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"content": "\u003cp>If you went into \u003ca href=\"http://www.magnetsf.org/\" target=\"_blank\" rel=\"noopener\">Magnet,\u003c/a> the gay men’s health clinic in the Castro District, and looked at the art on display, you might think that whoever in charge of decorating has a deep love for \u003ca href=\"http://en.wikipedia.org/wiki/Divine_(performer)\" target=\"_blank\" rel=\"noopener\">Divine\u003c/a> and pen drawings from the ’70s. But what you’re looking at is the work of queer poster artist \u003ca href=\"http://toddtrexlerposters.com/\" target=\"_blank\" rel=\"noopener\">Todd Trexler,\u003c/a> whose images could be found on utility poles and in apartments all over the city four decades ago.\u003c/p>\n\u003cp>A San Mateo native, Trexler is best known locally for designing fliers for \u003ca href=\"http://en.wikipedia.org/wiki/The_Cockettes\" target=\"_blank\" rel=\"noopener\">The Cockettes\u003c/a>, Nocturnal Dreams, \u003ca href=\"http://en.wikipedia.org/wiki/Sylvester_%28singer%29\">Sylvester\u003c/a>, and of course, Divine; and his poster exhibit at Magnet is his first in over 40 years. Sadly, he won’t be enjoying it; he passed away back in February of this year, and proceeds from sales of his work will go to his longtime partner, who is suffering financially after Trexler’s death.\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=!1m14!1m8!1m3!1d3154.268566207809!2d-122.43497931896812!3d37.76030046617991!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x808f7e04ca4604fd%3A0xe646ac30ba67fbf5!2s4122+18th+St!5e0!3m2!1sen!2sus!4v1402625984833&w=400&h=200]\u003c/div>\n\u003cdiv class=\"event-desc\">\nSelected works from Todd Trexler. For more information, visit \u003ca href=\"https://www.facebook.com/events/717629431632504/\" target=\"_blank\" rel=\"noopener\"> the event page on Facebook.com\u003c/a>\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 2-30, 2014\u003c/h4>\n\u003cp>Mon., Tues., Sat. 11am-6pm \u003cbr>\nWed., Thurs., Fri. 11am-9pm\n\u003c/p>\u003c/div>\n\u003cdiv class=\"event-venue\">Magnet in the Castro\u003cbr>\n4122 18th St.\u003cbr>\nSan Francisco, California 94114\u003cbr>\nTel: 415.581.1600\u003cbr>\n\u003ca href=\"https://goo.gl/maps/2P8gS\" target=\"_blank\" rel=\"noopener\">MAP\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>According to his website, when Trexler was an art student living in the Castro in the early to mid ’60s he became friends with “Sebastian” (whose real name is Milton Miron, \u003ca href=\"http://www.imdb.com/name/nm0592477/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener\">according to IMDB\u003c/a>), who was the accountant for Bill Graham. Around that time, Sebastian hooked up with a venue — the Palace Theatre — and began showing underground films after midnight on the weekends. Trexler was pulled in to design the ads for the movies, and instead of handbills, he went with large, hand drawn posters that were as bizarre and beautiful as the movies that were being shown. He later said he was paid in weed for his work.\u003c/p>\n\u003cp>Sebastian’s “Midnight Movies” grew in popularity and a connection to local director Steven Arnold later led to his work promoting The Cockettes’ \u003ca href=\"http://www.cockettes.com/history1.html\" target=\"_blank\" rel=\"noopener\">midnight musicals\u003c/a>, which became the weekly event for San Francisco’s freakiest. Director John Waters, a fan of The Cockettes, hooked Sebastian up with Divine, star of Waters’ earliest, trashiest films, such as \u003ci>Mondo Trasho,\u003c/i> \u003ci>Female Trouble\u003c/i> and the truly groundbreaking \u003ci>Pink Flamingos.\u003c/i> Not only did the iconic drag queen begin performing with The Cockettes, he started a singing career, with Trexler designing many of the posters for his popular concerts.\u003c/p>\n\u003cfigure id=\"attachment_10137629\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/todd_and_sylvester_early_70s_shrunk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10137629\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/todd_and_sylvester_early_70s_shrunk.jpg\" alt=\"Trexler with Sylvester back in the early '70s\" width=\"600\" height=\"791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/todd_and_sylvester_early_70s_shrunk.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/todd_and_sylvester_early_70s_shrunk-400x527.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/todd_and_sylvester_early_70s_shrunk-227x300.jpg 227w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Trexler with Sylvester back in the early ’70s \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the scene grew around the Palace Theatre’s shows, so did Trexler’s poster budget (he began being paid in actual money for his work). From line drawings reminiscent of \u003ca href=\"http://en.wikipedia.org/wiki/Aubrey_Beardsley\" target=\"_blank\" rel=\"noopener\">Aubrey Beardsley’s\u003c/a> work in the ’30s, Trexler pushed his art with expanded media choices, including photographs and color-separation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A great example of this is the poster he made in 1972 for The Cockettes’ last musical, \u003ci>Vice Palace,\u003c/i> that featured Divine standing in front of the Palace of Fine Arts.\u003c/p>\n\u003cp>“The day that we took the photos for the \u003ci>Vice Palace\u003c/i> poster, we drove around San Francisco trying to find a good backdrop, and we ended up at the Palace of Fine Arts,” Trexler told \u003ca href=\"http://www.campkc.com/campkc-content.php?Page_ID=2042\" target=\"_blank\" rel=\"noopener\">Camp Magazine in 2013.\u003c/a> “Divine was in makeup and wearing bib overalls with the sides split to accommodate her impressive size. When she got out of the car, she took a couple of net prom dresses and just wrapped them around herself as I shot pictures.” \u003c/p>\n\u003cfigure id=\"attachment_10137679\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/cockettes_sylvester_600.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/cockettes_sylvester_600.jpg\" alt=\"A poster for Cockettes/Sylvester show\" width=\"600\" height=\"724\" class=\"size-full wp-image-10137679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/cockettes_sylvester_600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/cockettes_sylvester_600-400x482.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/cockettes_sylvester_600-248x300.jpg 248w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A poster for Cockettes/Sylvester show \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just before the ’80s rolled around and San Francisco was ravaged by the AIDS epidemic, Trexler left town and stopped doing art altogether. Instead, he went back to college, became a nurse and dedicated his life to fighting against a disease that \u003ca href=\"http://www.pbs.org/newshour/bb/health-jan-june12-wewerehere_06-14/\" target=\"_blank\" rel=\"noopener\">killed almost 20,000 people in San Francisco alone within a 15-year period.\u003c/a> \u003c/p>\n\u003cp>After retiring from nursing in 1998, Trexler lived a quiet life on the Monterey Peninsula until his work was suddenly in demand again, thanks to a series of art books and documentaries on the scene that encompassed over a decade of his life. Realizing that he was not only proud of his work, but that there was a real demand, he set up a website to sell \u003ca href=\"http://www.toddtrexlerposters.com/posters.shtml\" target=\"_blank\" rel=\"noopener\">reproductions of his posters.\u003c/a> Then he began creating new work, which he showed as part of the \u003ci>Nocturnal Daydreams\u003c/i> show at Alley Cat Books in January of this year.\u003c/p>\n\u003cp>Though he had set up plans for the Magnet exhibit soon afterward, Trexler reportedly passed away unexpectedly on Feb. 9 of this year.\u003c/p>\n\u003cp>So, if you do happen to pop into Magnet for whatever reason, take a second and stare at the art on the walls. Allow yourself to enjoy Trexler’s vision and, if you were there, wax nostalgic on a time period all of its own — one that makes today’s party scene look like child’s play and where it seemed like everyone was invited. \u003c/p>\n\u003cp>\u003ci>Watch a 2013 interview with Trexler on the show \u003ci>10 Percent\u003c/i> below.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u0jRpYqfknc\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you went into \u003ca href=\"http://www.magnetsf.org/\" target=\"_blank\" rel=\"noopener\">Magnet,\u003c/a> the gay men’s health clinic in the Castro District, and looked at the art on display, you might think that whoever in charge of decorating has a deep love for \u003ca href=\"http://en.wikipedia.org/wiki/Divine_(performer)\" target=\"_blank\" rel=\"noopener\">Divine\u003c/a> and pen drawings from the ’70s. But what you’re looking at is the work of queer poster artist \u003ca href=\"http://toddtrexlerposters.com/\" target=\"_blank\" rel=\"noopener\">Todd Trexler,\u003c/a> whose images could be found on utility poles and in apartments all over the city four decades ago.\u003c/p>\n\u003cp>A San Mateo native, Trexler is best known locally for designing fliers for \u003ca href=\"http://en.wikipedia.org/wiki/The_Cockettes\" target=\"_blank\" rel=\"noopener\">The Cockettes\u003c/a>, Nocturnal Dreams, \u003ca href=\"http://en.wikipedia.org/wiki/Sylvester_%28singer%29\">Sylvester\u003c/a>, and of course, Divine; and his poster exhibit at Magnet is his first in over 40 years. Sadly, he won’t be enjoying it; he passed away back in February of this year, and proceeds from sales of his work will go to his longtime partner, who is suffering financially after Trexler’s death.\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=!1m14!1m8!1m3!1d3154.268566207809!2d-122.43497931896812!3d37.76030046617991!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x808f7e04ca4604fd%3A0xe646ac30ba67fbf5!2s4122+18th+St!5e0!3m2!1sen!2sus!4v1402625984833&w=400&h=200'\n title='https://www.google.com/maps/embed?pb=!1m14!1m8!1m3!1d3154.268566207809!2d-122.43497931896812!3d37.76030046617991!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x808f7e04ca4604fd%3A0xe646ac30ba67fbf5!2s4122+18th+St!5e0!3m2!1sen!2sus!4v1402625984833&w=400&h=200'\n width='400'\n height='200'\n scrolling='no'\n frameborder='no'>\u003c/iframe>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"event-desc\">\nSelected works from Todd Trexler. For more information, visit \u003ca href=\"https://www.facebook.com/events/717629431632504/\" target=\"_blank\" rel=\"noopener\"> the event page on Facebook.com\u003c/a>\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 2-30, 2014\u003c/h4>\n\u003cp>Mon., Tues., Sat. 11am-6pm \u003cbr>\nWed., Thurs., Fri. 11am-9pm\n\u003c/p>\u003c/div>\n\u003cdiv class=\"event-venue\">Magnet in the Castro\u003cbr>\n4122 18th St.\u003cbr>\nSan Francisco, California 94114\u003cbr>\nTel: 415.581.1600\u003cbr>\n\u003ca href=\"https://goo.gl/maps/2P8gS\" target=\"_blank\" rel=\"noopener\">MAP\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>According to his website, when Trexler was an art student living in the Castro in the early to mid ’60s he became friends with “Sebastian” (whose real name is Milton Miron, \u003ca href=\"http://www.imdb.com/name/nm0592477/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener\">according to IMDB\u003c/a>), who was the accountant for Bill Graham. Around that time, Sebastian hooked up with a venue — the Palace Theatre — and began showing underground films after midnight on the weekends. Trexler was pulled in to design the ads for the movies, and instead of handbills, he went with large, hand drawn posters that were as bizarre and beautiful as the movies that were being shown. He later said he was paid in weed for his work.