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"bio": "Co-owner/curator of urban contemporary art and culture gallery \u003ca href=\"http://www.galleryAD.com\">ANNO DOMINI\u003c/a> // the second coming of Art & Design and producer of a bunch of other cool projects with partner \u003ca href=\"http://ww2.kqed.org/arts/author/beder/\" target=\"_blank\">Brian Eder.\u003c/a> \u003ca class=\"twitter-follow-button\" href=\"https://twitter.com/astrogirl\" data-show-count=\"false\">Follow @astrogirl\u003c/a>\r\n\u003cscript>// \u003c![CDATA[\r\n!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)?'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+'://platform.twitter.com/widgets.js';fjs.parentNode.insertBefore(js,fjs);}}(document, 'script', 'twitter-wjs');\r\n// ]]>\u003c/script>",
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"bio": "Brian Eder lives and works in the industrious city of San Jose, CA. He's best known for his role as the co-curator of \u003ca title=\"ANNO DOMINI Gallery\" href=\"http://www.galleryAD.com\" target=\"_blank\">ANNO DOMINI Gallery\u003c/a> that he and his partner, \u003ca href=\"http://ww2.kqed.org/arts/author/clakey/\" target=\"_blank\">Cherri Lakey\u003c/a>, founded in 2000. He's also the co-producer of San Jose's SubZERO Festival, an annual gathering of the progenitors of culture promoting subculture and indie music since 2008. He joins KQED Arts as one of their newest Contributors beginning in the Fall of 2014. \u003ca class=\"twitter-follow-button\" href=\"https://twitter.com/atmcmnk\" data-show-count=\"false\">Follow @atmcmnk\u003c/a>\r\n\u003cscript>// \u003c![CDATA[\r\n!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)?'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+'://platform.twitter.com/widgets.js';fjs.parentNode.insertBefore(js,fjs);}}(document, 'script', 'twitter-wjs');\r\n// ]]>\u003c/script>",
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"slug": "hell-no-we-wont-go-outstanding-radical-art-and-global-movements-in-2014",
"title": "Hell No, We Won't Go: Outstanding Radical Art and Global Movements in 2014",
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"content": "\u003cp>Recently \u003cem>New York Times\u003c/em> film critic A. O. Scott \u003ca href=\"http://www.nytimes.com/2014/11/30/arts/is-our-art-equal-to-the-challenges-of-our-times.html?_r=0\" target=\"_blank\" rel=\"noopener\">asked\u003c/a>, “Is our art equal to the challenge of our times?” Querying the role of culture en masse (films, music, books, theatre and, yes, visual art), Scott expressed a vague disappointment with today’s artists in addressing the issues of our era, from wealth disparity to racial inequality to climate change to violence, and so on. To this question, I would say if you don’t know, you haven’t been paying attention — or perhaps more gently put, look beyond what you think you already know. \u003c/p>\n\u003cp>Expecting today’s radical culture to look like the radical culture of yesteryear is a mistake. Scott cites select standards of bygone eras as iconic masterworks in times of upheaval, including \u003cem>A Raisin in the Sun\u003c/em> and Woody Guthrie songs, without seeming to dwell much on the contemporary shifts that have enabled far greater opportunities for self-expression and resistance, chiefly social media and a networked global community. In the future, 2014 will be considered a watershed historical moment with radical shifts in art, culture, collective communities and action — this article is a mere sample of highlights from the year in which art, collective action and social media changed everything.\u003c/p>\n\u003cp>But first, take note: As is well known, in July the world witnessed the homicide of Staten Island resident Eric Garner at the hands of police — Garner’s death was filmed with a cell phone camera by his friend Ramsey Orta in a video that went viral online. It is one of the most astonishing examples of citizen journalism the world has seen, for the way in which it presents a clear miscarriage of justice and for the way in which it has been freely and publicly distributed, bypassing conventional journalism and documentary filmmaking. \u003c/p>\n\u003cp>Soon after, Orta was indicted on unrelated weapons charges, in an act of possible retribution for exposing the police — a online \u003ca href=\"https://www.change.org/p/nypd-drop-the-weapons-charge-against-ramsey-orta-the-filmmaker-of-eric-garner-s-death\" target=\"_blank\" rel=\"noopener\">petition\u003c/a> calls upon the NYPD to drop these charges, not only as a matter of protecting Orta as a whistleblower, but to also defend the rights of citizens to film or photograph the police. \u003c/p>\n\u003cp>It is impossible to imagine this historical moment without the evidence of Orta’s video. I am not arguing that Orta’s video is an artwork, but it has been a catalyst for many of the actions, artworks and generative dialogs about racism, police brutality/militarization, civil rights and protest that have come after it. The precariousness of his situation now, and his virtual disappearance from the media, represents a grave threat not only to his own personal freedom, but to our own. Speaking up on Orta’s behalf now is a matter of protecting everyone’s freedom to stand up to injustice in the future.\u003c/p>\n\u003ch3>#BlackLivesMatter #BrownLivesMatter #Ferguson #Eric Garner #ICantBreathe #AllLivesMatter #NoJusticeNoPeace\u003c/h3>\n\u003cp>This was the year \u003ca href=\"http://www.huffingtonpost.com/2014/08/30/un-police-brutality-stand-your-ground_n_5740734.html\" target=\"_blank\" rel=\"noopener\">the United Nations condemned U.S. police brutality\u003c/a> on the global stage. It was also the year \u003ca href=\"http://www.theguardian.com/culture/2014/mar/08/steve-mcqueen-artist-big-screen-oscar-12-years-a-slave\" target=\"_blank\" rel=\"noopener\">artist Steve McQueen won an Oscar at the Academy Awards\u003c/a> for Best Picture with \u003cem>12 Years a Slave\u003c/em>, the first black filmmaker and the first visual artist in history to win the award. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T_7ErkQFduQ\u003c/p>\n\u003cp>In Missouri, protestors took to the streets to demonstrate against the killing of Michael Brown, an unarmed 18-year-old African American, and some took to the St. Louis Symphony to disrupt business as usual, captured in videos that went viral on YouTube. Mary Engelbreit, the sweetly saccharine illustrator of cherry pies and cats, among other innocuous images, created \u003ca href=\"https://www.maryengelbreit.com/store/In-The-USA-Fine-Print.html\">a protest print to benefit the Brown family\u003c/a> – at last count, she had raised more than $100,000. \u003c/p>\n\u003cp>This fall, St. Louis-based street artist Damon Davis wheat-pasted iconic images of hands throughout Ferguson, in a gesture that has been \u003ca href=\"http://mic.com/articles/104908/ferguson-now-has-the-most-powerful-street-art-in-america\" target=\"_blank\" rel=\"noopener\">called\u003c/a> by some “the most powerful street art in America.” \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rwsg3pnyxd4\u003c/p>\n\u003cp>Immediately following the non-indictment in the Garner case, Congressman Hank Johnson performed an original protest poem on the floor of the U.S. House of Representatives, in an unconventional example of government moving more quickly than artists. (Congress has artists, who knew?)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_K_l7802qZ8\u003c/p>\n\u003cp>Perhaps the most iconic moments of resistance in 2014 include mass die-in protests all over the world — from Grand Central Station to shopping malls to city streets to schools to hospitals, people laid down in protest to declare that black lives matter, brown lives matter and all lives matter. Twitter released a\u003ca href=\"http://srogers.cartodb.com/viz/3ecef0b4-7cae-11e4-8bbb-0e9d821ea90d/embed_map\" target=\"_blank\" rel=\"noopener\"> data rendering of iconic hashtags tweeted around the world in a single day\u003c/a> and the image was captivating, yielding the powerful objections of a dispersed global community. Organizers in New York initiated Millions March, “A Day of Anger,” and millions took to the street everywhere – \u003ca href=\"http://instagram.com/p/wj8bGkxAWe/\">French Street artist JR’s protest images of Eric Garner’s eyes\u003c/a> became an icon of the movement.\u003c/p>\n\u003cp>In the Bay Area we saw many gestures of solidarity with local victims of police brutality. \u003ca href=\"http://justice4alexnieto.org/\">Justice 4 Alex Nieto\u003c/a>, a community action group organized around the unresolved homicide of Mission resident Alex Nieto at the hands of SFPD in March of this year, organized numerous actions and disruptions, including \u003ca href=\"https://secure.flickr.com/photos/justice4alexnieto/15370949524/\">protest banners at AT&T Park featuring the work of local artist Oree Originol\u003c/a> during the playoffs and World Series. (Remember those \u003ca href=\"https://secure.flickr.com/photos/justice4alexnieto/15373522863/\" target=\"_blank\" rel=\"noopener\">iconic sails\u003c/a> in McCovey Cove?) \u003c/p>\n\u003cp>The Anti-Eviction Mapping Project (AMP), an action group spearheaded by artist and organizer Erin McEloy, among other organizers, released a new \u003ca href=\"http://antievictionmap.squarespace.com/#/new-gallery-1/\" target=\"_blank\" rel=\"noopener\">map detailing police-related deaths in Oakland\u003c/a> from the 1970s to today, revealing that 99% of the victims have been people of color. AMP, of course, has also been instrumental in revealing lopsided data associated with gentrification, evictions and displacement as a result of new tech wealth in the city – to the extent that their work is regularly cited in \u003ca href=\"http://justice4alexnieto.org/2014/12/10/news-supervisor-avalos-introduces-resolution-to-address-racial-profiling-and-use-of-force-by-sfpd-upholds-right-to-nonviolent-protest-alex-nieto-case-cited/\" target=\"_blank\" rel=\"noopener\">the development of new city policies\u003c/a> regarding both police brutality and gentrification.\u003c/p>\n\u003cp>This summer, longtime San Francisco resident and pioneering Chicana artist Yolanda López forced the issues of elder displacement and gentrification with \u003ca href=\"http://ww2.kqed.org/arts/2014/07/01/notes-from-yolanda-m-lopezs-accessories-to-an-eviction/\">her performance project \u003cem>Accessories to an Eviction\u003c/em>\u003c/a> and held public rummage sales in various art venues to narrow her lifetime possessions and raise money in the face of her forthcoming eviction from her home of several decades.\u003c/p>\n\u003cp>Meanwhile, on the heels of numerous nonprofit and commercial galleries being forced to relocate or shutter and in the wake of \u003ca href=\"http://ww2.kqed.org/arts/2014/05/22/san-franciscos-intersection-for-the-arts-suspends-programs-lays-off-curators/\">Intersection for the Arts, the city’s oldest nonprofit, suspending programs\u003c/a>, the Bay Area art community rallied around the revival of The Lab and raised more than $54,000 via \u003ca href=\"https://www.kickstarter.com/projects/buildthelab/build-the-lab\" target=\"_blank\" rel=\"noopener\">Kickstarter\u003c/a> with 601 micro-funders. (In March, Kickstarter announced a milestone billion dollars in crowd-funding initiatives, with more than 5.7M funders worldwide.)\u003c/p>\n\u003cp>Digital rights and privacy were never far from public discourse – this fall Edward Snowden \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/01/29/268421741/edward-snowden-is-nominated-for-the-nobel-peace-prize\" target=\"_blank\" rel=\"noopener\">was nominated for\u003c/a> the Nobel Peace Prize for outing government surveillance, a story that was featured in the Laura Poitras-directed documentary \u003ca href=\"https://citizenfourfilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Citizenfour\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>Artist Trevor Paglen, who also contributed cinematography to the film, was recognized by the \u003ca href=\"http://ww2.kqed.org/arts/2014/10/07/the-electronic-frontier-foundation-honors-counter-surveillance-artist-trevor-paglen/\">Electronic Frontier Foundation with the Pioneer Award\u003c/a>, the first in the prize’s history to go to a visual artist, for his open source photographs of secret government agencies, the NSA among them.\u003c/p>\n\u003ch3>#YesAllWomen #IBelieveHer #BringBackOurGirls\u003cbr>\n\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=zyNa9kqq8mk\u003c/p>\n\u003cp>Women’s rights came to the fore in the national dialog about violence against women. In her Ray Rice-inspired make-up tutorial on YouTube, after the athlete was exposed for spousal abuse, young filmmaker Megan MacKay asked, while applying orange-tinted makeup, “Orange you sad that the American news source most dedicated to truthful journalism turned out to be TMZ?” \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mpepzxQJ-AA\u003c/p>\n\u003cp>Meanwhile in New York, Colombia University art student Emma Sulkowicz has exposed the rampant college sexual violence epidemic by carrying her dorm mattress everywhere — and will continue to do so until her alleged rapist is expelled – and spawned a movement of collective support. Images of Sulkowicz carrying her unwieldy mattress on her own are provocative, images wherein her peers voluntarily help her are only more so.\u003c/p>\n\u003ch3>#FreePalestine #UmbrellaRevolution #YaMeCanse #Ayotzinapa\u003c/h3>\n\u003cp>In Pittsburgh, Conflict Kitchen, the socially engaged artwork/take-out restaurant run by artist Jon Rubin and Dawn Weleski and featuring cuisine from locales around the world in conflict with the U.S., \u003ca href=\"http://hyperallergic.com/161454/conflict-kitchens-palestinian-programming-under-siege/\" target=\"_blank\" rel=\"noopener\">received credible death threats for serving Palestinian food and landed in a media frenzy\u003c/a> when a funder publicly expressed discomfort with the project’s aims. Here in the Bay Area, the \u003ca href=\"http://artforces.org/projects/murals/usa/oakland-palestine-solidarity-mural/\" target=\"_blank\" rel=\"noopener\">Oakland Palestine Solidarity Mural\u003c/a> commanded a city block and featured contributions by a host of artists, including the legendary artist and former Black Panther Minister of Culture Emory Douglas.\u003c/p>\n\u003cp>Further afield, artists initiated global actions to address unrest – In April, \u003ca href=\"http://gizmodo.com/giant-portrait-shows-drone-operators-that-people-arent-1559460573\" target=\"_blank\" rel=\"noopener\">artists created giant “aerial portraits” to remind drone operators that they were bombing people on the ground in Pakistan\u003c/a>, and not “bug splats.” \u003c/p>\n\u003cp>In Damascus, \u003ca href=\"http://motherbeing-news.com/?p=17748\" target=\"_blank\" rel=\"noopener\">artists gathered shards of pottery from the refuse of the Syrian War to create the world’s largest mosaic\u003c/a>. \u003c/p>\n\u003cp>In Hong Kong, myriad artists participated in the \u003ca href=\"http://www.cnn.com/2014/09/30/world/asia/objects-hong-kong-protest/index.html\" target=\"_blank\" rel=\"noopener\">Umbrella Revolution, launching countless icons of resistance\u003c/a> in the digital ether. \u003c/p>\n\u003cp>In New York, the 2014 Climate March was the largest the world had ever seen and \u003ca href=\"http://floodwallstreet.net/\" target=\"_blank\" rel=\"noopener\">#floodwallstreet\u003c/a> initiated a day of artistic action, summoning people to wear blue and to take to the streets in a river of human forms. \u003c/p>\n\u003cp>The murder of 43 teaching students in the rural community of Ayotzinapa, Mexico exposed astonishing government corruption and instigated widespread resistance around the world, including \u003ca href=\"http://ilustradoresconayotzinapa.tumblr.com/\" target=\"_blank\" rel=\"noopener\">a Tumblr of images created by artists to stand as a public record\u003c/a>. \u003c/p>\n\u003cp>In Norway \u003ca href=\"http://www.theguardian.com/artanddesign/2014/mar/06/norway-massacre-memorial-jonas-dahlberg-anders-behring-breivik\" target=\"_blank\" rel=\"noopener\">artist Jonas Dahlberg was selected to create a massive land art memorial\u003c/a> to the victims of the 2011 Utøya gun massacre that killed 69 people, mostly youth.\u003c/p>\n\u003cp>Artists also advanced the cause of artists. In Chile, artist Papas Fritas \u003ca href=\"http://www.washingtonpost.com/news/morning-mix/wp/2014/05/19/chilean-artist-steals-and-destroys-500-million-worth-of-student-debt-papers\">allegedly stole and destroyed\u003c/a> $500 million worth of student debt paperwork. Socially engaged \u003ca href=\"http://www.macfound.org/fellows/920/\">artist Rick Lowe won a MacArthur Genius Prize\u003c/a> for his work on \u003cem>Project Row Houses\u003c/em>, a community-based initiative that re-imagines social engagement, housing solutions and artistic action. San Francisco-based artist and 2014 \u003ca href=\"http://speculativepropositions.tumblr.com/post/82861912177/grant-application-guggenheim-fellowship-2014\" target=\"_blank\" rel=\"noopener\">John Simon Guggenheim Fellow Stephanie Syjuco self-published her complete award application online\u003c/a> for the edification and advancement of other artists. New York-based artist \u003ca href=\"http://visitsteve.com/news/no-thanks-artprize/\" target=\"_blank\" rel=\"noopener\">Steve Lambert, co-director of the Center for Artistic Activism, publicly declined his candidacy for the lucrative Art Prize\u003c/a> on the grounds of moral integrity and, in the process, raised important questions about funding in the arts. \u003c/p>\n\u003cp>All across the country, \u003ca href=\"http://ww2.kqed.org/arts/2014/04/28/yay-or-nay-the-push-to-unionize-visiting-faculty-at-bay-area-art-schools/\">adjunct professors voted to create unions, most notably at several Bay Area art schools\u003c/a>, including Mills College, San Francisco Art Institute and California College of the Arts, redefining considerations of artist-driven labor through collective bargaining. \u003ca href=\"http://ww2.kqed.org/arts/2014/10/22/w-a-g-e-against-the-machine-art-and-the-business-of-gettin-paid/\" target=\"_blank\" rel=\"noopener\">W. A. G. E., a New York-based artist advocacy group, released a fee calculator\u003c/a> to encourage artists to collect fees for their work. And, for anyone who still needs encouraging, popular musician and composer \u003ca href=\"http://colorlines.com/archives/2014/12/questlove_urges_artists_to_write_more_protest_songs.html\" target=\"_blank\" rel=\"noopener\">Questlove urged artists to write more protest songs. \u003c/a>As if on cue, singer-songwriter D’Angelo released his first album in fourteen years titled \u003cem>Black Messiah\u003c/em>, and many have already predicted it contains new anthems for these times.\u003c/p>\n\u003cp>As much as 2014 was a year of brutal violence, heartbreak and failures of justice, it was also an incredible year of art and uprising and change. People have become savvy about leveraging the tools at their disposal and connecting online, which means that we don’t have to wait for someone to write and publish the next literary masterpiece to see movement happening around us – it is happening now, in real time, everyday, on the screen. \u003c/p>\n\u003cp>It can be said that today’s radical culture bears little resemblance to the radical culture of bygone eras — this does not mean that art is shrinking from the challenges of our time, on the contrary, art is rushing at these challenges from every angle and from everywhere, en masse, every day, with the promise of more in the days ahead.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Funding for coverage of arts that explore social issues is provided by the California Arts Council.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recently \u003cem>New York Times\u003c/em> film critic A. O. Scott \u003ca href=\"http://www.nytimes.com/2014/11/30/arts/is-our-art-equal-to-the-challenges-of-our-times.html?_r=0\" target=\"_blank\" rel=\"noopener\">asked\u003c/a>, “Is our art equal to the challenge of our times?” Querying the role of culture en masse (films, music, books, theatre and, yes, visual art), Scott expressed a vague disappointment with today’s artists in addressing the issues of our era, from wealth disparity to racial inequality to climate change to violence, and so on. To this question, I would say if you don’t know, you haven’t been paying attention — or perhaps more gently put, look beyond what you think you already know. \u003c/p>\n\u003cp>Expecting today’s radical culture to look like the radical culture of yesteryear is a mistake. Scott cites select standards of bygone eras as iconic masterworks in times of upheaval, including \u003cem>A Raisin in the Sun\u003c/em> and Woody Guthrie songs, without seeming to dwell much on the contemporary shifts that have enabled far greater opportunities for self-expression and resistance, chiefly social media and a networked global community. In the future, 2014 will be considered a watershed historical moment with radical shifts in art, culture, collective communities and action — this article is a mere sample of highlights from the year in which art, collective action and social media changed everything.\u003c/p>\n\u003cp>But first, take note: As is well known, in July the world witnessed the homicide of Staten Island resident Eric Garner at the hands of police — Garner’s death was filmed with a cell phone camera by his friend Ramsey Orta in a video that went viral online. It is one of the most astonishing examples of citizen journalism the world has seen, for the way in which it presents a clear miscarriage of justice and for the way in which it has been freely and publicly distributed, bypassing conventional journalism and documentary filmmaking. \u003c/p>\n\u003cp>Soon after, Orta was indicted on unrelated weapons charges, in an act of possible retribution for exposing the police — a online \u003ca href=\"https://www.change.org/p/nypd-drop-the-weapons-charge-against-ramsey-orta-the-filmmaker-of-eric-garner-s-death\" target=\"_blank\" rel=\"noopener\">petition\u003c/a> calls upon the NYPD to drop these charges, not only as a matter of protecting Orta as a whistleblower, but to also defend the rights of citizens to film or photograph the police. \u003c/p>\n\u003cp>It is impossible to imagine this historical moment without the evidence of Orta’s video. I am not arguing that Orta’s video is an artwork, but it has been a catalyst for many of the actions, artworks and generative dialogs about racism, police brutality/militarization, civil rights and protest that have come after it. The precariousness of his situation now, and his virtual disappearance from the media, represents a grave threat not only to his own personal freedom, but to our own. Speaking up on Orta’s behalf now is a matter of protecting everyone’s freedom to stand up to injustice in the future.\u003c/p>\n\u003ch3>#BlackLivesMatter #BrownLivesMatter #Ferguson #Eric Garner #ICantBreathe #AllLivesMatter #NoJusticeNoPeace\u003c/h3>\n\u003cp>This was the year \u003ca href=\"http://www.huffingtonpost.com/2014/08/30/un-police-brutality-stand-your-ground_n_5740734.html\" target=\"_blank\" rel=\"noopener\">the United Nations condemned U.S. police brutality\u003c/a> on the global stage. It was also the year \u003ca href=\"http://www.theguardian.com/culture/2014/mar/08/steve-mcqueen-artist-big-screen-oscar-12-years-a-slave\" target=\"_blank\" rel=\"noopener\">artist Steve McQueen won an Oscar at the Academy Awards\u003c/a> for Best Picture with \u003cem>12 Years a Slave\u003c/em>, the first black filmmaker and the first visual artist in history to win the award. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/T_7ErkQFduQ'\n title='//www.youtube.com/embed/T_7ErkQFduQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Missouri, protestors took to the streets to demonstrate against the killing of Michael Brown, an unarmed 18-year-old African American, and some took to the St. Louis Symphony to disrupt business as usual, captured in videos that went viral on YouTube. Mary Engelbreit, the sweetly saccharine illustrator of cherry pies and cats, among other innocuous images, created \u003ca href=\"https://www.maryengelbreit.com/store/In-The-USA-Fine-Print.html\">a protest print to benefit the Brown family\u003c/a> – at last count, she had raised more than $100,000. \u003c/p>\n\u003cp>This fall, St. Louis-based street artist Damon Davis wheat-pasted iconic images of hands throughout Ferguson, in a gesture that has been \u003ca href=\"http://mic.com/articles/104908/ferguson-now-has-the-most-powerful-street-art-in-america\" target=\"_blank\" rel=\"noopener\">called\u003c/a> by some “the most powerful street art in America.” \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rwsg3pnyxd4'\n title='//www.youtube.com/embed/rwsg3pnyxd4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Immediately following the non-indictment in the Garner case, Congressman Hank Johnson performed an original protest poem on the floor of the U.S. House of Representatives, in an unconventional example of government moving more quickly than artists. (Congress has artists, who knew?)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_K_l7802qZ8'\n title='//www.youtube.com/embed/_K_l7802qZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Perhaps the most iconic moments of resistance in 2014 include mass die-in protests all over the world — from Grand Central Station to shopping malls to city streets to schools to hospitals, people laid down in protest to declare that black lives matter, brown lives matter and all lives matter. Twitter released a\u003ca href=\"http://srogers.cartodb.com/viz/3ecef0b4-7cae-11e4-8bbb-0e9d821ea90d/embed_map\" target=\"_blank\" rel=\"noopener\"> data rendering of iconic hashtags tweeted around the world in a single day\u003c/a> and the image was captivating, yielding the powerful objections of a dispersed global community. Organizers in New York initiated Millions March, “A Day of Anger,” and millions took to the street everywhere – \u003ca href=\"http://instagram.com/p/wj8bGkxAWe/\">French Street artist JR’s protest images of Eric Garner’s eyes\u003c/a> became an icon of the movement.\u003c/p>\n\u003cp>In the Bay Area we saw many gestures of solidarity with local victims of police brutality. \u003ca href=\"http://justice4alexnieto.org/\">Justice 4 Alex Nieto\u003c/a>, a community action group organized around the unresolved homicide of Mission resident Alex Nieto at the hands of SFPD in March of this year, organized numerous actions and disruptions, including \u003ca href=\"https://secure.flickr.com/photos/justice4alexnieto/15370949524/\">protest banners at AT&T Park featuring the work of local artist Oree Originol\u003c/a> during the playoffs and World Series. (Remember those \u003ca href=\"https://secure.flickr.com/photos/justice4alexnieto/15373522863/\" target=\"_blank\" rel=\"noopener\">iconic sails\u003c/a> in McCovey Cove?) \u003c/p>\n\u003cp>The Anti-Eviction Mapping Project (AMP), an action group spearheaded by artist and organizer Erin McEloy, among other organizers, released a new \u003ca href=\"http://antievictionmap.squarespace.com/#/new-gallery-1/\" target=\"_blank\" rel=\"noopener\">map detailing police-related deaths in Oakland\u003c/a> from the 1970s to today, revealing that 99% of the victims have been people of color. AMP, of course, has also been instrumental in revealing lopsided data associated with gentrification, evictions and displacement as a result of new tech wealth in the city – to the extent that their work is regularly cited in \u003ca href=\"http://justice4alexnieto.org/2014/12/10/news-supervisor-avalos-introduces-resolution-to-address-racial-profiling-and-use-of-force-by-sfpd-upholds-right-to-nonviolent-protest-alex-nieto-case-cited/\" target=\"_blank\" rel=\"noopener\">the development of new city policies\u003c/a> regarding both police brutality and gentrification.\u003c/p>\n\u003cp>This summer, longtime San Francisco resident and pioneering Chicana artist Yolanda López forced the issues of elder displacement and gentrification with \u003ca href=\"http://ww2.kqed.org/arts/2014/07/01/notes-from-yolanda-m-lopezs-accessories-to-an-eviction/\">her performance project \u003cem>Accessories to an Eviction\u003c/em>\u003c/a> and held public rummage sales in various art venues to narrow her lifetime possessions and raise money in the face of her forthcoming eviction from her home of several decades.\u003c/p>\n\u003cp>Meanwhile, on the heels of numerous nonprofit and commercial galleries being forced to relocate or shutter and in the wake of \u003ca href=\"http://ww2.kqed.org/arts/2014/05/22/san-franciscos-intersection-for-the-arts-suspends-programs-lays-off-curators/\">Intersection for the Arts, the city’s oldest nonprofit, suspending programs\u003c/a>, the Bay Area art community rallied around the revival of The Lab and raised more than $54,000 via \u003ca href=\"https://www.kickstarter.com/projects/buildthelab/build-the-lab\" target=\"_blank\" rel=\"noopener\">Kickstarter\u003c/a> with 601 micro-funders. (In March, Kickstarter announced a milestone billion dollars in crowd-funding initiatives, with more than 5.7M funders worldwide.)