourself and someone else.”\u003c/p>\n\u003cp>That’s something University of San Francisco theater professor Christine Young observed when she used to teach in Iowa. She’d assign her students Tony Kushner’s Pulitzer Prize winning play \u003ca href=\"https://en.wikipedia.org/wiki/Angels_in_America:_A_Gay_Fantasia_on_National_Themes\" target=\"_blank\" rel=\"noopener\">Angels in America\u003c/a>, about the AIDS crisis, a gay Mormon, and many other things.\u003c/p>\n\u003cp>“And the same thing would happen every time,” she said. “Many of the students who had come from a conservative Christian background would initially object to the subject matter.”\u003c/p>\n\u003cp>But Young says, people would come to empathize with the struggles of the character of Louis, who abandons his lover when he learns he has AIDS.\u003c/p>\n\u003cp>“That’s one of the great gifts of that play is it helped a whole generation of people realize that the lives of gay people are just like the lives of heterosexual people. That the loss of a loved one is the same no matter who they are,” Young said.\u003c/p>\n\u003cp>And that sense that we’re all connected in some way is what Stanford’s Jane Shaw hopes to explore in her her empathy class and exhibit.\u003c/p>\n\u003cp>“The world’s problems,” Shaw said, “the world’s wars are because we don’t understand each other. So the more we can understand each other the better. The more we can step into each other’s shoes the better.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Cantor Arts Center show, \u003cem>Empathy\u003c/em>, continues through Jan. 25. Anna Deveare Smith does her residency as Stanford in October.\u003c/p>\n\n",
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"title": "Fighting the Empathy Deficit: How the Arts Can Make Us More Compassionate | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://web.stanford.edu/group/religiouslife/cgi-bin/wordpress/about-orl/orl-staff/the-very-rev-dr-jane-shaw/\" target=\"_blank\" rel=\"noopener\">Stanford University’s Jane Shaw \u003c/a>is a kind of empathy activist.\u003c/p>\n\u003cp>“How do you make the leap,” she said a few days ago, “to understand the experience of another person is really what empathy’s about.\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/222258730″&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/222258730″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Shaw, Stanford’s Dean for Religious Life, was showing me around a small-but-choice exhibit called \u003ca href=\"http://museum.stanford.edu/view/exhibition_sched_new.html#Empathy\" target=\"_blank\" rel=\"noopener\">\u003cem>Empathy\u003c/em>, \u003c/a>at Stanford’s \u003ca href=\"http://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10933933\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jane-Shaw-e1441297287793-400x364.jpg\" alt=\"Jane Shaw, Dean for Religious Life at Stanford University\" width=\"400\" height=\"364\" class=\"size-thumbnail wp-image-10933933\">\u003cfigcaption class=\"wp-caption-text\">Jane Shaw, Dean for Religious Life at Stanford University \u003ccite>(Courtesy: Jane Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is a companion piece to a class on empathy Shaw is teaching this fall, and a way for any museum goer to engage with a hot topic these days for religious scholars, neuroscientists, artists and politicians.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Everyone from President Barack Obama to social psychologists are reporting a deficit in empathy and or a lack of compassion among college students, and a corresponding rise in narcissism.\u003c/p>\n\u003cp>“We live in a pretty individualistic society,” Shaw said, “It’s all about the selfie… which is me, me, me, right?”\u003c/p>\n\u003cp>But Bay Area residents have a surprising number of ways to refresh their empathy skills through the arts, including Shaw’s exhibit.\u003c/p>\n\u003cp>There’s a pair of Diane Arbus photos: one of a tattooed man and another of female impersonator that Shaw notes raise issues about “the difference between objectifying the strange, and empathizing with the strange.”\u003c/p>\n\u003cp>The key images in the show may be a series of four etchings by Hans Beham, based on Jesus’ parable about the Prodigal Son.\u003c/p>\n\u003cp>The parable describes how the younger of two sons demands his inheritance, wastes it in wild living, then returns home, expecting to be punished. To his and his older brother’s surprise, the father greets the prodigal with open arms.\u003c/p>\n\u003cp>“I think the prodigal son story is important,” Shaw said, “because at different times we can all relate to all of the characters.\u003c/p>\n\u003cp>“Are we the father distraught by the son who’s gone off, and just unbelievably thrilled that the younger son has come home?” Shaw asks. “Or are we the older son who’s been good and dutiful, then when the younger son comes back, he’s the one who gets the fatted calf for him?”\u003c/p>\n\u003cp>The point, Shaw says, is not to judge, but to empathize — to put oneself in someone else’s shoes.\u003c/p>\n\u003cp>That’s an apt metaphor for the actress and playwright \u003ca href=\"https://live.stanford.edu/calendar/October-2015/all/all/all/Theater\" target=\"_blank\" rel=\"noopener\">Anna Deveare Smith\u003c/a>, who’ll be a guest lecturer for Shaw’s class. Smith is known for her documentary theater work about class and race, in which she embodies the words and physical tics of the people she interviews. She often works barefoot so she can better “walk in the words,” she says, “of her subjects.”\u003c/p>\n\u003cp>It’s a sign of the power of art, especially theater, to inspire empathy.\u003c/p>\n\u003cp>In fact Shaw’s class made me think about the preshow welcome I’ve often heard from Bill English, Artistic Director for San Francisco Playhouse.\u003c/p>\n\u003cp>“We like to think of ourselves as our community’s empathy gym,” is how Bill English opened a recent performance. “It’s a place where we come to work out our powers of compassion.\u003c/p>\n\u003cfigure id=\"attachment_10933935\" class=\"wp-caption alignright\" style=\"max-width: 361px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Bill-English-and-Susi-Damilano-e1441303876539.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10933935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Bill-English-and-Susi-Damilano-e1441303876539.png\" alt=\"San Francisco Playhouse Artistic Director Bill English and Executive Director Susi Damilano\" width=\"361\" height=\"216\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Playhouse Artistic Director Bill English and Executive Director Susi Damilano \u003ccite>(Courtesy San Francisco Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We identify with these actors up here. And we feel what they feel, we love what they love, and we hope what they hope for. And it’s our belief we can take that spirit of unity that we build together in the dark, out into the streets, and make our world a better place one play at a time.”\u003c/p>\n\u003cp>A comment that draws both laughs and applause for its heartfelt idealism.\u003c/p>\n\u003cp>The funny thing is when English talks about theater as an empathy gym, he sounds like \u003ca href=\"http://ssnl.stanford.edu/people\" target=\"_blank\" rel=\"noopener\">Jamil Zaki,\u003c/a> a Stanford professor and neuropsychologist doing research on empathy using new tools like brain scans from an MRI.\u003c/p>\n\u003cp>“I think of lots of different forms of art as empathy boot camp,” Zaki said.\u003c/p>\n\u003cp>A few years ago Zaki looked at that \u003ca href=\"http://www.scientificamerican.com/article/what-me-care/\" target=\"_blank\" rel=\"noopener\">research showing that college students are less empathetic today than 30 years ago.\u003c/a>\u003c/p>\n\u003cp>“It’s a lot easier to insult someone in a YouTube comment section when you’re anonymous and they’re anonymous, and you don’t have to see their reaction, than when you’re right in front of them,” Zaki said.\u003c/p>\n\u003cp>“The arts act as an antidote to that estrangement,” Zaki added, “[and] provide you with a very low risk way of entering worlds and lives and minds that are far from what you would normally experience.”\u003c/p>\n\u003cp>One study found that reading literature, but not junk fiction, increases a person’s ability to be empathetic. Though Zaki wondered “does reading make you more empathetic, or does being more empathetic make you want to read more fiction?”\u003c/p>\n\u003cp>People, and some animals, come into the world ready for empathy, because we’re born with what are called mirror neurons. And Zaki believes the arts can stimulate those neurons.\u003c/p>\n\u003cp>“So if you see a painting of someone being whipped,” Zaki said. “Or they’re weeping profusely. Then you take on that state. I’m sure that applies to visual art. I’m absolutely sure it applies to performance art where they’re actually posing expressions and experiencing things in front of you.”\u003c/p>\n\u003cp>Zaki said he had that experience when he and his research team, took in the Pixar film \u003ca href=\"http://www.pixar.com/features_films/Inside-Out\" target=\"_blank\" rel=\"noopener\">“Inside Out.”\u003c/a>\u003c/p>\n\u003cp>The movie gives voice to the turbulent emotional life of a young girl whose parents move to San Francisco so her dad can join a startup.\u003c/p>\n\u003cp>Zaki said he made a connection he didn’t expect, because he and his wife are about to have a daughter.\u003c/p>\n\u003cp>“And I’m thinking about that little girl (in the movie) and her connection to her parents,” Zaki said. “I felt I connected with that at a much deeper level, than I would have before when we didn’t know we were having a kid. ”\u003c/p>\n\u003cp>That’s an easy form of empathy for us, Zaki said. But people can make far greater empathetic leaps.\u003c/p>\n\u003cp>“Empathy is often work,” said Zaki. “It’s an effort that we make to find the commonalities between yourself and someone else.”\u003c/p>\n\u003cp>That’s something University of San Francisco theater professor Christine Young observed when she used to teach in Iowa. She’d assign her students Tony Kushner’s Pulitzer Prize winning play \u003ca href=\"https://en.wikipedia.org/wiki/Angels_in_America:_A_Gay_Fantasia_on_National_Themes\" target=\"_blank\" rel=\"noopener\">Angels in America\u003c/a>, about the AIDS crisis, a gay Mormon, and many other things.\u003c/p>\n\u003cp>“And the same thing would happen every time,” she said. “Many of the students who had come from a conservative Christian background would initially object to the subject matter.”\u003c/p>\n\u003cp>But Young says, people would come to empathize with the struggles of the character of Louis, who abandons his lover when he learns he has AIDS.\u003c/p>\n\u003cp>“That’s one of the great gifts of that play is it helped a whole generation of people realize that the lives of gay people are just like the lives of heterosexual people. That the loss of a loved one is the same no matter who they are,” Young said.\u003c/p>\n\u003cp>And that sense that we’re all connected in some way is what Stanford’s Jane Shaw hopes to explore in her her empathy class and exhibit.\u003c/p>\n\u003cp>“The world’s problems,” Shaw said, “the world’s wars are because we don’t understand each other. So the more we can understand each other the better. The more we can step into each other’s shoes the better.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Cantor Arts Center show, \u003cem>Empathy\u003c/em>, continues through Jan. 25. Anna Deveare Smith does her residency as Stanford in October.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Architect and Arts Patron David Cunningham (1967–2015)",
"headTitle": "Remembering Architect and Arts Patron David Cunningham (1967–2015) | KQED",
"content": "\u003cp>News of the death of San Francisco-based architect and arts patron David Cunningham spread swiftly on Facebook this week, to the disbelief of many who knew the former owner of \u003ca href=\"http://www.davidcunninghamprojects.com/Site/DCP.html\" target=\"_blank\" rel=\"noopener\">David Cunningham Projects\u003c/a> (DCP), an alternative gallery on Folsom Street. The stalwart arts supporter and former Southern Exposure board member died from cancer on Sunday; he was 48. Modern Edinburgh Film School posted a tribute to him on Facebook, espousing the “energy, intellect and special presence of David Cunningham and his fantastic gallery.”\u003c/p>\n\u003cfigure id=\"attachment_10932657\" class=\"wp-caption alignright\" style=\"max-width: 554px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10932657 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/DC2.jpg\" alt=\"A rare picture of Cunningham. (Photo: Alan Bamberger / artbusiness.com)\" width=\"554\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DC2.jpg 554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DC2-400x468.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DC2-513x600.jpg 513w\" sizes=\"(max-width: 554px) 100vw, 554px\">\u003cfigcaption class=\"wp-caption-text\">A rare picture of Cunningham. (Photo: Alan Bamberger / artbusiness.com)\u003c/figcaption>\u003c/figure>\n\u003cp>He did indeed have a special presence: very quiet, extremely generous and deeply committed to artists and the importance of art. His architecture projects will stand as testament to his contributions to public life. The many artists, designers and architects he worked with will continue to feel his influence as an arts champion, here and abroad.\u003c/p>\n\u003cp>I first met Cunningham in 2008 through artist Michael Damm. My curatorial enterprise Invisible Venue produced a site-specific series of Damm’s video projections in West Oakland in association with DCP, which was simultaneously \u003ca href=\"http://www.artbusiness.com/1open/121308.html\" target=\"_blank\" rel=\"noopener\">projecting Damm’s videos onto the street\u003c/a> in San Francisco. Over the years, Cunningham would drop me a supportive note from time to time, whenever my writing generated a lot of commentary and/or controversy, as the case sometimes has been.\u003c/p>\n\u003cp>Last year, as board vice president, he invited me to speak with the Southern Exposure staff and board about the shifting landscape of support for artists in the San Francisco Bay Area. Like many others, I will miss his quiet advocacy and gentle humor.\u003c/p>\n\u003cp>Born in Zambia to Irish parents, he spent much of his early childhood in Africa before returning to Ireland. Cunningham studied architecture at University College of Dublin. He moved to San Francisco in 1993 and worked at the firm Studios Architecture before joining Oculus Architects in 1998. His early projects include the extraordinary Petronas Towers in Kuala Lumpur. More recently his clients include University of California, San Francisco; University of San Francisco, and St. Mary’s College, where he was the lead architect and project designer on the $23.5 million Joseph Alioto Recreation Center, completed earlier this year. His longtime friend and colleague, Hugh Cotter, a principal at Oculus Architects, said recently, “He never introduced the precious or pastiche, but just saw, with an artist’s eye, what others might miss.”\u003c/p>\n\u003cfigure id=\"attachment_10932646\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10932646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/KuriousOrange640.jpg\" alt=\"'I Am Kurious Orange' at David Cunningham Projects, 2009. (Photo: David Cunningham Projects)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/KuriousOrange640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/KuriousOrange640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘I Am Kurious Orange’ at David Cunningham Projects, 2009. (Photo: David Cunningham Projects)\u003c/figcaption>\u003c/figure>\n\u003cp>Cunningham established DCP out of his architecture studio in 2007, presenting a wide range of challenging, provocative and ambitious projects until 2010. There he showed international artists including Austin McQuinn, Bernadette Cotter, Pawel Kruk and Richard T. Walker, and many others. Artist Anne Colvin organized \u003cem>I am Kurious Orange\u003c/em> at DCP in 2009; author Kevin Killian described the show as “\u003ca href=\"http://openspace.sfmoma.org/2009/05/orange-skies/\" target=\"_blank\" rel=\"noopener\">a theatrical extravaganza\u003c/a>” on SFMOMA’s Open Space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Colvin notes Cunningham’s extraordinary generosity. He directly supported artists out-of-pocket and funded the production of challenging work, simply because he believed in it. “His interests,” Colvin says, “weren’t dictated by trends, but guided very much by his own passions.”\u003c/p>\n\u003cp>This is evident not only in the scope of the work that he presented, but in the scope of community he created. Case in point: A DCP 2008 exhibition featured the work Marshall Elementary School students, grades K – 5, focused on their visions for a better world.\u003c/p>\n\u003cfigure id=\"attachment_10932647\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10932647\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/DCPInstall640.jpg\" alt=\"Installation view of 'Chris Ashley & Alan Disparte,' David Cunningham Projects, 2008. (Photo: David Cunningham Projects)\" width=\"640\" height=\"474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DCPInstall640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DCPInstall640-400x296.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Chris Ashley & Alan Disparte,’ David Cunningham Projects, 2008. (Photo: David Cunningham Projects)\u003c/figcaption>\u003c/figure>\n\u003cp>Echoing Colvin’s stories of his commitment, Walker, who worked for the gallery from the second show until it closed, recalled when Cunningham hired a structural engineer to reinforce the gallery floors in order to present Mariele Neudecker’s \u003cem>Tanks\u003c/em>. “The gallery,” Walker says, “became a place where something was genuinely \u003cem>happening;\u003c/em> things were unpredictable in the best possible way and although David was at the center of it all he would never accept any credit, as for him it was always about the artists.”\u003c/p>\n\u003cp>After DCP closed, following an untenable rent increase that seemed to initiate an avalanche of change in the city, Southern Exposure’s then-executive director Courtney Fink invited Cunningham to jury the annual Alternative Exposure grant awards. Shortly thereafter he joined the board and became, in her words, “indispensible from the moment he arrived.” Cunningham also continued to organize shows, including the 2011 group exhibition \u003cem>Enter Slowly\u003c/em> featuring seven international artists at \u003ca href=\"http://sfartenthusiast.com/2011/01/enter-slowly-at-the-lab/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>, among other independent projects.\u003c/p>\n\u003cp>Cunningham possessed a unique vision for the possibilities in a city where rising costs have increasingly narrowed the field for risk and experimentation, and a genuine spirit that will be forever associated with a particularly vital and necessary moment in the San Francisco art scene. For any of us lucky enough to have experienced both, he will be deeply missed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>David Cunningham is survived by his parents Steve and Margôt Cunningham of Galway, Ireland, his siblings and their extended families, as well as a vast international network of friends from the Bay Area and beyond. He will be laid to rest in a private ceremony this week in Ireland. A \u003ca href=\"https://www.soex.org/news/2015/08/31/remembering-david-cunningham\" target=\"_blank\" rel=\"noopener\">celebration of his life and contributions\u003c/a> will take place later this fall at Southern Exposure. In lieu of flowers, his family has requested donations in his memory to \u003ca href=\"https://www.galwayhospice.ie/\" target=\"_blank\" rel=\"noopener\">Galway Hospice\u003c/a>.\u003c/p>\n\n",
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"excerpt": "The stalwart arts supporter and former Southern Exposure board member died on Sunday; he was 48.",
