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"title": "Finding Photography 'Secondhand' at Pier 24",
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"content": "\u003cp>\u003cb>Secondhand\u003c/b>, the first new exhibition to open at Pier 24 Photography in San Francisco since July 2013, presents the work of over a dozen artists whose practice relies on the appropriation of pre-existing photographs. Paired with vernacular photos from the Pilara Foundation collection (the folks behind Pier 24), \u003cstrong>Secondhand\u003c/strong> is more than a survey of a particular artistic technique; it offers a glimpse at the varied relationships between people and photographs.\u003c/p>\n\u003cp>The found photography collections of Amsterdam-based publisher Erik Kessels, which are given several large installations, set an important tone for the exhibition. The gallery devoted to Kessels’ ongoing series of books, \u003ci>in almost every picture\u003c/i>, is particularly salient in light of critiques that younger generations’ relationship with photography is self-absorbed and obsessive.\u003c/p>\n\u003cfigure id=\"attachment_10140501\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/kesselssquare.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/kesselssquare.jpg\" alt=\"Erik Kessels, in almost every picture #1, 2002; courtesy the artist.\" width=\"640\" height=\"640\" class=\"size-full wp-image-10140501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kesselssquare.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kesselssquare-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kesselssquare-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kesselssquare-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kesselssquare-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kesselssquare-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kesselssquare-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kesselssquare-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erik Kessels, \u003ci>in almost every picture #1\u003c/i>, 2002; courtesy the artist.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.kesselskramerpublishing.com/catalogue/inalmosteverypicture1/\">\u003ci>In almost every picture #1\u003c/i>\u003c/a> (2002) is a selection of several enlarged amateur photos of a woman in stereotypical tourist poses, with monuments, mountains, and other envy-inducing settings behind her. The photos on display are a handful of the hundreds of snapshots taken by the woman’s husband between 1956 and 1968. This collection documents the familiar impulse to catalogue memories and boast about exotic exploits. For better or worse, a photo-happy spring-breaker with an iPhone and an Instagram account may be paying homage to his grandparents’ school of photography rather than indulging in newfangled narcissism, as many Baby Boom and Gen X journalists argue. This retro behavior was probably learned through endless slideshows of the Grand Canyon and by spending much of his childhood saying “cheese.”\u003c/p>\n\u003cfigure id=\"attachment_10140510\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/kessels2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/kessels2.jpg\" alt=\"Erik Kessels, in almost every picture, installation shot, courtesy Pier 24 Photography\" width=\"640\" height=\"427\" class=\"size-full wp-image-10140510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kessels2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kessels2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kessels2-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erik Kessels, \u003ci>in almost every picture\u003c/i>, installation shot; Courtesy Pier 24 Photography\u003c/figcaption>\u003c/figure>\n\u003cp>Works from Kessels’ book \u003ca href=\"http://www.rvb-books.com/book.php?id_book=37\">\u003cem>Album Beauty\u003c/em>\u003c/a> (2012) are represented in a Lewis Carroll-esque gallery, in which larger-than-life images from found photo albums adorn the walls and foam core cutouts. Viewers may feel as if they’ve been shrunk down and must navigate their way through an old family album filled with unfamiliar faces. These otherwise anonymous subjects are given a level of import due to their inflated size, calling attention to the significance of everyday photography.\u003c/p>\n\u003cp>The installation also includes a large selection of framed photos that are blemished by stains, double exposure, and wayward thumbs. Surrounded by the acceptable photos that made the final cut in their original albums, this photographic detritus makes visible the efforts to produce archive-worthy memories.\u003c/p>\n\u003cfigure id=\"attachment_10140511\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/baseball.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/baseball.jpg\" alt=\"Baseball press photo, circa 1940; Courtesy Pier 24 Photography\" width=\"640\" height=\"808\" class=\"size-full wp-image-10140511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/baseball.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/baseball-400x505.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/baseball-237x300.jpg 237w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Baseball press photo, circa 1940; Courtesy Pier 24 Photography\u003c/figcaption>\u003c/figure>\n\u003cp>As with \u003ci>Album Beauty\u003c/i>, a series of baseball press photos from the \u003ci>Baltimore Sun\u003c/i> archive shines light on the process of creating the images seen every day. The black and white action shots of baseball players on the mound and at bat are scrawled with lines and notations instructing editors how to present the images. These markings, like the decisions of all photographers and editors, make judgements about what is important and worth reproducing and preserving.\u003c/p>\n\u003cfigure id=\"attachment_10140529\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Binschtok2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Binschtok2.jpg\" alt=\"Viktoria Binschtok, World of Details, 2011-12, installation shot, 2014; Courtesy Pier 24 Photography\" width=\"640\" height=\"438\" class=\"size-full wp-image-10140529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Binschtok2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Binschtok2-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Binschtok2-300x205.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Viktoria Binschtok, \u003ci>World of Details\u003c/i> (diner seat + diner), 2012, installation shot; Courtesy Pier 24 Photography\u003c/figcaption>\u003c/figure>\n\u003cp>Berlin-based photographer Viktoria Binschtok is one of several artists in \u003cb>Secondhand\u003c/b> who engages with digital imagery. Binschtok photographs locations in New York City she has found on Google Street View, exhibiting her work alongside corresponding prints of screenshots from Street View. She does not rephotograph the scenes found online, but creates an entirely new image, focusing on what is unseen or obscured by Street View. In one pairing, the unremarkable street in front of a diner is juxtaposed with Binschtok’s lonely yet inviting image of a cherry red diner booth bathed in light.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Binschtok’s photographs call out the ignorance that is embedded in the seeming omniscience of Street View, offering an alternate vision of the faux-objectivity of software. As someone who spends hours every week on Street View — obsessively anticipating road trips — I find Binschtok’s work comforting. She puts to rest my worries about spoiling the surprise of a new location. I’m reminded of the inevitable joy and discovery that can be found in any location, regardless of what one already knows about the place.\u003c/p>\n\u003cp>Binschtok’s photographs, of course, are no more authoritative than Google’s. Though beautifully composed, her shot of the diner booth might conceal a couple that broke up while eating there or a desperate customer who spent her last dollar on a cup of watered-down coffee. Binschtok’s aestheticization of sterile Street View scenes is only one interpretation of those sites, but her photos are also reminders of the innumerable interpretations that are possible.\u003c/p>\n\u003cfigure id=\"attachment_10140512\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Rana-web1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Rana-web1.jpg\" alt=\"Rashid Rana, installation view, 2014; Courtesy Pier 24 Photography\" width=\"640\" height=\"297\" class=\"size-full wp-image-10140512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Rana-web1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Rana-web1-400x185.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Rana-web1-300x139.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rashid Rana, installation view, 2014; Courtesy Pier 24 Photography\u003c/figcaption>\u003c/figure>\n\u003cp>Rashid Rana, regarded as one of Pakistan’s most important contemporary artists, exhibits several large scale collages that, like \u003ci>Album Beauty\u003c/i>, create a bodily experience in viewers. Two of the works on view comprise thousands of disjointed images of protests found online. Fused together, these images create a composite protest, generic but evocative. The details of the faces of the individuals are eclipsed by the totality of the composition, which washes over the viewer, creating a sense of tension and unease. Though far from a journalistic representation of a protest, these works possess the power to convey a corporeal and emotional truth about such an event.\u003c/p>\n\u003cfigure id=\"attachment_10140513\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Anzeri-Pierre-Web1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Anzeri-Pierre-Web1.jpg\" alt=\"Maurizio Anzeri, Pierre, 2013; courtesy the artist\" width=\"640\" height=\"1031\" class=\"size-full wp-image-10140513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Anzeri-Pierre-Web1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Anzeri-Pierre-Web1-400x644.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Anzeri-Pierre-Web1-186x300.jpg 186w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maurizio Anzeri, \u003ci>Pierre\u003c/i>, 2013; Courtesy of the artist\u003c/figcaption>\u003c/figure>\n\u003cp>As it covers so much ground, \u003cstrong>Secondhand\u003c/strong> is well suited for Pier 24, which is \u003ca href=\"http://www.bbc.com/travel/blog/20130417-pier-24-san-franciscos-fantastic-photography-freebie\">considered the largest exhibition space for photography\u003c/a> in the world. The forms of appropriation possible are as numerous as the emotions, questions, and conversations these works arouse. With Maurizio Anzeri, John Baldessari, Melissa Catanese, Larry Sultan and Mike Mandel, Hank Willis Thomas, and many other artists included, viewers can take any number of paths through \u003cstrong>Secondhand\u003c/strong>, drawing their own connections with the medium.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Secondhand\u003c/strong> runs through May 2015 at Pier 24 Photography in San Francisco. For \u003ca href=\"http://www.pier24.org/\">more information\u003c/a> visit pier24.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Secondhand\u003c/b>, the first new exhibition to open at Pier 24 Photography in San Francisco since July 2013, presents the work of over a dozen artists whose practice relies on the appropriation of pre-existing photographs. Paired with vernacular photos from the Pilara Foundation collection (the folks behind Pier 24), \u003cstrong>Secondhand\u003c/strong> is more than a survey of a particular artistic technique; it offers a glimpse at the varied relationships between people and photographs.\u003c/p>\n\u003cp>The found photography collections of Amsterdam-based publisher Erik Kessels, which are given several large installations, set an important tone for the exhibition. The gallery devoted to Kessels’ ongoing series of books, \u003ci>in almost every picture\u003c/i>, is particularly salient in light of critiques that younger generations’ relationship with photography is self-absorbed and obsessive.\u003c/p>\n\u003cfigure id=\"attachment_10140501\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/kesselssquare.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/kesselssquare.jpg\" alt=\"Erik Kessels, in almost every picture #1, 2002; courtesy the artist.\" width=\"640\" height=\"640\" class=\"size-full wp-image-10140501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kesselssquare.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kesselssquare-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kesselssquare-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kesselssquare-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kesselssquare-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kesselssquare-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kesselssquare-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kesselssquare-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erik Kessels, \u003ci>in almost every picture #1\u003c/i>, 2002; courtesy the artist.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.kesselskramerpublishing.com/catalogue/inalmosteverypicture1/\">\u003ci>In almost every picture #1\u003c/i>\u003c/a> (2002) is a selection of several enlarged amateur photos of a woman in stereotypical tourist poses, with monuments, mountains, and other envy-inducing settings behind her. The photos on display are a handful of the hundreds of snapshots taken by the woman’s husband between 1956 and 1968. This collection documents the familiar impulse to catalogue memories and boast about exotic exploits. For better or worse, a photo-happy spring-breaker with an iPhone and an Instagram account may be paying homage to his grandparents’ school of photography rather than indulging in newfangled narcissism, as many Baby Boom and Gen X journalists argue. This retro behavior was probably learned through endless slideshows of the Grand Canyon and by spending much of his childhood saying “cheese.”\u003c/p>\n\u003cfigure id=\"attachment_10140510\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/kessels2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/kessels2.jpg\" alt=\"Erik Kessels, in almost every picture, installation shot, courtesy Pier 24 Photography\" width=\"640\" height=\"427\" class=\"size-full wp-image-10140510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kessels2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kessels2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/kessels2-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erik Kessels, \u003ci>in almost every picture\u003c/i>, installation shot; Courtesy Pier 24 Photography\u003c/figcaption>\u003c/figure>\n\u003cp>Works from Kessels’ book \u003ca href=\"http://www.rvb-books.com/book.php?id_book=37\">\u003cem>Album Beauty\u003c/em>\u003c/a> (2012) are represented in a Lewis Carroll-esque gallery, in which larger-than-life images from found photo albums adorn the walls and foam core cutouts. Viewers may feel as if they’ve been shrunk down and must navigate their way through an old family album filled with unfamiliar faces. These otherwise anonymous subjects are given a level of import due to their inflated size, calling attention to the significance of everyday photography.\u003c/p>\n\u003cp>The installation also includes a large selection of framed photos that are blemished by stains, double exposure, and wayward thumbs. Surrounded by the acceptable photos that made the final cut in their original albums, this photographic detritus makes visible the efforts to produce archive-worthy memories.\u003c/p>\n\u003cfigure id=\"attachment_10140511\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/baseball.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/baseball.jpg\" alt=\"Baseball press photo, circa 1940; Courtesy Pier 24 Photography\" width=\"640\" height=\"808\" class=\"size-full wp-image-10140511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/baseball.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/baseball-400x505.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/baseball-237x300.jpg 237w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Baseball press photo, circa 1940; Courtesy Pier 24 Photography\u003c/figcaption>\u003c/figure>\n\u003cp>As with \u003ci>Album Beauty\u003c/i>, a series of baseball press photos from the \u003ci>Baltimore Sun\u003c/i> archive shines light on the process of creating the images seen every day. The black and white action shots of baseball players on the mound and at bat are scrawled with lines and notations instructing editors how to present the images. These markings, like the decisions of all photographers and editors, make judgements about what is important and worth reproducing and preserving.\u003c/p>\n\u003cfigure id=\"attachment_10140529\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Binschtok2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Binschtok2.jpg\" alt=\"Viktoria Binschtok, World of Details, 2011-12, installation shot, 2014; Courtesy Pier 24 Photography\" width=\"640\" height=\"438\" class=\"size-full wp-image-10140529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Binschtok2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Binschtok2-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Binschtok2-300x205.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Viktoria Binschtok, \u003ci>World of Details\u003c/i> (diner seat + diner), 2012, installation shot; Courtesy Pier 24 Photography\u003c/figcaption>\u003c/figure>\n\u003cp>Berlin-based photographer Viktoria Binschtok is one of several artists in \u003cb>Secondhand\u003c/b> who engages with digital imagery. Binschtok photographs locations in New York City she has found on Google Street View, exhibiting her work alongside corresponding prints of screenshots from Street View. She does not rephotograph the scenes found online, but creates an entirely new image, focusing on what is unseen or obscured by Street View. In one pairing, the unremarkable street in front of a diner is juxtaposed with Binschtok’s lonely yet inviting image of a cherry red diner booth bathed in light.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Binschtok’s photographs call out the ignorance that is embedded in the seeming omniscience of Street View, offering an alternate vision of the faux-objectivity of software. As someone who spends hours every week on Street View — obsessively anticipating road trips — I find Binschtok’s work comforting. She puts to rest my worries about spoiling the surprise of a new location. I’m reminded of the inevitable joy and discovery that can be found in any location, regardless of what one already knows about the place.\u003c/p>\n\u003cp>Binschtok’s photographs, of course, are no more authoritative than Google’s. Though beautifully composed, her shot of the diner booth might conceal a couple that broke up while eating there or a desperate customer who spent her last dollar on a cup of watered-down coffee. Binschtok’s aestheticization of sterile Street View scenes is only one interpretation of those sites, but her photos are also reminders of the innumerable interpretations that are possible.\u003c/p>\n\u003cfigure id=\"attachment_10140512\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Rana-web1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Rana-web1.jpg\" alt=\"Rashid Rana, installation view, 2014; Courtesy Pier 24 Photography\" width=\"640\" height=\"297\" class=\"size-full wp-image-10140512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Rana-web1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Rana-web1-400x185.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Rana-web1-300x139.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rashid Rana, installation view, 2014; Courtesy Pier 24 Photography\u003c/figcaption>\u003c/figure>\n\u003cp>Rashid Rana, regarded as one of Pakistan’s most important contemporary artists, exhibits several large scale collages that, like \u003ci>Album Beauty\u003c/i>, create a bodily experience in viewers. Two of the works on view comprise thousands of disjointed images of protests found online. Fused together, these images create a composite protest, generic but evocative. The details of the faces of the individuals are eclipsed by the totality of the composition, which washes over the viewer, creating a sense of tension and unease. Though far from a journalistic representation of a protest, these works possess the power to convey a corporeal and emotional truth about such an event.\u003c/p>\n\u003cfigure id=\"attachment_10140513\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Anzeri-Pierre-Web1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Anzeri-Pierre-Web1.jpg\" alt=\"Maurizio Anzeri, Pierre, 2013; courtesy the artist\" width=\"640\" height=\"1031\" class=\"size-full wp-image-10140513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Anzeri-Pierre-Web1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Anzeri-Pierre-Web1-400x644.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Anzeri-Pierre-Web1-186x300.jpg 186w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maurizio Anzeri, \u003ci>Pierre\u003c/i>, 2013; Courtesy of the artist\u003c/figcaption>\u003c/figure>\n\u003cp>As it covers so much ground, \u003cstrong>Secondhand\u003c/strong> is well suited for Pier 24, which is \u003ca href=\"http://www.bbc.com/travel/blog/20130417-pier-24-san-franciscos-fantastic-photography-freebie\">considered the largest exhibition space for photography\u003c/a> in the world. The forms of appropriation possible are as numerous as the emotions, questions, and conversations these works arouse. With Maurizio Anzeri, John Baldessari, Melissa Catanese, Larry Sultan and Mike Mandel, Hank Willis Thomas, and many other artists included, viewers can take any number of paths through \u003cstrong>Secondhand\u003c/strong>, drawing their own connections with the medium.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Secondhand\u003c/strong> runs through May 2015 at Pier 24 Photography in San Francisco. For \u003ca href=\"http://www.pier24.org/\">more information\u003c/a> visit pier24.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Group Behind Oakland's Newest Mural Uses Walls to Depict Communities",
"headTitle": "Group Behind Oakland’s Newest Mural Uses Walls to Depict Communities | KQED",
"content": "\u003cp>Graffiti, street art, writers, aerosol art; no matter what you call it, painting on public walls can be controversial, commissioned or not. At its best, public art reflects the values and aspirations of the community that nourished it. At worst, the writing on the walls can be menacing, proof that those who care about the neighborhood may be fighting a losing battle. This powerful dichotomy is strongly felt in Oakland, a city covered with both beautiful murals and illegal tags.\u003c/p>\n\u003cp>I have always wondered, if murals are “for the community,” who decides what is shown? Who participates, and what is their process of creation? When I stumbled across a giant mural going up on 14th and Alice Streets in downtown Oakland, I knew I needed to learn more. I was taken by the beautiful colors, the personalities depicted, and also how many people were stopping to photograph the mural and talk with the artists. I’ve spent a long time in museums and galleries, so unexpectedly stumbling across such a lively piece was quite a joy for me. Seeing the community come out to watch the process unfold was exciting. I wrote down the artists’ names and began researching the project and their work later that night.\u003c/p>\n\u003cfigure id=\"attachment_10140003\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Desiandpancho.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140003 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Desiandpancho.jpg\" alt=\"Desi Mundo and Pancho Peskador painting.\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Desiandpancho.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Desiandpancho-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Desiandpancho-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Desi Mundo and Pancho Peskador painting. Photo by Spencer Wilkinson\u003c/figcaption>\u003c/figure>\n\u003cp>The main artists are Desi Mundo and Pancho Peskador, members of Oakland’s \u003ca href=\"http://crpbayarea.org/\" target=\"_blank\" rel=\"noopener\">Community Rejuvenation Project\u003c/a> (CRP), and they were working on the Alice Street Mural. CRP is a non-profit artist collective motivated by the belief that community-led murals can become fertile meeting grounds for communities.\u003c/p>\n\u003cp>CRP’s first wall went up in 2008. The group has since produced roughly 150 murals in the Bay Area, almost entirely in Oakland. Now, having worked street level with different neighborhoods all over Oakland, CRP has started what they call a “pavement to policy” initiative advocating for laws and use of public space to better serve the city’s communities. I sat down and spoke with several CRP members over lunch as they were taking a break from working on the mural.\u003c/p>\n\u003cp>Desi Mundo is the founder of CRP who avoids labels like “street” or “graffiti” artist, opting instead to call himself simply a writer. Originally from Hyde Park, Chicago, Mundo did his first legal wall in 1992, and has done countless more since. Growing up, Mundo loved how writing nourished a hyper-local sense of culture, place, and history, noting that every neighborhood in Chicago had its own distinct style. While Mundo is happy CRP is becoming more socially active, he notes that they still just love to paint. “There is a balance between when we work with the community, and sometimes when we just want to have fun.”\u003c/p>\n\u003cfigure id=\"attachment_10140004\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/peskador.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10140004\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/peskador.jpg\" alt=\"Pancho Peskador; Photo by EKA Photography, 2014\" width=\"640\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/peskador.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/peskador-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/peskador-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pancho Peskador; Photo by EKA Photography, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>CRP Lead, Pancho Peskador is a trained fine artist from Santiago, Chile where he painted his first mural in high school of Pablo Neruda and other Chilean poets. Peskador came to Oakland in 1995 and was painting alone in his free time as much as possible, until he stumbled upon CRP. “I drove by while they were painting and stopped to talk. Whenever they went to paint I’d just show up.” Peskador writes, “Painting outside, in the street, open-air interaction with the people. After I felt that, it was hard to go back to the studio. I finally had what I was lacking for so long. That community aspect, that collective aspect, but also that interaction with people. Not needing to do a show to hear feedback about your work. So that’s how I started working with CRP.”