\u003c/p>\n\u003cp>Digital rights and privacy were never far from public discourse – this fall Edward Snowden \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/01/29/268421741/edward-snowden-is-nominated-for-the-nobel-peace-prize\" target=\"_blank\" rel=\"noopener\">was nominated for\u003c/a> the Nobel Peace Prize for outing government surveillance, a story that was featured in the Laura Poitras-directed documentary \u003ca href=\"https://citizenfourfilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Citizenfour\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>Artist Trevor Paglen, who also contributed cinematography to the film, was recognized by the \u003ca href=\"http://ww2.kqed.org/arts/2014/10/07/the-electronic-frontier-foundation-honors-counter-surveillance-artist-trevor-paglen/\">Electronic Frontier Foundation with the Pioneer Award\u003c/a>, the first in the prize’s history to go to a visual artist, for his open source photographs of secret government agencies, the NSA among them.\u003c/p>\n\u003ch3>#YesAllWomen #IBelieveHer #BringBackOurGirls\u003cbr>\n\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zyNa9kqq8mk'\n title='//www.youtube.com/embed/zyNa9kqq8mk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Women’s rights came to the fore in the national dialog about violence against women. In her Ray Rice-inspired make-up tutorial on YouTube, after the athlete was exposed for spousal abuse, young filmmaker Megan MacKay asked, while applying orange-tinted makeup, “Orange you sad that the American news source most dedicated to truthful journalism turned out to be TMZ?” \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mpepzxQJ-AA'\n title='//www.youtube.com/embed/mpepzxQJ-AA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meanwhile in New York, Colombia University art student Emma Sulkowicz has exposed the rampant college sexual violence epidemic by carrying her dorm mattress everywhere — and will continue to do so until her alleged rapist is expelled – and spawned a movement of collective support. Images of Sulkowicz carrying her unwieldy mattress on her own are provocative, images wherein her peers voluntarily help her are only more so.\u003c/p>\n\u003ch3>#FreePalestine #UmbrellaRevolution #YaMeCanse #Ayotzinapa\u003c/h3>\n\u003cp>In Pittsburgh, Conflict Kitchen, the socially engaged artwork/take-out restaurant run by artist Jon Rubin and Dawn Weleski and featuring cuisine from locales around the world in conflict with the U.S., \u003ca href=\"http://hyperallergic.com/161454/conflict-kitchens-palestinian-programming-under-siege/\" target=\"_blank\" rel=\"noopener\">received credible death threats for serving Palestinian food and landed in a media frenzy\u003c/a> when a funder publicly expressed discomfort with the project’s aims. Here in the Bay Area, the \u003ca href=\"http://artforces.org/projects/murals/usa/oakland-palestine-solidarity-mural/\" target=\"_blank\" rel=\"noopener\">Oakland Palestine Solidarity Mural\u003c/a> commanded a city block and featured contributions by a host of artists, including the legendary artist and former Black Panther Minister of Culture Emory Douglas.\u003c/p>\n\u003cp>Further afield, artists initiated global actions to address unrest – In April, \u003ca href=\"http://gizmodo.com/giant-portrait-shows-drone-operators-that-people-arent-1559460573\" target=\"_blank\" rel=\"noopener\">artists created giant “aerial portraits” to remind drone operators that they were bombing people on the ground in Pakistan\u003c/a>, and not “bug splats.” \u003c/p>\n\u003cp>In Damascus, \u003ca href=\"http://motherbeing-news.com/?p=17748\" target=\"_blank\" rel=\"noopener\">artists gathered shards of pottery from the refuse of the Syrian War to create the world’s largest mosaic\u003c/a>. \u003c/p>\n\u003cp>In Hong Kong, myriad artists participated in the \u003ca href=\"http://www.cnn.com/2014/09/30/world/asia/objects-hong-kong-protest/index.html\" target=\"_blank\" rel=\"noopener\">Umbrella Revolution, launching countless icons of resistance\u003c/a> in the digital ether. \u003c/p>\n\u003cp>In New York, the 2014 Climate March was the largest the world had ever seen and \u003ca href=\"http://floodwallstreet.net/\" target=\"_blank\" rel=\"noopener\">#floodwallstreet\u003c/a> initiated a day of artistic action, summoning people to wear blue and to take to the streets in a river of human forms. \u003c/p>\n\u003cp>The murder of 43 teaching students in the rural community of Ayotzinapa, Mexico exposed astonishing government corruption and instigated widespread resistance around the world, including \u003ca href=\"http://ilustradoresconayotzinapa.tumblr.com/\" target=\"_blank\" rel=\"noopener\">a Tumblr of images created by artists to stand as a public record\u003c/a>. \u003c/p>\n\u003cp>In Norway \u003ca href=\"http://www.theguardian.com/artanddesign/2014/mar/06/norway-massacre-memorial-jonas-dahlberg-anders-behring-breivik\" target=\"_blank\" rel=\"noopener\">artist Jonas Dahlberg was selected to create a massive land art memorial\u003c/a> to the victims of the 2011 Utøya gun massacre that killed 69 people, mostly youth.\u003c/p>\n\u003cp>Artists also advanced the cause of artists. In Chile, artist Papas Fritas \u003ca href=\"http://www.washingtonpost.com/news/morning-mix/wp/2014/05/19/chilean-artist-steals-and-destroys-500-million-worth-of-student-debt-papers\">allegedly stole and destroyed\u003c/a> $500 million worth of student debt paperwork. Socially engaged \u003ca href=\"http://www.macfound.org/fellows/920/\">artist Rick Lowe won a MacArthur Genius Prize\u003c/a> for his work on \u003cem>Project Row Houses\u003c/em>, a community-based initiative that re-imagines social engagement, housing solutions and artistic action. San Francisco-based artist and 2014 \u003ca href=\"http://speculativepropositions.tumblr.com/post/82861912177/grant-application-guggenheim-fellowship-2014\" target=\"_blank\" rel=\"noopener\">John Simon Guggenheim Fellow Stephanie Syjuco self-published her complete award application online\u003c/a> for the edification and advancement of other artists. New York-based artist \u003ca href=\"http://visitsteve.com/news/no-thanks-artprize/\" target=\"_blank\" rel=\"noopener\">Steve Lambert, co-director of the Center for Artistic Activism, publicly declined his candidacy for the lucrative Art Prize\u003c/a> on the grounds of moral integrity and, in the process, raised important questions about funding in the arts. \u003c/p>\n\u003cp>All across the country, \u003ca href=\"http://ww2.kqed.org/arts/2014/04/28/yay-or-nay-the-push-to-unionize-visiting-faculty-at-bay-area-art-schools/\">adjunct professors voted to create unions, most notably at several Bay Area art schools\u003c/a>, including Mills College, San Francisco Art Institute and California College of the Arts, redefining considerations of artist-driven labor through collective bargaining. \u003ca href=\"http://ww2.kqed.org/arts/2014/10/22/w-a-g-e-against-the-machine-art-and-the-business-of-gettin-paid/\" target=\"_blank\" rel=\"noopener\">W. A. G. E., a New York-based artist advocacy group, released a fee calculator\u003c/a> to encourage artists to collect fees for their work. And, for anyone who still needs encouraging, popular musician and composer \u003ca href=\"http://colorlines.com/archives/2014/12/questlove_urges_artists_to_write_more_protest_songs.html\" target=\"_blank\" rel=\"noopener\">Questlove urged artists to write more protest songs. \u003c/a>As if on cue, singer-songwriter D’Angelo released his first album in fourteen years titled \u003cem>Black Messiah\u003c/em>, and many have already predicted it contains new anthems for these times.\u003c/p>\n\u003cp>As much as 2014 was a year of brutal violence, heartbreak and failures of justice, it was also an incredible year of art and uprising and change. People have become savvy about leveraging the tools at their disposal and connecting online, which means that we don’t have to wait for someone to write and publish the next literary masterpiece to see movement happening around us – it is happening now, in real time, everyday, on the screen. \u003c/p>\n\u003cp>It can be said that today’s radical culture bears little resemblance to the radical culture of bygone eras — this does not mean that art is shrinking from the challenges of our time, on the contrary, art is rushing at these challenges from every angle and from everywhere, en masse, every day, with the promise of more in the days ahead.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Funding for coverage of arts that explore social issues is provided by the California Arts Council.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jason McHenry and His Quest for One Million Paintings",
"headTitle": "Jason McHenry and His Quest for One Million Paintings | KQED",
"content": "\u003cp>The intent wasn’t always to create a million paintings. Speaking of his early art-making days with his brothers-in-arms back in high school, where the seeds of the idea were planted, artist Jason McHenry says, “We actually just used them like currency, kind of. We would make little mini paintings. That’s how it started… just amassing a bunch of these things, you know? We would all just push each other to make a new version of our own currency — like one dollar bills and five dollar bills.”\u003c/p>\n\u003cp>McHenry and his best friend Chris Dyer are the only two that stuck to it over the years. Now the project has a name, \u003cem>One Thousand Thousand\u003c/em>, and a mission to produce one million paintings. Although the impetus was simply to make as much art as possible surrounded by his friends, it eventually took McHenry down an often solitary path. Today he is reaching out to other artists to participate in the project to assure the goal is reached in his lifetime.\u003c/p>\n\u003cp>“\u003cem>One Thousand Thousand\u003c/em> is Christopher Dyer and Jason McHenry,” McHenry is quick to point out. “I honestly do more of the work, produce more pieces; he’s a senior executive at a company in Denver. We’re like partners in crime artistically. All the big projects that we’ve done, we’ve done together. So we push each other that way.”\u003c/p>\n\u003cfigure id=\"attachment_10219177\" class=\"wp-caption alignright\" style=\"max-width: 494px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10219177\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/JM_245541_640h.jpg\" alt=\"Every work in the edition is hand stamped and dated.\" width=\"494\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JM_245541_640h.jpg 494w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JM_245541_640h-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JM_245541_640h-463x600.jpg 463w\" sizes=\"(max-width: 494px) 100vw, 494px\">\u003cfigcaption class=\"wp-caption-text\">Every work in the edition is hand stamped and dated. \u003ccite>(Photo courtesy One Thousand Thousand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McHenry, 43, and his wife, Cathy, live in the South Bay now. He was born and raised in St. Louis, MO. His formative years are as colorful as the art he began painting just a short time later. Describing his youth, McHenry says, “I was the worst. I was raised by bikers. My whole family was involved with porn and tattoos.”\u003c/p>\n\u003cp>Like many kids growing up around a family-owned business, McHenry was asked to pitch in and help out from time to time. He earned his allowance by way of a broom and a bucket of bleach. He swept the floors of the family’s adult business and soaked clean the quarters he picked up in his bucket over night. The next day he’d dry them off and head to the arcade to play \u003cem>Pacman\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10219180\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10219180\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/JM_325107_640h.jpg\" alt=\"Edition #325107 created on July 17, 2013. \" width=\"480\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JM_325107_640h.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JM_325107_640h-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JM_325107_640h-450x600.jpg 450w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Edition #325107 created on July 17, 2013. \u003ccite>(Photo courtesy of One Thousand Thousand.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McHenry went to four different high schools in the 9th grade. He kept getting kicked out of them. They finally decided to have him tested and realized there wasn’t anything wrong with him; the tests revealed that he was both highly intelligent and exceptionally creative. As a result, he was sent to \u003ca href=\"http://www.slps.org/Page/6777\" target=\"_blank\" rel=\"noopener\">Central Visual and Performing Arts High\u003c/a>, a magnet school in the St. Louis Public School district, which describes itself as being “focused on synergistically developing both the artistic and academic student.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>McHenry describes it as being focused and condensed periods for academics with larger blocks of time for creative expression. “It’s a lot like \u003cem>FAME\u003c/em>,” he says.\u003c/p>\n\u003cp>“In high school and when the project first started the whole point of it was that we would just be pushing each other to make new art. So Chris wouldn’t wanna not make anything during the week, because then when it came time for us to show each other what we had done, he’d get savaged. Like ‘What? You didn’t make anthing? Get at it!’ You had to produce, because everybody else was. That was the point of it in a lot of ways.”\u003c/p>\n\u003cp>“We’d also sit around and do them together as a group. There’d be 5 or 6 or 10 people and we’d all make them on the spot. Sort of like artist trading cards before there were artist trading cards — limited, one-offs.”\u003c/p>\n\u003cp>\u003cb>Were you guys thinking of it like a factory?\u003c/b>\u003c/p>\n\u003cp>“In a way, yeah. Those are all big influences. Warhol and stuff like that. That’s when \u003ca href=\"http://www.artinamericamagazine.com/news-features/news/mark-kostabi-con-artist-tribeca-film-fest/\" target=\"_blank\" rel=\"noopener\">Mark Kostabi\u003c/a> really got famous and he was known for not even picking up a brush. He would basically just sign stuff. It was like that kind of dialog. At the same time, the work was the work, but it was really an excuse that we could all just sit and talk about these conversations. Because we’re high school students, but we’re skippin’ school to go up to Chicago to see some opening at the art museum up there.“\u003c/p>\n\u003cp>\u003cb>What about the \u003ca href=\"http://www.finster.com/\" target=\"_blank\" rel=\"noopener\">Reverend Howard Finster\u003c/a>? The way you number your works reminds me a bit of him. Are you aware of Finster yet?\u003c/b>\u003c/p>\n\u003cp>“Yes, in high school around that time. He was a huge influence. That’s where the idea had to have come from at some point. Part of it. Part of it was \u003ca href=\"http://basquiat.com/\" target=\"_blank\" rel=\"noopener\">Jean-Michel Basquiat\u003c/a> doing little anti-product postcards. I think I found Finster by way of \u003ca href=\"http://www.rollingstone.com/music/artists/talking-heads/biography\" target=\"_blank\" rel=\"noopener\">Talking Heads\u003c/a> and \u003cem>Little Creatures\u003c/em>, and \u003ca href=\"http://www.rollingstone.com/music/artists/r-e-m/biography\" target=\"_blank\" rel=\"noopener\">R.E.M.\u003c/a> ‘cause there was an R.E.M. cover in \u003cem>Rolling Stone\u003c/em> around early to mid-eighties with an article inside on Howard Finster.”\u003c/p>\n\u003cfigure id=\"attachment_10219182\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10219182\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/JM_groupshot_640w.jpg\" alt=\"A collection of works created for One Thousand Thousand. \" width=\"640\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JM_groupshot_640w.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JM_groupshot_640w-400x250.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A collection of works created for One Thousand Thousand. \u003ccite>(Photo courtesy of One Thousand Thousand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So you keep doing this all through high school. Then what?\u003c/b>\u003c/p>\n\u003cp>“Some of us went to the same college afterwards, so we kept doing it. I had saved them all from that time. I had 100. Then I had 500. Then I had 1000.”\u003c/p>\n\u003cp>“I had awesome scholarship offers based on my portfolio, but I had a crap G.P.A. So I went to a community college at first to get a demonstrable grade point average. And then I got a scholarship to \u003ca href=\"http://www.slu.edu/\" target=\"_blank\" rel=\"noopener\">Saint Louis University\u003c/a> and eventually I finished my degree at \u003ca href=\"http://arts.unco.edu/\" target=\"_blank\" rel=\"noopener\">University of Nothern Colorado\u003c/a>.”\u003c/p>\n\u003cp>\u003cb>You shared with me that you had learned of the outsider artist, \u003ca href=\"http://www.pbs.org/pov/intherealms/\" target=\"_blank\" rel=\"noopener\">Henry Darger\u003c/a>, around your second year in college. How did seeing his work for the first time affect you?\u003c/b>\u003c/p>\n\u003cp>“Oh profoundly. Darger was part of the discipline,” explains McHenry. “There was a Darger exhibit at Chicago Museum, I believe, and one of the pieces was this cross-section of a board that every day, or every other day, or seven times a day, he would do a coat of paint. Just a layer of paint. So what you were looking at was like tree rings basically. The board was a two-by-four, but the thing was like (in my memory at least) a foot and half or so thick. Just a lot. Whoa, that’s like hundreds and hundreds and hundreds of layers of paint. That was remarkable to me.”\u003c/p>\n\u003cp>Like Darger, McHenry and associates have been religiously laying down the layers of paint and mixed media day after day for over twenty years now. He’s created and painstakingly documented more than 330,000 works in the \u003cem>One Thousand Thousand\u003c/em> edition to date. To put that into perspective, imagine laying the 7.125 x 5.25 inch pieces end to end length-wise, that’s over 37 miles of art!\u003c/p>\n\u003cp>While \u003cem>One Thousand Thousand\u003c/em> has never been about making money, you can find \u003ca href=\"http://www.anti-product.com/shop.html\" target=\"_blank\" rel=\"noopener\">available works online\u003c/a> reasonably priced around $5. I’ve also seen them at festivals and events completely framed for just $10.\u003c/p>\n\u003cp>I’m including a Call to Artists from McHenry’s Anti-Product website here. “In the hindsight that is afforded to us after 20 years of going at this project, we have come to realize that it would be a whole lot easier for us to reach our goal of a million paintings in some timely fashion should we get a little help.\u003c/p>\n\u003cp>“If you are interested in participating in this project in some way you are seriously encouraged to \u003ca href=\"http://www.anti-product.com/contact-info.html\" target=\"_blank\" rel=\"noopener\">contact us\u003c/a> and let us know.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Find out more about the \u003ca href=\"http://www.anti-product.com/1000x1000.html\" target=\"_blank\" rel=\"noopener\">\u003cem>One Thousand Thousand\u003c/em>\u003c/a> project at anti-product.com.\u003c/p>\n\n",
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"excerpt": "Though the original intent was to make as much art as possible, the project somehow morphed into a goal of producing a seemingly preposterous number of paintings; now the mission of the \u003cem>One Thousand Thousand\u003c/em> project is to amass that amount with the help of friends. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The intent wasn’t always to create a million paintings. Speaking of his early art-making days with his brothers-in-arms back in high school, where the seeds of the idea were planted, artist Jason McHenry says, “We actually just used them like currency, kind of. We would make little mini paintings. That’s how it started… just amassing a bunch of these things, you know? We would all just push each other to make a new version of our own currency — like one dollar bills and five dollar bills.”\u003c/p>\n\u003cp>McHenry and his best friend Chris Dyer are the only two that stuck to it over the years. Now the project has a name, \u003cem>One Thousand Thousand\u003c/em>, and a mission to produce one million paintings. Although the impetus was simply to make as much art as possible surrounded by his friends, it eventually took McHenry down an often solitary path. Today he is reaching out to other artists to participate in the project to assure the goal is reached in his lifetime.\u003c/p>\n\u003cp>“\u003cem>One Thousand Thousand\u003c/em> is Christopher Dyer and Jason McHenry,” McHenry is quick to point out. “I honestly do more of the work, produce more pieces; he’s a senior executive at a company in Denver. We’re like partners in crime artistically. All the big projects that we’ve done, we’ve done together. So we push each other that way.”\u003c/p>\n\u003cfigure id=\"attachment_10219177\" class=\"wp-caption alignright\" style=\"max-width: 494px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10219177\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/JM_245541_640h.jpg\" alt=\"Every work in the edition is hand stamped and dated.\" width=\"494\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JM_245541_640h.jpg 494w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JM_245541_640h-400x518.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JM_245541_640h-463x600.jpg 463w\" sizes=\"(max-width: 494px) 100vw, 494px\">\u003cfigcaption class=\"wp-caption-text\">Every work in the edition is hand stamped and dated. \u003ccite>(Photo courtesy One Thousand Thousand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McHenry, 43, and his wife, Cathy, live in the South Bay now. He was born and raised in St. Louis, MO. His formative years are as colorful as the art he began painting just a short time later. Describing his youth, McHenry says, “I was the worst. I was raised by bikers. My whole family was involved with porn and tattoos.”\u003c/p>\n\u003cp>Like many kids growing up around a family-owned business, McHenry was asked to pitch in and help out from time to time. He earned his allowance by way of a broom and a bucket of bleach. He swept the floors of the family’s adult business and soaked clean the quarters he picked up in his bucket over night. The next day he’d dry them off and head to the arcade to play \u003cem>Pacman\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10219180\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10219180\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/JM_325107_640h.jpg\" alt=\"Edition #325107 created on July 17, 2013. \" width=\"480\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JM_325107_640h.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JM_325107_640h-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JM_325107_640h-450x600.jpg 450w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Edition #325107 created on July 17, 2013. \u003ccite>(Photo courtesy of One Thousand Thousand.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McHenry went to four different high schools in the 9th grade. He kept getting kicked out of them. They finally decided to have him tested and realized there wasn’t anything wrong with him; the tests revealed that he was both highly intelligent and exceptionally creative. As a result, he was sent to \u003ca href=\"http://www.slps.org/Page/6777\" target=\"_blank\" rel=\"noopener\">Central Visual and Performing Arts High\u003c/a>, a magnet school in the St. Louis Public School district, which describes itself as being “focused on synergistically developing both the artistic and academic student.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>McHenry describes it as being focused and condensed periods for academics with larger blocks of time for creative expression. “It’s a lot like \u003cem>FAME\u003c/em>,” he says.\u003c/p>\n\u003cp>“In high school and when the project first started the whole point of it was that we would just be pushing each other to make new art. So Chris wouldn’t wanna not make anything during the week, because then when it came time for us to show each other what we had done, he’d get savaged. Like ‘What? You didn’t make anthing? Get at it!’ You had to produce, because everybody else was. That was the point of it in a lot of ways.”\u003c/p>\n\u003cp>“We’d also sit around and do them together as a group. There’d be 5 or 6 or 10 people and we’d all make them on the spot. Sort of like artist trading cards before there were artist trading cards — limited, one-offs.”\u003c/p>\n\u003cp>\u003cb>Were you guys thinking of it like a factory?\u003c/b>\u003c/p>\n\u003cp>“In a way, yeah. Those are all big influences. Warhol and stuff like that. That’s when \u003ca href=\"http://www.artinamericamagazine.com/news-features/news/mark-kostabi-con-artist-tribeca-film-fest/\" target=\"_blank\" rel=\"noopener\">Mark Kostabi\u003c/a> really got famous and he was known for not even picking up a brush. He would basically just sign stuff. It was like that kind of dialog. At the same time, the work was the work, but it was really an excuse that we could all just sit and talk about these conversations. Because we’re high school students, but we’re skippin’ school to go up to Chicago to see some opening at the art museum up there.“\u003c/p>\n\u003cp>\u003cb>What about the \u003ca href=\"http://www.finster.com/\" target=\"_blank\" rel=\"noopener\">Reverend Howard Finster\u003c/a>? The way you number your works reminds me a bit of him. Are you aware of Finster yet?\u003c/b>\u003c/p>\n\u003cp>“Yes, in high school around that time. He was a huge influence. That’s where the idea had to have come from at some point. Part of it. Part of it was \u003ca href=\"http://basquiat.com/\" target=\"_blank\" rel=\"noopener\">Jean-Michel Basquiat\u003c/a> doing little anti-product postcards. I think I found Finster by way of \u003ca href=\"http://www.rollingstone.com/music/artists/talking-heads/biography\" target=\"_blank\" rel=\"noopener\">Talking Heads\u003c/a> and \u003cem>Little Creatures\u003c/em>, and \u003ca href=\"http://www.rollingstone.com/music/artists/r-e-m/biography\" target=\"_blank\" rel=\"noopener\">R.E.M.\u003c/a> ‘cause there was an R.E.M. cover in \u003cem>Rolling Stone\u003c/em> around early to mid-eighties with an article inside on Howard Finster.”\u003c/p>\n\u003cfigure id=\"attachment_10219182\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10219182\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/JM_groupshot_640w.jpg\" alt=\"A collection of works created for One Thousand Thousand. \" width=\"640\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JM_groupshot_640w.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/JM_groupshot_640w-400x250.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A collection of works created for One Thousand Thousand. \u003ccite>(Photo courtesy of One Thousand Thousand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So you keep doing this all through high school. Then what?\u003c/b>\u003c/p>\n\u003cp>“Some of us went to the same college afterwards, so we kept doing it. I had saved them all from that time. I had 100. Then I had 500. Then I had 1000.”\u003c/p>\n\u003cp>“I had awesome scholarship offers based on my portfolio, but I had a crap G.P.A. So I went to a community college at first to get a demonstrable grade point average. And then I got a scholarship to \u003ca href=\"http://www.slu.edu/\" target=\"_blank\" rel=\"noopener\">Saint Louis University\u003c/a> and eventually I finished my degree at \u003ca href=\"http://arts.unco.edu/\" target=\"_blank\" rel=\"noopener\">University of Nothern Colorado\u003c/a>.”\u003c/p>\n\u003cp>\u003cb>You shared with me that you had learned of the outsider artist, \u003ca href=\"http://www.pbs.org/pov/intherealms/\" target=\"_blank\" rel=\"noopener\">Henry Darger\u003c/a>, around your second year in college. How did seeing his work for the first time affect you?\u003c/b>\u003c/p>\n\u003cp>“Oh profoundly. Darger was part of the discipline,” explains McHenry. “There was a Darger exhibit at Chicago Museum, I believe, and one of the pieces was this cross-section of a board that every day, or every other day, or seven times a day, he would do a coat of paint. Just a layer of paint. So what you were looking at was like tree rings basically. The board was a two-by-four, but the thing was like (in my memory at least) a foot and half or so thick. Just a lot. Whoa, that’s like hundreds and hundreds and hundreds of layers of paint. That was remarkable to me.”\u003c/p>\n\u003cp>Like Darger, McHenry and associates have been religiously laying down the layers of paint and mixed media day after day for over twenty years now. He’s created and painstakingly documented more than 330,000 works in the \u003cem>One Thousand Thousand\u003c/em> edition to date. To put that into perspective, imagine laying the 7.125 x 5.25 inch pieces end to end length-wise, that’s over 37 miles of art!\u003c/p>\n\u003cp>While \u003cem>One Thousand Thousand\u003c/em> has never been about making money, you can find \u003ca href=\"http://www.anti-product.com/shop.html\" target=\"_blank\" rel=\"noopener\">available works online\u003c/a> reasonably priced around $5. I’ve also seen them at festivals and events completely framed for just $10.\u003c/p>\n\u003cp>I’m including a Call to Artists from McHenry’s Anti-Product website here. “In the hindsight that is afforded to us after 20 years of going at this project, we have come to realize that it would be a whole lot easier for us to reach our goal of a million paintings in some timely fashion should we get a little help.\u003c/p>\n\u003cp>“If you are interested in participating in this project in some way you are seriously encouraged to \u003ca href=\"http://www.anti-product.com/contact-info.html\" target=\"_blank\" rel=\"noopener\">contact us\u003c/a> and let us know.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Find out more about the \u003ca href=\"http://www.anti-product.com/1000x1000.html\" target=\"_blank\" rel=\"noopener\">\u003cem>One Thousand Thousand\u003c/em>\u003c/a> project at anti-product.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Light Art Brings Holiday Glow to Darkest Nights",