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"title": "Remembering Architect and Arts Patron David Cunningham (1967–2015) | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>News of the death of San Francisco-based architect and arts patron David Cunningham spread swiftly on Facebook this week, to the disbelief of many who knew the former owner of \u003ca href=\"http://www.davidcunninghamprojects.com/Site/DCP.html\" target=\"_blank\" rel=\"noopener\">David Cunningham Projects\u003c/a> (DCP), an alternative gallery on Folsom Street. The stalwart arts supporter and former Southern Exposure board member died from cancer on Sunday; he was 48. Modern Edinburgh Film School posted a tribute to him on Facebook, espousing the “energy, intellect and special presence of David Cunningham and his fantastic gallery.”\u003c/p>\n\u003cfigure id=\"attachment_10932657\" class=\"wp-caption alignright\" style=\"max-width: 554px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10932657 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/DC2.jpg\" alt=\"A rare picture of Cunningham. (Photo: Alan Bamberger / artbusiness.com)\" width=\"554\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DC2.jpg 554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DC2-400x468.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DC2-513x600.jpg 513w\" sizes=\"(max-width: 554px) 100vw, 554px\">\u003cfigcaption class=\"wp-caption-text\">A rare picture of Cunningham. (Photo: Alan Bamberger / artbusiness.com)\u003c/figcaption>\u003c/figure>\n\u003cp>He did indeed have a special presence: very quiet, extremely generous and deeply committed to artists and the importance of art. His architecture projects will stand as testament to his contributions to public life. The many artists, designers and architects he worked with will continue to feel his influence as an arts champion, here and abroad.\u003c/p>\n\u003cp>I first met Cunningham in 2008 through artist Michael Damm. My curatorial enterprise Invisible Venue produced a site-specific series of Damm’s video projections in West Oakland in association with DCP, which was simultaneously \u003ca href=\"http://www.artbusiness.com/1open/121308.html\" target=\"_blank\" rel=\"noopener\">projecting Damm’s videos onto the street\u003c/a> in San Francisco. Over the years, Cunningham would drop me a supportive note from time to time, whenever my writing generated a lot of commentary and/or controversy, as the case sometimes has been.\u003c/p>\n\u003cp>Last year, as board vice president, he invited me to speak with the Southern Exposure staff and board about the shifting landscape of support for artists in the San Francisco Bay Area. Like many others, I will miss his quiet advocacy and gentle humor.\u003c/p>\n\u003cp>Born in Zambia to Irish parents, he spent much of his early childhood in Africa before returning to Ireland. Cunningham studied architecture at University College of Dublin. He moved to San Francisco in 1993 and worked at the firm Studios Architecture before joining Oculus Architects in 1998. His early projects include the extraordinary Petronas Towers in Kuala Lumpur. More recently his clients include University of California, San Francisco; University of San Francisco, and St. Mary’s College, where he was the lead architect and project designer on the $23.5 million Joseph Alioto Recreation Center, completed earlier this year. His longtime friend and colleague, Hugh Cotter, a principal at Oculus Architects, said recently, “He never introduced the precious or pastiche, but just saw, with an artist’s eye, what others might miss.”\u003c/p>\n\u003cfigure id=\"attachment_10932646\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10932646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/KuriousOrange640.jpg\" alt=\"'I Am Kurious Orange' at David Cunningham Projects, 2009. (Photo: David Cunningham Projects)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/KuriousOrange640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/KuriousOrange640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘I Am Kurious Orange’ at David Cunningham Projects, 2009. (Photo: David Cunningham Projects)\u003c/figcaption>\u003c/figure>\n\u003cp>Cunningham established DCP out of his architecture studio in 2007, presenting a wide range of challenging, provocative and ambitious projects until 2010. There he showed international artists including Austin McQuinn, Bernadette Cotter, Pawel Kruk and Richard T. Walker, and many others. Artist Anne Colvin organized \u003cem>I am Kurious Orange\u003c/em> at DCP in 2009; author Kevin Killian described the show as “\u003ca href=\"http://openspace.sfmoma.org/2009/05/orange-skies/\" target=\"_blank\" rel=\"noopener\">a theatrical extravaganza\u003c/a>” on SFMOMA’s Open Space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Colvin notes Cunningham’s extraordinary generosity. He directly supported artists out-of-pocket and funded the production of challenging work, simply because he believed in it. “His interests,” Colvin says, “weren’t dictated by trends, but guided very much by his own passions.”\u003c/p>\n\u003cp>This is evident not only in the scope of the work that he presented, but in the scope of community he created. Case in point: A DCP 2008 exhibition featured the work Marshall Elementary School students, grades K – 5, focused on their visions for a better world.\u003c/p>\n\u003cfigure id=\"attachment_10932647\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10932647\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/DCPInstall640.jpg\" alt=\"Installation view of 'Chris Ashley & Alan Disparte,' David Cunningham Projects, 2008. (Photo: David Cunningham Projects)\" width=\"640\" height=\"474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DCPInstall640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DCPInstall640-400x296.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Chris Ashley & Alan Disparte,’ David Cunningham Projects, 2008. (Photo: David Cunningham Projects)\u003c/figcaption>\u003c/figure>\n\u003cp>Echoing Colvin’s stories of his commitment, Walker, who worked for the gallery from the second show until it closed, recalled when Cunningham hired a structural engineer to reinforce the gallery floors in order to present Mariele Neudecker’s \u003cem>Tanks\u003c/em>. “The gallery,” Walker says, “became a place where something was genuinely \u003cem>happening;\u003c/em> things were unpredictable in the best possible way and although David was at the center of it all he would never accept any credit, as for him it was always about the artists.”\u003c/p>\n\u003cp>After DCP closed, following an untenable rent increase that seemed to initiate an avalanche of change in the city, Southern Exposure’s then-executive director Courtney Fink invited Cunningham to jury the annual Alternative Exposure grant awards. Shortly thereafter he joined the board and became, in her words, “indispensible from the moment he arrived.” Cunningham also continued to organize shows, including the 2011 group exhibition \u003cem>Enter Slowly\u003c/em> featuring seven international artists at \u003ca href=\"http://sfartenthusiast.com/2011/01/enter-slowly-at-the-lab/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>, among other independent projects.\u003c/p>\n\u003cp>Cunningham possessed a unique vision for the possibilities in a city where rising costs have increasingly narrowed the field for risk and experimentation, and a genuine spirit that will be forever associated with a particularly vital and necessary moment in the San Francisco art scene. For any of us lucky enough to have experienced both, he will be deeply missed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>David Cunningham is survived by his parents Steve and Margôt Cunningham of Galway, Ireland, his siblings and their extended families, as well as a vast international network of friends from the Bay Area and beyond. He will be laid to rest in a private ceremony this week in Ireland. A \u003ca href=\"https://www.soex.org/news/2015/08/31/remembering-david-cunningham\" target=\"_blank\" rel=\"noopener\">celebration of his life and contributions\u003c/a> will take place later this fall at Southern Exposure. In lieu of flowers, his family has requested donations in his memory to \u003ca href=\"https://www.galwayhospice.ie/\" target=\"_blank\" rel=\"noopener\">Galway Hospice\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Artists Dive into the Big Blue",
"headTitle": "Bay Area Artists Dive into the Big Blue | KQED",
"content": "\u003cp>Perched as we are on the edge of the North American continent with the Pacific Ocean continuously nipping at our heels, it’s no surprise that Bay Area visual artists look to the water for inspiration.\u003c/p>\n\u003cp>Addressing rising sea levels, the maritime history of San Francisco, the creatures who dwell beneath the surface and the very substance of our watery surroundings, local artists are tapping into a rich underwater terrain.\u003c/p>\n\u003cp>As KQED joins the BBC at the Monterey Aquarium for a three-day maritime extravaganza, \u003ca href=\"http://www.pbs.org/big-blue-live/home/\">BIG BLUE LIVE\u003c/a> in the coming days, KQED Arts marks the occasion with profiles of 10 Bay Area artists mining the depths of that same ocean.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922446\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922446\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Anno400-400x301.jpg\" alt=\"Kim Anno, Still from 'Water World: Berkeley,' 2014. (Photo: the artist)\" width=\"400\" height=\"301\">\u003cfigcaption class=\"wp-caption-text\">Kim Anno, Still from ‘Water World: Berkeley,’ 2014. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Anno\u003c/h3>\n\u003cp>In her ongoing project \u003ci>Men and Women in Water Cities\u003c/i>, painter and multimedia artist \u003ca href=\"http://www.kimanno.com/\" target=\"_blank\" rel=\"noopener\">Kim Anno\u003c/a> creates large-scale events in collaboration with actors, composers and dancers that culminate as finely-edited films. Most recently, \u003ci>Water City: Berkeley\u003c/i> asks, “What is the future when the seas have entered the cities?” Among the half-submerged performers, chants from \u003ci>Oedipus Rex\u003c/i>, pom-pom wielding cheerleaders and crowds of people running through wet sand, Anno paints a picture of a deranged yet poetic society attempting make meaning in a newly watery world.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922431\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922431\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Manila400-400x267.jpg\" alt=\"Michael Arcega, Installation view of 'El Conquistadork,' 2004. (Photo: the artist)\" width=\"400\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Michael Arcega, Installation view of ‘El Conquistadork,’ 2004. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Michael Arcega\u003c/h3>\n\u003cp>\u003ca href=\"http://arcega.us/home.html\" target=\"_blank\" rel=\"noopener\">Michael Arcega\u003c/a>’s playful approaches to language, the history of colonization and other uneven power dynamics often center around bodies of water. In 2001, he constructed a miniature Manila galleon out of manila folders, christened the ship “El Conquistadork” and \u003ca href=\"https://www.youtube.com/watch?v=ouclXOrMG84\" target=\"”_blank”\" rel=\"noopener\">successfully rowed it around Tomales Bay\u003c/a>, a historical stop along a famed, centuries-long trade route between Mexico City, Manila and California. Ten years later, Arcega built “Baby,” a collapsible Pacific outrigger canoe. The artist sailed the vessel in numerous bodies of water across the United States, reversing the path of Manifest Destiny by bringing a Pacific ship to the Atlantic.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922432\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922432\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Archive400-400x238.jpg\" alt=\"A People's Archive of Sinking and Melting, 'New York Collection,' collected Nov. 5, 2012. (Photo: Amy Balkin)\" width=\"400\" height=\"238\">\u003cfigcaption class=\"wp-caption-text\">A People’s Archive of Sinking and Melting, ‘New York Collection,’ collected Nov. 5, 2012. (Photo: Amy Balkin)\u003c/figcaption>\u003c/figure>\n\u003ch3>Amy Balkin\u003c/h3>\n\u003cp>Amy Balkin’s ongoing \u003ci>\u003ca href=\"http://www.sinkingandmelting.org/\" target=\"_blank\" rel=\"noopener\">A People’s Archive of Sinking and Melting\u003c/a>\u003c/i> is a collection of items from places around the world that may disappear due to the effects of climate change, whether that’s rising sea levels, melting glaciers, desertification or coastal erosion. By asking the public to contribute items, the archive argues for climate change as a series of personal experiences rather than a set of abstract figures. Venetian confetti joins detritus from New Orleans and a growing California collection to document a changing world we all occupy and can’t ignore.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922533\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Elliott400-400x276.jpg\" alt=\"Marshall Elliott, 'Blow Ups,' 2015. (Photo: the artist)\" width=\"400\" height=\"276\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Blow Ups,’ 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Marshall Elliott\u003c/h3>\n\u003cp>For his series \u003ci>The Hidden Can Still Wreck You and Would Be Better Made Visible\u003c/i>, \u003ca href=\"http://marshallelliott.com/\" target=\"_blank\" rel=\"noopener\">Marshall Elliott\u003c/a> adopts different material forms, such as sculpture, video, works on paper, commemorative plates, to represent the invisible. His focus? The Bedrock Knobs of San Francisco — small rocks in the San Francisco Bay that met an explosive fate at the end of the 19th century when the US Army Corps of Engineers blasted the rocks as navigation hazards, forever altering the natural landscape of the Bay. Elliott’s work, small-scale gestures honoring formations deemed too dangerous to exist, respectfully pull a forgotten bit of Bay Area history from the depths of obscurity.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922433\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922433\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Escott400-400x267.jpg\" alt=\"Alicia Escott, 'How to Buy Train Oil.' 2015. (Photo: the artist)\" width=\"400\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Alicia Escott, ‘How to Buy Train Oil.’ 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Alicia Escott\u003c/h3>\n\u003cp>When \u003ca href=\"http://aliciaescott.com/home.html\" target=\"_blank\" rel=\"noopener\">Alicia Escott\u003c/a> moved her studio from the Mission to the Outer Sunset more than three years ago, her practice shifted accordingly. In \u003ci>Letters Sent Sometime After The Continents Separated,\u003c/i> the artist writes missives to extinct or soon-to-be extinct species in the voice of a former lover, filling them in on all that’s happened since they disappeared. Once such letter, addressed to the blue whale and dated from 2105, is tragic and funny: “Ironically there is more water here than ever. It is difficult to reconcile my longing for you and our days by the sea, amid soaring prices for landlocked real-estate in a world much underwater. Between the foghorn calls, on stormy days, sometimes I think I almost hear your voice.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922434\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922434\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Geis400-400x264.jpg\" alt=\"Tanja Geis, 'Muddle of Littoral Artifacts,' 2015. (Photo: Berkeley Art Center)\" width=\"400\" height=\"264\">\u003cfigcaption class=\"wp-caption-text\">Tanja Geis, ‘Muddle of Littoral Artifacts,’ 2015. (Photo: Berkeley Art Center)\u003c/figcaption>\u003c/figure>\n\u003ch3>Tanja Geis\u003c/h3>\n\u003cp>Recent UC Berkeley MFA graduate \u003ca href=\"http://www.tanjageis.com/website/work.html\" target=\"_blank\" rel=\"noopener\">Tanja Geis\u003c/a> uses material pulled from the San Francisco Bay across media: mud becomes pigment in her large-scale works on paper, objects pulled from the water form hanging sculptures and underwater footage creates mesmerizing video. Not only did her work force me to look up the meaning of the word “littoral” (of, relating to, or situated on the shore of the sea or a lake), it asks the viewer to turn their understanding of the world upside down and see what’s concealed just below the surface.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922437\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922437\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Hartman400-400x300.jpg\" alt=\"Lauren Hartman, Archives of the Society of Submerged Culture, 2015. (Photo: the artist)\" width=\"400\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Lauren Hartman, Archives of the Society of Submerged Culture, 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Lauren Hartman\u003c/h3>\n\u003cp>For the past few years, mixed media artist \u003ca href=\"http://artbylaurenhartman.com/home.html\" target=\"_blank\" rel=\"noopener\">Lauren Hartman\u003c/a> has focused her practice on human interactions with the sea. From embroideries of oil rig explosions to paintings of shipwrecks made with gold leaf and mother of pearl on panel, she painstakingly renders the follies of our attempts to harness nature. A recent social practice project, \u003ca href=\"http://www.societyofsubmergedculture.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Society of Submerged Culture\u003c/i>\u003c/a> brought together historians, explorers, archeologists, artists, underwater enthusiasts, sailors and swimmers to document and discuss the history of San Francisco (a city built on top of abandoned Gold Rush-era ships) and its coastline.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922439\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922439\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Hockaday400-400x267.jpg\" alt=\"Constance Hockaday, 'All These Darlings and Now Us,' 2014. (Performer: Persia; Photo: Catherine McElhone)\" width=\"400\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Constance Hockaday, ‘All These Darlings and Now Us,’ 2014. (Performer: Persia; Photo: Catherine McElhone)\u003c/figcaption>\u003c/figure>\n\u003ch3>Constance Hockaday\u003c/h3>\n\u003cp>\u003ca href=\"http://www.constancehockaday.com/\" target=\"_blank\" rel=\"noopener\">Constance Hockaday\u003c/a>’s boat-related projects have taken her from \u003ca href=\"http://www.constancehockaday.com/content-exploration/\" target=\"_blank\" rel=\"noopener\">Far Rockaway, Queens\u003c/a> to \u003ca href=\"http://www.constancehockaday.com/neue-berlin/\" target=\"_blank\" rel=\"noopener\">Treasure Island’s Clipper Cove\u003c/a> as she creates temporary communities on the water in response to changing economic and social conditions on dry land. For \u003ci>All These Darlings and Now Us\u003c/i>, Hockaday invited dancers and patrons from the recently-closed Lusty Lady and Esta Noche (a North Beach worker-owned strip club and a Mission district Latino gay bar, respectively) to participate in a floating peepshow, celebrating the temporary freedom of life offshore.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922441\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922441\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Skandali400-400x225.jpg\" alt=\"Dimitra Skandali, 'My Aegean Portal,' 2015. (Photo: the artist/Bridge Residency)\" width=\"400\" height=\"225\">\u003cfigcaption class=\"wp-caption-text\">Dimitra Skandali, ‘My Aegean Portal,’ 2015. (Photo: the artist/Bridge Residency)\u003c/figcaption>\u003c/figure>\n\u003ch3>Dimitra Skandali\u003c/h3>\n\u003cp>Raised on the Greek island of Paros, \u003ca href=\"http://dimitraskandali.com/home.html\" target=\"_blank\" rel=\"noopener\">Dimitra Skandali\u003c/a> routinely references the ocean in her installation and sound-based work. Her \u003ca href=\"//alterspace.co/exhibitions/dimitra-skandali-loves-fears-and-hopes/%E2%80%9D\" target=\"”_blank”\" rel=\"noopener\">recent exhibition\u003c/a> at Alter Space turned the subterranean gallery into the closest thing to a sea cave you’ll get on dry land. Using simple materials — steel wool, wire, strands of sea grass and reflected light — she created a space that was at once magical and claustrophobic, accurately channeling both the beauty and danger of the sea.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922440\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922440\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Sollars400-400x225.jpg\" alt=\"Chris Sollars, 'The Swimmer, 2013. (Video still: the artist)\" width=\"400\" height=\"225\">\u003cfigcaption class=\"wp-caption-text\">Chris Sollars, ‘The Swimmer, 2013. (Video still: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Chris Sollars\u003c/h3>\n\u003cp>Multimedia artist Chris Sollars has long engaged with the watery edges of San Francisco, but nowhere so completely as in his 2013 solo show at Steven Wolf Fine Arts, \u003ci>\u003ca href=\"http://www.667shotwell.com/ChrisSollars/2013/the_swimmer_install.html\" target=\"_blank\" rel=\"noopener\">The Swimmer\u003c/a>\u003c/i>. Works in the delightfully-deadpan exhibit included barnacle-encrusted objects, documentation of Sollars walking the entire San Francisco coastline from Candlestick Point to Ocean Beach and a video inspired by John Cheever’s short story “The Swimmer,” in which Sollars traverses the city via bodies of water, from public swimming pool to dinky plaza fountain.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "In tandem with the BBC and PBS's live documentary event at the Monterey Bay Aquarium, KQED Arts shares a sampling of Bay Area artists who seek inspiration from the sea.",