\u003c/p>\n\u003cfigure id=\"attachment_10140005\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/alicestreet-800.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140005 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/alicestreet-800.jpg\" alt=\"Alice Street Mural\" width=\"640\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/alicestreet-800.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/alicestreet-800-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/alicestreet-800-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alice Street Mural. Photo by Spencer Wilkinson \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CRP believes that all art — especially mural art — reflects values and culture back to the community. Mundo believes in accepting that responsibility. Consequently, CRP has increasingly incorporated more community involvement into their work. Even though the Alice Street Mural only started going up on the wall recently, community outreach for the mural started over a year ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seeking how to best make a mural for the location, CRP leafleted, interviewed residents, showed up at community events, and more. CRP wanted the people who would be walking by this mural most often to tell them who to feature on the wall. Figuring out how to best represent a community is a huge challenge. “Art has that potential, but it takes a lot of work,” Mundo told me, “these interviews helped transform why I do murals.” Peskador added, “I wanted a mural that honors the people while they are still here.”\u003c/p>\n\u003cfigure id=\"attachment_10140006\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/dance.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140006 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/dance.jpg\" alt=\"Dancing at the Malonga Casquelourd Center for the Arts\" width=\"640\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/dance.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/dance-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/dance-300x212.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dancing at the Malonga Casquelourd Center for the Arts. Photo by Spencer Wilkinson\u003c/figcaption>\u003c/figure>\n\u003cp>The site of the the Alice Street Mural is especially complex because it sits at the intersection of three neighborhoods. It’s just north of Chinatown, east of Oakland’s downtown financial district, and right on the edge of Lakeside, an area of low- and medium-income apartment complexes. With all the diversity and history surrounding the wall, two institutions literally overlooking the site jumped out at CRP: the Malonga Casquelourd Center for the Arts and Hotel Oakland.\u003c/p>\n\u003cp>Hotel Oakland is an elderly home for mostly monolingual Chinese immigrants, which recently celebrated its 100th anniversary. What excited CRP most about Hotel Oakland is its arts and culture programming where residents teach classes to other residents, mostly on traditional arts and culture from their home town. The Malonga Caquelourd Center for the Arts is a performance and art center. The facility celebrates African diasporic arts, emits constant drumming, hosts dance classes, theater productions, and much more.\u003c/p>\n\u003cfigure id=\"attachment_10140007\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Grandma-baby.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140007 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Grandma-baby.jpg\" alt=\"Resident at Hotel Oakland\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Grandma-baby.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Grandma-baby-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Grandma-baby-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Resident at Hotel Oakland. Photo by Spencer Wilkinson\u003c/figcaption>\u003c/figure>\n\u003cp>Within these two unique centers CRP found their subjects for the wall, or what Mundo calls “Culture Keepers.” Culture Keepers are the immigrant elders who have maintained and nourished their native cultures even after moving far away and often over long periods of time. They are the folks who pass on traditions and have thus played a key role in shaping the culture of the neighborhood.\u003c/p>\n\u003cp>Now, the mural has become a part of these residents’ stories and the culture they’ve maintained. But CRP has even bigger plans. Sometime in 2015, the process of creating the mural will become a documentary and website that fills in the stories behind the Alice Street Mural. When someone walks and wonders about the faces on the wall, they can learn more about these characters and discover why they are important to this neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_10140009\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/alicedetail.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140009 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/alicedetail.jpg\" alt=\"Alice Street Mural detail\" width=\"640\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/alicedetail.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/alicedetail-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/alicedetail-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alice Street Mural detail. Photo by Spencer Wilkinson\u003c/figcaption>\u003c/figure>\n\u003cp>This educational experience is important to CRP, considering the gentrification that is going on throughout the Bay Area. CRP hopes that this mural and the additional documentation can act as a means to nourish respect for the local people and their culture, celebrating what is already here. An art project that beautifies but does not gentrify is a hard balance to walk.\u003c/p>\n\u003cp>Mundo tells me that CRP’s, “firsthand and on the ground experience helps us educate, promote, and produce better public space.” He wants to use that experience to do more than just murals; he wants to help shape policy around public space and graffiti abatement. Mundo points out that San Francisco spends $24 million and the US spends $17 Billion annually in graffiti abatement, locking up hundreds of youths, mostly people of color. CRP believes that while these policies are trying to help, ultimately they are destructive for the communities and that the price tag is outrageous. Mundo calls it the, “abatement blackhole.”\u003c/p>\n\u003cfigure id=\"attachment_10140008\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/muralside.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140008 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/muralside.jpg\" alt=\"Alice Street Mural\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/muralside.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/muralside-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/muralside-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alice Street Mural. Photo by Spencer Wilkinson\u003c/figcaption>\u003c/figure>\n\u003cp>I spoke over the phone about the Alice Street Mural and graffiti abatement in Oakland with Patricia Kernighan, the city council member for Oakland’s District 2. Technically, the mural sits just outside of Kernighan’s district, in Lynette Gibson McElhaney’s District 3. McElhany could not be reached for comment. Kernighan was pleased to see the mural going up in an otherwise graffiti-ridden parking lot, but she does not consider murals a comprehensive solution to Oakland’s graffiti problem. Citing instances where beautiful murals have been tagged over in her district, Kernighan promotes an approach that both supports local art projects like CRP, but also deters offenders.\u003c/p>\n\u003cp>Meanwhile, CRP firmly believes that giving communities more control over their own walls would be much better for the health and culture of the city. Eric Arnold, Communications Director at CRP says CRP has already done a lot of policy work in the city. “When Oakland proposed an anti-graffiti ordinance last year, we had a lot of concern about that and wanted to make sure there was a restorative justice aspect to it.” CRP helped get the language in the bill changed and the city set aside $400,000 for a public art fund.\u003c/p>\n\u003cp>Getting a slice of that money to do meaningful projects like the Alice Street Mural, which was funded by the Oakland Cultural Fund and a successful Indiegogo campaign, hasn’t been easy for CRP. Arnold says, “Much of public art used to be funded through the state redevelopment agency, which Jerry Brown eliminated, which has in turn led to a crisis in public art.”\u003c/p>\n\u003cp>CRP completed the Alice Street Mural August 1, 2014, and invites anyone interested to come and take a look. While many of the faces shown may be unknown to you, hopefully the mural illustrates how important they are to the block. Figuring out how to preserve Oakland’s culture while also keeping it beautiful, safe, and vibrant is a challenge CRP is trying hard to tackle, mural by mural.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Phase 1 Ribbon Cutting ceremony for the Alice Street Mural Project is this Friday, August 8, 3:30pm at 14th and Alice in Oakland. For more information, visit the \u003ca href=\"https://www.facebook.com/events/670750263002455/\" target=\"_blank\" rel=\"noopener\">Facebook event page\u003c/a>.\u003c/p>\n\n",
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"excerpt": "A new mural is going up at 14th and Alice Streets in downtown Oakland. It's the latest by the Community Rejuvenation Project, which spends months researching the culture of a community and getting input from the people who live there to figure out what and who to paint.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Graffiti, street art, writers, aerosol art; no matter what you call it, painting on public walls can be controversial, commissioned or not. At its best, public art reflects the values and aspirations of the community that nourished it. At worst, the writing on the walls can be menacing, proof that those who care about the neighborhood may be fighting a losing battle. This powerful dichotomy is strongly felt in Oakland, a city covered with both beautiful murals and illegal tags.\u003c/p>\n\u003cp>I have always wondered, if murals are “for the community,” who decides what is shown? Who participates, and what is their process of creation? When I stumbled across a giant mural going up on 14th and Alice Streets in downtown Oakland, I knew I needed to learn more. I was taken by the beautiful colors, the personalities depicted, and also how many people were stopping to photograph the mural and talk with the artists. I’ve spent a long time in museums and galleries, so unexpectedly stumbling across such a lively piece was quite a joy for me. Seeing the community come out to watch the process unfold was exciting. I wrote down the artists’ names and began researching the project and their work later that night.\u003c/p>\n\u003cfigure id=\"attachment_10140003\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Desiandpancho.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140003 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Desiandpancho.jpg\" alt=\"Desi Mundo and Pancho Peskador painting.\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Desiandpancho.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Desiandpancho-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Desiandpancho-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Desi Mundo and Pancho Peskador painting. Photo by Spencer Wilkinson\u003c/figcaption>\u003c/figure>\n\u003cp>The main artists are Desi Mundo and Pancho Peskador, members of Oakland’s \u003ca href=\"http://crpbayarea.org/\" target=\"_blank\" rel=\"noopener\">Community Rejuvenation Project\u003c/a> (CRP), and they were working on the Alice Street Mural. CRP is a non-profit artist collective motivated by the belief that community-led murals can become fertile meeting grounds for communities.\u003c/p>\n\u003cp>CRP’s first wall went up in 2008. The group has since produced roughly 150 murals in the Bay Area, almost entirely in Oakland. Now, having worked street level with different neighborhoods all over Oakland, CRP has started what they call a “pavement to policy” initiative advocating for laws and use of public space to better serve the city’s communities. I sat down and spoke with several CRP members over lunch as they were taking a break from working on the mural.\u003c/p>\n\u003cp>Desi Mundo is the founder of CRP who avoids labels like “street” or “graffiti” artist, opting instead to call himself simply a writer. Originally from Hyde Park, Chicago, Mundo did his first legal wall in 1992, and has done countless more since. Growing up, Mundo loved how writing nourished a hyper-local sense of culture, place, and history, noting that every neighborhood in Chicago had its own distinct style. While Mundo is happy CRP is becoming more socially active, he notes that they still just love to paint. “There is a balance between when we work with the community, and sometimes when we just want to have fun.”\u003c/p>\n\u003cfigure id=\"attachment_10140004\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/peskador.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10140004\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/peskador.jpg\" alt=\"Pancho Peskador; Photo by EKA Photography, 2014\" width=\"640\" height=\"425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/peskador.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/peskador-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/peskador-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pancho Peskador; Photo by EKA Photography, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>CRP Lead, Pancho Peskador is a trained fine artist from Santiago, Chile where he painted his first mural in high school of Pablo Neruda and other Chilean poets. Peskador came to Oakland in 1995 and was painting alone in his free time as much as possible, until he stumbled upon CRP. “I drove by while they were painting and stopped to talk. Whenever they went to paint I’d just show up.” Peskador writes, “Painting outside, in the street, open-air interaction with the people. After I felt that, it was hard to go back to the studio. I finally had what I was lacking for so long. That community aspect, that collective aspect, but also that interaction with people. Not needing to do a show to hear feedback about your work. So that’s how I started working with CRP.”\u003c/p>\n\u003cfigure id=\"attachment_10140005\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/alicestreet-800.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140005 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/alicestreet-800.jpg\" alt=\"Alice Street Mural\" width=\"640\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/alicestreet-800.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/alicestreet-800-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/alicestreet-800-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alice Street Mural. Photo by Spencer Wilkinson \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CRP believes that all art — especially mural art — reflects values and culture back to the community. Mundo believes in accepting that responsibility. Consequently, CRP has increasingly incorporated more community involvement into their work. Even though the Alice Street Mural only started going up on the wall recently, community outreach for the mural started over a year ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seeking how to best make a mural for the location, CRP leafleted, interviewed residents, showed up at community events, and more. CRP wanted the people who would be walking by this mural most often to tell them who to feature on the wall. Figuring out how to best represent a community is a huge challenge. “Art has that potential, but it takes a lot of work,” Mundo told me, “these interviews helped transform why I do murals.” Peskador added, “I wanted a mural that honors the people while they are still here.”\u003c/p>\n\u003cfigure id=\"attachment_10140006\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/dance.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140006 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/dance.jpg\" alt=\"Dancing at the Malonga Casquelourd Center for the Arts\" width=\"640\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/dance.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/dance-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/dance-300x212.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dancing at the Malonga Casquelourd Center for the Arts. Photo by Spencer Wilkinson\u003c/figcaption>\u003c/figure>\n\u003cp>The site of the the Alice Street Mural is especially complex because it sits at the intersection of three neighborhoods. It’s just north of Chinatown, east of Oakland’s downtown financial district, and right on the edge of Lakeside, an area of low- and medium-income apartment complexes. With all the diversity and history surrounding the wall, two institutions literally overlooking the site jumped out at CRP: the Malonga Casquelourd Center for the Arts and Hotel Oakland.\u003c/p>\n\u003cp>Hotel Oakland is an elderly home for mostly monolingual Chinese immigrants, which recently celebrated its 100th anniversary. What excited CRP most about Hotel Oakland is its arts and culture programming where residents teach classes to other residents, mostly on traditional arts and culture from their home town. The Malonga Caquelourd Center for the Arts is a performance and art center. The facility celebrates African diasporic arts, emits constant drumming, hosts dance classes, theater productions, and much more.\u003c/p>\n\u003cfigure id=\"attachment_10140007\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Grandma-baby.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140007 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Grandma-baby.jpg\" alt=\"Resident at Hotel Oakland\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Grandma-baby.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Grandma-baby-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Grandma-baby-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Resident at Hotel Oakland. Photo by Spencer Wilkinson\u003c/figcaption>\u003c/figure>\n\u003cp>Within these two unique centers CRP found their subjects for the wall, or what Mundo calls “Culture Keepers.” Culture Keepers are the immigrant elders who have maintained and nourished their native cultures even after moving far away and often over long periods of time. They are the folks who pass on traditions and have thus played a key role in shaping the culture of the neighborhood.\u003c/p>\n\u003cp>Now, the mural has become a part of these residents’ stories and the culture they’ve maintained. But CRP has even bigger plans. Sometime in 2015, the process of creating the mural will become a documentary and website that fills in the stories behind the Alice Street Mural. When someone walks and wonders about the faces on the wall, they can learn more about these characters and discover why they are important to this neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_10140009\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/alicedetail.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140009 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/alicedetail.jpg\" alt=\"Alice Street Mural detail\" width=\"640\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/alicedetail.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/alicedetail-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/alicedetail-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alice Street Mural detail. Photo by Spencer Wilkinson\u003c/figcaption>\u003c/figure>\n\u003cp>This educational experience is important to CRP, considering the gentrification that is going on throughout the Bay Area. CRP hopes that this mural and the additional documentation can act as a means to nourish respect for the local people and their culture, celebrating what is already here. An art project that beautifies but does not gentrify is a hard balance to walk.\u003c/p>\n\u003cp>Mundo tells me that CRP’s, “firsthand and on the ground experience helps us educate, promote, and produce better public space.” He wants to use that experience to do more than just murals; he wants to help shape policy around public space and graffiti abatement. Mundo points out that San Francisco spends $24 million and the US spends $17 Billion annually in graffiti abatement, locking up hundreds of youths, mostly people of color. CRP believes that while these policies are trying to help, ultimately they are destructive for the communities and that the price tag is outrageous. Mundo calls it the, “abatement blackhole.”\u003c/p>\n\u003cfigure id=\"attachment_10140008\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/muralside.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140008 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/muralside.jpg\" alt=\"Alice Street Mural\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/muralside.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/muralside-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/muralside-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alice Street Mural. Photo by Spencer Wilkinson\u003c/figcaption>\u003c/figure>\n\u003cp>I spoke over the phone about the Alice Street Mural and graffiti abatement in Oakland with Patricia Kernighan, the city council member for Oakland’s District 2. Technically, the mural sits just outside of Kernighan’s district, in Lynette Gibson McElhaney’s District 3. McElhany could not be reached for comment. Kernighan was pleased to see the mural going up in an otherwise graffiti-ridden parking lot, but she does not consider murals a comprehensive solution to Oakland’s graffiti problem. Citing instances where beautiful murals have been tagged over in her district, Kernighan promotes an approach that both supports local art projects like CRP, but also deters offenders.\u003c/p>\n\u003cp>Meanwhile, CRP firmly believes that giving communities more control over their own walls would be much better for the health and culture of the city. Eric Arnold, Communications Director at CRP says CRP has already done a lot of policy work in the city. “When Oakland proposed an anti-graffiti ordinance last year, we had a lot of concern about that and wanted to make sure there was a restorative justice aspect to it.” CRP helped get the language in the bill changed and the city set aside $400,000 for a public art fund.\u003c/p>\n\u003cp>Getting a slice of that money to do meaningful projects like the Alice Street Mural, which was funded by the Oakland Cultural Fund and a successful Indiegogo campaign, hasn’t been easy for CRP. Arnold says, “Much of public art used to be funded through the state redevelopment agency, which Jerry Brown eliminated, which has in turn led to a crisis in public art.”\u003c/p>\n\u003cp>CRP completed the Alice Street Mural August 1, 2014, and invites anyone interested to come and take a look. While many of the faces shown may be unknown to you, hopefully the mural illustrates how important they are to the block. Figuring out how to preserve Oakland’s culture while also keeping it beautiful, safe, and vibrant is a challenge CRP is trying hard to tackle, mural by mural.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Phase 1 Ribbon Cutting ceremony for the Alice Street Mural Project is this Friday, August 8, 3:30pm at 14th and Alice in Oakland. For more information, visit the \u003ca href=\"https://www.facebook.com/events/670750263002455/\" target=\"_blank\" rel=\"noopener\">Facebook event page\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Polite Guests from the Future: An Alternate Version of Russian History",
"headTitle": "Polite Guests from the Future: An Alternate Version of Russian History | KQED",