\u003c/p>\n\u003cp>Sebastian’s “Midnight Movies” grew in popularity and a connection to local director Steven Arnold later led to his work promoting The Cockettes’ \u003ca href=\"http://www.cockettes.com/history1.html\" target=\"_blank\" rel=\"noopener\">midnight musicals\u003c/a>, which became the weekly event for San Francisco’s freakiest. Director John Waters, a fan of The Cockettes, hooked Sebastian up with Divine, star of Waters’ earliest, trashiest films, such as \u003ci>Mondo Trasho,\u003c/i> \u003ci>Female Trouble\u003c/i> and the truly groundbreaking \u003ci>Pink Flamingos.\u003c/i> Not only did the iconic drag queen begin performing with The Cockettes, he started a singing career, with Trexler designing many of the posters for his popular concerts.\u003c/p>\n\u003cfigure id=\"attachment_10137629\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/todd_and_sylvester_early_70s_shrunk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10137629\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/todd_and_sylvester_early_70s_shrunk.jpg\" alt=\"Trexler with Sylvester back in the early '70s\" width=\"600\" height=\"791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/todd_and_sylvester_early_70s_shrunk.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/todd_and_sylvester_early_70s_shrunk-400x527.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/todd_and_sylvester_early_70s_shrunk-227x300.jpg 227w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Trexler with Sylvester back in the early ’70s \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the scene grew around the Palace Theatre’s shows, so did Trexler’s poster budget (he began being paid in actual money for his work). From line drawings reminiscent of \u003ca href=\"http://en.wikipedia.org/wiki/Aubrey_Beardsley\" target=\"_blank\" rel=\"noopener\">Aubrey Beardsley’s\u003c/a> work in the ’30s, Trexler pushed his art with expanded media choices, including photographs and color-separation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A great example of this is the poster he made in 1972 for The Cockettes’ last musical, \u003ci>Vice Palace,\u003c/i> that featured Divine standing in front of the Palace of Fine Arts.\u003c/p>\n\u003cp>“The day that we took the photos for the \u003ci>Vice Palace\u003c/i> poster, we drove around San Francisco trying to find a good backdrop, and we ended up at the Palace of Fine Arts,” Trexler told \u003ca href=\"http://www.campkc.com/campkc-content.php?Page_ID=2042\" target=\"_blank\" rel=\"noopener\">Camp Magazine in 2013.\u003c/a> “Divine was in makeup and wearing bib overalls with the sides split to accommodate her impressive size. When she got out of the car, she took a couple of net prom dresses and just wrapped them around herself as I shot pictures.” \u003c/p>\n\u003cfigure id=\"attachment_10137679\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/cockettes_sylvester_600.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/cockettes_sylvester_600.jpg\" alt=\"A poster for Cockettes/Sylvester show\" width=\"600\" height=\"724\" class=\"size-full wp-image-10137679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/cockettes_sylvester_600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/cockettes_sylvester_600-400x482.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/cockettes_sylvester_600-248x300.jpg 248w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A poster for Cockettes/Sylvester show \u003ccite>(Courtesy of Irwin Swirnoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just before the ’80s rolled around and San Francisco was ravaged by the AIDS epidemic, Trexler left town and stopped doing art altogether. Instead, he went back to college, became a nurse and dedicated his life to fighting against a disease that \u003ca href=\"http://www.pbs.org/newshour/bb/health-jan-june12-wewerehere_06-14/\" target=\"_blank\" rel=\"noopener\">killed almost 20,000 people in San Francisco alone within a 15-year period.\u003c/a> \u003c/p>\n\u003cp>After retiring from nursing in 1998, Trexler lived a quiet life on the Monterey Peninsula until his work was suddenly in demand again, thanks to a series of art books and documentaries on the scene that encompassed over a decade of his life. Realizing that he was not only proud of his work, but that there was a real demand, he set up a website to sell \u003ca href=\"http://www.toddtrexlerposters.com/posters.shtml\" target=\"_blank\" rel=\"noopener\">reproductions of his posters.\u003c/a> Then he began creating new work, which he showed as part of the \u003ci>Nocturnal Daydreams\u003c/i> show at Alley Cat Books in January of this year.\u003c/p>\n\u003cp>Though he had set up plans for the Magnet exhibit soon afterward, Trexler reportedly passed away unexpectedly on Feb. 9 of this year.\u003c/p>\n\u003cp>So, if you do happen to pop into Magnet for whatever reason, take a second and stare at the art on the walls. Allow yourself to enjoy Trexler’s vision and, if you were there, wax nostalgic on a time period all of its own — one that makes today’s party scene look like child’s play and where it seemed like everyone was invited. \u003c/p>\n\u003cp>\u003ci>Watch a 2013 interview with Trexler on the show \u003ci>10 Percent\u003c/i> below.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/u0jRpYqfknc'\n title='//www.youtube.com/embed/u0jRpYqfknc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For just over a year, something’s gone on underneath Kearney Street’s Union Cleaners. There’s no sign to point the way, but walk down a hall, hang a left, descend some stairs and enter a long windowless room lit by bright fluorescent bulbs. The spareness is a clue: this is a gallery, carved out of one of the least likely locales, steadily existing beneath the bustle of the street above.\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=!1m14!1m8!1m3!1d6305.614304649081!2d-122.40469000000002!3d37.794559!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x8085808b0491f003%3A0x7d2a312a00739d36!2s620+Kearny+St!5e0!3m2!1sen!2sus!4v1402600968866&w=400&h=200]\u003c/div>\n\u003cdiv class=\"event-desc\">\nCybele Lyle’s \u003ci>The Moon is Slowly Rising\u003c/i> runs at Et al. from May 30 to July 4. For more information visit: \u003ca href=\"http://etaletc.com/\" target=\"_blank\" rel=\"noopener\">etaletc.com\u003c/a>\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 30 – July 4, 2014\u003c/h4>\n\u003cp>Thursday through Saturday, 1-5pm\u003c/p>\u003c/div>\n\u003cdiv class=\"event-venue\">Et al.\u003cbr>\n620 Kearny Street\u003cbr>\nSan Francisco, CA 94108 \u003cbr>\nTel: 415.269.4873\u003cbr>\n\u003ca href=\"https://goo.gl/maps/n4zMh\" target=\"_blank\" rel=\"noopener\">MAP\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>Et al., run by Facundo Argañaraz, Aaron Harbour, and Jackie Im, supports a small roster of artists and puts on a steady stream of solo and group exhibitions, performance events, and video screenings. The current exhibition, \u003cb>The Moon is Slowly Rising\u003c/b>, is Cybele Lyle’s first solo show with the gallery. Following a busy spring (with two simultaneous public installations in downtown San Francisco), Lyle presents an assured group of nine framed screen prints within a framework of raw wood rectangles criss-crossing the gallery space. “This show comes from the inside out,” states the exhibition text. And for Lyle, that means “A visceral and intimate process of examining architecture and queer space.”\u003c/p>\n\u003cfigure id=\"attachment_10137459\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10137459\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Screens1_500.jpg\" alt=\"Cybele Lyle, <i>Untitled (Screens 1)</i>, 2014; courtesy of Et al.\" width=\"500\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Screens1_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Screens1_500-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Screens1_500-300x237.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Cybele Lyle, \u003ci>Untitled (Screens 1)\u003c/i>, 2014; courtesy of Et al.\u003c/figcaption>\u003c/figure>\n\u003cp>Lyle’s palette is a deliberate and subtle departure from previous works. Sourcing imagery from landscape photographs and small-scale studio models, she layers rocky or beachy horizons with hard edges, corners, and angled outlines. In pairings of red and royal blue, goldenrod and teal, soft green and peach, Lyle creates blended interior and exterior spaces. Rooms end in corners, frames open up to hilly views. With each layering, Lyle presents new, alternative spaces wholly her own.\u003c/p>\n\u003cp>Form follows content: though she uses the easily-repeatable method of screen printing, each print in \u003cb>The Moon is Slowly Rising \u003c/b>is unique. Certain images repeat (the framework inside the very gallery, for example) and the works use a serial system of titling, but \u003ci>Untitled (Screens 8)\u003c/i> is very different from \u003ci>Untitled (Screens 3)\u003c/i>.\u003c/p>\n\u003cp>In \u003ci>Screens 8\u003c/i>, a vertical diptych shows architectural structures above, a tree line below. \u003ci>Screens 3\u003c/i> is yellowy-gold and dark purple; its central image looks like a small model on a table edge. In their coats of colored ink, all the screen prints share a bitmap-like pattern, resembling an enlargement of the screens’ weaves.\u003c/p>\n\u003cfigure id=\"attachment_10137460\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10137460\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Screens8_500.jpg\" alt=\"Cybele Lyle, <i>Untitled (Screens 8)</i>, 2014; courtesy of Et al.\" width=\"500\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Screens8_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Screens8_500-400x495.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Screens8_500-242x300.jpg 242w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Cybele Lyle, \u003ci>Untitled (Screens 8)\u003c/i>, 2014; courtesy of Et al.\u003c/figcaption>\u003c/figure>\n\u003cp>The four wooden frames bisecting the room imply different planes within Et al.’s space. The first frame begins at the far end of the gallery, square to the back wall, extending from left to right and crossing just below the gallery’s ceiling. As the frames approach the gallery entrance, they diverge from the 90-degree angle, until the last one loses the x, y, and z-axis completely, hanging at a disjointed cant. At the base of each frame, a jagged 3-foot path cuts through the implied narratives, a handy way to prevent tripping, and another effective description of space through absence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each time Et al. mounts a new project, whether it’s a group of paintings, a one-night publication launch, or –- in its current incarnation — an installation of flatwork and three-dimensional structures, the gallery has the chameleon-like ability to change completely. Lyle’s pieces fit well into this setting, challenging as they do the understanding of one dimension, one set of imagery, and one story. Make sure to factor Et al. into your gallery-hopping calendar in the months to come, as repeat visits yield repeatedly exciting and unexpected results.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Moon is Slowly Rising\u003c/b> is on view through July 4, 2014 at Et al. in San Francisco. For \u003ca href=\"http://etaletc.com/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit etaletc.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For just over a year, something’s gone on underneath Kearney Street’s Union Cleaners. There’s no sign to point the way, but walk down a hall, hang a left, descend some stairs and enter a long windowless room lit by bright fluorescent bulbs. The spareness is a clue: this is a gallery, carved out of one of the least likely locales, steadily existing beneath the bustle of the street above.\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=!1m14!1m8!1m3!1d6305.614304649081!2d-122.40469000000002!3d37.794559!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x8085808b0491f003%3A0x7d2a312a00739d36!2s620+Kearny+St!5e0!3m2!1sen!2sus!4v1402600968866&w=400&h=200'\n title='https://www.google.com/maps/embed?pb=!1m14!1m8!1m3!1d6305.614304649081!2d-122.40469000000002!3d37.794559!