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"content": "\u003cp>Tonight is midwinter, Yule, the solstice – the longest night. During winter’s dark depths, San Franciscans with an urge to seek the light will find a wealth of illuminated art pieces blinking and blazing around town. Some, like \u003ca href=\"http://www.metaphorm.org/portfolio/carusos-dream/\" target=\"_blank\" rel=\"noopener\">Caruso’s Dream\u003c/a>, are permanent installations. Others, like \u003ca href=\"https://www.kickstarter.com/projects/foldhaus/blumen-lumen-interactive-sculpture-at-burning-man\" target=\"_blank\" rel=\"noopener\">Blumen Lumen\u003c/a> and a selection of illuminated works at the Exploratorium through Jan. 4, will be gone in a flash. Many, such as the \u003ca href=\"http://flaminglotus.com/art/soma/\" target=\"_blank\" rel=\"noopener\">Flaming Lotus Girls’ SOMA\u003c/a>, on Pier 14, come out of the Burning Man movement. All feel appropriate to this season, when we celebrate the sun’s return with fire.\u003c/p>\n\u003cp>If you’re interested in visiting the city’s illuminated installations, the SF Travel Association \u003ca href=\"http://www.illuminatesf.com/#/content/art-map\" target=\"_blank\" rel=\"noopener\">has compiled a map\u003c/a> and a list of \u003ca href=\"http://www.illuminatesf.com/#/content/events\" target=\"_blank\" rel=\"noopener\">tours and other events\u003c/a>. (KQED critic Christian Frock rates the 16 works listed on the map as ranging “from meh to spectacular” — \u003ca href=\"http://ww2.kqed.org/arts/2014/12/18/bigger-brighter-better-will-san-francisco-become-a-light-art-destination/\" target=\"_blank\" rel=\"noopener\">read her commentary\u003c/a>. ) A \u003ca href=\"http://www.discoverystreettours.com/site/?page_id=747\" target=\"_blank\" rel=\"noopener\">free light art bike tour this Saturday\u003c/a> will give cyclists a chance to shine. Meanwhile, enjoy Peter Ruocco’s video exploration of these dazzling works.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "In the dark of winter, San Franciscans with an urge to celebrate the light can visit a new wealth of illuminated art installations. This video tour offers a preview of some of the more dazzling works.",
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"title": "Light Art Brings Holiday Glow to Darkest Nights | KQED",
"description": "In the dark of winter, San Franciscans with an urge to celebrate the light can visit a new wealth of illuminated art installations. This video tour offers a preview of some of the more dazzling works.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tonight is midwinter, Yule, the solstice – the longest night. During winter’s dark depths, San Franciscans with an urge to seek the light will find a wealth of illuminated art pieces blinking and blazing around town. Some, like \u003ca href=\"http://www.metaphorm.org/portfolio/carusos-dream/\" target=\"_blank\" rel=\"noopener\">Caruso’s Dream\u003c/a>, are permanent installations. Others, like \u003ca href=\"https://www.kickstarter.com/projects/foldhaus/blumen-lumen-interactive-sculpture-at-burning-man\" target=\"_blank\" rel=\"noopener\">Blumen Lumen\u003c/a> and a selection of illuminated works at the Exploratorium through Jan. 4, will be gone in a flash. Many, such as the \u003ca href=\"http://flaminglotus.com/art/soma/\" target=\"_blank\" rel=\"noopener\">Flaming Lotus Girls’ SOMA\u003c/a>, on Pier 14, come out of the Burning Man movement. All feel appropriate to this season, when we celebrate the sun’s return with fire.\u003c/p>\n\u003cp>If you’re interested in visiting the city’s illuminated installations, the SF Travel Association \u003ca href=\"http://www.illuminatesf.com/#/content/art-map\" target=\"_blank\" rel=\"noopener\">has compiled a map\u003c/a> and a list of \u003ca href=\"http://www.illuminatesf.com/#/content/events\" target=\"_blank\" rel=\"noopener\">tours and other events\u003c/a>. (KQED critic Christian Frock rates the 16 works listed on the map as ranging “from meh to spectacular” — \u003ca href=\"http://ww2.kqed.org/arts/2014/12/18/bigger-brighter-better-will-san-francisco-become-a-light-art-destination/\" target=\"_blank\" rel=\"noopener\">read her commentary\u003c/a>. ) A \u003ca href=\"http://www.discoverystreettours.com/site/?page_id=747\" target=\"_blank\" rel=\"noopener\">free light art bike tour this Saturday\u003c/a> will give cyclists a chance to shine. Meanwhile, enjoy Peter Ruocco’s video exploration of these dazzling works.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Bob Miller: Teasing Science Lessons from Everyday Phenomena",
"headTitle": "Bob Miller: Teasing Science Lessons from Everyday Phenomena | KQED",
"content": "\u003cp>Until February 5, 2015, you can visit the main branch of the San Francisco Public Library and be momentarily transported through space and time to the early days of the Exploratorium via the life and work of Bob Miller, who died in 2007.\u003c/p>\n\u003cp>The transportation isn’t entirely complete, especially when unavoidable elements of the library’s physical space interrupt the installation of vitrines, wall text and objects. But reading first-hand accounts by Miller’s colleagues of his various contributions to both the Exploratorium and scientific discovery, I wished I’d wandered the museum with him at any point in his twenty year tenure. Documentation and ephemera will never be as entertaining as the man himself, but \u003cb>Light Walk: Bob Miller and the Exploratorium\u003c/b> presents one man’s creativity, playfulness and lasting impact on an institution, leaving the viewer itching for the simple tools of his trade: sunlight, paper and an irrepressible curiosity.\u003c/p>\n\u003cp>\u003cb>Light Walk \u003c/b>is installed on the library’s fourth floor, rubbing elbows with the art, music and recreation collections. Four large cases present short anecdotes about Miller and related materials from the Exploratorium archives: photographs, magazine clippings, patent documents and museum publications. The bits and pieces coalesce into a picture of Miller — much like his \u003ci>Light Walk\u003c/i>, an exploration of sunlight, shadow, refraction and perception builds on basic demonstrations to build a larger understanding of the natural world.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=dvmRO5IjW_I\u003c/p>\n\u003cp>Before he met Exploratorium director Frank Oppenheimer in 1970, Miller lived a number of lives. Roaming from the White Sands Proving Ground to India and the South Pacific, he worked in the Army, for IBM, as a postal carrier and merchant marine. After this Renaissance man lifestyle, he helped shape the Exploratorium for nearly two decades, in its exhibits and its ethos.\u003c/p>\n\u003cfigure id=\"attachment_10220518\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10220518\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/sun_painting.jpg\" alt=\"Bob Miller, <i>Sun Painting</i>; Courtesy of the Exploratorium.\" width=\"500\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/sun_painting.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/sun_painting-400x300.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Bob Miller, \u003ci>Sun Painting\u003c/i>; Courtesy of the Exploratorium.\u003c/figcaption>\u003c/figure>\n\u003cp>Peter Richards, another longtime Exploratorium colleague whose name might be familiar as co-creator of \u003ca href=\"http://www.exploratorium.edu/visit/wave-organ\" target=\"_blank\" rel=\"noopener\">\u003ci>The Wave Organ\u003c/i>\u003c/a>, details the development of one of Miller’s signature exhibits. Richards depicts a fledgling institution where getting an NEA grant for the construction of \u003ci>Sun Painting’s\u003c/i> mechanically-mounted mirror is as simple as a letter from Oppenheimer to the federal agency. A prevailing attitude of “we think this might work, let’s find out what happens” makes these early days at the museum seem thrilling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Through simple materials and methods, Miller teased science lessons from everyday phenomena. A display of provisional tools used in \u003cem>Light Walk\u003c/em> demonstrates the dictum of “it’s not the \u003cem>stuff\u003c/em> that’s important, but rather the phenomena that the stuff helps illuminate.”\u003c/p>\n\u003cfigure id=\"attachment_10220635\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10220635\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Stuff.jpg\" alt=\"The <i>stuff</i> that helps illuminate; Courtesy of the Exploratorium.\" width=\"640\" height=\"421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Stuff.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Stuff-400x263.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The \u003ci>stuff\u003c/i> that helps illuminate; Courtesy of the Exploratorium.\u003c/figcaption>\u003c/figure>\n\u003cp>Some of Miller’s exhibitions were based on actual scientific and engineering discoveries. With Sally Duensing, he published “The Cheshire Cat Effect” in the journal \u003ci>Perception\u003c/i>, findings related to the strange things that happen when our eyes see two different and competing things. Based on Duesing’s retelling (and the photographs accompanying her text) it appears Miller really was fulfilling Oppenheimer’s invitation to “come and play” at the Exploratorium.\u003c/p>\n\u003cp>Nowhere is his playful nature more evident than in the short silent video, \u003ci>Bob Miller: A Little Insight\u003c/i>, by David Barker. Against the aural backdrop of the fourth floor elevator bank (“ding! ding!”), reference desk questions, and the busy typing of library patrons, Barker captures Miller fooling around at his home in Cedar Lake, the subject sporting a Willie Nelson-style bandana around his white head. Miller conducts magic tricks with his reflection and demonstrates some of his signature \u003ci>Light Walk\u003c/i> moves. The camera ranges over prisms, mirrors and refracted light.\u003c/p>\n\u003cp>The library’s version of\u003ci> Light Walk\u003c/i> is a selection of good stories punctuated by three of Miller’s creations — a prototype of the \u003ci>Sun Painting\u003c/i> mirror that looks positively ancient, a meticulously crafted rack of mirrored slats, and a pinhole portrait of Miller himself (US patent #6000803). The whole exhibition is encircled by small wall plaques relaying bits of Miller’s \u003ci>Light Walk\u003c/i> lessons in text. The conversational tone and broken structure of the plaques make true comprehension nearly impossible, but necessitate a visit to the present-day Exploratorium for a modern-day \u003ci>Light Walk\u003c/i>, an “institution” the museum still provides, which was perhaps the goal of this installation all along.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Light Walk: Bob Miller and the Exploratorium\u003c/b> is on view in the Art, Music & Recreation Center of the San Francisco Public Library, Main Branch, through February 5, 2015. For \u003ca href=\"http://www.exploratorium.edu/visit/calendar/light-walk-bob-miller-and-exploratorium\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit exploratorium.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Until February 5, 2015, you can visit the main branch of the San Francisco Public Library and be momentarily transported through space and time to the early days of the Exploratorium via the life and work of Bob Miller, who died in 2007.\u003c/p>\n\u003cp>The transportation isn’t entirely complete, especially when unavoidable elements of the library’s physical space interrupt the installation of vitrines, wall text and objects. But reading first-hand accounts by Miller’s colleagues of his various contributions to both the Exploratorium and scientific discovery, I wished I’d wandered the museum with him at any point in his twenty year tenure. Documentation and ephemera will never be as entertaining as the man himself, but \u003cb>Light Walk: Bob Miller and the Exploratorium\u003c/b> presents one man’s creativity, playfulness and lasting impact on an institution, leaving the viewer itching for the simple tools of his trade: sunlight, paper and an irrepressible curiosity.\u003c/p>\n\u003cp>\u003cb>Light Walk \u003c/b>is installed on the library’s fourth floor, rubbing elbows with the art, music and recreation collections. Four large cases present short anecdotes about Miller and related materials from the Exploratorium archives: photographs, magazine clippings, patent documents and museum publications. The bits and pieces coalesce into a picture of Miller — much like his \u003ci>Light Walk\u003c/i>, an exploration of sunlight, shadow, refraction and perception builds on basic demonstrations to build a larger understanding of the natural world.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dvmRO5IjW_I'\n title='//www.youtube.com/embed/dvmRO5IjW_I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before he met Exploratorium director Frank Oppenheimer in 1970, Miller lived a number of lives. Roaming from the White Sands Proving Ground to India and the South Pacific, he worked in the Army, for IBM, as a postal carrier and merchant marine. After this Renaissance man lifestyle, he helped shape the Exploratorium for nearly two decades, in its exhibits and its ethos.\u003c/p>\n\u003cfigure id=\"attachment_10220518\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10220518\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/sun_painting.jpg\" alt=\"Bob Miller, <i>Sun Painting</i>; Courtesy of the Exploratorium.\" width=\"500\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/sun_painting.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/sun_painting-400x300.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Bob Miller, \u003ci>Sun Painting\u003c/i>; Courtesy of the Exploratorium.\u003c/figcaption>\u003c/figure>\n\u003cp>Peter Richards, another longtime Exploratorium colleague whose name might be familiar as co-creator of \u003ca href=\"http://www.exploratorium.edu/visit/wave-organ\" target=\"_blank\" rel=\"noopener\">\u003ci>The Wave Organ\u003c/i>\u003c/a>, details the development of one of Miller’s signature exhibits. Richards depicts a fledgling institution where getting an NEA grant for the construction of \u003ci>Sun Painting’s\u003c/i> mechanically-mounted mirror is as simple as a letter from Oppenheimer to the federal agency. A prevailing attitude of “we think this might work, let’s find out what happens” makes these early days at the museum seem thrilling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Through simple materials and methods, Miller teased science lessons from everyday phenomena. A display of provisional tools used in \u003cem>Light Walk\u003c/em> demonstrates the dictum of “it’s not the \u003cem>stuff\u003c/em> that’s important, but rather the phenomena that the stuff helps illuminate.”\u003c/p>\n\u003cfigure id=\"attachment_10220635\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10220635\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Stuff.jpg\" alt=\"The <i>stuff</i> that helps illuminate; Courtesy of the Exploratorium.\" width=\"640\" height=\"421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Stuff.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Stuff-400x263.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The \u003ci>stuff\u003c/i> that helps illuminate; Courtesy of the Exploratorium.\u003c/figcaption>\u003c/figure>\n\u003cp>Some of Miller’s exhibitions were based on actual scientific and engineering discoveries. With Sally Duensing, he published “The Cheshire Cat Effect” in the journal \u003ci>Perception\u003c/i>, findings related to the strange things that happen when our eyes see two different and competing things. Based on Duesing’s retelling (and the photographs accompanying her text) it appears Miller really was fulfilling Oppenheimer’s invitation to “come and play” at the Exploratorium.\u003c/p>\n\u003cp>Nowhere is his playful nature more evident than in the short silent video, \u003ci>Bob Miller: A Little Insight\u003c/i>, by David Barker. Against the aural backdrop of the fourth floor elevator bank (“ding! ding!”), reference desk questions, and the busy typing of library patrons, Barker captures Miller fooling around at his home in Cedar Lake, the subject sporting a Willie Nelson-style bandana around his white head. Miller conducts magic tricks with his reflection and demonstrates some of his signature \u003ci>Light Walk\u003c/i> moves. The camera ranges over prisms, mirrors and refracted light.\u003c/p>\n\u003cp>The library’s version of\u003ci> Light Walk\u003c/i> is a selection of good stories punctuated by three of Miller’s creations — a prototype of the \u003ci>Sun Painting\u003c/i> mirror that looks positively ancient, a meticulously crafted rack of mirrored slats, and a pinhole portrait of Miller himself (US patent #6000803). The whole exhibition is encircled by small wall plaques relaying bits of Miller’s \u003ci>Light Walk\u003c/i> lessons in text. The conversational tone and broken structure of the plaques make true comprehension nearly impossible, but necessitate a visit to the present-day Exploratorium for a modern-day \u003ci>Light Walk\u003c/i>, an “institution” the museum still provides, which was perhaps the goal of this installation all along.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Light Walk: Bob Miller and the Exploratorium\u003c/b> is on view in the Art, Music & Recreation Center of the San Francisco Public Library, Main Branch, through February 5, 2015. For \u003ca href=\"http://www.exploratorium.edu/visit/calendar/light-walk-bob-miller-and-exploratorium\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit exploratorium.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bigger, Brighter, Better? Will San Francisco Become a Light Art Destination?",
"headTitle": "Bigger, Brighter, Better? Will San Francisco Become a Light Art Destination? | KQED",
"content": "\u003cp>Last year a conscious effort to leverage light as part of San Francisco’s city brand, primarily to attract \u003ca href=\"http://ww2.kqed.org/arts/2013/03/02/the_bay_lights_promises_bright_lights_and_big_money_in_the_new_tradition_of_grand_public_art/\">hospitality revenue and tourism\u003c/a>, was initiated with the debut of Leo Villareal’s \u003cem>The Bay Lights\u003c/em>, a privately funded site-specific light installation on the western span of the Bay Bridge. Originally temporary, \u003cem>The Bay Lights\u003c/em> is now being considered for permanent installation. In a recent \u003ca href=\"http://www.sfgate.com/bayarea/williesworld/article/Modest-proposal-for-making-S-F-a-real-city-of-5923846.php#comments\">stream of consciousness\u003c/a> statement in the \u003cem>San Francisco Chronicle\u003c/em>, former Mayor Willie Brown put forth a “modest proposal” for a “Season of Lights” with a contest for the most creatively illuminated building, citing City Hall and Embarcadero Center as great examples of what light can do. This year the San Francisco Travel Association self-branded the city as a “national leader in light art,” with a new website that invites “art and culture lovers” to “embrace the power of light” with a self-guided tour of sixteen disparate light installations around the city ranging from \u003cem>meh \u003c/em>to spectacular. If this all sounds like a fervent grab for the attention of Burning Man aficionados in the off-season, well, it might be. Two new works this year, Brian Goggin’s and Dorka Keehn’s \u003cem>Caruso’s Dream\u003c/em> downtown and \u003cem>Bayview Rise\u003c/em> by Haddad and Drugan on Pier 92, reveal a lot about the possibilities of “light art” and the driving forces behind a movement to light up the city.\u003c/p>\n\u003cfigure id=\"attachment_10225064\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/lights2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/lights2.jpg\" alt=\"Caruso's Dream\" width=\"640\" height=\"426\" class=\"size-full wp-image-10225064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/lights2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/lights2-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brian Goggin and Dorka Keehn, \u003cem>…and my room still rocks like a boat on the sea (Caruso’s Dream)\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>The full title of Goggin and Keehn’s latest public art installation is \u003cem>…and my room still rocks like a boat on the sea (Caruso’s Dream)\u003c/em> — it is situated on the façade of a new residential high-rise at 55 Ninth Street and features thirteen sculptural “pianos” created from vintage chicken-wire glass and salvaged pilings from the old transbay terminal. It references an account of the 1906 earthquake, as told by opera legend Enrico Caruso, who was staying at the Palace Hotel and was unsure if he was awake or dreaming after being roused from his sleep during the calamity. From 4pm – 10am daily, viewers can tune into a short-range broadcast on 90.9 FM to hear a Caruso opera recording that inspired the work — the shifting light of the pianos, lit from within, are timed with the music and it is a bewitching, compelling experience.\u003c/p>\n\u003cp>I tuned in on my car radio from about a block away and listened as the music rose up out of crackly radio static upon approach (the station can only be heard within a block) and I circled back several times to see the work as Ninth Street has become a busy thoroughfare and there is no space to linger in transit. Certainly one could stand on the sidewalk with their handheld radio or boom box, but modern technology has seemed to eclipse these accoutrements, leaving the savvy viewer/listener to rely on the car radio. If you don’t mind circling back a few times, you can take in the work as I did, listening as Caruso fades in and out of range to compliment the work. The combination of sculpture and light and sound, as well as site-specific history and artifacts, is spectacular — as a multi-sensory experience it is, by far, one the most interesting public artworks the city has seen.\u003c/p>\n\u003cp>http://youtu.be/RJ6rTnqHCc0 \u003c/p>\n\u003cp>Public access is an issue – not everyone who sees it on the street will understand the layers available for the experience, few will know to tune in and fewer will just happen to have a radio on hand. As much as I like the radio component, I wonder why the music couldn’t also be broadcast at an acceptable level on the street, to engage a broader, truly public audience and to enable viewers to linger more effectively with the work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is a provocative continuation of the work of Goggin and Keehn, who also produced \u003cem>Language of the Birds\u003c/em>, a solar powered public art installation near City Lights in North Beach, featuring the appearance of books in flight. Certainly some will also associate \u003cem>Caruso’s Dream \u003c/em>with Goggin’s \u003cem>Defenestration \u003c/em>1997 – 2014, the site-specific sculpture of tumbling furniture aloft on the Hugo Building that was de-commissioned and sold piecemeal earlier this year after the building was slated for redevelopment. Though \u003cem>Defenestration \u003c/em>was never considered a permanent work, its long tenure came to stand in for permanence and it was widely considered a beloved icon of the city. \u003cem>Caruso’s Dream \u003c/em> is a privately funded artwork commissioned by Avalon Bay as part of the One Percent for Art Program, and vetted by a selection process managed by the Black Rock Arts Foundation, an organization developed by several of the founding organizers of Burning Man. Only time will tell how well the work will be maintained — technology driven public art is notoriously challenging. Earlier this year, as \u003ca href=\"http://www.sfgate.com/bayarea/article/Moscone-West-s-1-5-million-artwork-beset-by-5731932.php#photo-6809058\">reported\u003c/a> by the \u003cem>San Francisco Chronicle\u003c/em>, the city opted to remove Diller Scofidio + Renfro’s \u003cem>Facsimile\u003c/em>, an eleven year old $1.5 million LED screen-based public artwork on Moscone West, long complicated by glitches and outmoded technology.\u003c/p>\n\u003cp>Unlike \u003cem>Caruso’s Dream\u003c/em>, Haddad and Drugan’s \u003cem>Bayview Rise \u003c/em>is a temporary installation. It combines a 187-foot tall illuminated mural on the side of a defunct grain elevator and silo on Pier 92 in Bayview Hunters Point; its projected lights transition through changing filters to reveal different fantastical images in the mural. Certainly the work adds something to Pier 92 that was sorely needed and seems to further interest in redeveloping this area of the city. Commissioned by the Port of San Francisco with coordination from the San Francisco Arts Commission, this work openly considers future plans for mixed-use redevelopment of the area: on the other side of the street, placards announce forthcoming real estate ventures.\u003c/p>\n\u003cp>Seen at night \u003cem>Bayview Rise\u003c/em> goes a long way to make the area seem more accessible — certainly this is not an area that lends itself to moonlit walks, but nor was Ninth Street prior to the recent spate of developments. \u003cem>Bayview Rise\u003c/em>, like \u003cem>The Bay Lights, \u003c/em>seems more focused on scale and spectacle than any kind of meaningful engagement with local history or the role it might have to play in shifting perceptions of the city. Whether or not these ideas will be enough to make San Francisco stand out as a “national leader in light art” remains to be seen. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>An outstanding question seems to be whether or not it is enough to have the most or the biggest “light art” versus having the best, most interesting work. In his opinion piece for the \u003cem>Chronicle\u003c/em>, Brown suggested that San Francisco might become “a city of lights. Just like our sister city Paris.” It bears mentioning that Parisians widely despised the lighting of the Eiffel Tower. In re-imagining the possibilities for San Francisco, perhaps the larger question should be whether the city wants to reflect the sensibilities and desires of it’s own public audience, or whether it cares more about the whims of tourists, who only ever come and go.\u003c/p>\n\n",
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"excerpt": "Two new works, Brian Goggin’s and Dorka Keehn’s \u003cem>Caruso’s Dream\u003c/em> downtown and \u003cem>Bayview Rise\u003c/em> by Haddad and Drugan on Pier 92, reveal a lot about the possibilities of “light art” and the driving forces behind a movement to light up San Francisco.",
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"description": "Two new works, Brian Goggin’s and Dorka Keehn’s Caruso’s Dream downtown and Bayview Rise by Haddad and Drugan on Pier 92, reveal a lot about the possibilities of “light art” and the driving forces behind a movement to light up San Francisco.",
