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"content": "\u003cp>At the November 6 opening of Kiria Koula, a brand new art space in the Mission, the atmosphere was undeniably optimistic. “It feels like things are good, right?” a friend asked. With its well-executed installations, pristine walls and the kind of crisp fluorescent lighting that lends any space an air of credibility, could the Kiria Koula opening, along with a flurry of other new projects, spaces, expansions and initiatives that popped up in the past year, mean all is not lost?\u003c/p>\n\u003cp>Here are 15 counterarguments for those who think the Bay Area art scene is dwindling. Some are fledgling spaces, others expansions of preexisting projects. Many are dematerialized, a telling marker of the still impossibly high Bay Area rents. A smattering are commercial, but most are run out of pocket. Have other suggestions for burgeoning arts-related endeavors? Leave them in the comments section below!\u003c/p>\n\u003ch3>ampersand international arts\u003c/h3>\n\u003ch5>1001 Tennessee Street, San Francisco\u003cbr>\n\u003ca href=\"http://www.ampersandinternationalarts.com/\" target=\"_blank\" rel=\"noopener\">ampersandinternationalarts.com\u003c/a>\u003c/h5>\n\u003cp>Founded in 1999 by Bruno Mauro, ampersand international arts is a contemporary art gallery in San Francisco’s Dogpatch neighborhood. Closed for several years after Mauro’s passing, ampersand reopened in September 2014 under the direction of his daughter, Theodora Mauro. “With so many galleries closing or moving out of San Francisco,” she says, “I decided this was the right time to make sure there is another venue for exhibitions and experimentation in the arts.” The first exhibition was an homage to the gallery’s past — each of the seven artists exhibited previously in the space. Reconfigured in this group exhibition, the artists usher in a new era while attesting to the lasting (and continuing) influence of ampersand on the Bay Area arts community.\u003c/p>\n\u003cfigure id=\"attachment_10145335\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145335\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Archive_image.jpg\" alt=\"Courtesy of Archive and Kala Art Institute\" width=\"640\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Archive_image.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Archive_image-400x303.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Archive and Kala Art Institute\u003c/figcaption>\u003c/figure>\n\u003ch3>Archive\u003c/h3>\n\u003ch5>\u003ca href=\"http://archive-project.com/\" target=\"_blank\" rel=\"noopener\">archive-project.com\u003c/a>\u003c/h5>\n\u003cp>Archive is a collection of books sourced from the personal libraries of notable people. Asking participants to identify the guides, sources of inspiration or points of reference for their own creative practices, Archive puts the tomes on view, creating a library that is as much an exhibition as it is the foundation for artistic activity in the Bay Area. September through October 2014, Archive lived as a pop-up at Berkeley’s Kala Art Institute, part of the \u003ca href=\"http://www.kala.org/print_public/\" target=\"_blank\" rel=\"noopener\">Print Public Program\u003c/a>. Though Archive is currently a roving project, founder and organizer Lacey Haslam hopes to open a permanent location and provide public access to the books. Until then, look forward to more pop-ups in 2015 and a growing online catalog.\u003c/p>\n\u003ch3>The Bay Area Art Workers Alliance\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.bayareaartworkersalliance.org/\" target=\"_blank\" rel=\"noopener\">bayareaartworkersalliance.org\u003c/a>\u003c/h5>\n\u003cp>With the aurally-pleasing acronym BAAWA, the Bay Area Art Workers Alliance is a support network of laborers involved in the installation and fabrication of art exhibitions. Founder Aurora Crispin points out, “As the Bay Area economic surge/displacement/fissure/debate continues to bubble up and ooze in a variety of forms, the wild call for solidarity among artists as mutual supporters of one another becomes more crucial.” Interested? Visit the BAAWA site and stay tuned for the next meeting at \u003ca href=\"https://omnicommons.org/\" target=\"_blank\" rel=\"noopener\">Omni Commons\u003c/a> later this month.\u003c/p>\n\u003ch3>c2c project space\u003c/h3>\n\u003ch5>1695 18th Street #413, San Francisco\u003cbr>\n\u003ca href=\"http://c2cprojectspace.com/\" target=\"_blank\" rel=\"noopener\">c2cprojectspace.com\u003c/a>\u003c/h5>\n\u003cp>Run out of the San Francisco apartment of artist Kirk Stoller, c2c pairs a New York City artist with a local counterpart in a two-person show. Part residency program, part exchange program, part artist workspace and part exhibition space, c2c is a unique hybrid. “It is important for artists to support each other as it gets more difficult to live and create,” says Stoller. “I thought that having a way for artists from different cities to be introduced to each others’ work might allow for not only the sharing of ideas, but also help the work get seen by others beyond the immediate communities.” The next project (the space’s fifth) features work by NY artist Tamara Zahaykevich and SF artist Amanda Hughen with an opening on February 21, 2015.\u003c/p>\n\u003cfigure id=\"attachment_10145343\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145343\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/trapperkeeper4.jpg\" alt=\"Detail of work by Lana Williams in <i>Trapper Keeper</i>, 2014; Courtesy of City Limits\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/trapperkeeper4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/trapperkeeper4-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of work by Lana Williams in \u003ci>Trapper Keeper\u003c/i>, 2014; Courtesy of City Limits\u003c/figcaption>\u003c/figure>\n\u003ch3>City Limits\u003c/h3>\n\u003ch5>300 Jefferson Street, Oakland\u003cbr>\n\u003ca href=\"http://citylimitsgallery.com/\" target=\"_blank\" rel=\"noopener\">citylimitsgallery.com\u003c/a>\u003c/h5>\n\u003cp>Though City Limits has technically been around since March 2012, when it operated as an apartment gallery in the Outer Mission, in December 2013 it reopened as a white-walled artist-run gallery space in Oakland’s Jack London Square. For each exhibition, artists are asked to show brand new work in deviation from their usual art practice. The results range from a 60-person group show to an installation with 4,000 pounds of small rocks covering the gallery floor (a.k.a. consistently exciting). For curators Evan Reiser and Stephanie Rohlfs, both SFAI MFA alums, there is a real need for “more spaces to serve the quantity and quality of artists working here.” Continually experimenting with new ways of funding the project, City Limits will soon boast a flat files program and an online store, launching in December 2014.\u003c/p>\n\u003ch3>Congratulations Pine Tree\u003c/h3>\n\u003ch5>\u003ca href=\"http://congratulationspinetree.blogspot.com/\" target=\"_blank\" rel=\"noopener\">congratulationspinetree.blogspot.com\u003c/a>\u003c/h5>\n\u003cp>Congratulations Pine Tree is the self-proclaimed number one arts and culture podcast in the Bay Area. More specifically, it’s artist Kate Rhoades and curator Maysoun Wazwaz chatting about any number of arts-related subjects, from \u003ca href=\"http://wageforwork.com/calculator/\" target=\"_blank\" rel=\"noopener\">W.A.G.E. certification\u003c/a> to interviews with local artists. While listening to podcasts in her studio, Rhoades recalls, “It was frustrating that most focused on art were based in New York or Chicago, and didn’t have much content relevant to the Bay Area.” For Wazwaz, the project started while conversations about tech’s negative influence on the Bay Area were at their height. “The podcast became a way for us to voice our concerns and frustrations with what’s been going on, but through an arts perspective,” Wazwaz says. CPT is charming, opinionated and asking all the right questions — highly recommended.\u003c/p>\n\u003cfigure id=\"attachment_10145341\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145341\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Goldstein_installation_2.jpg\" alt=\"Installation view, <i>Rebekah Goldstein: Passenger<i>, 2014; Courtesy of CULT\" width=\"640\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Goldstein_installation_2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Goldstein_installation_2-400x262.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view, \u003ci>Rebekah Goldstein: Passenger\u003ci>, 2014; Courtesy of CULT\u003c/i>\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>CULT | Aimee Friberg Exhibitions\u003c/h3>\n\u003ch5>3191 Mission Street, San Francisco\u003cbr>\n\u003ca href=\"http://cultexhibitions.com/\" target=\"_blank\" rel=\"noopener\">cultexhibitions.com\u003c/a>\u003c/h5>\n\u003cp>Occupying the former Queen’s Nails space, CULT is a commercial gallery showing emerging and mid-career artists in drawing, video, performance, installation, sculpture and painting. “Like any good cult,” director Aimee Friberg writes, “I hope CULT is a place where people feel an identification or a sense of belonging.” With its first year anniversary party coming up later in November, CULT continues to be a meeting place for artists and their audiences in the midst of more formalized presentations.\u003c/p>\n\u003cfigure id=\"attachment_10145803\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/kiriakoula.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/kiriakoula.jpg\" alt=\"Kiria Koula's opening night; courtesy of Kiria Koula\" width=\"640\" height=\"480\" class=\"size-full wp-image-10145803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/kiriakoula.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/kiriakoula-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy of Kiria Koula\u003c/figcaption>\u003c/figure>\n\u003ch3>Kiria Koula\u003c/h3>\n\u003ch5>3148 22nd Street, San Francisco\u003cbr>\n\u003ca href=\"http://www.kiriakoula.com/\" target=\"_blank\" rel=\"noopener\">kiriakoula.com\u003c/a>\u003c/h5>\n\u003cp>Kiria Koula is a brand new gallery and bookstore in the Mission dedicated to contemporary art and ideas. The exhibitions feature new works by national and international emerging and mid-career artists while the bookstore space hosts an artist’s current research interests. Now on view: playful graphic sculptures by José León Cerrillo (based in Mexico City), video and installation works by Ilja Karilampi (based in Berlin) and a collection of books from New York artist Paul Chan. According to director and curator Juana Berrío, “The Bay Area needs places to see and talk about contemporary art. I hope Kiria Koula can be a place where artists, writers, collectors, curators, scholars and students can come to spend some time with art and exchange ideas on a regular basis.” If the opening night attendance is any indication, this was the gathering place many were waiting for.\u003c/p>\n\u003ch3>The Lab\u003c/h3>\n\u003ch5>2948 16th Street, San Francisco\u003cbr>\n\u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">thelab.org\u003c/a>\u003c/h5>\n\u003cp>The Lab is old in terms of this list (30 years old), but it’s about to become new. Under the leadership of new Executive Director Dena Beard, The Lab is currently raising money to finish an ambitious restoration project, bringing the space closer to its original identity as a union meeting hall. The Lab’s experimental approach to programming extends to its fundraising efforts, including last weekend’s successful \u003ci>24-Hour Telethon\u003c/i>. Beard’s call to action is undeniable: “The Lab has been a hub of avant-garde activity, alongside Kiki, New Langton Arts, Jack Hanley and others. Now, it stands alone in the homogenous condo-village that once was the great city of San Francisco. The Lab will model the alternative, investing in artists, providing artists with the resources and space they need to change the rules of the game. If we focus on that freedom all else will follow.”\u003c/p>\n\u003cfigure id=\"attachment_10145804\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/moroso.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/moroso.jpg\" alt=\"Courtesy of Moroso Projects\" width=\"640\" height=\"427\" class=\"size-full wp-image-10145804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/moroso.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/moroso-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy of Moroso Projects\u003c/figcaption>\u003c/figure>\n\u003ch3>Moroso Projects\u003c/h3>\n\u003ch5>582 6th Street , San Francisco\u003cbr>\n\u003ca href=\"http://moroso-projects.tumblr.com/\" target=\"_blank\" rel=\"noopener\">moroso-projects.tumblr.com\u003c/a>\u003c/h5>\n\u003cp>Moroso Projects is an alternative exhibition space occupying the SOMA lobby of Moroso Construction. Co-curator Nate Hooper notes the importance of having their own domain, “A big part of the curating we’ve tried to do at Moroso is about assembling cohesive, experiential and visually rhythmic exhibitions… Having a space to showcase these visual and spacial dialogues has been integral.” Showing experimental emerging artists without the financial pressures of running a commercial gallery, Moroso Projects offers a different approach to the white-walled space, a symbiotic one for both gallery and business host.\u003c/p>\n\u003ch3>Park Life Gallery\u003c/h3>\n\u003ch5>3049 22nd Street, San Francisco\u003cbr>\n\u003ca href=\"http://www.parklifestore.com/gallery/\" target=\"_blank\" rel=\"noopener\">parklifestore.com/gallery\u003c/a>\u003c/h5>\n\u003cp>In March 2014, the Inner Richmond destination Park Life opened a second retail location in the Mission, but quickly realized they had a unique opportunity to convert this locale into a self-contained gallery. This shift allowed them to maximize retail space on Clement Street while creating a dedicated space for exhibitions. “Even though we miss the gallery aspect of our Clement Street store,” co-owner Jamie Alexander notes, “we are a part of something bigger in the Mission art community.” Coming up next: a ceramics show featuring Paul Wackers and Jessica Hans.\u003c/p>\n\u003cfigure id=\"attachment_10145339\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10145339 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Putnam-2014-installation-1.jpg\" alt=\"Installation view <i>Robb Putnam: Foundlings</i>, 2014; Photo by John Janca, Courtesy of Rena Bransten Projects\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Putnam-2014-installation-1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Putnam-2014-installation-1-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view \u003ci>Robb Putnam: Foundlings\u003c/i>, 2014; Photo by John Janca, Courtesy of Rena Bransten Projects\u003c/figcaption>\u003c/figure>\n\u003ch3>Rena Bransten Projects\u003c/h3>\n\u003ch5>1639 Market Street, San Francisco\u003cbr>\n\u003ca href=\"http://renabranstengallery.com/\" target=\"_blank\" rel=\"noopener\">renabranstengallery.com\u003c/a>\u003c/h5>\n\u003cp>In 2014, Rena Bransten Gallery relocated from 77 Geary, its home for 27 years, to a space on Market Street. According to the gallery’s website: “Re-opening as Rena Bransten Projects, the focus of the program will shift to site-specific installations and explorations of non-traditional exhibition models.” Gallery programming continued from one space to the other almost completely uninterrupted, save for a brief period during the move. Director Trish Bransten attests to the importance of remaining publicly accessible: “Art is a public good, and the opportunity to have an authentic experience physically is a rapidly diminishing opportunity. Art galleries are free, with the directors and employees accessible to discuss the work; art galleries are a community builder.”\u003c/p>\n\u003cfigure id=\"attachment_10145338\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145338\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/tumblr_ncsf52ErnH1teqqvoo1_1280.jpg\" alt=\"Detail view of Daniel Bouthot's installation <i>La Machine Célibataire No. 2</i>; Courtesy of Service Industries\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/tumblr_ncsf52ErnH1teqqvoo1_1280.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/tumblr_ncsf52ErnH1teqqvoo1_1280-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Detail view of Daniel Bouthot’s installation \u003ci>La Machine Célibataire No. 2\u003c/i>; Courtesy of Service Industries\u003c/figcaption>\u003c/figure>\n\u003ch3>Service Industries\u003c/h3>\n\u003ch5>\u003ca href=\"http://serviceindustries.org/\" target=\"_blank\" rel=\"noopener\">serviceindustries.org\u003c/a>\u003c/h5>\n\u003cp>Billed as “a working gallery for working artists,” Service Industries is a proposed series of galleries inside bars, restaurants, hotels and other public venues that display art by artists with jobs in the service industry. Open source in nature, the pilot Service Industries installation is a four-tiered glass case inside the Inner Sunset’s Little Shamrock bar. Featuring a bitcoin project by artist Daniel Bouthot curated by Marion Cousin, the “sculpture” makes money through rapid online transactions, to be shared with the bar’s service staff as tip income. Co-founders David Kasprzak and Luca Antonucci note, “Artists in the current climate work several day jobs to be able to continue living in the Bay, and we would like to honor that rather than looking at working a day job as something to be ashamed of.” Next up, an installation at Rock Bar and a second show at the Little Shamrock, featuring artist and service industry worker Lindsay Tully.\u003c/p>\n\u003cfigure id=\"attachment_10145805\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/shadowoffice.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/shadowoffice.jpg\" alt=\"Courtesy of Shadow Office\" width=\"640\" height=\"640\" class=\"size-full wp-image-10145805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/shadowoffice.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/shadowoffice-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/shadowoffice-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/shadowoffice-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/shadowoffice-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/shadowoffice-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/shadowoffice-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/shadowoffice-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy of Shadow Office\u003c/figcaption>\u003c/figure>\n\u003ch3>Shadow Office\u003c/h3>\n\u003ch5>308 15th Street, Oakland\u003cbr>\n\u003ca href=\"http://shadowoffice.org/\" target=\"_blank\" rel=\"noopener\">shadowoffice.org\u003c/a>\u003c/h5>\n\u003cp>Opened in September 2014, Shadow Office is a brick and mortar home base for Shipping + Receiving, the art collective of Torreya Cummings, Cristalle Irons, Audrey Nieh and HR Smith. With the main window operating as a sometimes gallery, sometimes gathering, sometimes retail space, the back rooms serve as artist studios. Instead of keeping things narrowly focused, their motto is “Whatever, We Do What We Want.” So far, Shadow Office has played host to a pig roast, a sale of ceramic wares and beautiful embroidery work by local artist Lauren Hartman. “The only criteria is that we believe in it,” writes Cummings. \u003c/p>\n\u003ch3>unexpected projects\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.unexpectedprojects.com/\" target=\"_blank\" rel=\"noopener\">unexpectedprojects.com\u003c/a>\u003c/h5>\n\u003cp>Another effort eschewing capital letters, unexpected projects is a collaboration between organizers Jenny Salomon and Jennifer Stager. Their first undertaking, Xbus, is the transformation of a former prisoner-transport bus into a roving art space. Working with artists like Gisela Insuaste, Deirdre O’Dwyer, Ali Natschke-Messing and Kija Lucas, Xbus will wander the Bay Area to connect with disparate art communities and a wide range of audiences. Without a lease to tie them down and with access to an undeniably experimental project space, Xbus and unexpected projects are a testament to a current Bay Area ethos of adaptability and versatility — qualities often yielding the most interesting (and challenging) visual art.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Fifteen reasons to believe art is alive and well in the Bay Area. ",
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"title": "Art's Not Dead: 15 New Projects and Spaces in the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the November 6 opening of Kiria Koula, a brand new art space in the Mission, the atmosphere was undeniably optimistic. “It feels like things are good, right?” a friend asked. With its well-executed installations, pristine walls and the kind of crisp fluorescent lighting that lends any space an air of credibility, could the Kiria Koula opening, along with a flurry of other new projects, spaces, expansions and initiatives that popped up in the past year, mean all is not lost?\u003c/p>\n\u003cp>Here are 15 counterarguments for those who think the Bay Area art scene is dwindling. Some are fledgling spaces, others expansions of preexisting projects. Many are dematerialized, a telling marker of the still impossibly high Bay Area rents. A smattering are commercial, but most are run out of pocket. Have other suggestions for burgeoning arts-related endeavors? Leave them in the comments section below!\u003c/p>\n\u003ch3>ampersand international arts\u003c/h3>\n\u003ch5>1001 Tennessee Street, San Francisco\u003cbr>\n\u003ca href=\"http://www.ampersandinternationalarts.com/\" target=\"_blank\" rel=\"noopener\">ampersandinternationalarts.com\u003c/a>\u003c/h5>\n\u003cp>Founded in 1999 by Bruno Mauro, ampersand international arts is a contemporary art gallery in San Francisco’s Dogpatch neighborhood. Closed for several years after Mauro’s passing, ampersand reopened in September 2014 under the direction of his daughter, Theodora Mauro. “With so many galleries closing or moving out of San Francisco,” she says, “I decided this was the right time to make sure there is another venue for exhibitions and experimentation in the arts.” The first exhibition was an homage to the gallery’s past — each of the seven artists exhibited previously in the space. Reconfigured in this group exhibition, the artists usher in a new era while attesting to the lasting (and continuing) influence of ampersand on the Bay Area arts community.\u003c/p>\n\u003cfigure id=\"attachment_10145335\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145335\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Archive_image.jpg\" alt=\"Courtesy of Archive and Kala Art Institute\" width=\"640\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Archive_image.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Archive_image-400x303.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Archive and Kala Art Institute\u003c/figcaption>\u003c/figure>\n\u003ch3>Archive\u003c/h3>\n\u003ch5>\u003ca href=\"http://archive-project.com/\" target=\"_blank\" rel=\"noopener\">archive-project.com\u003c/a>\u003c/h5>\n\u003cp>Archive is a collection of books sourced from the personal libraries of notable people. Asking participants to identify the guides, sources of inspiration or points of reference for their own creative practices, Archive puts the tomes on view, creating a library that is as much an exhibition as it is the foundation for artistic activity in the Bay Area. September through October 2014, Archive lived as a pop-up at Berkeley’s Kala Art Institute, part of the \u003ca href=\"http://www.kala.org/print_public/\" target=\"_blank\" rel=\"noopener\">Print Public Program\u003c/a>. Though Archive is currently a roving project, founder and organizer Lacey Haslam hopes to open a permanent location and provide public access to the books. Until then, look forward to more pop-ups in 2015 and a growing online catalog.\u003c/p>\n\u003ch3>The Bay Area Art Workers Alliance\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.bayareaartworkersalliance.org/\" target=\"_blank\" rel=\"noopener\">bayareaartworkersalliance.org\u003c/a>\u003c/h5>\n\u003cp>With the aurally-pleasing acronym BAAWA, the Bay Area Art Workers Alliance is a support network of laborers involved in the installation and fabrication of art exhibitions. Founder Aurora Crispin points out, “As the Bay Area economic surge/displacement/fissure/debate continues to bubble up and ooze in a variety of forms, the wild call for solidarity among artists as mutual supporters of one another becomes more crucial.” Interested? Visit the BAAWA site and stay tuned for the next meeting at \u003ca href=\"https://omnicommons.org/\" target=\"_blank\" rel=\"noopener\">Omni Commons\u003c/a> later this month.\u003c/p>\n\u003ch3>c2c project space\u003c/h3>\n\u003ch5>1695 18th Street #413, San Francisco\u003cbr>\n\u003ca href=\"http://c2cprojectspace.com/\" target=\"_blank\" rel=\"noopener\">c2cprojectspace.com\u003c/a>\u003c/h5>\n\u003cp>Run out of the San Francisco apartment of artist Kirk Stoller, c2c pairs a New York City artist with a local counterpart in a two-person show. Part residency program, part exchange program, part artist workspace and part exhibition space, c2c is a unique hybrid. “It is important for artists to support each other as it gets more difficult to live and create,” says Stoller. “I thought that having a way for artists from different cities to be introduced to each others’ work might allow for not only the sharing of ideas, but also help the work get seen by others beyond the immediate communities.” The next project (the space’s fifth) features work by NY artist Tamara Zahaykevich and SF artist Amanda Hughen with an opening on February 21, 2015.\u003c/p>\n\u003cfigure id=\"attachment_10145343\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145343\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/trapperkeeper4.jpg\" alt=\"Detail of work by Lana Williams in <i>Trapper Keeper</i>, 2014; Courtesy of City Limits\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/trapperkeeper4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/trapperkeeper4-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of work by Lana Williams in \u003ci>Trapper Keeper\u003c/i>, 2014; Courtesy of City Limits\u003c/figcaption>\u003c/figure>\n\u003ch3>City Limits\u003c/h3>\n\u003ch5>300 Jefferson Street, Oakland\u003cbr>\n\u003ca href=\"http://citylimitsgallery.com/\" target=\"_blank\" rel=\"noopener\">citylimitsgallery.com\u003c/a>\u003c/h5>\n\u003cp>Though City Limits has technically been around since March 2012, when it operated as an apartment gallery in the Outer Mission, in December 2013 it reopened as a white-walled artist-run gallery space in Oakland’s Jack London Square. For each exhibition, artists are asked to show brand new work in deviation from their usual art practice. The results range from a 60-person group show to an installation with 4,000 pounds of small rocks covering the gallery floor (a.k.a. consistently exciting). For curators Evan Reiser and Stephanie Rohlfs, both SFAI MFA alums, there is a real need for “more spaces to serve the quantity and quality of artists working here.” Continually experimenting with new ways of funding the project, City Limits will soon boast a flat files program and an online store, launching in December 2014.\u003c/p>\n\u003ch3>Congratulations Pine Tree\u003c/h3>\n\u003ch5>\u003ca href=\"http://congratulationspinetree.blogspot.com/\" target=\"_blank\" rel=\"noopener\">congratulationspinetree.blogspot.com\u003c/a>\u003c/h5>\n\u003cp>Congratulations Pine Tree is the self-proclaimed number one arts and culture podcast in the Bay Area. More specifically, it’s artist Kate Rhoades and curator Maysoun Wazwaz chatting about any number of arts-related subjects, from \u003ca href=\"http://wageforwork.com/calculator/\" target=\"_blank\" rel=\"noopener\">W.A.G.E. certification\u003c/a> to interviews with local artists. While listening to podcasts in her studio, Rhoades recalls, “It was frustrating that most focused on art were based in New York or Chicago, and didn’t have much content relevant to the Bay Area.” For Wazwaz, the project started while conversations about tech’s negative influence on the Bay Area were at their height. “The podcast became a way for us to voice our concerns and frustrations with what’s been going on, but through an arts perspective,” Wazwaz says. CPT is charming, opinionated and asking all the right questions — highly recommended.