"content": "\u003cp>The evening news is often a dance of fact and fiction, the truth twirling somewhere in between two or more expertly crafted fantasies. In recent months, the Russian government and media have executed mixed performances, convincing world leaders Russia had no plans for annexing Crimea and proposing foolish theories for the downed Malaysia Airlines Flight 17.\u003c/p>\n\u003cp>\u003cstrong>M.I.R.: Polite Guests from the Future\u003c/strong>, Russian artist Arseniy Zhilyaev’s solo exhibition at the Kadist Art Foundation, seems to draw direct inspiration from the absurd but occasionally persuasive allure of Vladimir Putin and his mouthpieces. The conceptual exhibition is forthrightly a farce; it is presented as the future and otherwise non-existent Museum of Russian History, which memorializes the also non-existent Russian Cosmic Federation.\u003c/p>\n\u003cfigure id=\"attachment_10139933\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Putin_Cat1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139933 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Putin_Cat1-400x297.jpg\" alt=\"Vladimir Putin, <i>Cat Seen from Behind</i>, 2013; performance documentation, digital image. Collection of the Museum of Russian History. Photo by Phillip Maisel. Courtesy Kadist Art Foundation.\" width=\"400\" height=\"297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Putin_Cat1-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Putin_Cat1-300x223.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Putin_Cat1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vladimir Putin, \u003ci>Cat Seen from Behind\u003c/i>, 2013; performance documentation, digital image. Collection of the Museum of Russian History. Photo by Phillip Maisel. Courtesy Kadist Art Foundation.\u003c/figcaption>\u003c/figure>\n\u003cp>The premise of \u003cstrong>Polite Guests from the Future\u003c/strong> prepares viewers for untruths, but anticipating deception does not curtail confusion. One of the exhibition’s rooms is dedicated to Putin’s artistic practice and his influence on contemporary (ancient from the exhibition’s perspective) art and culture. A crude, black and white drawing is presented as an original work of art from Putin. Curator Pete Belkin explained that while visiting a middle school, Putin drew the piece on a whiteboard. As he was leaving, a student asked what the image was and the eccentric Putin replied, “It’s a cat — the rear view.” It \u003ca href=\"http://www.independent.co.uk/news/world/europe/vladimir-putin-draws-a-cats-bottom-during-school-visit-8799920.html\">turns out\u003c/a> this is not some cosmic lie but indeed a true story.\u003c/p>\n\u003cfigure id=\"attachment_10139849\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Sasha_Grey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139849 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Sasha_Grey.jpg\" alt=\"<i>Gifts to the People’s Commissar of Culture, Aleksandra Grey</i>, 2013 - 2020. Collection of the Museum of Russian History. Photo by Phillip Maisel. Courtesy Kadist Art Foundation.\" width=\"800\" height=\"471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Sasha_Grey.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Sasha_Grey-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Sasha_Grey-300x176.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Gifts to the People’s Commissar of Culture, Aleksandra Grey\u003c/i>, 2013 – 2020. Collection of the Museum of Russian History. Photo by Phillip Maisel. Courtesy Kadist Art Foundation.\u003c/figcaption>\u003c/figure>\n\u003cp>A section of the same room is devoted to the permanent “People’s Commissar of Culture,” Aleksandra Grey, a reference to American porn actress Sasha Grey (Sasha is the diminutive form of Aleksandra). In addition to her pornographic work, Grey is known for a starring role in Steven Soderbergh’s \u003cem>The Girlfriend Experience\u003c/em>. As a former member of industrial band aTelecine, author of a novel and a photo book, Grey is a true renaissance woman worthy of the People’s Commissar of Culture title. A display case documents Grey’s historical importance with a meteorite necklace dated 2020, an Aleksandra Grey commemorative plate from 2016, and a 2013 vinyl album cover, the existence of which could only be disproved with further research.\u003c/p>\n\u003cfigure id=\"attachment_10139851\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Jesus_Chelyabinsky.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139851 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Jesus_Chelyabinsky-400x559.jpg\" alt=\"Unknown Author, <i>Jesus Chelyabinsky</i>, 2014; embroidery. Collection of the Museum of Russian History. Photo by Phillip Maisel. Courtesy Kadist Art Foundation.\" width=\"400\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Jesus_Chelyabinsky-400x559.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Jesus_Chelyabinsky-214x300.jpg 214w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Jesus_Chelyabinsky.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Unknown Author, \u003ci>Jesus Chelyabinsky\u003c/i>, 2014;\u003cbr> embroidery. Collection of the Museum of Russian History. Photo by Phillip Maisel. Courtesy Kadist Art Foundation.\u003c/figcaption>\u003c/figure>\n\u003cp>The uncertainties grow after entering the room dedicated to the Chelyabinsk meteor of 2013 and the cult that has risen around it. Belkin acknowledged that the meteorite on display in the center of the gallery is not the Chelyabinsk meteorite, but a substitute from elsewhere. However, all meteorites now have sacred significance in the new official Russian religion. I wondered if it was really a meteorite. Can you just buy one on eBay? (\u003ca href=\"http://www.ebay.com/gds/Buying-Meteorites-on-eBay-a-Beginners-Guide-/10000000004437563/g.html\">Yes, you can.\u003c/a>) I also questioned the authenticity of the textiles and texts associated with the cult, not sure whether they are reproductions of something real or completely conjured by Zhilyaev’s imagination. I didn’t ask, because not knowing was more fun than pinning down the elusive truth, at least until I got home and researched everything.\u003c/p>\n\u003cfigure id=\"attachment_10139848\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_meteorite.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139848 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_meteorite-400x266.jpg\" alt=\"<i>The Sacred Body of the Angel of Prehistory</i>, 4,500,00 B.C.; meteorite fragment. Collection of the Museum of Russian History. Photo by Phillip Maisel. Courtesy Kadist Art Foundation.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_meteorite-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_meteorite-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_meteorite.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Sacred Body of the Angel of Prehistory\u003c/i>, 4,500,00 B.C.; meteorite fragment. Collection of the Museum of Russian History. Photo by Phillip Maisel. Courtesy Kadist Art Foundation.\u003c/figcaption>\u003c/figure>\n\u003cp>In an associated performance at the Kadist on July 23, artist Larry Bogad asked pairs of audience members to make a set of authoritative poses and oppositional poses, such as picking the nose of someone raising their fist in anger. Bogad explained that when faced with authority there is always some gesture one can make to undermine that authority. By dispensing with historical fact and fostering ambiguity and confusion, Zhilyaev created an exhibition that peeks through the veneer of Russian nationalism and illuminates the personalities, the idiosyncrasies, and the spectacles that make up the history we consider real.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>M.I.R.: Polite Guests from the Future\u003c/strong> runs through August 23, 2014 at Kadist Art Foundation. For \u003ca href=\"http://www.kadist.org/en/programs/all/1903\">more information\u003c/a> visit kadist.org.\u003c/p>\n\n",
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"excerpt": "Arseniy Zhilyaev’s solo exhibition at the Kadist Art Foundation seems to draw direct inspiration from the absurd but occasionally persuasive allure of Vladimir Putin.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The evening news is often a dance of fact and fiction, the truth twirling somewhere in between two or more expertly crafted fantasies. In recent months, the Russian government and media have executed mixed performances, convincing world leaders Russia had no plans for annexing Crimea and proposing foolish theories for the downed Malaysia Airlines Flight 17.\u003c/p>\n\u003cp>\u003cstrong>M.I.R.: Polite Guests from the Future\u003c/strong>, Russian artist Arseniy Zhilyaev’s solo exhibition at the Kadist Art Foundation, seems to draw direct inspiration from the absurd but occasionally persuasive allure of Vladimir Putin and his mouthpieces. The conceptual exhibition is forthrightly a farce; it is presented as the future and otherwise non-existent Museum of Russian History, which memorializes the also non-existent Russian Cosmic Federation.\u003c/p>\n\u003cfigure id=\"attachment_10139933\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Putin_Cat1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139933 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Putin_Cat1-400x297.jpg\" alt=\"Vladimir Putin, <i>Cat Seen from Behind</i>, 2013; performance documentation, digital image. Collection of the Museum of Russian History. Photo by Phillip Maisel. Courtesy Kadist Art Foundation.\" width=\"400\" height=\"297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Putin_Cat1-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Putin_Cat1-300x223.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Putin_Cat1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vladimir Putin, \u003ci>Cat Seen from Behind\u003c/i>, 2013; performance documentation, digital image. Collection of the Museum of Russian History. Photo by Phillip Maisel. Courtesy Kadist Art Foundation.\u003c/figcaption>\u003c/figure>\n\u003cp>The premise of \u003cstrong>Polite Guests from the Future\u003c/strong> prepares viewers for untruths, but anticipating deception does not curtail confusion. One of the exhibition’s rooms is dedicated to Putin’s artistic practice and his influence on contemporary (ancient from the exhibition’s perspective) art and culture. A crude, black and white drawing is presented as an original work of art from Putin. Curator Pete Belkin explained that while visiting a middle school, Putin drew the piece on a whiteboard. As he was leaving, a student asked what the image was and the eccentric Putin replied, “It’s a cat — the rear view.” It \u003ca href=\"http://www.independent.co.uk/news/world/europe/vladimir-putin-draws-a-cats-bottom-during-school-visit-8799920.html\">turns out\u003c/a> this is not some cosmic lie but indeed a true story.\u003c/p>\n\u003cfigure id=\"attachment_10139849\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Sasha_Grey.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139849 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Sasha_Grey.jpg\" alt=\"<i>Gifts to the People’s Commissar of Culture, Aleksandra Grey</i>, 2013 - 2020. Collection of the Museum of Russian History. Photo by Phillip Maisel. Courtesy Kadist Art Foundation.\" width=\"800\" height=\"471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Sasha_Grey.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Sasha_Grey-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Sasha_Grey-300x176.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Gifts to the People’s Commissar of Culture, Aleksandra Grey\u003c/i>, 2013 – 2020. Collection of the Museum of Russian History. Photo by Phillip Maisel. Courtesy Kadist Art Foundation.\u003c/figcaption>\u003c/figure>\n\u003cp>A section of the same room is devoted to the permanent “People’s Commissar of Culture,” Aleksandra Grey, a reference to American porn actress Sasha Grey (Sasha is the diminutive form of Aleksandra). In addition to her pornographic work, Grey is known for a starring role in Steven Soderbergh’s \u003cem>The Girlfriend Experience\u003c/em>. As a former member of industrial band aTelecine, author of a novel and a photo book, Grey is a true renaissance woman worthy of the People’s Commissar of Culture title. A display case documents Grey’s historical importance with a meteorite necklace dated 2020, an Aleksandra Grey commemorative plate from 2016, and a 2013 vinyl album cover, the existence of which could only be disproved with further research.\u003c/p>\n\u003cfigure id=\"attachment_10139851\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Jesus_Chelyabinsky.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139851 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Jesus_Chelyabinsky-400x559.jpg\" alt=\"Unknown Author, <i>Jesus Chelyabinsky</i>, 2014; embroidery. Collection of the Museum of Russian History. Photo by Phillip Maisel. Courtesy Kadist Art Foundation.\" width=\"400\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Jesus_Chelyabinsky-400x559.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Jesus_Chelyabinsky-214x300.jpg 214w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_Jesus_Chelyabinsky.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Unknown Author, \u003ci>Jesus Chelyabinsky\u003c/i>, 2014;\u003cbr> embroidery. Collection of the Museum of Russian History. Photo by Phillip Maisel. Courtesy Kadist Art Foundation.\u003c/figcaption>\u003c/figure>\n\u003cp>The uncertainties grow after entering the room dedicated to the Chelyabinsk meteor of 2013 and the cult that has risen around it. Belkin acknowledged that the meteorite on display in the center of the gallery is not the Chelyabinsk meteorite, but a substitute from elsewhere. However, all meteorites now have sacred significance in the new official Russian religion. I wondered if it was really a meteorite. Can you just buy one on eBay? (\u003ca href=\"http://www.ebay.com/gds/Buying-Meteorites-on-eBay-a-Beginners-Guide-/10000000004437563/g.html\">Yes, you can.\u003c/a>) I also questioned the authenticity of the textiles and texts associated with the cult, not sure whether they are reproductions of something real or completely conjured by Zhilyaev’s imagination. I didn’t ask, because not knowing was more fun than pinning down the elusive truth, at least until I got home and researched everything.\u003c/p>\n\u003cfigure id=\"attachment_10139848\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_meteorite.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139848 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_meteorite-400x266.jpg\" alt=\"<i>The Sacred Body of the Angel of Prehistory</i>, 4,500,00 B.C.; meteorite fragment. Collection of the Museum of Russian History. Photo by Phillip Maisel. Courtesy Kadist Art Foundation.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_meteorite-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_meteorite-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Kadist_Zhilyaev_meteorite.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Sacred Body of the Angel of Prehistory\u003c/i>, 4,500,00 B.C.; meteorite fragment. Collection of the Museum of Russian History. Photo by Phillip Maisel. Courtesy Kadist Art Foundation.\u003c/figcaption>\u003c/figure>\n\u003cp>In an associated performance at the Kadist on July 23, artist Larry Bogad asked pairs of audience members to make a set of authoritative poses and oppositional poses, such as picking the nose of someone raising their fist in anger. Bogad explained that when faced with authority there is always some gesture one can make to undermine that authority. By dispensing with historical fact and fostering ambiguity and confusion, Zhilyaev created an exhibition that peeks through the veneer of Russian nationalism and illuminates the personalities, the idiosyncrasies, and the spectacles that make up the history we consider real.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>M.I.R.: Polite Guests from the Future\u003c/strong> runs through August 23, 2014 at Kadist Art Foundation. For \u003ca href=\"http://www.kadist.org/en/programs/all/1903\">more information\u003c/a> visit kadist.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Conceptual Artist Discusses Why He's Giving Away His Work",
"headTitle": "SF Conceptual Artist Discusses Why He’s Giving Away His Work | KQED",
"content": "\u003cp>Over the decades he’s worked as an artist, \u003ca href=\"http://www.ronaldchaseart.com/\" target=\"_blank\" rel=\"noopener\">Ronald Chase\u003c/a> says he has accumulated too much of his own work. \u003c/p>\n\u003cp>Now that he’s almost 80, the San Francisco-based conceptual artist has decided to strike a deal with his local community: he will give you a piece of his art for free, if you promise to frame it well and never sell it. And if you get tired of it, Chase insists that you must pass it along to a friend. \u003c/p>\n\u003cp>On Saturday, August 2, Chase will open his Mission District studio to the public and give away more than 500 abstract pieces of his work first-come-first-serve. \u003c/p>\n\u003cp>To him, the event is an investment in his own work — giving a longer life to hundreds of pieces that have never before been exhibited in galleries.\u003c/p>\n\u003cp>Chase said he hopes these gifts of art will not only make the practice of collecting art more attainable, but also prompt a discussion about what makes things valuable. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is par for the course for Chase, who has made a life of making art more accessible to the public, taking young people to galleries, performances and film openings every week for free through the program San Francisco Art & Film For Teenagers. \u003c/p>\n\u003cp>“People have to experience art before it becomes a part of their lives,” said Chase, noting the importance of art in San Francisco’s culture.\u003c/p>\n\u003cp>According to Chase, artists will always be the “pollinators of something interesting” and give people reason to move to an area. However, no one has to be a millionaire to become an art collector, Chase said, citing his give-away as proof. \u003c/p>\n\u003cp>Chase will begin the event in front of 540 Alabama Street (at Mariposa) in San Francisco at noon on Saturday. He asks all those who come to be patient. \u003c/p>\n\u003cp>\u003ci>For more about his work, below is a short documentary on Chase by Christoph Helms:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>http://vimeo.com/67785598\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the decades he’s worked as an artist, \u003ca href=\"http://www.ronaldchaseart.com/\" target=\"_blank\" rel=\"noopener\">Ronald Chase\u003c/a> says he has accumulated too much of his own work. \u003c/p>\n\u003cp>Now that he’s almost 80, the San Francisco-based conceptual artist has decided to strike a deal with his local community: he will give you a piece of his art for free, if you promise to frame it well and never sell it. And if you get tired of it, Chase insists that you must pass it along to a friend. \u003c/p>\n\u003cp>On Saturday, August 2, Chase will open his Mission District studio to the public and give away more than 500 abstract pieces of his work first-come-first-serve. \u003c/p>\n\u003cp>To him, the event is an investment in his own work — giving a longer life to hundreds of pieces that have never before been exhibited in galleries.\u003c/p>\n\u003cp>Chase said he hopes these gifts of art will not only make the practice of collecting art more attainable, but also prompt a discussion about what makes things valuable. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is par for the course for Chase, who has made a life of making art more accessible to the public, taking young people to galleries, performances and film openings every week for free through the program San Francisco Art & Film For Teenagers. \u003c/p>\n\u003cp>“People have to experience art before it becomes a part of their lives,” said Chase, noting the importance of art in San Francisco’s culture.\u003c/p>\n\u003cp>According to Chase, artists will always be the “pollinators of something interesting” and give people reason to move to an area. However, no one has to be a millionaire to become an art collector, Chase said, citing his give-away as proof. \u003c/p>\n\u003cp>Chase will begin the event in front of 540 Alabama Street (at Mariposa) in San Francisco at noon on Saturday. He asks all those who come to be patient. \u003c/p>\n\u003cp>\u003ci>For more about his work, below is a short documentary on Chase by Christoph Helms:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"title": "A Tantalizing but Unsatisfying History of Mah Jongg",
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"content": "\u003cp>I love games. Card games, board games, athletic endeavors, solitaire, puzzles, the works. But I’ve never played mah jongg. And I don’t mean the digital solitaire version, because I’ve definitely played that and it is a poor shadow of the real thing. I know, because I attempted to learn to play mah jongg after a visit to the Contemporary Jewish Museum and I failed. Utterly and completely.\u003c/p>\n\u003cp>If you come to the museum’s \u003cb>Project Mah Jongg\u003c/b> seeking the rules of the game, you will be sorely disappointed. (\u003ca href=\"//www.thecjm.org/programs/classes-workshops/611-discover-american-mah-jongg%E2%80%9D\" target=\"”_blank”\" rel=\"noopener\">This CJM offering\u003c/a> might be a better resource, or \u003ca href=\"//boardgames.about.com/od/mahjongg/a/How-to-Play-Mah-Jongg.htm%E2%80%9D\" target=\"”_blank”\" rel=\"noopener\">even this\u003c/a>.) There are other things to learn, however, and \u003cb>Project Mah Jongg\u003c/b> is full of information.\u003c/p>\n\u003cfigure id=\"attachment_10139341\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139341 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Tiles.jpg\" alt=\"Vintage mah jongg tiles, n.d. Courtesy the Museum of Jewish Heritage—A Living Memorial to the Holocaust.\" width=\"640\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Tiles.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Tiles-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Tiles-240x300.jpg 240w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vintage mah jongg tiles, n.d. Courtesy the Museum of Jewish Heritage—A Living Memorial to the Holocaust.\u003c/figcaption>\u003c/figure>\n\u003cp>A brief recap of the history of mah jongg in the United States: one Joseph P. Babcock began importing sets from China in the 1920s; the game quickly swept the nation, becoming a fad for all those seeking sophisticated, worldly leisure pursuits; and “crak!” mah jongg was a fixture in the social life of Jewish American women. Today, the game is the basis of a large-scale philanthropic network via the \u003ca href=\"https://www.nationalmahjonggleague.org/\" target=\"_blank\" rel=\"noopener\">National Mah Jongg League\u003c/a>.\u003c/p>\n\u003cp>The more complicated balance between caricatures and stereotypes, exotic appeal and genuine love for the communal spirit of the game, is carefully and sensitively explored by exhibition sections on the game’s origins, its popularity, its marketing and eventual organized league play. And while the exhibition goes to great efforts to link Jewish and Chinese cultures through a shared history of immigration, assimilation and game-playing, the near-absence of Chinese American voices (or even images of Chinese Americans playing mah jongg) calls attention to the narrowness of the show’s focus.\u003c/p>\n\u003cfigure id=\"attachment_10139340\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10139340\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Scorecard.jpg\" alt=\"Score card for mah jongg, c. 1923. Courtesy the Museum of Jewish Heritage—A Living Memorial to the Holocaust.\" width=\"640\" height=\"884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Scorecard.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Scorecard-400x552.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Scorecard-217x300.jpg 217w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Score card for mah jongg, c. 1923. Courtesy the Museum of Jewish Heritage—A Living Memorial to the Holocaust.\u003c/figcaption>\u003c/figure>\n\u003cp>This traveling exhibition comes to San Francisco from the Museum of Jewish Heritage—A Living Memorial to the Holocaust, New York. The installation is made from red and white modular chipboard furniture, creating the displays for mah jongg-related objects in six double-sided stations. The circular structure rises in a central arching framework, meeting in the middle to form a Star of David, a small and welcome surprise in an otherwise predictable gathering of early to mid-century objects, historical photographs and educational wall text.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the ochre walls of the gallery, photographs from the National Mah Jongg League, mah jongg-inspired drawings from illustrious illustrators and even a “Mah Jongg Collection” from Isaac Mizrahi are framed by the same chipboard round-cornered rectangular shapes that make up the gazebo-like structure. Unfortunately, these round-cornered rectangular shapes bear a striking resemblance to gigantic Apple devices, rather than the tiles they hope to emulate.\u003c/p>\n\u003cp>One neat, high-tech aspect of the show is a series of wall-mounted CD players, activated by the downward pull of a cord to play a soundscape of communal laughter, the gentle clack of tiles and the bustle of several games of mah jongg, adding a bit of vitality to the elsewhere static display.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=FuxFhsnF31g?rel=0]\u003c/p>\n\u003cp>Unique to the CJM (and a saving grace to the show) is local artist Imin Yeh’s \u003cem>Paper Mah Jongg\u003c/em>. This collection of 44 screenprints made specifically for the exhibition occupies a corner of the gallery, accompanied by a complete set of folded paper mah jongg tiles within a vitrine. Yeh’s project is both elegant and challenging: providing the sheets of paper to assemble your own paper tiles (a downloadable version is also available from \u003ca href=\"//www.iminyeh.info/paper-mahjong/%E2%80%9D\" target=\"”_blank”\" rel=\"noopener\">her website\u003c/a>) she creates an open-source version of the game, which requires that you devote a full 15 hours to the assembly of a complete set. Her piece points to the invisible labor that goes into the production of cultural souvenirs, a level of self-criticality missing from \u003cb>Project Mah Jongg\u003c/b> as a whole.\u003c/p>\n\u003cp>While some of the public programming associated with \u003cb>Project Mah Jongg\u003c/b> is enticing — including a special series of “\u003ca href=\"http://www.thecjm.org/programs/classes-workshops/617-jews-for-dim-sum-build-tiles-eat-snacks\" target=\"_blank\" rel=\"noopener\">Mahj Noshes\u003c/a>” (snacks made by artist and pastry chef Leah Rosenberg in collaboration with Yeh), \u003ca href=\"http://www.thecjm.org/programs/special-events/627-daily-mah-jongg-play-in-the-gallery\" target=\"_blank\" rel=\"noopener\">open play\u003c/a> in the center of the installation and \u003ca href=\"http://www.thecjm.org/programs/special-events/607-lunchtime-board-games-on-jessie-square-plaza\" target=\"_blank\" rel=\"noopener\">lunchtime mid-century boardgames\u003c/a> in Jessie Square Plaza (think \u003ci>Operation\u003c/i>, \u003ci>Twister\u003c/i> and the like) — the exhibition itself is more nostalgic than inclusive, despite the alluring graphics and obvious historical significance of the game, for Jewish and Chinese Americans alike.\u003c/p>\n\u003cp>And yet, aloofness can be alluring: I am filled with an overriding desire to learn the game. Now, who will teach me to play mah jongg?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Project Mah Jongg\u003c/b> is on view through October 28, 2014 at the Contemporary Jewish Museum. For \u003ca href=\"//www.thecjm.org/index.php%E2%80%9D\">more information\u003c/a> visit cjm.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I love games. Card games, board games, athletic endeavors, solitaire, puzzles, the works. But I’ve never played mah jongg. And I don’t mean the digital solitaire version, because I’ve definitely played that and it is a poor shadow of the real thing. I know, because I attempted to learn to play mah jongg after a visit to the Contemporary Jewish Museum and I failed. Utterly and completely.\u003c/p>\n\u003cp>If you come to the museum’s \u003cb>Project Mah Jongg\u003c/b> seeking the rules of the game, you will be sorely disappointed. (\u003ca href=\"//www.thecjm.org/programs/classes-workshops/611-discover-american-mah-jongg%E2%80%9D\" target=\"”_blank”\" rel=\"noopener\">This CJM offering\u003c/a> might be a better resource, or \u003ca href=\"//boardgames.about.com/od/mahjongg/a/How-to-Play-Mah-Jongg.htm%E2%80%9D\" target=\"”_blank”\" rel=\"noopener\">even this\u003c/a>.) There are other things to learn, however, and \u003cb>Project Mah Jongg\u003c/b> is full of information.\u003c/p>\n\u003cfigure id=\"attachment_10139341\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139341 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Tiles.jpg\" alt=\"Vintage mah jongg tiles, n.d. Courtesy the Museum of Jewish Heritage—A Living Memorial to the Holocaust.\" width=\"640\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Tiles.