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"description": "In tandem with the BBC and PBS's live documentary event at the Monterey Bay Aquarium, KQED Arts shares a sampling of Bay Area artists who seek inspiration from the sea.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Perched as we are on the edge of the North American continent with the Pacific Ocean continuously nipping at our heels, it’s no surprise that Bay Area visual artists look to the water for inspiration.\u003c/p>\n\u003cp>Addressing rising sea levels, the maritime history of San Francisco, the creatures who dwell beneath the surface and the very substance of our watery surroundings, local artists are tapping into a rich underwater terrain.\u003c/p>\n\u003cp>As KQED joins the BBC at the Monterey Aquarium for a three-day maritime extravaganza, \u003ca href=\"http://www.pbs.org/big-blue-live/home/\">BIG BLUE LIVE\u003c/a> in the coming days, KQED Arts marks the occasion with profiles of 10 Bay Area artists mining the depths of that same ocean.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922446\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922446\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Anno400-400x301.jpg\" alt=\"Kim Anno, Still from 'Water World: Berkeley,' 2014. (Photo: the artist)\" width=\"400\" height=\"301\">\u003cfigcaption class=\"wp-caption-text\">Kim Anno, Still from ‘Water World: Berkeley,’ 2014. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Anno\u003c/h3>\n\u003cp>In her ongoing project \u003ci>Men and Women in Water Cities\u003c/i>, painter and multimedia artist \u003ca href=\"http://www.kimanno.com/\" target=\"_blank\" rel=\"noopener\">Kim Anno\u003c/a> creates large-scale events in collaboration with actors, composers and dancers that culminate as finely-edited films. Most recently, \u003ci>Water City: Berkeley\u003c/i> asks, “What is the future when the seas have entered the cities?” Among the half-submerged performers, chants from \u003ci>Oedipus Rex\u003c/i>, pom-pom wielding cheerleaders and crowds of people running through wet sand, Anno paints a picture of a deranged yet poetic society attempting make meaning in a newly watery world.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922431\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922431\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Manila400-400x267.jpg\" alt=\"Michael Arcega, Installation view of 'El Conquistadork,' 2004. (Photo: the artist)\" width=\"400\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Michael Arcega, Installation view of ‘El Conquistadork,’ 2004. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Michael Arcega\u003c/h3>\n\u003cp>\u003ca href=\"http://arcega.us/home.html\" target=\"_blank\" rel=\"noopener\">Michael Arcega\u003c/a>’s playful approaches to language, the history of colonization and other uneven power dynamics often center around bodies of water. In 2001, he constructed a miniature Manila galleon out of manila folders, christened the ship “El Conquistadork” and \u003ca href=\"https://www.youtube.com/watch?v=ouclXOrMG84\" target=\"”_blank”\" rel=\"noopener\">successfully rowed it around Tomales Bay\u003c/a>, a historical stop along a famed, centuries-long trade route between Mexico City, Manila and California. Ten years later, Arcega built “Baby,” a collapsible Pacific outrigger canoe. The artist sailed the vessel in numerous bodies of water across the United States, reversing the path of Manifest Destiny by bringing a Pacific ship to the Atlantic.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922432\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922432\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Archive400-400x238.jpg\" alt=\"A People's Archive of Sinking and Melting, 'New York Collection,' collected Nov. 5, 2012. (Photo: Amy Balkin)\" width=\"400\" height=\"238\">\u003cfigcaption class=\"wp-caption-text\">A People’s Archive of Sinking and Melting, ‘New York Collection,’ collected Nov. 5, 2012. (Photo: Amy Balkin)\u003c/figcaption>\u003c/figure>\n\u003ch3>Amy Balkin\u003c/h3>\n\u003cp>Amy Balkin’s ongoing \u003ci>\u003ca href=\"http://www.sinkingandmelting.org/\" target=\"_blank\" rel=\"noopener\">A People’s Archive of Sinking and Melting\u003c/a>\u003c/i> is a collection of items from places around the world that may disappear due to the effects of climate change, whether that’s rising sea levels, melting glaciers, desertification or coastal erosion. By asking the public to contribute items, the archive argues for climate change as a series of personal experiences rather than a set of abstract figures. Venetian confetti joins detritus from New Orleans and a growing California collection to document a changing world we all occupy and can’t ignore.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922533\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Elliott400-400x276.jpg\" alt=\"Marshall Elliott, 'Blow Ups,' 2015. (Photo: the artist)\" width=\"400\" height=\"276\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Blow Ups,’ 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Marshall Elliott\u003c/h3>\n\u003cp>For his series \u003ci>The Hidden Can Still Wreck You and Would Be Better Made Visible\u003c/i>, \u003ca href=\"http://marshallelliott.com/\" target=\"_blank\" rel=\"noopener\">Marshall Elliott\u003c/a> adopts different material forms, such as sculpture, video, works on paper, commemorative plates, to represent the invisible. His focus? The Bedrock Knobs of San Francisco — small rocks in the San Francisco Bay that met an explosive fate at the end of the 19th century when the US Army Corps of Engineers blasted the rocks as navigation hazards, forever altering the natural landscape of the Bay. Elliott’s work, small-scale gestures honoring formations deemed too dangerous to exist, respectfully pull a forgotten bit of Bay Area history from the depths of obscurity.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922433\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922433\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Escott400-400x267.jpg\" alt=\"Alicia Escott, 'How to Buy Train Oil.' 2015. (Photo: the artist)\" width=\"400\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Alicia Escott, ‘How to Buy Train Oil.’ 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Alicia Escott\u003c/h3>\n\u003cp>When \u003ca href=\"http://aliciaescott.com/home.html\" target=\"_blank\" rel=\"noopener\">Alicia Escott\u003c/a> moved her studio from the Mission to the Outer Sunset more than three years ago, her practice shifted accordingly. In \u003ci>Letters Sent Sometime After The Continents Separated,\u003c/i> the artist writes missives to extinct or soon-to-be extinct species in the voice of a former lover, filling them in on all that’s happened since they disappeared. Once such letter, addressed to the blue whale and dated from 2105, is tragic and funny: “Ironically there is more water here than ever. It is difficult to reconcile my longing for you and our days by the sea, amid soaring prices for landlocked real-estate in a world much underwater. Between the foghorn calls, on stormy days, sometimes I think I almost hear your voice.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922434\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922434\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Geis400-400x264.jpg\" alt=\"Tanja Geis, 'Muddle of Littoral Artifacts,' 2015. (Photo: Berkeley Art Center)\" width=\"400\" height=\"264\">\u003cfigcaption class=\"wp-caption-text\">Tanja Geis, ‘Muddle of Littoral Artifacts,’ 2015. (Photo: Berkeley Art Center)\u003c/figcaption>\u003c/figure>\n\u003ch3>Tanja Geis\u003c/h3>\n\u003cp>Recent UC Berkeley MFA graduate \u003ca href=\"http://www.tanjageis.com/website/work.html\" target=\"_blank\" rel=\"noopener\">Tanja Geis\u003c/a> uses material pulled from the San Francisco Bay across media: mud becomes pigment in her large-scale works on paper, objects pulled from the water form hanging sculptures and underwater footage creates mesmerizing video. Not only did her work force me to look up the meaning of the word “littoral” (of, relating to, or situated on the shore of the sea or a lake), it asks the viewer to turn their understanding of the world upside down and see what’s concealed just below the surface.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922437\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922437\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Hartman400-400x300.jpg\" alt=\"Lauren Hartman, Archives of the Society of Submerged Culture, 2015. (Photo: the artist)\" width=\"400\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Lauren Hartman, Archives of the Society of Submerged Culture, 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Lauren Hartman\u003c/h3>\n\u003cp>For the past few years, mixed media artist \u003ca href=\"http://artbylaurenhartman.com/home.html\" target=\"_blank\" rel=\"noopener\">Lauren Hartman\u003c/a> has focused her practice on human interactions with the sea. From embroideries of oil rig explosions to paintings of shipwrecks made with gold leaf and mother of pearl on panel, she painstakingly renders the follies of our attempts to harness nature. A recent social practice project, \u003ca href=\"http://www.societyofsubmergedculture.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Society of Submerged Culture\u003c/i>\u003c/a> brought together historians, explorers, archeologists, artists, underwater enthusiasts, sailors and swimmers to document and discuss the history of San Francisco (a city built on top of abandoned Gold Rush-era ships) and its coastline.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922439\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922439\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Hockaday400-400x267.jpg\" alt=\"Constance Hockaday, 'All These Darlings and Now Us,' 2014. (Performer: Persia; Photo: Catherine McElhone)\" width=\"400\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Constance Hockaday, ‘All These Darlings and Now Us,’ 2014. (Performer: Persia; Photo: Catherine McElhone)\u003c/figcaption>\u003c/figure>\n\u003ch3>Constance Hockaday\u003c/h3>\n\u003cp>\u003ca href=\"http://www.constancehockaday.com/\" target=\"_blank\" rel=\"noopener\">Constance Hockaday\u003c/a>’s boat-related projects have taken her from \u003ca href=\"http://www.constancehockaday.com/content-exploration/\" target=\"_blank\" rel=\"noopener\">Far Rockaway, Queens\u003c/a> to \u003ca href=\"http://www.constancehockaday.com/neue-berlin/\" target=\"_blank\" rel=\"noopener\">Treasure Island’s Clipper Cove\u003c/a> as she creates temporary communities on the water in response to changing economic and social conditions on dry land. For \u003ci>All These Darlings and Now Us\u003c/i>, Hockaday invited dancers and patrons from the recently-closed Lusty Lady and Esta Noche (a North Beach worker-owned strip club and a Mission district Latino gay bar, respectively) to participate in a floating peepshow, celebrating the temporary freedom of life offshore.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922441\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922441\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Skandali400-400x225.jpg\" alt=\"Dimitra Skandali, 'My Aegean Portal,' 2015. (Photo: the artist/Bridge Residency)\" width=\"400\" height=\"225\">\u003cfigcaption class=\"wp-caption-text\">Dimitra Skandali, ‘My Aegean Portal,’ 2015. (Photo: the artist/Bridge Residency)\u003c/figcaption>\u003c/figure>\n\u003ch3>Dimitra Skandali\u003c/h3>\n\u003cp>Raised on the Greek island of Paros, \u003ca href=\"http://dimitraskandali.com/home.html\" target=\"_blank\" rel=\"noopener\">Dimitra Skandali\u003c/a> routinely references the ocean in her installation and sound-based work. Her \u003ca href=\"//alterspace.co/exhibitions/dimitra-skandali-loves-fears-and-hopes/%E2%80%9D\" target=\"”_blank”\" rel=\"noopener\">recent exhibition\u003c/a> at Alter Space turned the subterranean gallery into the closest thing to a sea cave you’ll get on dry land. Using simple materials — steel wool, wire, strands of sea grass and reflected light — she created a space that was at once magical and claustrophobic, accurately channeling both the beauty and danger of the sea.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922440\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922440\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Sollars400-400x225.jpg\" alt=\"Chris Sollars, 'The Swimmer, 2013. (Video still: the artist)\" width=\"400\" height=\"225\">\u003cfigcaption class=\"wp-caption-text\">Chris Sollars, ‘The Swimmer, 2013. (Video still: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Chris Sollars\u003c/h3>\n\u003cp>Multimedia artist Chris Sollars has long engaged with the watery edges of San Francisco, but nowhere so completely as in his 2013 solo show at Steven Wolf Fine Arts, \u003ci>\u003ca href=\"http://www.667shotwell.com/ChrisSollars/2013/the_swimmer_install.html\" target=\"_blank\" rel=\"noopener\">The Swimmer\u003c/a>\u003c/i>. Works in the delightfully-deadpan exhibit included barnacle-encrusted objects, documentation of Sollars walking the entire San Francisco coastline from Candlestick Point to Ocean Beach and a video inspired by John Cheever’s short story “The Swimmer,” in which Sollars traverses the city via bodies of water, from public swimming pool to dinky plaza fountain.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "San Francisco Seen Through an Analog Lens, One Hour at a Time",
"headTitle": "San Francisco Seen Through an Analog Lens, One Hour at a Time | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/project-24-san-francisco/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Project 24 San Francisco’\u003c/h2>\n\u003cdiv class=\"event-desc\">One photographer per hour per SF neighborhood over the course of one day.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Sept. 10, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Dryansky Gallery\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/project-24-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Using only hand-printed black-and-white photographs, \u003ci>\u003ca href=\"http://project24sanfrancisco.com/\" target=\"_blank\" rel=\"noopener\">Project 24 San Francisco\u003c/a>\u003c/i> seeks to catch a glimpse of San Francisco’s essence without digital manipulation or interference.\u003c/p>\n\u003cp>The traveling exhibition, now on view at The Dryansky Gallery, employed twenty-four artists to go back to the basics and photograph San Francisco, one hour at a time, during the 2014 winter solstice. Whether analog photography is more honest or not, the participating artists create a poetic dossier of the city.\u003c/p>\n\u003cp>Some works channel the dreamy pictorialism of late 19th-century and early 20th-century photography. \u003ca href=\"http://www.auerfoto.com/erikhome.html\" target=\"_blank\" rel=\"noopener\">Erik Auerbach\u003c/a>’s photograph from Potrero Hill drew me in. The misty thicket pictured is almost old world and mystical. But an enormous concrete structure, presumably a freeway at the edge of the image, disrupts this initial impression. Homeless encampments and litter emerge amongst the trees and brush upon closer inspection. The photograph oscillates between an ethereal natural setting and an urban dystopia — an apt metaphor for San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10912271\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10912271 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/1.-Erik-Auerbach-0903-Potrero-Hill.jpg\" alt=\"Erik Auerbach, 'December 22, 2014 | 9:03–10:03am | Potrero Hill.' (Photo: The Dryansky Gallery)\" width=\"640\" height=\"642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/1.-Erik-Auerbach-0903-Potrero-Hill.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/1.-Erik-Auerbach-0903-Potrero-Hill-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/1.-Erik-Auerbach-0903-Potrero-Hill-598x600.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/1.-Erik-Auerbach-0903-Potrero-Hill-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/1.-Erik-Auerbach-0903-Potrero-Hill-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/1.-Erik-Auerbach-0903-Potrero-Hill-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/1.-Erik-Auerbach-0903-Potrero-Hill-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/1.-Erik-Auerbach-0903-Potrero-Hill-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Erik Auerbach, ‘December 22, 2014 | 9:03–10:03am | Potrero Hill.’ (Photo: The Dryansky Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Many artists focus on the architecture of their settings, often favoring anonymous places or neighborhood joints over iconic buildings. \u003ca href=\"http://www.forrestdylanbryant.com/\" target=\"_blank\" rel=\"noopener\">Forrest Dylan Bryant\u003c/a> captures light shining through a chaotic array of window blinds in the nighttime darkness of Sea Cliff. \u003ca href=\"http://photo.yzdesign.com/\" target=\"_blank\" rel=\"noopener\">Yelena Zhavoronkova\u003c/a> takes an alternate view in her Lone Hill photograph, looking out a window at an old building obscured by bare wintry tree branches and reflections on the glass. Like a San Franciscan adaptation of Edward Hopper’s famous \u003ci>Nighthawks\u003c/i> (1942) painting, \u003ca href=\"http://www.gabrielahasbun.com/\" target=\"_blank\" rel=\"noopener\">Gabriela Hasbun\u003c/a> documents two people sharing a late-night snack at a bubble tea shop in Little Russia as gleaming lights illuminate the deserted sidewalk.\u003c/p>\n\u003cfigure id=\"attachment_10912272\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10912272 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2.-Forrest-Dylan-Bryant-1803-Sea-Cliff.jpg\" alt=\"Forrest Dylan Bryant, 'December 21, 2014 | 6:03–7:03pm | Sea Cliff.' (Photo: The Dryasnky Gallery)\" width=\"640\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2.-Forrest-Dylan-Bryant-1803-Sea-Cliff.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2.-Forrest-Dylan-Bryant-1803-Sea-Cliff-400x278.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Forrest Dylan Bryant, ‘December 21, 2014 | 6:03–7:03pm | Sea Cliff.’ (Photo: The Dryansky Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco wouldn’t be itself without its cast of 800,000 characters, some of whom make cameos in the exhibit. Pedestrians populate Fisherman’s Wharf, and a couple cozies up in a North Beach bar. Like the unrecognizable Sea Cliff house, however, the most striking portrait is \u003ca href=\"http://mcnairevans.com/\" target=\"_blank\" rel=\"noopener\">McNair Evans\u003c/a>’ closeup of a man who does not make the photograph’s location obvious. The subject’s eyes are closed and a hand-rolled cigarette or joint is tucked snugly into his glasses. He tilts his head upwards as if he were praying, but late at night in the Mission, he is more likely sleeping on a bus or resting his eyes. The photograph intimately focuses on his nose, glasses and the light falling on his face.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Viewing \u003ci>Project 24 San Francisco\u003c/i> is like taking a jaunt around the city through twenty-three sets of eyes (one of the scheduled photographers didn’t show). Some of the scenes are familiar, maybe even nostalgic, while others are unknown or unexpected. The raw quality of black-and-white film translates the artists’ experiences with a powerful lyricism that is close to, if not entirely, truthful or authentic.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/project-24-san-francisco/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Project 24 San Francisco’\u003c/h2>\n\u003cdiv class=\"event-desc\">One photographer per hour per SF neighborhood over the course of one day.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Sept. 10, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Dryansky Gallery\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/project-24-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Using only hand-printed black-and-white photographs, \u003ci>\u003ca href=\"http://project24sanfrancisco.com/\" target=\"_blank\" rel=\"noopener\">Project 24 San Francisco\u003c/a>\u003c/i> seeks to catch a glimpse of San Francisco’s essence without digital manipulation or interference.\u003c/p>\n\u003cp>The traveling exhibition, now on view at The Dryansky Gallery, employed twenty-four artists to go back to the basics and photograph San Francisco, one hour at a time, during the 2014 winter solstice. Whether analog photography is more honest or not, the participating artists create a poetic dossier of the city.