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x8085808b0491f003%3A0x7d2a312a00739d36!2s620+Kearny+St!5e0!3m2!1sen!2sus!4v1402600968866&w=400&h=200'\n width='400'\n height='200'\n scrolling='no'\n frameborder='no'>\u003c/iframe>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"event-desc\">\nCybele Lyle’s \u003ci>The Moon is Slowly Rising\u003c/i> runs at Et al. from May 30 to July 4. For more information visit: \u003ca href=\"http://etaletc.com/\" target=\"_blank\" rel=\"noopener\">etaletc.com\u003c/a>\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 30 – July 4, 2014\u003c/h4>\n\u003cp>Thursday through Saturday, 1-5pm\u003c/p>\u003c/div>\n\u003cdiv class=\"event-venue\">Et al.\u003cbr>\n620 Kearny Street\u003cbr>\nSan Francisco, CA 94108 \u003cbr>\nTel: 415.269.4873\u003cbr>\n\u003ca href=\"https://goo.gl/maps/n4zMh\" target=\"_blank\" rel=\"noopener\">MAP\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>Et al., run by Facundo Argañaraz, Aaron Harbour, and Jackie Im, supports a small roster of artists and puts on a steady stream of solo and group exhibitions, performance events, and video screenings. The current exhibition, \u003cb>The Moon is Slowly Rising\u003c/b>, is Cybele Lyle’s first solo show with the gallery. Following a busy spring (with two simultaneous public installations in downtown San Francisco), Lyle presents an assured group of nine framed screen prints within a framework of raw wood rectangles criss-crossing the gallery space. “This show comes from the inside out,” states the exhibition text. And for Lyle, that means “A visceral and intimate process of examining architecture and queer space.”\u003c/p>\n\u003cfigure id=\"attachment_10137459\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10137459\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Screens1_500.jpg\" alt=\"Cybele Lyle, <i>Untitled (Screens 1)</i>, 2014; courtesy of Et al.\" width=\"500\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Screens1_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Screens1_500-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Screens1_500-300x237.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Cybele Lyle, \u003ci>Untitled (Screens 1)\u003c/i>, 2014; courtesy of Et al.\u003c/figcaption>\u003c/figure>\n\u003cp>Lyle’s palette is a deliberate and subtle departure from previous works. Sourcing imagery from landscape photographs and small-scale studio models, she layers rocky or beachy horizons with hard edges, corners, and angled outlines. In pairings of red and royal blue, goldenrod and teal, soft green and peach, Lyle creates blended interior and exterior spaces. Rooms end in corners, frames open up to hilly views. With each layering, Lyle presents new, alternative spaces wholly her own.\u003c/p>\n\u003cp>Form follows content: though she uses the easily-repeatable method of screen printing, each print in \u003cb>The Moon is Slowly Rising \u003c/b>is unique. Certain images repeat (the framework inside the very gallery, for example) and the works use a serial system of titling, but \u003ci>Untitled (Screens 8)\u003c/i> is very different from \u003ci>Untitled (Screens 3)\u003c/i>.\u003c/p>\n\u003cp>In \u003ci>Screens 8\u003c/i>, a vertical diptych shows architectural structures above, a tree line below. \u003ci>Screens 3\u003c/i> is yellowy-gold and dark purple; its central image looks like a small model on a table edge. In their coats of colored ink, all the screen prints share a bitmap-like pattern, resembling an enlargement of the screens’ weaves.\u003c/p>\n\u003cfigure id=\"attachment_10137460\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10137460\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Screens8_500.jpg\" alt=\"Cybele Lyle, <i>Untitled (Screens 8)</i>, 2014; courtesy of Et al.\" width=\"500\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Screens8_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Screens8_500-400x495.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Screens8_500-242x300.jpg 242w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Cybele Lyle, \u003ci>Untitled (Screens 8)\u003c/i>, 2014; courtesy of Et al.\u003c/figcaption>\u003c/figure>\n\u003cp>The four wooden frames bisecting the room imply different planes within Et al.’s space. The first frame begins at the far end of the gallery, square to the back wall, extending from left to right and crossing just below the gallery’s ceiling. As the frames approach the gallery entrance, they diverge from the 90-degree angle, until the last one loses the x, y, and z-axis completely, hanging at a disjointed cant. At the base of each frame, a jagged 3-foot path cuts through the implied narratives, a handy way to prevent tripping, and another effective description of space through absence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Running Amok with the Artists Drawing Club",
"headTitle": "Running Amok with the Artists Drawing Club | KQED",
"content": "\u003cp>On the last Thursday of each month, the Asian Art Museum becomes a playground for Bay Area contemporary artists, and by proxy, museum visitors, thanks to the Artists Drawing Club. Currently in its second season, the Drawing Club invites artists to create site-specific artworks and programming. And through these public events, the museum trades the expected for the unexpected, breathing new life into old objects, and creating a rare forum for both dialogue and experimentation.\u003c/p>\n\u003cp>The program started in 2013 under the direction of the AAM’s Marc Mayer, educator for public programs. Supporting new interactive works, in its pilot year the Drawing Club involved eight artists, including Amy M. Ho, Ranu Mukherjee, Radka Pulliam, and Weston Teruya.\u003c/p>\n\u003cfigure id=\"attachment_10136776\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136776 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/AAM_SHihoSasaki.jpg\" alt=\"Hughen/Starkweather, <i>Shiho Sasaki, Album of Lacquer</i>, 2014; Courtesy of the artists and the Asian Art Museum \" width=\"640\" height=\"747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/AAM_SHihoSasaki.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/AAM_SHihoSasaki-400x466.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/AAM_SHihoSasaki-257x300.jpg 257w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Hughen/Starkweather, \u003ci>Shiho Sasaki, Album of Lacquer\u003c/i>, 2014; Courtesy of the artists and the Asian Art Museum\u003c/figcaption>\u003c/figure>\n\u003cp>Through the club, artists delve into the museum’s permanent collection, rotating exhibits, architecture, and neighborhood, creating tours, drawing assignments, social media events, and more. For the most recent iteration, on the evening of May 22, the collaborative duo Hughen/Starkweather (Amanda Hughen and Jennifer Starkweather) presented \u003cb>Re:depiction\u003c/b>, six elegant works on paper with accompanying audio tracks. The large pigment prints, each 48 by 36 inches, hung on either side of the museum’s grand staircase. Opposite each colorful and highly detailed blend of line and brushwork was a pair of headphones, linked to each artwork by a matching sticker.\u003c/p>\n\u003cp>Insulated against the ricochet of sound coming off the marble stairs, the headphones played excerpts from interviews with six AAM staff members. Miriam Mills, a museum storyteller, described “imaginary shapes and figures.” Shiho Sasaki, painting conservator, told a story that was “warm but a little bit sad.” And Qamar Adamjee, Associate Curator of South Asian Art, relayed a tale in which the deity Vishnu takes the form of “half man, half lion.”\u003c/p>\n\u003cfigure id=\"attachment_10136777\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136777 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/AAM_Viewer.jpg\" alt=\"A museum visitor reads the <b>Re:depiction</b> handout; Photo courtesy of the Asian Art Museum\" width=\"640\" height=\"482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/AAM_Viewer.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/AAM_Viewer-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/AAM_Viewer-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A museum visitor reads the \u003cb>Re:depiction\u003c/b> handout; Photo courtesy of the Asian Art Museum\u003c/figcaption>\u003c/figure>\n\u003cp>Their voices, and those of the three other interviewees — John Stucky, museum librarian; Jay Xu, Museum Director; and Susan Williams, museum security guard — describe objects in the museum chosen by the interviewees. As Starkweather related to Mayer on the AAM’s blog, “Although we had planned questions in advance, the conversations meandered, frequently becoming more about the personal connection the interviewee had to the artwork.” In some instances the excerpts are just as abstract as their visual results.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The material, all hinting at physical objects just a short distance away, made Re:depiction feel like an elaborate — and very fun — treasure hunt. Gripping my handout, complete with small scale versions of each Hughen/Starkweather print, interview excerpts and a labelled map of the museum, I charged up the stairs in search of \u003ci>Jar with tiger and magpie\u003c/i>.\u003c/p>\n\u003cp>The three connecting versions of the objects on view — Hughen/Starkweather’s renderings, the interviewees’ descriptive words, and my own successful identifications (in a room filled with Vishnus, the object IDs came in handy) — were met in each instance by traditional museum plaques. Conditioned to read every plaque I come across, here I resisted, instead relying on the words and images that originated with the six museum staff members.\u003c/p>\n\u003cfigure id=\"attachment_10136775\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136775 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/AAM_RitualVessel.jpg\" alt=\"<i>Ritual object</i>, Shang dynasty (1600-1050 BCE); Courtesy of the Asian Art Museum\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/AAM_RitualVessel.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/AAM_RitualVessel-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/AAM_RitualVessel-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Ritual object\u003c/i>, Shang dynasty (1600-1050 BCE); Courtesy of the Asian Art Museum\u003c/figcaption>\u003c/figure>\n\u003cp>Hughen/Starkweather’s \u003ci>Miriam Mills, Jar\u003c/i> resembles an overhead view of a cobalt tropical storm, swirling washings and delicate marks perfectly capturing Mills’ musing, “It reminds me of being a child and laying on my back in the grass.” Upon meeting the actual jar, it was remarkably similar in mood, if not in exact form. For \u003ci>Qamar Adamjee, Hindu Deity Vishnu\u003c/i>, the collaborative correctly depicted the flames on either side of the stone figure — the print shows an amorphous blob fanned by fire. \u003ci>Jay Xu, Ritual Vessel\u003c/i> is a based on a description of one of the museum’s most visible items, a grinning bronze vessel shaped like a rhino that was affectionately nicknamed “Avery” after the museum’s main benefactor. In Hughen/Starkweather’s interpretation, only the rhino’s horn is identifiable, as the rest of the body succumbs to what Xu describes as “a terrible skin disease.”\u003c/p>\n\u003cp>As a collaborative, Hughen/Starkweather’s work with the museum, its staff, and the public is a fluid expansion of their practice. A handout available the night of the event invited the public to participate in a similar process of narration and description, highlighting their own picks from the museum. But even without this added layer of interactivity, \u003cb>Re:depiction\u003c/b>, an intimate transformation of the museum’s collection by those most intimately involved in its upkeep, was a great pleasure, especially when I successfully tracked down each and every special piece. For your own “AHA!” moments within the Asian Art Museum, be sure to attend future meetings of the Artists Drawing Club.