\u003c/p>\n\u003cfigure id=\"attachment_10145341\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145341\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Goldstein_installation_2.jpg\" alt=\"Installation view, <i>Rebekah Goldstein: Passenger<i>, 2014; Courtesy of CULT\" width=\"640\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Goldstein_installation_2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Goldstein_installation_2-400x262.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view, \u003ci>Rebekah Goldstein: Passenger\u003ci>, 2014; Courtesy of CULT\u003c/i>\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>CULT | Aimee Friberg Exhibitions\u003c/h3>\n\u003ch5>3191 Mission Street, San Francisco\u003cbr>\n\u003ca href=\"http://cultexhibitions.com/\" target=\"_blank\" rel=\"noopener\">cultexhibitions.com\u003c/a>\u003c/h5>\n\u003cp>Occupying the former Queen’s Nails space, CULT is a commercial gallery showing emerging and mid-career artists in drawing, video, performance, installation, sculpture and painting. “Like any good cult,” director Aimee Friberg writes, “I hope CULT is a place where people feel an identification or a sense of belonging.” With its first year anniversary party coming up later in November, CULT continues to be a meeting place for artists and their audiences in the midst of more formalized presentations.\u003c/p>\n\u003cfigure id=\"attachment_10145803\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/kiriakoula.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/kiriakoula.jpg\" alt=\"Kiria Koula's opening night; courtesy of Kiria Koula\" width=\"640\" height=\"480\" class=\"size-full wp-image-10145803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/kiriakoula.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/kiriakoula-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy of Kiria Koula\u003c/figcaption>\u003c/figure>\n\u003ch3>Kiria Koula\u003c/h3>\n\u003ch5>3148 22nd Street, San Francisco\u003cbr>\n\u003ca href=\"http://www.kiriakoula.com/\" target=\"_blank\" rel=\"noopener\">kiriakoula.com\u003c/a>\u003c/h5>\n\u003cp>Kiria Koula is a brand new gallery and bookstore in the Mission dedicated to contemporary art and ideas. The exhibitions feature new works by national and international emerging and mid-career artists while the bookstore space hosts an artist’s current research interests. Now on view: playful graphic sculptures by José León Cerrillo (based in Mexico City), video and installation works by Ilja Karilampi (based in Berlin) and a collection of books from New York artist Paul Chan. According to director and curator Juana Berrío, “The Bay Area needs places to see and talk about contemporary art. I hope Kiria Koula can be a place where artists, writers, collectors, curators, scholars and students can come to spend some time with art and exchange ideas on a regular basis.” If the opening night attendance is any indication, this was the gathering place many were waiting for.\u003c/p>\n\u003ch3>The Lab\u003c/h3>\n\u003ch5>2948 16th Street, San Francisco\u003cbr>\n\u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">thelab.org\u003c/a>\u003c/h5>\n\u003cp>The Lab is old in terms of this list (30 years old), but it’s about to become new. Under the leadership of new Executive Director Dena Beard, The Lab is currently raising money to finish an ambitious restoration project, bringing the space closer to its original identity as a union meeting hall. The Lab’s experimental approach to programming extends to its fundraising efforts, including last weekend’s successful \u003ci>24-Hour Telethon\u003c/i>. Beard’s call to action is undeniable: “The Lab has been a hub of avant-garde activity, alongside Kiki, New Langton Arts, Jack Hanley and others. Now, it stands alone in the homogenous condo-village that once was the great city of San Francisco. The Lab will model the alternative, investing in artists, providing artists with the resources and space they need to change the rules of the game. If we focus on that freedom all else will follow.”\u003c/p>\n\u003cfigure id=\"attachment_10145804\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/moroso.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/moroso.jpg\" alt=\"Courtesy of Moroso Projects\" width=\"640\" height=\"427\" class=\"size-full wp-image-10145804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/moroso.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/moroso-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy of Moroso Projects\u003c/figcaption>\u003c/figure>\n\u003ch3>Moroso Projects\u003c/h3>\n\u003ch5>582 6th Street , San Francisco\u003cbr>\n\u003ca href=\"http://moroso-projects.tumblr.com/\" target=\"_blank\" rel=\"noopener\">moroso-projects.tumblr.com\u003c/a>\u003c/h5>\n\u003cp>Moroso Projects is an alternative exhibition space occupying the SOMA lobby of Moroso Construction. Co-curator Nate Hooper notes the importance of having their own domain, “A big part of the curating we’ve tried to do at Moroso is about assembling cohesive, experiential and visually rhythmic exhibitions… Having a space to showcase these visual and spacial dialogues has been integral.” Showing experimental emerging artists without the financial pressures of running a commercial gallery, Moroso Projects offers a different approach to the white-walled space, a symbiotic one for both gallery and business host.\u003c/p>\n\u003ch3>Park Life Gallery\u003c/h3>\n\u003ch5>3049 22nd Street, San Francisco\u003cbr>\n\u003ca href=\"http://www.parklifestore.com/gallery/\" target=\"_blank\" rel=\"noopener\">parklifestore.com/gallery\u003c/a>\u003c/h5>\n\u003cp>In March 2014, the Inner Richmond destination Park Life opened a second retail location in the Mission, but quickly realized they had a unique opportunity to convert this locale into a self-contained gallery. This shift allowed them to maximize retail space on Clement Street while creating a dedicated space for exhibitions. “Even though we miss the gallery aspect of our Clement Street store,” co-owner Jamie Alexander notes, “we are a part of something bigger in the Mission art community.” Coming up next: a ceramics show featuring Paul Wackers and Jessica Hans.\u003c/p>\n\u003cfigure id=\"attachment_10145339\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10145339 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Putnam-2014-installation-1.jpg\" alt=\"Installation view <i>Robb Putnam: Foundlings</i>, 2014; Photo by John Janca, Courtesy of Rena Bransten Projects\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Putnam-2014-installation-1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Putnam-2014-installation-1-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view \u003ci>Robb Putnam: Foundlings\u003c/i>, 2014; Photo by John Janca, Courtesy of Rena Bransten Projects\u003c/figcaption>\u003c/figure>\n\u003ch3>Rena Bransten Projects\u003c/h3>\n\u003ch5>1639 Market Street, San Francisco\u003cbr>\n\u003ca href=\"http://renabranstengallery.com/\" target=\"_blank\" rel=\"noopener\">renabranstengallery.com\u003c/a>\u003c/h5>\n\u003cp>In 2014, Rena Bransten Gallery relocated from 77 Geary, its home for 27 years, to a space on Market Street. According to the gallery’s website: “Re-opening as Rena Bransten Projects, the focus of the program will shift to site-specific installations and explorations of non-traditional exhibition models.” Gallery programming continued from one space to the other almost completely uninterrupted, save for a brief period during the move. Director Trish Bransten attests to the importance of remaining publicly accessible: “Art is a public good, and the opportunity to have an authentic experience physically is a rapidly diminishing opportunity. Art galleries are free, with the directors and employees accessible to discuss the work; art galleries are a community builder.”\u003c/p>\n\u003cfigure id=\"attachment_10145338\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145338\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/tumblr_ncsf52ErnH1teqqvoo1_1280.jpg\" alt=\"Detail view of Daniel Bouthot's installation <i>La Machine Célibataire No. 2</i>; Courtesy of Service Industries\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/tumblr_ncsf52ErnH1teqqvoo1_1280.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/tumblr_ncsf52ErnH1teqqvoo1_1280-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Detail view of Daniel Bouthot’s installation \u003ci>La Machine Célibataire No. 2\u003c/i>; Courtesy of Service Industries\u003c/figcaption>\u003c/figure>\n\u003ch3>Service Industries\u003c/h3>\n\u003ch5>\u003ca href=\"http://serviceindustries.org/\" target=\"_blank\" rel=\"noopener\">serviceindustries.org\u003c/a>\u003c/h5>\n\u003cp>Billed as “a working gallery for working artists,” Service Industries is a proposed series of galleries inside bars, restaurants, hotels and other public venues that display art by artists with jobs in the service industry. Open source in nature, the pilot Service Industries installation is a four-tiered glass case inside the Inner Sunset’s Little Shamrock bar. Featuring a bitcoin project by artist Daniel Bouthot curated by Marion Cousin, the “sculpture” makes money through rapid online transactions, to be shared with the bar’s service staff as tip income. Co-founders David Kasprzak and Luca Antonucci note, “Artists in the current climate work several day jobs to be able to continue living in the Bay, and we would like to honor that rather than looking at working a day job as something to be ashamed of.” Next up, an installation at Rock Bar and a second show at the Little Shamrock, featuring artist and service industry worker Lindsay Tully.\u003c/p>\n\u003cfigure id=\"attachment_10145805\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/shadowoffice.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/shadowoffice.jpg\" alt=\"Courtesy of Shadow Office\" width=\"640\" height=\"640\" class=\"size-full wp-image-10145805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/shadowoffice.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/shadowoffice-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/shadowoffice-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/shadowoffice-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/shadowoffice-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/shadowoffice-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/shadowoffice-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/shadowoffice-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy of Shadow Office\u003c/figcaption>\u003c/figure>\n\u003ch3>Shadow Office\u003c/h3>\n\u003ch5>308 15th Street, Oakland\u003cbr>\n\u003ca href=\"http://shadowoffice.org/\" target=\"_blank\" rel=\"noopener\">shadowoffice.org\u003c/a>\u003c/h5>\n\u003cp>Opened in September 2014, Shadow Office is a brick and mortar home base for Shipping + Receiving, the art collective of Torreya Cummings, Cristalle Irons, Audrey Nieh and HR Smith. With the main window operating as a sometimes gallery, sometimes gathering, sometimes retail space, the back rooms serve as artist studios. Instead of keeping things narrowly focused, their motto is “Whatever, We Do What We Want.” So far, Shadow Office has played host to a pig roast, a sale of ceramic wares and beautiful embroidery work by local artist Lauren Hartman. “The only criteria is that we believe in it,” writes Cummings. \u003c/p>\n\u003ch3>unexpected projects\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.unexpectedprojects.com/\" target=\"_blank\" rel=\"noopener\">unexpectedprojects.com\u003c/a>\u003c/h5>\n\u003cp>Another effort eschewing capital letters, unexpected projects is a collaboration between organizers Jenny Salomon and Jennifer Stager. Their first undertaking, Xbus, is the transformation of a former prisoner-transport bus into a roving art space. Working with artists like Gisela Insuaste, Deirdre O’Dwyer, Ali Natschke-Messing and Kija Lucas, Xbus will wander the Bay Area to connect with disparate art communities and a wide range of audiences. Without a lease to tie them down and with access to an undeniably experimental project space, Xbus and unexpected projects are a testament to a current Bay Area ethos of adaptability and versatility — qualities often yielding the most interesting (and challenging) visual art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Seeing Things in San Jose with Jai Tanju",
"headTitle": "Seeing Things in San Jose with Jai Tanju | KQED",
"content": "\u003cp>Scrolling through Jai Tanju’s \u003ca href=\"http://filmporvida.blogspot.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Film Por Vida\u003c/i>\u003c/a> blog is addictive. You encounter image after image of people you don’t know, doing things you don’t always understand, in geographical areas you’ve never seen before, and swear at the end of each page that this one will be your last.\u003c/p>\n\u003cfigure id=\"attachment_10145695\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/skate-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/skate-2.jpg\" alt=\"Photo by Jai Tanju\" width=\"640\" height=\"477\" class=\"size-full wp-image-10145695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/skate-2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/skate-2-400x298.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Jai Tanju\u003c/figcaption>\u003c/figure>\n\u003cp>Tanju is a self-taught freelance photographer from San Jose. He’s well known in skateboard and street photography circles for his gritty sensibility, his undying love of film and his constant companion Frida the dog.\u003c/p>\n\u003cp>Seven years ago Tanju started the Print Exchange, an international photo / mail art project, as a way to keep connected with friends and make use of the hundreds of photo prints he had stored in drawers and shoe boxes that rarely saw the light of day. “Being a skateboard photographer is a lot like NOT having a job,” says Tanju. “Your job is to wait around for other people to do things. And when there is a shoot, it’s typically in the late afternoon. Being a natural early riser, I had all this time on my hands.”\u003c/p>\n\u003cfigure id=\"attachment_10145697\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/skate-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/skate-3.jpg\" alt=\"Photo by Jai Tanju\" width=\"640\" height=\"959\" class=\"size-full wp-image-10145697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/skate-3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/skate-3-400x600.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Jai Tanju\u003c/figcaption>\u003c/figure>\n\u003cp>An artist friend gave Tanju a stack of DVDs to watch as a way to make use of all that spare time. The one he remembers the most vividly is the 2002 documentary \u003ca href=\"http://www.rayjohnsonestate.com/films/how-to-draw-a-bunny\">\u003cem>How to Draw A Bunny\u003c/em>\u003c/a> about the relatively unknown New York artist Ray Johnson. Now hailed as an important figure in Pop Art with his collage work and his “\u003ca href=\"http://en.wikipedia.org/wiki/Mail_art#Ray_Johnson.2C_the_New_York_Correspondance_School.2C_and_Fluxus\" target=\"_blank\" rel=\"noopener\">New York Correspondance School\u003c/a>” (sic) project, Johnson mailed hundreds of his art works to others though the U.S. postal service and encouraged recipients to add to them and send them on to others. Tanju finished watching the film and immediately thought: “Why don’t I get any good mail? It’s all junk.”\u003c/p>\n\u003cp>Looking at his wall and the pictures he had pinned up there, Tanju pulled down a postcard from his friend, photographer \u003ca href=\"http://joebrook.com/\" target=\"_blank\" rel=\"noopener\">Joe Brook\u003c/a>. “It was basically a photograph of him with a hand-written ‘happy holiday’ note and I thought, ‘Why don’t I get this stuff from Joe anymore?’ And realized – well, because you never sent him anything, so why would he send you more?” Grabbing a photo print out of an over-stuffed drawer, Tanju sent it to Brook, and sure enough, Brook sent him one back. \u003c/p>\n\u003cfigure id=\"attachment_10145509\" class=\"wp-caption alignright\" style=\"max-width: 486px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/JaiTanju_KQED_2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10145509 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/JaiTanju_KQED_2.jpg\" alt=\"JaiTanju_KQED_2\" width=\"486\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/JaiTanju_KQED_2.jpg 486w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/JaiTanju_KQED_2-400x592.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/JaiTanju_KQED_2-405x600.jpg 405w\" sizes=\"(max-width: 486px) 100vw, 486px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Cherri Lakey \u003ccite>(Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wanting more “good mail,” Tanju considered that more people could be involved and came up with the name “Print Exchange,” which let the receiver know that he wanted something in return. He sent mail art to his family and friends and posted it on his myspace page. “Anybody want mail?” he asked. It was slow going the first year, about 5 responses, then 10 joined the next year, but the exchange eventually grew to its 300+ current members. Everyone sends out photo prints not only to Tanju, but to each other as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At about this same time, Tanju started the \u003ca href=\"http://filmporvida.blogspot.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Film Por Vida (Film for Life)\u003c/i>\u003c/a> blog and began posting the front image and address side of each piece of photo mail he received. “I find the sender’s name, their location, what they write, their drawings and even the stamp interesting. I thought other people would find it interesting too.” For five years he was dedicated to the project, answering anywhere from 2 to 10 pieces of mail a day, and posting them for the world to see. He was building a real world-wide web of acquaintances and friends for himself and others, one piece of correspondence at a time.\u003c/p>\n\u003cfigure id=\"attachment_10145699\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/p.e.p.-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/p.e.p.-2.jpg\" alt=\"Print Exchange postcard\" width=\"640\" height=\"478\" class=\"size-full wp-image-10145699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/p.e.p.-2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/p.e.p.-2-400x298.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Print Exchange postcard\u003c/figcaption>\u003c/figure>\n\u003cp>In 2010, heavy metal photographer (and Print Exchange member) \u003ca href=\"http://www.angelaboatwright.com/\">Angela Boatwright\u003c/a> offered Tanju an opportunity to co-curate a photo exhibit in New York City at a friend’s gallery. Tanju hung 1000 pieces from his mail art collection on string so that the viewer could turn the pieces to see both sides of the mailed art. “It was cool seeing people interact with it, and because they were randomly flipping the photos, it became this ever-changing exhibit.”\u003c/p>\n\u003cp>As a result of the NYC show, Jai received offers from Print Exchange friends to take the collection to London, Salt Lake City, Norway, San Francisco and Japan. He caught the curator bug and began wanting his own gallery, but thought there was no way he’d ever be able to afford storefront space in San Jose. Tanju’s wife Blanche kept encouraging him to at least look for a space, and after years of searching, they happened upon the Sperry Building in downtown, a mix-and-match retail hub about to open with the \u003ca href=\"http://sjrockshop.com/\">SJ Rock Shop\u003c/a> as its main tenant. Jai and Blanche sealed a deal for a 400 sq. ft. street-facing space and opened the \u003ca href=\"http://seeingthingsgallery.com/\">Seeing Things Gallery\u003c/a> in November 2012. They show the art they like, which covers a broad range of genres, but feature many of the photographers that Jai met through the Print Exchange.\u003c/p>\n\u003cfigure id=\"attachment_10145723\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/p.e.p.-10.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/p.e.p.-10.jpg\" alt=\"Print Exchange postcard\" width=\"640\" height=\"877\" class=\"size-full wp-image-10145723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/p.e.p.-10.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/p.e.p.-10-400x548.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/p.e.p.-10-437x600.jpg 437w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Print Exchange postcard\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing Things has had over 30 exhibitions in its short two years. Its rapid-fire schedule includes exhibitions that range from a few days to a few weeks and every once in a while the exhibits are by artists that have rented the gallery. It’s not an unusual model for today’s independent gallery owner in Silicon Valley — we all piece together whatever is needed to make it work.\u003c/p>\n\u003cp>When I asked Tanju what he hopes to accomplish with the gallery, he laughs and says, “I was dreading this question… I just would like to add to what’s happening here and bring what I have and the artists that I know — bring some of that to San Jose. I want to add to what we’re all doing here. Most of the people that we know and show are based in skateboarding, zines and photography.”\u003c/p>\n\u003cp>Tanju points out that our art scene has grown up a bit in the last five years with more independent galleries and creative retail stores opening in the downtown and outer areas and hopes it inspires more people to open more galleries. “I don’t know what the future holds. It’s definitely not easy to sell art, but it is the people here that keep us here. I think it’s a great thing – I think we’ve already achieved a lot.”\u003c/p>\n\u003cp>And what of the future of the Print Exchange project? “Having a gallery is a lot of work and you feel consumed; there is always a list of things to check off. I don’t know what would be the end of Print Exchange, but I want to keep it going.” It seems to be working out in his favor. An intern has come on to help document the incoming mail art and Tanju recently received a grant from the \u003ca href=\"http://knightfoundation.org/\" target=\"_blank\" rel=\"noopener\">Knight Foundation\u003c/a> to print a series of postcards featuring Print Exchange images. “We’ll have a station with pens, postcards and stamps… basically free correspondence so anyone can send art to anyone else.” Tanju thinks this is just the project get new people interested in mail art.\u003c/p>\n\u003cp>“I think people are coming around to seeing that tangible things are cooler than digital ones,” he says. “Everyone says records are dead, but people are buying records; they say film cameras are dead, ‘no not really;’ that magazines are dead but yet, people are making books, and zines. People are producing things, it’s becoming relevant, they want things; the blogs just aren’t doing it for them.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Check out Seeing Things Gallery at 30 North 3rd St. in San Jose. Visit the \u003ca href=\"http://www.filmporvida.blogspot.com/\" target=\"_blank\" rel=\"noopener\">Film Por Vida\u003c/a> blog at filmporvida.blogspot.com. For \u003ca href=\"http://www.seeingthingsgallery.com/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> on the gallery, visit seeingthingsgallery.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Scrolling through Jai Tanju’s \u003ca href=\"http://filmporvida.blogspot.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Film Por Vida\u003c/i>\u003c/a> blog is addictive. You encounter image after image of people you don’t know, doing things you don’t always understand, in geographical areas you’ve never seen before, and swear at the end of each page that this one will be your last.\u003c/p>\n\u003cfigure id=\"attachment_10145695\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/skate-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/skate-2.jpg\" alt=\"Photo by Jai Tanju\" width=\"640\" height=\"477\" class=\"size-full wp-image-10145695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/skate-2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/skate-2-400x298.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Jai Tanju\u003c/figcaption>\u003c/figure>\n\u003cp>Tanju is a self-taught freelance photographer from San Jose. He’s well known in skateboard and street photography circles for his gritty sensibility, his undying love of film and his constant companion Frida the dog.\u003c/p>\n\u003cp>Seven years ago Tanju started the Print Exchange, an international photo / mail art project, as a way to keep connected with friends and make use of the hundreds of photo prints he had stored in drawers and shoe boxes that rarely saw the light of day. “Being a skateboard photographer is a lot like NOT having a job,” says Tanju. “Your job is to wait around for other people to do things. And when there is a shoot, it’s typically in the late afternoon. Being a natural early riser, I had all this time on my hands.”\u003c/p>\n\u003cfigure id=\"attachment_10145697\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/skate-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/skate-3.jpg\" alt=\"Photo by Jai Tanju\" width=\"640\" height=\"959\" class=\"size-full wp-image-10145697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/skate-3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/skate-3-400x600.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Jai Tanju\u003c/figcaption>\u003c/figure>\n\u003cp>An artist friend gave Tanju a stack of DVDs to watch as a way to make use of all that spare time. The one he remembers the most vividly is the 2002 documentary \u003ca href=\"http://www.rayjohnsonestate.com/films/how-to-draw-a-bunny\">\u003cem>How to Draw A Bunny\u003c/em>\u003c/a> about the relatively unknown New York artist Ray Johnson. Now hailed as an important figure in Pop Art with his collage work and his “\u003ca href=\"http://en.wikipedia.org/wiki/Mail_art#Ray_Johnson.2C_the_New_York_Correspondance_School.2C_and_Fluxus\" target=\"_blank\" rel=\"noopener\">New York Correspondance School\u003c/a>” (sic) project, Johnson mailed hundreds of his art works to others though the U.S. postal service and encouraged recipients to add to them and send them on to others. Tanju finished watching the film and immediately thought: “Why don’t I get any good mail? It’s all junk.”\u003c/p>\n\u003cp>Looking at his wall and the pictures he had pinned up there, Tanju pulled down a postcard from his friend, photographer \u003ca href=\"http://joebrook.com/\" target=\"_blank\" rel=\"noopener\">Joe Brook\u003c/a>. “It was basically a photograph of him with a hand-written ‘happy holiday’ note and I thought, ‘Why don’t I get this stuff from Joe anymore?’ And realized – well, because you never sent him anything, so why would he send you more?” Grabbing a photo print out of an over-stuffed drawer, Tanju sent it to Brook, and sure enough, Brook sent him one back. \u003c/p>\n\u003cfigure id=\"attachment_10145509\" class=\"wp-caption alignright\" style=\"max-width: 486px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/JaiTanju_KQED_2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10145509 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/JaiTanju_KQED_2.jpg\" alt=\"JaiTanju_KQED_2\" width=\"486\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/JaiTanju_KQED_2.jpg 486w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/JaiTanju_KQED_2-400x592.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/JaiTanju_KQED_2-405x600.jpg 405w\" sizes=\"(max-width: 486px) 100vw, 486px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Cherri Lakey \u003ccite>(Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wanting more “good mail,” Tanju considered that more people could be involved and came up with the name “Print Exchange,” which let the receiver know that he wanted something in return. He sent mail art to his family and friends and posted it on his myspace page. “Anybody want mail?” he asked. It was slow going the first year, about 5 responses, then 10 joined the next year, but the exchange eventually grew to its 300+ current members. Everyone sends out photo prints not only to Tanju, but to each other as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At about this same time, Tanju started the \u003ca href=\"http://filmporvida.blogspot.