\u003c/p>\n\u003cp>Some works channel the dreamy pictorialism of late 19th-century and early 20th-century photography. \u003ca href=\"http://www.auerfoto.com/erikhome.html\" target=\"_blank\" rel=\"noopener\">Erik Auerbach\u003c/a>’s photograph from Potrero Hill drew me in. The misty thicket pictured is almost old world and mystical. But an enormous concrete structure, presumably a freeway at the edge of the image, disrupts this initial impression. Homeless encampments and litter emerge amongst the trees and brush upon closer inspection. The photograph oscillates between an ethereal natural setting and an urban dystopia — an apt metaphor for San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10912271\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10912271 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/1.-Erik-Auerbach-0903-Potrero-Hill.jpg\" alt=\"Erik Auerbach, 'December 22, 2014 | 9:03–10:03am | Potrero Hill.' (Photo: The Dryansky Gallery)\" width=\"640\" height=\"642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/1.-Erik-Auerbach-0903-Potrero-Hill.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/1.-Erik-Auerbach-0903-Potrero-Hill-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/1.-Erik-Auerbach-0903-Potrero-Hill-598x600.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/1.-Erik-Auerbach-0903-Potrero-Hill-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/1.-Erik-Auerbach-0903-Potrero-Hill-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/1.-Erik-Auerbach-0903-Potrero-Hill-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/1.-Erik-Auerbach-0903-Potrero-Hill-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/1.-Erik-Auerbach-0903-Potrero-Hill-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Erik Auerbach, ‘December 22, 2014 | 9:03–10:03am | Potrero Hill.’ (Photo: The Dryansky Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Many artists focus on the architecture of their settings, often favoring anonymous places or neighborhood joints over iconic buildings. \u003ca href=\"http://www.forrestdylanbryant.com/\" target=\"_blank\" rel=\"noopener\">Forrest Dylan Bryant\u003c/a> captures light shining through a chaotic array of window blinds in the nighttime darkness of Sea Cliff. \u003ca href=\"http://photo.yzdesign.com/\" target=\"_blank\" rel=\"noopener\">Yelena Zhavoronkova\u003c/a> takes an alternate view in her Lone Hill photograph, looking out a window at an old building obscured by bare wintry tree branches and reflections on the glass. Like a San Franciscan adaptation of Edward Hopper’s famous \u003ci>Nighthawks\u003c/i> (1942) painting, \u003ca href=\"http://www.gabrielahasbun.com/\" target=\"_blank\" rel=\"noopener\">Gabriela Hasbun\u003c/a> documents two people sharing a late-night snack at a bubble tea shop in Little Russia as gleaming lights illuminate the deserted sidewalk.\u003c/p>\n\u003cfigure id=\"attachment_10912272\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10912272 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/2.-Forrest-Dylan-Bryant-1803-Sea-Cliff.jpg\" alt=\"Forrest Dylan Bryant, 'December 21, 2014 | 6:03–7:03pm | Sea Cliff.' (Photo: The Dryasnky Gallery)\" width=\"640\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2.-Forrest-Dylan-Bryant-1803-Sea-Cliff.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/2.-Forrest-Dylan-Bryant-1803-Sea-Cliff-400x278.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Forrest Dylan Bryant, ‘December 21, 2014 | 6:03–7:03pm | Sea Cliff.’ (Photo: The Dryansky Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco wouldn’t be itself without its cast of 800,000 characters, some of whom make cameos in the exhibit. Pedestrians populate Fisherman’s Wharf, and a couple cozies up in a North Beach bar. Like the unrecognizable Sea Cliff house, however, the most striking portrait is \u003ca href=\"http://mcnairevans.com/\" target=\"_blank\" rel=\"noopener\">McNair Evans\u003c/a>’ closeup of a man who does not make the photograph’s location obvious. The subject’s eyes are closed and a hand-rolled cigarette or joint is tucked snugly into his glasses. He tilts his head upwards as if he were praying, but late at night in the Mission, he is more likely sleeping on a bus or resting his eyes. The photograph intimately focuses on his nose, glasses and the light falling on his face.\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>Viewing \u003ci>Project 24 San Francisco\u003c/i> is like taking a jaunt around the city through twenty-three sets of eyes (one of the scheduled photographers didn’t show). Some of the scenes are familiar, maybe even nostalgic, while others are unknown or unexpected. The raw quality of black-and-white film translates the artists’ experiences with a powerful lyricism that is close to, if not entirely, truthful or authentic.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Editor’s Note: \u003c/em>Bay Area Painting Right Now\u003cem> peers into the studios of emerging local painters to find out what they’re making, how they’re making it and why. Guiding our tour is \u003ca href=\"http://ww2.kqed.org/arts/author/bbrown/\" target=\"_blank\" rel=\"noopener\">Brandon Brown\u003c/a>, poet, writer, editor and unabashed fan of contemporary painting. Don’t miss the first installment of this series on \u003ca href=\"http://ww2.kqed.org/arts/2015/07/30/bay-area-painting-right-now-lana-williams-breaks-the-rules/\" target=\"_blank\" rel=\"noopener\">Lana Williams\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.katiedorame.com/\" target=\"_blank\" rel=\"noopener\">Katie Dorame\u003c/a> paints in an ample structure in the yard behind her northwest Oakland home. Paintings and drawings line the right wall of the studio, while the left wall is covered by an eclectic bunch of materials: paint and supplies, frocked space aliens and tacked-up papers, including a still from \u003cem>Pee Wee’s Big Adventure\u003c/em>.\u003c/p>\n\u003cp>At the rear of the space, the atmosphere changes dramatically. It becomes less of a studio and more of a set. Two large oil paintings flank the back wall, suggesting the religious paintings one finds in Catholic churches. And indeed, designs painted on the wall around the canvases refer to a particular form of architecture — the California mission.\u003c/p>\n\u003cfigure id=\"attachment_10905228\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10905228 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_7411-e1440627448741.jpg\" alt=\"Inside Katie Dorame's studio. (Photo: Jeremy Raff/KQED)\" width=\"1180\" height=\"787\">\u003cfigcaption class=\"wp-caption-text\">Inside Katie Dorame’s studio. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The Spanish built 21 missions in California between 1769 and 1833. They were religious and military outposts, administrative centers through which Spain waged a colonial effort to subjugate the indigenous people of California. Visiting them now is a strange and complex endeavor.\u003c/p>\n\u003cp>On one hand, the buildings are among the oldest surviving religious structures in California, inspiring writers like San Francisco’s Bruce Boone in his legendary \u003cem>My Walk With Bob\u003c/em> and Alfred Hitchcock, who used Mission San Juan Batista in his film \u003cem>Vertigo\u003c/em>. On the other hand, the missions are remnants of a centuries-long war against Native Americans. Every element of these buildings, from their foundations to decorative ornaments, is a relic of extreme violence.\u003c/p>\n\u003cfigure id=\"attachment_10919273\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10919273 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spacecraft.jpg\" alt=\"Katie Dorame, 'Invasion by the Sea,' 2014. (Photo: Jeremy Raff/KQED)\" width=\"1180\" height=\"787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spacecraft.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spacecraft-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spacecraft-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spacecraft-960x640.jpg 960w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Katie Dorame, ‘Invasion by the Sea,’ 2014. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Dorame’s interest in the missions is tied to the critical focus of her painting practice: narrative. As we discussed her growing interest in art as a teen, she described the moment she realized painting was a way for her to tell stories. In this way, Dorame’s extraordinary interpretations of the missions, California history and the artwork they’ve both appropriated and inspired, enter a long tradition of other interpretations about what the missions represent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is not simply a detached historical affair for Dorame however — she herself is Tongva, and the Tongva people are occasionally called “Gabrielenos,” referring to the closest Spanish mission in the San Gabriel Valley.\u003c/p>\n\u003cp>Dorame’s current works, many of which will appear in the group exhibition \u003cem>Indigenous Contemporary\u003c/em> at the University of San Francisco (another Catholic institution with a complex history), opening in November, use existing historical artworks as points of departure.\u003c/p>\n\u003cfigure id=\"attachment_10919274\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10919274\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/MissionRevolt.jpg\" alt=\"Katie Dorame, 'Mission Revolt,' 2015. (Photo: Jeremy Raff/KQED)\" width=\"1180\" height=\"1770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MissionRevolt.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MissionRevolt-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MissionRevolt-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MissionRevolt-960x1440.jpg 960w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Katie Dorame, ‘Mission Revolt,’ 2015. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>I think of Dorame’s works as translations; she revises existing imagery into her own idioms. Take \u003cem>Mission Revolt \u003c/em>for instance, derived from an extant painting in one of the California missions. In the original, a “Turk” is shown beheading an innocent angelic friar. In Dorame’s version, it is a proud indigenous warrior who swings the machete. Snakes crawl out of the neck of another headless friar, underscoring the painting’s reversal of the way colonial priests are usually pictured.\u003c/p>\n\u003cp>Ink drawings, watercolors and oil paintings line the walls of Dorame’s studio. The watercolors, which show portraits of Native Californians drawn from the popular anthropology texts Dorame collects, have an unusual depth and richness. On the other hand, the oil paintings, which typically embody the pondering gravitas of the medium’s history, are painted with an extremely deft and light touch.\u003c/p>\n\u003cfigure id=\"attachment_10905590\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10905590 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_7473-e1440628078418.jpg\" alt=\"Katie Dorame points out details in 'Neophyte Baptism,' 2015. (Photo: Jeremy Raff/KQED)\" width=\"1180\" height=\"787\">\u003cfigcaption class=\"wp-caption-text\">Katie Dorame points out details in ‘Neophyte Baptism,’ 2015. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Neophyte Baptism\u003c/em>, the under-painting is evident in many sections of the canvas. Where there is detail, it is significant, as in the pointed nails of the friar conducting the ceremony — so sharp and gaunt, they appear menacing, claw-like.\u003c/p>\n\u003cp>And what about Dorame’s interpretation of the friars themselves? Represented in the poses and costumes of Mission-style paintings, Dorame’s holy men boast the reptilian heads of extraterrestrial invaders.\u003c/p>\n\u003cfigure id=\"attachment_10919278\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10919278 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AlienPriests.jpg\" alt=\"Katie Dorame, 'Green Padre - looking left,' 2014; A frocked space alien in the studio. (Photo: Jeremy Raff/KQED)\" width=\"1180\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AlienPriests.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AlienPriests-400x181.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AlienPriests-800x363.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AlienPriests-960x435.jpg 960w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Katie Dorame, ‘Green Padre – looking left,’ 2014; A frocked space alien in the studio. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Their radically altered faces are funny, obviously. But as Dorame pointed out, they also offer an alternative interpretation of colonial violence. Reflecting on the insane brutality of Spanish conquest, Dorame’s work questions the \u003cem>humanity \u003c/em>of those who perpetrated and facilitated this brutality. Further complicating her depictions, the Spanish friars are not the only ones implicated in this transformation — she shows their indigenous converts as undergoing reptilian morphogenesis.\u003c/p>\n\u003cp>Dorame’s use of the scaly alien face joins other appropriations of cinematic imagery in her practice. While growing up in Los Angeles, one of Dorame’s entries into artmaking was drawing old film stars. “My mother loved movies, as long as they had a happy ending,” she says. Dorame’s \u003cem>Sifting Screens\u003c/em>, a 2013 solo show at Galería de la Raza, focused on actors of color in Hollywood’s golden and silver ages.\u003c/p>\n\u003cfigure id=\"attachment_10905232\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10905232 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_7422-e1440632654894.jpg\" alt=\"Katie Dorame's studio wall. (Photo: Jeremy Raff/KQED)\" width=\"1180\" height=\"787\">\u003cfigcaption class=\"wp-caption-text\">Katie Dorame’s studio wall. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Film remains a strong concern in her paintings. In \u003cem>Pee Wee’s Big Adventure\u003c/em>, she noticed the scenes supposedly set at the Alamo were actually filmed at Mission San Fernando. Above the Alamo’s “gift shop” sign, an ornate design identifies the building as the mission’s exterior.\u003c/p>\n\u003cp>This design is a \u003ca href=\"http://www.tataviam-nsn.us/heritage/history/social-and-political/\" target=\"_blank\" rel=\"noopener\">Fernandeño Tataviam\u003c/a> image, created by a Native American community that retained their traditional languages and many aspects of their social, ceremonial and political life even during the mission era.\u003c/p>\n\u003cfigure id=\"attachment_10919279\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10919279\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Framed.jpg\" alt=\"Framed watercolors in Katie Dorame's studio, 2015. (Photo: Jeremy Raff/KQED)\" width=\"1180\" height=\"787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Framed.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Framed-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Framed-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Framed-960x640.jpg 960w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Framed watercolors in Katie Dorame’s studio, 2015. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>For Dorame, this unintentional reference connects indigenous California art, the missions, Hollywood films and the “sifting screens” through which history reveals itself in architecture, film and painting.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s often remarked that history is told from the vantage of the victors. In that respect — or rather \u003cem>against \u003c/em>that respect — Katie Dorame’s paintings recode the structural and ornamental signs of conquest, as embodied by the architecture, interiors and historical narratives of the California missions. Using the sights and shapes of a complex, violent and still resonant tradition, her paintings stage a refusal of that tradition that is stubbornly contemporary.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003c/em>Bay Area Painting Right Now\u003cem> peers into the studios of emerging local painters to find out what they’re making, how they’re making it and why. Guiding our tour is \u003ca href=\"http://ww2.kqed.org/arts/author/bbrown/\" target=\"_blank\" rel=\"noopener\">Brandon Brown\u003c/a>, poet, writer, editor and unabashed fan of contemporary painting. Don’t miss the first installment of this series on \u003ca href=\"http://ww2.kqed.org/arts/2015/07/30/bay-area-painting-right-now-lana-williams-breaks-the-rules/\" target=\"_blank\" rel=\"noopener\">Lana Williams\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.katiedorame.com/\" target=\"_blank\" rel=\"noopener\">Katie Dorame\u003c/a> paints in an ample structure in the yard behind her northwest Oakland home. Paintings and drawings line the right wall of the studio, while the left wall is covered by an eclectic bunch of materials: paint and supplies, frocked space aliens and tacked-up papers, including a still from \u003cem>Pee Wee’s Big Adventure\u003c/em>.\u003c/p>\n\u003cp>At the rear of the space, the atmosphere changes dramatically. It becomes less of a studio and more of a set. Two large oil paintings flank the back wall, suggesting the religious paintings one finds in Catholic churches. And indeed, designs painted on the wall around the canvases refer to a particular form of architecture — the California mission.\u003c/p>\n\u003cfigure id=\"attachment_10905228\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10905228 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_7411-e1440627448741.jpg\" alt=\"Inside Katie Dorame's studio. (Photo: Jeremy Raff/KQED)\" width=\"1180\" height=\"787\">\u003cfigcaption class=\"wp-caption-text\">Inside Katie Dorame’s studio. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The Spanish built 21 missions in California between 1769 and 1833. They were religious and military outposts, administrative centers through which Spain waged a colonial effort to subjugate the indigenous people of California. Visiting them now is a strange and complex endeavor.\u003c/p>\n\u003cp>On one hand, the buildings are among the oldest surviving religious structures in California, inspiring writers like San Francisco’s Bruce Boone in his legendary \u003cem>My Walk With Bob\u003c/em> and Alfred Hitchcock, who used Mission San Juan Batista in his film \u003cem>Vertigo\u003c/em>. On the other hand, the missions are remnants of a centuries-long war against Native Americans. Every element of these buildings, from their foundations to decorative ornaments, is a relic of extreme violence.\u003c/p>\n\u003cfigure id=\"attachment_10919273\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10919273 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Spacecraft.jpg\" alt=\"Katie Dorame, 'Invasion by the Sea,' 2014. (Photo: Jeremy Raff/KQED)\" width=\"1180\" height=\"787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spacecraft.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spacecraft-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spacecraft-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Spacecraft-960x640.jpg 960w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Katie Dorame, ‘Invasion by the Sea,’ 2014. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Dorame’s interest in the missions is tied to the critical focus of her painting practice: narrative. As we discussed her growing interest in art as a teen, she described the moment she realized painting was a way for her to tell stories. In this way, Dorame’s extraordinary interpretations of the missions, California history and the artwork they’ve both appropriated and inspired, enter a long tradition of other interpretations about what the missions represent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is not simply a detached historical affair for Dorame however — she herself is Tongva, and the Tongva people are occasionally called “Gabrielenos,” referring to the closest Spanish mission in the San Gabriel Valley.\u003c/p>\n\u003cp>Dorame’s current works, many of which will appear in the group exhibition \u003cem>Indigenous Contemporary\u003c/em> at the University of San Francisco (another Catholic institution with a complex history), opening in November, use existing historical artworks as points of departure.\u003c/p>\n\u003cfigure id=\"attachment_10919274\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10919274\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/MissionRevolt.jpg\" alt=\"Katie Dorame, 'Mission Revolt,' 2015. (Photo: Jeremy Raff/KQED)\" width=\"1180\" height=\"1770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MissionRevolt.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MissionRevolt-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MissionRevolt-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/MissionRevolt-960x1440.jpg 960w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Katie Dorame, ‘Mission Revolt,’ 2015. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>I think of Dorame’s works as translations; she revises existing imagery into her own idioms. Take \u003cem>Mission Revolt \u003c/em>for instance, derived from an extant painting in one of the California missions. In the original, a “Turk” is shown beheading an innocent angelic friar. In Dorame’s version, it is a proud indigenous warrior who swings the machete. Snakes crawl out of the neck of another headless friar, underscoring the painting’s reversal of the way colonial priests are usually pictured.\u003c/p>\n\u003cp>Ink drawings, watercolors and oil paintings line the walls of Dorame’s studio. The watercolors, which show portraits of Native Californians drawn from the popular anthropology texts Dorame collects, have an unusual depth and richness. On the other hand, the oil paintings, which typically embody the pondering gravitas of the medium’s history, are painted with an extremely deft and light touch.\u003c/p>\n\u003cfigure id=\"attachment_10905590\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10905590 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_7473-e1440628078418.jpg\" alt=\"Katie Dorame points out details in 'Neophyte Baptism,' 2015. (Photo: Jeremy Raff/KQED)\" width=\"1180\" height=\"787\">\u003cfigcaption class=\"wp-caption-text\">Katie Dorame points out details in ‘Neophyte Baptism,’ 2015. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Neophyte Baptism\u003c/em>, the under-painting is evident in many sections of the canvas. Where there is detail, it is significant, as in the pointed nails of the friar conducting the ceremony — so sharp and gaunt, they appear menacing, claw-like.\u003c/p>\n\u003cp>And what about Dorame’s interpretation of the friars themselves? Represented in the poses and costumes of Mission-style paintings, Dorame’s holy men boast the reptilian heads of extraterrestrial invaders.\u003c/p>\n\u003cfigure id=\"attachment_10919278\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10919278 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AlienPriests.jpg\" alt=\"Katie Dorame, 'Green Padre - looking left,' 2014; A frocked space alien in the studio. (Photo: Jeremy Raff/KQED)\" width=\"1180\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AlienPriests.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AlienPriests-400x181.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AlienPriests-800x363.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AlienPriests-960x435.jpg 960w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Katie Dorame, ‘Green Padre – looking left,’ 2014; A frocked space alien in the studio. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Their radically altered faces are funny, obviously. But as Dorame pointed out, they also offer an alternative interpretation of colonial violence. Reflecting on the insane brutality of Spanish conquest, Dorame’s work questions the \u003cem>humanity \u003c/em>of those who perpetrated and facilitated this brutality. Further complicating her depictions, the Spanish friars are not the only ones implicated in this transformation — she shows their indigenous converts as undergoing reptilian morphogenesis.\u003c/p>\n\u003cp>Dorame’s use of the scaly alien face joins other appropriations of cinematic imagery in her practice. While growing up in Los Angeles, one of Dorame’s entries into artmaking was drawing old film stars. “My mother loved movies, as long as they had a happy ending,” she says. Dorame’s \u003cem>Sifting Screens\u003c/em>, a 2013 solo show at Galería de la Raza, focused on actors of color in Hollywood’s golden and silver ages.\u003c/p>\n\u003cfigure id=\"attachment_10905232\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10905232 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_7422-e1440632654894.jpg\" alt=\"Katie Dorame's studio wall. (Photo: Jeremy Raff/KQED)\" width=\"1180\" height=\"787\">\u003cfigcaption class=\"wp-caption-text\">Katie Dorame’s studio wall. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Film remains a strong concern in her paintings. In \u003cem>Pee Wee’s Big Adventure\u003c/em>, she noticed the scenes supposedly set at the Alamo were actually filmed at Mission San Fernando. Above the Alamo’s “gift shop” sign, an ornate design identifies the building as the mission’s exterior.\u003c/p>\n\u003cp>This design is a \u003ca href=\"http://www.tataviam-nsn.us/heritage/history/social-and-political/\" target=\"_blank\" rel=\"noopener\">Fernandeño Tataviam\u003c/a> image, created by a Native American community that retained their traditional languages and many aspects of their social, ceremonial and political life even during the mission era.\u003c/p>\n\u003cfigure id=\"attachment_10919279\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10919279\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Framed.jpg\" alt=\"Framed watercolors in Katie Dorame's studio, 2015. (Photo: Jeremy Raff/KQED)\" width=\"1180\" height=\"787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Framed.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Framed-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Framed-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Framed-960x640.jpg 960w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Framed watercolors in Katie Dorame’s studio, 2015. (Photo: Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>For Dorame, this unintentional reference connects indigenous California art, the missions, Hollywood films and the “sifting screens” through which history reveals itself in architecture, film and painting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s often remarked that history is told from the vantage of the victors. In that respect — or rather \u003cem>against \u003c/em>that respect — Katie Dorame’s paintings recode the structural and ornamental signs of conquest, as embodied by the architecture, interiors and historical narratives of the California missions. Using the sights and shapes of a complex, violent and still resonant tradition, her paintings stage a refusal of that tradition that is stubbornly contemporary.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Artists May Not be Present at di Rosa's 'Body Talk'",
"headTitle": "The Artists May Not be Present at di Rosa’s ‘Body Talk’ | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/body-talk/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Body Talk’\u003c/h2>\n\u003cdiv class=\"event-desc\">A group exhibition of physically-activated spaces and sculptures.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Sept. 27\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">di Rosa\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/body-talk/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Tucked away among vineyards on Napa’s Carneros Highway is \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">di Rosa\u003c/a>, currently presenting \u003cem>\u003ca href=\"http://www.dirosaart.org/body-talk/\" target=\"_blank\" rel=\"noopener\">Body Talk\u003c/a>\u003c/em>, a group show of six emerging Northern California artists and collectives. Performance, the most ephemeral and bodily of visual art practices, activates much of the artwork on view. On Aug. 1, the opening reception for \u003cem>Body Talk\u003c/em> included performances across the exhibition space, and the closing reception on Sept. 26 will again enliven the work. This emphasis on live performance might make visiting the static gallery space feel incomplete, but this tension is worth exploring.\u003c/p>\n\u003cp>Manners’ \u003cem>Basic Edition\u003c/em> (2015) and \u003ca href=\"http://bonanzasf.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Bonanza\u003c/a>’s \u003cem>they know better\u003c/em> (2015), take up entire ceiling-to-floor corners of the space, evoking colorful, minimalist playgrounds. This reference to \u003cem>play\u003c/em> is not incidental; these particular spaces were designed with imaginative physical movement in mind. Curator Amy Owen describes the premise behind \u003cem>Body Talk\u003c/em> as a gathering of artwork that attends to physical movement, including performance, dance and aerobics, in contrast to our digitally-oriented lives. This theme is in response to society’s “disembodied” reliance on technology, in which the act of swiping left might be to the closest to exercise we get.\u003c/p>\n\u003cfigure id=\"attachment_10918769\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10918769\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Manners.jpg\" alt=\"Sophia Wang activates Manners’ 'Basic Edition,' at the opening of 'Body Talk,' Aug. 1, 2015. (Photo: Israel Valencia/di Rosa)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Manners.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Manners-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sophia Wang activates Manners’ ‘Basic Edition,’ at the opening of ‘Body Talk,’ Aug. 1, 2015. (Photo: Israel Valencia/di Rosa)\u003c/figcaption>\u003c/figure>\n\u003cp>In Manners’ corner, hand-drawn gridded paper covers the floor and extends up to the rafters. Scattered yellow cubes and a flat wood sculpture, roughly shaped into a bent human form, stand within the space. Fabric tubes, also gridded, hang from above. Manners is a collaboration between \u003ca href=\"http://www.airspace-sf.com/brontez-purnell-dance-company/\" target=\"_blank\" rel=\"noopener\">Sophia Wang\u003c/a> and \u003ca href=\"http://www.lisarcralle.com/\" target=\"_blank\" rel=\"noopener\">Lisa Rybovich Crallé\u003c/a>, artists who created \u003cem>\u003ca href=\"https://www.facebook.com/HeavyHeavyBreathing?fref=ts\" target=\"_blank\" rel=\"noopener\">Heavy Breathing\u003c/a>\u003c/em>, a series of workshops held across the Bay Area this summer that merge critical theory with fitness classes. This conceptually-linked installation likewise anticipates movement; Wang performed on site at the opening reception. Without access to documentation of that performance, di Rosa visitors are left wondering and imagining what types of dance or exercise could take place here.\u003c/p>\n\u003cp>Across the room, the collective Bonanza (Conrad Guevara, Lindsay Tully and Lana Williams) assembles eclectic sculptural pieces and gel window-coverings to create an unusually serene environment. A teal-tinged skylight illuminates a simple wooden platform, and irregular rectangle-shaped canvases held up by concrete cylinders sit on the floor. Although the exhibition brochure references the malleability of stretching and yoga poses, the peacefulness of this artificial environment holds its own weight.\u003c/p>\n\u003cfigure id=\"attachment_10918856\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10918856\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Bonanza640.jpg\" alt=\"Bonanza, 'they know better' (installation view, detail), 2015. (Photo: Wilfred J. Jones/di Rosa)\" width=\"640\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Bonanza640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Bonanza640-400x263.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bonanza, ‘they know better’ (installation view, detail), 2015. (Photo: Wilfred J. Jones/di Rosa)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Exercising Grill \u003c/em>(2011) by \u003ca href=\"http://www.madslynnerup.com/\" target=\"_blank\" rel=\"noopener\">Mads Lynnerup\u003c/a> similarly merits traditional contemplation on its own aesthetic value, but expects a bodily engagement. The steel structure of squares, rectangles and parallel lines is firmly mounted to the wall. The work is meant to be climbed upon (by commissioned professionals), as demonstrated by nearby video footage. One wonders if this is artistically-designed workout equipment or a vehicle for endurance-based performance. And then, what’s the actual difference between the two?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In contrast to the artwork that might require bodies, \u003ca href=\"http://www.maycwilson.com/\" target=\"_blank\" rel=\"noopener\">May Wilson\u003c/a>’s sculptures playfully create an uncanny liveliness. A fleshy vinyl tube suspends from the rafters in \u003cem>Staunch \u003c/em>(2015), companion to a homely “creature” that stands on three bowed legs. Made of woven pink felt, the torso or head of this apparition slouches forward precariously. One half-expects it to lurch forward with a shuffling gait, or reveal a Muppet-like face underneath the folds.\u003c/p>\n\u003cfigure id=\"attachment_10918857\" class=\"wp-caption alignright\" style=\"max-width: 482px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10918857\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Mads640.jpg\" alt=\"Mads Lynnerup, 'Exercising Grill' (installation view), 2011. (Photo: Wilfred J. Jones/di Rosa. Courtesy Lora Reynolds Gallery)\" width=\"482\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mads640.jpg 482w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mads640-400x531.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mads640-452x600.jpg 452w\" sizes=\"(max-width: 482px) 100vw, 482px\">\u003cfigcaption class=\"wp-caption-text\">Mads Lynnerup, ‘Exercising Grill’ (installation view), 2011. (Photo: Wilfred J. Jones/di Rosa; Courtesy Lora Reynolds Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Work less clearly aligned with the exhibition’s theme is \u003cem>Shoulder Babies\u003c/em> (2015) by Christian and Kevin Nagler. In a single-channel video in a separate screening room, the brothers’ piece documents what seems to be a durational performance alongside a Silicon Valley highway. As an extension of Christian Nagler’s ongoing investigation into capitalist economics through exercise and dance, this piece is particularly difficult to follow. As day turns into night, two figures wearing yellow body suits wander, frolic, dance and discourse opaquely. The conversation that is audible offers little insight into the work. Although perhaps intentionally confusing, the video seems like an instance in which performative work loses its punch through edited documentation.\u003c/p>\n\u003cp>The tricky curatorial task of assembling performance work is highlighted by the complete absence of any trace of \u003ca href=\"http://reneearhodes.com:8080/\" target=\"_blank\" rel=\"noopener\">Renée Rhodes\u003c/a> until the closing reception on Sept. 26. Her forthcoming performance, \u003cem>Visitor Center\u003c/em>, is described as a “workshop and series of site-specific performances.” While hosting a one-time performance in conjunction with an exhibition is common practice, in the context of this exhibition the absence is striking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Throughout \u003cem>Body Talk\u003c/em> is a definite lack of bodies. Even without flesh and blood performers, the clean minimalist aesthetics of Manners and Bonanza trump figurative work, and Wilson’s sculptures are only body-ish. When talking about bodies, how does the absence of actual bodies impact the conversation? \u003cem>Body Talk\u003c/em> is content to leave this question unanswerable, serving more as a sampling of artists who contemplate the temporary, performative and spatial experiences of bodies with restraint. Although much of the artwork stands alone without being activated, it’s clear that witnessing the relevant performances will offer a more enriching experience for viewers.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/body-talk/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Body Talk’\u003c/h2>\n\u003cdiv class=\"event-desc\">A group exhibition of physically-activated spaces and sculptures.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Sept. 27\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">di Rosa\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/body-talk/\" target=\"_blank\" rel=\"noopener\">Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Tucked away among vineyards on Napa’s Carneros Highway is \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">di Rosa\u003c/a>, currently presenting \u003cem>\u003ca href=\"http://www.dirosaart.org/body-talk/\" target=\"_blank\" rel=\"noopener\">Body Talk\u003c/a>\u003c/em>, a group show of six emerging Northern California artists and collectives. Performance, the most ephemeral and bodily of visual art practices, activates much of the artwork on view. On Aug. 1, the opening reception for \u003cem>Body Talk\u003c/em> included performances across the exhibition space, and the closing reception on Sept. 26 will again enliven the work. This emphasis on live performance might make visiting the static gallery space feel incomplete, but this tension is worth exploring.\u003c/p>\n\u003cp>Manners’ \u003cem>Basic Edition\u003c/em> (2015) and \u003ca href=\"http://bonanzasf.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Bonanza\u003c/a>’s \u003cem>they know better\u003c/em> (2015), take up entire ceiling-to-floor corners of the space, evoking colorful, minimalist playgrounds. This reference to \u003cem>play\u003c/em> is not incidental; these particular spaces were designed with imaginative physical movement in mind. Curator Amy Owen describes the premise behind \u003cem>Body Talk\u003c/em> as a gathering of artwork that attends to physical movement, including performance, dance and aerobics, in contrast to our digitally-oriented lives. This theme is in response to society’s “disembodied” reliance on technology, in which the act of swiping left might be to the closest to exercise we get.\u003c/p>\n\u003cfigure id=\"attachment_10918769\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10918769\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Manners.jpg\" alt=\"Sophia Wang activates Manners’ 'Basic Edition,' at the opening of 'Body Talk,' Aug. 1, 2015. (Photo: Israel Valencia/di Rosa)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Manners.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Manners-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sophia Wang activates Manners’ ‘Basic Edition,’ at the opening of ‘Body Talk,’ Aug. 1, 2015. (Photo: Israel Valencia/di Rosa)\u003c/figcaption>\u003c/figure>\n\u003cp>In Manners’ corner, hand-drawn gridded paper covers the floor and extends up to the rafters. Scattered yellow cubes and a flat wood sculpture, roughly shaped into a bent human form, stand within the space. Fabric tubes, also gridded, hang from above. Manners is a collaboration between \u003ca href=\"http://www.airspace-sf.com/brontez-purnell-dance-company/\" target=\"_blank\" rel=\"noopener\">Sophia Wang\u003c/a> and \u003ca href=\"http://www.lisarcralle.com/\" target=\"_blank\" rel=\"noopener\">Lisa Rybovich Crallé\u003c/a>, artists who created \u003cem>\u003ca href=\"https://www.facebook.com/HeavyHeavyBreathing?fref=ts\" target=\"_blank\" rel=\"noopener\">Heavy Breathing\u003c/a>\u003c/em>, a series of workshops held across the Bay Area this summer that merge critical theory with fitness classes. This conceptually-linked installation likewise anticipates movement; Wang performed on site at the opening reception. Without access to documentation of that performance, di Rosa visitors are left wondering and imagining what types of dance or exercise could take place here.\u003c/p>\n\u003cp>Across the room, the collective Bonanza (Conrad Guevara, Lindsay Tully and Lana Williams) assembles eclectic sculptural pieces and gel window-coverings to create an unusually serene environment. A teal-tinged skylight illuminates a simple wooden platform, and irregular rectangle-shaped canvases held up by concrete cylinders sit on the floor. Although the exhibition brochure references the malleability of stretching and yoga poses, the peacefulness of this artificial environment holds its own weight.\u003c/p>\n\u003cfigure id=\"attachment_10918856\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10918856\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Bonanza640.jpg\" alt=\"Bonanza, 'they know better' (installation view, detail), 2015. (Photo: Wilfred J. Jones/di Rosa)\" width=\"640\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Bonanza640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Bonanza640-400x263.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bonanza, ‘they know better’ (installation view, detail), 2015. (Photo: Wilfred J. Jones/di Rosa)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Exercising Grill \u003c/em>(2011) by \u003ca href=\"http://www.madslynnerup.com/\" target=\"_blank\" rel=\"noopener\">Mads Lynnerup\u003c/a> similarly merits traditional contemplation on its own aesthetic value, but expects a bodily engagement. The steel structure of squares, rectangles and parallel lines is firmly mounted to the wall. The work is meant to be climbed upon (by commissioned professionals), as demonstrated by nearby video footage. One wonders if this is artistically-designed workout equipment or a vehicle for endurance-based performance. And then, what’s the actual difference between the two?