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Re:depiction\u003c/b> took place at the Asian Art Museum on May 22, 2014. Future Artists Drawing Club programming includes \u003cstrong>Palimpset\u003c/strong> on June 26 with Ajit Chauhan, events with Michael Arcega on July 24 and Jung Ran Bae on August 28. For \u003ca href=\"//www.asianart.org/%E2%80%9D\">more information\u003c/a> visit asisanart.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the last Thursday of each month, the Asian Art Museum becomes a playground for Bay Area contemporary artists, and by proxy, museum visitors, thanks to the Artists Drawing Club. Currently in its second season, the Drawing Club invites artists to create site-specific artworks and programming. And through these public events, the museum trades the expected for the unexpected, breathing new life into old objects, and creating a rare forum for both dialogue and experimentation.\u003c/p>\n\u003cp>The program started in 2013 under the direction of the AAM’s Marc Mayer, educator for public programs. Supporting new interactive works, in its pilot year the Drawing Club involved eight artists, including Amy M. Ho, Ranu Mukherjee, Radka Pulliam, and Weston Teruya.\u003c/p>\n\u003cfigure id=\"attachment_10136776\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136776 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/AAM_SHihoSasaki.jpg\" alt=\"Hughen/Starkweather, <i>Shiho Sasaki, Album of Lacquer</i>, 2014; Courtesy of the artists and the Asian Art Museum \" width=\"640\" height=\"747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/AAM_SHihoSasaki.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/AAM_SHihoSasaki-400x466.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/AAM_SHihoSasaki-257x300.jpg 257w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Hughen/Starkweather, \u003ci>Shiho Sasaki, Album of Lacquer\u003c/i>, 2014; Courtesy of the artists and the Asian Art Museum\u003c/figcaption>\u003c/figure>\n\u003cp>Through the club, artists delve into the museum’s permanent collection, rotating exhibits, architecture, and neighborhood, creating tours, drawing assignments, social media events, and more. For the most recent iteration, on the evening of May 22, the collaborative duo Hughen/Starkweather (Amanda Hughen and Jennifer Starkweather) presented \u003cb>Re:depiction\u003c/b>, six elegant works on paper with accompanying audio tracks. The large pigment prints, each 48 by 36 inches, hung on either side of the museum’s grand staircase. Opposite each colorful and highly detailed blend of line and brushwork was a pair of headphones, linked to each artwork by a matching sticker.\u003c/p>\n\u003cp>Insulated against the ricochet of sound coming off the marble stairs, the headphones played excerpts from interviews with six AAM staff members. Miriam Mills, a museum storyteller, described “imaginary shapes and figures.” Shiho Sasaki, painting conservator, told a story that was “warm but a little bit sad.” And Qamar Adamjee, Associate Curator of South Asian Art, relayed a tale in which the deity Vishnu takes the form of “half man, half lion.”\u003c/p>\n\u003cfigure id=\"attachment_10136777\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136777 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/AAM_Viewer.jpg\" alt=\"A museum visitor reads the <b>Re:depiction</b> handout; Photo courtesy of the Asian Art Museum\" width=\"640\" height=\"482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/AAM_Viewer.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/AAM_Viewer-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/AAM_Viewer-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A museum visitor reads the \u003cb>Re:depiction\u003c/b> handout; Photo courtesy of the Asian Art Museum\u003c/figcaption>\u003c/figure>\n\u003cp>Their voices, and those of the three other interviewees — John Stucky, museum librarian; Jay Xu, Museum Director; and Susan Williams, museum security guard — describe objects in the museum chosen by the interviewees. As Starkweather related to Mayer on the AAM’s blog, “Although we had planned questions in advance, the conversations meandered, frequently becoming more about the personal connection the interviewee had to the artwork.” In some instances the excerpts are just as abstract as their visual results.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The material, all hinting at physical objects just a short distance away, made Re:depiction feel like an elaborate — and very fun — treasure hunt. Gripping my handout, complete with small scale versions of each Hughen/Starkweather print, interview excerpts and a labelled map of the museum, I charged up the stairs in search of \u003ci>Jar with tiger and magpie\u003c/i>.\u003c/p>\n\u003cp>The three connecting versions of the objects on view — Hughen/Starkweather’s renderings, the interviewees’ descriptive words, and my own successful identifications (in a room filled with Vishnus, the object IDs came in handy) — were met in each instance by traditional museum plaques. Conditioned to read every plaque I come across, here I resisted, instead relying on the words and images that originated with the six museum staff members.\u003c/p>\n\u003cfigure id=\"attachment_10136775\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136775 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/AAM_RitualVessel.jpg\" alt=\"<i>Ritual object</i>, Shang dynasty (1600-1050 BCE); Courtesy of the Asian Art Museum\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/AAM_RitualVessel.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/AAM_RitualVessel-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/AAM_RitualVessel-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Ritual object\u003c/i>, Shang dynasty (1600-1050 BCE); Courtesy of the Asian Art Museum\u003c/figcaption>\u003c/figure>\n\u003cp>Hughen/Starkweather’s \u003ci>Miriam Mills, Jar\u003c/i> resembles an overhead view of a cobalt tropical storm, swirling washings and delicate marks perfectly capturing Mills’ musing, “It reminds me of being a child and laying on my back in the grass.” Upon meeting the actual jar, it was remarkably similar in mood, if not in exact form. For \u003ci>Qamar Adamjee, Hindu Deity Vishnu\u003c/i>, the collaborative correctly depicted the flames on either side of the stone figure — the print shows an amorphous blob fanned by fire. \u003ci>Jay Xu, Ritual Vessel\u003c/i> is a based on a description of one of the museum’s most visible items, a grinning bronze vessel shaped like a rhino that was affectionately nicknamed “Avery” after the museum’s main benefactor. In Hughen/Starkweather’s interpretation, only the rhino’s horn is identifiable, as the rest of the body succumbs to what Xu describes as “a terrible skin disease.”\u003c/p>\n\u003cp>As a collaborative, Hughen/Starkweather’s work with the museum, its staff, and the public is a fluid expansion of their practice. A handout available the night of the event invited the public to participate in a similar process of narration and description, highlighting their own picks from the museum. But even without this added layer of interactivity, \u003cb>Re:depiction\u003c/b>, an intimate transformation of the museum’s collection by those most intimately involved in its upkeep, was a great pleasure, especially when I successfully tracked down each and every special piece. For your own “AHA!” moments within the Asian Art Museum, be sure to attend future meetings of the Artists Drawing Club.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Re:depiction\u003c/b> took place at the Asian Art Museum on May 22, 2014. Future Artists Drawing Club programming includes \u003cstrong>Palimpset\u003c/strong> on June 26 with Ajit Chauhan, events with Michael Arcega on July 24 and Jung Ran Bae on August 28. For \u003ca href=\"//www.asianart.org/%E2%80%9D\">more information\u003c/a> visit asisanart.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Defenestration’ Goes Out the Window After 17 Years",
"headTitle": "‘Defenestration’ Goes Out the Window After 17 Years | KQED",
"content": "\u003cp>As \u003ca href=\"http://www.metaphorm.org/\" target=\"_blank\" rel=\"noopener\">Brian Goggin\u003c/a> puts it, it would’ve been fine if developers took a wrecking ball to his 17-year-old public art installation \u003ca href=\"http://www.metaphorm.org/portfolio/defenestration/\" target=\"_blank\" rel=\"noopener\">\u003ci>Defenestration.\u003c/i>\u003c/a> There would be something beautiful to such a brutal act of destruction marking the end of the internationally-renowned work of art that calls an abandoned San Francisco hotel “home.”\u003c/p>\n\u003cp>“It is an engaging visual, full of bittersweet drama, and feels poetically-related to what is happening in our City,” says Goggin.\u003c/p>\n\u003cfigure id=\"attachment_10136954\" class=\"wp-caption alignright\" style=\"max-width: 613px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/BrianGoggin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136954\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/BrianGoggin.jpg\" alt=\"Brian Goggin at work\" width=\"613\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/BrianGoggin.jpg 613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/BrianGoggin-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/BrianGoggin-300x225.jpg 300w\" sizes=\"(max-width: 613px) 100vw, 613px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brian Goggin at work \u003ccite>(Courtesy of Brian Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luckily, death-by-wrecking-ball is not in the cards for one of Goggin’s most notable installations, which will be\u003cbr>\ntaken down in the coming days. The installation’s home, the dilapidated Hugo Hotel on 6th and Howard streets, is going to be razed this September to make room for an affordable housing project. The customized furniture Goggin and several other volunteers built and hung from the hotel’s walls and rooftop back in 1997 will hopefully find new homes, but nothing is guaranteed. For Goggin, taking down the pieces in the hope that they’ll sell is an $8,000-gamble that he can’t take lightly.\u003c/p>\n\u003cp>Still, the 17 years the installation existed was much longer than the six-month lifespan it first faced when Goggin finally made his vision a reality. And that vision first came to him in Europe.\u003c/p>\n\u003ch3>The Concept\u003c/h3>\n\u003cp>“I was working with a friend of mine in Paris, setting up an installation inside of a gallery. Across the street from the gallery, I watched an 18th-century apartment building getting torn down while I was on breaks. It was a powerful sight to see these rugged textures that had been worn by people’s use over centuries,” says Goggin. “As they removed the majority of the apartment building, they left the side walls, and you could see wood paneling, tile remnants of staircases… and they all just insinuated this life that was no longer in a physical form.”\u003c/p>\n\u003cfigure id=\"attachment_10136910\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Defenestration-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136910 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Defenestration-2.jpg\" alt=\"Furniture jumping onto the roof in <i>Defenestration</i>\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Defenestration-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Defenestration-2-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Defenestration-2-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Furniture jumping onto the roof in \u003ci>Defenestration\u003c/i> \u003ccite>(Courtesy of Brian Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was at that moment that Goggin says he had a vision where he saw the apartment’s several-years-old furniture “crawling like ants trying to escape a destroyed ant hill” out of the demolished structure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With the image still fresh in his mind, Goggin sketched out his plans when he came back to the States, successfully applied for a grant from the National Endowment for the Arts, obtained a letter from the San Francisco Mayor’s office, and then started on a mission to find a suitable building. Though he had seen success with similar work, like his installation \u003ca href=\"http://www.metaphorm.org/portfolio/herd-morality/\" target=\"_blank\" rel=\"noopener\">\u003ci>Herd Morality\u003c/i>\u003c/a> at the Yerba Buena Center for the Arts (YBCA) back in 1995, his ideas were rejected by several property owners.