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Tiles-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Tiles-240x300.jpg 240w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vintage mah jongg tiles, n.d. Courtesy the Museum of Jewish Heritage—A Living Memorial to the Holocaust.\u003c/figcaption>\u003c/figure>\n\u003cp>A brief recap of the history of mah jongg in the United States: one Joseph P. Babcock began importing sets from China in the 1920s; the game quickly swept the nation, becoming a fad for all those seeking sophisticated, worldly leisure pursuits; and “crak!” mah jongg was a fixture in the social life of Jewish American women. Today, the game is the basis of a large-scale philanthropic network via the \u003ca href=\"https://www.nationalmahjonggleague.org/\" target=\"_blank\" rel=\"noopener\">National Mah Jongg League\u003c/a>.\u003c/p>\n\u003cp>The more complicated balance between caricatures and stereotypes, exotic appeal and genuine love for the communal spirit of the game, is carefully and sensitively explored by exhibition sections on the game’s origins, its popularity, its marketing and eventual organized league play. And while the exhibition goes to great efforts to link Jewish and Chinese cultures through a shared history of immigration, assimilation and game-playing, the near-absence of Chinese American voices (or even images of Chinese Americans playing mah jongg) calls attention to the narrowness of the show’s focus.\u003c/p>\n\u003cfigure id=\"attachment_10139340\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10139340\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Scorecard.jpg\" alt=\"Score card for mah jongg, c. 1923. Courtesy the Museum of Jewish Heritage—A Living Memorial to the Holocaust.\" width=\"640\" height=\"884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Scorecard.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Scorecard-400x552.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Scorecard-217x300.jpg 217w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Score card for mah jongg, c. 1923. Courtesy the Museum of Jewish Heritage—A Living Memorial to the Holocaust.\u003c/figcaption>\u003c/figure>\n\u003cp>This traveling exhibition comes to San Francisco from the Museum of Jewish Heritage—A Living Memorial to the Holocaust, New York. The installation is made from red and white modular chipboard furniture, creating the displays for mah jongg-related objects in six double-sided stations. The circular structure rises in a central arching framework, meeting in the middle to form a Star of David, a small and welcome surprise in an otherwise predictable gathering of early to mid-century objects, historical photographs and educational wall text.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the ochre walls of the gallery, photographs from the National Mah Jongg League, mah jongg-inspired drawings from illustrious illustrators and even a “Mah Jongg Collection” from Isaac Mizrahi are framed by the same chipboard round-cornered rectangular shapes that make up the gazebo-like structure. Unfortunately, these round-cornered rectangular shapes bear a striking resemblance to gigantic Apple devices, rather than the tiles they hope to emulate.\u003c/p>\n\u003cp>One neat, high-tech aspect of the show is a series of wall-mounted CD players, activated by the downward pull of a cord to play a soundscape of communal laughter, the gentle clack of tiles and the bustle of several games of mah jongg, adding a bit of vitality to the elsewhere static display.\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/FuxFhsnF31g?rel=0'\n title='//www.youtube.com/embed/FuxFhsnF31g?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Unique to the CJM (and a saving grace to the show) is local artist Imin Yeh’s \u003cem>Paper Mah Jongg\u003c/em>. This collection of 44 screenprints made specifically for the exhibition occupies a corner of the gallery, accompanied by a complete set of folded paper mah jongg tiles within a vitrine. Yeh’s project is both elegant and challenging: providing the sheets of paper to assemble your own paper tiles (a downloadable version is also available from \u003ca href=\"//www.iminyeh.info/paper-mahjong/%E2%80%9D\" target=\"”_blank”\" rel=\"noopener\">her website\u003c/a>) she creates an open-source version of the game, which requires that you devote a full 15 hours to the assembly of a complete set. Her piece points to the invisible labor that goes into the production of cultural souvenirs, a level of self-criticality missing from \u003cb>Project Mah Jongg\u003c/b> as a whole.\u003c/p>\n\u003cp>While some of the public programming associated with \u003cb>Project Mah Jongg\u003c/b> is enticing — including a special series of “\u003ca href=\"http://www.thecjm.org/programs/classes-workshops/617-jews-for-dim-sum-build-tiles-eat-snacks\" target=\"_blank\" rel=\"noopener\">Mahj Noshes\u003c/a>” (snacks made by artist and pastry chef Leah Rosenberg in collaboration with Yeh), \u003ca href=\"http://www.thecjm.org/programs/special-events/627-daily-mah-jongg-play-in-the-gallery\" target=\"_blank\" rel=\"noopener\">open play\u003c/a> in the center of the installation and \u003ca href=\"http://www.thecjm.org/programs/special-events/607-lunchtime-board-games-on-jessie-square-plaza\" target=\"_blank\" rel=\"noopener\">lunchtime mid-century boardgames\u003c/a> in Jessie Square Plaza (think \u003ci>Operation\u003c/i>, \u003ci>Twister\u003c/i> and the like) — the exhibition itself is more nostalgic than inclusive, despite the alluring graphics and obvious historical significance of the game, for Jewish and Chinese Americans alike.\u003c/p>\n\u003cp>And yet, aloofness can be alluring: I am filled with an overriding desire to learn the game. Now, who will teach me to play mah jongg?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Project Mah Jongg\u003c/b> is on view through October 28, 2014 at the Contemporary Jewish Museum. For \u003ca href=\"//www.thecjm.org/index.php%E2%80%9D\">more information\u003c/a> visit cjm.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Behind the Scenes at White Walls/Shooting Gallery's Latest",
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"content": "\u003cp>I was treated to a sneak preview of the new White Walls and Shooting Gallery exhibitions a couple days before opening night, which gave me a rare glimpse at the installation process for four artists. The night that I visited, the mood was chill and arty, and everyone was in the early stages of hanging their work.\u003c/p>\n\u003cfigure id=\"attachment_10139557\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/WhiteWallscrop2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/WhiteWallscrop2.jpg\" alt=\"Artist duo KEFE -- Kelly Tunstall, Ferris Plock and their child\" width=\"800\" height=\"533\" class=\"size-full wp-image-10139557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/WhiteWallscrop2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/WhiteWallscrop2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/WhiteWallscrop2-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist duo KEFE — Kelly Tunstall, Ferris Plock and their child \u003ccite>(Kristin Farr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ferris Plock and Kelly Tunstall (AKA KEFE) are an S.F. power couple, and their signature styles and characters mesh well in their current collaborative paintings, which are inspired by recent travels to Japan. \u003c/p>\n\u003cp>Tunstall was fascinated by Kimono traditions and Japanese bondage, as evidenced by the styles her ultra-feminine characters are wearing in the new paintings. Plock was clearly influenced by the architecture and regalia as well. Their unreasonably cute ginger baby was helping with the installation, and I couldn’t help but think what a lucky kid he is to grow up with these artist parents. You can tell he’s pretty stoked about it.\u003c/p>\n\u003cfigure id=\"attachment_10139559\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/WhiteWallscrop4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/WhiteWallscrop4.jpg\" alt=\"Meryl Pataky works on one of her new pieces\" width=\"800\" height=\"533\" class=\"size-full wp-image-10139559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/WhiteWallscrop4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/WhiteWallscrop4-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/WhiteWallscrop4-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Meryl Pataky works on one of her new pieces \u003ccite>(Kristin Farr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearby, Meryl Pataky was setting up her neon-lit works against fields of succulents and pyrite. Her new pieces are an ode to stars, their explosive deaths, and the precious metals that result. Pataky is incredibly knowledgeable about the elements, which she uses in countless ways in her show. The pieces that cause the most visceral effects are the cowhides (carbon) with neon pieces attached, and a short hallway space turned into a neon tunnel with pink and orange tubes. (Check out \u003ca href=\"http://ww2.kqed.org/artschool/2013/07/31/in-the-studio-with-meryl-pataky/\" target=\"_blank\" rel=\"noopener\">Pataky’s feature on \u003ci>Art School\u003c/i>\u003c/a> to learn more about her work and practice.)\u003c/p>\n\u003cfigure id=\"attachment_10139561\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/WhiteWallscrop6.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/WhiteWallscrop6.jpg\" alt=\"Niels 'Shoe' Meulman\" width=\"800\" height=\"533\" class=\"size-full wp-image-10139561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/WhiteWallscrop6.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/WhiteWallscrop6-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/WhiteWallscrop6-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A new piece from Niels ‘Shoe’ Meulman \u003ccite>(Kristin Farr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a cosmic connection, Niels Meulman (Shoe) was also inspired by the universe for his current set of paintings, and on the day I visited he talked about the endless unknown that even scientists are still baffled by. His “Calligraffiti” words have personal significance and are subtle comments about lingering universal questions. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meulman used an exciting new kind of paint on these pieces, which are meant to be painted on black backgrounds and succeed in taking iridescence to another level. From one direction, the paint is green; from another angle, it’s purple — you have to see it to believe it. Meulman also uses paint with other morphing color combos. When I stopped by the gallery, he was painting a new suit to wear to the opening.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All of this new work opened for your viewing pleasure on July 12, 2014 and will be up through various August dates. Check out the \u003ca href=\"http://www.whitewallssf.com/\">White Walls\u003c/a> and \u003ca href=\"http://www.shootinggallerysf.com/\">Shooting Gallery\u003c/a> sites for more info.\u003c/p>\n\n",
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"excerpt": "KQED's Kristin Farr is treated to a preview and behind-the-scenes peek at the new shows up at two San Francisco galleries -- White Walls and Shooting Gallery -- through August.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I was treated to a sneak preview of the new White Walls and Shooting Gallery exhibitions a couple days before opening night, which gave me a rare glimpse at the installation process for four artists. The night that I visited, the mood was chill and arty, and everyone was in the early stages of hanging their work.\u003c/p>\n\u003cfigure id=\"attachment_10139557\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/WhiteWallscrop2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/WhiteWallscrop2.jpg\" alt=\"Artist duo KEFE -- Kelly Tunstall, Ferris Plock and their child\" width=\"800\" height=\"533\" class=\"size-full wp-image-10139557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/WhiteWallscrop2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/WhiteWallscrop2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/WhiteWallscrop2-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist duo KEFE — Kelly Tunstall, Ferris Plock and their child \u003ccite>(Kristin Farr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ferris Plock and Kelly Tunstall (AKA KEFE) are an S.F. power couple, and their signature styles and characters mesh well in their current collaborative paintings, which are inspired by recent travels to Japan. \u003c/p>\n\u003cp>Tunstall was fascinated by Kimono traditions and Japanese bondage, as evidenced by the styles her ultra-feminine characters are wearing in the new paintings. Plock was clearly influenced by the architecture and regalia as well. Their unreasonably cute ginger baby was helping with the installation, and I couldn’t help but think what a lucky kid he is to grow up with these artist parents. You can tell he’s pretty stoked about it.\u003c/p>\n\u003cfigure id=\"attachment_10139559\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/WhiteWallscrop4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/WhiteWallscrop4.jpg\" alt=\"Meryl Pataky works on one of her new pieces\" width=\"800\" height=\"533\" class=\"size-full wp-image-10139559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/WhiteWallscrop4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/WhiteWallscrop4-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/WhiteWallscrop4-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Meryl Pataky works on one of her new pieces \u003ccite>(Kristin Farr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearby, Meryl Pataky was setting up her neon-lit works against fields of succulents and pyrite. Her new pieces are an ode to stars, their explosive deaths, and the precious metals that result. Pataky is incredibly knowledgeable about the elements, which she uses in countless ways in her show. The pieces that cause the most visceral effects are the cowhides (carbon) with neon pieces attached, and a short hallway space turned into a neon tunnel with pink and orange tubes. (Check out \u003ca href=\"http://ww2.kqed.org/artschool/2013/07/31/in-the-studio-with-meryl-pataky/\" target=\"_blank\" rel=\"noopener\">Pataky’s feature on \u003ci>Art School\u003c/i>\u003c/a> to learn more about her work and practice.)\u003c/p>\n\u003cfigure id=\"attachment_10139561\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/WhiteWallscrop6.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/WhiteWallscrop6.jpg\" alt=\"Niels 'Shoe' Meulman\" width=\"800\" height=\"533\" class=\"size-full wp-image-10139561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/WhiteWallscrop6.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/WhiteWallscrop6-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/WhiteWallscrop6-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A new piece from Niels ‘Shoe’ Meulman \u003ccite>(Kristin Farr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a cosmic connection, Niels Meulman (Shoe) was also inspired by the universe for his current set of paintings, and on the day I visited he talked about the endless unknown that even scientists are still baffled by. His “Calligraffiti” words have personal significance and are subtle comments about lingering universal questions. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meulman used an exciting new kind of paint on these pieces, which are meant to be painted on black backgrounds and succeed in taking iridescence to another level. From one direction, the paint is green; from another angle, it’s purple — you have to see it to believe it. Meulman also uses paint with other morphing color combos. When I stopped by the gallery, he was painting a new suit to wear to the opening.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All of this new work opened for your viewing pleasure on July 12, 2014 and will be up through various August dates. Check out the \u003ca href=\"http://www.whitewallssf.com/\">White Walls\u003c/a> and \u003ca href=\"http://www.shootinggallerysf.com/\">Shooting Gallery\u003c/a> sites for more info.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Return of San Francisco's The LAB, a Historic Experimental Art Space",
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"content": "\u003cp>Last week it was announced that Bay Area curator Dena Beard, outgoing assistant curator at Berkeley Art Museum and Pacific Film Archive, will assume the role of executive director at The LAB beginning August 1. In a time when the economic threat to nonprofit organizations is of paramount concern, it is uncommonly exciting to hear plans to revitalize one of the city’s legacy experimental spaces.\u003c/p>\n\u003cfigure id=\"attachment_10139439\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Labs-window-signage.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Labs-window-signage.jpg\" alt=\"Margaret Kilgallen painting window signage at The LAB, February 1997. Courtesy of Barry McGee.\" width=\"800\" height=\"1067\" class=\"size-full wp-image-10139439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Labs-window-signage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Labs-window-signage-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Labs-window-signage-224x300.jpg 224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Margaret Kilgallen painting window signage at The LAB, February 1997. Courtesy of Barry McGee. \u003ccite>(Courtesy of Barry McGee.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its 30-year history, The LAB has been widely known for showcasing radical, edgy, experimental music, performance art and visual art. The list of artists is too vast to go into here, but a sample includes Bruce Connor, Karen Finley, Guillermo Gómez Peña, Margaret Kilgallen (whose hand lettered sign graces the entrance), Barry McGee, Survival Research Laboratories, Rex Ray and Pamela Z, among many others. Co-Lab, as it was originally called, was founded in 1984 by a group of art students from San Francisco State University; by 1985 it was known as The LAB. In 1995, it moved from its original space on Divisadero to its current location in the historic Redstone Building in the Mission District.\u003c/p>\n\u003cp>The Redstone Building, previously known as The San Francisco Labor Temple, originally housed 22 labor unions and was an instrumental site in the planning of the 1934 San Francisco General Strike for better working conditions and enforcement of the 40-hour work week. In 1996, the LAB partnered with Aaron Noble of Clarion Alley Mural Project to produce a series of murals on-site created by artists and building occupants. The murals, still visible today, feature work by Carolyn Castano, McGee, Ruby Neri and Rigo ’96, among others.\u003c/p>\n\u003cfigure id=\"attachment_10139406\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139406\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011.jpg\" alt=\"Performance detail: Division of Labor, July 2011, The LAB.\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011-300x198.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Performance detail: Division of Labor, July 2011, The LAB.\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years The LAB had foundered due to “inexperienced leadership,” in Beard’s words, compounded by the absence of strategic planning and fundraising. Also, taxes weren’t properly handled and fees began to accrue. A year ago, Beard secured pro-bono services from a team of lawyers to free the organization from its debt to the IRS and to arrange a feasible repayment plan. She has also laid the groundwork to confront the financial challenges ahead with careful planning and a bevy of allies, including many of the artists historically invested in the organization. Alan Millar, one of the LAB’s founding artists, is returning as board president this year.\u003c/p>\n\u003cp>“I want LAB audiences to be inspired by the \u003cem>way\u003c/em> we work, not just what is produced,” said Beard in an e-mail. The first phase of programs under her leadership will consist of projects that re-think the model of a non-profit art space, through considerations of its physical facility, its histories and its space in the online environment.\u003c/p>\n\u003cfigure id=\"attachment_10139410\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139410\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012.jpg\" alt=\"Installation detail: 10-22-38 Astoria, October 2012, The LAB.\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">10-22-38 Astoria, FICTILIS, featuring work by Danielle McCullough, October 2012, The LAB.\u003c/figcaption>\u003c/figure>\n\u003cp>Beard is thinking about the programming ahead in terms borrowed from much of the current debate around grassroots efforts. The first exhibition and series of programs will coincide with the 100\u003csup>th\u003c/sup> anniversary of the Redstone Building. A much needed renovation of The LAB’s gallery and performance spaces will highlight the raw space by adding wall labels that detail the labor of artists who participated in the refurbishment; and a series of programs will engage union leaders, scholars, and activist/artists. In October, there will be a series of “alternative archiving events” aimed to exhume past projects, including a séance for the Maria Nordman Archive and meetings of The Rat Bitches Protective Association (in honor of Jay DeFeo, Bruce Connor and others).\u003c/p>\n\u003cfigure id=\"attachment_10139412\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011.jpg\" alt=\"Exhibition detail, featuring works by Seth Curcio, Bradley Hyppa, Benjamin Meyer; May 2011, The LAB.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibition detail, featuring works by Seth Curcio, Bradley Hyppa, Benjamin Meyer; May 2011, The LAB.\u003c/figcaption>\u003c/figure>\n\u003cp>The decision to revive The LAB comes at the height of national dialog about whether or not to “sunset” failing nonprofits. The continuing discourse on the subject recently reached a fever pitch after \u003ca href=\"https://medium.com/@devonvsmith/we-should-allow-failing-arts-organizations-to-die-20c05e78afb9\">an article\u003c/a> by Devon Smith titled “We should allow failing arts organizations to die” was widely circulated online. Responding to this debate, Beard said, “Risks need to be taken to keep the non-profit fresh and relevant in the communities they serve. With a new strategic plan and a refresh of its mission, The LAB will really become both a current and historical resource for the San Francisco community.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The majority of events and conversations related to this rethinking will be free, but September–December will be peppered with fundraising efforts that take a self-conscious approach to understanding patronage in our current moment,” she said. “I am committed to problematizing capital (and therefore the status quo) but I am also a devout hedonist, so I firmly believe that the process should be fun!”\u003c/p>\n\n",
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"excerpt": "After years of reportedly flailing under \"inexperienced leadership,\" a new executive director at the influential San Francisco art space the LAB is implementing some big changes so that the space can return to its former glory.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week it was announced that Bay Area curator Dena Beard, outgoing assistant curator at Berkeley Art Museum and Pacific Film Archive, will assume the role of executive director at The LAB beginning August 1. In a time when the economic threat to nonprofit organizations is of paramount concern, it is uncommonly exciting to hear plans to revitalize one of the city’s legacy experimental spaces.\u003c/p>\n\u003cfigure id=\"attachment_10139439\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Labs-window-signage.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Labs-window-signage.jpg\" alt=\"Margaret Kilgallen painting window signage at The LAB, February 1997. Courtesy of Barry McGee.\" width=\"800\" height=\"1067\" class=\"size-full wp-image-10139439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Labs-window-signage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Labs-window-signage-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Labs-window-signage-224x300.jpg 224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Margaret Kilgallen painting window signage at The LAB, February 1997. Courtesy of Barry McGee. \u003ccite>(Courtesy of Barry McGee.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its 30-year history, The LAB has been widely known for showcasing radical, edgy, experimental music, performance art and visual art. The list of artists is too vast to go into here, but a sample includes Bruce Connor, Karen Finley, Guillermo Gómez Peña, Margaret Kilgallen (whose hand lettered sign graces the entrance), Barry McGee, Survival Research Laboratories, Rex Ray and Pamela Z, among many others. Co-Lab, as it was originally called, was founded in 1984 by a group of art students from San Francisco State University; by 1985 it was known as The LAB. In 1995, it moved from its original space on Divisadero to its current location in the historic Redstone Building in the Mission District.\u003c/p>\n\u003cp>The Redstone Building, previously known as The San Francisco Labor Temple, originally housed 22 labor unions and was an instrumental site in the planning of the 1934 San Francisco General Strike for better working conditions and enforcement of the 40-hour work week. In 1996, the LAB partnered with Aaron Noble of Clarion Alley Mural Project to produce a series of murals on-site created by artists and building occupants. The murals, still visible today, feature work by Carolyn Castano, McGee, Ruby Neri and Rigo ’96, among others.\u003c/p>\n\u003cfigure id=\"attachment_10139406\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139406\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011.jpg\" alt=\"Performance detail: Division of Labor, July 2011, The LAB.\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011-300x198.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Performance detail: Division of Labor, July 2011, The LAB.\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years The LAB had foundered due to “inexperienced leadership,” in Beard’s words, compounded by the absence of strategic planning and fundraising. Also, taxes weren’t properly handled and fees began to accrue. A year ago, Beard secured pro-bono services from a team of lawyers to free the organization from its debt to the IRS and to arrange a feasible repayment plan. She has also laid the groundwork to confront the financial challenges ahead with careful planning and a bevy of allies, including many of the artists historically invested in the organization. Alan Millar, one of the LAB’s founding artists, is returning as board president this year.\u003c/p>\n\u003cp>“I want LAB audiences to be inspired by the \u003cem>way\u003c/em> we work, not just what is produced,” said Beard in an e-mail. The first phase of programs under her leadership will consist of projects that re-think the model of a non-profit art space, through considerations of its physical facility, its histories and its space in the online environment.\u003c/p>\n\u003cfigure id=\"attachment_10139410\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139410\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012.jpg\" alt=\"Installation detail: 10-22-38 Astoria, October 2012, The LAB.\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">10-22-38 Astoria, FICTILIS, featuring work by Danielle McCullough, October 2012, The LAB.\u003c/figcaption>\u003c/figure>\n\u003cp>Beard is thinking about the programming ahead in terms borrowed from much of the current debate around grassroots efforts. The first exhibition and series of programs will coincide with the 100\u003csup>th\u003c/sup> anniversary of the Redstone Building. A much needed renovation of The LAB’s gallery and performance spaces will highlight the raw space by adding wall labels that detail the labor of artists who participated in the refurbishment; and a series of programs will engage union leaders, scholars, and activist/artists. In October, there will be a series of “alternative archiving events” aimed to exhume past projects, including a séance for the Maria Nordman Archive and meetings of The Rat Bitches Protective Association (in honor of Jay DeFeo, Bruce Connor and others).\u003c/p>\n\u003cfigure id=\"attachment_10139412\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011.jpg\" alt=\"Exhibition detail, featuring works by Seth Curcio, Bradley Hyppa, Benjamin Meyer; May 2011, The LAB.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibition detail, featuring works by Seth Curcio, Bradley Hyppa, Benjamin Meyer; May 2011, The LAB.\u003c/figcaption>\u003c/figure>\n\u003cp>The decision to revive The LAB comes at the height of national dialog about whether or not to “sunset” failing nonprofits. The continuing discourse on the subject recently reached a fever pitch after \u003ca href=\"https://medium.com/@devonvsmith/we-should-allow-failing-arts-organizations-to-die-20c05e78afb9\">an article\u003c/a> by Devon Smith titled “We should allow failing arts organizations to die” was widely circulated online. Responding to this debate, Beard said, “Risks need to be taken to keep the non-profit fresh and relevant in the communities they serve. With a new strategic plan and a refresh of its mission, The LAB will really become both a current and historical resource for the San Francisco community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The majority of events and conversations related to this rethinking will be free, but September–December will be peppered with fundraising efforts that take a self-conscious approach to understanding patronage in our current moment,” she said. “I am committed to problematizing capital (and therefore the status quo) but I am also a devout hedonist, so I firmly believe that the process should be fun!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Quentin's Prison Arts Project on Display at YBCA",