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In contrast to the artwork that might require bodies, \u003ca href=\"http://www.maycwilson.com/\" target=\"_blank\" rel=\"noopener\">May Wilson\u003c/a>’s sculptures playfully create an uncanny liveliness. A fleshy vinyl tube suspends from the rafters in \u003cem>Staunch \u003c/em>(2015), companion to a homely “creature” that stands on three bowed legs. Made of woven pink felt, the torso or head of this apparition slouches forward precariously. One half-expects it to lurch forward with a shuffling gait, or reveal a Muppet-like face underneath the folds.\u003c/p>\n\u003cfigure id=\"attachment_10918857\" class=\"wp-caption alignright\" style=\"max-width: 482px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10918857\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Mads640.jpg\" alt=\"Mads Lynnerup, 'Exercising Grill' (installation view), 2011. (Photo: Wilfred J. Jones/di Rosa. Courtesy Lora Reynolds Gallery)\" width=\"482\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mads640.jpg 482w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mads640-400x531.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mads640-452x600.jpg 452w\" sizes=\"(max-width: 482px) 100vw, 482px\">\u003cfigcaption class=\"wp-caption-text\">Mads Lynnerup, ‘Exercising Grill’ (installation view), 2011. (Photo: Wilfred J. Jones/di Rosa; Courtesy Lora Reynolds Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Work less clearly aligned with the exhibition’s theme is \u003cem>Shoulder Babies\u003c/em> (2015) by Christian and Kevin Nagler. In a single-channel video in a separate screening room, the brothers’ piece documents what seems to be a durational performance alongside a Silicon Valley highway. As an extension of Christian Nagler’s ongoing investigation into capitalist economics through exercise and dance, this piece is particularly difficult to follow. As day turns into night, two figures wearing yellow body suits wander, frolic, dance and discourse opaquely. The conversation that is audible offers little insight into the work. Although perhaps intentionally confusing, the video seems like an instance in which performative work loses its punch through edited documentation.\u003c/p>\n\u003cp>The tricky curatorial task of assembling performance work is highlighted by the complete absence of any trace of \u003ca href=\"http://reneearhodes.com:8080/\" target=\"_blank\" rel=\"noopener\">Renée Rhodes\u003c/a> until the closing reception on Sept. 26. Her forthcoming performance, \u003cem>Visitor Center\u003c/em>, is described as a “workshop and series of site-specific performances.” While hosting a one-time performance in conjunction with an exhibition is common practice, in the context of this exhibition the absence is striking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Throughout \u003cem>Body Talk\u003c/em> is a definite lack of bodies. Even without flesh and blood performers, the clean minimalist aesthetics of Manners and Bonanza trump figurative work, and Wilson’s sculptures are only body-ish. When talking about bodies, how does the absence of actual bodies impact the conversation? \u003cem>Body Talk\u003c/em> is content to leave this question unanswerable, serving more as a sampling of artists who contemplate the temporary, performative and spatial experiences of bodies with restraint. Although much of the artwork stands alone without being activated, it’s clear that witnessing the relevant performances will offer a more enriching experience for viewers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "fearing-loss-of-space-precita-eyes-tries-to-dissuade-prospective-buyers",
"title": "Fearing Loss of Space, Precita Eyes Tries to Discourage Prospective Buyers",
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"content": "\u003cp>\u003ca href=\"http://www.precitaeyes.org/index.html\" target=\"_blank\" rel=\"noopener\">Precita Eyes\u003c/a>, a 38-year-old mural arts nonprofit in San Francisco, hosted a combination free toddler art class and rally against the speculative real estate market Tuesday afternoon.\u003c/p>\n\u003cp>As toddlers covered in tempera paint plastered their hand prints all over sheets of paper, community members surrounded the building holding their own pieces of paper, printed with the message, “Please do not BUY this building!! This is a community space!”\u003c/p>\n\u003cfigure id=\"attachment_10917591\" class=\"wp-caption alignright\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917591\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/PEWindow.jpg\" alt=\"Sign in Precita Eyes' window at 348 Precita Ave. (Photo: Sarah Hotchkiss/KQED)\" width=\"478\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEWindow.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEWindow-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEWindow-448x600.jpg 448w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003cfigcaption class=\"wp-caption-text\">Sign in Precita Eyes’ window at 348 Precita Ave. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The organization staged the protest after landlords posted a brand-new “FOR SALE” sign on the studio center’s exterior the week before. Though Precita Eyes owns its arts and visitors center at 2981 24th St, they have rented the 348 Precita Ave space since 1977.\u003c/p>\n\u003cp>While impending doom lingers in the air, the building’s residents are not without hope. The \u003ca href=\"http://medasf.org/\" target=\"_blank\" rel=\"noopener\">Mission Economic Development Agency\u003c/a> (MEDA), with advice from the \u003ca href=\"http://www.sfclt.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Land Trust\u003c/a> (SFCLT), plans to make a bid on the property, which, if successful, will safeguard Precita Eyes and the residential tenants against eviction by forming a cooperative.\u003c/p>\n\u003cp>“MEDA is in touch with property owners and they’ve said verbally that they will consider our bid,” said Jean Yaste, an SFCLT board member present at Tuesday’s rally. The property, located at the corner of Precita and Treat Aves, is listed at $995,000 and comprises three residential units in addition to Precita Eyes’ storefront space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tuesday’s event was timed to coincide with real estate agent Chris Ferringo’s open house hours for interested bidders.\u003c/p>\n\u003cfigure id=\"attachment_10917593\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917593\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/PEKids.jpg\" alt=\"Neighborhood children at Tuesday's free arts class. (Photo: Sarah \" width=\"640\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEKids.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEKids-400x299.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Neighborhood children at Tuesday’s free arts class. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“We and the tenants upstairs have chosen to be present during the open house and do what we do,” said Precita Eyes volunteer Nancy Hernandez. “We teach kids how to paint, and so that’s what we’re doing.”\u003c/p>\n\u003cp>The property will sell — that’s undisputed — but Tuesday’s event was an attempt to impart upon potential bidders Precita Eyes’ significance in the community and the damage real estate speculation can have on longstanding arts organizations.\u003c/p>\n\u003cp>“People say that this is a class war, but I disagree with that. I think it’s a war about being classy. And it’s really not classy to use your economic privilege in a brutal means to enact a violent act on someone by taking away their home,” said Yaste.\u003c/p>\n\u003cfigure id=\"attachment_10917594\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917594\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/PEOpen.jpg\" alt='A Precita Eyes volunteer creates a sign reading, \"Keep our eyes open.\" (Photo: Sarah Hotchkiss/KQED)' width=\"640\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEOpen.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEOpen-400x299.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A Precita Eyes volunteer creates a sign reading, “Keep our eyes open.” (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Fran Taylor, a neighbor of 40 years, greeted prospective bidders at the building’s steps to tell them about Precita Eyes and the plan for MEDA’s bid.\u003c/p>\n\u003cp>“I just see the rapacious, vulture-like bidding on people’s homes as if it’s a widget and not where people live or where there’s a community space as destroying the community,” she said. “We’re discouraging the bidding wars that will put it out of [MEDA’s] reach by telling people that they’re not wanted as over bidders or speculators.”\u003c/p>\n\u003cp>Time will tell if this rally will have any effect; a steady stream of open house attendees climbed the stairs to the residential units in just the first hour of the open house. But many also stayed to chat with sign-holding protesters and reporters, talking over the particulars of what made this property attractive to them as an investment, sometimes telling their own stories of displacement.\u003c/p>\n\u003cp>“We’re doing whatever we can to get information out to folks, and especially the buyers, to make them aware of the space they’re looking to buy and how important that is to the community. At least we’re trying to create that dialogue,” said Eric Arguello of \u003ca href=\"http://calle24sf.org/en/\" target=\"_blank\" rel=\"noopener\">Calle 24\u003c/a>, the Mission’s Latino cultural district.\u003c/p>\n\u003cp>For Precita Eyes, dialogue is not enough.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Although the real estate agents are saying that this space is available, the community is asserting that this space is not available for sale. This space has been used as a center to teach art to young people for over 30 years and we intend to stay here,” Hernandez said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.precitaeyes.org/index.html\" target=\"_blank\" rel=\"noopener\">Precita Eyes\u003c/a>, a 38-year-old mural arts nonprofit in San Francisco, hosted a combination free toddler art class and rally against the speculative real estate market Tuesday afternoon.\u003c/p>\n\u003cp>As toddlers covered in tempera paint plastered their hand prints all over sheets of paper, community members surrounded the building holding their own pieces of paper, printed with the message, “Please do not BUY this building!! This is a community space!”\u003c/p>\n\u003cfigure id=\"attachment_10917591\" class=\"wp-caption alignright\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917591\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/PEWindow.jpg\" alt=\"Sign in Precita Eyes' window at 348 Precita Ave. (Photo: Sarah Hotchkiss/KQED)\" width=\"478\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEWindow.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEWindow-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEWindow-448x600.jpg 448w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003cfigcaption class=\"wp-caption-text\">Sign in Precita Eyes’ window at 348 Precita Ave. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The organization staged the protest after landlords posted a brand-new “FOR SALE” sign on the studio center’s exterior the week before. Though Precita Eyes owns its arts and visitors center at 2981 24th St, they have rented the 348 Precita Ave space since 1977.\u003c/p>\n\u003cp>While impending doom lingers in the air, the building’s residents are not without hope. The \u003ca href=\"http://medasf.org/\" target=\"_blank\" rel=\"noopener\">Mission Economic Development Agency\u003c/a> (MEDA), with advice from the \u003ca href=\"http://www.sfclt.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Land Trust\u003c/a> (SFCLT), plans to make a bid on the property, which, if successful, will safeguard Precita Eyes and the residential tenants against eviction by forming a cooperative.\u003c/p>\n\u003cp>“MEDA is in touch with property owners and they’ve said verbally that they will consider our bid,” said Jean Yaste, an SFCLT board member present at Tuesday’s rally. The property, located at the corner of Precita and Treat Aves, is listed at $995,000 and comprises three residential units in addition to Precita Eyes’ storefront space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tuesday’s event was timed to coincide with real estate agent Chris Ferringo’s open house hours for interested bidders.\u003c/p>\n\u003cfigure id=\"attachment_10917593\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917593\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/PEKids.jpg\" alt=\"Neighborhood children at Tuesday's free arts class. (Photo: Sarah \" width=\"640\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEKids.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEKids-400x299.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Neighborhood children at Tuesday’s free arts class. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“We and the tenants upstairs have chosen to be present during the open house and do what we do,” said Precita Eyes volunteer Nancy Hernandez. “We teach kids how to paint, and so that’s what we’re doing.”\u003c/p>\n\u003cp>The property will sell — that’s undisputed — but Tuesday’s event was an attempt to impart upon potential bidders Precita Eyes’ significance in the community and the damage real estate speculation can have on longstanding arts organizations.\u003c/p>\n\u003cp>“People say that this is a class war, but I disagree with that. I think it’s a war about being classy. And it’s really not classy to use your economic privilege in a brutal means to enact a violent act on someone by taking away their home,” said Yaste.\u003c/p>\n\u003cfigure id=\"attachment_10917594\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917594\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/PEOpen.jpg\" alt='A Precita Eyes volunteer creates a sign reading, \"Keep our eyes open.\" (Photo: Sarah Hotchkiss/KQED)' width=\"640\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEOpen.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEOpen-400x299.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A Precita Eyes volunteer creates a sign reading, “Keep our eyes open.” (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Fran Taylor, a neighbor of 40 years, greeted prospective bidders at the building’s steps to tell them about Precita Eyes and the plan for MEDA’s bid.\u003c/p>\n\u003cp>“I just see the rapacious, vulture-like bidding on people’s homes as if it’s a widget and not where people live or where there’s a community space as destroying the community,” she said. “We’re discouraging the bidding wars that will put it out of [MEDA’s] reach by telling people that they’re not wanted as over bidders or speculators.”\u003c/p>\n\u003cp>Time will tell if this rally will have any effect; a steady stream of open house attendees climbed the stairs to the residential units in just the first hour of the open house. But many also stayed to chat with sign-holding protesters and reporters, talking over the particulars of what made this property attractive to them as an investment, sometimes telling their own stories of displacement.\u003c/p>\n\u003cp>“We’re doing whatever we can to get information out to folks, and especially the buyers, to make them aware of the space they’re looking to buy and how important that is to the community. At least we’re trying to create that dialogue,” said Eric Arguello of \u003ca href=\"http://calle24sf.org/en/\" target=\"_blank\" rel=\"noopener\">Calle 24\u003c/a>, the Mission’s Latino cultural district.\u003c/p>\n\u003cp>For Precita Eyes, dialogue is not enough.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Although the real estate agents are saying that this space is available, the community is asserting that this space is not available for sale. This space has been used as a center to teach art to young people for over 30 years and we intend to stay here,” Hernandez said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cant-see-the-leaves-change-here-are-bay-area-art-exhibits-for-fall",
"title": "Instead of Changing Leaves, Peep Eight Bay Area Art Shows this Fall",
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"content": "\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10915302\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Fall, a season experienced in other climates as crisp weather, woolly sweaters, crunchy leaves and autumnally-appropriate spiced drinks. Here in the Bay Area, September is much the same as August, except with more exciting visual art events on the calendar and a slight spike in temperatures.\u003c/p>\n\u003cp>Don’t know where to start for a healthy dose of excellent art? Here are eight suggestions for not-to-miss exhibitions, installations, public art projects and blink-and-you’ll-miss-them shows in venues around the Bay Area that vary from major museums to tiny galleries.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915748\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10915748\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/0224-Untitled-Fold-Tauba-Auerbach-large-400x526.jpg\" alt=\"Tauba Auerbach, 'Untitled (Fold),' 2010. (Photo: the artist)\" width=\"400\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/0224-Untitled-Fold-Tauba-Auerbach-large-400x526.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/0224-Untitled-Fold-Tauba-Auerbach-large-456x600.jpg 456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/0224-Untitled-Fold-Tauba-Auerbach-large-897x1180.jpg 897w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/0224-Untitled-Fold-Tauba-Auerbach-large-960x1262.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/0224-Untitled-Fold-Tauba-Auerbach-large.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Tauba Auerbach, ‘Untitled (Fold),’ 2010. (Photo courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Constructive Interference: Tauba Auerbach and Mark Fox\u003c/em>\u003c/h3>\n\u003ch5>\u003ca href=\"http://anderson.stanford.edu/exhibitions-programs/upcoming-exhibitions/#constructive\" target=\"_blank\" rel=\"noopener\">Anderson Collection at Stanford University\u003c/a>\u003cbr>\nSept. 9, 2015 – March 21, 2016\u003c/h5>\n\u003cp>Stanford has not one but four — count ’em — \u003cem>four\u003c/em> exhibitions opening on Sept. 9. At the Cantor Arts Center, \u003cem>Richard Diebenkorn: The Sketchbooks Revealed\u003c/em> presents 29 of the artist’s sketchbooks (along with digital versions on touchscreen kiosks) alongside \u003cem>Edward Hopper: New York Corner\u003c/em>, a recently-acquired work by an artist who influenced the young Diebenkorn when he studied at Stanford as an undergrad. And complementing the sketchbook theme is \u003cem>Artists at Work\u003c/em>, a show that promise to “demystify” the artistic process. But what I’m most excited about is an exhibition at the Anderson Collection. \u003cem>Constructive Interference: Tauba Auerbach and Mark Fox\u003c/em> presents the work of two Stanford alums playing with material choices and optical effects across painting, sculpture and printmaking.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915745\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10915745\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Quilts_005_lo-res-400x266.jpg\" alt=\"Pieced by Rosie Lee Tompkins, quilted by Irene Bankhead, 'Black yo-yo's on green hanging (Stevie).' (Photo by Terry Lorant/OMCA)\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Quilts_005_lo-res-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Quilts_005_lo-res-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Quilts_005_lo-res.jpg 896w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Pieced by Rosie Lee Tompkins, quilted by Irene Bankhead, ‘Black yo-yo’s on green hanging (Stevie).’ (Photo by Terry Lorant/OMCA)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Yo-Yos & Half Squares: Contemporary California Quilts\u003c/em>\u003c/h3>\n\u003ch5>\u003ca href=\"http://museumca.org/exhibit/yo-yos-half-squares-contemporary-california-quilts\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a>\u003cbr>\nSept. 12, 2015 – Feb. 21, 2016\u003c/h5>\n\u003cp>OMCA starts the fall season with the work of five Bay Area female quilters, showing 20 quilts from the late 1980s to the early 2000s. Seeking orderly patterns and demure fabrics in your textiles? This show is not for you. Working with full denim pant legs, velvet and glittery polyester, Angie Tobias, Arbie Williams, Mattie Pickett, Rosie Lee Tompkins and Sherry Byrd make the time-consuming process of quilting look impromptu and exuberant.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915742\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10915742\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Enlargement_Balkin-400x419.jpg\" alt=\"Amy Balkin, 'Public Smog,' ongoing. (Photo: Mills College Art Museum)\" width=\"400\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Enlargement_Balkin-400x419.