\u003c/p>\n\u003ch3>The Gamble\u003c/h3>\n\u003cp>Goggin says he discovered the old Hugo Hotel by happenstance, riding by it on his bicycle one day and realizing its potential instantly.\u003c/p>\n\u003cp>“I noticed this interesting, odd, castle-like building that was all boarded up,” says Goggin. “And it had a big sign on it that said, ‘For information, fax this number.'”\u003c/p>\n\u003cfigure id=\"attachment_10136956\" class=\"wp-caption alignright\" style=\"max-width: 610px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/herd_morality2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136956\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/herd_morality2.jpg\" alt=\"Goggin's <i>Herd Morality</i>\" width=\"610\" height=\"848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/herd_morality2.jpg 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/herd_morality2-400x556.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/herd_morality2-215x300.jpg 215w\" sizes=\"(max-width: 610px) 100vw, 610px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Goggin’s \u003ci>Herd Morality\u003c/i> \u003ccite>(Courtesy of Bbran Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goggin faxed the number his proposal as well as his letter of support from the mayor’s office. When he heard back it wasn’t from the hotel’s owner, but his daughter. The owner was on a trip to India for six months and she was left in charge of their properties; she was also an art enthusiast — she studied art history in college — and she liked Goggin’s idea.\u003c/p>\n\u003cp>“She offered me the challenge to install the artwork on the side of the building before her father returned from his trip, and then she would work with me to try to explain it to her father once it was up, in the hopes that he would not ask us to take it down immediately,” says Goggin.\u003c/p>\n\u003cp>It was risky, but in Goggin’s mind having his vision become a reality — even for a few months — was worth it. A few months was a pretty good run for an installation and he was already willing to put in serious efforts for works that were promised even less time to live; for example, \u003ci>Herd Morality\u003c/i> was only given six weeks when the YBCA approved the plans. (It would end up lasting for nine months.)\u003c/p>\n\u003cfigure id=\"attachment_10136961\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/makingofDefenestration-1024x702-e1401446687551.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136961\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/makingofDefenestration-1024x702-e1401446687551.jpg\" alt=\"Identified artist helping build piece for Defenestration\" width=\"800\" height=\"548\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Unidentified artist helping build piece for \u003ci>Defenestration\u003c/i> \u003ccite>(Courtesy of Brian Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also, in the crowd that Goggin ran with, doing art for art’s sake was what you did. He was an active member in the local Dadaist group the \u003ca href=\"http://talesofsfcacophony.com/\" target=\"_blank\" rel=\"noopener\">Cacophony Society\u003c/a> and rushing to put together a massive-but-temporary sculptural installation felt like a game.\u003c/p>\n\u003cp>“All of my friends who were volunteering to find furniture, re-form it; they were all committed to this process,” says Goggin. “The collecting and building of the pieces also became a form of a ‘happening’ that just extended over 5 or 6 months.”\u003c/p>\n\u003ch3>The Installation\u003c/h3>\n\u003cfigure id=\"attachment_10136960\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Defenestration-party21024x700-e1401444587931.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136960\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Defenestration-party21024x700-e1401444587931.jpg\" alt=\"From Defenestration's opening ceremony\" width=\"800\" height=\"536\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From \u003ci>Defenestration’s\u003c/i> opening ceremony \u003ccite>(Courtesy of Brian Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once they were rolling forward with the installation, Goggin says they ran into the project’s one major hiccup right away. After posting three pieces of furniture onto the building — a chest of drawers, a fan and a bathtub — Goggin returned the next day to find the pieces missing.\u003c/p>\n\u003cp>“I thought, ‘Wow, this is a tough neighborhood!’,” says Goggin.\u003c/p>\n\u003cp>After some sleuthing, Goggin learned that the project was reported to the fire department by a neighbor who thought “someone was trying to push one of these pieces of furniture out the window onto her head.” Fire crews responded by chopping down the furniture and then telling Goggin that if he didn’t get the right permits, they’d continue to take down the furniture. (Goggin, the son of former state assemblyman Terry Goggin, was able to hunt down the permits.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XA1SEJYTXi4\u003c/p>\n\u003cp>In the end, about 100 volunteers helped to build the furniture and post it onto the old hotel; hundreds more ended up participating in the opening ceremony, which Goggin and his pals in the Dream Circus envisioned as “an urban, circus-themed performance.”\u003c/p>\n\u003cp>“This was before circus became a big vogue fad all over the world,” says Goggin. “This was 1996, it was the beginning of that.”\u003c/p>\n\u003cfigure id=\"attachment_10136959\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Defenestration-party1024x700-e1401444803607.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136959\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Defenestration-party1024x700-e1401444803607.jpg\" alt=\"During <Defenestration</i>'s opening ceremony\" width=\"800\" height=\"547\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">During \u003ci>Defenestration’s\u003c/i> opening ceremony \u003ccite>(Courtesy of Brian Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goggin says he surveyed his sculpture and performance art-friends, and found several willing to provide temporary works that had an urban circus theme created from materials found on the streets. As a result, the opening ceremony for \u003ci>Defenestration\u003c/i> featured hundreds of people walking the streets in trash-based costumes that were so ornate their quality betrayed their origins. Birds living in a nest made of discarded clothing, gigantic bugs and yes, even furniture-inspired creatures that had their own freak show; one participant was a “Sofa Woman”–she dressed as a couch that talked to bystanders who sat on her and even gave them Tarot readings.\u003c/p>\n\u003cp>In all, Goggin says 2,500 people attended the event and all of them were required to wear circus attire — if you didn’t have any, Goggin and crew would provide it. And because there were so many performances — bicycle jousting, jugglers using lawnmowers, the list goes on — the entire ceremony lasted 8 hours.\u003c/p>\n\u003ch3>The End\u003c/h3>\n\u003cfigure id=\"attachment_10136967\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Defenestration-1024x674-e1401447625999.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136967\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Defenestration-1024x674-e1401447625999.jpg\" alt=\"<i>Defenestration</i>\" width=\"800\" height=\"527\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Defenestration\u003c/i> \u003ccite>(Courtesy of Brian Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the landlord came back, Goggin was able to convince him to keep the installation (obviously.) He says that he was so successful in convincing the building’s owner to appreciate the work that it became personal, with the whole family supporting \u003ci>Defenestration\u003c/i> for as long as they owned the hotel. (According to the \u003ci>San Francisco Chronicle\u003c/i>, the city’s Redevelopment Agency took the owners to court in 2008 and utilized eminent domain to take over the building. Afterward, they paid the family $4.6 million for it.)\u003c/p>\n\u003cp>But after the massive effort to install it, then spending 17 years maintaining the piece (including a major refurbishment in 2010), you would think Goggin would be sadder about \u003ci>Defenestration’s\u003c/i> eviction. He admits his feelings are mixed on the subject, but he’s happy the building is being razed to make way for affordable housing. He says he has had too many friends move out of the city he loves so dearly.\u003c/p>\n\u003cp>“San Francisco for me has been very influential, as both a community and as a space,” says Goggin. “I’m fortunate enough to have a studio that’s priced very low right here in the Mission. That opportunity has enabled me to have a kind of stability that is unique in our creative community. As I have this opportunity, I see it as a responsibility to use that opportunity to create work and to help other artists create work in this environment.”\u003c/p>\n\u003cp>“I feel like if I gave up hope… if I gave up optimism while still paying attention to the realities of the situation, I’d be doing a disservice to all those other people who might not be as lucky as I am.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Defenestration\u003c/i> will remain on the Hugo Hotel in San Francisco’s South of Market Neighborhood until June 3, 2014. Goggin is selling pieces of the installation to pay for the removal costs through the \u003ca href=\"http://varnishfineart.com/\" target=\"_blank\" rel=\"noopener\">Varnish Art Gallery.\u003c/a> For \u003ca href=\"http://varnishfineart.com/Exhibit_Detail.cfm?ShowsID=142\" target=\"_blank\" rel=\"noopener\"> more information on buying a piece of \u003ci>Defenestration\u003c/i>\u003c/a> visit varnishfineart.com.\u003cbr>\n\u003ci>(Editor’s Note: The event at the Hugo Hotel on Saturday, May 31, 2014 that was originally listed in this story is invitation only.)\u003cbr>\n\u003c/i> \u003c/p>\n\n",
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"excerpt": "The internationally-renowned art installation \u003ci>Defenestration\u003c/i> is coming down to make way for an affordable housing project. Artist Brian Goggin sits down with KQED and details how the massive project came together.",