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Film Por Vida (Film for Life)\u003c/i>\u003c/a> blog and began posting the front image and address side of each piece of photo mail he received. “I find the sender’s name, their location, what they write, their drawings and even the stamp interesting. I thought other people would find it interesting too.” For five years he was dedicated to the project, answering anywhere from 2 to 10 pieces of mail a day, and posting them for the world to see. He was building a real world-wide web of acquaintances and friends for himself and others, one piece of correspondence at a time.\u003c/p>\n\u003cfigure id=\"attachment_10145699\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/p.e.p.-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/p.e.p.-2.jpg\" alt=\"Print Exchange postcard\" width=\"640\" height=\"478\" class=\"size-full wp-image-10145699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/p.e.p.-2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/p.e.p.-2-400x298.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Print Exchange postcard\u003c/figcaption>\u003c/figure>\n\u003cp>In 2010, heavy metal photographer (and Print Exchange member) \u003ca href=\"http://www.angelaboatwright.com/\">Angela Boatwright\u003c/a> offered Tanju an opportunity to co-curate a photo exhibit in New York City at a friend’s gallery. Tanju hung 1000 pieces from his mail art collection on string so that the viewer could turn the pieces to see both sides of the mailed art. “It was cool seeing people interact with it, and because they were randomly flipping the photos, it became this ever-changing exhibit.”\u003c/p>\n\u003cp>As a result of the NYC show, Jai received offers from Print Exchange friends to take the collection to London, Salt Lake City, Norway, San Francisco and Japan. He caught the curator bug and began wanting his own gallery, but thought there was no way he’d ever be able to afford storefront space in San Jose. Tanju’s wife Blanche kept encouraging him to at least look for a space, and after years of searching, they happened upon the Sperry Building in downtown, a mix-and-match retail hub about to open with the \u003ca href=\"http://sjrockshop.com/\">SJ Rock Shop\u003c/a> as its main tenant. Jai and Blanche sealed a deal for a 400 sq. ft. street-facing space and opened the \u003ca href=\"http://seeingthingsgallery.com/\">Seeing Things Gallery\u003c/a> in November 2012. They show the art they like, which covers a broad range of genres, but feature many of the photographers that Jai met through the Print Exchange.\u003c/p>\n\u003cfigure id=\"attachment_10145723\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/p.e.p.-10.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/p.e.p.-10.jpg\" alt=\"Print Exchange postcard\" width=\"640\" height=\"877\" class=\"size-full wp-image-10145723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/p.e.p.-10.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/p.e.p.-10-400x548.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/p.e.p.-10-437x600.jpg 437w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Print Exchange postcard\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing Things has had over 30 exhibitions in its short two years. Its rapid-fire schedule includes exhibitions that range from a few days to a few weeks and every once in a while the exhibits are by artists that have rented the gallery. It’s not an unusual model for today’s independent gallery owner in Silicon Valley — we all piece together whatever is needed to make it work.\u003c/p>\n\u003cp>When I asked Tanju what he hopes to accomplish with the gallery, he laughs and says, “I was dreading this question… I just would like to add to what’s happening here and bring what I have and the artists that I know — bring some of that to San Jose. I want to add to what we’re all doing here. Most of the people that we know and show are based in skateboarding, zines and photography.”\u003c/p>\n\u003cp>Tanju points out that our art scene has grown up a bit in the last five years with more independent galleries and creative retail stores opening in the downtown and outer areas and hopes it inspires more people to open more galleries. “I don’t know what the future holds. It’s definitely not easy to sell art, but it is the people here that keep us here. I think it’s a great thing – I think we’ve already achieved a lot.”\u003c/p>\n\u003cp>And what of the future of the Print Exchange project? “Having a gallery is a lot of work and you feel consumed; there is always a list of things to check off. I don’t know what would be the end of Print Exchange, but I want to keep it going.” It seems to be working out in his favor. An intern has come on to help document the incoming mail art and Tanju recently received a grant from the \u003ca href=\"http://knightfoundation.org/\" target=\"_blank\" rel=\"noopener\">Knight Foundation\u003c/a> to print a series of postcards featuring Print Exchange images. “We’ll have a station with pens, postcards and stamps… basically free correspondence so anyone can send art to anyone else.” Tanju thinks this is just the project get new people interested in mail art.\u003c/p>\n\u003cp>“I think people are coming around to seeing that tangible things are cooler than digital ones,” he says. “Everyone says records are dead, but people are buying records; they say film cameras are dead, ‘no not really;’ that magazines are dead but yet, people are making books, and zines. People are producing things, it’s becoming relevant, they want things; the blogs just aren’t doing it for them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Check out Seeing Things Gallery at 30 North 3rd St. in San Jose. Visit the \u003ca href=\"http://www.filmporvida.blogspot.com/\" target=\"_blank\" rel=\"noopener\">Film Por Vida\u003c/a> blog at filmporvida.blogspot.com. For \u003ca href=\"http://www.seeingthingsgallery.com/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> on the gallery, visit seeingthingsgallery.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Binh Danh's 19th-Century Photographs of Contemporary San Francisco",
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"content": "\u003cp>The history of San Francisco is intimately linked with the daguerreotype and other early photographic methods. Daguerreotypes, one-of-a-kind photographs on silver-coated copper plates, were developed in the late 1830s and gained popularity in the 1840s. During that time, the small California town of Yerba Buena transferred from Mexican to U.S. hands, welcomed Mormon emigrants, and briefly boasted a Hudson’s Bay Company trading post. But when gold was found in the Sierra Nevada foothills to the east, the recently renamed San Francisco exploded with speculation fever.\u003c/p>\n\u003cp>The oldest known photograph of San Francisco is from 1850, the same year the city was incorporated and California joined the Union. The remarkable boom that occurred over the next several decades was captured on high-tech media like the daguerreotype and its successors, such as the albumen print. Though there are famous daguerreotypes from Paris, London, and New York, none of them so fortuitously captured the birth of great city, forever linking San Francisco with the history of photography.\u003c/p>\n\u003cfigure id=\"attachment_10145455\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/CityLightsBooksellers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145455\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/CityLightsBooksellers.jpg\" alt=\"Binh Danh. <i>City Lights Booksellers and Publishers</i>, 2014; daguerreotype. Courtesy of the Artist and Haines Gallery.\" width=\"640\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CityLightsBooksellers.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CityLightsBooksellers-400x320.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Binh Danh. \u003ci>City Lights Booksellers and Publishers\u003c/i>, 2014; daguerreotype. Courtesy of the Artist and Haines Gallery.\u003c/figcaption>\u003c/figure>\n\u003cp>In this context, Binh Danh’s daguerreotypes of contemporary San Francisco, on view in \u003cb>This, Then, is San Francisco\u003c/b> at Haines Gallery, are inseparable from the city’s history. Photographs like \u003ci>City Lights Booksellers and Publishers\u003c/i> (2014) at times appear both modern and historic. The twenty-first century sedan zipping by, the bike rack, and the still-active bookstore all note the city we are familiar with. Yet, the building depicted was constructed in 1907, long after the gold mines dried up, but older than most buildings in the city and still reminiscent of a nebulous “old” San Francisco. The Chinatown buildings in the background and the street car wires conjure images of the city’s past, even more so because of the daguerreotype’s antique coloring and mirror image.\u003c/p>\n\u003cp>\u003ci>B and C Laundromat Barbary Coast Trail, Chinatown\u003c/i> (2014) looks north on Waverly Place in Chinatown, showing a laundromat housed in a building from 1906 and a row of signs for other businesses. At the end of the street is the historic Goong Quon Cheong building, now home to Kam Lok Restaurant and the Gee How Oak Tin Benevolent Association. Chinatown’s distinctive and tourist-friendly architecture only arose from the ashes of the 1906 earthquake. Prior to the tremor, Chinatown, within the bounds of the raucous Barbary Coast, was a dense collection of uninspiring wooden tenements. The Chinatown recalled in this image is historic, but it is nothing like the Chinatown that stood on the same spot in the daguerreotype’s heyday. Danh’s photograph is a historical pastiche, but is there a more appropriate way to depict San Francisco?\u003c/p>\n\u003cfigure id=\"attachment_10145456\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/BAndCLaundromatBarbary.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145456\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/BAndCLaundromatBarbary.jpg\" alt=\"Binh Danh. <i>B and C Laundromat Barbary Coast Trail, Chinatown</i>, 2014; daguerreotype. Courtesy of the Artist and Haines Gallery.\" width=\"640\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/BAndCLaundromatBarbary.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/BAndCLaundromatBarbary-400x320.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Binh Danh. \u003ci>B and C Laundromat Barbary Coast Trail, Chinatown\u003c/i>, 2014; daguerreotype. Courtesy of the Artist and Haines Gallery.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>This, Then, is San Francisco\u003c/b> is not just of interest to lay historians; it is of equal value to aesthetes. \u003ci>Cliff House and Seal Rocks from Sutro Heights Park\u003c/i> (2014) is among the most stunning works in the exhibition. Shot on the western edge of the city, San Francisco’s trademark fog hugs the reflective copper plate like greasy fingerprint smudges. The sun beams on Seal Rocks, radiating like the nuclear waste on the bottom of the ocean near the Farallon Islands. The Pacific Ocean, often tempestuous, is pacified by the camera’s long exposure, looking more like a sedate pool of mercury than a wrecker of ships. The Cliff House, one of three to adorn the site and the best so far at avoiding fire, is partly obscured by a monolith of trees and shrubbery in the foreground.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When I was a child I thought my grandparents lived in a world of black and white; still a bit naive, I can picture Adolph Sutro, real estate magnate and twenty-fourth mayor of San Francisco, standing on the same cliff as Danh, looking out at this eerie and phosphorescent scene as he surveyed the land he would soon transform.\u003c/p>\n\u003cfigure id=\"attachment_10145457\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/CliffHouseAndSeal.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145457\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/CliffHouseAndSeal.jpg\" alt=\"Binh Danh. <i>Cliff House and Seal Rocks from Sutro Heights Park</i>, 2014; daguerreotype. Courtesy of the Artist and Haines Gallery.\" width=\"640\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CliffHouseAndSeal.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CliffHouseAndSeal-400x320.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Binh Danh. \u003ci>Cliff House and Seal Rocks from Sutro Heights Park\u003c/i>, 2014; daguerreotype. Courtesy of the Artist and Haines Gallery.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>San Francisco City Hall (Mother’s Day 2014) Rally for Black Youths Whose Killers Have Never Been Found by the San Francisco Police Department \u003c/i>(2014) showcases the formal power of daguerreotypes. In the photograph, a dozen or so individuals sit in folding chairs at the steps of City Hall. Five women stand to give what one imagines is a moving speech, given the work’s somber title. The photographic process captured ghostly figures that are largely eclipsed by those subjects who remained still during Dahn’s long exposure. Though they are clearly audience members and passersby, they evoke the specters of the murdered youths. It appears as if one apparition in the center of the photograph has returned to hear his mother’s voice one last time.\u003c/p>\n\u003cfigure id=\"attachment_10145458\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SanFranciscoRally.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145458\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SanFranciscoRally.jpg\" alt=\"Binh Danh. <i>San Francisco City Hall (Mother's Day 2014) Rally for Black Youths Whose Killers Have Never Been Found by the San Francisco Police Department</i>, 2014; daguerreotype. Courtesy of the Artist and Haines Gallery.\" width=\"640\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SanFranciscoRally.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SanFranciscoRally-400x320.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Binh Danh. \u003ci>San Francisco City Hall (Mother’s Day 2014) Rally for Black Youths Whose Killers Have Never Been Found by the San Francisco Police Department\u003c/i>, 2014; daguerreotype. Courtesy of the Artist and Haines Gallery.\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition’s title is a play on the opening lines of poet William Vaughn Moody’s “The Daguerreotype”: “This, then, is she, / My mother as she looked at seventeen, / When she first met my father. Young incredibly…” Unlike Moody’s daguerreotype, Danh’s photographs present San Francisco as it is now, not its distant past, but memories of that past haunt almost any scene in the city. The rocks out past Ocean Beach are primordial, or at least date from the beginning of the Holocene period. Houses and office buildings throughout the city are historic, or at least as historic as the fault lines will permit. But by the standards of almost anywhere else on earth, San Francisco is still incredibly young. For Moody, the memory preserved by the daguerreotype is of a vanished moment, but for Danh the memories revealed are living and inhabit the photographs and the city’s streets.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>This, Then, is San Francisco\u003c/strong> runs through December 20, 2014 at Haines Gallery in San Francisco. For \u003ca href=\"http://www.hainesgallery.com\">more information\u003c/a> visit hainesgallery.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The history of San Francisco is intimately linked with the daguerreotype and other early photographic methods. Daguerreotypes, one-of-a-kind photographs on silver-coated copper plates, were developed in the late 1830s and gained popularity in the 1840s. During that time, the small California town of Yerba Buena transferred from Mexican to U.S. hands, welcomed Mormon emigrants, and briefly boasted a Hudson’s Bay Company trading post. But when gold was found in the Sierra Nevada foothills to the east, the recently renamed San Francisco exploded with speculation fever.\u003c/p>\n\u003cp>The oldest known photograph of San Francisco is from 1850, the same year the city was incorporated and California joined the Union. The remarkable boom that occurred over the next several decades was captured on high-tech media like the daguerreotype and its successors, such as the albumen print. Though there are famous daguerreotypes from Paris, London, and New York, none of them so fortuitously captured the birth of great city, forever linking San Francisco with the history of photography.\u003c/p>\n\u003cfigure id=\"attachment_10145455\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/CityLightsBooksellers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145455\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/CityLightsBooksellers.jpg\" alt=\"Binh Danh. <i>City Lights Booksellers and Publishers</i>, 2014; daguerreotype. Courtesy of the Artist and Haines Gallery.\" width=\"640\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CityLightsBooksellers.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CityLightsBooksellers-400x320.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Binh Danh. \u003ci>City Lights Booksellers and Publishers\u003c/i>, 2014; daguerreotype. Courtesy of the Artist and Haines Gallery.\u003c/figcaption>\u003c/figure>\n\u003cp>In this context, Binh Danh’s daguerreotypes of contemporary San Francisco, on view in \u003cb>This, Then, is San Francisco\u003c/b> at Haines Gallery, are inseparable from the city’s history. Photographs like \u003ci>City Lights Booksellers and Publishers\u003c/i> (2014) at times appear both modern and historic. The twenty-first century sedan zipping by, the bike rack, and the still-active bookstore all note the city we are familiar with. Yet, the building depicted was constructed in 1907, long after the gold mines dried up, but older than most buildings in the city and still reminiscent of a nebulous “old” San Francisco. The Chinatown buildings in the background and the street car wires conjure images of the city’s past, even more so because of the daguerreotype’s antique coloring and mirror image.\u003c/p>\n\u003cp>\u003ci>B and C Laundromat Barbary Coast Trail, Chinatown\u003c/i> (2014) looks north on Waverly Place in Chinatown, showing a laundromat housed in a building from 1906 and a row of signs for other businesses. At the end of the street is the historic Goong Quon Cheong building, now home to Kam Lok Restaurant and the Gee How Oak Tin Benevolent Association. Chinatown’s distinctive and tourist-friendly architecture only arose from the ashes of the 1906 earthquake. Prior to the tremor, Chinatown, within the bounds of the raucous Barbary Coast, was a dense collection of uninspiring wooden tenements. The Chinatown recalled in this image is historic, but it is nothing like the Chinatown that stood on the same spot in the daguerreotype’s heyday. Danh’s photograph is a historical pastiche, but is there a more appropriate way to depict San Francisco?\u003c/p>\n\u003cfigure id=\"attachment_10145456\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/BAndCLaundromatBarbary.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145456\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/BAndCLaundromatBarbary.jpg\" alt=\"Binh Danh. <i>B and C Laundromat Barbary Coast Trail, Chinatown</i>, 2014; daguerreotype. Courtesy of the Artist and Haines Gallery.\" width=\"640\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/BAndCLaundromatBarbary.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/BAndCLaundromatBarbary-400x320.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Binh Danh. \u003ci>B and C Laundromat Barbary Coast Trail, Chinatown\u003c/i>, 2014; daguerreotype. Courtesy of the Artist and Haines Gallery.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>This, Then, is San Francisco\u003c/b> is not just of interest to lay historians; it is of equal value to aesthetes. \u003ci>Cliff House and Seal Rocks from Sutro Heights Park\u003c/i> (2014) is among the most stunning works in the exhibition. Shot on the western edge of the city, San Francisco’s trademark fog hugs the reflective copper plate like greasy fingerprint smudges. The sun beams on Seal Rocks, radiating like the nuclear waste on the bottom of the ocean near the Farallon Islands. The Pacific Ocean, often tempestuous, is pacified by the camera’s long exposure, looking more like a sedate pool of mercury than a wrecker of ships. The Cliff House, one of three to adorn the site and the best so far at avoiding fire, is partly obscured by a monolith of trees and shrubbery in the foreground.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I was a child I thought my grandparents lived in a world of black and white; still a bit naive, I can picture Adolph Sutro, real estate magnate and twenty-fourth mayor of San Francisco, standing on the same cliff as Danh, looking out at this eerie and phosphorescent scene as he surveyed the land he would soon transform.\u003c/p>\n\u003cfigure id=\"attachment_10145457\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/CliffHouseAndSeal.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145457\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/CliffHouseAndSeal.jpg\" alt=\"Binh Danh. <i>Cliff House and Seal Rocks from Sutro Heights Park</i>, 2014; daguerreotype. Courtesy of the Artist and Haines Gallery.\" width=\"640\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CliffHouseAndSeal.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CliffHouseAndSeal-400x320.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Binh Danh. \u003ci>Cliff House and Seal Rocks from Sutro Heights Park\u003c/i>, 2014; daguerreotype. Courtesy of the Artist and Haines Gallery.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>San Francisco City Hall (Mother’s Day 2014) Rally for Black Youths Whose Killers Have Never Been Found by the San Francisco Police Department \u003c/i>(2014) showcases the formal power of daguerreotypes. In the photograph, a dozen or so individuals sit in folding chairs at the steps of City Hall. Five women stand to give what one imagines is a moving speech, given the work’s somber title. The photographic process captured ghostly figures that are largely eclipsed by those subjects who remained still during Dahn’s long exposure. Though they are clearly audience members and passersby, they evoke the specters of the murdered youths. It appears as if one apparition in the center of the photograph has returned to hear his mother’s voice one last time.\u003c/p>\n\u003cfigure id=\"attachment_10145458\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SanFranciscoRally.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145458\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SanFranciscoRally.jpg\" alt=\"Binh Danh. <i>San Francisco City Hall (Mother's Day 2014) Rally for Black Youths Whose Killers Have Never Been Found by the San Francisco Police Department</i>, 2014; daguerreotype. Courtesy of the Artist and Haines Gallery.\" width=\"640\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SanFranciscoRally.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/SanFranciscoRally-400x320.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Binh Danh. \u003ci>San Francisco City Hall (Mother’s Day 2014) Rally for Black Youths Whose Killers Have Never Been Found by the San Francisco Police Department\u003c/i>, 2014; daguerreotype. Courtesy of the Artist and Haines Gallery.\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition’s title is a play on the opening lines of poet William Vaughn Moody’s “The Daguerreotype”: “This, then, is she, / My mother as she looked at seventeen, / When she first met my father. Young incredibly…” Unlike Moody’s daguerreotype, Danh’s photographs present San Francisco as it is now, not its distant past, but memories of that past haunt almost any scene in the city. The rocks out past Ocean Beach are primordial, or at least date from the beginning of the Holocene period. Houses and office buildings throughout the city are historic, or at least as historic as the fault lines will permit. But by the standards of almost anywhere else on earth, San Francisco is still incredibly young. For Moody, the memory preserved by the daguerreotype is of a vanished moment, but for Danh the memories revealed are living and inhabit the photographs and the city’s streets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>This, Then, is San Francisco\u003c/strong> runs through December 20, 2014 at Haines Gallery in San Francisco. For \u003ca href=\"http://www.hainesgallery.com\">more information\u003c/a> visit hainesgallery.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The de Young's 'Keith Haring: The Political Line' Revisits A Pop Radical",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/keith-haring-the-political-line/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Keith Haring: The Political Line\u003c/h4>\n\u003cdiv class=\"event-desc\">Revisiting Haring’s Legacy\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Nov. 8, 2014 – Feb. 16, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">de Young Museum\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/keith-haring-the-political-line/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In the late 1980s Keith Haring’s work was ubiquitous to the point of being overwhelming. The fact that his style was widely ripped off only seemed to extend his reach. Haring-esque dancing figures and crawling babies were everywhere, populating the world with squiggly lines detached from meaning; personally, I couldn’t stand it at the time. \u003cstrong>Keith Haring: The Political Line\u003c/strong> at the de Young will radically recalibrate the artist’s work for late converts like myself.\u003c/p>\n\u003cfigure id=\"attachment_10145532\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/haringpolaroid.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145532\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/haringpolaroid.jpg\" alt=\"Keith Haring, self-portrait, 1980–81; Collection of the Keith Haring Foundation\" width=\"640\" height=\"781\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringpolaroid.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringpolaroid-400x488.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringpolaroid-491x600.jpg 491w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Keith Haring, self-portrait, 1980–81; Collection of the Keith Haring Foundation\u003c/figcaption>\u003c/figure>\n\u003cp>Though the artist has been gone nearly twenty-five years — he passed away in 1990, just shy of age 32, from AIDS-related complications — the cogent politics in his work are reborn with great vigor in this extensive survey. Seeing his work now with fresh eyes, much of it is astonishingly prescient in its ability to address so many present day issues, especially with regards to technology, surveillance, public space, commerce and social justice. If I didn’t like Haring’s work in the ’80s, I realize now, it may be because I never actually saw it in a sea of depoliticized knock-offs.\u003c/p>\n\u003cp>Uncharacteristically, and perhaps amusingly given the venue, the web page for the show at the de Young begins with this disclaimer: “Please note that the exhibition contains certain artworks that are adult in nature; images included on this site may be violent, sexual, and/or political in content.” And indeed, there are \u003cem>a lot\u003c/em> of erect penises, if you will, among other explicit stick figure images in this densely packed display of 130 works ranging from graffiti, literally ripped from the walls of New York’s subway, drawing, painting and sculpture. Images of copulation, bestiality and fellatio are everywhere.\u003c/p>\n\u003cfigure id=\"attachment_10145533\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/apartheid.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/apartheid.jpg\" alt=\"Keith Haring, Untitled (Apartheid), 1984; c. Keith Haring Foundation\" width=\"640\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/apartheid.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/apartheid-400x327.