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Enlargement_Balkin-572x600.jpg 572w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Enlargement_Balkin.jpg 620w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, ‘Public Smog,’ ongoing. (Photo courtesy of Mills College Art Museum)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Public Works: Artists’ Interventions 1970s – Now\u003c/em>\u003c/h3>\n\u003ch5>\u003ca href=\"http://mcam.mills.edu/exhibitions/upcoming.php#upcex5\" target=\"_blank\" rel=\"noopener\">Mills College Art Museum\u003c/a>\u003cbr>\nSept. 16 – Dec. 13, 2015\u003c/h5>\n\u003cp>A collaboration between the Mills College Art Museum and San Francisco nonprofit Southern Exposure that was curated by Christian L. Frock and Tanya Zimbardo, \u003ci>Public Works: Artists’ Interventions 1970s – Now\u003c/i> brings together a group of female artists working in the public realm. Believing not all public art is monumental and not all monumental art is truly impactful, \u003cem>Public Works\u003c/em> focuses on temporary interventions online and in the urban environment. The list of participating artists — too lengthy to mention here — is an impressive one, including off-site commissions by Constance Hockaday and Jenifer K. Wofford. The exhibition spans media and generations, documenting the important projects that occupy space in the world, merging politics and social commentary with everyday life.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915739\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10915739\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/tumblr_nqdsdmffSH1uxguydo4_1280-400x323.jpg\" alt=\"Jenny Odell, 'ITEM 048: bicentennial Seven-Up cans' from 'The Bureau of Suspended Objects.' (Photo by Jenny Odell)\" width=\"400\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/tumblr_nqdsdmffSH1uxguydo4_1280-400x323.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/tumblr_nqdsdmffSH1uxguydo4_1280-742x600.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/tumblr_nqdsdmffSH1uxguydo4_1280-1180x954.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/tumblr_nqdsdmffSH1uxguydo4_1280-960x776.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/tumblr_nqdsdmffSH1uxguydo4_1280.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jenny Odell, ‘ITEM 048: bicentennial Seven-Up cans’ from ‘The Bureau of Suspended Objects.’ (Photo by Jenny Odell)\u003c/figcaption>\u003c/figure>\n\u003ch3>Recology Artist in Residence Exhibitions: Jenny Odell, Chris Sollars and Roger Ourthiage Jr.\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.sfrecycling.com/index.php/next-art-exhibition\" target=\"_blank\" rel=\"noopener\">Recology San Francisco\u003c/a>\u003cbr>\nSept. 18, 19 and 22, 2015 (see \u003ca href=\"http://www.sfrecycling.com/index.php/next-art-exhibition\" target=\"_blank\" rel=\"noopener\">website\u003c/a> for hours)\u003c/h5>\n\u003cp>After four months of scavenging materials from the Recology dump, resident artists Jenny Odell, Chris Sollars and student artist Roger Ourthiage Jr. present three solo exhibitions over the course of one weekend. Odell’s \u003cem>The Bureau of Suspended Objects\u003c/em>, a fictional archive of things once used, now discarded, includes scanable QR codes, collages and information gathered by the artist on each object. For Sollars’ \u003cem>Castaways\u003c/em>, scavenged material becomes props and backdrops for video works, with the artist acting as playful protagonist. And Ourthiage’s \u003cem>Weight of it All\u003c/em> focuses on the dump’s evidence of unhealthy and obsessive habits, the material for a sculptural installation.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915746\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10915746 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/67b2c5a4506f3a4d-_DSC4743-sm-400x266.jpg\" alt=\"Tamra Seal, 'Future Color, 2014. (Photo by the artist)\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/67b2c5a4506f3a4d-_DSC4743-sm-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/67b2c5a4506f3a4d-_DSC4743-sm-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/67b2c5a4506f3a4d-_DSC4743-sm-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/67b2c5a4506f3a4d-_DSC4743-sm.jpg 1024w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Tamra Seal, ‘Future Color, 2014. (Photo by the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>2 x 2 Solos\u003c/em>: Leah Rosenberg\u003cbr>\n\u003cem>2 x 2 Solos: \u003c/em>Tamra Seal\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.proartsgallery.org/exhibitions/upcoming.php\" target=\"_blank\" rel=\"noopener\">Pro Arts\u003c/a>\u003cbr>\nSept. 29 – Nov. 13, 2015\u003c/h5>\n\u003cp>Two for the price of one! Even though Pro Arts doesn’t charge admission, this is still a great deal. The \u003cem>2 x 2 Solos\u003c/em> program, if you’re unfamiliar with it, pairs an emerging Bay Area artist with an emerging Bay Area curator and provides a real — not token — stipend, for the realization of new work. (The current \u003cem>2 x 2\u003c/em> pairing, Samuel Levi Jones and Sofía Córdova is also worth seeing, but doesn’t quite fit the timeframe this fall arts guide). Things to expect from Rosenberg and Seal: pure, unabashed love of color; meditations on time and process; and an inventive use of materials, be they cleverly-combined foodstuffs or luminous plastics.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915750\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10915750\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/p1140048-400x300.jpg\" alt=\"Maria Guzman Capron, 'Beverage Cart' (detail), 2015. (Photo: the artist)\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/p1140048-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/p1140048-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/p1140048-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/p1140048-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/p1140048.jpg 1420w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Maria Guzman Capron, ‘Beverage Cart’ (detail), 2015. (Photo by the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Maria Guzman Capron\u003c/h3>\n\u003ch5>\u003ca href=\"http://citylimitsgallery.com/exhibitions/mariaguzmancapron/\" target=\"_blank\" rel=\"noopener\">City Limits Gallery\u003c/a>\u003cbr>\nOct. 2 – Nov. 7, 2015\u003c/h5>\n\u003cp>After seeing bits and pieces of Maria Guzman Capron’s work at the 2015 CCA MFA thesis show, I’m looking forward to an entire room of her fabric, ceramic and sculptural work without the distractions that accompany a gigantic group show. At CCA, her work resembled brightly-painted set pieces from an absurdist variety show. There were live plants in ceramic pineapple pots with Mr. Potato Head features, four-inch glossy black platform sandals, painted textiles made out of garish patterns and a wall drawing of a giant cat woman wearing fishnet stockings. Even more of this weirdness? Yes, please.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915744\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10915744\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/cardiff_forty_part_motet-400x261.jpg\" alt=\"Janet Cardiff, 'The Forty Part Motet' installed at MoMA PS1 (detail), 2001. (Photo: Courtesy Janet Cardiff and MoMA PS1)\" width=\"400\" height=\"261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/cardiff_forty_part_motet-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/cardiff_forty_part_motet.jpg 690w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Janet Cardiff, ‘The Forty Part Motet’ installed at MoMA PS1 (detail), 2001. (Photo courtesy of Janet Cardiff and MoMA PS1)\u003c/figcaption>\u003c/figure>\n\u003ch3>Janet Cardiff: \u003cem>The Forty Part Motet\u003c/em>\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/608\" target=\"_blank\" rel=\"noopener\">Gallery 308, Fort Mason Center\u003c/a>\u003cbr>\nNov. 14, 2015 – Jan. 18, 2016\u003c/h5>\n\u003cp>Sound art isn’t the most visually compelling work — Janet Cardiff’s \u003cem>Forty Part Motet\u003c/em> will always be just an oval arrangement of 40 black speakers on stands — but in this instance, the piece’s visual simplicity narrows all focus to the physical and emotional qualities of sound. And this focus, according to reports from previous installations of Cardiff’s “masterwork,” can move the listener to tears. The installation, organized by SFMOMA and on loan from local video and media art collectors, will occupy a historic space at Fort Mason Center with its ghostly voices. Each speaker projects the voice of one member of the Salisbury Cathedral Choir performing a 16th century choral composition \u003cem>Spem in Alium Nunquam Habui\u003c/em>, which translates as “In No Other is My Hope.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915743\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10915743\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/294-400x300.jpg\" alt=\"Jim Campbell, 'Home Movies, Pause (David),' 2014. (Photo courtesy of Hosfelt Gallery)\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/294-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/294.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jim Campbell, ‘Home Movies, Pause (David),’ 2014. (Photo courtesy of Hosfelt Gallery)\u003c/figcaption>\u003c/figure>\n\u003ch3>Jim Campbell: New Work\u003c/h3>\n\u003ch5>\u003ca href=\"http://sjica.org/detail.html?eid=1121\" target=\"_blank\" rel=\"noopener\">San Jose Institute of Contemporary Art\u003c/a>\u003cbr>\nNov. 15, 2015 – Feb. 13, 2016\u003c/h5>\n\u003cp>In a reaction to the pursuit of ever-higher definition screens and crystal-clear resolution, local media artist Jim Campbell uses technology to render images fuzzy, low-res and as malleable as human memory. Known for his grids of LEDs and custom electronics, he has created new work for the San Jose ICA that moves beyond the flat screen towards three-dimensional sculpture. Challenging viewers to parse subject and meaning from difficult to see images, he returns the rigor to art viewing and visual perception. Campbell harnesses technology and makes it both accessible and fascinating, rather than the alienating suspicion we have come to expect from innovation.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Instead of Changing Leaves, Peep Eight Bay Area Art Shows this Fall | KQED",
"description": "Eight suggestions for not-to-miss exhibitions, installations and projects around the Bay Area.",
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"headline": "Instead of Changing Leaves, Peep Eight Bay Area Art Shows this Fall",
"datePublished": "2015-08-25T12:00:50-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://kqed.org/fallarts\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10915302\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-400x400.png\" alt=\"FallArtsPreview-2015-400x400-2\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FallArtsPreview-2015-400x400-2-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Fall, a season experienced in other climates as crisp weather, woolly sweaters, crunchy leaves and autumnally-appropriate spiced drinks. Here in the Bay Area, September is much the same as August, except with more exciting visual art events on the calendar and a slight spike in temperatures.\u003c/p>\n\u003cp>Don’t know where to start for a healthy dose of excellent art? Here are eight suggestions for not-to-miss exhibitions, installations, public art projects and blink-and-you’ll-miss-them shows in venues around the Bay Area that vary from major museums to tiny galleries.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915748\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10915748\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/0224-Untitled-Fold-Tauba-Auerbach-large-400x526.jpg\" alt=\"Tauba Auerbach, 'Untitled (Fold),' 2010. (Photo: the artist)\" width=\"400\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/0224-Untitled-Fold-Tauba-Auerbach-large-400x526.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/0224-Untitled-Fold-Tauba-Auerbach-large-456x600.jpg 456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/0224-Untitled-Fold-Tauba-Auerbach-large-897x1180.jpg 897w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/0224-Untitled-Fold-Tauba-Auerbach-large-960x1262.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/0224-Untitled-Fold-Tauba-Auerbach-large.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Tauba Auerbach, ‘Untitled (Fold),’ 2010. (Photo courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Constructive Interference: Tauba Auerbach and Mark Fox\u003c/em>\u003c/h3>\n\u003ch5>\u003ca href=\"http://anderson.stanford.edu/exhibitions-programs/upcoming-exhibitions/#constructive\" target=\"_blank\" rel=\"noopener\">Anderson Collection at Stanford University\u003c/a>\u003cbr>\nSept. 9, 2015 – March 21, 2016\u003c/h5>\n\u003cp>Stanford has not one but four — count ’em — \u003cem>four\u003c/em> exhibitions opening on Sept. 9. At the Cantor Arts Center, \u003cem>Richard Diebenkorn: The Sketchbooks Revealed\u003c/em> presents 29 of the artist’s sketchbooks (along with digital versions on touchscreen kiosks) alongside \u003cem>Edward Hopper: New York Corner\u003c/em>, a recently-acquired work by an artist who influenced the young Diebenkorn when he studied at Stanford as an undergrad. And complementing the sketchbook theme is \u003cem>Artists at Work\u003c/em>, a show that promise to “demystify” the artistic process. But what I’m most excited about is an exhibition at the Anderson Collection. \u003cem>Constructive Interference: Tauba Auerbach and Mark Fox\u003c/em> presents the work of two Stanford alums playing with material choices and optical effects across painting, sculpture and printmaking.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915745\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10915745\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Quilts_005_lo-res-400x266.jpg\" alt=\"Pieced by Rosie Lee Tompkins, quilted by Irene Bankhead, 'Black yo-yo's on green hanging (Stevie).' (Photo by Terry Lorant/OMCA)\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Quilts_005_lo-res-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Quilts_005_lo-res-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Quilts_005_lo-res.jpg 896w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Pieced by Rosie Lee Tompkins, quilted by Irene Bankhead, ‘Black yo-yo’s on green hanging (Stevie).’ (Photo by Terry Lorant/OMCA)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Yo-Yos & Half Squares: Contemporary California Quilts\u003c/em>\u003c/h3>\n\u003ch5>\u003ca href=\"http://museumca.org/exhibit/yo-yos-half-squares-contemporary-california-quilts\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a>\u003cbr>\nSept. 12, 2015 – Feb. 21, 2016\u003c/h5>\n\u003cp>OMCA starts the fall season with the work of five Bay Area female quilters, showing 20 quilts from the late 1980s to the early 2000s. Seeking orderly patterns and demure fabrics in your textiles? This show is not for you. Working with full denim pant legs, velvet and glittery polyester, Angie Tobias, Arbie Williams, Mattie Pickett, Rosie Lee Tompkins and Sherry Byrd make the time-consuming process of quilting look impromptu and exuberant.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915742\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10915742\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Enlargement_Balkin-400x419.jpg\" alt=\"Amy Balkin, 'Public Smog,' ongoing. (Photo: Mills College Art Museum)\" width=\"400\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Enlargement_Balkin-400x419.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Enlargement_Balkin-572x600.jpg 572w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Enlargement_Balkin.jpg 620w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, ‘Public Smog,’ ongoing. (Photo courtesy of Mills College Art Museum)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Public Works: Artists’ Interventions 1970s – Now\u003c/em>\u003c/h3>\n\u003ch5>\u003ca href=\"http://mcam.mills.edu/exhibitions/upcoming.php#upcex5\" target=\"_blank\" rel=\"noopener\">Mills College Art Museum\u003c/a>\u003cbr>\nSept. 16 – Dec. 13, 2015\u003c/h5>\n\u003cp>A collaboration between the Mills College Art Museum and San Francisco nonprofit Southern Exposure that was curated by Christian L. Frock and Tanya Zimbardo, \u003ci>Public Works: Artists’ Interventions 1970s – Now\u003c/i> brings together a group of female artists working in the public realm. Believing not all public art is monumental and not all monumental art is truly impactful, \u003cem>Public Works\u003c/em> focuses on temporary interventions online and in the urban environment. The list of participating artists — too lengthy to mention here — is an impressive one, including off-site commissions by Constance Hockaday and Jenifer K. Wofford. The exhibition spans media and generations, documenting the important projects that occupy space in the world, merging politics and social commentary with everyday life.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915739\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10915739\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/tumblr_nqdsdmffSH1uxguydo4_1280-400x323.jpg\" alt=\"Jenny Odell, 'ITEM 048: bicentennial Seven-Up cans' from 'The Bureau of Suspended Objects.' (Photo by Jenny Odell)\" width=\"400\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/tumblr_nqdsdmffSH1uxguydo4_1280-400x323.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/tumblr_nqdsdmffSH1uxguydo4_1280-742x600.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/tumblr_nqdsdmffSH1uxguydo4_1280-1180x954.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/tumblr_nqdsdmffSH1uxguydo4_1280-960x776.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/tumblr_nqdsdmffSH1uxguydo4_1280.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jenny Odell, ‘ITEM 048: bicentennial Seven-Up cans’ from ‘The Bureau of Suspended Objects.’ (Photo by Jenny Odell)\u003c/figcaption>\u003c/figure>\n\u003ch3>Recology Artist in Residence Exhibitions: Jenny Odell, Chris Sollars and Roger Ourthiage Jr.\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.sfrecycling.com/index.php/next-art-exhibition\" target=\"_blank\" rel=\"noopener\">Recology San Francisco\u003c/a>\u003cbr>\nSept. 18, 19 and 22, 2015 (see \u003ca href=\"http://www.sfrecycling.com/index.php/next-art-exhibition\" target=\"_blank\" rel=\"noopener\">website\u003c/a> for hours)\u003c/h5>\n\u003cp>After four months of scavenging materials from the Recology dump, resident artists Jenny Odell, Chris Sollars and student artist Roger Ourthiage Jr. present three solo exhibitions over the course of one weekend. Odell’s \u003cem>The Bureau of Suspended Objects\u003c/em>, a fictional archive of things once used, now discarded, includes scanable QR codes, collages and information gathered by the artist on each object. For Sollars’ \u003cem>Castaways\u003c/em>, scavenged material becomes props and backdrops for video works, with the artist acting as playful protagonist. And Ourthiage’s \u003cem>Weight of it All\u003c/em> focuses on the dump’s evidence of unhealthy and obsessive habits, the material for a sculptural installation.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915746\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10915746 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/67b2c5a4506f3a4d-_DSC4743-sm-400x266.jpg\" alt=\"Tamra Seal, 'Future Color, 2014. (Photo by the artist)\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/67b2c5a4506f3a4d-_DSC4743-sm-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/67b2c5a4506f3a4d-_DSC4743-sm-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/67b2c5a4506f3a4d-_DSC4743-sm-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/67b2c5a4506f3a4d-_DSC4743-sm.jpg 1024w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Tamra Seal, ‘Future Color, 2014. (Photo by the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>2 x 2 Solos\u003c/em>: Leah Rosenberg\u003cbr>\n\u003cem>2 x 2 Solos: \u003c/em>Tamra Seal\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.proartsgallery.org/exhibitions/upcoming.php\" target=\"_blank\" rel=\"noopener\">Pro Arts\u003c/a>\u003cbr>\nSept. 29 – Nov. 13, 2015\u003c/h5>\n\u003cp>Two for the price of one! Even though Pro Arts doesn’t charge admission, this is still a great deal. The \u003cem>2 x 2 Solos\u003c/em> program, if you’re unfamiliar with it, pairs an emerging Bay Area artist with an emerging Bay Area curator and provides a real — not token — stipend, for the realization of new work. (The current \u003cem>2 x 2\u003c/em> pairing, Samuel Levi Jones and Sofía Córdova is also worth seeing, but doesn’t quite fit the timeframe this fall arts guide). Things to expect from Rosenberg and Seal: pure, unabashed love of color; meditations on time and process; and an inventive use of materials, be they cleverly-combined foodstuffs or luminous plastics.