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"description": "The internationally-renowned art installation Defenestration is coming down to make way for an affordable housing project. Artist Brian Goggin sits down with KQED and details how the massive project came together.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As \u003ca href=\"http://www.metaphorm.org/\" target=\"_blank\" rel=\"noopener\">Brian Goggin\u003c/a> puts it, it would’ve been fine if developers took a wrecking ball to his 17-year-old public art installation \u003ca href=\"http://www.metaphorm.org/portfolio/defenestration/\" target=\"_blank\" rel=\"noopener\">\u003ci>Defenestration.\u003c/i>\u003c/a> There would be something beautiful to such a brutal act of destruction marking the end of the internationally-renowned work of art that calls an abandoned San Francisco hotel “home.”\u003c/p>\n\u003cp>“It is an engaging visual, full of bittersweet drama, and feels poetically-related to what is happening in our City,” says Goggin.\u003c/p>\n\u003cfigure id=\"attachment_10136954\" class=\"wp-caption alignright\" style=\"max-width: 613px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/BrianGoggin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136954\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/BrianGoggin.jpg\" alt=\"Brian Goggin at work\" width=\"613\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/BrianGoggin.jpg 613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/BrianGoggin-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/BrianGoggin-300x225.jpg 300w\" sizes=\"(max-width: 613px) 100vw, 613px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brian Goggin at work \u003ccite>(Courtesy of Brian Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luckily, death-by-wrecking-ball is not in the cards for one of Goggin’s most notable installations, which will be\u003cbr>\ntaken down in the coming days. The installation’s home, the dilapidated Hugo Hotel on 6th and Howard streets, is going to be razed this September to make room for an affordable housing project. The customized furniture Goggin and several other volunteers built and hung from the hotel’s walls and rooftop back in 1997 will hopefully find new homes, but nothing is guaranteed. For Goggin, taking down the pieces in the hope that they’ll sell is an $8,000-gamble that he can’t take lightly.\u003c/p>\n\u003cp>Still, the 17 years the installation existed was much longer than the six-month lifespan it first faced when Goggin finally made his vision a reality. And that vision first came to him in Europe.\u003c/p>\n\u003ch3>The Concept\u003c/h3>\n\u003cp>“I was working with a friend of mine in Paris, setting up an installation inside of a gallery. Across the street from the gallery, I watched an 18th-century apartment building getting torn down while I was on breaks. It was a powerful sight to see these rugged textures that had been worn by people’s use over centuries,” says Goggin. “As they removed the majority of the apartment building, they left the side walls, and you could see wood paneling, tile remnants of staircases… and they all just insinuated this life that was no longer in a physical form.”\u003c/p>\n\u003cfigure id=\"attachment_10136910\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Defenestration-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136910 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Defenestration-2.jpg\" alt=\"Furniture jumping onto the roof in <i>Defenestration</i>\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Defenestration-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Defenestration-2-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Defenestration-2-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Furniture jumping onto the roof in \u003ci>Defenestration\u003c/i> \u003ccite>(Courtesy of Brian Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was at that moment that Goggin says he had a vision where he saw the apartment’s several-years-old furniture “crawling like ants trying to escape a destroyed ant hill” out of the demolished structure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With the image still fresh in his mind, Goggin sketched out his plans when he came back to the States, successfully applied for a grant from the National Endowment for the Arts, obtained a letter from the San Francisco Mayor’s office, and then started on a mission to find a suitable building. Though he had seen success with similar work, like his installation \u003ca href=\"http://www.metaphorm.org/portfolio/herd-morality/\" target=\"_blank\" rel=\"noopener\">\u003ci>Herd Morality\u003c/i>\u003c/a> at the Yerba Buena Center for the Arts (YBCA) back in 1995, his ideas were rejected by several property owners.\u003c/p>\n\u003ch3>The Gamble\u003c/h3>\n\u003cp>Goggin says he discovered the old Hugo Hotel by happenstance, riding by it on his bicycle one day and realizing its potential instantly.\u003c/p>\n\u003cp>“I noticed this interesting, odd, castle-like building that was all boarded up,” says Goggin. “And it had a big sign on it that said, ‘For information, fax this number.'”\u003c/p>\n\u003cfigure id=\"attachment_10136956\" class=\"wp-caption alignright\" style=\"max-width: 610px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/herd_morality2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136956\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/herd_morality2.jpg\" alt=\"Goggin's <i>Herd Morality</i>\" width=\"610\" height=\"848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/herd_morality2.jpg 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/herd_morality2-400x556.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/herd_morality2-215x300.jpg 215w\" sizes=\"(max-width: 610px) 100vw, 610px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Goggin’s \u003ci>Herd Morality\u003c/i> \u003ccite>(Courtesy of Bbran Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goggin faxed the number his proposal as well as his letter of support from the mayor’s office. When he heard back it wasn’t from the hotel’s owner, but his daughter. The owner was on a trip to India for six months and she was left in charge of their properties; she was also an art enthusiast — she studied art history in college — and she liked Goggin’s idea.\u003c/p>\n\u003cp>“She offered me the challenge to install the artwork on the side of the building before her father returned from his trip, and then she would work with me to try to explain it to her father once it was up, in the hopes that he would not ask us to take it down immediately,” says Goggin.\u003c/p>\n\u003cp>It was risky, but in Goggin’s mind having his vision become a reality — even for a few months — was worth it. A few months was a pretty good run for an installation and he was already willing to put in serious efforts for works that were promised even less time to live; for example, \u003ci>Herd Morality\u003c/i> was only given six weeks when the YBCA approved the plans. (It would end up lasting for nine months.)\u003c/p>\n\u003cfigure id=\"attachment_10136961\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/makingofDefenestration-1024x702-e1401446687551.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136961\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/makingofDefenestration-1024x702-e1401446687551.jpg\" alt=\"Identified artist helping build piece for Defenestration\" width=\"800\" height=\"548\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Unidentified artist helping build piece for \u003ci>Defenestration\u003c/i> \u003ccite>(Courtesy of Brian Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also, in the crowd that Goggin ran with, doing art for art’s sake was what you did. He was an active member in the local Dadaist group the \u003ca href=\"http://talesofsfcacophony.com/\" target=\"_blank\" rel=\"noopener\">Cacophony Society\u003c/a> and rushing to put together a massive-but-temporary sculptural installation felt like a game.\u003c/p>\n\u003cp>“All of my friends who were volunteering to find furniture, re-form it; they were all committed to this process,” says Goggin. “The collecting and building of the pieces also became a form of a ‘happening’ that just extended over 5 or 6 months.”\u003c/p>\n\u003ch3>The Installation\u003c/h3>\n\u003cfigure id=\"attachment_10136960\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Defenestration-party21024x700-e1401444587931.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136960\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Defenestration-party21024x700-e1401444587931.jpg\" alt=\"From Defenestration's opening ceremony\" width=\"800\" height=\"536\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From \u003ci>Defenestration’s\u003c/i> opening ceremony \u003ccite>(Courtesy of Brian Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once they were rolling forward with the installation, Goggin says they ran into the project’s one major hiccup right away. After posting three pieces of furniture onto the building — a chest of drawers, a fan and a bathtub — Goggin returned the next day to find the pieces missing.\u003c/p>\n\u003cp>“I thought, ‘Wow, this is a tough neighborhood!’,” says Goggin.\u003c/p>\n\u003cp>After some sleuthing, Goggin learned that the project was reported to the fire department by a neighbor who thought “someone was trying to push one of these pieces of furniture out the window onto her head.” Fire crews responded by chopping down the furniture and then telling Goggin that if he didn’t get the right permits, they’d continue to take down the furniture. (Goggin, the son of former state assemblyman Terry Goggin, was able to hunt down the permits.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XA1SEJYTXi4'\n title='//www.youtube.com/embed/XA1SEJYTXi4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the end, about 100 volunteers helped to build the furniture and post it onto the old hotel; hundreds more ended up participating in the opening ceremony, which Goggin and his pals in the Dream Circus envisioned as “an urban, circus-themed performance.”\u003c/p>\n\u003cp>“This was before circus became a big vogue fad all over the world,” says Goggin. “This was 1996, it was the beginning of that.”\u003c/p>\n\u003cfigure id=\"attachment_10136959\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Defenestration-party1024x700-e1401444803607.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136959\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Defenestration-party1024x700-e1401444803607.jpg\" alt=\"During <Defenestration</i>'s opening ceremony\" width=\"800\" height=\"547\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">During \u003ci>Defenestration’s\u003c/i> opening ceremony \u003ccite>(Courtesy of Brian Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goggin says he surveyed his sculpture and performance art-friends, and found several willing to provide temporary works that had an urban circus theme created from materials found on the streets. As a result, the opening ceremony for \u003ci>Defenestration\u003c/i> featured hundreds of people walking the streets in trash-based costumes that were so ornate their quality betrayed their origins. Birds living in a nest made of discarded clothing, gigantic bugs and yes, even furniture-inspired creatures that had their own freak show; one participant was a “Sofa Woman”–she dressed as a couch that talked to bystanders who sat on her and even gave them Tarot readings.\u003c/p>\n\u003cp>In all, Goggin says 2,500 people attended the event and all of them were required to wear circus attire — if you didn’t have any, Goggin and crew would provide it. And because there were so many performances — bicycle jousting, jugglers using lawnmowers, the list goes on — the entire ceremony lasted 8 hours.\u003c/p>\n\u003ch3>The End\u003c/h3>\n\u003cfigure id=\"attachment_10136967\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Defenestration-1024x674-e1401447625999.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10136967\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Defenestration-1024x674-e1401447625999.jpg\" alt=\"<i>Defenestration</i>\" width=\"800\" height=\"527\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Defenestration\u003c/i> \u003ccite>(Courtesy of Brian Goggin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the landlord came back, Goggin was able to convince him to keep the installation (obviously.) He says that he was so successful in convincing the building’s owner to appreciate the work that it became personal, with the whole family supporting \u003ci>Defenestration\u003c/i> for as long as they owned the hotel. (According to the \u003ci>San Francisco Chronicle\u003c/i>, the city’s Redevelopment Agency took the owners to court in 2008 and utilized eminent domain to take over the building. Afterward, they paid the family $4.6 million for it.)\u003c/p>\n\u003cp>But after the massive effort to install it, then spending 17 years maintaining the piece (including a major refurbishment in 2010), you would think Goggin would be sadder about \u003ci>Defenestration’s\u003c/i> eviction. He admits his feelings are mixed on the subject, but he’s happy the building is being razed to make way for affordable housing. He says he has had too many friends move out of the city he loves so dearly.