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Keith Haring, \u003ci>Untitled (Apartheid)\u003c/i>, 1984; c. Keith Haring Foundation\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond this titillating entre, there is also overt protest and dissent presented as thrilling disruptions and interventions. The earlier work is understandably more rough-hewn and experimental, while the later work is more polished. Throughout, Haring’s irreverence never wavers. In the last room, we see his many layered final paintings; each presents a shift in line quality and a palpable sense of urgency. In an era when an AIDS diagnosis was essentially a death sentence, primarily targeting young men, the artist seemed to spend every last ounce of energy racing the clock.\u003c/p>\n\u003cp>Whereas the exhibition reminds us how much Haring had to say in his relatively short career, with these final works we are also made aware of how much more he could have said. What, one wonders, would he have made out of the world we live in now, when so much of his work seems to anticipate the future?\u003c/p>\n\u003cfigure id=\"attachment_10145534\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/haringnosee.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/haringnosee.jpg\" alt=\"Keith Haring, Untitled, c. 2014, Keith Haring Foundation\" width=\"640\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringnosee.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringnosee-400x398.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringnosee-601x600.jpg 601w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringnosee-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringnosee-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringnosee-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringnosee-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringnosee-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Keith Haring, \u003ci>Untitled\u003c/i>, c. 2014, Keith Haring Foundation\u003c/figcaption>\u003c/figure>\n\u003cp>A 1983 untitled enamel on incised wood sculpture, created in collaboration with Kermit Oswald, seems to have anticipated our contemporary dependence on technology; the figure with a computer for a brain is rife with salient symbolism. It is inscribed with images of people with telephones for heads and radiating calculators that resemble smart phones; one hand morphs into a barking dog, a symbol of evil, its face a surveillance camera tethered to a prone figure inscribed on its unhinged jaw, ready to consume itself. With this work in particular, Haring’s images are like future-tense hieroglyphics, chronicling much of a world yet to come in a visual language that seemed to anticipate vector line graphics and emoticons.\u003c/p>\n\u003cfigure id=\"attachment_10145547\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/mouseandy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145547\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/mouseandy.jpg\" alt=\"Keith Haring, Andy Mouse, 1985; c. Keith Haring Foundation\" width=\"640\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/mouseandy.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/mouseandy-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/mouseandy-605x600.jpg 605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/mouseandy-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/mouseandy-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/mouseandy-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/mouseandy-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/mouseandy-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Keith Haring, \u003ci>Andy Mouse\u003c/i>, 1985; c. Keith Haring Foundation\u003c/figcaption>\u003c/figure>\n\u003cp>Haring was especially wise to the commercial potential of his work in ways that were also way ahead of his time. Even the scrim outside the museum reflects a copyright mark, suggesting, perhaps, that the museum may have had to license the artist’s work in order to promote it. His \u003ca href=\"http://www.pop-shop.com/\">Pop Shop\u003c/a> in Manhattan, and another later briefly in Tokyo, sold everything from calendars to books to clothing. It closed in 2005, but maintains an active online store today. Its overt commercialism rankled an art world that prefers to see artists oblivious to their own commercial interests, but today Haring seems to have anticipated Etsy and, indeed, Kickstarter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prior to his death, the artist established \u003ca href=\"http://www.haring.com/!/#.VGJSI4c3Y_0\">the Keith Haring Foundation\u003c/a> to preserve his radical legacy and to support non-profits focused on children and AIDS education, research and care initiatives. Quoted on the foundation’s website, Haring said, “The use of commercial projects has enabled me to reach millions of people whom I would not have reached by remaining an unknown artist.”\u003c/p>\n\u003cp>Knowing about his deep commitment to access complicates the de Young’s exhibition somewhat — with \u003ca href=\"http://ww2.kqed.org/events/pick/keith-haring-the-political-line/\">ticket prices ranging between $26 – $46\u003c/a>, a visit to the show is an expensive and uncommon privilege, something that might not have jived well with an artist who gave himself so willingly to public consumption. (However, the first Tuesday of each month general admission to the museum is free. You can pay a $15 surcharge to see \u003cb>The Political Line\u003c/b> that day. For more information visit the \u003ca href=\"http://deyoung.famsf.org/visit/promotions\" target=\"_blank\" rel=\"noopener\">de Young’s Promotions page\u003c/a>.) Still there is something truly wonderful about seeing this politically savage work in such a hallowed institution as the de Young. Haring didn’t have the chance to see his work properly canonized by the art world in his lifetime, but he sowed the seeds of his own immortality in his art. For those who didn’t get the message the first time around, Haring’s work is a revelation. Even if you think you know him, look again, and see the world anew.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Keith Haring: The Political Line\u003c/strong> is on view at the de Young through February 16, 2015. For \u003ca href=\"https://deyoung.famsf.org/haring\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a> visit deyoung.famsf.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/keith-haring-the-political-line/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Keith Haring: The Political Line\u003c/h4>\n\u003cdiv class=\"event-desc\">Revisiting Haring’s Legacy\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Nov. 8, 2014 – Feb. 16, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">de Young Museum\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/keith-haring-the-political-line/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In the late 1980s Keith Haring’s work was ubiquitous to the point of being overwhelming. The fact that his style was widely ripped off only seemed to extend his reach. Haring-esque dancing figures and crawling babies were everywhere, populating the world with squiggly lines detached from meaning; personally, I couldn’t stand it at the time. \u003cstrong>Keith Haring: The Political Line\u003c/strong> at the de Young will radically recalibrate the artist’s work for late converts like myself.\u003c/p>\n\u003cfigure id=\"attachment_10145532\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/haringpolaroid.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145532\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/haringpolaroid.jpg\" alt=\"Keith Haring, self-portrait, 1980–81; Collection of the Keith Haring Foundation\" width=\"640\" height=\"781\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringpolaroid.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringpolaroid-400x488.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringpolaroid-491x600.jpg 491w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Keith Haring, self-portrait, 1980–81; Collection of the Keith Haring Foundation\u003c/figcaption>\u003c/figure>\n\u003cp>Though the artist has been gone nearly twenty-five years — he passed away in 1990, just shy of age 32, from AIDS-related complications — the cogent politics in his work are reborn with great vigor in this extensive survey. Seeing his work now with fresh eyes, much of it is astonishingly prescient in its ability to address so many present day issues, especially with regards to technology, surveillance, public space, commerce and social justice. If I didn’t like Haring’s work in the ’80s, I realize now, it may be because I never actually saw it in a sea of depoliticized knock-offs.\u003c/p>\n\u003cp>Uncharacteristically, and perhaps amusingly given the venue, the web page for the show at the de Young begins with this disclaimer: “Please note that the exhibition contains certain artworks that are adult in nature; images included on this site may be violent, sexual, and/or political in content.” And indeed, there are \u003cem>a lot\u003c/em> of erect penises, if you will, among other explicit stick figure images in this densely packed display of 130 works ranging from graffiti, literally ripped from the walls of New York’s subway, drawing, painting and sculpture. Images of copulation, bestiality and fellatio are everywhere.\u003c/p>\n\u003cfigure id=\"attachment_10145533\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/apartheid.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/apartheid.jpg\" alt=\"Keith Haring, Untitled (Apartheid), 1984; c. Keith Haring Foundation\" width=\"640\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/apartheid.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/apartheid-400x327.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Keith Haring, \u003ci>Untitled (Apartheid)\u003c/i>, 1984; c. Keith Haring Foundation\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond this titillating entre, there is also overt protest and dissent presented as thrilling disruptions and interventions. The earlier work is understandably more rough-hewn and experimental, while the later work is more polished. Throughout, Haring’s irreverence never wavers. In the last room, we see his many layered final paintings; each presents a shift in line quality and a palpable sense of urgency. In an era when an AIDS diagnosis was essentially a death sentence, primarily targeting young men, the artist seemed to spend every last ounce of energy racing the clock.\u003c/p>\n\u003cp>Whereas the exhibition reminds us how much Haring had to say in his relatively short career, with these final works we are also made aware of how much more he could have said. What, one wonders, would he have made out of the world we live in now, when so much of his work seems to anticipate the future?\u003c/p>\n\u003cfigure id=\"attachment_10145534\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/haringnosee.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/haringnosee.jpg\" alt=\"Keith Haring, Untitled, c. 2014, Keith Haring Foundation\" width=\"640\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringnosee.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringnosee-400x398.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringnosee-601x600.jpg 601w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringnosee-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringnosee-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringnosee-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringnosee-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/haringnosee-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Keith Haring, \u003ci>Untitled\u003c/i>, c. 2014, Keith Haring Foundation\u003c/figcaption>\u003c/figure>\n\u003cp>A 1983 untitled enamel on incised wood sculpture, created in collaboration with Kermit Oswald, seems to have anticipated our contemporary dependence on technology; the figure with a computer for a brain is rife with salient symbolism. It is inscribed with images of people with telephones for heads and radiating calculators that resemble smart phones; one hand morphs into a barking dog, a symbol of evil, its face a surveillance camera tethered to a prone figure inscribed on its unhinged jaw, ready to consume itself. With this work in particular, Haring’s images are like future-tense hieroglyphics, chronicling much of a world yet to come in a visual language that seemed to anticipate vector line graphics and emoticons.\u003c/p>\n\u003cfigure id=\"attachment_10145547\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/mouseandy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145547\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/mouseandy.jpg\" alt=\"Keith Haring, Andy Mouse, 1985; c. Keith Haring Foundation\" width=\"640\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/mouseandy.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/mouseandy-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/mouseandy-605x600.jpg 605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/mouseandy-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/mouseandy-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/mouseandy-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/mouseandy-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/mouseandy-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Keith Haring, \u003ci>Andy Mouse\u003c/i>, 1985; c. Keith Haring Foundation\u003c/figcaption>\u003c/figure>\n\u003cp>Haring was especially wise to the commercial potential of his work in ways that were also way ahead of his time. Even the scrim outside the museum reflects a copyright mark, suggesting, perhaps, that the museum may have had to license the artist’s work in order to promote it. His \u003ca href=\"http://www.pop-shop.com/\">Pop Shop\u003c/a> in Manhattan, and another later briefly in Tokyo, sold everything from calendars to books to clothing. It closed in 2005, but maintains an active online store today. Its overt commercialism rankled an art world that prefers to see artists oblivious to their own commercial interests, but today Haring seems to have anticipated Etsy and, indeed, Kickstarter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prior to his death, the artist established \u003ca href=\"http://www.haring.com/!/#.VGJSI4c3Y_0\">the Keith Haring Foundation\u003c/a> to preserve his radical legacy and to support non-profits focused on children and AIDS education, research and care initiatives. Quoted on the foundation’s website, Haring said, “The use of commercial projects has enabled me to reach millions of people whom I would not have reached by remaining an unknown artist.”\u003c/p>\n\u003cp>Knowing about his deep commitment to access complicates the de Young’s exhibition somewhat — with \u003ca href=\"http://ww2.kqed.org/events/pick/keith-haring-the-political-line/\">ticket prices ranging between $26 – $46\u003c/a>, a visit to the show is an expensive and uncommon privilege, something that might not have jived well with an artist who gave himself so willingly to public consumption. (However, the first Tuesday of each month general admission to the museum is free. You can pay a $15 surcharge to see \u003cb>The Political Line\u003c/b> that day. For more information visit the \u003ca href=\"http://deyoung.famsf.org/visit/promotions\" target=\"_blank\" rel=\"noopener\">de Young’s Promotions page\u003c/a>.) Still there is something truly wonderful about seeing this politically savage work in such a hallowed institution as the de Young. Haring didn’t have the chance to see his work properly canonized by the art world in his lifetime, but he sowed the seeds of his own immortality in his art. For those who didn’t get the message the first time around, Haring’s work is a revelation. Even if you think you know him, look again, and see the world anew.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Keith Haring: The Political Line\u003c/strong> is on view at the de Young through February 16, 2015. For \u003ca href=\"https://deyoung.famsf.org/haring\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a> visit deyoung.famsf.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Seven decades after first stepping behind a camera, San Francisco photographer Fred Lyon is still capturing the stories of the city and its people. Although best known for his \u003ci>Mad Men\u003c/i>-like photographs from the ’50s and ’60s, Lyon’s reputation also stems from his innovative commercial work in interior design, advertising, architecture, food, wine and travel photography. Lyon remains unwilling to typecast himself and continues to experiment in all aspects of the medium. His story is told in Michael House’s tender documentary \u003ci>Fred Lyon: Living Through the Lens\u003c/i>.\u003c/p>\n\u003cp>Join the Harvey Milk Photo Center for an opening reception Saturday, November 8, 2014 to celebrate the Fred Lyon Photography Exhibit, which will showcase 60 photo prints by the legendary San Francisco photographer. Lyon will be on hand at the event to sign copies of his recently released book.\u003c/p>\n\u003cp>The Fred Lyon Photography Exhibit runs through January 10, 2015 at the Harvey Milk Photo Center in San Francisco. For \u003ca href=\"http://harveymilkphotocenter.org/exhibits/fred-lyon/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit harveymilkphotocenter.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Seven decades after first stepping behind a camera, San Francisco photographer Fred Lyon is still capturing the stories of the city and its people. Although best known for his \u003ci>Mad Men\u003c/i>-like photographs from the ’50s and ’60s, Lyon’s reputation also stems from his innovative commercial work in interior design, advertising, architecture, food, wine and travel photography. Lyon remains unwilling to typecast himself and continues to experiment in all aspects of the medium. His story is told in Michael House’s tender documentary \u003ci>Fred Lyon: Living Through the Lens\u003c/i>.\u003c/p>\n\u003cp>Join the Harvey Milk Photo Center for an opening reception Saturday, November 8, 2014 to celebrate the Fred Lyon Photography Exhibit, which will showcase 60 photo prints by the legendary San Francisco photographer. Lyon will be on hand at the event to sign copies of his recently released book.\u003c/p>\n\u003cp>The Fred Lyon Photography Exhibit runs through January 10, 2015 at the Harvey Milk Photo Center in San Francisco. For \u003ca href=\"http://harveymilkphotocenter.org/exhibits/fred-lyon/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit harveymilkphotocenter.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Yup. It’s that time again. The decorations on our Starbucks cups and rising anxiety levels confirm it: holiday season is upon us. Before you start to stress, check out this handy guide for finding unique, handmade gifts for everyone on your holiday gift list — including yourself. We feature familiar favorites (with new names), as well as up-and-coming newbies, and most everything in between. Happy shopping!\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145188\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/renegadecraft.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/renegadecraft-400x400.jpg\" alt=\"SF Winter 2013 Renegade Craft Fair by Sarah Deragon\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10145188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/renegadecraft-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/renegadecraft-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/renegadecraft-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/renegadecraft-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/renegadecraft-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/renegadecraft-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/renegadecraft.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF Winter 2013 Renegade Craft Fair by Sarah Deragon\u003c/figcaption>\u003c/figure>\n\u003ch3>Renegade Craft Fair\u003c/h3>\n\u003ch5>Nov. 8-9\u003cbr>\nFort Mason’s Festival Pavilion, San Francisco\u003cbr>\n\u003ca title=\"Renegade Craft\" href=\"http://www.renegadecraft.com/sanfrancisco-november-market-details\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at renegadecraft.com\u003c/h5>\n\u003cp>The granddaddy of all indie craft fairs, the Renegade Craft Fair returns to San Francisco this weekend and will likely continue to dazzle with over 300 makers, enough food options to make Costco jealous, and \u003ca href=\"http://www.yellowleafhammocks.com/\" target=\"_blank\" rel=\"noopener\">hammocks\u003c/a>, which should come in handy after all the shopping and grub. The offerings encompass everything from Pendleton-esque pillows by \u003ca href=\"http://www.barringtonblue.com\" target=\"_blank\" rel=\"noopener\">Barrington Blue\u003c/a> to Claire Vivier-style clutches by \u003ca href=\"http://www.minniegeorge.com/\" target=\"_blank\" rel=\"noopener\">Minnie + George\u003c/a>, one-of-a-kind jewelry and cards, and of course, TERRARIUMS. Fortunately, event sponsors Square and Shyp are prepared to help you with your spending-and-sending needs — stop by the Shyp booth to mail gifts straight from the fair and use enter the code RENEGADE14 into the app to get a $10 shipping credit. Pretty solid. Be sure to commemorate all of your accomplishments at the end of the day with a free photo shoot courtesy of the Magnolia Photo Booth Co.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145268\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/jackofalltrades.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/jackofalltrades.jpg\" alt=\"Courtesy Jack of All Trades website.\" width=\"400\" height=\"483\" class=\"size-full wp-image-10145268\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy Jack of All Trades website.\u003c/figcaption>\u003c/figure>\n\u003ch3>Jack of All Trades Market\u003c/h3>\n\u003ch5>Nov. 8, 11-5pm\u003cbr>\nJack London Square, Oakland\u003cbr>\n\u003ca href=\"http://www.jackofalltradesoakland.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at jackofalltradesoakland.com\u003c/h5>\n\u003cp>The second Saturday of each month, the Jack of All Trades Market features loads of local goodness, including over 100 makers and artists, food start-ups and food trucks, and numerous DIY workshops like the sure-to-be-popular — wait for it — “make your own terrarium.” Take advantage of free performances by local bands, street dancers and musicians as you peruse the vintage clothes and antiques on display. The event is pet friendly, so feel free to bring your dog, cat, rat, or \u003ca href=\"https://www.youtube.com/watch?v=D85yrIgA4Nk\" target=\"_blank\" rel=\"noopener\">all of the above\u003c/a>. If you’re coming over from San Francisco, consider taking a ferry from the Ferry Building — grab a little \u003ca href=\"http://www.cowgirlcreamery.com/san-francisco-ferry-building-cheese-shop\" target=\"_blank\" rel=\"noopener\">cheese from Cowgirl Creamery\u003c/a> and some \u003ca href=\"http://www.acmebread.com/locations\" target=\"_blank\" rel=\"noopener\">Acme bread\u003c/a> to snack on as you’re whisked across the bay and dropped off right at Jack London Square.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145191\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/thelab.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/thelab-400x324.jpg\" alt=\"Zoë Yuristy, <i>A Chance Shot</i>, From the <i>After William Notman</i> series \" width=\"400\" height=\"324\" class=\"size-thumbnail wp-image-10145191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/thelab-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/thelab.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zoë Yuristy,\u003cbr>\u003ci>A Chance Shot\u003c/i>,\u003cbr>From the \u003ci>After William Notman\u003c/i> series\u003c/figcaption>\u003c/figure>\n\u003ch3>The Lab’s 24-Hour Telethon\u003c/h3>\n\u003ch5>Nov. 15-16, 12pm to 12pm\u003cbr>\nThe Lab, 2948 16th Street, San Francisco\u003cbr>\n\u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> at thelab.org\u003c/h5>\n\u003cp>If we’re being totally honest, the majority of us can probably admit that gift shopping goes something like, “one for you, one for me, another one for me…” So thankfully The Lab is here to help you create a little more balance in that equation. The experimental art and music venue is ending its Kickstarter campaign with a \u003ca href=\"https://www.kickstarter.com/projects/buildthelab/build-the-lab?ref=nav_search\" target=\"_blank\" rel=\"noopener\">24-hour live telethon\u003c/a> to gather money to finish renovations and — if they reach 150K — fund a program of new commissions by local and international artists and musicians in 2015. This is something we want, people. Help build The Lab by making a tax-deductible donation, and be rewarded in a variety of ways: singing telegram, seat at the telethon, use of the space for your own purpose, or — the old public media favorite — a tote bag! As with all things, the size of your reward is dependent on how much you give. How rewarding will it be to support vibrant new arts programming in a venerable old space?\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145193\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/3rdonthird.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/3rdonthird-400x296.jpg\" alt=\"Mural at Third and Palou by artist Bryana Fleming\" width=\"400\" height=\"296\" class=\"size-thumbnail wp-image-10145193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/3rdonthird-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/3rdonthird.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural at Third and Palou by artist Bryana Fleming\u003c/figcaption>\u003c/figure>\n\u003ch3>“3rd on Third” Holiday Market\u003c/h3>\n\u003ch5>Nov. 21, 5pm-8pm\u003cbr>\n3rd Street and Newcomb Ave., San Francisco\u003cbr>\n\u003ca title=\"3rd on third\" href=\"http://www.3rdonthird.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at 3rdonthird.com\u003c/h5>\n\u003cp>Once each month, \u003ci>3rd on Third\u003c/i> throws a block party in the Bayview/Hunters Point district. (October’s event included a haunted house, a trick-or-treat trail and a Michael Jackson \u003ci>Thriller\u003c/i> Extravaganza.) November’s edition is a holiday street fair and block party featuring locally made gifts, food vendors and the annual Community Tree Lighting at the Bayview Opera House (\u003ca href=\"http://www.bvoh.org/aboutUs/index.shtml\" target=\"_blank\" rel=\"noopener\">the city’s oldest theater\u003c/a>).\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145194\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/sfcenterbook.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/sfcenterbook-400x300.jpg\" alt=\"Sf Center for the Book Fair\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10145194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/sfcenterbook-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/sfcenterbook.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sf Center for the Book Holiday Fair\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Center for the Book’s Holiday Fair\u003c/h3>\n\u003ch5>Nov. 22, 11am-6pm\u003cbr>\nSan Francisco Center for the Book, 375 Rhode Island Street, San Francsico\u003cbr>\n\u003ca href=\"https://sfcb.org/node/212\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at sfcb.org\u003c/h5>\n\u003cp>Things that constitute the majority of my mail: Trader Joe’s \u003ci>Fearless Flyers\u003c/i>, credit card offers, Golden Gate Bridge toll invoices, and DirecTV bills for that guy who lived here two tenants ago. Then, one day, a card. Ahh… the joy of getting a card in the mail! Don’t you want to bring that kind of joy into another person’s life? San Francisco Center for the Book’s Holiday Fair has your back. The eighteen-year-old SFCB moved to a 7,000-square-foot space — around the corner from its old address — last year and houses pretty much all things book-related. The Holiday Fair features a wide selection of artist books, letterpress prints and cards, and other handmade ephemera. Stop by to peruse the limited-edition works by a wide variety of printers, bookbinders and artists and check out the 300+ workshops that are offered at the center each year. Note for this season: giving the gift of learning is sexy. Aim to send out a card that won’t be discarded — shoot for the stars.. or the mantle… or the fridge…\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145195\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/CofC-Artist_Judy-Stone.