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915750\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10915750\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/p1140048-400x300.jpg\" alt=\"Maria Guzman Capron, 'Beverage Cart' (detail), 2015. (Photo: the artist)\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/p1140048-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/p1140048-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/p1140048-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/p1140048-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/p1140048.jpg 1420w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Maria Guzman Capron, ‘Beverage Cart’ (detail), 2015. (Photo by the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Maria Guzman Capron\u003c/h3>\n\u003ch5>\u003ca href=\"http://citylimitsgallery.com/exhibitions/mariaguzmancapron/\" target=\"_blank\" rel=\"noopener\">City Limits Gallery\u003c/a>\u003cbr>\nOct. 2 – Nov. 7, 2015\u003c/h5>\n\u003cp>After seeing bits and pieces of Maria Guzman Capron’s work at the 2015 CCA MFA thesis show, I’m looking forward to an entire room of her fabric, ceramic and sculptural work without the distractions that accompany a gigantic group show. At CCA, her work resembled brightly-painted set pieces from an absurdist variety show. There were live plants in ceramic pineapple pots with Mr. Potato Head features, four-inch glossy black platform sandals, painted textiles made out of garish patterns and a wall drawing of a giant cat woman wearing fishnet stockings. Even more of this weirdness? Yes, please.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915744\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10915744\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/cardiff_forty_part_motet-400x261.jpg\" alt=\"Janet Cardiff, 'The Forty Part Motet' installed at MoMA PS1 (detail), 2001. (Photo: Courtesy Janet Cardiff and MoMA PS1)\" width=\"400\" height=\"261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/cardiff_forty_part_motet-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/cardiff_forty_part_motet.jpg 690w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Janet Cardiff, ‘The Forty Part Motet’ installed at MoMA PS1 (detail), 2001. (Photo courtesy of Janet Cardiff and MoMA PS1)\u003c/figcaption>\u003c/figure>\n\u003ch3>Janet Cardiff: \u003cem>The Forty Part Motet\u003c/em>\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/608\" target=\"_blank\" rel=\"noopener\">Gallery 308, Fort Mason Center\u003c/a>\u003cbr>\nNov. 14, 2015 – Jan. 18, 2016\u003c/h5>\n\u003cp>Sound art isn’t the most visually compelling work — Janet Cardiff’s \u003cem>Forty Part Motet\u003c/em> will always be just an oval arrangement of 40 black speakers on stands — but in this instance, the piece’s visual simplicity narrows all focus to the physical and emotional qualities of sound. And this focus, according to reports from previous installations of Cardiff’s “masterwork,” can move the listener to tears. The installation, organized by SFMOMA and on loan from local video and media art collectors, will occupy a historic space at Fort Mason Center with its ghostly voices. Each speaker projects the voice of one member of the Salisbury Cathedral Choir performing a 16th century choral composition \u003cem>Spem in Alium Nunquam Habui\u003c/em>, which translates as “In No Other is My Hope.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10915743\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10915743\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/294-400x300.jpg\" alt=\"Jim Campbell, 'Home Movies, Pause (David),' 2014. (Photo courtesy of Hosfelt Gallery)\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/294-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/294.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jim Campbell, ‘Home Movies, Pause (David),’ 2014. (Photo courtesy of Hosfelt Gallery)\u003c/figcaption>\u003c/figure>\n\u003ch3>Jim Campbell: New Work\u003c/h3>\n\u003ch5>\u003ca href=\"http://sjica.org/detail.html?eid=1121\" target=\"_blank\" rel=\"noopener\">San Jose Institute of Contemporary Art\u003c/a>\u003cbr>\nNov. 15, 2015 – Feb. 13, 2016\u003c/h5>\n\u003cp>In a reaction to the pursuit of ever-higher definition screens and crystal-clear resolution, local media artist Jim Campbell uses technology to render images fuzzy, low-res and as malleable as human memory. Known for his grids of LEDs and custom electronics, he has created new work for the San Jose ICA that moves beyond the flat screen towards three-dimensional sculpture. Challenging viewers to parse subject and meaning from difficult to see images, he returns the rigor to art viewing and visual perception. Campbell harnesses technology and makes it both accessible and fascinating, rather than the alienating suspicion we have come to expect from innovation.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Tony Gleaton: Photographing the African Story Across the Americas",
"headTitle": "Tony Gleaton: Photographing the African Story Across the Americas | KQED",
"content": "\u003cp>Photographer Tony Gleaton died last Friday at the age of 67 after struggling with a particularly aggressive cancer for 18 months. He was working, signing prints, talking to museums (several have his work in their collections, including the Brooklyn Museum, the Field Museum of Natural History in Chicago, Harvard’s Peabody Museum of Natural History, and the Schomburg Center for Research in Black Culture in Harlem) and checking in with his friends right up to the last day. I admired his work, but also treasured his friendship.\u003c/p>\n\u003cp>For many years, Tony often showed up on my Los Angeles doorstep with a huge sack of dirty laundry slung over his shoulder and a box of contact sheets under one arm.\u003c/p>\n\u003cp>“Here,” he’d say, placing the box in my hands, and walking through the door. “Look at these. I’m gonna do some laundry, okay?”\u003c/p>\n\u003cp>While the laundry — several loads of it — would go through its cycles, Tony would tell my husband and me about his latest travels. In the late ’80s and through the mid-’90s, he spent a lot of time deep in the Costa Chica, a remote part of Mexico that’s about a three-hour drive south of Acapulco on the Pacific coast. The Costa Chica is a string of villages populated by descendants of slaves brought here by the Spanish in the 1500s through the 1700s. Tony liked to say “it’s hard to find, hard to get to and hard to live in.”\u003c/p>\n\u003cp>While he was there, he often stayed with the village priest, and slept on the floor. Villagers would hear \u003cem>el gigante\u003c/em> was back — Tony was about 6 foot 4 inches tall and weighed well over 300 pounds — and would shyly come with greetings and provisions from their own scant stock. “You eat a lot of rice and beans down there, and you’re glad to have them,” he explained.\u003c/p>\n\u003cfigure id=\"attachment_10915127\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-450x600.jpg\" alt=\"Photographer Tony Gleaton.\" width=\"450\" height=\"600\" class=\"size-medium wp-image-10915127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce.jpg 480w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Tony Gleaton. \u003ccite>(Bruce Talamon/Courtesy of Lisa M. Gleaton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For several years he was a regular sight in the villages, amiably greeting residents with his fluent, American-inflected Spanish. They would pass him and smile as they watched their neighbors sit for portraits. A white-haired \u003cem>abuela\u003c/em> sits in a wooden chair in the doorway of her adobe, her arm protectively around one grandchild as another leans against her. A mahogany-skinned boy pauses spearfishing to be captured on film. A barber and his young client stare curiously into the camera. Three sisters bunch together on the steps, laughing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the poverty of Tony’s subjects, these are black and white photographs of tremendous grace and formality, much like court photographs of contemporary European royalty. And that is what Tony intended. His subjects tend to be people who are usually invisible to the rest of society, and who are outside of the mainstream aesthetic. He saw his work as a way to correct that marginalization, at least for a moment: beautiful portraits of beautiful people, taken with respect.\u003c/p>\n\u003cp>In the beginning, he got a lot of pushback. “\u003cem>Why\u003c/em> do you want to take our picture?” the villagers would ask, warily. “We have no money to pay you.”\u003c/p>\n\u003cp>When Tony would explain that he was documenting the African Diaspora around the world, and that they and he were both part of it, the conversation often became even harder.\u003c/p>\n\u003cp>“You want to take pictures of black people?” they’d ask.\u003c/p>\n\u003cp>“Yes, like you and me … ” he’d begin\u003c/p>\n\u003cp>“Well,” they’d respond, looking at his fair skin, light hair and blue-green eyes. “You’re not black. And we’re \u003cem>certainly\u003c/em> not black. So you need to do that somewhere else.”\u003c/p>\n\u003cp>Eventually he learned to refine his approach and tell the villagers he wanted people in the States to see how beautiful people in the villages were. “I just gave up on the black connection. It was important to me, but not to them. They see race differently than we do. And it’s only a social construct anyway.”\u003c/p>\n\u003cp>There is still stigma to acknowledging blackness in many parts of Mexico, and Tony’s work raised the profile of Latinos with what is sometimes called “the Third Root” — Spanish, Indian, African — in Latino culture. His work eventually expanded across the Americas to form an exhibit called \u003cem>Tengo Casi 500 Años (I Have Almost 500 Years) — Africa’s Legacy in Mexico\u003c/em> that explores the African presence in the Americas. He’s also chronicled black, Indian and Mexican cowboy culture, as well as life in American Samoa and the Mississippi Delta.\u003c/p>\n\u003cp>A native of Detroit, Tony moved with his policeman father and schoolteacher mother and his older brother to Los Angeles when he was 11 years old. After high school, he joined the Marines, and served as a field radio operator in Vietnam for three years. Vietnam is also where he first picked up a camera.\u003c/p>\n\u003cp>When Tony returned to Los Angeles, he enrolled at UCLA under the GI bill, but left soon after, determined to work as a fashion photographer. He lived a hand-to-mouth existence in New York as a photographer’s assistant, then as a photographer. But he eventually tired of that life and worked his way back across the country, in an oil field and on ranches, and at rodeos where the cowboys were black and Mexican and Native American. The Mexican cowboys told him about the hidden villages of the Costa Chica, and photographing the residents there became his best-known work.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nI just gave up on the black connection. It was important to me, but not to them. They see race differently than we do. And it’s only a social construct anyway.\u003cbr>\n\u003ccite>Photographer Tony Gleaton\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>But it was physically grueling and after about 15 years, Tony stopped. (“60 ain’t 35, kid.”) Instead, he began a series of landscapes. He took beautiful images of striking, isolated parts of the country that have historical significance to people of color in the U.S.: western trails that black pioneers had blazed, views of coasts first walked by native peoples, and wide-open fields that had once been settlements established by freed slaves.\u003c/p>\n\u003cp>They are luminous photographs with a haunting quality that keeps the viewer gazing at them much longer than they’d probably intended. Tony got those shots by sleeping in his car, sometimes parked by the side of the road, other times in the parking lot of a Wal-Mart or a cheap hotel. He traveled on a shoestring; money only mattered to him as fuel for his work. When his cameras weren’t on a trip, they were frequently in a trusted pawn shop, collateral for a loan—so he could fund his travels.\u003c/p>\n\u003cp>During his sojourns, the laundromat was not on the itinerary. Hence, his visits to out house soon after he finally arrived home. “Hey,” he’d say cheerfully, “I’m gonna smell a lot better when I leave here than I did when I came. By the way—do I have time to take a shower before dinner? And what are we having, anyway?”\u003c/p>\n\u003cp>It didn’t matter. It was always good to have him at the table, teasing and talking about the latest project. Dinner will be much quieter and less interesting from now on.\u003c/p>\n\u003cp>Tony’s wife Lisa was at his side when he died. In addition to Lisa, he’s survived by his stepson, Michael Jelinsky. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"10915125,10915124,10915123,10915120,10915121,10915122\"]\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Tony+Gleaton%3A+Photographing+The+African+Story+Across+The+Americas&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Photographer Tony Gleaton died last Friday at the age of 67 after struggling with a particularly aggressive cancer for 18 months. He was working, signing prints, talking to museums (several have his work in their collections, including the Brooklyn Museum, the Field Museum of Natural History in Chicago, Harvard’s Peabody Museum of Natural History, and the Schomburg Center for Research in Black Culture in Harlem) and checking in with his friends right up to the last day. I admired his work, but also treasured his friendship.\u003c/p>\n\u003cp>For many years, Tony often showed up on my Los Angeles doorstep with a huge sack of dirty laundry slung over his shoulder and a box of contact sheets under one arm.\u003c/p>\n\u003cp>“Here,” he’d say, placing the box in my hands, and walking through the door. “Look at these. I’m gonna do some laundry, okay?”\u003c/p>\n\u003cp>While the laundry — several loads of it — would go through its cycles, Tony would tell my husband and me about his latest travels. In the late ’80s and through the mid-’90s, he spent a lot of time deep in the Costa Chica, a remote part of Mexico that’s about a three-hour drive south of Acapulco on the Pacific coast. The Costa Chica is a string of villages populated by descendants of slaves brought here by the Spanish in the 1500s through the 1700s. Tony liked to say “it’s hard to find, hard to get to and hard to live in.”\u003c/p>\n\u003cp>While he was there, he often stayed with the village priest, and slept on the floor. Villagers would hear \u003cem>el gigante\u003c/em> was back — Tony was about 6 foot 4 inches tall and weighed well over 300 pounds — and would shyly come with greetings and provisions from their own scant stock. “You eat a lot of rice and beans down there, and you’re glad to have them,” he explained.\u003c/p>\n\u003cfigure id=\"attachment_10915127\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-450x600.jpg\" alt=\"Photographer Tony Gleaton.\" width=\"450\" height=\"600\" class=\"size-medium wp-image-10915127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce.jpg 480w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Tony Gleaton. \u003ccite>(Bruce Talamon/Courtesy of Lisa M. Gleaton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For several years he was a regular sight in the villages, amiably greeting residents with his fluent, American-inflected Spanish. They would pass him and smile as they watched their neighbors sit for portraits. A white-haired \u003cem>abuela\u003c/em> sits in a wooden chair in the doorway of her adobe, her arm protectively around one grandchild as another leans against her. A mahogany-skinned boy pauses spearfishing to be captured on film. A barber and his young client stare curiously into the camera. Three sisters bunch together on the steps, laughing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the poverty of Tony’s subjects, these are black and white photographs of tremendous grace and formality, much like court photographs of contemporary European royalty. And that is what Tony intended. His subjects tend to be people who are usually invisible to the rest of society, and who are outside of the mainstream aesthetic. He saw his work as a way to correct that marginalization, at least for a moment: beautiful portraits of beautiful people, taken with respect.\u003c/p>\n\u003cp>In the beginning, he got a lot of pushback. “\u003cem>Why\u003c/em> do you want to take our picture?” the villagers would ask, warily. “We have no money to pay you.”\u003c/p>\n\u003cp>When Tony would explain that he was documenting the African Diaspora around the world, and that they and he were both part of it, the conversation often became even harder.\u003c/p>\n\u003cp>“You want to take pictures of black people?” they’d ask.\u003c/p>\n\u003cp>“Yes, like you and me … ” he’d begin\u003c/p>\n\u003cp>“Well,” they’d respond, looking at his fair skin, light hair and blue-green eyes. “You’re not black. And we’re \u003cem>certainly\u003c/em> not black. So you need to do that somewhere else.”\u003c/p>\n\u003cp>Eventually he learned to refine his approach and tell the villagers he wanted people in the States to see how beautiful people in the villages were. “I just gave up on the black connection. It was important to me, but not to them. They see race differently than we do. And it’s only a social construct anyway.”\u003c/p>\n\u003cp>There is still stigma to acknowledging blackness in many parts of Mexico, and Tony’s work raised the profile of Latinos with what is sometimes called “the Third Root” — Spanish, Indian, African — in Latino culture. His work eventually expanded across the Americas to form an exhibit called \u003cem>Tengo Casi 500 Años (I Have Almost 500 Years) — Africa’s Legacy in Mexico\u003c/em> that explores the African presence in the Americas. He’s also chronicled black, Indian and Mexican cowboy culture, as well as life in American Samoa and the Mississippi Delta.\u003c/p>\n\u003cp>A native of Detroit, Tony moved with his policeman father and schoolteacher mother and his older brother to Los Angeles when he was 11 years old. After high school, he joined the Marines, and served as a field radio operator in Vietnam for three years. Vietnam is also where he first picked up a camera.\u003c/p>\n\u003cp>When Tony returned to Los Angeles, he enrolled at UCLA under the GI bill, but left soon after, determined to work as a fashion photographer. He lived a hand-to-mouth existence in New York as a photographer’s assistant, then as a photographer. But he eventually tired of that life and worked his way back across the country, in an oil field and on ranches, and at rodeos where the cowboys were black and Mexican and Native American. The Mexican cowboys told him about the hidden villages of the Costa Chica, and photographing the residents there became his best-known work.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nI just gave up on the black connection. It was important to me, but not to them. They see race differently than we do. And it’s only a social construct anyway.\u003cbr>\n\u003ccite>Photographer Tony Gleaton\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>But it was physically grueling and after about 15 years, Tony stopped. (“60 ain’t 35, kid.”) Instead, he began a series of landscapes. He took beautiful images of striking, isolated parts of the country that have historical significance to people of color in the U.S.: western trails that black pioneers had blazed, views of coasts first walked by native peoples, and wide-open fields that had once been settlements established by freed slaves.\u003c/p>\n\u003cp>They are luminous photographs with a haunting quality that keeps the viewer gazing at them much longer than they’d probably intended. Tony got those shots by sleeping in his car, sometimes parked by the side of the road, other times in the parking lot of a Wal-Mart or a cheap hotel. He traveled on a shoestring; money only mattered to him as fuel for his work. When his cameras weren’t on a trip, they were frequently in a trusted pawn shop, collateral for a loan—so he could fund his travels.\u003c/p>\n\u003cp>During his sojourns, the laundromat was not on the itinerary. Hence, his visits to out house soon after he finally arrived home. “Hey,” he’d say cheerfully, “I’m gonna smell a lot better when I leave here than I did when I came. By the way—do I have time to take a shower before dinner? And what are we having, anyway?”\u003c/p>\n\u003cp>It didn’t matter. It was always good to have him at the table, teasing and talking about the latest project. Dinner will be much quieter and less interesting from now on.\u003c/p>\n\u003cp>Tony’s wife Lisa was at his side when he died. In addition to Lisa, he’s survived by his stepson, Michael Jelinsky. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
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