"title": "Bigger, Brighter, Better? Will San Francisco Become a Light Art Destination? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year a conscious effort to leverage light as part of San Francisco’s city brand, primarily to attract \u003ca href=\"http://ww2.kqed.org/arts/2013/03/02/the_bay_lights_promises_bright_lights_and_big_money_in_the_new_tradition_of_grand_public_art/\">hospitality revenue and tourism\u003c/a>, was initiated with the debut of Leo Villareal’s \u003cem>The Bay Lights\u003c/em>, a privately funded site-specific light installation on the western span of the Bay Bridge. Originally temporary, \u003cem>The Bay Lights\u003c/em> is now being considered for permanent installation. In a recent \u003ca href=\"http://www.sfgate.com/bayarea/williesworld/article/Modest-proposal-for-making-S-F-a-real-city-of-5923846.php#comments\">stream of consciousness\u003c/a> statement in the \u003cem>San Francisco Chronicle\u003c/em>, former Mayor Willie Brown put forth a “modest proposal” for a “Season of Lights” with a contest for the most creatively illuminated building, citing City Hall and Embarcadero Center as great examples of what light can do. This year the San Francisco Travel Association self-branded the city as a “national leader in light art,” with a new website that invites “art and culture lovers” to “embrace the power of light” with a self-guided tour of sixteen disparate light installations around the city ranging from \u003cem>meh \u003c/em>to spectacular. If this all sounds like a fervent grab for the attention of Burning Man aficionados in the off-season, well, it might be. Two new works this year, Brian Goggin’s and Dorka Keehn’s \u003cem>Caruso’s Dream\u003c/em> downtown and \u003cem>Bayview Rise\u003c/em> by Haddad and Drugan on Pier 92, reveal a lot about the possibilities of “light art” and the driving forces behind a movement to light up the city.\u003c/p>\n\u003cfigure id=\"attachment_10225064\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/lights2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/lights2.jpg\" alt=\"Caruso's Dream\" width=\"640\" height=\"426\" class=\"size-full wp-image-10225064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/lights2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/lights2-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brian Goggin and Dorka Keehn, \u003cem>…and my room still rocks like a boat on the sea (Caruso’s Dream)\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>The full title of Goggin and Keehn’s latest public art installation is \u003cem>…and my room still rocks like a boat on the sea (Caruso’s Dream)\u003c/em> — it is situated on the façade of a new residential high-rise at 55 Ninth Street and features thirteen sculptural “pianos” created from vintage chicken-wire glass and salvaged pilings from the old transbay terminal. It references an account of the 1906 earthquake, as told by opera legend Enrico Caruso, who was staying at the Palace Hotel and was unsure if he was awake or dreaming after being roused from his sleep during the calamity. From 4pm – 10am daily, viewers can tune into a short-range broadcast on 90.9 FM to hear a Caruso opera recording that inspired the work — the shifting light of the pianos, lit from within, are timed with the music and it is a bewitching, compelling experience.\u003c/p>\n\u003cp>I tuned in on my car radio from about a block away and listened as the music rose up out of crackly radio static upon approach (the station can only be heard within a block) and I circled back several times to see the work as Ninth Street has become a busy thoroughfare and there is no space to linger in transit. Certainly one could stand on the sidewalk with their handheld radio or boom box, but modern technology has seemed to eclipse these accoutrements, leaving the savvy viewer/listener to rely on the car radio. If you don’t mind circling back a few times, you can take in the work as I did, listening as Caruso fades in and out of range to compliment the work. The combination of sculpture and light and sound, as well as site-specific history and artifacts, is spectacular — as a multi-sensory experience it is, by far, one the most interesting public artworks the city has seen.\u003c/p>\n\u003cp>http://youtu.be/RJ6rTnqHCc0 \u003c/p>\n\u003cp>Public access is an issue – not everyone who sees it on the street will understand the layers available for the experience, few will know to tune in and fewer will just happen to have a radio on hand. As much as I like the radio component, I wonder why the music couldn’t also be broadcast at an acceptable level on the street, to engage a broader, truly public audience and to enable viewers to linger more effectively with the work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is a provocative continuation of the work of Goggin and Keehn, who also produced \u003cem>Language of the Birds\u003c/em>, a solar powered public art installation near City Lights in North Beach, featuring the appearance of books in flight. Certainly some will also associate \u003cem>Caruso’s Dream \u003c/em>with Goggin’s \u003cem>Defenestration \u003c/em>1997 – 2014, the site-specific sculpture of tumbling furniture aloft on the Hugo Building that was de-commissioned and sold piecemeal earlier this year after the building was slated for redevelopment. Though \u003cem>Defenestration \u003c/em>was never considered a permanent work, its long tenure came to stand in for permanence and it was widely considered a beloved icon of the city. \u003cem>Caruso’s Dream \u003c/em> is a privately funded artwork commissioned by Avalon Bay as part of the One Percent for Art Program, and vetted by a selection process managed by the Black Rock Arts Foundation, an organization developed by several of the founding organizers of Burning Man. Only time will tell how well the work will be maintained — technology driven public art is notoriously challenging. Earlier this year, as \u003ca href=\"http://www.sfgate.com/bayarea/article/Moscone-West-s-1-5-million-artwork-beset-by-5731932.php#photo-6809058\">reported\u003c/a> by the \u003cem>San Francisco Chronicle\u003c/em>, the city opted to remove Diller Scofidio + Renfro’s \u003cem>Facsimile\u003c/em>, an eleven year old $1.5 million LED screen-based public artwork on Moscone West, long complicated by glitches and outmoded technology.\u003c/p>\n\u003cp>Unlike \u003cem>Caruso’s Dream\u003c/em>, Haddad and Drugan’s \u003cem>Bayview Rise \u003c/em>is a temporary installation. It combines a 187-foot tall illuminated mural on the side of a defunct grain elevator and silo on Pier 92 in Bayview Hunters Point; its projected lights transition through changing filters to reveal different fantastical images in the mural. Certainly the work adds something to Pier 92 that was sorely needed and seems to further interest in redeveloping this area of the city. Commissioned by the Port of San Francisco with coordination from the San Francisco Arts Commission, this work openly considers future plans for mixed-use redevelopment of the area: on the other side of the street, placards announce forthcoming real estate ventures.\u003c/p>\n\u003cp>Seen at night \u003cem>Bayview Rise\u003c/em> goes a long way to make the area seem more accessible — certainly this is not an area that lends itself to moonlit walks, but nor was Ninth Street prior to the recent spate of developments. \u003cem>Bayview Rise\u003c/em>, like \u003cem>The Bay Lights, \u003c/em>seems more focused on scale and spectacle than any kind of meaningful engagement with local history or the role it might have to play in shifting perceptions of the city. Whether or not these ideas will be enough to make San Francisco stand out as a “national leader in light art” remains to be seen. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An outstanding question seems to be whether or not it is enough to have the most or the biggest “light art” versus having the best, most interesting work. In his opinion piece for the \u003cem>Chronicle\u003c/em>, Brown suggested that San Francisco might become “a city of lights. Just like our sister city Paris.” It bears mentioning that Parisians widely despised the lighting of the Eiffel Tower. In re-imagining the possibilities for San Francisco, perhaps the larger question should be whether the city wants to reflect the sensibilities and desires of it’s own public audience, or whether it cares more about the whims of tourists, who only ever come and go.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Archive of Modern Conflict: 'Collecting Shadows' at Pier 24",
"headTitle": "The Archive of Modern Conflict: ‘Collecting Shadows’ at Pier 24 | KQED",
"content": "\u003cfigure id=\"attachment_10219567\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc2.jpg\" alt=\"Frank Coster, Spirit photograph, c1890; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco\" width=\"640\" height=\"1024\" class=\"size-full wp-image-10219567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc2-400x640.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc2-375x600.jpg 375w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Frank Coster, Spirit photograph, c1890; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>Imagine a constellation of images that span the last one hundred years, accumulating and gapping as heights of activity ebb and flow over the course of a century. This circular map of experience weaves through time, echoing the staccato and reverberating conditions of long-term memory. \u003c/p>\n\u003cp>New experiences call up past occurrences and become arranged, overlapped, and clustered according to sight, feel, effect or impact. As an archive, this sequence follows a uniquely human logic, subjective and driven by impression and visceral observation as opposed to an organization based on time and topic. This archive is not adequate in its ability to represent the past accurately as it happened, but rather it’s sufficient at representing the poetry and cadence of memory itself.\u003c/p>\n\u003cfigure id=\"attachment_10219568\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc3.jpg\" alt=\"The Archive of Modern Conflict, Collected Shadows (Installation View 2014); Courtesy Pier 24 Photography, San Francisco \" width=\"640\" height=\"427\" class=\"size-full wp-image-10219568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc3-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Archive of Modern Conflict, \u003ci>Collected Shadows\u003c/i> (Installation View 2014); Courtesy Pier 24 Photography, San Francisco\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Collected Shadows\u003c/em> is on view at Pier 24 Photography as part of the current exhibition \u003cstrong>Secondhand\u003c/strong>, which features a selection of artists who mine existing archives of mostly found images from which they appropriate, manipulate, edit and sequence in order to create entirely new works of art. \u003cem>Collected Shadows\u003c/em> is one of the London-based Archive of Modern Conflict’s (AMC) curatorial projects. Organized by the AMC’s director and curator, Timothy Prus, it is a semi-encyclopedic and enigmatic display with an accompanying book that spans a wide range of subjects and time periods. \u003c/p>\n\u003cp>The exhibition includes 238 photographs hung salon style through three galleries, the immense array forming a universe made of clusters that only reveal their logic over time, if ever. Positioned mid-way through the vast exhibition space, there is a curiosity cabinet quality to \u003cem>Collected Shadows\u003c/em> that is emphasized by the varying images set against striking dark plum walls (described here by Timothy Prus as “nocturnal purple”).\u003c/p>\n\u003cfigure id=\"attachment_10219569\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc7.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc7.jpg\" alt=\"Commissariat a l' energie atomique, Atomic trial on Mururoa atoll, Tahiti, 1970; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco\" width=\"640\" height=\"802\" class=\"size-full wp-image-10219569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc7.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc7-400x501.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc7-478x600.jpg 478w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Commissariat a l’ energie atomique, Atomic trial on Mururoa atoll, Tahiti, 1970; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>The expanding map of photographs is revealed around each corner, some images hung well below eye level, and some inching towards the ceiling. There is a rhythm of bright blue from the regular cyanotype print on each wall, punctuated by an occasional rich c-print amidst black and white or sepia photographs. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The initial experience of the show is remarkably aesthetic, while the content of each arrangement unfolds over time. The display is visually seductive, supporting documentation that feels familiar, even if seen for the first time. \u003c/p>\n\u003cp>An entire wall is dedicated to the subject of the ocean, and includes photographs taken from the beach or from a boat. Some depict leisure while others refer to the other predominant industrial-age job of the sea, as a bearer for commerce and transportation. \u003c/p>\n\u003cp>The next wall is more cryptic and includes religious iconography, occult references, or the last moments of \u003ca href=\"http://en.wikipedia.org/wiki/Kazimir_Malevich\" target=\"_blank\" rel=\"noopener\">Kazimir Malevich\u003c/a>, and then gives way to clinical views of natural specimens and x-ray images.\u003c/p>\n\u003cp>Around the corner, a wall of women posing for the camera is woven through with images of clouds, while on the next wall, portraits of men mix with depictions of planetary surfaces. \u003c/p>\n\u003cfigure id=\"attachment_10219570\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc6.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc6.jpg\" alt=\"Unknown photographer Ensembles rythmiques et gymnastiques a Pekin, 1965; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco\" width=\"1000\" height=\"712\" class=\"size-full wp-image-10219570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc6.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc6-400x284.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc6-800x569.jpg 800w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Unknown photographer\u003cbr>Ensembles rythmiques et gymnastiques a Pekin, 1965; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>As groupings become clear, the logic behind their order remains fairly opaque. Attempts to find a linear thread from beginning to end never fully coalesces before you are then led to the next burst of activity. \u003c/p>\n\u003cp>‘To archive’ is defined in the Oxford English Dictionary as to ‘place or store in an archive’. Typically connoting organization along historical or topical lines, there is a sense of inherent hierarchy and institutionalization within the gesture. However when defined, the word still remains somewhat open and self-referential, a loop that contrasts with its impression of an activity that creates clarity and order. \u003c/p>\n\u003cfigure id=\"attachment_10219572\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc5.jpg\" alt=\"Dimitri Ivanovich Ermakov, Georgian costumes , 1880s; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco \" width=\"640\" height=\"881\" class=\"size-full wp-image-10219572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc5.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc5-400x550.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc5-435x600.jpg 435w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dimitri Ivanovich Ermakov, Georgian costumes , 1880s; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Archive Fever\u003c/em>, originally presented as a lecture titled “The Concept of the Archive: A Freudian Impression” given in London in 1995, Jacques Derrida describes the archive as “only a notion, an impression associated with a word, and for which, together with Freud, we do not have a concept. We only have an impression, an insistent impression through the unstable feeling of a shifting figure, of a schema, or of an in-finite or indefinite process.” \u003c/p>\n\u003cp>In-definition and in-finite-ness are apt terms to describe both \u003cem>Collected Shadows\u003c/em> and The Archive of Modern Conflict. An institutional title that creates the anticipation of sobering material, the archive is actually more indeterminate and wandering in its collection. \u003c/p>\n\u003cp>Moving through the exhibition at Pier 24, there are images of what look like burning barns and depictions of atomic tests from World War II — one of the topics from which the archive began twenty years ago. But there are also images of domestic scenes, landscapes and plants, families and outer space, many of unknown origin. The breadth of the representations in \u003cem>Collected Shadows \u003c/em>could be described as alternating views of civilization in the nineteenth and twentieth century. There is a broad lens, with moments of specificity. \u003c/p>\n\u003cfigure id=\"attachment_10219574\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc4.jpg\" alt=\"Robert Macpherson, Cloaca Masima, Rome, 1858; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco\" width=\"640\" height=\"527\" class=\"size-full wp-image-10219574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc4-400x329.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert Macpherson, Cloaca Masima, Rome, 1858; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>As far afield as the images go, it’s not difficult to circle back to conflict, which ultimately reaches into each area of private and public life. The wall dedicated to aerial photography includes documentation of expansive areas of land and parachutists taken from the sky, referring to a time when aerial technology shifted the way humans interacted with one another, especially during times of combat. Balloon warfare began as early as the eighteenth century, but fully mechanized aerial military engagement really picked up in World War II, introducing broader destruction, as well as the need to make newly electrified cities invisible to the sky through wartime blackouts. \u003c/p>\n\u003cp>Returning to the constellation, the inevitable gaps between image groups, like blacked-out cities invisible from overhead, exist with activity, even if unseen. In \u003cem>Collected Shadows\u003c/em>, the photographs in each cluster represent distinct moments in time — people, places, or occurrences — while also referring to pivotal turns in history or moments of collective experience. The images rely on both their context within a particular group of images and the memory of the viewer. What each references can often change according to where it is placed, or its categorization within the archive. In this sense, the organization is both sufficient and inadequate in its coverage, inevitably always leaving a blacked-out gap.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Secondhand\u003c/strong> runs through May 2015 at Pier 24 Photography in San Francisco. Read \u003ca href=\"http://ww2.kqed.org/arts/2014/08/14/finding-photography-secondhand-at-pier-24/\">KQED’s review\u003c/a> of the full exhibition. For \u003ca href=\"http://www.pier24.org/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit pier24.org. \u003c/p>\n\n",
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"excerpt": "Part of Pier 24 Photography's \u003cb>Secondhand\u003c/b> exhibition, \u003ci>Collected Shadows\u003c/i> includes 238 photographs hung salon style through three galleries, the immense array forming a universe made of clusters that only reveal their logic over time, if ever.",
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"description": "Part of Pier 24 Photography's Secondhand exhibition, Collected Shadows includes 238 photographs hung salon style through three galleries, the immense array forming a universe made of clusters that only reveal their logic over time, if ever.",
"title": "The Archive of Modern Conflict: 'Collecting Shadows' at Pier 24 | KQED",
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"headline": "The Archive of Modern Conflict: 'Collecting Shadows' at Pier 24",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10219567\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc2.jpg\" alt=\"Frank Coster, Spirit photograph, c1890; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco\" width=\"640\" height=\"1024\" class=\"size-full wp-image-10219567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc2-400x640.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc2-375x600.jpg 375w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Frank Coster, Spirit photograph, c1890; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>Imagine a constellation of images that span the last one hundred years, accumulating and gapping as heights of activity ebb and flow over the course of a century. This circular map of experience weaves through time, echoing the staccato and reverberating conditions of long-term memory. \u003c/p>\n\u003cp>New experiences call up past occurrences and become arranged, overlapped, and clustered according to sight, feel, effect or impact. As an archive, this sequence follows a uniquely human logic, subjective and driven by impression and visceral observation as opposed to an organization based on time and topic. This archive is not adequate in its ability to represent the past accurately as it happened, but rather it’s sufficient at representing the poetry and cadence of memory itself.\u003c/p>\n\u003cfigure id=\"attachment_10219568\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc3.jpg\" alt=\"The Archive of Modern Conflict, Collected Shadows (Installation View 2014); Courtesy Pier 24 Photography, San Francisco \" width=\"640\" height=\"427\" class=\"size-full wp-image-10219568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc3-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Archive of Modern Conflict, \u003ci>Collected Shadows\u003c/i> (Installation View 2014); Courtesy Pier 24 Photography, San Francisco\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Collected Shadows\u003c/em> is on view at Pier 24 Photography as part of the current exhibition \u003cstrong>Secondhand\u003c/strong>, which features a selection of artists who mine existing archives of mostly found images from which they appropriate, manipulate, edit and sequence in order to create entirely new works of art. \u003cem>Collected Shadows\u003c/em> is one of the London-based Archive of Modern Conflict’s (AMC) curatorial projects. Organized by the AMC’s director and curator, Timothy Prus, it is a semi-encyclopedic and enigmatic display with an accompanying book that spans a wide range of subjects and time periods. \u003c/p>\n\u003cp>The exhibition includes 238 photographs hung salon style through three galleries, the immense array forming a universe made of clusters that only reveal their logic over time, if ever. Positioned mid-way through the vast exhibition space, there is a curiosity cabinet quality to \u003cem>Collected Shadows\u003c/em> that is emphasized by the varying images set against striking dark plum walls (described here by Timothy Prus as “nocturnal purple”).\u003c/p>\n\u003cfigure id=\"attachment_10219569\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc7.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc7.jpg\" alt=\"Commissariat a l' energie atomique, Atomic trial on Mururoa atoll, Tahiti, 1970; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco\" width=\"640\" height=\"802\" class=\"size-full wp-image-10219569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc7.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc7-400x501.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc7-478x600.jpg 478w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Commissariat a l’ energie atomique, Atomic trial on Mururoa atoll, Tahiti, 1970; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>The expanding map of photographs is revealed around each corner, some images hung well below eye level, and some inching towards the ceiling. There is a rhythm of bright blue from the regular cyanotype print on each wall, punctuated by an occasional rich c-print amidst black and white or sepia photographs. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The initial experience of the show is remarkably aesthetic, while the content of each arrangement unfolds over time. The display is visually seductive, supporting documentation that feels familiar, even if seen for the first time. \u003c/p>\n\u003cp>An entire wall is dedicated to the subject of the ocean, and includes photographs taken from the beach or from a boat. Some depict leisure while others refer to the other predominant industrial-age job of the sea, as a bearer for commerce and transportation. \u003c/p>\n\u003cp>The next wall is more cryptic and includes religious iconography, occult references, or the last moments of \u003ca href=\"http://en.wikipedia.org/wiki/Kazimir_Malevich\" target=\"_blank\" rel=\"noopener\">Kazimir Malevich\u003c/a>, and then gives way to clinical views of natural specimens and x-ray images.\u003c/p>\n\u003cp>Around the corner, a wall of women posing for the camera is woven through with images of clouds, while on the next wall, portraits of men mix with depictions of planetary surfaces. \u003c/p>\n\u003cfigure id=\"attachment_10219570\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc6.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc6.jpg\" alt=\"Unknown photographer Ensembles rythmiques et gymnastiques a Pekin, 1965; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco\" width=\"1000\" height=\"712\" class=\"size-full wp-image-10219570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc6.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc6-400x284.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc6-800x569.jpg 800w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Unknown photographer\u003cbr>Ensembles rythmiques et gymnastiques a Pekin, 1965; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>As groupings become clear, the logic behind their order remains fairly opaque. Attempts to find a linear thread from beginning to end never fully coalesces before you are then led to the next burst of activity. \u003c/p>\n\u003cp>‘To archive’ is defined in the Oxford English Dictionary as to ‘place or store in an archive’. Typically connoting organization along historical or topical lines, there is a sense of inherent hierarchy and institutionalization within the gesture. However when defined, the word still remains somewhat open and self-referential, a loop that contrasts with its impression of an activity that creates clarity and order. \u003c/p>\n\u003cfigure id=\"attachment_10219572\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc5.jpg\" alt=\"Dimitri Ivanovich Ermakov, Georgian costumes , 1880s; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco \" width=\"640\" height=\"881\" class=\"size-full wp-image-10219572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc5.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc5-400x550.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc5-435x600.jpg 435w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dimitri Ivanovich Ermakov, Georgian costumes , 1880s; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Archive Fever\u003c/em>, originally presented as a lecture titled “The Concept of the Archive: A Freudian Impression” given in London in 1995, Jacques Derrida describes the archive as “only a notion, an impression associated with a word, and for which, together with Freud, we do not have a concept. We only have an impression, an insistent impression through the unstable feeling of a shifting figure, of a schema, or of an in-finite or indefinite process.” \u003c/p>\n\u003cp>In-definition and in-finite-ness are apt terms to describe both \u003cem>Collected Shadows\u003c/em> and The Archive of Modern Conflict. An institutional title that creates the anticipation of sobering material, the archive is actually more indeterminate and wandering in its collection. \u003c/p>\n\u003cp>Moving through the exhibition at Pier 24, there are images of what look like burning barns and depictions of atomic tests from World War II — one of the topics from which the archive began twenty years ago. But there are also images of domestic scenes, landscapes and plants, families and outer space, many of unknown origin. The breadth of the representations in \u003cem>Collected Shadows \u003c/em>could be described as alternating views of civilization in the nineteenth and twentieth century. There is a broad lens, with moments of specificity. \u003c/p>\n\u003cfigure id=\"attachment_10219574\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/amc4.jpg\" alt=\"Robert Macpherson, Cloaca Masima, Rome, 1858; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco\" width=\"640\" height=\"527\" class=\"size-full wp-image-10219574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/amc4-400x329.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert Macpherson, Cloaca Masima, Rome, 1858; Courtesy The Archive of Modern Conflict and Pier 24 Photography, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>As far afield as the images go, it’s not difficult to circle back to conflict, which ultimately reaches into each area of private and public life. The wall dedicated to aerial photography includes documentation of expansive areas of land and parachutists taken from the sky, referring to a time when aerial technology shifted the way humans interacted with one another, especially during times of combat. Balloon warfare began as early as the eighteenth century, but fully mechanized aerial military engagement really picked up in World War II, introducing broader destruction, as well as the need to make newly electrified cities invisible to the sky through wartime blackouts. \u003c/p>\n\u003cp>Returning to the constellation, the inevitable gaps between image groups, like blacked-out cities invisible from overhead, exist with activity, even if unseen. In \u003cem>Collected Shadows\u003c/em>, the photographs in each cluster represent distinct moments in time — people, places, or occurrences — while also referring to pivotal turns in history or moments of collective experience. The images rely on both their context within a particular group of images and the memory of the viewer. What each references can often change according to where it is placed, or its categorization within the archive. In this sense, the organization is both sufficient and inadequate in its coverage, inevitably always leaving a blacked-out gap.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Secondhand\u003c/strong> runs through May 2015 at Pier 24 Photography in San Francisco. Read \u003ca href=\"http://ww2.kqed.org/arts/2014/08/14/finding-photography-secondhand-at-pier-24/\">KQED’s review\u003c/a> of the full exhibition. For \u003ca href=\"http://www.pier24.org/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit pier24.org. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bear Walker Society: Exploring Norval Morrisseau's Influences",