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/CofC-Artist_Judy-Stone-400x312.jpg\" alt=\"Artist: Judy Stone\" width=\"400\" height=\"312\" class=\"size-thumbnail wp-image-10145195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CofC-Artist_Judy-Stone-400x312.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CofC-Artist_Judy-Stone.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Judy Stone\u003c/figcaption>\u003c/figure>\n\u003ch3>Celebration of Craftswomen\u003c/h3>\n\u003ch5>Nov. 28 – Nov. 30\u003cbr>\nFort Mason’s Herbst Pavilion, San Francisco\u003cbr>\n\u003ca href=\"http://www.celebrationofcraftswomen.org/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at celebrationofcraftswomen.org\u003c/h5>\n\u003cp>If you want to set the proper tone for your holiday season, you might start by avoiding the annual “several die, dozens injured in bargain hunting stampede” tradition at big box stores this \u003ca href=\"http://www.huffingtonpost.com/2014/11/05/jcpenney-black-friday-hours-thanksgiving_n_6108204.html\" target=\"_blank\" rel=\"noopener\">\u003cdel>Thursday evening\u003c/del> \u003c/a>Black Friday. Instead, start your Thanksgiving weekend shopping in a civilized manner for distinctive gifts hand-crafted by 150 women artists. The largest and most-respected women’s arts and crafts show in the U.S., the annual Celebration of Craftswomen includes fine art, jewelry, ceramics, metal, leather, wood, glass, candles, enamel, the list goes on… New features added this year include gourmet food trucks and live craft demonstrations. While there has been no explicit talk of terrariums, this year’s event sounds like a Pinterest fantasy come true. As always, proceeds benefit The Women’s Building, \u003ca href=\"http://www.womensbuilding.org/twb/\" target=\"_blank\" rel=\"noopener\">a community center \u003c/a>that increases economic security and promotes social change to improve the status of women and girls.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145196\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/omca.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/omca-400x265.jpg\" alt=\"Friday Nights @ OMCA\" width=\"400\" height=\"265\" class=\"size-thumbnail wp-image-10145196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/omca-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/omca.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Friday Nights @ OMCA\u003c/figcaption>\u003c/figure>\n\u003ch3>Oakland Museum of California Holiday Festivities\u003c/h3>\n\u003ch5>Fridays, Nov. 28 – Dec. 19\u003cbr>\nOakland Museum of California, 1000 Oak Street, Oakland\u003cbr>\n\u003ca href=\"http://www.museumca.org/2014/friday-nights-omca-black-friday\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at museumca.org\u003c/h5>\n\u003cp>In addition to the OMCA Store, which already offers a wide selection of art prints, apparel, toys, games, home décor, artisanal jewelry, and cookbooks, the Oakland Museum of California has highjacked its “Friday Nights @ OMCA” series with a schedule of events designed to celebrate the holiday season, starting on \u003ca href=\"http://www.museumca.org/2014/friday-nights-omca-black-friday\" target=\"_blank\" rel=\"noopener\">Black Friday\u003c/a> with music, wine, and food from Off the Grid. Don’t miss the \u003ca href=\"http://www.museumca.org/2014/omca-store-holiday-trunk-show-december-5\" target=\"_blank\" rel=\"noopener\">OMCA Store Holiday Trunk Show\u003c/a> on Dec. 5 featuring work by local artisans specially curated by the museum store staff. On Dec. 12, \u003ca href=\"http://www.museumca.org/2014/omca-store-holiday-trunk-show-cca-made\" target=\"_blank\" rel=\"noopener\">CCA MADE\u003c/a> showcases work for sale by twelve California College of the Arts students. Check out the \u003ca href=\"http://www.museumca.org/2014/omca-family-diwali\" target=\"_blank\" rel=\"noopener\">Diwali celebration\u003c/a> (\u003ca href=\"http://vimeo.com/53444736\" target=\"_blank\" rel=\"noopener\">no, it’s not Indian Halloween\u003c/a>) in November and \u003ca href=\"http://www.museumca.org/2014/omca-family-drop-workshop-winterfest\" target=\"_blank\" rel=\"noopener\">WinterFest\u003c/a> in December, which explores diverse holiday traditions including Kwanzaa, Hanukkah, and Mexican Christmas.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145269\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/mercado.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/mercado.jpg\" alt=\"Promo image for El Mercado\" width=\"400\" height=\"485\" class=\"size-full wp-image-10145269\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Promo image for El Mercado\u003c/figcaption>\u003c/figure>\n\u003ch3>El Mercado\u003c/h3>\n\u003ch5>Dec. 5-7\u003cbr>\nGhirardelli Square, San Francisco\u003cbr>\n\u003ca href=\"http://www.elmercadosf.com/index.php\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at elmercadosf.com\u003c/h5>\n\u003cp>La Cocina and Do415 join forces to provide food, merch and entertainment for this holiday pop-up right in the heart of S.F.’s tourist territory. Featuring 20 food vendors and 40 DIY artisans, the festival aims to “focus on the small businesses that underpin our economy.” But what sounds really delicious is the Friday night kick-off “O, Mole Night” dinner, featuring James Beard Award winner and \u003ci>Top Chef\u003c/i> contestant Traci des Jardins and host of other high-profile chefs serving up every kind of mole sauce imaginable. The mercado closes out on Sunday with the La Tamalada Cooking Class. Learn to make tamales from the best, including Alicia Villanueva, Dilsa Lugo, Guadalupe Guerrero, and Isabel Pazos. Shop and play for the rest of the fest while a host of local indie bands provide the holiday soundtrack — curated by our pals at Noise Pop.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145197\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/wcc.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/wcc-400x400.jpg\" alt=\"Herbst Pavilion \" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10145197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/wcc-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/wcc-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/wcc-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/wcc-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/wcc-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/wcc-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/wcc.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Herbst Pavilion\u003c/figcaption>\u003c/figure>\n\u003ch3>West Coast Craft\u003c/h3>\n\u003ch5>Dec. 6-7, 10am-6pm\u003cbr>\nFort Mason’s Herbst Pavilion, San Francisco\u003cbr>\n\u003ca href=\"http://westcoastcraft.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at westcoastcraft.com\u003c/h5>\n\u003cp>The West Coast Craft fair distinguishes itself by carefully selecting designers, artists and craftspeople who reflect the mood and aesthetics of the West Coast lifestyle. You’ll see familiar locals such as \u003ca href=\"http://taylorstitch.com/\" target=\"_blank\" rel=\"noopener\">Taylor Stitch \u003c/a> and \u003ca href=\"http://www.fourbarrelcoffee.com/\" target=\"_blank\" rel=\"noopener\">Four Barrel\u003c/a>, alongside Inner Richmond favorites \u003ca href=\"http://www.foggy-notion.com/\" target=\"_blank\" rel=\"noopener\">Foggy Notion\u003c/a> and pretty-little-things-paradise \u003ca href=\"http://gravelandgold.com/\" target=\"_blank\" rel=\"noopener\">Gravel & Gold\u003c/a>. Tempting as it may be, don’t limit yourself to things you can access easily year-round, this is your chance to explore goods from other parts of the west coast. Get your rain (fingers crossed) jackets from Portland’s \u003ca href=\"http://www.otterwax.com/\" target=\"_blank\" rel=\"noopener\">Otter Wax\u003c/a> and bring some character to your living room with Eric Trine’s \u003ca href=\"http://erictrine.com/\" target=\"_blank\" rel=\"noopener\">home furnishings\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145198\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/sfbazaar.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/sfbazaar-400x300.jpg\" alt=\"S.F. Bazaar\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10145198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/sfbazaar-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/sfbazaar.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">S.F. Bazaar\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Bazaar Holiday Show\u003c/h3>\n\u003ch5>Dec. 13-14, 11am-6pm\u003cbr>\nFort Mason’s Herbst Pavilion, San Francisco\u003cbr>\n\u003ca href=\"http://sanfranciscobazaar.org/shows/holidayshow/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at sanfranciscobazaar.org\u003c/h5>\n\u003cp>San Francisco Bazaar, formerly Bazaar Bizarre, comes to Fort Mason to close out a busy shopping season, filling up Herbst Pavilion with over 150 artisans from the Bay Area (“it’s by locals for locals,” people) one last time before 2015. If you’ve been procrastinating this long, you’re surely not alone, but don’t resign yourself to that Cheesecake Factory gift card you picked up by at the Safeway check out — it doesn’t need to end like that. Get to the Bazaar early; the first 200 visitors at the door each day will be rewarded with an art print and a limited-edition tote. Free DIY workshops will take place throughout the weekend with The DJ Project and DJ Questosahn providing beats to fuel your creative endeavors. And the free goodies don’t stop there; there are free snaps by \u003ca href=\"http://www.magbooth.com/\" target=\"_blank\" rel=\"noopener\">Magnolia Photo Booth Co.\u003c/a> and a “Crafty Raffle” is scheduled to take place at some point during the festivities.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145199\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/craneway-pavillion.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/craneway-pavillion-400x258.jpg\" alt=\"Craneway Pavilion \" width=\"400\" height=\"258\" class=\"size-thumbnail wp-image-10145199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/craneway-pavillion-400x258.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/craneway-pavillion.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Craneway Pavilion\u003c/figcaption>\u003c/figure>\n\u003ch3>KPFA Crafts Fair\u003c/h3>\n\u003ch5>Dec. 20-21, 10am-5pm\u003cbr>\nCraneway Pavilion, Richmond\u003cbr>\n\u003ca href=\"http://www.kpfa.org/craftsfair/index.html\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at kpfa.org\u003c/h5>\n\u003cp>Berkeley public radio station KPFA returns 44-year-old annual Crafts Fair to the East Bay this year (after spending 19 years in S.F.). A juried vetting process that prioritizes originality and a high level of craft ensures a wide array of quality exhibitors at the show. The fair continues to provide the community with reliable gift options, featuring 200 artists and designers who produce one-of-a-kind, handmade and limited-edition goods in a wide variety of media. The Fair’s \u003ca href=\"http://www.craneway.com/\" target=\"_blank\" rel=\"noopener\">new venue\u003c/a>, Richmond’s Craneway Pavilion was originally a Ford Motor plant before it was transformed in WWII for the war effort. End your shopping season by supporting a beloved local radio station and finding the right gift for that final person on your list.\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "A Bay Area holiday art and craft festival guide for unique gifts, including THIS WEEKEND's popular Renegade Craft Fair as well as newcomer West Coast Craft and a whole mess of shopping goodness in between.",
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"title": "Trade Cash for Craft: Find the Perfect Gift at These 11 Holiday Art Events | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yup. It’s that time again. The decorations on our Starbucks cups and rising anxiety levels confirm it: holiday season is upon us. Before you start to stress, check out this handy guide for finding unique, handmade gifts for everyone on your holiday gift list — including yourself. We feature familiar favorites (with new names), as well as up-and-coming newbies, and most everything in between. Happy shopping!\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145188\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/renegadecraft.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/renegadecraft-400x400.jpg\" alt=\"SF Winter 2013 Renegade Craft Fair by Sarah Deragon\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10145188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/renegadecraft-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/renegadecraft-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/renegadecraft-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/renegadecraft-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/renegadecraft-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/renegadecraft-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/renegadecraft.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF Winter 2013 Renegade Craft Fair by Sarah Deragon\u003c/figcaption>\u003c/figure>\n\u003ch3>Renegade Craft Fair\u003c/h3>\n\u003ch5>Nov. 8-9\u003cbr>\nFort Mason’s Festival Pavilion, San Francisco\u003cbr>\n\u003ca title=\"Renegade Craft\" href=\"http://www.renegadecraft.com/sanfrancisco-november-market-details\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at renegadecraft.com\u003c/h5>\n\u003cp>The granddaddy of all indie craft fairs, the Renegade Craft Fair returns to San Francisco this weekend and will likely continue to dazzle with over 300 makers, enough food options to make Costco jealous, and \u003ca href=\"http://www.yellowleafhammocks.com/\" target=\"_blank\" rel=\"noopener\">hammocks\u003c/a>, which should come in handy after all the shopping and grub. The offerings encompass everything from Pendleton-esque pillows by \u003ca href=\"http://www.barringtonblue.com\" target=\"_blank\" rel=\"noopener\">Barrington Blue\u003c/a> to Claire Vivier-style clutches by \u003ca href=\"http://www.minniegeorge.com/\" target=\"_blank\" rel=\"noopener\">Minnie + George\u003c/a>, one-of-a-kind jewelry and cards, and of course, TERRARIUMS. Fortunately, event sponsors Square and Shyp are prepared to help you with your spending-and-sending needs — stop by the Shyp booth to mail gifts straight from the fair and use enter the code RENEGADE14 into the app to get a $10 shipping credit. Pretty solid. Be sure to commemorate all of your accomplishments at the end of the day with a free photo shoot courtesy of the Magnolia Photo Booth Co.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145268\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/jackofalltrades.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/jackofalltrades.jpg\" alt=\"Courtesy Jack of All Trades website.\" width=\"400\" height=\"483\" class=\"size-full wp-image-10145268\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy Jack of All Trades website.\u003c/figcaption>\u003c/figure>\n\u003ch3>Jack of All Trades Market\u003c/h3>\n\u003ch5>Nov. 8, 11-5pm\u003cbr>\nJack London Square, Oakland\u003cbr>\n\u003ca href=\"http://www.jackofalltradesoakland.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at jackofalltradesoakland.com\u003c/h5>\n\u003cp>The second Saturday of each month, the Jack of All Trades Market features loads of local goodness, including over 100 makers and artists, food start-ups and food trucks, and numerous DIY workshops like the sure-to-be-popular — wait for it — “make your own terrarium.” Take advantage of free performances by local bands, street dancers and musicians as you peruse the vintage clothes and antiques on display. The event is pet friendly, so feel free to bring your dog, cat, rat, or \u003ca href=\"https://www.youtube.com/watch?v=D85yrIgA4Nk\" target=\"_blank\" rel=\"noopener\">all of the above\u003c/a>. If you’re coming over from San Francisco, consider taking a ferry from the Ferry Building — grab a little \u003ca href=\"http://www.cowgirlcreamery.com/san-francisco-ferry-building-cheese-shop\" target=\"_blank\" rel=\"noopener\">cheese from Cowgirl Creamery\u003c/a> and some \u003ca href=\"http://www.acmebread.com/locations\" target=\"_blank\" rel=\"noopener\">Acme bread\u003c/a> to snack on as you’re whisked across the bay and dropped off right at Jack London Square.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145191\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/thelab.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/thelab-400x324.jpg\" alt=\"Zoë Yuristy, <i>A Chance Shot</i>, From the <i>After William Notman</i> series \" width=\"400\" height=\"324\" class=\"size-thumbnail wp-image-10145191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/thelab-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/thelab.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zoë Yuristy,\u003cbr>\u003ci>A Chance Shot\u003c/i>,\u003cbr>From the \u003ci>After William Notman\u003c/i> series\u003c/figcaption>\u003c/figure>\n\u003ch3>The Lab’s 24-Hour Telethon\u003c/h3>\n\u003ch5>Nov. 15-16, 12pm to 12pm\u003cbr>\nThe Lab, 2948 16th Street, San Francisco\u003cbr>\n\u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> at thelab.org\u003c/h5>\n\u003cp>If we’re being totally honest, the majority of us can probably admit that gift shopping goes something like, “one for you, one for me, another one for me…” So thankfully The Lab is here to help you create a little more balance in that equation. The experimental art and music venue is ending its Kickstarter campaign with a \u003ca href=\"https://www.kickstarter.com/projects/buildthelab/build-the-lab?ref=nav_search\" target=\"_blank\" rel=\"noopener\">24-hour live telethon\u003c/a> to gather money to finish renovations and — if they reach 150K — fund a program of new commissions by local and international artists and musicians in 2015. This is something we want, people. Help build The Lab by making a tax-deductible donation, and be rewarded in a variety of ways: singing telegram, seat at the telethon, use of the space for your own purpose, or — the old public media favorite — a tote bag! As with all things, the size of your reward is dependent on how much you give. How rewarding will it be to support vibrant new arts programming in a venerable old space?\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145193\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/3rdonthird.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/3rdonthird-400x296.jpg\" alt=\"Mural at Third and Palou by artist Bryana Fleming\" width=\"400\" height=\"296\" class=\"size-thumbnail wp-image-10145193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/3rdonthird-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/3rdonthird.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mural at Third and Palou by artist Bryana Fleming\u003c/figcaption>\u003c/figure>\n\u003ch3>“3rd on Third” Holiday Market\u003c/h3>\n\u003ch5>Nov. 21, 5pm-8pm\u003cbr>\n3rd Street and Newcomb Ave., San Francisco\u003cbr>\n\u003ca title=\"3rd on third\" href=\"http://www.3rdonthird.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at 3rdonthird.com\u003c/h5>\n\u003cp>Once each month, \u003ci>3rd on Third\u003c/i> throws a block party in the Bayview/Hunters Point district. (October’s event included a haunted house, a trick-or-treat trail and a Michael Jackson \u003ci>Thriller\u003c/i> Extravaganza.) November’s edition is a holiday street fair and block party featuring locally made gifts, food vendors and the annual Community Tree Lighting at the Bayview Opera House (\u003ca href=\"http://www.bvoh.org/aboutUs/index.shtml\" target=\"_blank\" rel=\"noopener\">the city’s oldest theater\u003c/a>).\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145194\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/sfcenterbook.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/sfcenterbook-400x300.jpg\" alt=\"Sf Center for the Book Fair\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10145194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/sfcenterbook-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/sfcenterbook.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sf Center for the Book Holiday Fair\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Center for the Book’s Holiday Fair\u003c/h3>\n\u003ch5>Nov. 22, 11am-6pm\u003cbr>\nSan Francisco Center for the Book, 375 Rhode Island Street, San Francsico\u003cbr>\n\u003ca href=\"https://sfcb.org/node/212\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at sfcb.org\u003c/h5>\n\u003cp>Things that constitute the majority of my mail: Trader Joe’s \u003ci>Fearless Flyers\u003c/i>, credit card offers, Golden Gate Bridge toll invoices, and DirecTV bills for that guy who lived here two tenants ago. Then, one day, a card. Ahh… the joy of getting a card in the mail! Don’t you want to bring that kind of joy into another person’s life? San Francisco Center for the Book’s Holiday Fair has your back. The eighteen-year-old SFCB moved to a 7,000-square-foot space — around the corner from its old address — last year and houses pretty much all things book-related. The Holiday Fair features a wide selection of artist books, letterpress prints and cards, and other handmade ephemera. Stop by to peruse the limited-edition works by a wide variety of printers, bookbinders and artists and check out the 300+ workshops that are offered at the center each year. Note for this season: giving the gift of learning is sexy. Aim to send out a card that won’t be discarded — shoot for the stars.. or the mantle… or the fridge…\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145195\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/CofC-Artist_Judy-Stone.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/CofC-Artist_Judy-Stone-400x312.jpg\" alt=\"Artist: Judy Stone\" width=\"400\" height=\"312\" class=\"size-thumbnail wp-image-10145195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CofC-Artist_Judy-Stone-400x312.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CofC-Artist_Judy-Stone.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Judy Stone\u003c/figcaption>\u003c/figure>\n\u003ch3>Celebration of Craftswomen\u003c/h3>\n\u003ch5>Nov. 28 – Nov. 30\u003cbr>\nFort Mason’s Herbst Pavilion, San Francisco\u003cbr>\n\u003ca href=\"http://www.celebrationofcraftswomen.org/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at celebrationofcraftswomen.org\u003c/h5>\n\u003cp>If you want to set the proper tone for your holiday season, you might start by avoiding the annual “several die, dozens injured in bargain hunting stampede” tradition at big box stores this \u003ca href=\"http://www.huffingtonpost.com/2014/11/05/jcpenney-black-friday-hours-thanksgiving_n_6108204.html\" target=\"_blank\" rel=\"noopener\">\u003cdel>Thursday evening\u003c/del> \u003c/a>Black Friday. Instead, start your Thanksgiving weekend shopping in a civilized manner for distinctive gifts hand-crafted by 150 women artists. The largest and most-respected women’s arts and crafts show in the U.S., the annual Celebration of Craftswomen includes fine art, jewelry, ceramics, metal, leather, wood, glass, candles, enamel, the list goes on… New features added this year include gourmet food trucks and live craft demonstrations. While there has been no explicit talk of terrariums, this year’s event sounds like a Pinterest fantasy come true. As always, proceeds benefit The Women’s Building, \u003ca href=\"http://www.womensbuilding.org/twb/\" target=\"_blank\" rel=\"noopener\">a community center \u003c/a>that increases economic security and promotes social change to improve the status of women and girls.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145196\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/omca.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/omca-400x265.jpg\" alt=\"Friday Nights @ OMCA\" width=\"400\" height=\"265\" class=\"size-thumbnail wp-image-10145196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/omca-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/omca.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Friday Nights @ OMCA\u003c/figcaption>\u003c/figure>\n\u003ch3>Oakland Museum of California Holiday Festivities\u003c/h3>\n\u003ch5>Fridays, Nov. 28 – Dec. 19\u003cbr>\nOakland Museum of California, 1000 Oak Street, Oakland\u003cbr>\n\u003ca href=\"http://www.museumca.org/2014/friday-nights-omca-black-friday\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at museumca.org\u003c/h5>\n\u003cp>In addition to the OMCA Store, which already offers a wide selection of art prints, apparel, toys, games, home décor, artisanal jewelry, and cookbooks, the Oakland Museum of California has highjacked its “Friday Nights @ OMCA” series with a schedule of events designed to celebrate the holiday season, starting on \u003ca href=\"http://www.museumca.org/2014/friday-nights-omca-black-friday\" target=\"_blank\" rel=\"noopener\">Black Friday\u003c/a> with music, wine, and food from Off the Grid. Don’t miss the \u003ca href=\"http://www.museumca.org/2014/omca-store-holiday-trunk-show-december-5\" target=\"_blank\" rel=\"noopener\">OMCA Store Holiday Trunk Show\u003c/a> on Dec. 5 featuring work by local artisans specially curated by the museum store staff. On Dec. 12, \u003ca href=\"http://www.museumca.org/2014/omca-store-holiday-trunk-show-cca-made\" target=\"_blank\" rel=\"noopener\">CCA MADE\u003c/a> showcases work for sale by twelve California College of the Arts students. Check out the \u003ca href=\"http://www.museumca.org/2014/omca-family-diwali\" target=\"_blank\" rel=\"noopener\">Diwali celebration\u003c/a> (\u003ca href=\"http://vimeo.com/53444736\" target=\"_blank\" rel=\"noopener\">no, it’s not Indian Halloween\u003c/a>) in November and \u003ca href=\"http://www.museumca.org/2014/omca-family-drop-workshop-winterfest\" target=\"_blank\" rel=\"noopener\">WinterFest\u003c/a> in December, which explores diverse holiday traditions including Kwanzaa, Hanukkah, and Mexican Christmas.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145269\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/mercado.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/mercado.jpg\" alt=\"Promo image for El Mercado\" width=\"400\" height=\"485\" class=\"size-full wp-image-10145269\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Promo image for El Mercado\u003c/figcaption>\u003c/figure>\n\u003ch3>El Mercado\u003c/h3>\n\u003ch5>Dec. 5-7\u003cbr>\nGhirardelli Square, San Francisco\u003cbr>\n\u003ca href=\"http://www.elmercadosf.com/index.php\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at elmercadosf.com\u003c/h5>\n\u003cp>La Cocina and Do415 join forces to provide food, merch and entertainment for this holiday pop-up right in the heart of S.F.’s tourist territory. Featuring 20 food vendors and 40 DIY artisans, the festival aims to “focus on the small businesses that underpin our economy.” But what sounds really delicious is the Friday night kick-off “O, Mole Night” dinner, featuring James Beard Award winner and \u003ci>Top Chef\u003c/i> contestant Traci des Jardins and host of other high-profile chefs serving up every kind of mole sauce imaginable. The mercado closes out on Sunday with the La Tamalada Cooking Class. Learn to make tamales from the best, including Alicia Villanueva, Dilsa Lugo, Guadalupe Guerrero, and Isabel Pazos. Shop and play for the rest of the fest while a host of local indie bands provide the holiday soundtrack — curated by our pals at Noise Pop.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145197\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/wcc.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/wcc-400x400.jpg\" alt=\"Herbst Pavilion \" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10145197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/wcc-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/wcc-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/wcc-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/wcc-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/wcc-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/wcc-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/wcc.