"headTitle": "San Quentin’s Prison Arts Project on Display at YBCA | KQED",
"content": "\u003cp>Several years ago, when artist Henry Edward Frank was asked about his availability in a job interview he said he was only busy Friday mornings. “If I can’t have Friday mornings off, I don’t want the job. Those are my block printing hours,” Frank recalls saying.\u003c/p>\n\u003cp>Frank, at the time an inmate at San Quentin State Prison, learned about the the prison’s block printing classes almost immediately after transferring from California State Prison, Corcoran. An inmate Frank knew from Corcoran told him about the classes offered by the William James Association’s (WJA) \u003ca href=\"http://williamjamesassociation.org/prison_arts/\" target=\"_blank\" rel=\"noopener\">Prison Arts Project\u003c/a> and Frank jumped at the opportunity to take them. At Corcoran, Frank, who has been making art since he was five, spent as much time as he could drawing, acrylic painting, leather making, drum making, and doing calligraphy. It wasn’t until his move to San Quentin, however, that Frank tried his hand at block printing, which he now considers his main artistic medium. One of his prints is now on view, along with the work of twenty-eight other current and former San Quentin inmates, at the Yerba Buena Center for the Art (YBCA) as part of \u003cstrong>Bay Area Now 7 \u003c/strong>(BAN7), a triennial of contemporary Bay Area art.\u003c/p>\n\u003cfigure id=\"attachment_10139045\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Henry-Edward-Frank-Hawk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10139045\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Henry-Edward-Frank-Hawk-400x661.jpg\" alt=\"Henry Edward Frank, Hawk, 2009; courtesy William James Association.\" width=\"400\" height=\"661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Henry-Edward-Frank-Hawk-400x661.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Henry-Edward-Frank-Hawk-181x300.jpg 181w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Henry-Edward-Frank-Hawk-870x1440.jpg 870w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Henry Edward Frank, \u003ci>Hawk\u003c/i>, 2009; courtesy William James Association.\u003c/figcaption>\u003c/figure>\n\u003cp>The Prison Arts Project offers art and writing classes at San Quentin several times a day, seven days a week, including linocut, poetry, painting, drawing, mural making, bookbinding, and a \u003ca href=\"http://www.kqed.org/news/story/2012/07/03/100091/shakespeare_alive_and_well_at_san_quentin_state_prison\" target=\"_blank\" rel=\"noopener\">partnership\u003c/a> with Marin Shakespeare Company. For this year’s iteration of \u003ci>BAN\u003c/i>, YBCA’s curatorial team issued a call for proposals for Bay Area arts organizations and the WJA was one of fifty applicants and only fifteen selected participants.\u003c/p>\n\u003cp>San Quentin, home to nearly 4,000 prisoners and California’s death row for male inmates, may seem like an unlikely artistic hub. But the prison is home to several dozen vocational, educational, and personal programs, such as the associate’s degree–granting \u003ca href=\"http://www.prisonuniversityproject.org/home\" target=\"_blank\" rel=\"noopener\">Prison University Project\u003c/a>, a meditation group, a charitable bike refurbishing group, and a \u003ca href=\"http://www.marinhumanesociety.org/site/c.aiIOI3NLKgKYF/b.7727591/k.6230/Pen_Pals_of_San_Quentin.htm\" target=\"_blank\" rel=\"noopener\">partnership\u003c/a> with the Marin Humane Society in which inmates learn to train dogs with health or behaviour issues. Carol Newborg, program manager for the Prison Arts Project, attributes this atypical level of programming to the legacy of Clinton Duffy, San Quentin’s warden from 1940 to 1952. Duffy, a lifelong opponent of capital punishment and proponent of rehabilitation, introduced night school and a series of other programs, even allowing inmates to publish a newspaper and operate a radio station. Duffy was mocked at the time, but there’s no doubt now that programs like the Prison Arts Project have a remarkable impact on prison life.\u003c/p>\n\u003cfigure id=\"attachment_10139048\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Felix-Lucero-Blind-Curve.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10139048\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Felix-Lucero-Blind-Curve-400x533.jpg\" alt=\"Felix Lucero, Blind Curve, 2010; courtesy William James Association.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Felix-Lucero-Blind-Curve-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Felix-Lucero-Blind-Curve-1079x1440.jpg 1079w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Felix-Lucero-Blind-Curve.jpg 1332w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Felix Lucero, \u003ci>Blind Curve\u003c/i>, 2010; courtesy William James Association.\u003c/figcaption>\u003c/figure>\n\u003cp>A recent study of prison arts programs found that a significant majority of participants reported a reduction in disciplinary citations, improved confidence, less stress, and increased happiness. Frank, who beams when he speaks of his block printing and bookbinding classes, confirms this study: “It didn’t really feel like prison when I was in there. It was just an amazing place.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The effects of these programs are not limited to behavior and attitude while incarcerated. A major long-term study from the 1980s, before prison arts programs were cut from California state funding, found that participants had a 27% lower recidivism rate than the general prison population.\u003c/p>\n\u003cp>While quantifiable measurements like recidivism and improved behavior are often cited as the benefits of prison art programs, former inmates like Frank often mention that which non-prisoners take for granted. “They brought in humanity,” he says of WJA staff and their practice of calling him by his name. “I wasn’t seen as less than human, or a number.” Frank also praises the absence of racial segregation in the art classroom. “It wasn’t just Indians in there. It broke down a lot of barriers. It helped me socialize.”\u003c/p>\n\u003cfigure id=\"attachment_10139047\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Cowra_JustusEvans.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139047 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Cowra_JustusEvans-1440x1126.jpg\" alt=\"Justus Evans, Cowra; courtesy William James Association.\" width=\"640\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Cowra_JustusEvans-1440x1126.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Cowra_JustusEvans-400x312.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Cowra_JustusEvans-300x234.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Justus Evans, \u003ci>Cowra\u003c/i>, 2014; courtesy William James Association.\u003c/figcaption>\u003c/figure>\n\u003cp>Guillermo Willie, a veteran of prison arts programs who began taking classes midway through his thirty-eight-year sentence, cites the lack of segregation and the atmosphere of acceptance as a major asset of his former art classes. As a teenager, Willie showed a teacher a drawing he made of a muscle man. The teacher asked what was wrong with him for drawing a naked man; his friends also laughed when they saw the drawing. Willie had been drawing since he was a kid but immediately stopped and instead found acceptance in gangs. However, decades later, after a life behind bars, he found acceptance for his art. “Prejudice took a back seat when I showed people my art,” he says of his prison art classes.\u003c/p>\n\u003cp>Part of the Prison Art Project’s success is WJA’s insistence on working with professional artists and educators. The respect that is built into the program relies on treating prisoners’ art interests as meaningful as any artist or aspiring artist outside San Quentin’s heavily-fortified walls. Frank extols Katya McCullough, his former printmaking teacher who has taught at San Quentin for ten years, and Beth Thielen, his bookbinding teacher who he calls a “brilliant mind” and wh\u003cspan style=\"color: #000000\">o recently completed a Rauschenberg Residency and has exhibited at the Corcoran Gallery of Art, the Hammer Museum, and the New Museum. \u003c/span>Art Hazelwood, another printmaking teacher, currently teaches at the San Francisco Art Institute and illustrator and painter Pat Maloney has been teaching at San Quentin for over a quarter century.\u003c/p>\n\u003cfigure id=\"attachment_10139273\" class=\"wp-caption alignright\" style=\"max-width: 940px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/YBCA-mural.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139273 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/YBCA-mural.jpg\" alt=\"Scott McKinstry and Prison Arts Project artists, untitled mural (detail), in progress.\" width=\"940\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/YBCA-mural.jpg 940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/YBCA-mural-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/YBCA-mural-300x183.jpg 300w\" sizes=\"(max-width: 940px) 100vw, 940px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scott McKinstry and Prison Arts Project artists, untitled mural (detail), in progress.\u003c/figcaption>\u003c/figure>\n\u003cp>Maloney’s impact at San Quentin has been sizable. The largest work from the Prison Art Project in \u003cstrong>BAN7\u003c/strong> is a sixty-four-foot mural spearheaded by San Quentin artist Scott McKinstry under Maloney’s supervision. The work-in-progress is five years in the making and Newborg expects another five before it is completed. McKinstry, inspired by Los Angeles–based printmaker Hiro Yamagata’s fanciful cityscapes, decided to created a fantasy city of his own. What began as a sixty-foot drawing is now being turned into a mural to be housed in a San Quentin dining hall.\u003c/p>\n\u003cp>Part of a \u003ca href=\"http://www.nytimes.com/2007/08/19/arts/design/19hall.html\">long history\u003c/a> of murals at San Quentin, Newborg calls the mural of McKinstry and his crew “soothing” and “healing,” perfect for a place like San Quentin. But due to strict media controls, no one outside the prison had seen the enormous mural before its display at YBCA. Once the exhibition closes in October, and the mural is crated and sent back to its secured home, the work will again be for the exclusive viewing pleasure of dining inmates, prison guards, and teaching artists. \u003cstrong>BAN7\u003c/strong> offers a truly rare glimpse into this concealed chapter of art history.\u003c/p>\n\u003cfigure id=\"attachment_10139044\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/1-Theater-of-the-Absurd_BruceFowler_Paper-cardboard-acrylic-lights_32h-x-43w-x-3_d_2014.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139044 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/1-Theater-of-the-Absurd_BruceFowler_Paper-cardboard-acrylic-lights_32h-x-43w-x-3_d_2014-1440x1021.jpg\" alt=\"Bruce Fowler, Theater of the Absurd; courtesy William James Association.\" width=\"640\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/1-Theater-of-the-Absurd_BruceFowler_Paper-cardboard-acrylic-lights_32h-x-43w-x-3_d_2014-1440x1021.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/1-Theater-of-the-Absurd_BruceFowler_Paper-cardboard-acrylic-lights_32h-x-43w-x-3_d_2014-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/1-Theater-of-the-Absurd_BruceFowler_Paper-cardboard-acrylic-lights_32h-x-43w-x-3_d_2014-300x212.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bruce Fowler, \u003ci>Theater of the Absurd\u003c/i>, 2014; courtesy William James Association.\u003c/figcaption>\u003c/figure>\n\u003cp>For teaching artist \u003ca href=\"http://www.amymho.com/\">Amy M. Ho\u003c/a>, the Prison Arts Project’s inclusion in \u003cstrong>BAN7\u003c/strong> has added significance. Ho, who has been teaching diorama and mandala drawing classes at San Quentin for two years, is also participating in \u003cstrong>BAN7\u003c/strong> on behalf of Stairwell’s, another exhibiting organization. Ho explains that while some prisoners appreciate the exotification of their work, as it brings attention to it, others lament that they can’t just be known as artists in their own right. But at \u003cstrong>BAN7\u003c/strong>, even though the prison narrative is present, Ho’s own diorama work will exhibit alongside a diorama created by Bruce Fowler, one of her students from San Quentin. What they have in common is not the prison, but that they are both artists.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Bay Area Now 7\u003c/strong> runs through October 5, 2014 at the Yerba Buena Center for the Arts. For \u003ca href=\"http://www.ybca.org/ban7\">more information\u003c/a> visit ybca.org.\u003c/p>\n\n",
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"excerpt": "Bay Area Now 7, the triennial exhibition at Yerba Buena Center for the Arts, offers a rare opportunity to view the work of San Quentin inmates/artists, most particularly a portion of a 64-foot mural that will be housed in the prison's dining hall. Due to strict media controls, no one outside the prison had seen the enormous mural before its display at YBCA. Once the exhibition closes in October, the work will again be for the exclusive viewing pleasure of dining inmates, prison guards, and teaching artists. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Several years ago, when artist Henry Edward Frank was asked about his availability in a job interview he said he was only busy Friday mornings. “If I can’t have Friday mornings off, I don’t want the job. Those are my block printing hours,” Frank recalls saying.\u003c/p>\n\u003cp>Frank, at the time an inmate at San Quentin State Prison, learned about the the prison’s block printing classes almost immediately after transferring from California State Prison, Corcoran. An inmate Frank knew from Corcoran told him about the classes offered by the William James Association’s (WJA) \u003ca href=\"http://williamjamesassociation.org/prison_arts/\" target=\"_blank\" rel=\"noopener\">Prison Arts Project\u003c/a> and Frank jumped at the opportunity to take them. At Corcoran, Frank, who has been making art since he was five, spent as much time as he could drawing, acrylic painting, leather making, drum making, and doing calligraphy. It wasn’t until his move to San Quentin, however, that Frank tried his hand at block printing, which he now considers his main artistic medium. One of his prints is now on view, along with the work of twenty-eight other current and former San Quentin inmates, at the Yerba Buena Center for the Art (YBCA) as part of \u003cstrong>Bay Area Now 7 \u003c/strong>(BAN7), a triennial of contemporary Bay Area art.\u003c/p>\n\u003cfigure id=\"attachment_10139045\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Henry-Edward-Frank-Hawk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10139045\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Henry-Edward-Frank-Hawk-400x661.jpg\" alt=\"Henry Edward Frank, Hawk, 2009; courtesy William James Association.\" width=\"400\" height=\"661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Henry-Edward-Frank-Hawk-400x661.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Henry-Edward-Frank-Hawk-181x300.jpg 181w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Henry-Edward-Frank-Hawk-870x1440.jpg 870w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Henry Edward Frank, \u003ci>Hawk\u003c/i>, 2009; courtesy William James Association.\u003c/figcaption>\u003c/figure>\n\u003cp>The Prison Arts Project offers art and writing classes at San Quentin several times a day, seven days a week, including linocut, poetry, painting, drawing, mural making, bookbinding, and a \u003ca href=\"http://www.kqed.org/news/story/2012/07/03/100091/shakespeare_alive_and_well_at_san_quentin_state_prison\" target=\"_blank\" rel=\"noopener\">partnership\u003c/a> with Marin Shakespeare Company. For this year’s iteration of \u003ci>BAN\u003c/i>, YBCA’s curatorial team issued a call for proposals for Bay Area arts organizations and the WJA was one of fifty applicants and only fifteen selected participants.\u003c/p>\n\u003cp>San Quentin, home to nearly 4,000 prisoners and California’s death row for male inmates, may seem like an unlikely artistic hub. But the prison is home to several dozen vocational, educational, and personal programs, such as the associate’s degree–granting \u003ca href=\"http://www.prisonuniversityproject.org/home\" target=\"_blank\" rel=\"noopener\">Prison University Project\u003c/a>, a meditation group, a charitable bike refurbishing group, and a \u003ca href=\"http://www.marinhumanesociety.org/site/c.aiIOI3NLKgKYF/b.7727591/k.6230/Pen_Pals_of_San_Quentin.htm\" target=\"_blank\" rel=\"noopener\">partnership\u003c/a> with the Marin Humane Society in which inmates learn to train dogs with health or behaviour issues. Carol Newborg, program manager for the Prison Arts Project, attributes this atypical level of programming to the legacy of Clinton Duffy, San Quentin’s warden from 1940 to 1952. Duffy, a lifelong opponent of capital punishment and proponent of rehabilitation, introduced night school and a series of other programs, even allowing inmates to publish a newspaper and operate a radio station. Duffy was mocked at the time, but there’s no doubt now that programs like the Prison Arts Project have a remarkable impact on prison life.\u003c/p>\n\u003cfigure id=\"attachment_10139048\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Felix-Lucero-Blind-Curve.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10139048\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Felix-Lucero-Blind-Curve-400x533.jpg\" alt=\"Felix Lucero, Blind Curve, 2010; courtesy William James Association.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Felix-Lucero-Blind-Curve-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Felix-Lucero-Blind-Curve-1079x1440.jpg 1079w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Felix-Lucero-Blind-Curve.jpg 1332w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Felix Lucero, \u003ci>Blind Curve\u003c/i>, 2010; courtesy William James Association.\u003c/figcaption>\u003c/figure>\n\u003cp>A recent study of prison arts programs found that a significant majority of participants reported a reduction in disciplinary citations, improved confidence, less stress, and increased happiness. Frank, who beams when he speaks of his block printing and bookbinding classes, confirms this study: “It didn’t really feel like prison when I was in there. It was just an amazing place.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The effects of these programs are not limited to behavior and attitude while incarcerated. A major long-term study from the 1980s, before prison arts programs were cut from California state funding, found that participants had a 27% lower recidivism rate than the general prison population.\u003c/p>\n\u003cp>While quantifiable measurements like recidivism and improved behavior are often cited as the benefits of prison art programs, former inmates like Frank often mention that which non-prisoners take for granted. “They brought in humanity,” he says of WJA staff and their practice of calling him by his name. “I wasn’t seen as less than human, or a number.” Frank also praises the absence of racial segregation in the art classroom. “It wasn’t just Indians in there. It broke down a lot of barriers. It helped me socialize.”\u003c/p>\n\u003cfigure id=\"attachment_10139047\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Cowra_JustusEvans.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139047 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Cowra_JustusEvans-1440x1126.jpg\" alt=\"Justus Evans, Cowra; courtesy William James Association.\" width=\"640\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Cowra_JustusEvans-1440x1126.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Cowra_JustusEvans-400x312.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Cowra_JustusEvans-300x234.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Justus Evans, \u003ci>Cowra\u003c/i>, 2014; courtesy William James Association.\u003c/figcaption>\u003c/figure>\n\u003cp>Guillermo Willie, a veteran of prison arts programs who began taking classes midway through his thirty-eight-year sentence, cites the lack of segregation and the atmosphere of acceptance as a major asset of his former art classes. As a teenager, Willie showed a teacher a drawing he made of a muscle man. The teacher asked what was wrong with him for drawing a naked man; his friends also laughed when they saw the drawing. Willie had been drawing since he was a kid but immediately stopped and instead found acceptance in gangs. However, decades later, after a life behind bars, he found acceptance for his art. “Prejudice took a back seat when I showed people my art,” he says of his prison art classes.\u003c/p>\n\u003cp>Part of the Prison Art Project’s success is WJA’s insistence on working with professional artists and educators. The respect that is built into the program relies on treating prisoners’ art interests as meaningful as any artist or aspiring artist outside San Quentin’s heavily-fortified walls. Frank extols Katya McCullough, his former printmaking teacher who has taught at San Quentin for ten years, and Beth Thielen, his bookbinding teacher who he calls a “brilliant mind” and wh\u003cspan style=\"color: #000000\">o recently completed a Rauschenberg Residency and has exhibited at the Corcoran Gallery of Art, the Hammer Museum, and the New Museum. \u003c/span>Art Hazelwood, another printmaking teacher, currently teaches at the San Francisco Art Institute and illustrator and painter Pat Maloney has been teaching at San Quentin for over a quarter century.\u003c/p>\n\u003cfigure id=\"attachment_10139273\" class=\"wp-caption alignright\" style=\"max-width: 940px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/YBCA-mural.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139273 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/YBCA-mural.jpg\" alt=\"Scott McKinstry and Prison Arts Project artists, untitled mural (detail), in progress.\" width=\"940\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/YBCA-mural.jpg 940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/YBCA-mural-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/YBCA-mural-300x183.jpg 300w\" sizes=\"(max-width: 940px) 100vw, 940px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scott McKinstry and Prison Arts Project artists, untitled mural (detail), in progress.\u003c/figcaption>\u003c/figure>\n\u003cp>Maloney’s impact at San Quentin has been sizable. The largest work from the Prison Art Project in \u003cstrong>BAN7\u003c/strong> is a sixty-four-foot mural spearheaded by San Quentin artist Scott McKinstry under Maloney’s supervision. The work-in-progress is five years in the making and Newborg expects another five before it is completed. McKinstry, inspired by Los Angeles–based printmaker Hiro Yamagata’s fanciful cityscapes, decided to created a fantasy city of his own. What began as a sixty-foot drawing is now being turned into a mural to be housed in a San Quentin dining hall.\u003c/p>\n\u003cp>Part of a \u003ca href=\"http://www.nytimes.com/2007/08/19/arts/design/19hall.html\">long history\u003c/a> of murals at San Quentin, Newborg calls the mural of McKinstry and his crew “soothing” and “healing,” perfect for a place like San Quentin. But due to strict media controls, no one outside the prison had seen the enormous mural before its display at YBCA. Once the exhibition closes in October, and the mural is crated and sent back to its secured home, the work will again be for the exclusive viewing pleasure of dining inmates, prison guards, and teaching artists. \u003cstrong>BAN7\u003c/strong> offers a truly rare glimpse into this concealed chapter of art history.\u003c/p>\n\u003cfigure id=\"attachment_10139044\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/1-Theater-of-the-Absurd_BruceFowler_Paper-cardboard-acrylic-lights_32h-x-43w-x-3_d_2014.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139044 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/1-Theater-of-the-Absurd_BruceFowler_Paper-cardboard-acrylic-lights_32h-x-43w-x-3_d_2014-1440x1021.jpg\" alt=\"Bruce Fowler, Theater of the Absurd; courtesy William James Association.\" width=\"640\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/1-Theater-of-the-Absurd_BruceFowler_Paper-cardboard-acrylic-lights_32h-x-43w-x-3_d_2014-1440x1021.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/1-Theater-of-the-Absurd_BruceFowler_Paper-cardboard-acrylic-lights_32h-x-43w-x-3_d_2014-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/1-Theater-of-the-Absurd_BruceFowler_Paper-cardboard-acrylic-lights_32h-x-43w-x-3_d_2014-300x212.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bruce Fowler, \u003ci>Theater of the Absurd\u003c/i>, 2014; courtesy William James Association.\u003c/figcaption>\u003c/figure>\n\u003cp>For teaching artist \u003ca href=\"http://www.amymho.com/\">Amy M. Ho\u003c/a>, the Prison Arts Project’s inclusion in \u003cstrong>BAN7\u003c/strong> has added significance. Ho, who has been teaching diorama and mandala drawing classes at San Quentin for two years, is also participating in \u003cstrong>BAN7\u003c/strong> on behalf of Stairwell’s, another exhibiting organization. Ho explains that while some prisoners appreciate the exotification of their work, as it brings attention to it, others lament that they can’t just be known as artists in their own right. But at \u003cstrong>BAN7\u003c/strong>, even though the prison narrative is present, Ho’s own diorama work will exhibit alongside a diorama created by Bruce Fowler, one of her students from San Quentin. What they have in common is not the prison, but that they are both artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Bay Area Now 7\u003c/strong> runs through October 5, 2014 at the Yerba Buena Center for the Arts. For \u003ca href=\"http://www.ybca.org/ban7\">more information\u003c/a> visit ybca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Choose Your Own Adventure Through the 'Bay Area Now'",