"headTitle": "Bear Walker Society: Exploring Norval Morrisseau’s Influences | KQED",
"content": "\u003cfigure id=\"attachment_10202134\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/norval-morrisseau-bear-walker-society-body.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10202134\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/norval-morrisseau-bear-walker-society-body.jpg\" alt=\"Norval Morrisseau. Bear Walker Society, 1992; screenprint. Courtesy of the Cantor Arts Center.\" width=\"500\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/norval-morrisseau-bear-walker-society-body.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/norval-morrisseau-bear-walker-society-body-400x484.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/norval-morrisseau-bear-walker-society-body-495x600.jpg 495w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Norval Morrisseau. \u003ci>Bear Walker Society\u003c/i>, 1992; screenprint. Courtesy of the Cantor Arts Center.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Bear Walker Society: Explorations in Global Modernism\u003c/b>, at the Cantor Arts Center, is a small exhibit focused on late Canadian painter and printmaker Norval Morrisseau. The exhibition is so small that it borders on being called something else — an exercise maybe. Of the seven works on display only one is from Morrisseau. But the size of \u003cb>Bear Walker Society\u003c/b> and the dearth of Morrisseau’s work is not an impairment to getting to know the artist’s work and is designed to offer entrée into his practice.\u003c/p>\n\u003cp>Morrisseau grew up in Northern Ontario and is the founder of the Woodlands style of painting, which draws heavily on Anishinaabe art from the Great Lakes region. Morrisseau is also a modernist whose work garnered national and international acclaim beginning in the 1960s, eventually earning him the status as one of Canada’s most prominent visual artists. The centerpiece of the bathroom-sized gallery is Morrisseau’s colorful print \u003ci>Bear Walker Society\u003c/i> (1992), created late in the artist’s long career.\u003c/p>\n\u003cp>Modest in size, \u003ci>Bear Walker Society\u003c/i> features a human figure in elaborate dress, depicted with mostly solid segments of bold colors and thick black lines, both indicative of the Woodlands style. A multi-colored bear stands on the horizon behind the human figure, but the lines delineating each figure overlap in places as if they are conjoined. The print references Anishinaabe legends about people who morph into bears at night. Viewers seem to catch this transformation as it happens, with the twilight sky emerging and owl-like figures filling the sky, the figure exists as something between human and bear. Though the simple planes of color can give Woodlands style works a sense of minimalism, \u003ci>Bear Walker Society\u003c/i>, as with much of Morrisseau’s work, is quite visually intricate. Spending time with the piece, new details, objects, and patterns continually emerge.\u003c/p>\n\u003cfigure id=\"attachment_10200042\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/anishinaabe-gloves-norval-morrisseau.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10200042\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/anishinaabe-gloves-norval-morrisseau.jpg\" alt=\"Unknown artist. Pair of gauntlet gloves, 1930; leather and glass beads. Courtesy of the Cantor Arts Center.\" width=\"650\" height=\"368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/anishinaabe-gloves-norval-morrisseau.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/anishinaabe-gloves-norval-morrisseau-400x226.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Unknown artist. Pair of gauntlet gloves, 1930; leather and glass beads. Courtesy of the Cantor Arts Center.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Bear Walker Society\u003c/i> is accompanied by three pieces of Anishinaabe beadwork and three Picasso aquatint and drypoint prints. The beadwork on display includes a pair of leggings, a pair of gauntlet gloves, and a saddle decoration. They range in date from approximately 1890 to 1930, and thus their unknown creators are contemporaries of Picasso and other modernists. Each piece is adorned with a floral design that snakes around the object, but each reveals a different style, particularly the gloves. Unlike the other two pieces, the design on the gloves rests on a white background and the petals and sepals are more rounded and simple. The flowers on the leggings and saddle decoration are much more complex, both in their form and the many shades of colors used. These latter beadworks, like Morrisseau’s work, are elaborate designs created from simple units. The swirl of activity and colors in all three pieces is present in \u003ci>Bear Walker Society\u003c/i> and the influence is discernible.\u003c/p>\n\u003cfigure id=\"attachment_10200043\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/anishinaabe-leggings-norval-morrisseau.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10200043\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/anishinaabe-leggings-norval-morrisseau-400x532.jpg\" alt=\"Unknown artist. Pair of leggings, 1890-1900; cloth and glass beads. Courtesy of the Cantor Arts Center.\" width=\"400\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/anishinaabe-leggings-norval-morrisseau-400x532.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/anishinaabe-leggings-norval-morrisseau-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/anishinaabe-leggings-norval-morrisseau.jpg 650w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Unknown artist. Pair of leggings, 1890-1900; cloth and glass beads. Courtesy of the Cantor Arts Center.\u003c/figcaption>\u003c/figure>\n\u003cp>Picasso’s prints are from a series of 31 created in 1942 to accompany a publication of George-Louis Leclerc de Buffon’s \u003ci>Histoire Naturelle\u003c/i>. The black and white etchings possess a simplicity not seen in Picasso’s cubist work. \u003ci>Le Papillon\u003c/i>, showing a butterfly suspended in air above a bed of flowers, is raw, even rough, and evokes energy and movement. The lines are scarcely colored-in and though the butterfly’s wings appear static one can imagine the fury of flapping that helps the insect defy gravity’s ceaseless tugging.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though created in a similar style, \u003ci>L’épervier\u003c/i> is more controlled. The solemnity results from Picasso’s solid lines, stillness, and reduced noise. But the subject, a hawk, lends dignity and regality through its associations, so often seen perching on signposts, unflinching but eminently aware of its surrounding, always ready to strike.\u003c/p>\n\u003cp>Visually, \u003ci>L’épervier\u003c/i> has much in common with \u003ci>Bear Walker Society\u003c/i>. The thick, clean lines are a trademark of Morrisseau’s work, especially in \u003ci>Bear Walker Society\u003c/i>, where in some places they nearly become planes of black ink. The human and bear figures share the stillness of Picasso’s hawk and the owl-like figures exhibit the same aerial suspension as the butterfly, as if they are standing on the thickest of air.\u003c/p>\n\u003cfigure id=\"attachment_10200041\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/bear-walker-society-norval-morrisseau-pablo-picasso.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10200041 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/bear-walker-society-norval-morrisseau-pablo-picasso.jpg\" alt=\"Installation view, Bear Walker Society: Explorations in Global Modernism, 2014; Courtest of Cantor Arts Center.\" width=\"650\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/bear-walker-society-norval-morrisseau-pablo-picasso.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/bear-walker-society-norval-morrisseau-pablo-picasso-400x266.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation view, \u003ci>Bear Walker Society: Explorations in Global Modernism\u003c/i>, 2014; Courtest of Cantor Arts Center.\u003c/figcaption>\u003c/figure>\n\u003cp>Some may view Morrisseau’s work as either traditional or modernist, which highlights a problem with these reductive categorizations, often aggravating for artist’s who work, or are perceived to work, outside of European traditions. \u003cb>Bear Walker Society\u003c/b> neatly affirms the varied influences that played a role in the development of Morrisseau’s style. The small space and the limited number of works allows viewers to meditate on the works presented to them. In the quiet and dimly lit space, I found myself reflecting upon the works with a depth and intimacy that is sometimes lost in larger exhibitions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Bear Walker Society: Explorations in Global Modernism\u003c/b> runs through March 30, 2015 at the Cantor Arts Center in Palo Alto. For \u003ca href=\"http://museum.stanford.edu\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit museum.stanford.edu.\u003c/p>\n\n",
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"excerpt": "Bear Walker Society at the Cantor Arts Center delves into the varied influences of Norval Morrisseau, one of Canada's most prominent artists.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10202134\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/norval-morrisseau-bear-walker-society-body.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10202134\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/norval-morrisseau-bear-walker-society-body.jpg\" alt=\"Norval Morrisseau. Bear Walker Society, 1992; screenprint. Courtesy of the Cantor Arts Center.\" width=\"500\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/norval-morrisseau-bear-walker-society-body.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/norval-morrisseau-bear-walker-society-body-400x484.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/norval-morrisseau-bear-walker-society-body-495x600.jpg 495w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Norval Morrisseau. \u003ci>Bear Walker Society\u003c/i>, 1992; screenprint. Courtesy of the Cantor Arts Center.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Bear Walker Society: Explorations in Global Modernism\u003c/b>, at the Cantor Arts Center, is a small exhibit focused on late Canadian painter and printmaker Norval Morrisseau. The exhibition is so small that it borders on being called something else — an exercise maybe. Of the seven works on display only one is from Morrisseau. But the size of \u003cb>Bear Walker Society\u003c/b> and the dearth of Morrisseau’s work is not an impairment to getting to know the artist’s work and is designed to offer entrée into his practice.\u003c/p>\n\u003cp>Morrisseau grew up in Northern Ontario and is the founder of the Woodlands style of painting, which draws heavily on Anishinaabe art from the Great Lakes region. Morrisseau is also a modernist whose work garnered national and international acclaim beginning in the 1960s, eventually earning him the status as one of Canada’s most prominent visual artists. The centerpiece of the bathroom-sized gallery is Morrisseau’s colorful print \u003ci>Bear Walker Society\u003c/i> (1992), created late in the artist’s long career.\u003c/p>\n\u003cp>Modest in size, \u003ci>Bear Walker Society\u003c/i> features a human figure in elaborate dress, depicted with mostly solid segments of bold colors and thick black lines, both indicative of the Woodlands style. A multi-colored bear stands on the horizon behind the human figure, but the lines delineating each figure overlap in places as if they are conjoined. The print references Anishinaabe legends about people who morph into bears at night. Viewers seem to catch this transformation as it happens, with the twilight sky emerging and owl-like figures filling the sky, the figure exists as something between human and bear. Though the simple planes of color can give Woodlands style works a sense of minimalism, \u003ci>Bear Walker Society\u003c/i>, as with much of Morrisseau’s work, is quite visually intricate. Spending time with the piece, new details, objects, and patterns continually emerge.\u003c/p>\n\u003cfigure id=\"attachment_10200042\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/anishinaabe-gloves-norval-morrisseau.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10200042\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/anishinaabe-gloves-norval-morrisseau.jpg\" alt=\"Unknown artist. Pair of gauntlet gloves, 1930; leather and glass beads. Courtesy of the Cantor Arts Center.\" width=\"650\" height=\"368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/anishinaabe-gloves-norval-morrisseau.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/anishinaabe-gloves-norval-morrisseau-400x226.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Unknown artist. Pair of gauntlet gloves, 1930; leather and glass beads. Courtesy of the Cantor Arts Center.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Bear Walker Society\u003c/i> is accompanied by three pieces of Anishinaabe beadwork and three Picasso aquatint and drypoint prints. The beadwork on display includes a pair of leggings, a pair of gauntlet gloves, and a saddle decoration. They range in date from approximately 1890 to 1930, and thus their unknown creators are contemporaries of Picasso and other modernists. Each piece is adorned with a floral design that snakes around the object, but each reveals a different style, particularly the gloves. Unlike the other two pieces, the design on the gloves rests on a white background and the petals and sepals are more rounded and simple. The flowers on the leggings and saddle decoration are much more complex, both in their form and the many shades of colors used. These latter beadworks, like Morrisseau’s work, are elaborate designs created from simple units. The swirl of activity and colors in all three pieces is present in \u003ci>Bear Walker Society\u003c/i> and the influence is discernible.\u003c/p>\n\u003cfigure id=\"attachment_10200043\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/anishinaabe-leggings-norval-morrisseau.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10200043\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/anishinaabe-leggings-norval-morrisseau-400x532.jpg\" alt=\"Unknown artist. Pair of leggings, 1890-1900; cloth and glass beads. Courtesy of the Cantor Arts Center.\" width=\"400\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/anishinaabe-leggings-norval-morrisseau-400x532.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/anishinaabe-leggings-norval-morrisseau-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/anishinaabe-leggings-norval-morrisseau.jpg 650w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Unknown artist. Pair of leggings, 1890-1900; cloth and glass beads. Courtesy of the Cantor Arts Center.\u003c/figcaption>\u003c/figure>\n\u003cp>Picasso’s prints are from a series of 31 created in 1942 to accompany a publication of George-Louis Leclerc de Buffon’s \u003ci>Histoire Naturelle\u003c/i>. The black and white etchings possess a simplicity not seen in Picasso’s cubist work. \u003ci>Le Papillon\u003c/i>, showing a butterfly suspended in air above a bed of flowers, is raw, even rough, and evokes energy and movement. The lines are scarcely colored-in and though the butterfly’s wings appear static one can imagine the fury of flapping that helps the insect defy gravity’s ceaseless tugging.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though created in a similar style, \u003ci>L’épervier\u003c/i> is more controlled. The solemnity results from Picasso’s solid lines, stillness, and reduced noise. But the subject, a hawk, lends dignity and regality through its associations, so often seen perching on signposts, unflinching but eminently aware of its surrounding, always ready to strike.\u003c/p>\n\u003cp>Visually, \u003ci>L’épervier\u003c/i> has much in common with \u003ci>Bear Walker Society\u003c/i>. The thick, clean lines are a trademark of Morrisseau’s work, especially in \u003ci>Bear Walker Society\u003c/i>, where in some places they nearly become planes of black ink. The human and bear figures share the stillness of Picasso’s hawk and the owl-like figures exhibit the same aerial suspension as the butterfly, as if they are standing on the thickest of air.\u003c/p>\n\u003cfigure id=\"attachment_10200041\" class=\"wp-caption alignright\" style=\"max-width: 650px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/bear-walker-society-norval-morrisseau-pablo-picasso.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10200041 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/bear-walker-society-norval-morrisseau-pablo-picasso.jpg\" alt=\"Installation view, Bear Walker Society: Explorations in Global Modernism, 2014; Courtest of Cantor Arts Center.\" width=\"650\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/bear-walker-society-norval-morrisseau-pablo-picasso.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/bear-walker-society-norval-morrisseau-pablo-picasso-400x266.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation view, \u003ci>Bear Walker Society: Explorations in Global Modernism\u003c/i>, 2014; Courtest of Cantor Arts Center.\u003c/figcaption>\u003c/figure>\n\u003cp>Some may view Morrisseau’s work as either traditional or modernist, which highlights a problem with these reductive categorizations, often aggravating for artist’s who work, or are perceived to work, outside of European traditions. \u003cb>Bear Walker Society\u003c/b> neatly affirms the varied influences that played a role in the development of Morrisseau’s style. The small space and the limited number of works allows viewers to meditate on the works presented to them. In the quiet and dimly lit space, I found myself reflecting upon the works with a depth and intimacy that is sometimes lost in larger exhibitions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Bear Walker Society: Explorations in Global Modernism\u003c/b> runs through March 30, 2015 at the Cantor Arts Center in Palo Alto. For \u003ca href=\"http://museum.stanford.edu\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit museum.stanford.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A First Timer’s Take on Art Fair Week in Miami",
"headTitle": "A First Timer’s Take on Art Fair Week in Miami | KQED",
"content": "\u003cfigure id=\"attachment_10201553\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9643-e1418154675970.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9643-e1418154675970.jpg\" alt=\"Installation by Urs Fischer at Art Basel; Photo by Cherri Lakey\" width=\"640\" height=\"398\" class=\"size-full wp-image-10201553\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation by Urs Fischer at Art Basel, Miami; Photo by Cherri Lakey \u003ccite>(Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10201431\" class=\"wp-caption alignright\" style=\"max-width: 408px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9659.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9659-408x600.jpg\" alt=\"Sculpture by Anish Kapoor at Art Basel, Miami; Photo by Cherri Lakey\" width=\"408\" height=\"600\" class=\"size-medium wp-image-10201431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9659-408x600.jpg 408w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9659-400x587.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9659.jpg 490w\" sizes=\"(max-width: 408px) 100vw, 408px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sculpture by Anish Kapoor at Art Basel, Miami; Photo by Cherri Lakey\u003c/figcaption>\u003c/figure>\n\u003cp>Every December the art world buzzes about Art Basel, the main fair that is also used colloquially to refer to all of art week in Miami. Certainly the golden goose at the center of the gaggle of 20+ satellite fairs, Art Basel drew over 70,000 visitors this year to the Miami Convention Center in South Beach over the 5 days running from Dec. 3-7.\u003c/p>\n\u003ch3>Art Basel\u003c/h3>\n\u003cp>Art Basel overall was what I was expecting — mostly paintings and sculptures by modern and contemporary artists, some of which I was familiar with from museum visits and others that I was not familiar with, but were probably in \u003cem>Art Forum\u003c/em> magazine at some time or another. Smart, well executed works that you could easily live with by names that will probably hold their value.\u003c/p>\n\u003cp>Neon popped up in quite a few appearances as did highly reflective works such as this stunning \u003ca href=\"http://anishkapoor.com/\">Anish Kapoor\u003c/a>, which seemed more appreciated for its selfie photo opportunities than its art merit. There were a few moments of welcomed non-commercialism, which included the “Sleeping Exercise” designed by performance artist \u003ca href=\"http://www.mai-hudson.org/\">Marina Abramovic\u003c/a>: a large space with cots and colorful blankets to kick off your high heels, get tucked in and rest up for as long as you wish.\u003c/p>\n\u003cp>The art dealers offer no greetings or casual pleasantries; this is a very costly venture so their focus is to make themselves available to serious inquiries about the artist and, if all goes well, the price to acquire (which is never visible on the title placards).\u003c/p>\n\u003cfigure id=\"attachment_10201429\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9505.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9505.jpg\" alt=\"Marina Abramovic at Art Basel, Miami; Photo by Cherri Lakey\" width=\"800\" height=\"544\" class=\"size-full wp-image-10201429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9505-400x272.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marina Abramovic at Art Basel, Miami; Photo by Cherri Lakey\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10201432\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9672.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9672.jpg\" alt=\"Artwork by Swoon at Scope, Miami; Photo by Cherri Lakey\" width=\"480\" height=\"720\" class=\"size-full wp-image-10201432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9672.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9672-400x600.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Swoon at Scope, Miami; Photo by Cherri Lakey\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10201438\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/IMG_5637-e1418156975740.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/IMG_5637-e1418156975740.jpg\" alt=\"Sculpture by Kazuhiro Tsuji at Scope, Miami; Photo by Brian Eder\" width=\"640\" height=\"427\" class=\"size-full wp-image-10201438\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sculpture by Kazuhiro Tsuji at Scope, Miami; Photo by Brian Eder\u003c/figcaption>\u003c/figure>\n\u003ch3>SCOPE\u003c/h3>\n\u003cp>SCOPE is a totally different vibe. Housed in a huge temporary tent right on the beach, this fair is focused on emerging artists and galleries that are serious about what they do, but perhaps a bit less stuffy in attitude. A towering \u003ca href=\"http://shop.swooninprint.com/\">Swoon\u003c/a> dominated the entrance and the sound decibel was quite a bit louder and livelier than at Art Basel. The gallerists were friendly and a few artists were camped out in gallery booths working on art pieces while making themselves available to answer questions about their work. Prices are posted on many of the title placards, ranging from a few hundred dollars to the tens of thousands. Red (sold) dots were scarce but visible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hyper realistic figurative sculptures by different artists were peppered throughout the fairs, but my hands down favorite was the Salvador Dali sculpture by \u003ca href=\"http://kazustudios.com/\">Kazuhiro Tsuji\u003c/a> at SCOPE.\u003c/p>\n\u003cfigure id=\"attachment_10201436\" class=\"wp-caption alignright\" style=\"max-width: 520px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9858.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9858.jpg\" alt=\"Artwork by Anastasia Ax; Photo by Cherri Lakey\" width=\"520\" height=\"720\" class=\"size-full wp-image-10201436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9858.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9858-400x553.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9858-433x600.jpg 433w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Anastasia Ax at Untitled Art Fair, Miami; Photo by Cherri Lakey\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10201435\" class=\"wp-caption alignright\" style=\"max-width: 471px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9839.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9839.jpg\" alt=\"Artwork by Jen Stark at Untitled Art Fair, Miami; Photo by Cherri Lakey\" width=\"471\" height=\"720\" class=\"size-full wp-image-10201435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9839.jpg 471w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9839-400x611.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9839-392x600.jpg 392w\" sizes=\"(max-width: 471px) 100vw, 471px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Jen Stark at Untitled Art Fair, Miami; Photo by Cherri Lakey\u003c/figcaption>\u003c/figure>\n\u003ch3>Untitled Art Fair\u003c/h3>\n\u003cp>A few paces down the beach from SCOPE was the Untitled Art Fair — large airy booths featuring mostly sculpture and installation art with compelling concepts.\u003cbr>\n“Is this work going to be recycled at the end of the fair?” asked a viewer looking at a 3-dimensional mass accumulation of garbage debris created on site, left as a result of a performance by artist \u003ca href=\"http://www.anastasiaax.se/\">Anastasia Ax\u003c/a>. “It will,” assures the gallerist, “unless of course it sells.”\u003c/p>\n\u003cp>Conceptual works require more time and consideration than a brisk walk-through can accommodate, but it is very rewarding if you make the effort as is the case with \u003ca href=\"http://www.jenstark.com/\">Jen Stark\u003c/a>’s pedestal art piece. If you had just glanced at it on your way to somewhere else you would’ve missed the experience of looking down into an infinite abyss of a color burst.\u003c/p>\n\u003ch3>Wynwood District\u003c/h3>\n\u003cp>After 7pm, when all the fairs have called it a day, Wynwood is the party place. Mixed in with the plethora of outdoor murals are the resident galleries, pop-up exhibits and dance parties. The art is almost secondary to the libations but highly accessible, which has its place in the art fair ecosystem. Warehouses served as mural spots outdoors and exhibit space indoors with works by several urban art contemporaries including Os Gemeos, Maya Hayuk, \u003ca href=\"http://www.obeygiant.com/\">Shepard Fairey\u003c/a>, \u003ca href=\"http://www.missvan.com/\">Miss Van\u003c/a>, Lister and Swoon.\u003c/p>\n\u003cfigure id=\"attachment_10201437\" class=\"wp-caption alignright\" style=\"max-width: 528px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9890.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9890.jpg\" alt=\"Artwork by Moto Waganari at Art Miami; Photo by Cherri Lakey\" width=\"528\" height=\"720\" class=\"size-full wp-image-10201437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9890.jpg 528w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9890-400x545.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9890-440x600.jpg 440w\" sizes=\"(max-width: 528px) 100vw, 528px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Moto Waganari at Art Miami; Photo by Cherri Lakey\u003c/figcaption>\u003c/figure>\n\u003ch3>Art Miami\u003c/h3>\n\u003cp>Art Miami is the anchor fair on the Miami-proper side of town. It’s best described as “contemporary verging on edgy” with noticeable risks being taken by the galleries. Artists like Banksy that used the streets to circumvent Art World 101 protocol are now behind velvet ropes and mixed in with the likes of Pablo Picasso.\u003c/p>\n\u003cp>And speaking of Picasso, a 1956 $85,000 silver plate entitled \u003ci>Visage aux Mains\u003c/i> and crafted by Pablo Picasso was stolen from the fair early Friday morning. A \u003ca href=\"http://www.miamiherald.com/news/local/crime/article4311520.html\">$5000.00 reward\u003c/a> for its return was being offered by the organizers of Art Miami.\u003c/p>\n\u003cp>Art Miami also owns their own satellite fair, CONTEXT (as well as Aqua in South Beach), conveniently located next door. CONTEXT featured intrepid works by artists that are clever and not afraid to let their playfulness show as seen with the work by street installation artist \u003ca href=\"http://www.xmarkjenkinsx.com/outside.html\">Mark Jenkins\u003c/a> or \u003ca href=\"http://www.motowaganari.com\">Moto Waganarl\u003c/a>’s shadow-casting sculptures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Be assured that art is alive and well around the world with no signs of stopping any time soon. If anything, art fair week in Miami gives you the inspirational shot you need to get back to work and contribute your best to make the world a little more beautiful.\u003c/p>\n\n",