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Herbst Pavilion\u003c/figcaption>\u003c/figure>\n\u003ch3>West Coast Craft\u003c/h3>\n\u003ch5>Dec. 6-7, 10am-6pm\u003cbr>\nFort Mason’s Herbst Pavilion, San Francisco\u003cbr>\n\u003ca href=\"http://westcoastcraft.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at westcoastcraft.com\u003c/h5>\n\u003cp>The West Coast Craft fair distinguishes itself by carefully selecting designers, artists and craftspeople who reflect the mood and aesthetics of the West Coast lifestyle. You’ll see familiar locals such as \u003ca href=\"http://taylorstitch.com/\" target=\"_blank\" rel=\"noopener\">Taylor Stitch \u003c/a> and \u003ca href=\"http://www.fourbarrelcoffee.com/\" target=\"_blank\" rel=\"noopener\">Four Barrel\u003c/a>, alongside Inner Richmond favorites \u003ca href=\"http://www.foggy-notion.com/\" target=\"_blank\" rel=\"noopener\">Foggy Notion\u003c/a> and pretty-little-things-paradise \u003ca href=\"http://gravelandgold.com/\" target=\"_blank\" rel=\"noopener\">Gravel & Gold\u003c/a>. Tempting as it may be, don’t limit yourself to things you can access easily year-round, this is your chance to explore goods from other parts of the west coast. Get your rain (fingers crossed) jackets from Portland’s \u003ca href=\"http://www.otterwax.com/\" target=\"_blank\" rel=\"noopener\">Otter Wax\u003c/a> and bring some character to your living room with Eric Trine’s \u003ca href=\"http://erictrine.com/\" target=\"_blank\" rel=\"noopener\">home furnishings\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145198\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/sfbazaar.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/sfbazaar-400x300.jpg\" alt=\"S.F. Bazaar\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10145198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/sfbazaar-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/sfbazaar.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">S.F. Bazaar\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Bazaar Holiday Show\u003c/h3>\n\u003ch5>Dec. 13-14, 11am-6pm\u003cbr>\nFort Mason’s Herbst Pavilion, San Francisco\u003cbr>\n\u003ca href=\"http://sanfranciscobazaar.org/shows/holidayshow/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at sanfranciscobazaar.org\u003c/h5>\n\u003cp>San Francisco Bazaar, formerly Bazaar Bizarre, comes to Fort Mason to close out a busy shopping season, filling up Herbst Pavilion with over 150 artisans from the Bay Area (“it’s by locals for locals,” people) one last time before 2015. If you’ve been procrastinating this long, you’re surely not alone, but don’t resign yourself to that Cheesecake Factory gift card you picked up by at the Safeway check out — it doesn’t need to end like that. Get to the Bazaar early; the first 200 visitors at the door each day will be rewarded with an art print and a limited-edition tote. Free DIY workshops will take place throughout the weekend with The DJ Project and DJ Questosahn providing beats to fuel your creative endeavors. And the free goodies don’t stop there; there are free snaps by \u003ca href=\"http://www.magbooth.com/\" target=\"_blank\" rel=\"noopener\">Magnolia Photo Booth Co.\u003c/a> and a “Crafty Raffle” is scheduled to take place at some point during the festivities.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10145199\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/craneway-pavillion.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/craneway-pavillion-400x258.jpg\" alt=\"Craneway Pavilion \" width=\"400\" height=\"258\" class=\"size-thumbnail wp-image-10145199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/craneway-pavillion-400x258.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/craneway-pavillion.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Craneway Pavilion\u003c/figcaption>\u003c/figure>\n\u003ch3>KPFA Crafts Fair\u003c/h3>\n\u003ch5>Dec. 20-21, 10am-5pm\u003cbr>\nCraneway Pavilion, Richmond\u003cbr>\n\u003ca href=\"http://www.kpfa.org/craftsfair/index.html\" target=\"_blank\" rel=\"noopener\">More information\u003c/a> at kpfa.org\u003c/h5>\n\u003cp>Berkeley public radio station KPFA returns 44-year-old annual Crafts Fair to the East Bay this year (after spending 19 years in S.F.). A juried vetting process that prioritizes originality and a high level of craft ensures a wide array of quality exhibitors at the show. The fair continues to provide the community with reliable gift options, featuring 200 artists and designers who produce one-of-a-kind, handmade and limited-edition goods in a wide variety of media. The Fair’s \u003ca href=\"http://www.craneway.com/\" target=\"_blank\" rel=\"noopener\">new venue\u003c/a>, Richmond’s Craneway Pavilion was originally a Ford Motor plant before it was transformed in WWII for the war effort. End your shopping season by supporting a beloved local radio station and finding the right gift for that final person on your list.\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/balance/\">\u003cbr>\nEvent Information\u003c/a>\u003c/h3>\n\u003ch4>‘Balance’\u003c/h4>\n\u003cdiv class=\"event-desc\">New work by street artists Chor Boogie and Jet Martinez.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Nov. 7, 2014-Jan. 3, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">111 Minna Gallery\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/balance/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Even if you’re not looking for it, chances are you’ve seen the art of Chor Boogie and Jet Martinez around. The two friends, active street artists, have work \u003ca href=\"https://c1.staticflickr.com/3/2684/4393345939_d185a613eb_b.jpg\" target=\"_blank\" rel=\"noopener\">along Market Street\u003c/a>, on storefronts \u003ca href=\"https://33.media.tumblr.com/14faeee5d2a6770db6de9f39ff5290f8/tumblr_ncncj1Fz9c1tf5l11o1_500.jpg\" target=\"_blank\" rel=\"noopener\">in Oakland\u003c/a> and \u003ca href=\"https://hoodline.com/2014/05/jet-martinez-mural-in-the-works-at-fluevog\" target=\"_blank\" rel=\"noopener\">the Haight\u003c/a>, and in \u003ca href=\"https://www.facebook.com/pages/Clarion-Alley-Mural-Project/127102311571\" target=\"_blank\" rel=\"noopener\">Clarion Alley\u003c/a> in the Mission—to name just a few.\u003c/p>\n\u003cp>But this weekend, the duo aim their brushes and aerosol cans toward canvas instead of concrete in a gallery show at 111 Minna titled \u003cem>Balance\u003c/em>. The title refers to a balance between street painting and gallery work as much as it hints to new directions for both artists.\u003c/p>\n\u003cfigure id=\"attachment_10145224\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10145224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Light-Purple-680x948-400x557.jpg\" alt=\"“Light Purple” by Chor Boogie, aerosol enamel on canvas, 2014\" width=\"400\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Light-Purple-680x948-400x557.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Light-Purple-680x948-430x600.jpg 430w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Light-Purple-680x948.jpg 680w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Light Purple” by Chor Boogie, aerosol enamel on canvas, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>“People do know me for using mass amounts of color on murals,” says Chor, 35, on the phone last week. But after painting on the street for 25 years, “with these canvas works, there’s color, but there’s a lot of white, light space within all these pieces.”\u003c/p>\n\u003cp>Across 15 portrait-based pieces, including some based on photographs of his wife in Virgin Mary-like poses, Chor’s new style incorporates far more negative space and light than his followers might be used to. It’s a new direction that he credits to an experience earlier this year with Iboga, in Costa Rica, which made him “more tuned in with the love aspect” of life.\u003c/p>\n\u003cp>“These works are a more simplistic approach,” Chor says, “and I plan on incorporating this in other works as well. I’ve tried the other approach for years, and it’s time for a change.”\u003c/p>\n\u003cfigure id=\"attachment_10145225\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10145225\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Te-Amo_Jet_24x20-680x810-400x476.jpg\" alt=\"“Te Amo” by Jet Martinez, mixed-media on panel, 2014\" width=\"400\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Te-Amo_Jet_24x20-680x810-400x476.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Te-Amo_Jet_24x20-680x810-503x600.jpg 503w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Te-Amo_Jet_24x20-680x810.jpg 680w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Te Amo” by Jet Martinez, mixed-media on panel, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>As for Martinez, his 20 new works in \u003cem>Balance\u003c/em> contain “ a lot of closed-in feeling, a lot of filled-in space,” he tells me. Drawing inspiration from lacquered plates in Michocán and other folk art of Mexico, where he was born, his paintings appear like smaller swatches of a larger textile, replete with tight, colorful flowers and vibrant backgrounds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It used to be that I pushed new themes with murals, and then I’d catch up in the paintings,” Martinez says of the relationship between working on sidewalks and laboring in the studio. That started to change when he began accepting commissions from people and companies who specifically wanted his signature style on their buildings and storefronts. “Now, it’s studio work where I’m pushing new things,” the 41 year-old Oakland resident adds. “I can be more experimental.”\u003c/p>\n\u003cp>After seven years of knowing each other and working around the Bay Area, this is Chor and Martinez’s first show together; the opening night at 111 Minna on Nov. 7 features a burlesque show from Leila Bizzani and Lady Eternal Love, as BAST, in collaboration with Chor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Naturally, the burlesque performance itself is “experimental,” too. Says Chor, “\u003cem>Everything\u003c/em> is experimental. That’s not gonna stop.”\u003c/p>\n\u003cfigure id=\"attachment_10145226\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145226\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/3_BAST_Image1.jpg\" alt=\"BAST's live burlesque performers (in collaboration with Chor Boogie).\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/3_BAST_Image1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/3_BAST_Image1-400x266.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">BAST’s live burlesque performers (in collaboration with Chor Boogie).\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/balance/\">\u003cbr>\nEvent Information\u003c/a>\u003c/h3>\n\u003ch4>‘Balance’\u003c/h4>\n\u003cdiv class=\"event-desc\">New work by street artists Chor Boogie and Jet Martinez.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Nov. 7, 2014-Jan. 3, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">111 Minna Gallery\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/balance/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Even if you’re not looking for it, chances are you’ve seen the art of Chor Boogie and Jet Martinez around. The two friends, active street artists, have work \u003ca href=\"https://c1.staticflickr.com/3/2684/4393345939_d185a613eb_b.jpg\" target=\"_blank\" rel=\"noopener\">along Market Street\u003c/a>, on storefronts \u003ca href=\"https://33.media.tumblr.com/14faeee5d2a6770db6de9f39ff5290f8/tumblr_ncncj1Fz9c1tf5l11o1_500.jpg\" target=\"_blank\" rel=\"noopener\">in Oakland\u003c/a> and \u003ca href=\"https://hoodline.com/2014/05/jet-martinez-mural-in-the-works-at-fluevog\" target=\"_blank\" rel=\"noopener\">the Haight\u003c/a>, and in \u003ca href=\"https://www.facebook.com/pages/Clarion-Alley-Mural-Project/127102311571\" target=\"_blank\" rel=\"noopener\">Clarion Alley\u003c/a> in the Mission—to name just a few.\u003c/p>\n\u003cp>But this weekend, the duo aim their brushes and aerosol cans toward canvas instead of concrete in a gallery show at 111 Minna titled \u003cem>Balance\u003c/em>. The title refers to a balance between street painting and gallery work as much as it hints to new directions for both artists.\u003c/p>\n\u003cfigure id=\"attachment_10145224\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10145224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Light-Purple-680x948-400x557.jpg\" alt=\"“Light Purple” by Chor Boogie, aerosol enamel on canvas, 2014\" width=\"400\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Light-Purple-680x948-400x557.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Light-Purple-680x948-430x600.jpg 430w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Light-Purple-680x948.jpg 680w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Light Purple” by Chor Boogie, aerosol enamel on canvas, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>“People do know me for using mass amounts of color on murals,” says Chor, 35, on the phone last week. But after painting on the street for 25 years, “with these canvas works, there’s color, but there’s a lot of white, light space within all these pieces.”\u003c/p>\n\u003cp>Across 15 portrait-based pieces, including some based on photographs of his wife in Virgin Mary-like poses, Chor’s new style incorporates far more negative space and light than his followers might be used to. It’s a new direction that he credits to an experience earlier this year with Iboga, in Costa Rica, which made him “more tuned in with the love aspect” of life.\u003c/p>\n\u003cp>“These works are a more simplistic approach,” Chor says, “and I plan on incorporating this in other works as well. I’ve tried the other approach for years, and it’s time for a change.”\u003c/p>\n\u003cfigure id=\"attachment_10145225\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10145225\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Te-Amo_Jet_24x20-680x810-400x476.jpg\" alt=\"“Te Amo” by Jet Martinez, mixed-media on panel, 2014\" width=\"400\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Te-Amo_Jet_24x20-680x810-400x476.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Te-Amo_Jet_24x20-680x810-503x600.jpg 503w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Te-Amo_Jet_24x20-680x810.jpg 680w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Te Amo” by Jet Martinez, mixed-media on panel, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>As for Martinez, his 20 new works in \u003cem>Balance\u003c/em> contain “ a lot of closed-in feeling, a lot of filled-in space,” he tells me. Drawing inspiration from lacquered plates in Michocán and other folk art of Mexico, where he was born, his paintings appear like smaller swatches of a larger textile, replete with tight, colorful flowers and vibrant backgrounds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It used to be that I pushed new themes with murals, and then I’d catch up in the paintings,” Martinez says of the relationship between working on sidewalks and laboring in the studio. That started to change when he began accepting commissions from people and companies who specifically wanted his signature style on their buildings and storefronts. “Now, it’s studio work where I’m pushing new things,” the 41 year-old Oakland resident adds. “I can be more experimental.”\u003c/p>\n\u003cp>After seven years of knowing each other and working around the Bay Area, this is Chor and Martinez’s first show together; the opening night at 111 Minna on Nov. 7 features a burlesque show from Leila Bizzani and Lady Eternal Love, as BAST, in collaboration with Chor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Naturally, the burlesque performance itself is “experimental,” too. Says Chor, “\u003cem>Everything\u003c/em> is experimental. That’s not gonna stop.”\u003c/p>\n\u003cfigure id=\"attachment_10145226\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145226\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/3_BAST_Image1.jpg\" alt=\"BAST's live burlesque performers (in collaboration with Chor Boogie).\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/3_BAST_Image1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/3_BAST_Image1-400x266.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">BAST’s live burlesque performers (in collaboration with Chor Boogie).\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>KQED’s own Kristin Farr leads several parallel lives. Not only is she the founder and co-producer of \u003cem>Art School\u003c/em> but she is also a successful journalist and artist. She regularly interviews artists for the art magazine Juxtapoz and has shown her paintings, sculptures, digital art, murals, and animations all over the Bay Area. Recently she has even done some public art projects overseas.\u003c/p>\n\u003cp>Her current artistic obsession is colorful, painted geometric designs that she calls \u003cem>Magic Hecksagons. \u003c/em>Inspired by traditional art forms and vibrant, neon colors of the '80s that she grew up with, Kristin explores a legacy of folk art infused with her own contemporary viewpoint.\u003c/p>\n\u003cp>In this episode of Art School we hang out with Farr in her Richmond studio as she works on a new painting. Spinning a web of colors from her paint brush, she discusses how she explores ideas about comfort, nostalgia, color psychology and folk magic through her art.\u003c/p>\n\u003cp>After you’re hypnotized and energized by the bright colors, follow along with Kristin as she walks you through how to create your own \u003cem>Magic Hecksagon\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9gpnmZc7F9M&feature=youtu.be\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Look out for Kristin's public art if you live here in the Bay Area or collaborate with her anytime via her iOS app #FarrOut.\u003c/p>\n\n",
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"excerpt": "KQED’s own Kristin Farr leads several alternate lives. Not only is she the founder and co-producer of Art School but she is also a successful journalist and artist. Her current artistic obsession is colorful, painted geometric designs that she calls 'Magic Hecksagons'. Inspired by traditional art forms and vibrant, neon colors of the '80s that she grew up with, Kristin explores a legacy of folk art infused with her own contemporary viewpoint.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>KQED’s own Kristin Farr leads several parallel lives. Not only is she the founder and co-producer of \u003cem>Art School\u003c/em> but she is also a successful journalist and artist. She regularly interviews artists for the art magazine Juxtapoz and has shown her paintings, sculptures, digital art, murals, and animations all over the Bay Area. Recently she has even done some public art projects overseas.\u003c/p>\n\u003cp>Her current artistic obsession is colorful, painted geometric designs that she calls \u003cem>Magic Hecksagons. \u003c/em>Inspired by traditional art forms and vibrant, neon colors of the '80s that she grew up with, Kristin explores a legacy of folk art infused with her own contemporary viewpoint.\u003c/p>\n\u003cp>In this episode of Art School we hang out with Farr in her Richmond studio as she works on a new painting. Spinning a web of colors from her paint brush, she discusses how she explores ideas about comfort, nostalgia, color psychology and folk magic through her art.\u003c/p>\n\u003cp>After you’re hypnotized and energized by the bright colors, follow along with Kristin as she walks you through how to create your own \u003cem>Magic Hecksagon\u003c/em>.\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/9gpnmZc7F9M'\n title='//www.youtube.com/embed/9gpnmZc7F9M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Look out for Kristin's public art if you live here in the Bay Area or collaborate with her anytime via her iOS app #FarrOut.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Alien She' Exhibit Explores the Connection Between Punk Rock and Fine Art",
"headTitle": "‘Alien She’ Exhibit Explores the Connection Between Punk Rock and Fine Art | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/alien-she/\">\u003cbr>\nEvent Information\u003c/a>\u003c/h3>\n\u003ch4>‘Alien She’\u003c/h4>\n\u003cdiv class=\"event-desc\">Exhibition on riot grrrl’s impact.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 24, 2014-Jan. 25, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Yerba Buena Center for the Arts\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/alien-she/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Even with icons like Lydia Lunch, Crass’ Eve Libertine and Chumbawamba’s Alice Nutter (among many others), the rebellious genre of punk rock was due for its own feminist revolt by the late 1980s. The machismo of Glenn Danzig, Henry Rollins and GG Allin still defined much of the punk scene, but the misty Pacific Northwest offered an antidote in the form of the burgeoning riot grrrl movement. Olympia-based Bikini Kill has become the most well known band from this era, but their predecessors date from the early days of punk and their contemporaries stretched across the globe.\u003c/p>\n\u003cp>The influence of riot grrrl is far reaching throughout both subcultures and popular society. Feminist and queer politics, DIY, zine making, and other forms of democratic and radical expression were at the core of riot grrrl and offered an outlet or a new way of thinking for many who came of age in the 1990s and later. \u003cstrong>Alien She\u003c/strong>, on view at the Yerba Buena Center for the Arts, explores the relationship between riot grrrl and seven active visual artists: Tammy Rae Carland, Miranda July, Faythe Levine, Allyson Mitchell, L.J. Roberts, Stephanie Syjuco, and Ginger Brooks Takashi.\u003c/p>\n\u003cfigure id=\"attachment_10144490\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/FREETEXTSStephanieSyjuco_AlienShe.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144490\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/FREETEXTSStephanieSyjuco_AlienShe.jpg\" alt=\"Stephanie Syjuco. <i>FREE TEXTS</i>, 2011-2012, updated 2013; free downloadable PDF files of texts found online and tear-off tab flyers. Courtesy of the artist and Catharine Clark Gallery.\" width=\"640\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/FREETEXTSStephanieSyjuco_AlienShe.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/FREETEXTSStephanieSyjuco_AlienShe-400x269.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephanie Syjuco. \u003ci>FREE TEXTS\u003c/i>, 2011-2012, updated 2013. Courtesy of the artist and Catharine Clark Gallery.\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area artist Stephanie Syjuco’s piece \u003cem>FREE TEXTS\u003c/em> (2011-12, updated 2013) is a wall of hundreds of black and white flyers with pull off tabs. Rather than peddling baby or dog sitting services, as such flyers commonly do, the tabs provide links to unauthorized PDF downloads of texts from authors such as Andrea Fraser, Noam Chomsky, and the San Francisco Diggers. The iteration on view in \u003cstrong>Alien She\u003c/strong> includes texts from authors that are important to the practices of the other artists in the exhibit.\u003c/p>\n\u003cp>Though clearly referencing informal neighborhood economies, the work shares a visual style with musicians-wanted ads and the simplest of show flyers. Importantly, the work itself participates in free culture and literary piracy. With the exception of those providing works that may not have copyright protection, such as Guy Debord’s “Theory of the Dérive,” each of these flyers represents a criminal act, though they are in the service of radical politics. And like all works that seem to beckon viewers to touch them without explicitly condoning it, \u003cem>FREE TEXTS\u003c/em> flaunts its mischievousness when viewers self-consciously debate whether they’re allowed to engage with the work and take a tab. Through the piece, Syjuco toys with the entire concept of a punk rock museum exhibit.\u003c/p>\n\u003cfigure id=\"attachment_10144491\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CounterfeitCrochetProjectStephanieSyjuco_AlienShe.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144491\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CounterfeitCrochetProjectStephanieSyjuco_AlienShe.jpg\" alt=\"Stephanie Syjuco. <i>The Counterfeit Crochet Project (Critique of a PoliticalEconomy)</i>, 2006-ongoing. Courtesy of the artist and Catharine Clark Gallery.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/CounterfeitCrochetProjectStephanieSyjuco_AlienShe.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/CounterfeitCrochetProjectStephanieSyjuco_AlienShe-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephanie Syjuco. \u003ci>The Counterfeit Crochet Project (Critique of a PoliticalEconomy)\u003c/i>, 2006-ongoing. Courtesy of the artist and Catharine Clark Gallery.\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, Syjuco’s \u003cem>The Counterfeit Crochet Project (Critique of a Political Economy)\u003c/em> (2006-ongoing) is accompanied by a sign warning viewers to keep their hands to themselves, as is museum tradition. The piece is comprised of several crocheted knockoffs of designer handbags, scarves, and accessories that Syjuco commissioned from various crafters. Though the objects are clearly forgeries, the ability to mimic the qualities that give these items monetary value in the marketplace is made clear. The absurdity of a $1,000 Burberry scarf is hard to ignore when confronted with the open secret that the color scheme and designs that give them so much social capital can be easily replicated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bay Area photographer Tammy Rae Carland attended The Evergreen State University in Olympia during the birth of the riot grrrl movement and was involved from the beginning. In the late 1980s, Carland formed a band with future Bikini Kill singer Kathleen Hannah and Heidi Arbogast, now a museum educator in Spokane. The band, Amy Carter, took its name from the former president’s activist daughter and was immortalized by Carland’s zine \u003cem>I (heart) Amy Carter\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10144496\" class=\"wp-caption alignright\" style=\"max-width: 375px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/LesbianBed6.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144496\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/LesbianBed6.jpg\" alt=\"Tammy Rae Carland. <i>Untitled (Lesbian Bed #6)</i>, 2002. Courtesy of the artist and Jessica Silverman Gallery.\" width=\"375\" height=\"470\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tammy Rae Carland. \u003ci>Untitled (Lesbian Bed #6)\u003c/i>, 2002. Courtesy of the artist and Jessica Silverman Gallery.\u003c/figcaption>\u003c/figure>\n\u003cp>Carland, who left Olympia to pursue an MFA at the University of California, Irvine, offers several photographic projects in \u003cstrong>Alien She\u003c/strong>. \u003cem>Untitled (Lesbian Beds)\u003c/em> (2002) is a series of portraits of lesbian couples that present only their unmade beds. The individual subjects remain unseen in each photo, but documentation of one of their most intimate spaces discloses much about them, while excluding even more. One bed is adorned with a \u003cem>Star Wars\u003c/em> comforter, a Woody Woodpecker pillow, and a \u003cem>Wizard of Oz\u003c/em> pillow. A copy of the comic \u003cem>Hothead Paisan: Homicidal Lesbian Terrorist\u003c/em> sits idly above the sea of Stormtroopers, waiting patiently for its owner to return to bed. The image suggests a couple that is playful and quite fond of popular culture. But viewers are denied many details of this couple’s life together. Their professions, their ages, their races, even their temperaments (love of Woody Woodpecker notwithstanding) are indiscernible. Viewers may see in this photo, if they chose to, a couple that is ordinary and down to earth, but as complex as any other. Whatever stereotypes might be suggested by the kitschy bedcovers — or the dirty athletic sock and Gertrude Stein book in another photo — are always out of reach, and always without confirmation or denial.