"headTitle": "Choose Your Own Adventure Through the ‘Bay Area Now’ | KQED",
"content": "\u003cp>Every three years the Yerba Buena Center for the Arts takes stock of the art scene in the Bay Area. Always a snapshot of an active and ever-changing world, the triennial has featured work by the famous, the obscure and the soon-to-be famous since 1997, curated by the good folks at the center itself (with a little help from friends). \u003c/p>\n\u003cp>This year, they chose to do something different. Sending out an open call late in 2013 for proposals from independents, YBCA passed curatorial duties on to people closer to the ground (meaning small to mid-size spaces and curatorial projects), choosing 15 out of the 50 exhibition proposals received. \u003c/p>\n\u003cp>This was an interesting move, especially given the region’s current situation, where bad news and economic hardship form a steady rhythm to a song of contraction and closure of art spaces in the Bay Area. The seventh edition of \u003cb>Bay Area Now\u003c/b> adds a counter melody to that tune, demonstrating that the region’s famous innovative spirit and creativity are still alive and kicking. \u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003ch3>Event Information\u003c/h3>\n\u003cdiv class=\"event-map\">[googlemaps https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d3153.1818004276715!2d-122.40215599999999!3d37.78577899999999!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x80858087ec8d9c89%3A0x477290961c219b7c!2sYerba+Buena+Center+for+the+Arts+(YBCA)!5e0!3m2!1sen!2sus!4v1405642333378&w=400&h=300]\u003c/div>\n\u003cdiv class=\"event-desc\">\n\u003cb>Bay Area Now\u003c/b>, the Yerba Buena Center for the Arts’ triennial exhibition of Bay Area contemporary art runs July 18 through October 5, 2014. For \u003ca href=\"http://www.ybca.org/ban7\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit ybca.org.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 18 – October 5, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Yerba Buena Center for the Arts\u003cbr>\nhttp://www.ybca.org/ban7 (at Third)\u003cbr>\nSan Francisco, California 94105\u003cbr>\nTel: 415.978.2787\u003cbr>\n\u003ca href=\"https://goo.gl/maps/VbpJd\" target=\"_blank\" rel=\"noopener\">MAP\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>Instead of bringing diverse artists together to form one portrait of the Bay Area, we get 15 different visions (and over 100 artists), creating a kaleidoscope that includes the large and the small, but remains oddly coherent — and surprisingly low-key. I would have expected a loud clutter from so many curators sharing space, but the show is sparse. Most of the exhibitions, which are all given their own separate spaces, are very focused and even minimalist when compared to years past. \u003c/p>\n\u003cfigure id=\"attachment_10139250\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/pied.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/pied.jpg\" alt=\"Artist: Teresa Baker; Curated by Pied-à-terre\" width=\"640\" height=\"480\" class=\"size-full wp-image-10139250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/pied.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/pied-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/pied-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Teresa Baker; Curated by Pied-à-terre\u003c/figcaption>\u003c/figure>\n\u003cp>Taking this to an extreme, Pied-à-terre’s McIntyre Parker decided to hang just one piece, a small, white-on-white construction by Teresa Baker in the middle of his dedicated space on the museum’s second floor. The gesture is a tiny bit of quiet. When I was there, with the gallery empty, it made me consider the space around the image, the places where the carpet has been stitched together and the patterns of wear that reflect multiple uses of the gallery over time. I am not sure that this piece will even be noticed when the museum is full. It felt like a bold move, but also a bit of a middle finger flipped. Then again, I appreciate Parker’s willingness to stand by just one object, subjecting it to unaccompanied scrutiny. Is less less or is it more? (Who knows?)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maybe it’s my own personal lens, but I couldn’t help but see a reaction to the current economic debate at play behind much of the work. The challenging economy isn’t being addressed directly; instead, it’s seen in the practice of presenting work in small alternative spaces. It’s kind of a “where there’s a will, there’s a way” movement, reflecting and reviving the Bay Area’s DIY spirit. \u003c/p>\n\u003cfigure id=\"attachment_10139251\" class=\"wp-caption alignright\" style=\"max-width: 998px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/STAIRWELLS.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/STAIRWELLS.jpg\" alt=\"Artist: Amy M. Ho; Curated by Stairwell's\" width=\"998\" height=\"704\" class=\"size-full wp-image-10139251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/STAIRWELLS.jpg 998w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/STAIRWELLS-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/STAIRWELLS-300x211.jpg 300w\" sizes=\"(max-width: 998px) 100vw, 998px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Amy M. Ho; Curated by Stairwell’s\u003c/figcaption>\u003c/figure>\n\u003cp>Betti-Sue Hertz, YBCA’s Director of Visual Arts, says, “What’s exciting is that, no matter what the economy, people have a desire and a passion to curate exhibitions and work with artists to present artwork.” The curators behind \u003cb>Bay Area Now\u003c/b> participants n/a, Pied-a-terre and [2nd floor projects] have all created exhibition spaces in their own apartments. Similarly, Stairwell’s identifies transitional spaces — like stairwells and hallways, spaces that you travel through to get from one place to another — and commissions new works to fit into those often unconsidered locations. True to form, they have taken over the main staircase that connects the museum’s first and second floor galleries, presenting Amy M. Ho’s meditation on a stairwell on top and beside the stairs and Mike Rothfeld’s paper mache alien egg forms wrapped underneath. (Potential for favoritism alert: Sarah Hotchkiss, half of the Stairwell’s curatorial team, with Carey Lin, covers visual art for KQED.)\u003c/p>\n\u003cfigure id=\"attachment_10139277\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/farr2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/farr2.jpg\" alt=\"Artists; Kristin Farr and Jeff Meadows; Curated by Adobe Books Backroom Gallery\" width=\"640\" height=\"503\" class=\"size-full wp-image-10139277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/farr2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/farr2-400x314.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/farr2-300x235.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artists: Kristin Farr and Jeff Meadows; Curated by Adobe Books Backroom Gallery\u003c/figcaption>\u003c/figure>\n\u003cp>And of course, Adobe Books Backroom Gallery has historically presented some of the best contemporary art in the Bay Area out of the back room of a bookstore, which has undergone numerous challenges and a relocation in recent years. They get the back room of the exhibition and present a beautiful multi-colored wood installation dedicated to the artist Shawn Whisenant, \u003ca href=\"http://ww2.kqed.org/arts/2014/04/28/the-legacy-of-shawn-whisenant/\" target=\"_blank\" rel=\"noopener\">who died at age 32 this past March\u003c/a>. (Another potential for favored treatment alert: that installation and three really fun “hugging chairs” that look like stuffed animals with big arms to wrap around whoever sits in them was produced by KQED’s own Kristin Farr with her husband Jeff Meadows.) Adobe’s space really reflects the personality of their usual gig, but with just a little more space to stretch out in. An installation by Erik Otto, a sound sculpture by Marc Kate and Brian Tester and large, colored-in silhouettes and funny wall texts by Lori Gordon — “today I feel like the earth is shrinking” — round out their show in a really satisfying way.\u003c/p>\n\u003cp>Another thread that runs through the presentation is the issue of labor — and again, revealing the labor behind the making and mounting of an exhibition is particularly crucial during this period. Dispelling the ideas that art is a hobby, that art is somehow not important to the local economy or that art isn’t really work is especially important just now. People who think such things have obviously never made art or witnessed what it takes to mount a large exhibition. \u003c/p>\n\u003cp>The Bay Area Art Workers Alliance (BAAWA) is a loose association of over 125 artists who work as on-call installers, preparators, conservators, and framers for institutions around the Bay. All of the work in their section is made from the materials, leftovers, traces and tools used to mount an exhibition. Listing all of their members, instead of just those who participated in the creation of the exhibition, the group questions the idea of authorship, especially as arts workers and installers within the museum setting. \u003c/p>\n\u003cfigure id=\"attachment_10139253\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/baawa.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/baawa.jpg\" alt=\"Artist: Bay Area Art Workers Alliance\" width=\"640\" height=\"716\" class=\"size-full wp-image-10139253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/baawa.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/baawa-400x447.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/baawa-268x300.jpg 268w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Bay Area Art Workers Alliance\u003c/figcaption>\u003c/figure>\n\u003cp>At the risk of pissing off the local guild of art preparators (an exceedingly bad idea on my part), this presentation didn’t look fully cooked. My reaction proves how out of sync I am with the zeitgeist of Bay Area art; I polled fellow curators in the show about which exhibition they were most excited to see and the majority (perhaps wisely) pointed to this one. \u003c/p>\n\u003cp>But I have always had a hard time with the “conceptual pile of detritus” school of art. While some parts of the exhibition felt finished and were actually quite witty representations of the materials used to put together exhibits — a packing blanket that reminded me of a Rothko, for example — other parts just ended up looking random. I understand the desire to reveal the work behind the mounting of an exhibition, but it strikes me as odd that the folks responsible for making other artists’ work sing through attention to detail and finish would create something so UN-finished looking. The presentation needed just one final step to be successful for me; it needed to feel not finished, but completed.\u003c/p>\n\u003cfigure id=\"attachment_10139262\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/dirosa.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/dirosa.jpg\" alt=\"Artist: Floris Shonfeld; Curated by di Rosa\" width=\"640\" height=\"427\" class=\"size-full wp-image-10139262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/dirosa.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/dirosa-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/dirosa-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Floris Shönfeld; Curated by di Rosa\u003c/figcaption>\u003c/figure>\n\u003cp>I also didn’t get into the other piece that was generating advance buzz. I appreciated the concept behind diRosa’s Floris Shönfeld piece, but the presentation of videos of a vampire-inspired LARP (Live Action Role Play) game called \u003ci>Sanguine Dreams\u003c/i> played over several nights on the grounds of the Napa art preserve just wasn’t that engaging. It felt like one of those “you had to be there” situations, and since I wasn’t there, I didn’t particularly want to go. \u003c/p>\n\u003cp>Another group, Important Projects, filled a wall with an uneven grid of funny and whimsical painted ads for previous shows presented in its Oakland gallery. The second half of their project also engages the labor behind a working museum; they have created an interactive mural that will be filled in over time by the center’s staff. Once completed, the mural will be left in place and painted over, saved perhaps for future excavation. \u003c/p>\n\u003cfigure id=\"attachment_10139263\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/forsite.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/forsite.jpg\" alt=\"Artist: Nathan Lynch; Curated by For Site Foundation\" width=\"640\" height=\"480\" class=\"size-full wp-image-10139263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/forsite.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/forsite-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/forsite-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Nathan Lynch; Curated by For Site Foundation\u003c/figcaption>\u003c/figure>\n\u003cp>Several groups chose to present the work of just one artist. True to their mission of presenting the monumental (often within monuments, like the upcoming Ai Weiwei exhibition on Alcatraz), the For Site Foundation is showing three large sculptures by Nathan Lynch. They are blobby, big, beautifully lit, and colorful enough that you want to do a little dance around them. \u003c/p>\n\u003cp>SF’s Chinese Culture Foundation has a room devoted to Summer Lee’s video installation called \u003ci>Into the Nearness of Distance\u003c/i>, which consists of two poetic black and white projections on sheets of gauze that float in the middle of a darkened room. Lee’s work is about failure, not a popular subject in the Chinese community, but most particularly her failure as a mixed-race artist to connect with her Chinese roots and a culture that she is not particularly rooted in. Notably, both Lee and Stairwell’s artist Amy M. Ho have concurrent shows mounted at the Chinese Culture Center and Et. Al respectively. (Et. Al is another of those above-mentioned spaces that presents art in unexpected places, situated as it is in the basement below a dry cleaner on the outskirts of SF’s Chinatown.)\u003c/p>\n\u003cfigure id=\"attachment_10139264\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/case.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/case.jpg\" alt=\"Artist: Daniel Case; Curated by 2nd Floor Projects\" width=\"640\" height=\"960\" class=\"size-full wp-image-10139264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/case.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/case-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/case-200x300.jpg 200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Daniel Case; Curated by [2nd Floor Projects]\u003c/figcaption>\u003c/figure>\n\u003cp>Margaret Tedesco, on the other hand, just friggin’ went for it and decided to mount a bona fide museum show, something she cannot do in her usual exhibition space. And it kicks ass. Titled \u003ci>EROS/ON\u003c/i>, Tedesco’s exhibition “unites the work of four Bay Area artists (Daniel Case, Nicolaus Chaffin, Johnny Ray Huston, the late Curt McDowell) in a provocative dialogue concerning the erasure of queer lineage.” The exhibition space is shared by photographer Case and sculptor Chaffin. Case’s large-scale landscape photos document well-known Northern California beach and park cruising spots, capturing the telltale signs of illicit activity. Chaffin’s sculptures are a little more enigmatic when it comes to the theme. Made of inner tubes and burned wooden posts, they are roughly constructed rafts, which may, I suppose, express a makeshift identity adrift at sea. Tedesco’s gallery exhibition will be supplemented with a screening of films by infamous Bay Area gay filmmaker Curt McDowell, along with a reading by Huston of works inspired by the films. \u003c/p>\n\u003cp>There are several other organizations not included in this evaluation. With 15 different curatorial visions represented, it would be hard to cover everything. Your ticket for entry does buy the opportunity to see 5 panels (out of 16) of a rarely-seen (outside of prison walls) mural made by inmates at San Quentin. We will have more on that in a separate piece about the San Quentin Prison Arts Project tomorrow. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Bay Area Now\u003c/b> includes a film series and a whole slew of performances as well, tonight’s opening of the gallery show is just the beginning. Yerba Buena Center for the Arts’ triennial exhibition of Bay Area contemporary art runs July 18 through October 5, 2014. For \u003ca href=\"http://www.ybca.org/ban7\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit ybca.org. \u003c/p>\n\n",
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"excerpt": "Every three years the Yerba Buena Center for the Arts takes the temperature of the art scene in the Bay Area. This year the center passed on curatorial duties for \u003cb>Bay Area Now\u003c/b> to 15 small to mid-sized organizations. We preview the results.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every three years the Yerba Buena Center for the Arts takes stock of the art scene in the Bay Area. Always a snapshot of an active and ever-changing world, the triennial has featured work by the famous, the obscure and the soon-to-be famous since 1997, curated by the good folks at the center itself (with a little help from friends). \u003c/p>\n\u003cp>This year, they chose to do something different. Sending out an open call late in 2013 for proposals from independents, YBCA passed curatorial duties on to people closer to the ground (meaning small to mid-size spaces and curatorial projects), choosing 15 out of the 50 exhibition proposals received. \u003c/p>\n\u003cp>This was an interesting move, especially given the region’s current situation, where bad news and economic hardship form a steady rhythm to a song of contraction and closure of art spaces in the Bay Area. The seventh edition of \u003cb>Bay Area Now\u003c/b> adds a counter melody to that tune, demonstrating that the region’s famous innovative spirit and creativity are still alive and kicking. \u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003ch3>Event Information\u003c/h3>\n\u003cdiv class=\"event-map\">\u003c/p>\u003cp>\u003ciframe\n src='https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d3153.1818004276715!2d-122.40215599999999!3d37.78577899999999!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x80858087ec8d9c89%3A0x477290961c219b7c!2sYerba+Buena+Center+for+the+Arts+(YBCA)!5e0!3m2!1sen!2sus!4v1405642333378&w=400&h=300'\n title='https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d3153.1818004276715!2d-122.40215599999999!3d37.78577899999999!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x80858087ec8d9c89%3A0x477290961c219b7c!2sYerba+Buena+Center+for+the+Arts+(YBCA)!5e0!3m2!1sen!2sus!4v1405642333378&w=400&h=300'\n width='400'\n height='300'\n scrolling='no'\n frameborder='no'>\u003c/iframe>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"event-desc\">\n\u003cb>Bay Area Now\u003c/b>, the Yerba Buena Center for the Arts’ triennial exhibition of Bay Area contemporary art runs July 18 through October 5, 2014. For \u003ca href=\"http://www.ybca.org/ban7\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit ybca.org.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 18 – October 5, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Yerba Buena Center for the Arts\u003cbr>\nhttp://www.ybca.org/ban7 (at Third)\u003cbr>\nSan Francisco, California 94105\u003cbr>\nTel: 415.978.2787\u003cbr>\n\u003ca href=\"https://goo.gl/maps/VbpJd\" target=\"_blank\" rel=\"noopener\">MAP\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>Instead of bringing diverse artists together to form one portrait of the Bay Area, we get 15 different visions (and over 100 artists), creating a kaleidoscope that includes the large and the small, but remains oddly coherent — and surprisingly low-key. I would have expected a loud clutter from so many curators sharing space, but the show is sparse. Most of the exhibitions, which are all given their own separate spaces, are very focused and even minimalist when compared to years past. \u003c/p>\n\u003cfigure id=\"attachment_10139250\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/pied.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/pied.jpg\" alt=\"Artist: Teresa Baker; Curated by Pied-à-terre\" width=\"640\" height=\"480\" class=\"size-full wp-image-10139250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/pied.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/pied-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/pied-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Teresa Baker; Curated by Pied-à-terre\u003c/figcaption>\u003c/figure>\n\u003cp>Taking this to an extreme, Pied-à-terre’s McIntyre Parker decided to hang just one piece, a small, white-on-white construction by Teresa Baker in the middle of his dedicated space on the museum’s second floor. The gesture is a tiny bit of quiet. When I was there, with the gallery empty, it made me consider the space around the image, the places where the carpet has been stitched together and the patterns of wear that reflect multiple uses of the gallery over time. I am not sure that this piece will even be noticed when the museum is full. It felt like a bold move, but also a bit of a middle finger flipped. Then again, I appreciate Parker’s willingness to stand by just one object, subjecting it to unaccompanied scrutiny. Is less less or is it more? (Who knows?)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe it’s my own personal lens, but I couldn’t help but see a reaction to the current economic debate at play behind much of the work. The challenging economy isn’t being addressed directly; instead, it’s seen in the practice of presenting work in small alternative spaces. It’s kind of a “where there’s a will, there’s a way” movement, reflecting and reviving the Bay Area’s DIY spirit. \u003c/p>\n\u003cfigure id=\"attachment_10139251\" class=\"wp-caption alignright\" style=\"max-width: 998px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/STAIRWELLS.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/STAIRWELLS.jpg\" alt=\"Artist: Amy M. Ho; Curated by Stairwell's\" width=\"998\" height=\"704\" class=\"size-full wp-image-10139251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/STAIRWELLS.jpg 998w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/STAIRWELLS-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/STAIRWELLS-300x211.jpg 300w\" sizes=\"(max-width: 998px) 100vw, 998px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Amy M. Ho; Curated by Stairwell’s\u003c/figcaption>\u003c/figure>\n\u003cp>Betti-Sue Hertz, YBCA’s Director of Visual Arts, says, “What’s exciting is that, no matter what the economy, people have a desire and a passion to curate exhibitions and work with artists to present artwork.” The curators behind \u003cb>Bay Area Now\u003c/b> participants n/a, Pied-a-terre and [2nd floor projects] have all created exhibition spaces in their own apartments. Similarly, Stairwell’s identifies transitional spaces — like stairwells and hallways, spaces that you travel through to get from one place to another — and commissions new works to fit into those often unconsidered locations. True to form, they have taken over the main staircase that connects the museum’s first and second floor galleries, presenting Amy M. Ho’s meditation on a stairwell on top and beside the stairs and Mike Rothfeld’s paper mache alien egg forms wrapped underneath. (Potential for favoritism alert: Sarah Hotchkiss, half of the Stairwell’s curatorial team, with Carey Lin, covers visual art for KQED.)\u003c/p>\n\u003cfigure id=\"attachment_10139277\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/farr2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/farr2.jpg\" alt=\"Artists; Kristin Farr and Jeff Meadows; Curated by Adobe Books Backroom Gallery\" width=\"640\" height=\"503\" class=\"size-full wp-image-10139277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/farr2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/farr2-400x314.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/farr2-300x235.