\u003c/p>\n\u003cp>“San Francisco for me has been very influential, as both a community and as a space,” says Goggin. “I’m fortunate enough to have a studio that’s priced very low right here in the Mission. That opportunity has enabled me to have a kind of stability that is unique in our creative community. As I have this opportunity, I see it as a responsibility to use that opportunity to create work and to help other artists create work in this environment.”\u003c/p>\n\u003cp>“I feel like if I gave up hope… if I gave up optimism while still paying attention to the realities of the situation, I’d be doing a disservice to all those other people who might not be as lucky as I am.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Defenestration\u003c/i> will remain on the Hugo Hotel in San Francisco’s South of Market Neighborhood until June 3, 2014. Goggin is selling pieces of the installation to pay for the removal costs through the \u003ca href=\"http://varnishfineart.com/\" target=\"_blank\" rel=\"noopener\">Varnish Art Gallery.\u003c/a> For \u003ca href=\"http://varnishfineart.com/Exhibit_Detail.cfm?ShowsID=142\" target=\"_blank\" rel=\"noopener\"> more information on buying a piece of \u003ci>Defenestration\u003c/i>\u003c/a> visit varnishfineart.com.\u003cbr>\n\u003ci>(Editor’s Note: The event at the Hugo Hotel on Saturday, May 31, 2014 that was originally listed in this story is invitation only.)\u003cbr>\n\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Our video series, \u003ca href=\"http://www.kqed.org/arts/programs/artschool/\">Art School\u003c/a>, is all about inspiring our readers to get creative through DIY projects demonstrated by our favorite Bay Area artists. Check out five of our greatest Art School hits and follow along as the artists show you how to use your creativity to its fullest. Afterward, why not hit the town and discover related art venues where you can explore your new favorite medium even further? \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/SummerArtsGuide-300x250-5.png\" alt=\"SummerArtsGuide-300x250-5\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>\u003c/p>\n\u003cp>The following pairings of crafty videos and local art spaces are fun for all ages, and we want to see what you make and discover. Post photos or videos of your creations, or link to your favorite arty places and tag #KQEDArtSchool. Share your creative essence with the world, and we’ll re-Tweet, share, etc.\u003c/p>\n\u003ch3>1. Beatbox\u003c/h3>\n\u003cp>Rashidi Omari Bird is a Hip-hop artist and educator who will have you spitting “Boots the Cat” all the way home. Pick up beatboxing in a few short minutes via this video, then start planning your debut performance.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=ch9SV325ItY]\u003c/p>\n\u003cp>East Bay kids can take classes with Rashidi and other artists at \u003ca href=\"http://www.destinyarts.org/\" target=\"_blank\" rel=\"noopener\">Destiny Arts Center\u003c/a> in Oakland. And anyone can get their Hip-hop groove on for a reasonable price at \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener\">Mission Dance\u003c/a>. (Or just make a vine of your latest beatboxing skills and tag us, #KQEDArtSchool.)\u003c/p>\n\u003ch3>2. Animation\u003c/h3>\n\u003cp>Kirsten Lepore’s stop-motion films are innovative and moving. Check out \u003ca href=\"http://youtu.be/5mVEapKnS1c\" target=\"_blank\" rel=\"noopener\">Bottle\u003c/a> and \u003ca href=\"http://youtu.be/o1GyJpnTN1I\" target=\"_blank\" rel=\"noopener\">Sweet Dreams\u003c/a>, and her Art School \u003ca href=\"http://youtu.be/mBD3EK0v0AM\" target=\"_blank\" rel=\"noopener\">interview\u003c/a> where she talks about the making of those films. Then check out Lepore’s newest film, \u003ca href=\"http://youtu.be/cZ9d4MHqEzg\" target=\"_blank\" rel=\"noopener\">Move Mountain\u003c/a>, and our how-to video on making your own stop-motion stories. Her set-up is sophisticated, but you can easily animate using a phone camera and apps like \u003ca href=\"http://boinx.com/istopmotion/mac/\" target=\"_blank\" rel=\"noopener\">iStopMotion\u003c/a>, \u003ca href=\"http://flipagram.com/\" target=\"_blank\" rel=\"noopener\">Flipagram\u003c/a>, or any video editing software.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=HSFoLX3GhVY]\u003c/p>\n\u003cp>Stop-motion is one form of animation, but you can also explore the roots of the most influential hand-drawn, early animation art at the \u003ca href=\"http://www.waltdisney.org/\" target=\"_blank\" rel=\"noopener\">Walt Disney Family Museum\u003c/a>. The current exhibition on the legendary \u003ca href=\"http://www.waltdisney.org/mary-blair\" target=\"_blank\" rel=\"noopener\">Mary Blair\u003c/a>, one of Disney’s first female artists, is a solid introduction.\u003c/p>\n\u003cp>Bonus animation inspiration: We’ve been having fun using \u003ca href=\"https://vine.co/\" target=\"_blank\" rel=\"noopener\">Vine\u003c/a> and Instagram to make little videos of abstract patterns, inspired by a recent KQED Art School alum, \u003ca href=\"http://youtu.be/FSLil-iHDSw\" target=\"_blank\" rel=\"noopener\">Jodie Mack\u003c/a>.\u003c/p>\n\u003ch3>3. Make Paper\u003c/h3>\n\u003cp>You know that beautiful paper that they sell at Flax or Paper Source that’s kind of expensive? Make your own using cotton fiber and a blender! Multimedia artist \u003ca href=\"http://www.kqed.org/arts/programs/artschool/episode.jsp?essid=123946\" target=\"_blank\" rel=\"noopener\">Meryl Pataky\u003c/a> shows you how to make your own speckled, charming handmade paper in this Art School feature. The cotton fiber may look like it’s already in paper form, but the wet blending process and adding \u003ca href=\"http://en.wikipedia.org/wiki/Sizing\" target=\"_blank\" rel=\"noopener\">sizing\u003c/a> is what makes the paper ink-able.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=Tf6cCz3d9ms]\u003c/p>\n\u003cp>Now, take that paper and go make a book! \u003ca href=\"https://sfcb.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Center for the Book\u003c/a> knows what’s up.\u003c/p>\n\u003ch3>4. Draw Comics\u003c/h3>\n\u003cp>Now, take that book and start drawing in it! Q: Can you draw a female ninja? A: Yes! “Super famous cartoonist” \u003ca href=\"http://www.kqed.org/arts/programs/artschool/episode.jsp?essid=114394\" target=\"_blank\" rel=\"noopener\">Thien Pham\u003c/a> will show you how.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=-et4Njk_nWc]\u003c/p>\n\u003cp>After developing your characters, make them tell a story — Pham has some \u003ca href=\"http://youtu.be/MjvLgLvGZiQ\" target=\"_blank\" rel=\"noopener\">tips on laying out a comic strip\u003c/a>. For more cartooning lessons, consult another local artist, \u003ca href=\"http://www.kqed.org/arts/programs/artschool/episode.jsp?essid=86118\" target=\"_blank\" rel=\"noopener\">Sirron Norris\u003c/a>.\u003c/p>\n\u003cp>Naturally, after getting loose with your markers, you should hit up the \u003ca href=\"http://cartoonart.org/\" target=\"_blank\" rel=\"noopener\">Cartoon Art Museum\u003c/a> for further inspiration.\u003c/p>\n\u003cp>5. DRUM CIRCLES\u003c/p>\n\u003cp>Sample some African drum beats with members of the \u003ca href=\"http://www.kqed.org/arts/programs/artschool/episode.jsp?essid=116019\" target=\"_blank\" rel=\"noopener\">West African Music and Dance Ensemble\u003c/a>, and start jamming. Nothing is stopping you — you don’t even need drums as you can make a beat on any surface.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=gKuylBWo6Ak]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kwesi Anku teaches African dance at the \u003ca href=\"http://eastbaycenter.org/\" target=\"_blank\" rel=\"noopener\">East Bay Center for Performing Arts\u003c/a> in Richmond and classes are open. Bonus: Nearby the EBCPA is the \u003ca href=\"http://www.therac.org/\" target=\"_blank\" rel=\"noopener\">Richmond Art Center\u003c/a> where you can check out gallery shows and take art classes.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Our video series, \u003ca href=\"http://www.kqed.org/arts/programs/artschool/\">Art School\u003c/a>, is all about inspiring our readers to get creative through DIY projects demonstrated by our favorite Bay Area artists. Check out five of our greatest Art School hits and follow along as the artists show you how to use your creativity to its fullest. Afterward, why not hit the town and discover related art venues where you can explore your new favorite medium even further? \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/SummerArtsGuide-300x250-5.png\" alt=\"SummerArtsGuide-300x250-5\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>\u003c/p>\n\u003cp>The following pairings of crafty videos and local art spaces are fun for all ages, and we want to see what you make and discover. Post photos or videos of your creations, or link to your favorite arty places and tag #KQEDArtSchool. Share your creative essence with the world, and we’ll re-Tweet, share, etc.\u003c/p>\n\u003ch3>1. Beatbox\u003c/h3>\n\u003cp>Rashidi Omari Bird is a Hip-hop artist and educator who will have you spitting “Boots the Cat” all the way home. Pick up beatboxing in a few short minutes via this video, then start planning your debut performance.\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/ch9SV325ItY'\n title='//www.youtube.com/embed/ch9SV325ItY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>East Bay kids can take classes with Rashidi and other artists at \u003ca href=\"http://www.destinyarts.org/\" target=\"_blank\" rel=\"noopener\">Destiny Arts Center\u003c/a> in Oakland. And anyone can get their Hip-hop groove on for a reasonable price at \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener\">Mission Dance\u003c/a>. (Or just make a vine of your latest beatboxing skills and tag us, #KQEDArtSchool.)\u003c/p>\n\u003ch3>2. Animation\u003c/h3>\n\u003cp>Kirsten Lepore’s stop-motion films are innovative and moving. Check out \u003ca href=\"http://youtu.be/5mVEapKnS1c\" target=\"_blank\" rel=\"noopener\">Bottle\u003c/a> and \u003ca href=\"http://youtu.be/o1GyJpnTN1I\" target=\"_blank\" rel=\"noopener\">Sweet Dreams\u003c/a>, and her Art School \u003ca href=\"http://youtu.be/mBD3EK0v0AM\" target=\"_blank\" rel=\"noopener\">interview\u003c/a> where she talks about the making of those films. Then check out Lepore’s newest film, \u003ca href=\"http://youtu.be/cZ9d4MHqEzg\" target=\"_blank\" rel=\"noopener\">Move Mountain\u003c/a>, and our how-to video on making your own stop-motion stories. Her set-up is sophisticated, but you can easily animate using a phone camera and apps like \u003ca href=\"http://boinx.com/istopmotion/mac/\" target=\"_blank\" rel=\"noopener\">iStopMotion\u003c/a>, \u003ca href=\"http://flipagram.com/\" target=\"_blank\" rel=\"noopener\">Flipagram\u003c/a>, or any video editing software.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/HSFoLX3GhVY'\n title='//www.youtube.com/embed/HSFoLX3GhVY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Stop-motion is one form of animation, but you can also explore the roots of the most influential hand-drawn, early animation art at the \u003ca href=\"http://www.waltdisney.org/\" target=\"_blank\" rel=\"noopener\">Walt Disney Family Museum\u003c/a>. The current exhibition on the legendary \u003ca href=\"http://www.waltdisney.org/mary-blair\" target=\"_blank\" rel=\"noopener\">Mary Blair\u003c/a>, one of Disney’s first female artists, is a solid introduction.\u003c/p>\n\u003cp>Bonus animation inspiration: We’ve been having fun using \u003ca href=\"https://vine.co/\" target=\"_blank\" rel=\"noopener\">Vine\u003c/a> and Instagram to make little videos of abstract patterns, inspired by a recent KQED Art School alum, \u003ca href=\"http://youtu.be/FSLil-iHDSw\" target=\"_blank\" rel=\"noopener\">Jodie Mack\u003c/a>.