\u003c/p>\n\u003cp>The work of Toronto-based Allyson Mitchell and Brooklyn-based L.J. Roberts dominate the exhibition’s main gallery. Three giant sculptures of found textiles lord over the museum in Mitchell’s installation \u003cem>Ladies Sasquatch\u003c/em> (2006-10). The big, burly sasquatches are imposing but also comical. The brawniest of the three seems to roar loudly as she squats over several adorable pink forest creatures that look slightly extraterrestrial. \u003cem>Ladies Sasquatch\u003c/em>, as with other work of Mitchell’s, is concerned with the representation of the female body and sexuality and point to a different ethos and aesthetic than mainstream consumer culture.\u003c/p>\n\u003cfigure id=\"attachment_10144492\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/LJRoberts_FaytheLevine_AlienShe.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144492\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/LJRoberts_FaytheLevine_AlienShe.jpg\" alt=\"Installation shot: Foreground: L.J. Roberts. <i>We Couldn’t Get In. We Couldn’t Get Out.</i>, 2006-2007. Midground: <i>Gay Bashers Come And Get It</i>, 2011. Courtesy of the artist.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/LJRoberts_FaytheLevine_AlienShe.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/LJRoberts_FaytheLevine_AlienShe-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation shot: Foreground: L.J. Roberts. \u003ci>We Couldn’t Get In. We Couldn’t Get Out.\u003c/i>, 2006-2007. Midground: \u003ci>Gay Bashers Come And Get It\u003c/i>, 2011. Courtesy of the artist.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Ladies Sasquatch\u003c/em> shares the room with several large knit textiles and a fence made of pink yarn from Roberts. Behind the fence, weaved and knit copies of protest banners hang on the wall, such as \u003cem>Gay Bashers Come And Get It\u003c/em> (2011), which appropriates a poster designed by Matt Height. The black and white image features a subject in a long coat confidently and defiantly holding a rifle amidst what looks like a historical protest or insurrection.\u003c/p>\n\u003cfigure id=\"attachment_10144493\" class=\"wp-caption alignright\" style=\"max-width: 391px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/momknowsnow.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10144493\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/momknowsnow-391x600.jpg\" alt=\"L.J. Roberts. Mom Knows Now, 2003. Courtesy of the artist.\" width=\"391\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/momknowsnow-391x600.jpg 391w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/momknowsnow-400x613.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/momknowsnow.jpg 640w\" sizes=\"(max-width: 391px) 100vw, 391px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L.J. Roberts. \u003ci>Mom Knows Now\u003c/i>, 2003. Courtesy of the artist.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Mom Knows Now\u003c/em> (2003) is a ten-by-fifteen foot hand-knit pink triangle emblazoned with the words “mom knows now.” In 2003, Roberts hung the banner from the chapel steeple at the University of Vermont, the artist’s undergraduate alma mater. Though younger than other artists in \u003cstrong>Alien She\u003c/strong>, and never directly involved with the riot grrrl movement, Roberts claims inspiration from the DIY and feminist ethics, as well as from Carland, who was a graduate school mentor.\u003c/p>\n\u003cp>The artwork in \u003cstrong>Alien She\u003c/strong> is accompanied with a room full of riot grrrl flyers, hundreds of zines, and a listening station. But this historical documentation is physically segregated from the artists’ work, and the two realms feel detached. The works in the exhibit deal with DIY culture as well as feminist and queer politics, but such an exhibit could exist on its own terms without the riot grrrl foundation. I don’t suggest that the curators should have abandoned the connection between the artists and riot grrrl, but I would have appreciated a deeper exploration of that connection and a more natural integration of the material culture of the movement with the fine art on display.\u003c/p>\n\u003cfigure id=\"attachment_10144495\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/ZineShelves_AlienShe_archives.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144495\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/ZineShelves_AlienShe_archives.jpg\" alt=\"A sampling of zines and distribution catalogues (1991-2013) primarily from the original riot grrrl movement.\" width=\"640\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/ZineShelves_AlienShe_archives.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/ZineShelves_AlienShe_archives-400x270.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A sampling of zines and distribution catalogues (1991-2013) primarily from the original riot grrrl movement.\u003c/figcaption>\u003c/figure>\n\u003cp>I suspect I will always feel ambivalent about punk rock’s entrée into the world of museums. While the exhibit’s listening station of curated riot grrrl playlists is fantastic, the display of zines seemed antithetical to their own democratic politics. Behind protective glass, most of the zines, save for a selection of reproductions, were out of reach for viewers and their contents concealed. This is understandable from a conservation standpoint, but therein lies an inherent contradiction with the institutionalization of an anti-institutional and iconoclastic subculture. As punk continues to age, these issues will only become more common. And I certainly appreciate the preservation and analysis of such an important historical movement. I can offer no immediate solutions to this paradox, but by emphasizing the impact of riot grrrl on artists creating radical and subversive work, \u003cstrong>Alien She\u003c/strong> does justice to the movement and honors its ethos.\u003c/p>\n\u003cp>\u003cstrong>Alien She\u003c/strong> runs through January 25, 2015 at the Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org/alien-she\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Editor’s Note: We modified this story to reflect that some of the zines have been reproduced so that they could be handled and viewed.\u003c/b>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/alien-she/\">\u003cbr>\nEvent Information\u003c/a>\u003c/h3>\n\u003ch4>‘Alien She’\u003c/h4>\n\u003cdiv class=\"event-desc\">Exhibition on riot grrrl’s impact.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 24, 2014-Jan. 25, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Yerba Buena Center for the Arts\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/alien-she/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Even with icons like Lydia Lunch, Crass’ Eve Libertine and Chumbawamba’s Alice Nutter (among many others), the rebellious genre of punk rock was due for its own feminist revolt by the late 1980s. The machismo of Glenn Danzig, Henry Rollins and GG Allin still defined much of the punk scene, but the misty Pacific Northwest offered an antidote in the form of the burgeoning riot grrrl movement. Olympia-based Bikini Kill has become the most well known band from this era, but their predecessors date from the early days of punk and their contemporaries stretched across the globe.\u003c/p>\n\u003cp>The influence of riot grrrl is far reaching throughout both subcultures and popular society. Feminist and queer politics, DIY, zine making, and other forms of democratic and radical expression were at the core of riot grrrl and offered an outlet or a new way of thinking for many who came of age in the 1990s and later. \u003cstrong>Alien She\u003c/strong>, on view at the Yerba Buena Center for the Arts, explores the relationship between riot grrrl and seven active visual artists: Tammy Rae Carland, Miranda July, Faythe Levine, Allyson Mitchell, L.J. Roberts, Stephanie Syjuco, and Ginger Brooks Takashi.\u003c/p>\n\u003cfigure id=\"attachment_10144490\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/FREETEXTSStephanieSyjuco_AlienShe.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144490\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/FREETEXTSStephanieSyjuco_AlienShe.jpg\" alt=\"Stephanie Syjuco. <i>FREE TEXTS</i>, 2011-2012, updated 2013; free downloadable PDF files of texts found online and tear-off tab flyers. Courtesy of the artist and Catharine Clark Gallery.\" width=\"640\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/FREETEXTSStephanieSyjuco_AlienShe.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/FREETEXTSStephanieSyjuco_AlienShe-400x269.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephanie Syjuco. \u003ci>FREE TEXTS\u003c/i>, 2011-2012, updated 2013. Courtesy of the artist and Catharine Clark Gallery.\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area artist Stephanie Syjuco’s piece \u003cem>FREE TEXTS\u003c/em> (2011-12, updated 2013) is a wall of hundreds of black and white flyers with pull off tabs. Rather than peddling baby or dog sitting services, as such flyers commonly do, the tabs provide links to unauthorized PDF downloads of texts from authors such as Andrea Fraser, Noam Chomsky, and the San Francisco Diggers. The iteration on view in \u003cstrong>Alien She\u003c/strong> includes texts from authors that are important to the practices of the other artists in the exhibit.\u003c/p>\n\u003cp>Though clearly referencing informal neighborhood economies, the work shares a visual style with musicians-wanted ads and the simplest of show flyers. Importantly, the work itself participates in free culture and literary piracy. With the exception of those providing works that may not have copyright protection, such as Guy Debord’s “Theory of the Dérive,” each of these flyers represents a criminal act, though they are in the service of radical politics. And like all works that seem to beckon viewers to touch them without explicitly condoning it, \u003cem>FREE TEXTS\u003c/em> flaunts its mischievousness when viewers self-consciously debate whether they’re allowed to engage with the work and take a tab. Through the piece, Syjuco toys with the entire concept of a punk rock museum exhibit.\u003c/p>\n\u003cfigure id=\"attachment_10144491\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CounterfeitCrochetProjectStephanieSyjuco_AlienShe.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144491\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CounterfeitCrochetProjectStephanieSyjuco_AlienShe.jpg\" alt=\"Stephanie Syjuco. <i>The Counterfeit Crochet Project (Critique of a PoliticalEconomy)</i>, 2006-ongoing. Courtesy of the artist and Catharine Clark Gallery.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/CounterfeitCrochetProjectStephanieSyjuco_AlienShe.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/CounterfeitCrochetProjectStephanieSyjuco_AlienShe-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephanie Syjuco. \u003ci>The Counterfeit Crochet Project (Critique of a PoliticalEconomy)\u003c/i>, 2006-ongoing. Courtesy of the artist and Catharine Clark Gallery.\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, Syjuco’s \u003cem>The Counterfeit Crochet Project (Critique of a Political Economy)\u003c/em> (2006-ongoing) is accompanied by a sign warning viewers to keep their hands to themselves, as is museum tradition. The piece is comprised of several crocheted knockoffs of designer handbags, scarves, and accessories that Syjuco commissioned from various crafters. Though the objects are clearly forgeries, the ability to mimic the qualities that give these items monetary value in the marketplace is made clear. The absurdity of a $1,000 Burberry scarf is hard to ignore when confronted with the open secret that the color scheme and designs that give them so much social capital can be easily replicated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bay Area photographer Tammy Rae Carland attended The Evergreen State University in Olympia during the birth of the riot grrrl movement and was involved from the beginning. In the late 1980s, Carland formed a band with future Bikini Kill singer Kathleen Hannah and Heidi Arbogast, now a museum educator in Spokane. The band, Amy Carter, took its name from the former president’s activist daughter and was immortalized by Carland’s zine \u003cem>I (heart) Amy Carter\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10144496\" class=\"wp-caption alignright\" style=\"max-width: 375px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/LesbianBed6.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144496\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/LesbianBed6.jpg\" alt=\"Tammy Rae Carland. <i>Untitled (Lesbian Bed #6)</i>, 2002. Courtesy of the artist and Jessica Silverman Gallery.\" width=\"375\" height=\"470\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tammy Rae Carland. \u003ci>Untitled (Lesbian Bed #6)\u003c/i>, 2002. Courtesy of the artist and Jessica Silverman Gallery.\u003c/figcaption>\u003c/figure>\n\u003cp>Carland, who left Olympia to pursue an MFA at the University of California, Irvine, offers several photographic projects in \u003cstrong>Alien She\u003c/strong>. \u003cem>Untitled (Lesbian Beds)\u003c/em> (2002) is a series of portraits of lesbian couples that present only their unmade beds. The individual subjects remain unseen in each photo, but documentation of one of their most intimate spaces discloses much about them, while excluding even more. One bed is adorned with a \u003cem>Star Wars\u003c/em> comforter, a Woody Woodpecker pillow, and a \u003cem>Wizard of Oz\u003c/em> pillow. A copy of the comic \u003cem>Hothead Paisan: Homicidal Lesbian Terrorist\u003c/em> sits idly above the sea of Stormtroopers, waiting patiently for its owner to return to bed. The image suggests a couple that is playful and quite fond of popular culture. But viewers are denied many details of this couple’s life together. Their professions, their ages, their races, even their temperaments (love of Woody Woodpecker notwithstanding) are indiscernible. Viewers may see in this photo, if they chose to, a couple that is ordinary and down to earth, but as complex as any other. Whatever stereotypes might be suggested by the kitschy bedcovers — or the dirty athletic sock and Gertrude Stein book in another photo — are always out of reach, and always without confirmation or denial.\u003c/p>\n\u003cp>The work of Toronto-based Allyson Mitchell and Brooklyn-based L.J. Roberts dominate the exhibition’s main gallery. Three giant sculptures of found textiles lord over the museum in Mitchell’s installation \u003cem>Ladies Sasquatch\u003c/em> (2006-10). The big, burly sasquatches are imposing but also comical. The brawniest of the three seems to roar loudly as she squats over several adorable pink forest creatures that look slightly extraterrestrial. \u003cem>Ladies Sasquatch\u003c/em>, as with other work of Mitchell’s, is concerned with the representation of the female body and sexuality and point to a different ethos and aesthetic than mainstream consumer culture.\u003c/p>\n\u003cfigure id=\"attachment_10144492\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/LJRoberts_FaytheLevine_AlienShe.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144492\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/LJRoberts_FaytheLevine_AlienShe.jpg\" alt=\"Installation shot: Foreground: L.J. Roberts. <i>We Couldn’t Get In. We Couldn’t Get Out.</i>, 2006-2007. Midground: <i>Gay Bashers Come And Get It</i>, 2011. Courtesy of the artist.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/LJRoberts_FaytheLevine_AlienShe.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/LJRoberts_FaytheLevine_AlienShe-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Installation shot: Foreground: L.J. Roberts. \u003ci>We Couldn’t Get In. We Couldn’t Get Out.\u003c/i>, 2006-2007. Midground: \u003ci>Gay Bashers Come And Get It\u003c/i>, 2011. Courtesy of the artist.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Ladies Sasquatch\u003c/em> shares the room with several large knit textiles and a fence made of pink yarn from Roberts. Behind the fence, weaved and knit copies of protest banners hang on the wall, such as \u003cem>Gay Bashers Come And Get It\u003c/em> (2011), which appropriates a poster designed by Matt Height. The black and white image features a subject in a long coat confidently and defiantly holding a rifle amidst what looks like a historical protest or insurrection.\u003c/p>\n\u003cfigure id=\"attachment_10144493\" class=\"wp-caption alignright\" style=\"max-width: 391px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/momknowsnow.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10144493\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/momknowsnow-391x600.jpg\" alt=\"L.J. Roberts. Mom Knows Now, 2003. Courtesy of the artist.\" width=\"391\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/momknowsnow-391x600.jpg 391w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/momknowsnow-400x613.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/momknowsnow.jpg 640w\" sizes=\"(max-width: 391px) 100vw, 391px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L.J. Roberts. \u003ci>Mom Knows Now\u003c/i>, 2003. Courtesy of the artist.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Mom Knows Now\u003c/em> (2003) is a ten-by-fifteen foot hand-knit pink triangle emblazoned with the words “mom knows now.” In 2003, Roberts hung the banner from the chapel steeple at the University of Vermont, the artist’s undergraduate alma mater. Though younger than other artists in \u003cstrong>Alien She\u003c/strong>, and never directly involved with the riot grrrl movement, Roberts claims inspiration from the DIY and feminist ethics, as well as from Carland, who was a graduate school mentor.\u003c/p>\n\u003cp>The artwork in \u003cstrong>Alien She\u003c/strong> is accompanied with a room full of riot grrrl flyers, hundreds of zines, and a listening station. But this historical documentation is physically segregated from the artists’ work, and the two realms feel detached. The works in the exhibit deal with DIY culture as well as feminist and queer politics, but such an exhibit could exist on its own terms without the riot grrrl foundation. I don’t suggest that the curators should have abandoned the connection between the artists and riot grrrl, but I would have appreciated a deeper exploration of that connection and a more natural integration of the material culture of the movement with the fine art on display.\u003c/p>\n\u003cfigure id=\"attachment_10144495\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/ZineShelves_AlienShe_archives.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144495\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/ZineShelves_AlienShe_archives.jpg\" alt=\"A sampling of zines and distribution catalogues (1991-2013) primarily from the original riot grrrl movement.\" width=\"640\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/ZineShelves_AlienShe_archives.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/ZineShelves_AlienShe_archives-400x270.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A sampling of zines and distribution catalogues (1991-2013) primarily from the original riot grrrl movement.\u003c/figcaption>\u003c/figure>\n\u003cp>I suspect I will always feel ambivalent about punk rock’s entrée into the world of museums. While the exhibit’s listening station of curated riot grrrl playlists is fantastic, the display of zines seemed antithetical to their own democratic politics. Behind protective glass, most of the zines, save for a selection of reproductions, were out of reach for viewers and their contents concealed. This is understandable from a conservation standpoint, but therein lies an inherent contradiction with the institutionalization of an anti-institutional and iconoclastic subculture. As punk continues to age, these issues will only become more common. And I certainly appreciate the preservation and analysis of such an important historical movement. I can offer no immediate solutions to this paradox, but by emphasizing the impact of riot grrrl on artists creating radical and subversive work, \u003cstrong>Alien She\u003c/strong> does justice to the movement and honors its ethos.\u003c/p>\n\u003cp>\u003cstrong>Alien She\u003c/strong> runs through January 25, 2015 at the Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org/alien-she\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Editor’s Note: We modified this story to reflect that some of the zines have been reproduced so that they could be handled and viewed.\u003c/b>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Spoke Art's Wes Anderson Tribute Returns",
"headTitle": "Spoke Art’s Wes Anderson Tribute Returns | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bad-dads-v-an-art-show-tribute-to-wes-anderson/\">\u003cbr>\nEvent Information\u003c/a>\u003c/h3>\n\u003ch4>‘Bad Dads’\u003c/h4>\n\u003cdiv class=\"event-desc\">Annual art show tribute to Wes Anderson.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 29-Nov. 22, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Spoke Art\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bad-dads-v-an-art-show-tribute-to-wes-anderson/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>If you’re an artist who’s been inspired by Anjelica Huston or Bill Murray navigating a dysfunctional family or plunging into a deep sea, interspersed with long tracking shots and quiet stills of perfect symmetry, well, you’re not alone.\u003c/p>\n\u003cp>For five years now, Spoke Art has hosted \u003cem>Bad Dads\u003c/em>, an annual show of dozens of artists working with one assigned theme: the films of celebrated director Wes Anderson. The latest opens this week at the gallery on Sutter, and no Anderson fan will want to miss it.\u003c/p>\n\u003cp>Clear aficionados of cultural phenomena, Spoke Art has also hosted art show tributes \u003ca href=\"http://store.spoke-art.com/collections/scorsese-an-art-show-tribute\" target=\"_blank\" rel=\"noopener noreferrer\">to Martin Scorsese\u003c/a> and, perhaps most virally, \u003ca href=\"http://store.spoke-art.com/collections/lil-bub-art-show-original-paintings\" target=\"_blank\" rel=\"noopener noreferrer\">the lovable jaw-challenged cat Lil’ Bub\u003c/a>. But Anderson seems to bring out the best in participants, as evidenced by last year’s image of Margot Tenenbaum by artist Edith LeBeau (pictured above), or \u003ca href=\"http://store.spoke-art.com/collections/bad-dads\" target=\"_blank\" rel=\"noopener noreferrer\">its online gallery\u003c/a> of past submissions. This year, there’s a whole new well of inspiration in \u003cem>The Grand Budapest Hotel\u003c/em>, but expect plenty of work based on classics like \u003cem>Rushmore\u003c/em>, \u003cem>The Royal Tenenbaums\u003c/em>, \u003cem>The Life Aquatic With Steve Zissou \u003c/em>and more\u003cem>.\u003c/em>\u003c/p>\n\u003cp>The show runs through Nov. 22, and for the opening, dust off that scuba gear you’ve got tucked away in your attic: a two-night reception welcomes costumed attendees, from 6pm-10pm, on both Oct. 31 and Nov. 1.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=4XI1lxybo0Q]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Spoke Art returns with 'Bad Dads,' an annual show of dozens of artists working with one assigned theme: the films of celebrated director Wes Anderson. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bad-dads-v-an-art-show-tribute-to-wes-anderson/\">\u003cbr>\nEvent Information\u003c/a>\u003c/h3>\n\u003ch4>‘Bad Dads’\u003c/h4>\n\u003cdiv class=\"event-desc\">Annual art show tribute to Wes Anderson.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 29-Nov. 22, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Spoke Art\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bad-dads-v-an-art-show-tribute-to-wes-anderson/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>If you’re an artist who’s been inspired by Anjelica Huston or Bill Murray navigating a dysfunctional family or plunging into a deep sea, interspersed with long tracking shots and quiet stills of perfect symmetry, well, you’re not alone.\u003c/p>\n\u003cp>For five years now, Spoke Art has hosted \u003cem>Bad Dads\u003c/em>, an annual show of dozens of artists working with one assigned theme: the films of celebrated director Wes Anderson. The latest opens this week at the gallery on Sutter, and no Anderson fan will want to miss it.\u003c/p>\n\u003cp>Clear aficionados of cultural phenomena, Spoke Art has also hosted art show tributes \u003ca href=\"http://store.spoke-art.com/collections/scorsese-an-art-show-tribute\" target=\"_blank\" rel=\"noopener noreferrer\">to Martin Scorsese\u003c/a> and, perhaps most virally, \u003ca href=\"http://store.spoke-art.com/collections/lil-bub-art-show-original-paintings\" target=\"_blank\" rel=\"noopener noreferrer\">the lovable jaw-challenged cat Lil’ Bub\u003c/a>. But Anderson seems to bring out the best in participants, as evidenced by last year’s image of Margot Tenenbaum by artist Edith LeBeau (pictured above), or \u003ca href=\"http://store.spoke-art.com/collections/bad-dads\" target=\"_blank\" rel=\"noopener noreferrer\">its online gallery\u003c/a> of past submissions. This year, there’s a whole new well of inspiration in \u003cem>The Grand Budapest Hotel\u003c/em>, but expect plenty of work based on classics like \u003cem>Rushmore\u003c/em>, \u003cem>The Royal Tenenbaums\u003c/em>, \u003cem>The Life Aquatic With Steve Zissou \u003c/em>and more\u003cem>.\u003c/em>\u003c/p>\n\u003cp>The show runs through Nov. 22, and for the opening, dust off that scuba gear you’ve got tucked away in your attic: a two-night reception welcomes costumed attendees, from 6pm-10pm, on both Oct. 31 and Nov. 1.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4XI1lxybo0Q'\n title='//www.youtube.com/embed/4XI1lxybo0Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Much has already been written of \u003ca href=\"http://www.nytimes.com/2012/02/06/arts/design/steven-leiber-dealer-in-artists-ephemera-dies-at-54.html\" target=\"_blank\" rel=\"noopener\">Steven Leiber\u003c/a>’s unique contribution to the artistic landscape of the Bay Area — from the collection and dissemination of arts-related ephemera, as an educator at California College of the Arts and as a generous tour guide of his own basement archive. For those of us who didn’t have the luck of forging a personal relationship to Leiber before he passed away in 2012, a recent publication attempts to give form to his wide-ranging influence and enduring legacy.\u003c/p>\n\u003cp>RITE EDITIONS, founded in 2007 by Leiber and Robin Wright, works closely with artists to make editioned objects ranging from vinyl records to glossy monographs full of blank pages. In memory of her late business partner, Wright has gathered new works from fourteen artists as one boxed edition, \u003cem>Artists & Editions\u003c/em>, an homage to one of Leiber’s favorite publications in his own collection, the 1970 set \u003cem>Artists & Photographs\u003c/em> by Multiples Inc.\u003c/p>\n\u003cfigure id=\"attachment_10144520\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Box640.jpg\" alt=\"<i>Artists & Editions</i>, RITE EDITIONS, 2012; Photo by Ian Reeves\" width=\"640\" height=\"515\" class=\"size-full wp-image-10144520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Box640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Box640-400x321.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Artists & Editions\u003c/i>, RITE EDITIONS, 2012; Photo by Ian Reeves\u003c/figcaption>\u003c/figure>\n\u003cp>If you don’t have $12,500 on hand to explore the publication yourself, thankfully Frances Bowes donated a copy to the Legion of Honor, where it is now on view in the mellowly-lit Reva and David Logan Gallery of Illustrated Books. The exhibition, titled \u003cstrong>Artists & Editions: A Publication in Memory of Steven Leiber (1957–2012)\u003c/strong> does it best to showcase works that are intrinsically tactile. I tried to get closer a number of times, only to gently bump some part of my face on the display case glass.\u003c/p>\n\u003cp>The contributions to \u003cem>Artists & Editions\u003c/em> are wide ranging, as the edition’s descriptive text enumerates: “five prints (three silkscreens, one edition variée and one etching), four artist generated archival publications, two three-dimensional paper pieces, two posters, a painting, a drawing, a coupon for redeeming a record, an artist’s book, a metal stencil, a weaving, a sewn canvas work and an edition catalog.”