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artists: Kristin Farr and Jeff Meadows; Curated by Adobe Books Backroom Gallery\u003c/figcaption>\u003c/figure>\n\u003cp>And of course, Adobe Books Backroom Gallery has historically presented some of the best contemporary art in the Bay Area out of the back room of a bookstore, which has undergone numerous challenges and a relocation in recent years. They get the back room of the exhibition and present a beautiful multi-colored wood installation dedicated to the artist Shawn Whisenant, \u003ca href=\"http://ww2.kqed.org/arts/2014/04/28/the-legacy-of-shawn-whisenant/\" target=\"_blank\" rel=\"noopener\">who died at age 32 this past March\u003c/a>. (Another potential for favored treatment alert: that installation and three really fun “hugging chairs” that look like stuffed animals with big arms to wrap around whoever sits in them was produced by KQED’s own Kristin Farr with her husband Jeff Meadows.) Adobe’s space really reflects the personality of their usual gig, but with just a little more space to stretch out in. An installation by Erik Otto, a sound sculpture by Marc Kate and Brian Tester and large, colored-in silhouettes and funny wall texts by Lori Gordon — “today I feel like the earth is shrinking” — round out their show in a really satisfying way.\u003c/p>\n\u003cp>Another thread that runs through the presentation is the issue of labor — and again, revealing the labor behind the making and mounting of an exhibition is particularly crucial during this period. Dispelling the ideas that art is a hobby, that art is somehow not important to the local economy or that art isn’t really work is especially important just now. People who think such things have obviously never made art or witnessed what it takes to mount a large exhibition. \u003c/p>\n\u003cp>The Bay Area Art Workers Alliance (BAAWA) is a loose association of over 125 artists who work as on-call installers, preparators, conservators, and framers for institutions around the Bay. All of the work in their section is made from the materials, leftovers, traces and tools used to mount an exhibition. Listing all of their members, instead of just those who participated in the creation of the exhibition, the group questions the idea of authorship, especially as arts workers and installers within the museum setting. \u003c/p>\n\u003cfigure id=\"attachment_10139253\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/baawa.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/baawa.jpg\" alt=\"Artist: Bay Area Art Workers Alliance\" width=\"640\" height=\"716\" class=\"size-full wp-image-10139253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/baawa.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/baawa-400x447.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/baawa-268x300.jpg 268w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Bay Area Art Workers Alliance\u003c/figcaption>\u003c/figure>\n\u003cp>At the risk of pissing off the local guild of art preparators (an exceedingly bad idea on my part), this presentation didn’t look fully cooked. My reaction proves how out of sync I am with the zeitgeist of Bay Area art; I polled fellow curators in the show about which exhibition they were most excited to see and the majority (perhaps wisely) pointed to this one. \u003c/p>\n\u003cp>But I have always had a hard time with the “conceptual pile of detritus” school of art. While some parts of the exhibition felt finished and were actually quite witty representations of the materials used to put together exhibits — a packing blanket that reminded me of a Rothko, for example — other parts just ended up looking random. I understand the desire to reveal the work behind the mounting of an exhibition, but it strikes me as odd that the folks responsible for making other artists’ work sing through attention to detail and finish would create something so UN-finished looking. The presentation needed just one final step to be successful for me; it needed to feel not finished, but completed.\u003c/p>\n\u003cfigure id=\"attachment_10139262\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/dirosa.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/dirosa.jpg\" alt=\"Artist: Floris Shonfeld; Curated by di Rosa\" width=\"640\" height=\"427\" class=\"size-full wp-image-10139262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/dirosa.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/dirosa-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/dirosa-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Floris Shönfeld; Curated by di Rosa\u003c/figcaption>\u003c/figure>\n\u003cp>I also didn’t get into the other piece that was generating advance buzz. I appreciated the concept behind diRosa’s Floris Shönfeld piece, but the presentation of videos of a vampire-inspired LARP (Live Action Role Play) game called \u003ci>Sanguine Dreams\u003c/i> played over several nights on the grounds of the Napa art preserve just wasn’t that engaging. It felt like one of those “you had to be there” situations, and since I wasn’t there, I didn’t particularly want to go. \u003c/p>\n\u003cp>Another group, Important Projects, filled a wall with an uneven grid of funny and whimsical painted ads for previous shows presented in its Oakland gallery. The second half of their project also engages the labor behind a working museum; they have created an interactive mural that will be filled in over time by the center’s staff. Once completed, the mural will be left in place and painted over, saved perhaps for future excavation. \u003c/p>\n\u003cfigure id=\"attachment_10139263\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/forsite.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/forsite.jpg\" alt=\"Artist: Nathan Lynch; Curated by For Site Foundation\" width=\"640\" height=\"480\" class=\"size-full wp-image-10139263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/forsite.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/forsite-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/forsite-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Nathan Lynch; Curated by For Site Foundation\u003c/figcaption>\u003c/figure>\n\u003cp>Several groups chose to present the work of just one artist. True to their mission of presenting the monumental (often within monuments, like the upcoming Ai Weiwei exhibition on Alcatraz), the For Site Foundation is showing three large sculptures by Nathan Lynch. They are blobby, big, beautifully lit, and colorful enough that you want to do a little dance around them. \u003c/p>\n\u003cp>SF’s Chinese Culture Foundation has a room devoted to Summer Lee’s video installation called \u003ci>Into the Nearness of Distance\u003c/i>, which consists of two poetic black and white projections on sheets of gauze that float in the middle of a darkened room. Lee’s work is about failure, not a popular subject in the Chinese community, but most particularly her failure as a mixed-race artist to connect with her Chinese roots and a culture that she is not particularly rooted in. Notably, both Lee and Stairwell’s artist Amy M. Ho have concurrent shows mounted at the Chinese Culture Center and Et. Al respectively. (Et. Al is another of those above-mentioned spaces that presents art in unexpected places, situated as it is in the basement below a dry cleaner on the outskirts of SF’s Chinatown.)\u003c/p>\n\u003cfigure id=\"attachment_10139264\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/case.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/case.jpg\" alt=\"Artist: Daniel Case; Curated by 2nd Floor Projects\" width=\"640\" height=\"960\" class=\"size-full wp-image-10139264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/case.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/case-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/case-200x300.jpg 200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist: Daniel Case; Curated by [2nd Floor Projects]\u003c/figcaption>\u003c/figure>\n\u003cp>Margaret Tedesco, on the other hand, just friggin’ went for it and decided to mount a bona fide museum show, something she cannot do in her usual exhibition space. And it kicks ass. Titled \u003ci>EROS/ON\u003c/i>, Tedesco’s exhibition “unites the work of four Bay Area artists (Daniel Case, Nicolaus Chaffin, Johnny Ray Huston, the late Curt McDowell) in a provocative dialogue concerning the erasure of queer lineage.” The exhibition space is shared by photographer Case and sculptor Chaffin. Case’s large-scale landscape photos document well-known Northern California beach and park cruising spots, capturing the telltale signs of illicit activity. Chaffin’s sculptures are a little more enigmatic when it comes to the theme. Made of inner tubes and burned wooden posts, they are roughly constructed rafts, which may, I suppose, express a makeshift identity adrift at sea. Tedesco’s gallery exhibition will be supplemented with a screening of films by infamous Bay Area gay filmmaker Curt McDowell, along with a reading by Huston of works inspired by the films. \u003c/p>\n\u003cp>There are several other organizations not included in this evaluation. With 15 different curatorial visions represented, it would be hard to cover everything. Your ticket for entry does buy the opportunity to see 5 panels (out of 16) of a rarely-seen (outside of prison walls) mural made by inmates at San Quentin. We will have more on that in a separate piece about the San Quentin Prison Arts Project tomorrow. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Bay Area Now\u003c/b> includes a film series and a whole slew of performances as well, tonight’s opening of the gallery show is just the beginning. Yerba Buena Center for the Arts’ triennial exhibition of Bay Area contemporary art runs July 18 through October 5, 2014. For \u003ca href=\"http://www.ybca.org/ban7\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit ybca.org. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I walk through the Mission district five days a week for work, and when I think about my route from the 16th Street BART station, much of what I remember is the dirt-caked sidewalks embellished with litter that’s kind-of dangerous: syringes, broken glass, hobo poop. I know that’s an unfair characterization, especially since I’m quite aware of the many color-soaked murals and examples of unique architecture that make the neighborhood an international destination.\u003c/p>\n\u003cp>Still, there are parts of the Mission that feel almost neglected — mostly around a few boarded-up buildings — so when I see that people are trying to spruce the place up, I perk up. In such a famously disputed neighborhood, it’s great to see people taking over public space for non-commercial — and somewhat non-sensical — ends. \u003c/p>\n\u003cfigure id=\"attachment_10139099\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-25.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-25.jpg\" alt=\"'Lightning Storm' by Dave Schubert (above) and 'A place where winning doesn't depend on losing,' by Alicia McCarthy. Located at 16th & South Van Ness\" width=\"800\" height=\"533\" class=\"size-full wp-image-10139099\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-25.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-25-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-25-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Lightning Storm\u003c/i> by Dave Schubert (above) and ‘A place where winning doesn’t depend on losing,’ by Alicia McCarthy. Located at 16th & South Van Ness\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Way Out West\u003c/b>, the \u003ca href=\"http://helloartcity.com/\" target=\"_blank\" rel=\"noopener\">Art City project’s\u003c/a> first public art installation, has chosen 19 artists to provide new work that will be posted on billboards, transit shelters and in other open spaces across the neighborhood for a month. The ragtag group of curators and art lovers, led by former tech executive Luke Groesbeck, is on a mission to turn ad and underused public spaces into mediums for notable working artists. Since the pieces are being revealed over time, here are notes on five from the first round of installations that can be viewed right now:\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10139101\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-42.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-42.jpg\" alt=\"‘Untitled’ by Apex\" width=\"800\" height=\"450\" class=\"size-full wp-image-10139101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-42.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-42-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-42-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Untitled’ by Apex\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Untitled\u003c/i> by Apex (AKA Ricardo Richey)\u003c/h3>\n\u003ch5>Mission and 19th\u003cbr>\u003ca href=\"http://theapexer.com/\" target=\"_blank\" rel=\"noopener\">Artist’s website\u003c/a>\u003c/h5>\n\u003cp>According to our own \u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\" target=\"_blank\" rel=\"noopener\">Kristin Farr,\u003c/a> Apex is “SF Graffiti royalty” who has been “beautifying walls around the city for years,” and just looking at his output confirms that his street art is a contribution to the city’s landscape. His work consists of amazing abstract paintings with lots of layers and geometric shapes that he makes with spray paint.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10139097\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10139097\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-3.jpg\" alt=\"‘From Troglodyte to Sophont’ by Desirée Holman\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-3-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-3-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘From Troglodyte to Sophont’ by Desirée Holman\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>From Troglodyte to Sophont\u003c/i> by Desirée Holman\u003c/h3>\n\u003ch5>15th & South Van Ness \u003cbr>\u003ca href=\"http://www.desireeholman.com/\" target=\"_blank\" rel=\"noopener\">Artist’s website\u003c/a>\u003c/h5>\n\u003cp>In my mind, Desirée Holman is a treasure; truly one of the Bay Area artists to watch. Her most recent solo exhibition at di Rosa, \u003ca href=\"http://ww2.kqed.org/arts/2014/05/18/sophont-in-action-desiree-holmans-other-worlds/\" target=\"_blank\" rel=\"noopener\">\u003cb>Sophont in Action\u003c/b>\u003c/a>, was a strange but entertaining mix of science, performance art and abstract imagery that was wonderfully off-kilter and thought-provoking.\u003c/p>\n\u003cp>In her description, Holman says that her \u003cb>Way Out West\u003c/b> piece “speaks to popular concepts characterizing humanity.” The troglodyte on the left is “emotionally reactive and potentially dangerous” and the extra-terrestrial or “sophont” on the right, as envisioned by science fiction author Poul Anderson, is “capable of extraordinary reasoning and introspection.”\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10139102\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-49.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-49.jpg\" alt=\"‘California Love’ by Casey Gray\" width=\"800\" height=\"533\" class=\"size-full wp-image-10139102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-49.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-49-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-49-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘California Love’ by Casey Gray\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>California Love\u003c/i> by Casey Gray\u003c/h3>\n\u003ch5>14th & Valencia\u003cbr>\u003ca href=\"http://caseygray.com/\" target=\"_blank\" rel=\"noopener\">Artist’s website\u003c/a>\u003c/h5>\n\u003cp>Casey Gray is another San Francisco artist who pushes spray paint artistry past its limits, but Gray’s bread and butter is spray paint versions of traditional painting styles — still life and collage — that are heavily influenced by beach culture and look like they might appeal to the kind of character normally found in a Hawaiian shirt. Gray says he wanted \u003ci>California Love\u003c/i> to “convey not just west coast culture and spirit, but my California. Many of the symbols and objects have personal significance to me and my upbringing, as well as relation to more general and cliched ideas of California.”\u003c/p>\n\u003cp>Bonus: We covered Gray back in 2010 for our video series \u003ca href=\"http://www.kqed.org/arts/programs/gallerycrawl/episode.jsp?essid=30082\" target=\"_blank\" rel=\"noopener\">\u003cem>Gallery Crawl\u003c/em>.\u003c/a>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10139150\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Dryptch.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Dryptch.jpg\" alt='\"Dryptch\" by Jen Stark' width=\"800\" height=\"533\" class=\"size-full wp-image-10139150\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Dryptch.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Dryptch-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Dryptch-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Dryptch” by Jen Stark \u003ccite>(Sandra Cifo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Dryptch\u003c/i> by Jen Stark\u003c/h3>\n\u003ch5>16th and South Van Ness\u003cbr>\u003ca href=\"http://jenstark.com/\" target=\"_blank\" rel=\"noopener\">Artist’s website\u003c/a>\u003c/h5>\n\u003cp>Hailing from Los Angeles, Jen Stark does amazing, super trippy, rainbow-themed sculptures and paintings, mostly using layers of paper that she cuts herself. Though her sculptures are best seen close up, her piece for \u003cb>Way Out West\u003c/b> is a wonderful billboard-adaptation of her style. If you happen to walk by and see \u003ci>Dryptch’s\u003c/i> melting rainbows, don’t panic; you’re not having an acid flashback. (That is, unless you see the colors literally dripping onto the street below.) \u003c/p>\n\u003cdiv>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10139165\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-321.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-321.jpg\" alt=\"'Eye' by Andrew Schoultz\" width=\"800\" height=\"451\" class=\"size-full wp-image-10139165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-321.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-321-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-321-300x169.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Eye’ by Andrew Schoultz\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Eye\u003c/i> by Andrew Schoultz\u003c/h3>\n\u003ch5>Mission and Sycamore\u003cbr>\u003ca href=\"http://www.andrewschoultz.com/\" target=\"_blank\" rel=\"noopener\">Artist’s website\u003c/a>\u003c/h5>\n\u003cp>Last but not least, San Francisco’s Andrew Schoultz is another member of the city’s street art royalty whose murals can be seen in many places around the Mission and has also been featured in exhibitions at SFMOMA and the Boston Center for the Arts. With \u003ci>Eye\u003c/i>, Schoultz says he “wanted the piece to reflect that of a pirated Billboard,” the image simple enough that it might seem like a guerrilla action so that the viewer questions “whether it was done legally or not… entering into a dialogue about public art, ‘street art,’ and more importantly illegal graffiti bombing.” \u003c/p>\n\u003cdiv>\n\u003cp>The Art City project is holding a launch event for \u003cb>Way Out West\u003c/b> on July 17, 2014 at Heron Arts in San Francisco. \u003ca href=\"http://www.eventbrite.com/e/the-art-city-projects-wayoutwest-launch-event-tickets-12065679773\" target=\"_blank\" rel=\"noopener\">For tickets and information,\u003c/a> you can visit helloartcity.com/wayoutwest.\u003c/p>\n\u003cp>\u003ci>To see all of the \u003cb>Way Out West\u003c/b> pieces as they roll out, visit it \u003ca href=\"http://helloartcity.com/map\" target=\"_blank\" rel=\"noopener\">The Art City project’s map page.\u003c/a>\u003c/i> \u003c/p>\n\u003c/div>\u003c/div>\u003c/div>\u003c/div>\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I walk through the Mission district five days a week for work, and when I think about my route from the 16th Street BART station, much of what I remember is the dirt-caked sidewalks embellished with litter that’s kind-of dangerous: syringes, broken glass, hobo poop. I know that’s an unfair characterization, especially since I’m quite aware of the many color-soaked murals and examples of unique architecture that make the neighborhood an international destination.\u003c/p>\n\u003cp>Still, there are parts of the Mission that feel almost neglected — mostly around a few boarded-up buildings — so when I see that people are trying to spruce the place up, I perk up. In such a famously disputed neighborhood, it’s great to see people taking over public space for non-commercial — and somewhat non-sensical — ends. \u003c/p>\n\u003cfigure id=\"attachment_10139099\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-25.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-25.jpg\" alt=\"'Lightning Storm' by Dave Schubert (above) and 'A place where winning doesn't depend on losing,' by Alicia McCarthy. Located at 16th & South Van Ness\" width=\"800\" height=\"533\" class=\"size-full wp-image-10139099\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-25.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-25-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-25-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Lightning Storm\u003c/i> by Dave Schubert (above) and ‘A place where winning doesn’t depend on losing,’ by Alicia McCarthy. Located at 16th & South Van Ness\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Way Out West\u003c/b>, the \u003ca href=\"http://helloartcity.com/\" target=\"_blank\" rel=\"noopener\">Art City project’s\u003c/a> first public art installation, has chosen 19 artists to provide new work that will be posted on billboards, transit shelters and in other open spaces across the neighborhood for a month. The ragtag group of curators and art lovers, led by former tech executive Luke Groesbeck, is on a mission to turn ad and underused public spaces into mediums for notable working artists. Since the pieces are being revealed over time, here are notes on five from the first round of installations that can be viewed right now:\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10139101\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-42.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-42.jpg\" alt=\"‘Untitled’ by Apex\" width=\"800\" height=\"450\" class=\"size-full wp-image-10139101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-42.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-42-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-42-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Untitled’ by Apex\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Untitled\u003c/i> by Apex (AKA Ricardo Richey)\u003c/h3>\n\u003ch5>Mission and 19th\u003cbr>\u003ca href=\"http://theapexer.com/\" target=\"_blank\" rel=\"noopener\">Artist’s website\u003c/a>\u003c/h5>\n\u003cp>According to our own \u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\" target=\"_blank\" rel=\"noopener\">Kristin Farr,\u003c/a> Apex is “SF Graffiti royalty” who has been “beautifying walls around the city for years,” and just looking at his output confirms that his street art is a contribution to the city’s landscape. His work consists of amazing abstract paintings with lots of layers and geometric shapes that he makes with spray paint.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10139097\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10139097\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-3.jpg\" alt=\"‘From Troglodyte to Sophont’ by Desirée Holman\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-3-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-3-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘From Troglodyte to Sophont’ by Desirée Holman\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>From Troglodyte to Sophont\u003c/i> by Desirée Holman\u003c/h3>\n\u003ch5>15th & South Van Ness \u003cbr>\u003ca href=\"http://www.desireeholman.com/\" target=\"_blank\" rel=\"noopener\">Artist’s website\u003c/a>\u003c/h5>\n\u003cp>In my mind, Desirée Holman is a treasure; truly one of the Bay Area artists to watch. Her most recent solo exhibition at di Rosa, \u003ca href=\"http://ww2.kqed.org/arts/2014/05/18/sophont-in-action-desiree-holmans-other-worlds/\" target=\"_blank\" rel=\"noopener\">\u003cb>Sophont in Action\u003c/b>\u003c/a>, was a strange but entertaining mix of science, performance art and abstract imagery that was wonderfully off-kilter and thought-provoking.\u003c/p>\n\u003cp>In her description, Holman says that her \u003cb>Way Out West\u003c/b> piece “speaks to popular concepts characterizing humanity.” The troglodyte on the left is “emotionally reactive and potentially dangerous” and the extra-terrestrial or “sophont” on the right, as envisioned by science fiction author Poul Anderson, is “capable of extraordinary reasoning and introspection.”\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10139102\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-49.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-49.jpg\" alt=\"‘California Love’ by Casey Gray\" width=\"800\" height=\"533\" class=\"size-full wp-image-10139102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-49.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-49-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-49-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘California Love’ by Casey Gray\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>California Love\u003c/i> by Casey Gray\u003c/h3>\n\u003ch5>14th & Valencia\u003cbr>\u003ca href=\"http://caseygray.com/\" target=\"_blank\" rel=\"noopener\">Artist’s website\u003c/a>\u003c/h5>\n\u003cp>Casey Gray is another San Francisco artist who pushes spray paint artistry past its limits, but Gray’s bread and butter is spray paint versions of traditional painting styles — still life and collage — that are heavily influenced by beach culture and look like they might appeal to the kind of character normally found in a Hawaiian shirt. Gray says he wanted \u003ci>California Love\u003c/i> to “convey not just west coast culture and spirit, but my California. Many of the symbols and objects have personal significance to me and my upbringing, as well as relation to more general and cliched ideas of California.”\u003c/p>\n\u003cp>Bonus: We covered Gray back in 2010 for our video series \u003ca href=\"http://www.kqed.org/arts/programs/gallerycrawl/episode.jsp?essid=30082\" target=\"_blank\" rel=\"noopener\">\u003cem>Gallery Crawl\u003c/em>.\u003c/a>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10139150\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Dryptch.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Dryptch.jpg\" alt='\"Dryptch\" by Jen Stark' width=\"800\" height=\"533\" class=\"size-full wp-image-10139150\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Dryptch.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Dryptch-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Dryptch-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Dryptch” by Jen Stark \u003ccite>(Sandra Cifo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Dryptch\u003c/i> by Jen Stark\u003c/h3>\n\u003ch5>16th and South Van Ness\u003cbr>\u003ca href=\"http://jenstark.com/\" target=\"_blank\" rel=\"noopener\">Artist’s website\u003c/a>\u003c/h5>\n\u003cp>Hailing from Los Angeles, Jen Stark does amazing, super trippy, rainbow-themed sculptures and paintings, mostly using layers of paper that she cuts herself. Though her sculptures are best seen close up, her piece for \u003cb>Way Out West\u003c/b> is a wonderful billboard-adaptation of her style. If you happen to walk by and see \u003ci>Dryptch’s\u003c/i> melting rainbows, don’t panic; you’re not having an acid flashback. (That is, unless you see the colors literally dripping onto the street below.) \u003c/p>\n\u003cdiv>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10139165\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-321.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/art_city_07_2014-321.jpg\" alt=\"'Eye' by Andrew Schoultz\" width=\"800\" height=\"451\" class=\"size-full wp-image-10139165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-321.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-321-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/art_city_07_2014-321-300x169.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Eye’ by Andrew Schoultz\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Eye\u003c/i> by Andrew Schoultz\u003c/h3>\n\u003ch5>Mission and Sycamore\u003cbr>\u003ca href=\"http://www.andrewschoultz.com/\" target=\"_blank\" rel=\"noopener\">Artist’s website\u003c/a>\u003c/h5>\n\u003cp>Last but not least, San Francisco’s Andrew Schoultz is another member of the city’s street art royalty whose murals can be seen in many places around the Mission and has also been featured in exhibitions at SFMOMA and the Boston Center for the Arts. With \u003ci>Eye\u003c/i>, Schoultz says he “wanted the piece to reflect that of a pirated Billboard,” the image simple enough that it might seem like a guerrilla action so that the viewer questions “whether it was done legally or not… entering into a dialogue about public art, ‘street art,’ and more importantly illegal graffiti bombing.” \u003c/p>\n\u003cdiv>\n\u003cp>The Art City project is holding a launch event for \u003cb>Way Out West\u003c/b> on July 17, 2014 at Heron Arts in San Francisco. \u003ca href=\"http://www.eventbrite.com/e/the-art-city-projects-wayoutwest-launch-event-tickets-12065679773\" target=\"_blank\" rel=\"noopener\">For tickets and information,\u003c/a> you can visit helloartcity.com/wayoutwest.\u003c/p>\n\u003cp>\u003ci>To see all of the \u003cb>Way Out West\u003c/b> pieces as they roll out, visit it \u003ca href=\"http://helloartcity.com/map\" target=\"_blank\" rel=\"noopener\">The Art City project’s map page.\u003c/a>\u003c/i> \u003c/p>\n\u003c/div>\u003c/div>\u003c/div>\u003c/div>\u003cp>\u003c/p>\u003c/div>",