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"excerpt": "Every December the art world buzzes about Art Basel, the main fair that is also used colloquially to refer to all of art week in Miami. Certainly the golden goose at the center of the gaggle of 20+ satellite fairs, Art Basel drew over 70,000 visitors this year to the Miami Convention Center in South Beach over the 5 days running from Dec. 3-7.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10201553\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9643-e1418154675970.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9643-e1418154675970.jpg\" alt=\"Installation by Urs Fischer at Art Basel; Photo by Cherri Lakey\" width=\"640\" height=\"398\" class=\"size-full wp-image-10201553\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation by Urs Fischer at Art Basel, Miami; Photo by Cherri Lakey \u003ccite>(Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10201431\" class=\"wp-caption alignright\" style=\"max-width: 408px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9659.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9659-408x600.jpg\" alt=\"Sculpture by Anish Kapoor at Art Basel, Miami; Photo by Cherri Lakey\" width=\"408\" height=\"600\" class=\"size-medium wp-image-10201431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9659-408x600.jpg 408w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9659-400x587.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9659.jpg 490w\" sizes=\"(max-width: 408px) 100vw, 408px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sculpture by Anish Kapoor at Art Basel, Miami; Photo by Cherri Lakey\u003c/figcaption>\u003c/figure>\n\u003cp>Every December the art world buzzes about Art Basel, the main fair that is also used colloquially to refer to all of art week in Miami. Certainly the golden goose at the center of the gaggle of 20+ satellite fairs, Art Basel drew over 70,000 visitors this year to the Miami Convention Center in South Beach over the 5 days running from Dec. 3-7.\u003c/p>\n\u003ch3>Art Basel\u003c/h3>\n\u003cp>Art Basel overall was what I was expecting — mostly paintings and sculptures by modern and contemporary artists, some of which I was familiar with from museum visits and others that I was not familiar with, but were probably in \u003cem>Art Forum\u003c/em> magazine at some time or another. Smart, well executed works that you could easily live with by names that will probably hold their value.\u003c/p>\n\u003cp>Neon popped up in quite a few appearances as did highly reflective works such as this stunning \u003ca href=\"http://anishkapoor.com/\">Anish Kapoor\u003c/a>, which seemed more appreciated for its selfie photo opportunities than its art merit. There were a few moments of welcomed non-commercialism, which included the “Sleeping Exercise” designed by performance artist \u003ca href=\"http://www.mai-hudson.org/\">Marina Abramovic\u003c/a>: a large space with cots and colorful blankets to kick off your high heels, get tucked in and rest up for as long as you wish.\u003c/p>\n\u003cp>The art dealers offer no greetings or casual pleasantries; this is a very costly venture so their focus is to make themselves available to serious inquiries about the artist and, if all goes well, the price to acquire (which is never visible on the title placards).\u003c/p>\n\u003cfigure id=\"attachment_10201429\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9505.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9505.jpg\" alt=\"Marina Abramovic at Art Basel, Miami; Photo by Cherri Lakey\" width=\"800\" height=\"544\" class=\"size-full wp-image-10201429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9505-400x272.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marina Abramovic at Art Basel, Miami; Photo by Cherri Lakey\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10201432\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9672.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9672.jpg\" alt=\"Artwork by Swoon at Scope, Miami; Photo by Cherri Lakey\" width=\"480\" height=\"720\" class=\"size-full wp-image-10201432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9672.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9672-400x600.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Swoon at Scope, Miami; Photo by Cherri Lakey\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10201438\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/IMG_5637-e1418156975740.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/IMG_5637-e1418156975740.jpg\" alt=\"Sculpture by Kazuhiro Tsuji at Scope, Miami; Photo by Brian Eder\" width=\"640\" height=\"427\" class=\"size-full wp-image-10201438\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sculpture by Kazuhiro Tsuji at Scope, Miami; Photo by Brian Eder\u003c/figcaption>\u003c/figure>\n\u003ch3>SCOPE\u003c/h3>\n\u003cp>SCOPE is a totally different vibe. Housed in a huge temporary tent right on the beach, this fair is focused on emerging artists and galleries that are serious about what they do, but perhaps a bit less stuffy in attitude. A towering \u003ca href=\"http://shop.swooninprint.com/\">Swoon\u003c/a> dominated the entrance and the sound decibel was quite a bit louder and livelier than at Art Basel. The gallerists were friendly and a few artists were camped out in gallery booths working on art pieces while making themselves available to answer questions about their work. Prices are posted on many of the title placards, ranging from a few hundred dollars to the tens of thousands. Red (sold) dots were scarce but visible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hyper realistic figurative sculptures by different artists were peppered throughout the fairs, but my hands down favorite was the Salvador Dali sculpture by \u003ca href=\"http://kazustudios.com/\">Kazuhiro Tsuji\u003c/a> at SCOPE.\u003c/p>\n\u003cfigure id=\"attachment_10201436\" class=\"wp-caption alignright\" style=\"max-width: 520px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9858.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9858.jpg\" alt=\"Artwork by Anastasia Ax; Photo by Cherri Lakey\" width=\"520\" height=\"720\" class=\"size-full wp-image-10201436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9858.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9858-400x553.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9858-433x600.jpg 433w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Anastasia Ax at Untitled Art Fair, Miami; Photo by Cherri Lakey\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10201435\" class=\"wp-caption alignright\" style=\"max-width: 471px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9839.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9839.jpg\" alt=\"Artwork by Jen Stark at Untitled Art Fair, Miami; Photo by Cherri Lakey\" width=\"471\" height=\"720\" class=\"size-full wp-image-10201435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9839.jpg 471w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9839-400x611.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9839-392x600.jpg 392w\" sizes=\"(max-width: 471px) 100vw, 471px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Jen Stark at Untitled Art Fair, Miami; Photo by Cherri Lakey\u003c/figcaption>\u003c/figure>\n\u003ch3>Untitled Art Fair\u003c/h3>\n\u003cp>A few paces down the beach from SCOPE was the Untitled Art Fair — large airy booths featuring mostly sculpture and installation art with compelling concepts.\u003cbr>\n“Is this work going to be recycled at the end of the fair?” asked a viewer looking at a 3-dimensional mass accumulation of garbage debris created on site, left as a result of a performance by artist \u003ca href=\"http://www.anastasiaax.se/\">Anastasia Ax\u003c/a>. “It will,” assures the gallerist, “unless of course it sells.”\u003c/p>\n\u003cp>Conceptual works require more time and consideration than a brisk walk-through can accommodate, but it is very rewarding if you make the effort as is the case with \u003ca href=\"http://www.jenstark.com/\">Jen Stark\u003c/a>’s pedestal art piece. If you had just glanced at it on your way to somewhere else you would’ve missed the experience of looking down into an infinite abyss of a color burst.\u003c/p>\n\u003ch3>Wynwood District\u003c/h3>\n\u003cp>After 7pm, when all the fairs have called it a day, Wynwood is the party place. Mixed in with the plethora of outdoor murals are the resident galleries, pop-up exhibits and dance parties. The art is almost secondary to the libations but highly accessible, which has its place in the art fair ecosystem. Warehouses served as mural spots outdoors and exhibit space indoors with works by several urban art contemporaries including Os Gemeos, Maya Hayuk, \u003ca href=\"http://www.obeygiant.com/\">Shepard Fairey\u003c/a>, \u003ca href=\"http://www.missvan.com/\">Miss Van\u003c/a>, Lister and Swoon.\u003c/p>\n\u003cfigure id=\"attachment_10201437\" class=\"wp-caption alignright\" style=\"max-width: 528px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9890.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DSCF9890.jpg\" alt=\"Artwork by Moto Waganari at Art Miami; Photo by Cherri Lakey\" width=\"528\" height=\"720\" class=\"size-full wp-image-10201437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9890.jpg 528w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9890-400x545.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/DSCF9890-440x600.jpg 440w\" sizes=\"(max-width: 528px) 100vw, 528px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Moto Waganari at Art Miami; Photo by Cherri Lakey\u003c/figcaption>\u003c/figure>\n\u003ch3>Art Miami\u003c/h3>\n\u003cp>Art Miami is the anchor fair on the Miami-proper side of town. It’s best described as “contemporary verging on edgy” with noticeable risks being taken by the galleries. Artists like Banksy that used the streets to circumvent Art World 101 protocol are now behind velvet ropes and mixed in with the likes of Pablo Picasso.\u003c/p>\n\u003cp>And speaking of Picasso, a 1956 $85,000 silver plate entitled \u003ci>Visage aux Mains\u003c/i> and crafted by Pablo Picasso was stolen from the fair early Friday morning. A \u003ca href=\"http://www.miamiherald.com/news/local/crime/article4311520.html\">$5000.00 reward\u003c/a> for its return was being offered by the organizers of Art Miami.\u003c/p>\n\u003cp>Art Miami also owns their own satellite fair, CONTEXT (as well as Aqua in South Beach), conveniently located next door. CONTEXT featured intrepid works by artists that are clever and not afraid to let their playfulness show as seen with the work by street installation artist \u003ca href=\"http://www.xmarkjenkinsx.com/outside.html\">Mark Jenkins\u003c/a> or \u003ca href=\"http://www.motowaganari.com\">Moto Waganarl\u003c/a>’s shadow-casting sculptures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Be assured that art is alive and well around the world with no signs of stopping any time soon. If anything, art fair week in Miami gives you the inspirational shot you need to get back to work and contribute your best to make the world a little more beautiful.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Video: Margaret Keane, the Painter Behind Tim Burton's ‘Big Eyes’",
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"content": "\u003cp>Napa, California-based painter Margaret Keane is the subject of the newest film from director Tim Burton, \u003cem>\u003ca href=\"http://youtu.be/YOavDSErmak\" target=\"_blank\" rel=\"noopener\">Big Eyes\u003c/a>\u003c/em>, which opens December 25, 2014. The director had collected the artist’s work for many years when he was asked to direct a film about her life.\u003c/p>\n\u003cp>Margaret Keane’s paintings of wide-eyed children, or “waifs,” were ubiquitous starting in the early ’60s and then became synonymous with “thrift store art” and kitsch, though the artist would never describe them that way. Today her “Big Eye Art” style, widely copied at the time, continues to inspire a new generation of visual artists, including contemporary pop surrealists like \u003ca href=\"https://www.google.com/search?q=%22Mark+Ryden%22+painter&client=firefox-a&rls=org.mozilla:en-US:official&channel=sb&biw=1920&bih=885&source=lnms&tbm=isch&sa=X&ei=jMSAVKedGseyoQTMioG4AQ&ved=0CAYQ_AUoAQ\" target=\"_blank\" rel=\"noopener\">Mark Ryden\u003c/a>.\u003c/p>\n\u003cp>Many people still mistakenly credit Margaret’s paintings to her former husband, Walter Keane, who convinced Margaret to let him take credit for her art in an attempt to achieve success during the late ’50s, a time when female artists’ work was undervalued. Margaret developed a second style of art she could call her own, and continued painting both styles for over a decade, living a lie and what she describes as a nightmare, “an impossible situation.”\u003c/p>\n\u003cp>The Keanes’ marriage ended in 1965, and in 1970 Margaret bravely revealed that she was the actual painter of the famous big-eyed waifs. In 1986, a court case proved her right. Although Margaret never collected the restitution fees the court ordered Walter to pay, the recognition she gained for her work was invaluable to the artist.\u003c/p>\n\u003cp>I had the opportunity to sit down with Margaret at the gallery dedicated to her work, Keane Eyes Gallery, in San Francisco, to find out more about her history as an artist and what it was like to watch a painful decade of her life play out on the big screen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Special thanks to Nigel Horsley for use of his Tim Burton photo. Follow his work on \u003ca href=\"https://www.flickr.com/photos/49347467@N05/with/9326808302\" target=\"_blank\" rel=\"noopener\">Flickr\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Napa, California-based painter Margaret Keane is the subject of the newest film from director Tim Burton, \u003cem>\u003ca href=\"http://youtu.be/YOavDSErmak\" target=\"_blank\" rel=\"noopener\">Big Eyes\u003c/a>\u003c/em>, which opens December 25, 2014. The director had collected the artist’s work for many years when he was asked to direct a film about her life.\u003c/p>\n\u003cp>Margaret Keane’s paintings of wide-eyed children, or “waifs,” were ubiquitous starting in the early ’60s and then became synonymous with “thrift store art” and kitsch, though the artist would never describe them that way. Today her “Big Eye Art” style, widely copied at the time, continues to inspire a new generation of visual artists, including contemporary pop surrealists like \u003ca href=\"https://www.google.com/search?q=%22Mark+Ryden%22+painter&client=firefox-a&rls=org.mozilla:en-US:official&channel=sb&biw=1920&bih=885&source=lnms&tbm=isch&sa=X&ei=jMSAVKedGseyoQTMioG4AQ&ved=0CAYQ_AUoAQ\" target=\"_blank\" rel=\"noopener\">Mark Ryden\u003c/a>.\u003c/p>\n\u003cp>Many people still mistakenly credit Margaret’s paintings to her former husband, Walter Keane, who convinced Margaret to let him take credit for her art in an attempt to achieve success during the late ’50s, a time when female artists’ work was undervalued. Margaret developed a second style of art she could call her own, and continued painting both styles for over a decade, living a lie and what she describes as a nightmare, “an impossible situation.”\u003c/p>\n\u003cp>The Keanes’ marriage ended in 1965, and in 1970 Margaret bravely revealed that she was the actual painter of the famous big-eyed waifs. In 1986, a court case proved her right. Although Margaret never collected the restitution fees the court ordered Walter to pay, the recognition she gained for her work was invaluable to the artist.\u003c/p>\n\u003cp>I had the opportunity to sit down with Margaret at the gallery dedicated to her work, Keane Eyes Gallery, in San Francisco, to find out more about her history as an artist and what it was like to watch a painful decade of her life play out on the big screen.\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>\u003ci>Special thanks to Nigel Horsley for use of his Tim Burton photo. Follow his work on \u003ca href=\"https://www.flickr.com/photos/49347467@N05/with/9326808302\" target=\"_blank\" rel=\"noopener\">Flickr\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "page-turners-a-2014-art-book-gift-guide",
"title": "Page Turners: A 2014 Art Book Gift Guide",
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"content": "\u003cp>It’s that time of year. Time to think about what to get the special people in your life. Here in the Bay Area, chances are your loved ones don’t have a lot of space (physically and temporally) for presents. Apartments are small, schedules are full. So this year, forget the carbonation machine, they’ll use it for a month and go back to Perrier. Don’t bother with the latest technology — it’ll be obsolete in a season. And forget the activity-based gifts — there’s no time for that cooking lesson or wine tasting train ride. Instead, go with the foolproof present your recipient can use and admire at her leisure: a well-chosen art book.\u003c/p>\n\u003cp>Here are eight books for the art lover in your life, including books about art and books that are art. And when those holidays roll around, don’t say you couldn’t think of a good present.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158666\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/BestAmericanBook.jpg\" alt=\"BestAmericanBook\" width=\"372\" height=\"600\">\u003c/p>\n\u003ch3>\u003ci>The Best American Book of the 20th Century: A Novel\u003c/i>, Société Réaliste\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.onomatopee.net/project.php?progID=019f131ccccd023b1808bdb9d7bef9ff\" target=\"_blank\" rel=\"noopener\">Onomatopee\u003c/a>, 2014, 112 pages\u003c/h5>\n\u003cp>Cleverly assembled from “the first sentence of the first best-selling book of 1900, the second sentence of the second best-selling book of 1900… and so on up to the end of the century, to the thousandth sentence of the tenth best-selling book of 1999,” \u003ci>The Best American Book\u003c/i> is an amalgamation of populist American literature, from Ernest Hemingway to Ayn Rand, John Steinbeck to Toni Morrison. Perfectly pocket-sized to mimic its source material, the book replaces proper nouns with pronouns to enhance readability. “The work of the day being over,” reads the first sentence of Mary Johnston’s \u003ci>To Have and To Hold \u003c/i>(and the first sentence of \u003ci>The Best American Book\u003c/i>), “he sat down upon his doorstep, pipe in hand, to rest awhile in the cool of the evening.” Could it be that these authors, across time, subject and writing style, are essentially telling the same story?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158667\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/CathedralesB.jpg\" alt=\"CathedralesB\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CathedralesB.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CathedralesB-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003ci>Cathédrales\u003c/i>, Laurence Aëgerter\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.rvb-books.com/book.php?id_book=63\" target=\"_blank\" rel=\"noopener\">RVB Books\u003c/a>, 2014, 248 pages\u003c/h5>\n\u003cp>Starting with an official 1949 tourism catalog of French cathedrals and churches, Laurence Aëgerter placed the book by her studio window, allowing light and shadows to fall across a reproduction of the façade of the Saint-Étienne cathedral in Bourges. Taking one photograph every minute for two hours, she captured 120 variations of light across the printed page. Referencing Monet’s Rouen cathedrals in an age of mechanical reproduction, \u003ci>Cathédrales\u003c/i> is an elegant photo book perfectly suited to its form. As the pages turn, time passes, shadows shift and the cathedral is slowly shrouded in darkness. A simple, beautiful, and thoughtful book, consider \u003ci>Cathédrales\u003c/i> for the Francophile in your circle, or for the Instagram-frenzied friend who could use a reminder about quiet, contemplative moments.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158668\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/LettersPatterns.jpeg\" alt=\"LettersPatterns\" width=\"640\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LettersPatterns.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LettersPatterns-400x351.jpeg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003ci>Letters Become Patterns\u003c/i>, Sigrid Calon\u003c/h3>\n\u003ch5>\u003ca href=\"http://shopsigridcalon.nl/product/letters-become-patterns\" target=\"_blank\" rel=\"noopener\">Self-published\u003c/a>, 2014, 56 pages\u003c/h5>\n\u003cp>Sigrid Calon, based in Amsterdam, is something of a star on the art book fair circuit. Using a Risograph machine (a trendy form of automatic screen printing) she creates prints and books of graphic patterns, layering colors to achieve lovely tonal shifts and optical effects. At the 2014 New York Art Book Fair, she unveiled \u003ci>Letters Become Patterns\u003c/i>, a square spiral bound book with a clear perspex cover and pleasing rounded corners. Each spread shows patterns derived from the letters of the alphabet, shapes repeated until they become abstract. A perfect gift for a graphic designer, a precocious alphabet learner, or simply anyone who enjoys dramatic combinations of color and form.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158669\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Miraculous.jpg\" alt=\"Untitled-1\" width=\"620\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Miraculous.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Miraculous-400x332.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/p>\n\u003ch3>\u003ci>The Miraculous\u003c/i>, Raphael Rubinstein\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.papermonument.com/web-only/the-miraculous-raphael-rubinstein/\" target=\"_blank\" rel=\"noopener\">Paper Monument\u003c/a>, 2014, 72 pages\u003c/h5>\n\u003cp>\u003ci>The Miraculous\u003c/i> retells legendary moments from the past five decades of art history as fable-like stories. In fifty episodes, Rubinstein withholds the names of famous artists to detail the conception of a particular piece, the happy accident that led to a fruitful career, the moment when a particular artwork became legendary. While many of the chapters in \u003ci>The Miraculous\u003c/i> may be familiar, the book distances itself from the traditional narrative of contemporary art by eliminating authorship and intention. With dry yet mesmerising prose, \u003ci>The Miraculous\u003c/i> is a fast read you’ll return to again and again for its ability to make the quotidian otherworldly, like the artists it profiles. Select this inspiring experiment in arts writing for the art historian, the artist, or the storyteller in your life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158670\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Mothernism.jpg\" alt=\"Mothernism\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Mothernism.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Mothernism-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003ci>Mothernism\u003c/i>, Lise Haller Baggesen\u003c/h3>\n\u003ch5>\u003ca href=\"http://sector2337.com/green-lantern-press/green-lantern-press-catalog/\" target=\"_blank\" rel=\"noopener\">Green Lantern Press\u003c/a>, 2014, 152 pages\u003c/h5>\n\u003cp>The book’s tagline reads: “At the intersection of feminism, science fiction, and disco, \u003ci>Mothernism\u003c/i> aims to locate the mother-shaped hole in contemporary art discourse.” There’s no way to explain how these themes mesh completely and effortlessly in Baggesen’s writing without simply saying: they do. Each chapter is a letter addressed to nameless “Dear” (it could be her daughter, her sister, her mother, the reader). Mixing pop lyrics with art criticism, feminist theory and gender politics, she issues calls to arms, makes jokes, delves into engaging personal histories and signs off on each one, “Love, Mom.” The book itself is beautiful — printed in purple ink, the edges gilded in silver.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158673\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/PlumbB.jpg\" alt=\"PlumbB\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>Various notebooks, \u003ca href=\"http://knockknockstuff.com/plumb/\" target=\"_blank\" rel=\"noopener\">Plumb\u003c/a>\u003c/h3>\n\u003cp>A collaboration between Knock Knock, artist Tucker Nichols and designers MacFadden & Thorpe, Plumb is an unconventional line of artist-conceived notebooks. Working with three artists per season, their second batch of goods is even more exciting than the first. Artist and musician Nathaniel Russell contributes a “Fake-Jacket Journal,” a blank booklet with four absurd cover options to conceal its true nature from passersby. Painter Linda Geary’s “Stack Book” uses her homemade color swatches to enclose nearly 300 pages of thick white sketch paper. And Jason Polan’s “Observation Notebook,” spiral-bound stenographer style, prompts observational sketches with the question, “What are you looking at?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158671\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Neon.png\" alt=\"Neon\" width=\"640\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Neon.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Neon-400x351.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003ci>San Francisco Neon: Survivors and Lost Icons\u003c/i>, Al Barna and Randall Ann Homan\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.neonbook.xyz/\" target=\"_blank\" rel=\"noopener\">Giant Orange Press\u003c/a>, 2014, 160 pages\u003c/h5>\n\u003cp>According to Tom Downs’ forward, “Neon is best in context,” but if you’re not interested in roaming the 49 square miles of San Francisco after dark, second-best is via the photographs in this book. San Francisco’s neon signs — some long gone, others currently operating, high class to mundane — get glossy attention in \u003ci>San Francisco Neon\u003c/i>. Something about the red and green glow of many of the signs makes even images from 2014 look nostalgic. In the endnotes, signs are granted condition reports, charming and personal bits of text from the photographers, who obviously care deeply about the subject matter. The stories “can be a catalyst for San Franciscans to preserve their neon landscape,” they write. This might be the perfect gift for a friend who just moved to town, clueless as to where to start learning about San Francisco’s rich (and rapidly disappearing) history.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158674\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SugarSkull.jpeg\" alt=\"SugarSkull\" width=\"343\" height=\"450\">\u003c/p>\n\u003ch3>\u003ci>Sugar Skull\u003c/i>, Charles Burns\u003c/h3>\n\u003ch5>\u003ca href=\"http://knopfdoubleday.com/book/220319/sugar-skull/\" target=\"_blank\" rel=\"noopener\">Pantheon\u003c/a>, 2014, 64 pages\u003c/h5>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It began in 2010 with \u003ci>X’ed Out\u003c/i>. Two agonizing years later, \u003ci>The Hive\u003c/i> arrived. And finally after another unbearable wait, \u003ci>Sugar Skull\u003c/i>, the conclusion of Charles Burns’ epic graphic fiction trilogy about Doug, a young man in a doomed relationship who vacillates between a nightmarish netherworld and memories of his past. \u003ci>Sugar Skull\u003c/i> reaches a “mind-bending, heartbreaking end” through Burns’ sumptuous colors and delicate line-work. The books are continuously rewarding, inviting return visits down the rabbit hole. Burns leads the reader into a labyrinth of memory, horror-tinged fantasy and myriad visual references, from which the return to everyday life is always jarring.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s that time of year. Time to think about what to get the special people in your life. Here in the Bay Area, chances are your loved ones don’t have a lot of space (physically and temporally) for presents. Apartments are small, schedules are full. So this year, forget the carbonation machine, they’ll use it for a month and go back to Perrier. Don’t bother with the latest technology — it’ll be obsolete in a season. And forget the activity-based gifts — there’s no time for that cooking lesson or wine tasting train ride. Instead, go with the foolproof present your recipient can use and admire at her leisure: a well-chosen art book.\u003c/p>\n\u003cp>Here are eight books for the art lover in your life, including books about art and books that are art. And when those holidays roll around, don’t say you couldn’t think of a good present.