\u003c/p>\n\u003cp>Let’s start with the three-dimensional paper pieces. Tauba Auerbach’s \u003cem>Filing system\u003c/em>, a pop-up made from digitally trimmed manila file folders, nods to the filing system Leiber used to organize his own reference material on the artists in his collection. Auerbach visited Leiber’s archive while researching alternative construction methods for her own books, and the simple elegance of her contribution, contained neatly within an unassuming and familiar shape, acts like a note of thanks.\u003c/p>\n\u003cfigure id=\"attachment_10144510\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144510\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Closky640.jpg\" alt=\"Claude Closky, <i>Easy-Difficult</i>, 2012; Image courtesy Fine Arts Museums of San Francisco\" width=\"640\" height=\"233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Closky640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Closky640-400x145.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Claude Closky, \u003ci>Easy-Difficult\u003c/i>, 2012; Image courtesy Fine Arts Museums of San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>While many of the contributors to \u003cem>Artists & Editions\u003c/em> are emerging Bay Area artists and Leiber’s former students, his community extends beyond his role as a mentor. Claude Closky, an established French artist, is responsible for the second 3D work: \u003cem>Easy-Difficult\u003c/em>, a single piece of thick paper folded in half. On one side, an illustration depicts the “easy” way to view the piece, propped on its two edges. On the verso, the “hard” way, balanced on its single folded edge. Self-consciously, the Legion of Honor display identifies itself as a “failed” installation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the most tantalizing elements of the edition are also the most personal. Colter Jacobsen’s conjoined double volume \u003cem>Leben Lernen Lieben / Live Learn Love\u003c/em>, includes a bookmark listing the concealed contents, made abstract without access to the images that accompany them. Two phrases on the spines come from a Ted Berrigan poem “The Fiend,” reading: “And you tremble at the boots upon the earth / As my strength and I walk out and look for you.”\u003c/p>\n\u003cfigure id=\"attachment_10144512\" class=\"wp-caption alignright\" style=\"max-width: 491px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144512\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Laskey640.jpg\" alt=\"Ruth Laskey, <i>Untitled (S for Steven)</i>, 2005/12; Photo by Ian Reeves\" width=\"491\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Laskey640.jpg 491w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Laskey640-400x521.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Laskey640-460x600.jpg 460w\" sizes=\"(max-width: 491px) 100vw, 491px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Laskey, \u003ci>Untitled (S for Steven)\u003c/i>, 2005/12; Photo by Ian Reeves\u003c/figcaption>\u003c/figure>\n\u003cp>Of equal understatedness and beauty is Ruth Laskey’s \u003cem>Untitled (S for Steven)\u003c/em>. The hand-woven linen in a card envelop looks like a delicate monogrammed handkerchief. The design comes from a group of sketches Laskey made the same year she met Steven. One of those sketches was meant to be an undefined shape but resembled an S, so it remained unrealized. She states in the RITE EDITIONS catalog, “Every time I looked back at it in the years to come, I thought of Steven. Now here it is, the weaving of S for Steven.”\u003c/p>\n\u003cp>Scattered throughout these moving tributes are more lighthearted contributions that speak to Leiber’s sense of humor. Luke Butler’s \u003cem>Archive of Printed Material\u003c/em> documents a collection of magazines, food cartons, and toy boxes, rendered as 35 graphite drawings (one for each edition of \u003cem>Artists & Editions\u003c/em>). An illustrated master list accompanies each drawing, providing a taste of the archive as a whole. This list is far from impartial — item #2, which appears to be a drawing of a lined notebook, is classified under “Reading and Writing,” and described as “Classic design, limitless possibilities for notation, documentation and self-expression.”\u003c/p>\n\u003cfigure id=\"attachment_10144511\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144511\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Danish640.jpg\" alt=\"Dina Danish, <i>Back in 9 Minutes</i>, 2012; Image courtesy Fine Arts Museums of San Francisco\" width=\"640\" height=\"394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Danish640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Danish640-400x246.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Dina Danish, \u003ci>Back in 9 Minutes\u003c/i>, 2012; Image courtesy Fine Arts Museums of San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly, Dina Danish plays with the conventions of the archive and the well-documented artist edition with a unique painting for each box. An rendering of an oversize Post-it reads “Back in x minutes,” where x equals the edition number. Included in a custom box with the painting is a certificate of authenticity, a photograph showing how everything should be displayed, and a sheet of paper announcing the presence of both the certificate and the photograph. The whole arrangement forms an infinite mirror effect, a never-ending proof of its own existence.\u003cbr>\nThe entirety of \u003cem>Artists & Editions\u003c/em> is enclosed in a box designed by Elisheva Biernoff, who also contributed three screenprints to the publication. It shows the doors of Leiber’s garage, which were the entrance to his basement archive. In this cardboard version, they open onto a collection of ephemera he likely would have embraced, unpacked and spoken to visitors about at length.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Artists & Editions: A Publication in Memory of Steven Leiber (1957–2012)\u003c/b> is on view at the Legion of Honor through March 29, 2015. For more information on the exhibition visit \u003ca href=\"//legionofhonor.famsf.org/exhibitions/artists-editions-publication-memory-steven-leiber-1957-2012\" target=\"_blank\" rel=\"noopener\">legionofhonor.famsf.org\u003c/a>. For more information about the publication visit \u003ca href=\"//riteeditions.com/artists-and-editions-2013\" target=\"_blank\" rel=\"noopener\">riteeditions.com\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Much has already been written of \u003ca href=\"http://www.nytimes.com/2012/02/06/arts/design/steven-leiber-dealer-in-artists-ephemera-dies-at-54.html\" target=\"_blank\" rel=\"noopener\">Steven Leiber\u003c/a>’s unique contribution to the artistic landscape of the Bay Area — from the collection and dissemination of arts-related ephemera, as an educator at California College of the Arts and as a generous tour guide of his own basement archive. For those of us who didn’t have the luck of forging a personal relationship to Leiber before he passed away in 2012, a recent publication attempts to give form to his wide-ranging influence and enduring legacy.\u003c/p>\n\u003cp>RITE EDITIONS, founded in 2007 by Leiber and Robin Wright, works closely with artists to make editioned objects ranging from vinyl records to glossy monographs full of blank pages. In memory of her late business partner, Wright has gathered new works from fourteen artists as one boxed edition, \u003cem>Artists & Editions\u003c/em>, an homage to one of Leiber’s favorite publications in his own collection, the 1970 set \u003cem>Artists & Photographs\u003c/em> by Multiples Inc.\u003c/p>\n\u003cfigure id=\"attachment_10144520\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Box640.jpg\" alt=\"<i>Artists & Editions</i>, RITE EDITIONS, 2012; Photo by Ian Reeves\" width=\"640\" height=\"515\" class=\"size-full wp-image-10144520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Box640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Box640-400x321.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Artists & Editions\u003c/i>, RITE EDITIONS, 2012; Photo by Ian Reeves\u003c/figcaption>\u003c/figure>\n\u003cp>If you don’t have $12,500 on hand to explore the publication yourself, thankfully Frances Bowes donated a copy to the Legion of Honor, where it is now on view in the mellowly-lit Reva and David Logan Gallery of Illustrated Books. The exhibition, titled \u003cstrong>Artists & Editions: A Publication in Memory of Steven Leiber (1957–2012)\u003c/strong> does it best to showcase works that are intrinsically tactile. I tried to get closer a number of times, only to gently bump some part of my face on the display case glass.\u003c/p>\n\u003cp>The contributions to \u003cem>Artists & Editions\u003c/em> are wide ranging, as the edition’s descriptive text enumerates: “five prints (three silkscreens, one edition variée and one etching), four artist generated archival publications, two three-dimensional paper pieces, two posters, a painting, a drawing, a coupon for redeeming a record, an artist’s book, a metal stencil, a weaving, a sewn canvas work and an edition catalog.”\u003c/p>\n\u003cp>Let’s start with the three-dimensional paper pieces. Tauba Auerbach’s \u003cem>Filing system\u003c/em>, a pop-up made from digitally trimmed manila file folders, nods to the filing system Leiber used to organize his own reference material on the artists in his collection. Auerbach visited Leiber’s archive while researching alternative construction methods for her own books, and the simple elegance of her contribution, contained neatly within an unassuming and familiar shape, acts like a note of thanks.\u003c/p>\n\u003cfigure id=\"attachment_10144510\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144510\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Closky640.jpg\" alt=\"Claude Closky, <i>Easy-Difficult</i>, 2012; Image courtesy Fine Arts Museums of San Francisco\" width=\"640\" height=\"233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Closky640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Closky640-400x145.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Claude Closky, \u003ci>Easy-Difficult\u003c/i>, 2012; Image courtesy Fine Arts Museums of San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>While many of the contributors to \u003cem>Artists & Editions\u003c/em> are emerging Bay Area artists and Leiber’s former students, his community extends beyond his role as a mentor. Claude Closky, an established French artist, is responsible for the second 3D work: \u003cem>Easy-Difficult\u003c/em>, a single piece of thick paper folded in half. On one side, an illustration depicts the “easy” way to view the piece, propped on its two edges. On the verso, the “hard” way, balanced on its single folded edge. Self-consciously, the Legion of Honor display identifies itself as a “failed” installation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the most tantalizing elements of the edition are also the most personal. Colter Jacobsen’s conjoined double volume \u003cem>Leben Lernen Lieben / Live Learn Love\u003c/em>, includes a bookmark listing the concealed contents, made abstract without access to the images that accompany them. Two phrases on the spines come from a Ted Berrigan poem “The Fiend,” reading: “And you tremble at the boots upon the earth / As my strength and I walk out and look for you.”\u003c/p>\n\u003cfigure id=\"attachment_10144512\" class=\"wp-caption alignright\" style=\"max-width: 491px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144512\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Laskey640.jpg\" alt=\"Ruth Laskey, <i>Untitled (S for Steven)</i>, 2005/12; Photo by Ian Reeves\" width=\"491\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Laskey640.jpg 491w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Laskey640-400x521.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Laskey640-460x600.jpg 460w\" sizes=\"(max-width: 491px) 100vw, 491px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Laskey, \u003ci>Untitled (S for Steven)\u003c/i>, 2005/12; Photo by Ian Reeves\u003c/figcaption>\u003c/figure>\n\u003cp>Of equal understatedness and beauty is Ruth Laskey’s \u003cem>Untitled (S for Steven)\u003c/em>. The hand-woven linen in a card envelop looks like a delicate monogrammed handkerchief. The design comes from a group of sketches Laskey made the same year she met Steven. One of those sketches was meant to be an undefined shape but resembled an S, so it remained unrealized. She states in the RITE EDITIONS catalog, “Every time I looked back at it in the years to come, I thought of Steven. Now here it is, the weaving of S for Steven.”\u003c/p>\n\u003cp>Scattered throughout these moving tributes are more lighthearted contributions that speak to Leiber’s sense of humor. Luke Butler’s \u003cem>Archive of Printed Material\u003c/em> documents a collection of magazines, food cartons, and toy boxes, rendered as 35 graphite drawings (one for each edition of \u003cem>Artists & Editions\u003c/em>). An illustrated master list accompanies each drawing, providing a taste of the archive as a whole. This list is far from impartial — item #2, which appears to be a drawing of a lined notebook, is classified under “Reading and Writing,” and described as “Classic design, limitless possibilities for notation, documentation and self-expression.”\u003c/p>\n\u003cfigure id=\"attachment_10144511\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144511\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Danish640.jpg\" alt=\"Dina Danish, <i>Back in 9 Minutes</i>, 2012; Image courtesy Fine Arts Museums of San Francisco\" width=\"640\" height=\"394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Danish640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Danish640-400x246.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Dina Danish, \u003ci>Back in 9 Minutes\u003c/i>, 2012; Image courtesy Fine Arts Museums of San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly, Dina Danish plays with the conventions of the archive and the well-documented artist edition with a unique painting for each box. An rendering of an oversize Post-it reads “Back in x minutes,” where x equals the edition number. Included in a custom box with the painting is a certificate of authenticity, a photograph showing how everything should be displayed, and a sheet of paper announcing the presence of both the certificate and the photograph. The whole arrangement forms an infinite mirror effect, a never-ending proof of its own existence.\u003cbr>\nThe entirety of \u003cem>Artists & Editions\u003c/em> is enclosed in a box designed by Elisheva Biernoff, who also contributed three screenprints to the publication. It shows the doors of Leiber’s garage, which were the entrance to his basement archive. In this cardboard version, they open onto a collection of ephemera he likely would have embraced, unpacked and spoken to visitors about at length.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Artists & Editions: A Publication in Memory of Steven Leiber (1957–2012)\u003c/b> is on view at the Legion of Honor through March 29, 2015. For more information on the exhibition visit \u003ca href=\"//legionofhonor.famsf.org/exhibitions/artists-editions-publication-memory-steven-leiber-1957-2012\" target=\"_blank\" rel=\"noopener\">legionofhonor.famsf.org\u003c/a>. For more information about the publication visit \u003ca href=\"//riteeditions.com/artists-and-editions-2013\" target=\"_blank\" rel=\"noopener\">riteeditions.com\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Animal Magnetism: Examining the Beauty of Beasts, in Reno",
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"content": "\u003cp>There’s a small museum in Reno that’s having a global impact on the arts. Five years ago, the Nevada Museum of Art, the only fully accredited art museum in the state, created the Center for Art + Environment, which has become internationally recognized as a leader in the research and study of how humans interact with their natural surroundings. Today, they maintain the world’s archive for materials related to the subject, and have the works of over 400 artists from every continent.\u003c/p>\n\u003cp>Every three years, the museum hosts an \u003ca href=\"http://www.nevadaart.org/conference2014/\" target=\"_blank\" rel=\"noopener\">Art + Environment Conference\u003c/a>, attended by people from literally everywhere, and sells out almost as soon as it’s announced. This year’s theme was built around the \u003ca href=\"http://www.nevadaart.org/exhibitions/detail?eid=280\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Late Harvest\u003c/strong>\u003c/a> exhibition, currently on view at the museum and open to the public until January 18th, 2015. \u003c/p>\n\u003cfigure id=\"attachment_10144480\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/george-frederik-rotig-crop.jpg\" alt=\"Fighting Stags by Moonlight by George Frederic Rotig, 1900\" width=\"640\" height=\"428\" class=\"size-full wp-image-10144480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/george-frederik-rotig-crop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/george-frederik-rotig-crop-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Fighting Stags by Moonlight \u003c/i> by George Frederic Rotig, 1900 \u003ccite>(Sherri Devine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m no art expert or critic by any stretch, but I do love me some art, and was completely intrigued by the promotions for the conference. What followed were three of the most curious, confounding, and thought provoking days I’ve spent, both touring the exhibits and listening to the speakers, many of them featured artists in the galleries. Their talks ranged from 15 to 60 minutes, but the distances and subject matter covered were immense.\u003c/p>\n\u003cp>Since the conference won’t happen again for three years, here’s just a taste of what you can still experience if you feel like taking a drive through the mountains to Reno this fall.\u003c/p>\n\u003cp>First, the curious part: the juxtaposition of wildlife masterpieces (on loan from the National Museum of Wildlife Art) with some very unusual and highly interpretive works of taxidermy. How did they manage to do this without being farcical? Beats me, but the results are actually rich, with magnificent oil paintings in contrast to peacocks in formal wear, some kind of large hoofed animal with a human face and antlers, and sculptures composed of feather/animal/textile/hair with surprises tucked into the details. The effects are magical, at times humorous, occasionally creepy, and completely unexpected. It struck me while I was walking around that I’ve never given any thought to what actually goes into curating an exhibition, and the complexity of that task. I can’t even begin to fathom the discussions that went on when choosing the works displayed here.\u003c/p>\n\u003cfigure id=\"attachment_10144483\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/petah-coyne-crop.jpg\" alt=\"<i>Untitled #927 (BZ + CD + Put-Put) </i> by Petra Coyne, 1997-1998\" width=\"640\" height=\"428\" class=\"size-full wp-image-10144483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/petah-coyne-crop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/petah-coyne-crop-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Untitled #927 (BZ + CD + Put-Put) \u003c/i> by Petra Coyne, 1997-1998 \u003ccite>(Sherri Devine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What confounded me was that someone actually had the idea to create an art installation in Antarctica (a portion of which is recreated at the museum). Who does that? Sculptures that show us not what is there to be seen but rather what is missing. Think about that: three-dimensional representations of what amounts to negative space. While it makes conceptual sense that the world of art and environment—which can include pretty much anything that represents human relationships to the natural, constructed, or virtual world—has limitless potential and scope, it’s something else all together to begin to feel that vast scope as you gaze at what’s on display in the galleries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for thought provoking, well, for starters, I get to expand my vocabulary with words like geoaesthetics and post humanism, which I can figure out from their word roots, but thanks to the show’s vivid visual representations, I can actually pick up on some of the nuances and their connection to artistic endeavors. Or solastalgia, a form of psychic or existential distress caused by environmental change. This idea is at the heart of an Aboriginal art display from the Paruku region of Western Australia. The area is both remote and ravaged, and in danger of losing its cultural identity. This project ends up being a combination of environmental and artistic reclamation—an idea that is central to A+E. \u003c/p>\n\u003cfigure id=\"attachment_10144482\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/kate-clark-detailCrop.jpg\" alt=\"<i>Licking the Plate </i> by Kate Clark, 2014\" width=\"640\" height=\"956\" class=\"size-full wp-image-10144482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/kate-clark-detailCrop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/kate-clark-detailCrop-400x597.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/kate-clark-detailCrop-401x600.jpg 401w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Licking the Plate \u003c/i> by Kate Clark, 2014 \u003ccite>(Sherri Devine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What, you may ask, is my understanding of “art and environment,” after all this? \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still tenuous, at best. But, this point of view, this movement—and all the artists associated with it—is something I have the deepest respect, admiration, and appreciation for. I’ll be going back at least a couple more times to see \u003cstrong>Late Harvest\u003c/strong>. And, thankfully, the Nevada Museum of Art has published a book to go along with the conference and exhibition. I’m not one to flack book sales, but if detailed and thoughtful explanations on the connections between the artists, their art, the A+E discipline, peak your curiosity, consider checking it out. It’s quite beautiful in its own right, and will be available soon through the \u003ca href=\"http://www.nevadaart.org/shop/store\" target=\"_blank\" rel=\"noopener\">museum’s store\u003c/a>. At the very least, consider a jaunt up to Reno. No, there’s no snow yet, and yes, the ride through the Sierras is glorious as always. And no, the experience of the Nevada Museum of Art and the truly provocative Late Harvest is not something you will soon forget.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a small museum in Reno that’s having a global impact on the arts. Five years ago, the Nevada Museum of Art, the only fully accredited art museum in the state, created the Center for Art + Environment, which has become internationally recognized as a leader in the research and study of how humans interact with their natural surroundings. Today, they maintain the world’s archive for materials related to the subject, and have the works of over 400 artists from every continent.\u003c/p>\n\u003cp>Every three years, the museum hosts an \u003ca href=\"http://www.nevadaart.org/conference2014/\" target=\"_blank\" rel=\"noopener\">Art + Environment Conference\u003c/a>, attended by people from literally everywhere, and sells out almost as soon as it’s announced. This year’s theme was built around the \u003ca href=\"http://www.nevadaart.org/exhibitions/detail?eid=280\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Late Harvest\u003c/strong>\u003c/a> exhibition, currently on view at the museum and open to the public until January 18th, 2015. \u003c/p>\n\u003cfigure id=\"attachment_10144480\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/george-frederik-rotig-crop.jpg\" alt=\"Fighting Stags by Moonlight by George Frederic Rotig, 1900\" width=\"640\" height=\"428\" class=\"size-full wp-image-10144480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/george-frederik-rotig-crop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/george-frederik-rotig-crop-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Fighting Stags by Moonlight \u003c/i> by George Frederic Rotig, 1900 \u003ccite>(Sherri Devine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m no art expert or critic by any stretch, but I do love me some art, and was completely intrigued by the promotions for the conference. What followed were three of the most curious, confounding, and thought provoking days I’ve spent, both touring the exhibits and listening to the speakers, many of them featured artists in the galleries. Their talks ranged from 15 to 60 minutes, but the distances and subject matter covered were immense.\u003c/p>\n\u003cp>Since the conference won’t happen again for three years, here’s just a taste of what you can still experience if you feel like taking a drive through the mountains to Reno this fall.\u003c/p>\n\u003cp>First, the curious part: the juxtaposition of wildlife masterpieces (on loan from the National Museum of Wildlife Art) with some very unusual and highly interpretive works of taxidermy. How did they manage to do this without being farcical? Beats me, but the results are actually rich, with magnificent oil paintings in contrast to peacocks in formal wear, some kind of large hoofed animal with a human face and antlers, and sculptures composed of feather/animal/textile/hair with surprises tucked into the details. The effects are magical, at times humorous, occasionally creepy, and completely unexpected. It struck me while I was walking around that I’ve never given any thought to what actually goes into curating an exhibition, and the complexity of that task. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for thought provoking, well, for starters, I get to expand my vocabulary with words like geoaesthetics and post humanism, which I can figure out from their word roots, but thanks to the show’s vivid visual representations, I can actually pick up on some of the nuances and their connection to artistic endeavors. Or solastalgia, a form of psychic or existential distress caused by environmental change. This idea is at the heart of an Aboriginal art display from the Paruku region of Western Australia. The area is both remote and ravaged, and in danger of losing its cultural identity. This project ends up being a combination of environmental and artistic reclamation—an idea that is central to A+E. \u003c/p>\n\u003cfigure id=\"attachment_10144482\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/kate-clark-detailCrop.jpg\" alt=\"<i>Licking the Plate </i> by Kate Clark, 2014\" width=\"640\" height=\"956\" class=\"size-full wp-image-10144482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/kate-clark-detailCrop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/kate-clark-detailCrop-400x597.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/kate-clark-detailCrop-401x600.jpg 401w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Licking the Plate \u003c/i> by Kate Clark, 2014 \u003ccite>(Sherri Devine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What, you may ask, is my understanding of “art and environment,” after all this? \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still tenuous, at best. But, this point of view, this movement—and all the artists associated with it—is something I have the deepest respect, admiration, and appreciation for. I’ll be going back at least a couple more times to see \u003cstrong>Late Harvest\u003c/strong>. And, thankfully, the Nevada Museum of Art has published a book to go along with the conference and exhibition. I’m not one to flack book sales, but if detailed and thoughtful explanations on the connections between the artists, their art, the A+E discipline, peak your curiosity, consider checking it out. It’s quite beautiful in its own right, and will be available soon through the \u003ca href=\"http://www.nevadaart.org/shop/store\" target=\"_blank\" rel=\"noopener\">museum’s store\u003c/a>. At the very least, consider a jaunt up to Reno. No, there’s no snow yet, and yes, the ride through the Sierras is glorious as always. And no, the experience of the Nevada Museum of Art and the truly provocative Late Harvest is not something you will soon forget.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
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