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"title": "Two Flights Up: Art and Text at [ 2nd floor projects ]",
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"content": "\u003cp>Just a few blocks from the bustle of 24th and Mission on a shady street up two flights of stairs, an intimate project space run by artist Margaret Tedesco provides some of the most consistently exciting combinations of art and writing in the Bay Area.\u003c/p>\n\u003cp>The aptly-named [ 2nd floor projects ] opened in 2007 with a show by Sahar Khoury. Seven years later, her work is again on view, this time with paintings and sculptures by Jaimie Healy. Completing the show is a personal essay by Mattilda Bernstein Sycamore, \u003ci>A Desire for History\u003c/i>, printed as an elegantly-designed limited edition broadsheet. Each [ 2nd floor projects ] exhibition features newly commissioned writing ranging wildly in tone, style, content and physical form.\u003c/p>\n\u003cp>All three artists in the current exhibition (Sycamore included) work in fragments. Khoury’s sculptures are amalgamations of familiar objects wrapped in patterns, tied in knots and rolled into tubes. Healy considers her work like elements of a crime scene, each object a small clue to a larger ongoing narrative. And Sycamore’s non-linear essay speaks to the anxiety of loss — specifically the loss of identity and community in the face of gentrification.\u003c/p>\n\u003cfigure id=\"attachment_10138911\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138911 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Jaimie-Healy_11.-Untitled-2014.jpg\" alt=\"Jaimie Healy, <i>Untitled</i>, 2014; courtesy of [ 2nd floor projects ]\" width=\"640\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jaimie-Healy_11.-Untitled-2014.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jaimie-Healy_11.-Untitled-2014-400x393.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jaimie-Healy_11.-Untitled-2014-300x295.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jaimie-Healy_11.-Untitled-2014-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jaimie-Healy_11.-Untitled-2014-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jaimie-Healy_11.-Untitled-2014-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jaimie-Healy_11.-Untitled-2014-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jaimie Healy, \u003ci>Untitled\u003c/i>, 2014; courtesy of [ 2nd floor projects ]\u003c/figcaption>\u003c/figure>\n\u003cp>Together, the three form a powerful triad. Healy and Khoury’s works share a visual language of mingled abstraction and representation. Sycamore’s essay is full of snark, punchy lines and rhetorical questions. For all three, an underlying earnestness prevails. “Maybe I’m saying we all need different kinds of people in our lives, right?” writes Sycamore. “When anything becomes homogenous, there’s a problem. When anything becomes so homogenous that people don’t even think about it, that’s worse.”\u003c/p>\n\u003cp>Just inside the front door, Healy’s \u003ci>Untitled\u003c/i> rests against the wall on two longer wooden props, mimicking the simple wooden shelf with l-brackets above (a vestige of a previous show). A plaster semicircle echoes the hallway’s walls and foreshadows the shape’s reappearance at a much larger scale around the next corner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Khoury’s work doesn’t appear until the main gallery space, but there it gathers in dense clusters, with tantalizing titles like \u003ci>Untitled (hot dog on ball on vase on box on rugs)\u003c/i> and \u003ci>Untitled (blouse landscape, vase, with Ethel in disguise)\u003c/i>. Ethel is a small stuffed cat, wrapped in a headdress like a miniature Mata Hari.\u003c/p>\n\u003cfigure id=\"attachment_10138912\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138912 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Sahar-Khoury_Untitled-2014.-Silk-blouse-paper-textile-inkjet-print-mache.jpg\" alt=\"Sahar Khoury, <i>Untitled (blouse landscape, vase, with Ethel in disguise)</i>, 2014; courtesy of [ 2nd floor projects ]\" width=\"640\" height=\"583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Sahar-Khoury_Untitled-2014.-Silk-blouse-paper-textile-inkjet-print-mache.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Sahar-Khoury_Untitled-2014.-Silk-blouse-paper-textile-inkjet-print-mache-400x364.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Sahar-Khoury_Untitled-2014.-Silk-blouse-paper-textile-inkjet-print-mache-300x273.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sahar Khoury, \u003ci>Untitled (blouse landscape, vase, with Ethel in disguise)\u003c/i>, 2014; courtesy of [ 2nd floor projects ]\u003c/figcaption>\u003c/figure>\n\u003cp>In front of the main room’s bay windows, a grouping of five of Khoury’s \u003ci>Untitled\u003c/i> sculptures sit around and on top of a horizontal plinth of waxed concrete. In the opposite corner, a plinth of approximately the same dimensions stands upright, with two notches containing a “NY Times stick” and a “Jack Hanley pink knot” made of papier-mâché. Khoury skillfully balances solid and delicate, hard edges and organic twists, to create intricate combinations of found and fabricated objects. Heterogenous, to a tee.\u003c/p>\n\u003cp>Along the hallway and in the main gallery, Healy presents two pairs of paintings in the series \u003ci>11. Among Horses\u003c/i>, named after a short story by Roberto Bolaño\u003ci>. \u003c/i>Bolaño’s character spends his evenings unable to write the stories that will pay for a trip to the city and a new life with his fiancée. His trip “recedes from his future, is lost, and he remains listless, inert, going automatically about his work among the horses.”\u003c/p>\n\u003cp>Nine cast plaster horse heads on a low pedestal illustrate this story, while other sculptures offer mysterious clues about Healy’s working process and serial storytelling. \u003ci>Water bottle\u003c/i> is two plastic water bottles filled with latex slip. \u003ci>Vent\u003c/i> is a perfect mimic of a wall vent, the likes of which cannot be found anywhere in [ 2nd floor projects ]. \u003ci>Magic Realism\u003c/i> (another ode to Bolaño) resembles a wedge for propping open one of the bay windows, except it’s made of plaster.\u003c/p>\n\u003cp>Bolaño’s \u003ci>Among the Horses\u003c/i> is a cautionary tale against inactivity, yet Khoury, Healy and Sycamore are all ardent producers of objects, stories and experiences. There is no danger of them becoming “finished,” as Bolaño’s writer does, their willingness to take risks and test out new ideas makes viewing their work invigorating. In her concluding paragraph Sycamore asks, “Knowing the gap between what you want and what you yearn for, can there be hope in this disjuncture?”\u003c/p>\n\u003cp>While she speaks of social dynamics, this could also perfectly describe a version of Healy and Khoury’s practices. Attempting — and sometimes failing — is what makes continued efforts worthwhile. Perhaps in another seven years a revisit to Healy’s work will reveal just as many exciting developments as a flashback to Khoury’s 2007 show does today.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Jaimie Healy, Sahar Khoury and Mattilda Bernstein Sycamore\u003c/b> is on view at [ 2nd floor projects ] through August 13, 2014. For \u003ca href=\"http://projects2ndfloor.blogspot.com/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit projects2ndfloor.blogspot.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just a few blocks from the bustle of 24th and Mission on a shady street up two flights of stairs, an intimate project space run by artist Margaret Tedesco provides some of the most consistently exciting combinations of art and writing in the Bay Area.\u003c/p>\n\u003cp>The aptly-named [ 2nd floor projects ] opened in 2007 with a show by Sahar Khoury. Seven years later, her work is again on view, this time with paintings and sculptures by Jaimie Healy. Completing the show is a personal essay by Mattilda Bernstein Sycamore, \u003ci>A Desire for History\u003c/i>, printed as an elegantly-designed limited edition broadsheet. Each [ 2nd floor projects ] exhibition features newly commissioned writing ranging wildly in tone, style, content and physical form.\u003c/p>\n\u003cp>All three artists in the current exhibition (Sycamore included) work in fragments. Khoury’s sculptures are amalgamations of familiar objects wrapped in patterns, tied in knots and rolled into tubes. Healy considers her work like elements of a crime scene, each object a small clue to a larger ongoing narrative. And Sycamore’s non-linear essay speaks to the anxiety of loss — specifically the loss of identity and community in the face of gentrification.\u003c/p>\n\u003cfigure id=\"attachment_10138911\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138911 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Jaimie-Healy_11.-Untitled-2014.jpg\" alt=\"Jaimie Healy, <i>Untitled</i>, 2014; courtesy of [ 2nd floor projects ]\" width=\"640\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jaimie-Healy_11.-Untitled-2014.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jaimie-Healy_11.-Untitled-2014-400x393.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jaimie-Healy_11.-Untitled-2014-300x295.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jaimie-Healy_11.-Untitled-2014-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jaimie-Healy_11.-Untitled-2014-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jaimie-Healy_11.-Untitled-2014-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Jaimie-Healy_11.-Untitled-2014-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jaimie Healy, \u003ci>Untitled\u003c/i>, 2014; courtesy of [ 2nd floor projects ]\u003c/figcaption>\u003c/figure>\n\u003cp>Together, the three form a powerful triad. Healy and Khoury’s works share a visual language of mingled abstraction and representation. Sycamore’s essay is full of snark, punchy lines and rhetorical questions. For all three, an underlying earnestness prevails. “Maybe I’m saying we all need different kinds of people in our lives, right?” writes Sycamore. “When anything becomes homogenous, there’s a problem. When anything becomes so homogenous that people don’t even think about it, that’s worse.”\u003c/p>\n\u003cp>Just inside the front door, Healy’s \u003ci>Untitled\u003c/i> rests against the wall on two longer wooden props, mimicking the simple wooden shelf with l-brackets above (a vestige of a previous show). A plaster semicircle echoes the hallway’s walls and foreshadows the shape’s reappearance at a much larger scale around the next corner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Khoury’s work doesn’t appear until the main gallery space, but there it gathers in dense clusters, with tantalizing titles like \u003ci>Untitled (hot dog on ball on vase on box on rugs)\u003c/i> and \u003ci>Untitled (blouse landscape, vase, with Ethel in disguise)\u003c/i>. Ethel is a small stuffed cat, wrapped in a headdress like a miniature Mata Hari.\u003c/p>\n\u003cfigure id=\"attachment_10138912\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138912 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Sahar-Khoury_Untitled-2014.-Silk-blouse-paper-textile-inkjet-print-mache.jpg\" alt=\"Sahar Khoury, <i>Untitled (blouse landscape, vase, with Ethel in disguise)</i>, 2014; courtesy of [ 2nd floor projects ]\" width=\"640\" height=\"583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Sahar-Khoury_Untitled-2014.-Silk-blouse-paper-textile-inkjet-print-mache.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Sahar-Khoury_Untitled-2014.-Silk-blouse-paper-textile-inkjet-print-mache-400x364.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Sahar-Khoury_Untitled-2014.-Silk-blouse-paper-textile-inkjet-print-mache-300x273.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Sahar Khoury, \u003ci>Untitled (blouse landscape, vase, with Ethel in disguise)\u003c/i>, 2014; courtesy of [ 2nd floor projects ]\u003c/figcaption>\u003c/figure>\n\u003cp>In front of the main room’s bay windows, a grouping of five of Khoury’s \u003ci>Untitled\u003c/i> sculptures sit around and on top of a horizontal plinth of waxed concrete. In the opposite corner, a plinth of approximately the same dimensions stands upright, with two notches containing a “NY Times stick” and a “Jack Hanley pink knot” made of papier-mâché. Khoury skillfully balances solid and delicate, hard edges and organic twists, to create intricate combinations of found and fabricated objects. Heterogenous, to a tee.\u003c/p>\n\u003cp>Along the hallway and in the main gallery, Healy presents two pairs of paintings in the series \u003ci>11. Among Horses\u003c/i>, named after a short story by Roberto Bolaño\u003ci>. \u003c/i>Bolaño’s character spends his evenings unable to write the stories that will pay for a trip to the city and a new life with his fiancée. His trip “recedes from his future, is lost, and he remains listless, inert, going automatically about his work among the horses.”\u003c/p>\n\u003cp>Nine cast plaster horse heads on a low pedestal illustrate this story, while other sculptures offer mysterious clues about Healy’s working process and serial storytelling. \u003ci>Water bottle\u003c/i> is two plastic water bottles filled with latex slip. \u003ci>Vent\u003c/i> is a perfect mimic of a wall vent, the likes of which cannot be found anywhere in [ 2nd floor projects ]. \u003ci>Magic Realism\u003c/i> (another ode to Bolaño) resembles a wedge for propping open one of the bay windows, except it’s made of plaster.\u003c/p>\n\u003cp>Bolaño’s \u003ci>Among the Horses\u003c/i> is a cautionary tale against inactivity, yet Khoury, Healy and Sycamore are all ardent producers of objects, stories and experiences. There is no danger of them becoming “finished,” as Bolaño’s writer does, their willingness to take risks and test out new ideas makes viewing their work invigorating. In her concluding paragraph Sycamore asks, “Knowing the gap between what you want and what you yearn for, can there be hope in this disjuncture?”\u003c/p>\n\u003cp>While she speaks of social dynamics, this could also perfectly describe a version of Healy and Khoury’s practices. Attempting — and sometimes failing — is what makes continued efforts worthwhile. Perhaps in another seven years a revisit to Healy’s work will reveal just as many exciting developments as a flashback to Khoury’s 2007 show does today.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Jaimie Healy, Sahar Khoury and Mattilda Bernstein Sycamore\u003c/b> is on view at [ 2nd floor projects ] through August 13, 2014. For \u003ca href=\"http://projects2ndfloor.blogspot.com/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit projects2ndfloor.blogspot.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fly Like an Eagle: Site Picks the Best Aerial Drone Photos",
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"content": "\u003cp>An eagle soars above a national park in Bali, Indonesia. A waterfall in Mexico is seen from above its shelf of cascading water. Those are the top two finishers in a contest held to find the best images captured by cameras mounted on aerial drones. The winners were recently unveiled by the site \u003ca href=\"http://www.dronestagr.am/\" target=\"_blank\" rel=\"noopener\">Dronestagram\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10138957\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/tamulconcurso-960x540_wide-2c48bd5ea82311d6466e20d847fadf4e07e1d14b-e1405107209472.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138957\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/tamulconcurso-960x540_wide-2c48bd5ea82311d6466e20d847fadf4e07e1d14b-e1405107209472.jpg\" alt=\"The Tamul waterfall in San Luis Potosí, Mexico, is seen in this image taken with the help of a drone aircraft. The water reportedly falls more than 340 feet\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Tamul waterfall in San Luis Potosí, Mexico, is seen in this image taken with the help of a drone aircraft. The water reportedly falls \u003ca href=\"http://travel.nationalgeographic.com/travel/365-photos/tamul-waterfall-mexico/\">more than 340 feet\u003c/a> \u003ccite>(postandfly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The website chose winners by two methods: a juried competition, and the images’ popularity among the site’s visitors (see the \u003ca href=\"http://www.dronestagr.am/contest/rewards/\">top three images\u003c/a> in each category). The contest was sponsored by \u003ca href=\"http://www.nationalgeographic.fr/\" target=\"_blank\" rel=\"noopener\">National Geographic France\u003c/a>.\u003c/p>\n\u003cp>One image, taken at low altitude in Manila, Philippines, captured the smiles of kids and others watching a drone hover above them.\u003c/p>\n\u003cfigure id=\"attachment_10138958\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/philippines_wide-8af4ffb81dc66d888c1e67820de8deab953a73df-e1405107266179.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138958\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/philippines_wide-8af4ffb81dc66d888c1e67820de8deab953a73df-e1405107266179.jpg\" alt=\"The drone operator who took this photo normally takes images from far above this height. But a trip to a park in Manila drew a crowd.\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The drone operator who took this photo normally takes images from far above this height. But a trip to a park in Manila drew a crowd. \u003ccite>(jericsaniel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Went back to my hometown in the Philippines,” the photographer, identified as jericsaniel, wrote. “I was flying in the park one Sunday morning when suddenly people had become really interested with my drone.”\u003c/p>\n\u003cp>Another image captures the sunset over the picturesque French town of Annecy, south of Geneva, Switzerland.\u003c/p>\n\u003cfigure id=\"attachment_10138959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/annecy_wide-326889f79ca8a0ed931b698d5fc0b53c9e04edb5-e1405107151730.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138959 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/annecy_wide-326889f79ca8a0ed931b698d5fc0b53c9e04edb5-e1405107151730.jpg\" alt=\"The sun sets behind the buildings of the old city of Annecy, France.\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The sun sets behind the buildings of the old city of Annecy, France. \u003ccite>(drone-cs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fly+Like+An+Eagle%3A+Site+Picks+The+Best+Aerial+Drone+Photos&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An eagle soars above a national park in Bali, Indonesia. A waterfall in Mexico is seen from above its shelf of cascading water. Those are the top two finishers in a contest held to find the best images captured by cameras mounted on aerial drones. The winners were recently unveiled by the site \u003ca href=\"http://www.dronestagr.am/\" target=\"_blank\" rel=\"noopener\">Dronestagram\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10138957\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/tamulconcurso-960x540_wide-2c48bd5ea82311d6466e20d847fadf4e07e1d14b-e1405107209472.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138957\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/tamulconcurso-960x540_wide-2c48bd5ea82311d6466e20d847fadf4e07e1d14b-e1405107209472.jpg\" alt=\"The Tamul waterfall in San Luis Potosí, Mexico, is seen in this image taken with the help of a drone aircraft. The water reportedly falls more than 340 feet\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Tamul waterfall in San Luis Potosí, Mexico, is seen in this image taken with the help of a drone aircraft. The water reportedly falls \u003ca href=\"http://travel.nationalgeographic.com/travel/365-photos/tamul-waterfall-mexico/\">more than 340 feet\u003c/a> \u003ccite>(postandfly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The website chose winners by two methods: a juried competition, and the images’ popularity among the site’s visitors (see the \u003ca href=\"http://www.dronestagr.am/contest/rewards/\">top three images\u003c/a> in each category). The contest was sponsored by \u003ca href=\"http://www.nationalgeographic.fr/\" target=\"_blank\" rel=\"noopener\">National Geographic France\u003c/a>.\u003c/p>\n\u003cp>One image, taken at low altitude in Manila, Philippines, captured the smiles of kids and others watching a drone hover above them.\u003c/p>\n\u003cfigure id=\"attachment_10138958\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/philippines_wide-8af4ffb81dc66d888c1e67820de8deab953a73df-e1405107266179.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138958\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/philippines_wide-8af4ffb81dc66d888c1e67820de8deab953a73df-e1405107266179.jpg\" alt=\"The drone operator who took this photo normally takes images from far above this height. But a trip to a park in Manila drew a crowd.\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The drone operator who took this photo normally takes images from far above this height. But a trip to a park in Manila drew a crowd. \u003ccite>(jericsaniel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Went back to my hometown in the Philippines,” the photographer, identified as jericsaniel, wrote. “I was flying in the park one Sunday morning when suddenly people had become really interested with my drone.”\u003c/p>\n\u003cp>Another image captures the sunset over the picturesque French town of Annecy, south of Geneva, Switzerland.\u003c/p>\n\u003cfigure id=\"attachment_10138959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/annecy_wide-326889f79ca8a0ed931b698d5fc0b53c9e04edb5-e1405107151730.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138959 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/annecy_wide-326889f79ca8a0ed931b698d5fc0b53c9e04edb5-e1405107151730.jpg\" alt=\"The sun sets behind the buildings of the old city of Annecy, France.\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The sun sets behind the buildings of the old city of Annecy, France. \u003ccite>(drone-cs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fly+Like+An+Eagle%3A+Site+Picks+The+Best+Aerial+Drone+Photos&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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},
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},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"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
},
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}
},
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"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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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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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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"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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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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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"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/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"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",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"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/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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