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158666\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/BestAmericanBook.jpg\" alt=\"BestAmericanBook\" width=\"372\" height=\"600\">\u003c/p>\n\u003ch3>\u003ci>The Best American Book of the 20th Century: A Novel\u003c/i>, Société Réaliste\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.onomatopee.net/project.php?progID=019f131ccccd023b1808bdb9d7bef9ff\" target=\"_blank\" rel=\"noopener\">Onomatopee\u003c/a>, 2014, 112 pages\u003c/h5>\n\u003cp>Cleverly assembled from “the first sentence of the first best-selling book of 1900, the second sentence of the second best-selling book of 1900… and so on up to the end of the century, to the thousandth sentence of the tenth best-selling book of 1999,” \u003ci>The Best American Book\u003c/i> is an amalgamation of populist American literature, from Ernest Hemingway to Ayn Rand, John Steinbeck to Toni Morrison. Perfectly pocket-sized to mimic its source material, the book replaces proper nouns with pronouns to enhance readability. “The work of the day being over,” reads the first sentence of Mary Johnston’s \u003ci>To Have and To Hold \u003c/i>(and the first sentence of \u003ci>The Best American Book\u003c/i>), “he sat down upon his doorstep, pipe in hand, to rest awhile in the cool of the evening.” Could it be that these authors, across time, subject and writing style, are essentially telling the same story?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158667\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/CathedralesB.jpg\" alt=\"CathedralesB\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CathedralesB.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CathedralesB-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003ci>Cathédrales\u003c/i>, Laurence Aëgerter\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.rvb-books.com/book.php?id_book=63\" target=\"_blank\" rel=\"noopener\">RVB Books\u003c/a>, 2014, 248 pages\u003c/h5>\n\u003cp>Starting with an official 1949 tourism catalog of French cathedrals and churches, Laurence Aëgerter placed the book by her studio window, allowing light and shadows to fall across a reproduction of the façade of the Saint-Étienne cathedral in Bourges. Taking one photograph every minute for two hours, she captured 120 variations of light across the printed page. Referencing Monet’s Rouen cathedrals in an age of mechanical reproduction, \u003ci>Cathédrales\u003c/i> is an elegant photo book perfectly suited to its form. As the pages turn, time passes, shadows shift and the cathedral is slowly shrouded in darkness. A simple, beautiful, and thoughtful book, consider \u003ci>Cathédrales\u003c/i> for the Francophile in your circle, or for the Instagram-frenzied friend who could use a reminder about quiet, contemplative moments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158668\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/LettersPatterns.jpeg\" alt=\"LettersPatterns\" width=\"640\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LettersPatterns.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LettersPatterns-400x351.jpeg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003ci>Letters Become Patterns\u003c/i>, Sigrid Calon\u003c/h3>\n\u003ch5>\u003ca href=\"http://shopsigridcalon.nl/product/letters-become-patterns\" target=\"_blank\" rel=\"noopener\">Self-published\u003c/a>, 2014, 56 pages\u003c/h5>\n\u003cp>Sigrid Calon, based in Amsterdam, is something of a star on the art book fair circuit. Using a Risograph machine (a trendy form of automatic screen printing) she creates prints and books of graphic patterns, layering colors to achieve lovely tonal shifts and optical effects. At the 2014 New York Art Book Fair, she unveiled \u003ci>Letters Become Patterns\u003c/i>, a square spiral bound book with a clear perspex cover and pleasing rounded corners. Each spread shows patterns derived from the letters of the alphabet, shapes repeated until they become abstract. A perfect gift for a graphic designer, a precocious alphabet learner, or simply anyone who enjoys dramatic combinations of color and form.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158669\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Miraculous.jpg\" alt=\"Untitled-1\" width=\"620\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Miraculous.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Miraculous-400x332.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/p>\n\u003ch3>\u003ci>The Miraculous\u003c/i>, Raphael Rubinstein\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.papermonument.com/web-only/the-miraculous-raphael-rubinstein/\" target=\"_blank\" rel=\"noopener\">Paper Monument\u003c/a>, 2014, 72 pages\u003c/h5>\n\u003cp>\u003ci>The Miraculous\u003c/i> retells legendary moments from the past five decades of art history as fable-like stories. In fifty episodes, Rubinstein withholds the names of famous artists to detail the conception of a particular piece, the happy accident that led to a fruitful career, the moment when a particular artwork became legendary. While many of the chapters in \u003ci>The Miraculous\u003c/i> may be familiar, the book distances itself from the traditional narrative of contemporary art by eliminating authorship and intention. With dry yet mesmerising prose, \u003ci>The Miraculous\u003c/i> is a fast read you’ll return to again and again for its ability to make the quotidian otherworldly, like the artists it profiles. Select this inspiring experiment in arts writing for the art historian, the artist, or the storyteller in your life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158670\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Mothernism.jpg\" alt=\"Mothernism\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Mothernism.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Mothernism-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003ci>Mothernism\u003c/i>, Lise Haller Baggesen\u003c/h3>\n\u003ch5>\u003ca href=\"http://sector2337.com/green-lantern-press/green-lantern-press-catalog/\" target=\"_blank\" rel=\"noopener\">Green Lantern Press\u003c/a>, 2014, 152 pages\u003c/h5>\n\u003cp>The book’s tagline reads: “At the intersection of feminism, science fiction, and disco, \u003ci>Mothernism\u003c/i> aims to locate the mother-shaped hole in contemporary art discourse.” There’s no way to explain how these themes mesh completely and effortlessly in Baggesen’s writing without simply saying: they do. Each chapter is a letter addressed to nameless “Dear” (it could be her daughter, her sister, her mother, the reader). Mixing pop lyrics with art criticism, feminist theory and gender politics, she issues calls to arms, makes jokes, delves into engaging personal histories and signs off on each one, “Love, Mom.” The book itself is beautiful — printed in purple ink, the edges gilded in silver.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158673\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/PlumbB.jpg\" alt=\"PlumbB\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>Various notebooks, \u003ca href=\"http://knockknockstuff.com/plumb/\" target=\"_blank\" rel=\"noopener\">Plumb\u003c/a>\u003c/h3>\n\u003cp>A collaboration between Knock Knock, artist Tucker Nichols and designers MacFadden & Thorpe, Plumb is an unconventional line of artist-conceived notebooks. Working with three artists per season, their second batch of goods is even more exciting than the first. Artist and musician Nathaniel Russell contributes a “Fake-Jacket Journal,” a blank booklet with four absurd cover options to conceal its true nature from passersby. Painter Linda Geary’s “Stack Book” uses her homemade color swatches to enclose nearly 300 pages of thick white sketch paper. And Jason Polan’s “Observation Notebook,” spiral-bound stenographer style, prompts observational sketches with the question, “What are you looking at?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158671\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Neon.png\" alt=\"Neon\" width=\"640\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Neon.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Neon-400x351.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003ci>San Francisco Neon: Survivors and Lost Icons\u003c/i>, Al Barna and Randall Ann Homan\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.neonbook.xyz/\" target=\"_blank\" rel=\"noopener\">Giant Orange Press\u003c/a>, 2014, 160 pages\u003c/h5>\n\u003cp>According to Tom Downs’ forward, “Neon is best in context,” but if you’re not interested in roaming the 49 square miles of San Francisco after dark, second-best is via the photographs in this book. San Francisco’s neon signs — some long gone, others currently operating, high class to mundane — get glossy attention in \u003ci>San Francisco Neon\u003c/i>. Something about the red and green glow of many of the signs makes even images from 2014 look nostalgic. In the endnotes, signs are granted condition reports, charming and personal bits of text from the photographers, who obviously care deeply about the subject matter. The stories “can be a catalyst for San Franciscans to preserve their neon landscape,” they write. This might be the perfect gift for a friend who just moved to town, clueless as to where to start learning about San Francisco’s rich (and rapidly disappearing) history.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158674\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SugarSkull.jpeg\" alt=\"SugarSkull\" width=\"343\" height=\"450\">\u003c/p>\n\u003ch3>\u003ci>Sugar Skull\u003c/i>, Charles Burns\u003c/h3>\n\u003ch5>\u003ca href=\"http://knopfdoubleday.com/book/220319/sugar-skull/\" target=\"_blank\" rel=\"noopener\">Pantheon\u003c/a>, 2014, 64 pages\u003c/h5>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It began in 2010 with \u003ci>X’ed Out\u003c/i>. Two agonizing years later, \u003ci>The Hive\u003c/i> arrived. And finally after another unbearable wait, \u003ci>Sugar Skull\u003c/i>, the conclusion of Charles Burns’ epic graphic fiction trilogy about Doug, a young man in a doomed relationship who vacillates between a nightmarish netherworld and memories of his past. \u003ci>Sugar Skull\u003c/i> reaches a “mind-bending, heartbreaking end” through Burns’ sumptuous colors and delicate line-work. The books are continuously rewarding, inviting return visits down the rabbit hole. Burns leads the reader into a labyrinth of memory, horror-tinged fantasy and myriad visual references, from which the return to everyday life is always jarring.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Inside The Battery's Quest to Cultivate Art Patrons and Philanthropists",
"headTitle": "Inside The Battery’s Quest to Cultivate Art Patrons and Philanthropists | KQED",
"content": "\u003cp>Last fall San Francisco saw the debut of The Battery, a private social club in the Financial District with the usual amenities, including a spa, a bar and a restaurant — it also offers a widely regarded live music and lecture series, as well as an art program. While The Battery may have been a welcome addition for some, it was criticized for being elitist at a time when new wealth is displacing many city residents. Coming as I do from the so-called art world, and mindful of the fact that art is also something of an exclusive enterprise, it is simplest to concede up front that (by virtue of being a private club with an internal nomination process and steep fees) The Battery is exclusive. To this I would say, playing devil’s advocate, so what? Much of the system of art schools, publications, galleries and institutions relies on the buyers and patrons that can afford the expense. As commercial galleries and nonprofits struggle to find a toehold in San Francisco, new models for fostering art patronage and philanthropy are sorely needed. Even as they are exclusive, The Battery’s member events to cultivate art collecting and charitable giving are unexpected amenities that aim to benefit the wider community, at least as they are described. A year into The Battery’s art program, I wanted to know, can a private club effectively cultivate personal investments in art and public life?\u003c/p>\n\u003cfigure id=\"attachment_10148993\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batterycybelelyle.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10148993 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batterycybelelyle.jpg\" alt=\"Cybele Lyle on view at The Battery\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batterycybelelyle.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batterycybelelyle-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation detail: (Foreground) Works by Cybele Lyle on view at The Battery, (Background) Chris Hood.\u003c/figcaption>\u003c/figure>\n\u003cp>The art program is multi-pronged; it features quarterly exhibitions integrated throughout its elaborately designed interior spaces, as well gallery tours, artist talks and guided art fair visits. Anyone will tell you that the space is a challenge for art. It is a busy environment with difficult lighting. Tricky transitory spaces are reserved for the art program, including the central stairwell and adjoining hallways. Some work manages to transcend these difficulties and some doesn’t — in all fairness, the same can be said of the architecture in some star-architect designed galleries and museums. Whether by choice or by convenience, the art program eschews a white cube environment in favor of functioning spaces and to a certain extent this makes sense when trying to cultivate new collectors, who often want to see that it’s possible to live with art in everyday life.\u003c/p>\n\u003cfigure id=\"attachment_10148994\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batteryunderstairs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10148994 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batteryunderstairs.jpg\" alt=\"The Battery\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batteryunderstairs.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batteryunderstairs-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation detail: Works by Aaron Finnis, on view at The Battery\u003c/figcaption>\u003c/figure>\n\u003cp>The current show is organized by former Yerba Buena Center for the Arts adjunct curator and Queen’s Nails director, Julio Cesar Morales, now curator at Arizona State University’s Art Museum, in partnership with The Battery’s art program director Thomas Moller and assistant director Matt Bernstein. Though the space is difficult — and I’ve seen all kinds of difficult, including art displayed next to toilets in hotel art fairs — I was struck by the fact that some work looked exceptional in some really difficult spaces. Aaron Finnis’ \u003ci>MTURK1 (3,000 Workers)\u003c/i> is a sculptural installation featuring a fluorescent light, a houseplant and laundry soap, among other quotidian sundries that would otherwise never be on display in such a luxurious venue. It is placed beneath the stairwell, essentially in the basement, and is a perfect intervention with no explanatory text other than the artist’s name. The provocative abruptness of this choice of conceptual work demonstrates something interesting about the Battery’s commitment to showing difficult and challenging art, as does the choice to allow it to speak for itself. Cybele Lyle’s \u003ci>Untitled (Rolling Hills, 2)\u003c/i> also looks great projected in the stairwell, as if it belongs in such an unusual space.\u003c/p>\n\u003cfigure id=\"attachment_10149113\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batteryvideo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10149113 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batteryvideo.jpg\" alt=\"The Battery\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batteryvideo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batteryvideo-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation detail: Video projection by Cybele Lyle, \u003ci>Untitled (Rolling Hills, 2)\u003c/i>, 2013 on view at The Battery\u003c/figcaption>\u003c/figure>\n\u003cp>It is worth mentioning that I visited mid-morning on two occasions, when The Battery was sparsely populated and a little sleepy — it is possible that members might linger with the art during more densely attended social events, but I doubt it. My sense is that though The Battery exhibits artwork on site, it relies more on social engagement to knit interest in the art scene. In addition to the exhibitions, Moller regularly sends out emails with information about gallery walks or events, including an extensive and impressive list of shows in all four corners of the Bay Area.\u003c/p>\n\u003cp>Moller triangulated his time between Asia, New York and his native Germany before coming to San Francisco to run the Battery’s art program. He once ran an experimental gallery in New York’s meatpacking district that required exhibiting artists to speak with interested audiences at events and abides by the personal mandate “if art demands a place in society, art has to take responsibility in society.” Regular talks with artists take place in The Battery’s library filled with leather chairs and a plethora of taxidermy. Some 30 – 40 people attended a recent talk with artists and curators from Et al., an experimental gallery. Director Jackie Im said the talk seemed like a success and noted, “It felt full but also intimate enough that people didn’t feel intimidated to ask questions.” Im sees the program as “a way to get people to see art that they might not see otherwise. For us, being in a basement in Chinatown and being fairly new, we don’t get the same traffic as, say, Haines Gallery [in 49 Geary]. We try to take on most opportunities to get our artists work out into the world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moller tries to achieve this through varied means: exhibitions are also accompanied by print catalogs sent to every member, whether or not they participate in art events. The catalogs feature images and biographical information, along with credit lines for representative galleries, but they really function more like price lists — the greatest emphasis is placed on availability, as most of the work is also for sale through The Battery. Though many gallery owners have a lot of praise for the art program’s intentions, there is also some skepticism around The Battery’s required 30% commission, well above the 10 – 20% industry standard, and how the program might impact artists and galleries as time goes on.\u003c/p>\n\u003cp>Gallery 16 owner Griff Williams, who has shown several artists at The Battery, wrote in an email for this article, “The gallery is the only part of the art world that supports living contemporary artists. These new hybrids — like The Battery — or consultants or museums or non-profit entities all offer a kind of support, but one that is quite different than the long-term obligations represented in the artist/gallery model.”\u003c/p>\n\u003cp>Jack Fischer, owner of Jack Fischer Gallery, declined to participate in the program because of the “outrageous” commission fee and how it might impact representation. He added, via email, “The Battery or the ‘Silicon Valley art fairs’ will not be the answer artists and dealers hope to have new tech wealth become interested in collecting art. These poor and pandering efforts will only cheapen our efforts and ultimately cause a backlash towards artists and dealers.”\u003c/p>\n\u003cp>Galleries, after all, are the first line of financial support for artists. They assume the costs of promoting artists and marketing the work for years or decades, while offering free exhibitions and public programs on a rolling basis. The Battery’s art program benefits from all of this work and has built its own program by making selections from San Francisco’s galleries, with no long-term commitments to specific artists or to any of the grassroots organizations that foster the larger arts ecosystem beyond the commercial gallery system. Many gallery owners I spoke with felt disempowered to argue against The Battery’s terms, in light of the access the program offers to potential clients — and as a result several also declined to speak on the record.\u003c/p>\n\u003cfigure id=\"attachment_10149114\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batterypainting.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10149114 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batterypainting.jpg\" alt=\"... on view at The Battery\" width=\"640\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batterypainting.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batterypainting-400x250.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation detail: Work by Leslie Shows on view at The Battery\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s great that The Battery’s owners had the intention with the program to create a connection between the new elite and the art world, a hard nut to crack in the Bay Area,” said Andrew McClintock, owner/director of Ever Gold Gallery and publisher/editor-in-chief of \u003cem>San Francisco Arts Quarterly\u003c/em> (SFAQ), who has also sold some work through The Battery. “However like a lot of non-art specific spaces that have “art programs,” the intentions sometimes cannot keep up with the actuality of the situation. The real problem has to do with society, San Francisco’s shifting landscape, private clubs, elitism, and lack of education for the new young and rich.”\u003c/p>\n\u003cfigure id=\"attachment_10149115\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batterycouch.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10149115 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batterycouch.jpg\" alt=\"A lounge space at The Battery\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batterycouch.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batterycouch-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation detail: Works by Christian Maychack on view at The Battery.\u003c/figcaption>\u003c/figure>\n\u003cp>My prevailing impression is that The Battery is a living experiment, refining and developing its programs in response to the members’ needs and interests — the art program could also potentially shift according to members’ demands. In September the organization launched \u003cem>Battery Powered\u003c/em>, a program focused on “activating generosity” with crowd-funded philanthropy based on member-selected quarterly themes. The pilot challenges participating members to think about reforming the California prison system and “breaking the cycle of incarceration.” Members make an annual financial commitment to be allocated quarterly and attend a series of educational lectures; Piper Kerman, author and activist behind hit television show \u003cem>Orange Is the New Black\u003c/em> is a scheduled speaker this quarter. 100% of the donations go to organizations chosen by the members. Michael and Xochi Birch, owners of The Battery, personally cover the costs of running the program. \u003cem>Battery Powered\u003c/em> will allocate its first award in December.\u003c/p>\n\u003cfigure id=\"attachment_10149116\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batterysculpture.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10149116 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batterysculpture.jpg\" alt=\"Permanent installation of Randy Colosky sculpture at The Battery\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batterysculpture.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batterysculpture-400x600.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation detail: Sculpture by Randy Colosky on permanent view at The Battery\u003c/figcaption>\u003c/figure>\n\u003cp>“When Michael and I started The Battery, we always hoped it would be a place where people could do more then just enjoy a nice meal over a bottle of wine,” Birch wrote in a recent email. “Giving back is a value shared throughout our club and we felt an educational program would be a great way to bring members together. We’ve learned that to give responsibly, there’s a lot of listening involved.”\u003c/p>\n\u003cp>Dianne Dec, longtime director of Hosfelt Gallery echoed this sentiment in her impressions of the art program. “I see our relationship with The Battery as more about exposure and marketing than sales. In truth becoming a collector of serious contemporary art almost always requires a lot of exposure and education first. I appreciate Thomas Moller’s efforts to involve the local community of artists and galleries.”\u003c/p>\n\u003cp>Morales, who has exhibited in the art program as an artist and a curator, as well as DJing his own recent event, takes a measured approach to The Battery’s experiment, “I trust Thomas and Matt and admire what they are attempting to do. They might fail, but that is one of the central and critical roles of art and its possibilities to educate, inform and transform.”\u003c/p>\n\u003cp>It is this embedded spirit of risk taking that gives The Battery’s art and philanthropy programs the most promise. When it launched a year ago, the Birches expected to cap The Battery’s membership at 1200, but, as a result of greater interest, membership has nearly tripled that number — perhaps due to its extraordinary programs. One gallery owner referred to The Battery’s membership as “a powerful captive audience” and there is some truth to that idea. If this captive audience takes an interest in local artists and galleries, as well as non-profits, perhaps someday The Battery will be credited with cultivating a new generation of benefactors on par with civic-minded figures such as Phyllis Wattis, Mimi Haas, Lucile Packard, or Charles Schwab, all historically significant members of the wealthy elite whose commitment to social good is evident everywhere in public life in the Bay Area. Certainly the power and wealth is there, as is the initiative — what remains to be seen is the impact.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Battery is located at 717 Battery Street, San Francisco. For \u003ca href=\"https://thebatterysf.com/\">more information\u003c/a> visit thebatterysf.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last fall San Francisco saw the debut of The Battery, a private social club in the Financial District with the usual amenities, including a spa, a bar and a restaurant — it also offers a widely regarded live music and lecture series, as well as an art program. While The Battery may have been a welcome addition for some, it was criticized for being elitist at a time when new wealth is displacing many city residents. Coming as I do from the so-called art world, and mindful of the fact that art is also something of an exclusive enterprise, it is simplest to concede up front that (by virtue of being a private club with an internal nomination process and steep fees) The Battery is exclusive. To this I would say, playing devil’s advocate, so what? Much of the system of art schools, publications, galleries and institutions relies on the buyers and patrons that can afford the expense. As commercial galleries and nonprofits struggle to find a toehold in San Francisco, new models for fostering art patronage and philanthropy are sorely needed. Even as they are exclusive, The Battery’s member events to cultivate art collecting and charitable giving are unexpected amenities that aim to benefit the wider community, at least as they are described. A year into The Battery’s art program, I wanted to know, can a private club effectively cultivate personal investments in art and public life?\u003c/p>\n\u003cfigure id=\"attachment_10148993\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batterycybelelyle.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10148993 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batterycybelelyle.jpg\" alt=\"Cybele Lyle on view at The Battery\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batterycybelelyle.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batterycybelelyle-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation detail: (Foreground) Works by Cybele Lyle on view at The Battery, (Background) Chris Hood.\u003c/figcaption>\u003c/figure>\n\u003cp>The art program is multi-pronged; it features quarterly exhibitions integrated throughout its elaborately designed interior spaces, as well gallery tours, artist talks and guided art fair visits. Anyone will tell you that the space is a challenge for art. It is a busy environment with difficult lighting. Tricky transitory spaces are reserved for the art program, including the central stairwell and adjoining hallways. Some work manages to transcend these difficulties and some doesn’t — in all fairness, the same can be said of the architecture in some star-architect designed galleries and museums. Whether by choice or by convenience, the art program eschews a white cube environment in favor of functioning spaces and to a certain extent this makes sense when trying to cultivate new collectors, who often want to see that it’s possible to live with art in everyday life.\u003c/p>\n\u003cfigure id=\"attachment_10148994\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batteryunderstairs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10148994 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batteryunderstairs.jpg\" alt=\"The Battery\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batteryunderstairs.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batteryunderstairs-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation detail: Works by Aaron Finnis, on view at The Battery\u003c/figcaption>\u003c/figure>\n\u003cp>The current show is organized by former Yerba Buena Center for the Arts adjunct curator and Queen’s Nails director, Julio Cesar Morales, now curator at Arizona State University’s Art Museum, in partnership with The Battery’s art program director Thomas Moller and assistant director Matt Bernstein. Though the space is difficult — and I’ve seen all kinds of difficult, including art displayed next to toilets in hotel art fairs — I was struck by the fact that some work looked exceptional in some really difficult spaces. Aaron Finnis’ \u003ci>MTURK1 (3,000 Workers)\u003c/i> is a sculptural installation featuring a fluorescent light, a houseplant and laundry soap, among other quotidian sundries that would otherwise never be on display in such a luxurious venue. It is placed beneath the stairwell, essentially in the basement, and is a perfect intervention with no explanatory text other than the artist’s name. The provocative abruptness of this choice of conceptual work demonstrates something interesting about the Battery’s commitment to showing difficult and challenging art, as does the choice to allow it to speak for itself. Cybele Lyle’s \u003ci>Untitled (Rolling Hills, 2)\u003c/i> also looks great projected in the stairwell, as if it belongs in such an unusual space.\u003c/p>\n\u003cfigure id=\"attachment_10149113\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batteryvideo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10149113 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batteryvideo.jpg\" alt=\"The Battery\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batteryvideo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batteryvideo-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation detail: Video projection by Cybele Lyle, \u003ci>Untitled (Rolling Hills, 2)\u003c/i>, 2013 on view at The Battery\u003c/figcaption>\u003c/figure>\n\u003cp>It is worth mentioning that I visited mid-morning on two occasions, when The Battery was sparsely populated and a little sleepy — it is possible that members might linger with the art during more densely attended social events, but I doubt it. My sense is that though The Battery exhibits artwork on site, it relies more on social engagement to knit interest in the art scene. In addition to the exhibitions, Moller regularly sends out emails with information about gallery walks or events, including an extensive and impressive list of shows in all four corners of the Bay Area.\u003c/p>\n\u003cp>Moller triangulated his time between Asia, New York and his native Germany before coming to San Francisco to run the Battery’s art program. He once ran an experimental gallery in New York’s meatpacking district that required exhibiting artists to speak with interested audiences at events and abides by the personal mandate “if art demands a place in society, art has to take responsibility in society.” Regular talks with artists take place in The Battery’s library filled with leather chairs and a plethora of taxidermy. Some 30 – 40 people attended a recent talk with artists and curators from Et al., an experimental gallery. Director Jackie Im said the talk seemed like a success and noted, “It felt full but also intimate enough that people didn’t feel intimidated to ask questions.” Im sees the program as “a way to get people to see art that they might not see otherwise. For us, being in a basement in Chinatown and being fairly new, we don’t get the same traffic as, say, Haines Gallery [in 49 Geary]. We try to take on most opportunities to get our artists work out into the world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moller tries to achieve this through varied means: exhibitions are also accompanied by print catalogs sent to every member, whether or not they participate in art events. The catalogs feature images and biographical information, along with credit lines for representative galleries, but they really function more like price lists — the greatest emphasis is placed on availability, as most of the work is also for sale through The Battery. Though many gallery owners have a lot of praise for the art program’s intentions, there is also some skepticism around The Battery’s required 30% commission, well above the 10 – 20% industry standard, and how the program might impact artists and galleries as time goes on.\u003c/p>\n\u003cp>Gallery 16 owner Griff Williams, who has shown several artists at The Battery, wrote in an email for this article, “The gallery is the only part of the art world that supports living contemporary artists. These new hybrids — like The Battery — or consultants or museums or non-profit entities all offer a kind of support, but one that is quite different than the long-term obligations represented in the artist/gallery model.”\u003c/p>\n\u003cp>Jack Fischer, owner of Jack Fischer Gallery, declined to participate in the program because of the “outrageous” commission fee and how it might impact representation. He added, via email, “The Battery or the ‘Silicon Valley art fairs’ will not be the answer artists and dealers hope to have new tech wealth become interested in collecting art. These poor and pandering efforts will only cheapen our efforts and ultimately cause a backlash towards artists and dealers.”\u003c/p>\n\u003cp>Galleries, after all, are the first line of financial support for artists. They assume the costs of promoting artists and marketing the work for years or decades, while offering free exhibitions and public programs on a rolling basis. The Battery’s art program benefits from all of this work and has built its own program by making selections from San Francisco’s galleries, with no long-term commitments to specific artists or to any of the grassroots organizations that foster the larger arts ecosystem beyond the commercial gallery system. Many gallery owners I spoke with felt disempowered to argue against The Battery’s terms, in light of the access the program offers to potential clients — and as a result several also declined to speak on the record.\u003c/p>\n\u003cfigure id=\"attachment_10149114\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batterypainting.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10149114 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batterypainting.jpg\" alt=\"... on view at The Battery\" width=\"640\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batterypainting.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batterypainting-400x250.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation detail: Work by Leslie Shows on view at The Battery\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s great that The Battery’s owners had the intention with the program to create a connection between the new elite and the art world, a hard nut to crack in the Bay Area,” said Andrew McClintock, owner/director of Ever Gold Gallery and publisher/editor-in-chief of \u003cem>San Francisco Arts Quarterly\u003c/em> (SFAQ), who has also sold some work through The Battery. “However like a lot of non-art specific spaces that have “art programs,” the intentions sometimes cannot keep up with the actuality of the situation. The real problem has to do with society, San Francisco’s shifting landscape, private clubs, elitism, and lack of education for the new young and rich.”\u003c/p>\n\u003cfigure id=\"attachment_10149115\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batterycouch.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10149115 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batterycouch.jpg\" alt=\"A lounge space at The Battery\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batterycouch.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batterycouch-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation detail: Works by Christian Maychack on view at The Battery.\u003c/figcaption>\u003c/figure>\n\u003cp>My prevailing impression is that The Battery is a living experiment, refining and developing its programs in response to the members’ needs and interests — the art program could also potentially shift according to members’ demands. In September the organization launched \u003cem>Battery Powered\u003c/em>, a program focused on “activating generosity” with crowd-funded philanthropy based on member-selected quarterly themes. The pilot challenges participating members to think about reforming the California prison system and “breaking the cycle of incarceration.” Members make an annual financial commitment to be allocated quarterly and attend a series of educational lectures; Piper Kerman, author and activist behind hit television show \u003cem>Orange Is the New Black\u003c/em> is a scheduled speaker this quarter. 100% of the donations go to organizations chosen by the members. Michael and Xochi Birch, owners of The Battery, personally cover the costs of running the program. \u003cem>Battery Powered\u003c/em> will allocate its first award in December.\u003c/p>\n\u003cfigure id=\"attachment_10149116\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batterysculpture.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10149116 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/batterysculpture.jpg\" alt=\"Permanent installation of Randy Colosky sculpture at The Battery\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batterysculpture.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/batterysculpture-400x600.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation detail: Sculpture by Randy Colosky on permanent view at The Battery\u003c/figcaption>\u003c/figure>\n\u003cp>“When Michael and I started The Battery, we always hoped it would be a place where people could do more then just enjoy a nice meal over a bottle of wine,” Birch wrote in a recent email. “Giving back is a value shared throughout our club and we felt an educational program would be a great way to bring members together. We’ve learned that to give responsibly, there’s a lot of listening involved.”\u003c/p>\n\u003cp>Dianne Dec, longtime director of Hosfelt Gallery echoed this sentiment in her impressions of the art program. “I see our relationship with The Battery as more about exposure and marketing than sales. In truth becoming a collector of serious contemporary art almost always requires a lot of exposure and education first. I appreciate Thomas Moller’s efforts to involve the local community of artists and galleries.”\u003c/p>\n\u003cp>Morales, who has exhibited in the art program as an artist and a curator, as well as DJing his own recent event, takes a measured approach to The Battery’s experiment, “I trust Thomas and Matt and admire what they are attempting to do. They might fail, but that is one of the central and critical roles of art and its possibilities to educate, inform and transform.”\u003c/p>\n\u003cp>It is this embedded spirit of risk taking that gives The Battery’s art and philanthropy programs the most promise. When it launched a year ago, the Birches expected to cap The Battery’s membership at 1200, but, as a result of greater interest, membership has nearly tripled that number — perhaps due to its extraordinary programs. One gallery owner referred to The Battery’s membership as “a powerful captive audience” and there is some truth to that idea. If this captive audience takes an interest in local artists and galleries, as well as non-profits, perhaps someday The Battery will be credited with cultivating a new generation of benefactors on par with civic-minded figures such as Phyllis Wattis, Mimi Haas, Lucile Packard, or Charles Schwab, all historically significant members of the wealthy elite whose commitment to social good is evident everywhere in public life in the Bay Area. Certainly the power and wealth is there, as is the initiative — what remains to be seen is the impact.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Battery is located at 717 Battery Street, San Francisco. For \u003ca href=\"https://thebatterysf.com/\">more information\u003c/a> visit thebatterysf.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The gift of an art experience gently tells your loved ones, “Hey, you need to get out more.” It also indicates that you are a highly cultured supporter of the arts who wants nothing more than for your friends and family to achieve your level of well-rounded artiness.\u003c/p>\n\u003cp>But giving someone tickets to an arty event is a risky business. Picture, for example, your good friend cursing you as they haul ass to BART on a Saturday for the matinee of \u003ci>Kinky Boots\u003c/i>. But then the magic of art will happen, and they’ll have an incredibly enjoyable time! It will be an experience of a lifetime, thanks to you, their super-smart and cool friend who wouldn’t dare add more material goods to the world.\u003c/p>\n\u003cp>Here are some suggestions that will make you a gift-giving champ if you’re willing to risk it. Pro tip: Attach a magnet to your gift so it can be hung on the fridge. That way it won’t get lost before it can be enjoyed.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145591\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10145591\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/kinky-boots-400x281.jpg\" alt=\"Scene from <i>Kinky Boots</i>\" width=\"400\" height=\"281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/kinky-boots-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/kinky-boots.jpg 540w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">A scene from \u003ci>Kinky Boots\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Tickets to \u003ci>Kinky Boots\u003c/i>\u003c/h3>\n\u003ch5>Dec. 2 – Dec. 28, 2014\u003cbr>\nSHN Orpheum Theatre\u003cbr>\n\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=kinkyboots&BOparam::WScontent::loadArticle::context_id=&gclid=CjwKEAiAhIejBRCKm_fTxIWyyXcSJABXY0XYxJ_A62C9DFEqGm1ZZEalW4KeLyKDO_jsVuSRR6sEphoCYknw_wcB\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>For your flamboyant party people who love a good show, you can’t go wrong with a score written by our favorite unusual girl, Cyndi Lauper, with a story by legendary Tony winner Harvey Fierstein. Send your friend this \u003ca href=\"https://www.youtube.com/watch?v=EXaUFDQgims\" target=\"_blank\" rel=\"noopener\">funny video of Cyndi and Harvey getting weird at KQED\u003c/a> to announce your gift. Kinky boots only runs through Dec. 28, but your friend can surely make time for a show in those lazy days just before New Year’s Eve.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145589\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10145589\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/oddyssea-inside-400x300.jpg\" alt=\"Interior of the Oddyssea\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/oddyssea-inside-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/oddyssea-inside-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/oddyssea-inside.jpg 1024w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Interior of the Oddyssea\u003c/figcaption>\u003c/figure>\n\u003ch3>Party at The Oddyssea\u003c/h3>\n\u003ch5>\u003ca href=\"http://oddyssea.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/h5>\n\u003cp>The world’s largest marble ruin? A full-on shipwreck? A fleet of pirate bicycles? All this exists in one place? Apparently, yes, on Main Street in Half Moon Bay. The Oddyssea is available for parties, and they have regular activities, like making a terrarium or breaking your own geode! The Oddyssea appears to be a labor of love for a family that builds treasures from junk. Their website explains that over 90 percent of the materials used to build The Oddyssea’s outside wonderland have been salvaged, reclaimed and re-purposed. I haven’t been there yet, but a friend described it as the “826 Valencia pirate shop mixed with Paxton Gate, but better.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145592\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10145592\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/audium_1-400x300.jpg\" alt=\"The Audium\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/audium_1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/audium_1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/audium_1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/audium_1.jpg 1365w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Audium\u003c/figcaption>\u003c/figure>\n\u003ch3>Soundscapes at The Audium\u003c/h3>\n\u003ch5>\u003ca href=\"http://audium.org/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/h5>\n\u003cp>You know your moody friend, the tall, lanky one? The one with a beard and a vast record collection? He will enjoy The Audium’s “exploration of space in music” experience, listening to audio sculptures as he is “bathed in sounds that move past, over and under” him. Doesn’t that sound soothing? It’s an excellent gift for any audiophile. A trusted source tells me, “It’s like visiting a hippie relic relative from the ‘70s who’s into experimental sound — in the dark.” This is a sleeper gift. It will sound weird and lame, but the recipient’s mind will be blown, and you will remain a gift-giving legend within your circle of friends.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145593\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10145593\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Djerassi_Yield-to-Whim_Frank-Foreman-400x300.jpg\" alt=\"<i>Yield to Whim</i> by Frank Foreman. One example of work on the Djerassi Sculpture Tour\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Djerassi_Yield-to-Whim_Frank-Foreman-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Djerassi_Yield-to-Whim_Frank-Foreman.jpg 604w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Yield to Whim\u003c/i> by Frank Foreman. One example of work on the Djerassi Sculpture Tour\u003c/figcaption>\u003c/figure>\n\u003ch3>Djerassi Sculpture Tour\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.djerassi.org/sculpturetours.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Djerassi is a residency program in the Santa Cruz mountains, a picturesque setting among rolling California hills. Artists, composers, writers and performers from around the world spend time on the ranch, creating new works that are in dialogue with the surrounding natural environment. There are over 40 site-specific sculptures on this incredible walking tour, which is perfect for your outdoorsy friend who loves hiking and sack lunches. Tours only take place April-June, so this is a gift with a delayed but worthwhile return.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10136303\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136303 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1-400x592.jpg\" alt=\"A work by Desiree Holman at di Rosa\" width=\"400\" height=\"592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1-400x592.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1-202x300.jpg 202w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1.jpg 506w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">A work by Desiree Holman at di Rosa\u003c/figcaption>\u003c/figure>\n\u003ch3>Art Museum Membership\u003c/h3>\n\u003ch5>\u003ca href=\"http://en.wikipedia.org/wiki/List_of_museums_in_the_San_Francisco_Bay_Area\" target=\"_blank\" rel=\"noopener\">List of Bay Area museums\u003c/a>\u003c/h5>\n\u003cp>The Bay Area has many museums, and you can easily find one that matches your pal’s persona. From cartoons to modern art to kooky collections, the Bay Area has a museum for everyone on your list. History buff? \u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a>. Wine Lover? \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">di Rosa Art and Nature Preserve \u003c/a>in Napa. \u003ca href=\"https://www.youtube.com/watch?v=L0MK7qz13bU\" target=\"_blank\" rel=\"noopener\">\u003ci>Frozen\u003c/i> \u003c/a>fan? \u003ca href=\"http://www.waltdisney.org/\" target=\"_blank\" rel=\"noopener\">Walt Disney Family Museum\u003c/a>. Kids? \u003ca href=\"http://creativity.org/\">Children’s Creativity Museum\u003c/a>. Oddball? \u003ca href=\"http://www.ripleys.com/sanfrancisco/\" target=\"_blank\" rel=\"noopener\">Ripley’s Believe it or Not! Museum\u003c/a>. Just kidding, Ripley’s doesn’t have memberships, but they \u003cem>are\u003c/em> open 365 days a year. Art museum memberships can be acquired in any location, and they will have your loved ones thinking of you fondly anytime they sail past the lines to the exclusive membership desk. You just gave them the gift of VIP status.\u003c/p>\n\u003c/div>\n\u003cp>Have more arty experience gifts to recommend? Share them in the comments below.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The gift of an art experience gently tells your loved ones, “Hey, you need to get out more.” It also indicates that you are a highly cultured supporter of the arts who wants nothing more than for your friends and family to achieve your level of well-rounded artiness.\u003c/p>\n\u003cp>But giving someone tickets to an arty event is a risky business. Picture, for example, your good friend cursing you as they haul ass to BART on a Saturday for the matinee of \u003ci>Kinky Boots\u003c/i>. But then the magic of art will happen, and they’ll have an incredibly enjoyable time! It will be an experience of a lifetime, thanks to you, their super-smart and cool friend who wouldn’t dare add more material goods to the world.\u003c/p>\n\u003cp>Here are some suggestions that will make you a gift-giving champ if you’re willing to risk it. Pro tip: Attach a magnet to your gift so it can be hung on the fridge. That way it won’t get lost before it can be enjoyed.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145591\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10145591\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/kinky-boots-400x281.jpg\" alt=\"Scene from <i>Kinky Boots</i>\" width=\"400\" height=\"281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/kinky-boots-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/kinky-boots.jpg 540w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">A scene from \u003ci>Kinky Boots\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Tickets to \u003ci>Kinky Boots\u003c/i>\u003c/h3>\n\u003ch5>Dec. 2 – Dec. 28, 2014\u003cbr>\nSHN Orpheum Theatre\u003cbr>\n\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=kinkyboots&BOparam::WScontent::loadArticle::context_id=&gclid=CjwKEAiAhIejBRCKm_fTxIWyyXcSJABXY0XYxJ_A62C9DFEqGm1ZZEalW4KeLyKDO_jsVuSRR6sEphoCYknw_wcB\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>For your flamboyant party people who love a good show, you can’t go wrong with a score written by our favorite unusual girl, Cyndi Lauper, with a story by legendary Tony winner Harvey Fierstein. Send your friend this \u003ca href=\"https://www.youtube.com/watch?v=EXaUFDQgims\" target=\"_blank\" rel=\"noopener\">funny video of Cyndi and Harvey getting weird at KQED\u003c/a> to announce your gift. Kinky boots only runs through Dec. 28, but your friend can surely make time for a show in those lazy days just before New Year’s Eve.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145589\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10145589\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/oddyssea-inside-400x300.jpg\" alt=\"Interior of the Oddyssea\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/oddyssea-inside-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/oddyssea-inside-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/oddyssea-inside.jpg 1024w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Interior of the Oddyssea\u003c/figcaption>\u003c/figure>\n\u003ch3>Party at The Oddyssea\u003c/h3>\n\u003ch5>\u003ca href=\"http://oddyssea.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/h5>\n\u003cp>The world’s largest marble ruin? A full-on shipwreck? A fleet of pirate bicycles? All this exists in one place? Apparently, yes, on Main Street in Half Moon Bay. The Oddyssea is available for parties, and they have regular activities, like making a terrarium or breaking your own geode! The Oddyssea appears to be a labor of love for a family that builds treasures from junk. Their website explains that over 90 percent of the materials used to build The Oddyssea’s outside wonderland have been salvaged, reclaimed and re-purposed. I haven’t been there yet, but a friend described it as the “826 Valencia pirate shop mixed with Paxton Gate, but better.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145592\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10145592\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/audium_1-400x300.jpg\" alt=\"The Audium\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/audium_1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/audium_1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/audium_1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/audium_1.jpg 1365w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Audium\u003c/figcaption>\u003c/figure>\n\u003ch3>Soundscapes at The Audium\u003c/h3>\n\u003ch5>\u003ca href=\"http://audium.org/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/h5>\n\u003cp>You know your moody friend, the tall, lanky one? The one with a beard and a vast record collection? He will enjoy The Audium’s “exploration of space in music” experience, listening to audio sculptures as he is “bathed in sounds that move past, over and under” him. Doesn’t that sound soothing? It’s an excellent gift for any audiophile. A trusted source tells me, “It’s like visiting a hippie relic relative from the ‘70s who’s into experimental sound — in the dark.” This is a sleeper gift. It will sound weird and lame, but the recipient’s mind will be blown, and you will remain a gift-giving legend within your circle of friends.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145593\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10145593\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Djerassi_Yield-to-Whim_Frank-Foreman-400x300.jpg\" alt=\"<i>Yield to Whim</i> by Frank Foreman. One example of work on the Djerassi Sculpture Tour\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Djerassi_Yield-to-Whim_Frank-Foreman-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Djerassi_Yield-to-Whim_Frank-Foreman.jpg 604w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Yield to Whim\u003c/i> by Frank Foreman. One example of work on the Djerassi Sculpture Tour\u003c/figcaption>\u003c/figure>\n\u003ch3>Djerassi Sculpture Tour\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.djerassi.org/sculpturetours.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Djerassi is a residency program in the Santa Cruz mountains, a picturesque setting among rolling California hills. Artists, composers, writers and performers from around the world spend time on the ranch, creating new works that are in dialogue with the surrounding natural environment. There are over 40 site-specific sculptures on this incredible walking tour, which is perfect for your outdoorsy friend who loves hiking and sack lunches. Tours only take place April-June, so this is a gift with a delayed but worthwhile return.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10136303\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136303 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1-400x592.jpg\" alt=\"A work by Desiree Holman at di Rosa\" width=\"400\" height=\"592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1-400x592.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1-202x300.jpg 202w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1.jpg 506w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">A work by Desiree Holman at di Rosa\u003c/figcaption>\u003c/figure>\n\u003ch3>Art Museum Membership\u003c/h3>\n\u003ch5>\u003ca href=\"http://en.wikipedia.org/wiki/List_of_museums_in_the_San_Francisco_Bay_Area\" target=\"_blank\" rel=\"noopener\">List of Bay Area museums\u003c/a>\u003c/h5>\n\u003cp>The Bay Area has many museums, and you can easily find one that matches your pal’s persona. From cartoons to modern art to kooky collections, the Bay Area has a museum for everyone on your list. History buff? \u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a>. Wine Lover? \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">di Rosa Art and Nature Preserve \u003c/a>in Napa. \u003ca href=\"https://www.youtube.com/watch?v=L0MK7qz13bU\" target=\"_blank\" rel=\"noopener\">\u003ci>Frozen\u003c/i> \u003c/a>fan? \u003ca href=\"http://www.waltdisney.org/\" target=\"_blank\" rel=\"noopener\">Walt Disney Family Museum\u003c/a>. Kids? \u003ca href=\"http://creativity.org/\">Children’s Creativity Museum\u003c/a>. Oddball? \u003ca href=\"http://www.ripleys.com/sanfrancisco/\" target=\"_blank\" rel=\"noopener\">Ripley’s Believe it or Not! Museum\u003c/a>. Just kidding, Ripley’s doesn’t have memberships, but they \u003cem>are\u003c/em> open 365 days a year. Art museum memberships can be acquired in any location, and they will have your loved ones thinking of you fondly anytime they sail past the lines to the exclusive membership desk. You just gave them the gift of VIP status.\u003c/p>\n\u003c/div>\n\u003cp>Have more arty experience gifts to recommend? Share them in the comments below.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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. ",
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"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. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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