\u003c/p>\n\u003ch3>3. Make Paper\u003c/h3>\n\u003cp>You know that beautiful paper that they sell at Flax or Paper Source that’s kind of expensive? Make your own using cotton fiber and a blender! Multimedia artist \u003ca href=\"http://www.kqed.org/arts/programs/artschool/episode.jsp?essid=123946\" target=\"_blank\" rel=\"noopener\">Meryl Pataky\u003c/a> shows you how to make your own speckled, charming handmade paper in this Art School feature. The cotton fiber may look like it’s already in paper form, but the wet blending process and adding \u003ca href=\"http://en.wikipedia.org/wiki/Sizing\" target=\"_blank\" rel=\"noopener\">sizing\u003c/a> is what makes the paper ink-able.\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/Tf6cCz3d9ms'\n title='//www.youtube.com/embed/Tf6cCz3d9ms'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Now, take that paper and go make a book! \u003ca href=\"https://sfcb.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Center for the Book\u003c/a> knows what’s up.\u003c/p>\n\u003ch3>4. Draw Comics\u003c/h3>\n\u003cp>Now, take that book and start drawing in it! Q: Can you draw a female ninja? A: Yes! “Super famous cartoonist” \u003ca href=\"http://www.kqed.org/arts/programs/artschool/episode.jsp?essid=114394\" target=\"_blank\" rel=\"noopener\">Thien Pham\u003c/a> will show you how.\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/-et4Njk_nWc'\n title='//www.youtube.com/embed/-et4Njk_nWc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>After developing your characters, make them tell a story — Pham has some \u003ca href=\"http://youtu.be/MjvLgLvGZiQ\" target=\"_blank\" rel=\"noopener\">tips on laying out a comic strip\u003c/a>. For more cartooning lessons, consult another local artist, \u003ca href=\"http://www.kqed.org/arts/programs/artschool/episode.jsp?essid=86118\" target=\"_blank\" rel=\"noopener\">Sirron Norris\u003c/a>.\u003c/p>\n\u003cp>Naturally, after getting loose with your markers, you should hit up the \u003ca href=\"http://cartoonart.org/\" target=\"_blank\" rel=\"noopener\">Cartoon Art Museum\u003c/a> for further inspiration.\u003c/p>\n\u003cp>5. DRUM CIRCLES\u003c/p>\n\u003cp>Sample some African drum beats with members of the \u003ca href=\"http://www.kqed.org/arts/programs/artschool/episode.jsp?essid=116019\" target=\"_blank\" rel=\"noopener\">West African Music and Dance Ensemble\u003c/a>, and start jamming. Nothing is stopping you — you don’t even need drums as you can make a beat on any surface.\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/gKuylBWo6Ak'\n title='//www.youtube.com/embed/gKuylBWo6Ak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kwesi Anku teaches African dance at the \u003ca href=\"http://eastbaycenter.org/\" target=\"_blank\" rel=\"noopener\">East Bay Center for Performing Arts\u003c/a> in Richmond and classes are open. Bonus: Nearby the EBCPA is the \u003ca href=\"http://www.therac.org/\" target=\"_blank\" rel=\"noopener\">Richmond Art Center\u003c/a> where you can check out gallery shows and take art classes.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new kind of art exhibit is coming to the San Francisco Zoo that doesn’t concentrate on the artists or even the work being displayed but on the materials themselves.\u003c/p>\n\u003cp>\u003ci>Washed Ashore,\u003c/i> the zoo’s newest temporary exhibit, features giant, eye-grabbing sculptures of gigantic sea creatures that have been made completely from trash — mostly plastic debris — that was found along shorelines across the nation. The pieces themselves result from community members coming together at their local beaches, collecting as much debris as possible and then bringing it all back to turn into works of art.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch4>Examples of sculptures created as part of \u003ci>Washed Ashore\u003c/i> project\u003c/h4>\n\u003cp>[gallery type=\"rectangular\" ids=\"10136648,10136649,10136650,10136651,10136652,10136653,10136654,10136655,10136656,10136657,10136658\"]\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The project is funded by The Artula Institute for Arts & Environmental Education, which works to spread awareness of environmental issues through the arts.\u003c/p>\n\u003cp>“We’re thrilled that the Zoo is bringing this important art and educational message about ocean pollution to a wide audience in the Bay Area,” said Angela Haseltine Pozzi, lead artist and Executive Director of the Oregon-based \u003ca href=\"http://washedashore.org/\" target=\"_blank\" rel=\"noopener\">Washed Ashore Project.\u003c/a>\u003c/p>\n\u003cp>Unique to the zoo’s exhibition will be the exclusive premiere of “Buoy, Beat ‘n Bop,” a series of musical sculptures all made from debris collected from beaches along the Pacific Ocean. The brand new addition to project-curated exhibit includes a 10-foot long Instrumental eel, musical seaweed, a 4-foot-tall swaying anemone chime, a colony of 12 sea jelly bells, a Styrofoam reef drum set, and even a 14-foot wide musical sea star.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The San Francisco Zoo exhibit opens to the public on Saturday, May 24, 2014 at 10 a.m., following a members-only preview event. For \u003ca href=\"http://www.sfzoo.org/announcements/washed-ashore\" target=\"_blank\" rel=\"noopener\">times and other information,\u003c/a> visit sfzoo.org.\u003c/p>\n\u003cp>\u003cem>To learn more, watch \u003ca href=\"http://watch.opb.org/video/2365100919/\" target=\"_blank\" rel=\"noopener\">Oregon Public Media’s profile piece on Pozzi\u003c/a>, the creative genius behind Washed Ashore, below:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe width=\"668\" height=\"464\" src=\"http://watch.opb.org/viralplayer/2365100919\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" seamless>\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cp>Coit tower, the iconic San Francisco landmark that sits atop Telegraph Hill, houses some of our region’s most spectacular fresco murals. Commissioned as a part of President Franklin Roosevelt’s New Deal with the aim of providing paying work for artists, the murals offer a vivid glimpse of workers’ lives in factories and fields, while also capturing the chaotic edginess of street life in the tumultuous times of the Great Depression. \u003c/p>\n\u003cp>After a six-month restoration effort that required Coit Tower to close its doors to the public, the tower and its murals were reopened last week. \u003c/p>\n\u003cp>What many don’t know is that the Coit Tower murals are but one of many amazing public mural collections you can view for free around San Francisco. Download KQED’s \u003ca href=\"http://www.kqed.org/w/letsgetlost/index.html\" target=\"_blank\" rel=\"noopener\">Let’s Get Lost app\u003c/a> and see where to go to discover these treasures. Included in the app are links to videos with more information on several featured sites, including not-to-miss footage of master muralist \u003ca href=\"http://en.wikipedia.org/wiki/Diego_Rivera\" target=\"_blank\" rel=\"noopener\">Diego Rivera\u003c/a> painting his work, \u003cem>Pan American Unity\u003c/em>, which is now housed at City College of San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Norman Rockwell Painting 'The Rookie' Sells for $22.5 Million",
"headTitle": "Norman Rockwell Painting ‘The Rookie’ Sells for $22.5 Million | KQED",
"content": "\u003cp>Norman Rockwell’s \u003cem>The Rookie\u003c/em> has sold for $22.5 million at auction Thursday. The 1957 painting of baseball players in a locker room was sold by Christie’s auction house — heady heights for a work that first appeared on a magazine that sold for 15 cents.\u003c/p>\n\u003cp>\u003cstrong>Update at 12:50 p.m. The Final Price\u003c/strong>\u003c/p>\n\u003cp>While the “hammer price” of the Rockwell painting was $20 million, Christie’s says the painting’s final price is $22,565,000, reflecting a buyer’s premium. We’ve updated this post to reflect the auction house’s final calculation.\u003c/p>\n\u003cp>\u003cem>Our original post continues:\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10136544\" class=\"wp-caption alignright\" style=\"max-width: 911px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb.jpg\" alt=\"Norman Rockwell's The Rookie, seen here on display in 2005, sold at auction for $22.5 million Thursday.\" width=\"911\" height=\"921\" class=\"size-full wp-image-10136544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb.jpg 911w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb-400x404.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb-296x300.jpg 296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb-75x75.jpg 75w\" sizes=\"(max-width: 911px) 100vw, 911px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Norman Rockwell’s \u003cem>The Rookie,\u003c/em> seen here on display in 2005, sold at auction for $22.5 million Thursday. \u003ccite>(Chitose Suzuki/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An image of the painting — its full title is \u003cem>The Rookie (Red Sox Locker Room)\u003c/em> —\u003cem> \u003c/em>originally appeared on the cover of \u003cem>The Saturday Evening Post\u003c/em>. The last time it was sold was in 1986, for $600,000.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Rookie\u003c/em> features real big-league ballplayers and a lanky high school student, Sherman “Scottie” Safford, who’s now 75.\u003c/p>\n\u003cp>“Rockwell paid me $60 for each posing session,” Safford, who now lives in Rochester, N.Y., tells \u003ca href=\"http://www.berkshireeagle.com/news/ci_25807327/norman-rockwell-rsquo-s-lsquo-rookie-rsquo-reflects\">The Berkshire Eagle\u003c/a>. “I wish I had kept those checks; they might be worth more than that now.”\u003c/p>\n\u003cp>Earlier this month, Safford and former Boston Red Sox pitcher Frank Sullivan, the only two men who posed for the painting who are alive today, visited Boston’s Fenway Park to see the framed work.\u003c/p>\n\u003cp>As the \u003cem>Eagle\u003c/em> reports, it was the first time the pair had ever met. Safford and the Red Sox players were photographed separately to give Rockwell images to work from as he created the locker-room scene. (You can check out the reference photos used for the painting at the \u003ca href=\"http://collection.nrm.org/search.do?db=object&page=1&keyword=rookie+red+sox&view=lightbox\">Norman Rockwell Museum website\u003c/a>.)\u003c/p>\n\u003cp>Here’s some background on how the painting came about, from Christie’s:\u003c/p>\n\u003cblockquote>\n\u003cp>“Rockwell conceived this cover at least 9 months in advance of its publication date on March 2\u003csup>nd\u003c/sup>, 1957, just in time for the start of spring training for the Red Sox. Over the summer of 1956, he convinced team management to send four players from the starting lineup up to Rockwell’s hometown, Stockbridge, Massachusetts, deep in Red Sox country. Pitcher Frank Sullivan, right fielder Jackie Jensen, catcher Sammy White all posed for the painting. Williams was either unable or unwilling to make the trip and Rockwell captured his likeness from his trading card, and other photographs.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Experts had predicted \u003cem>The Rookie\u003c/em> would sell for $20 million to $30 million. The record price for a Rockwell painting was set back in December, when “\u003ca href=\"http://www.npr.org/blogs/thetwo-way/2013/12/04/248790682/norman-rockwells-saying-grace-sells-for-46-million-at-auction\">Saying Grace\u003c/a>,” a work depicting a scene in a restaurant, was auctioned for $46 million. \u003c/p>\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=Norman+Rockwell+Painting+%27The+Rookie%27+Sells+For+%2422.5+Million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Norman Rockwell’s \u003cem>The Rookie\u003c/em> has sold for $22.5 million at auction Thursday. The 1957 painting of baseball players in a locker room was sold by Christie’s auction house — heady heights for a work that first appeared on a magazine that sold for 15 cents.\u003c/p>\n\u003cp>\u003cstrong>Update at 12:50 p.m. The Final Price\u003c/strong>\u003c/p>\n\u003cp>While the “hammer price” of the Rockwell painting was $20 million, Christie’s says the painting’s final price is $22,565,000, reflecting a buyer’s premium. We’ve updated this post to reflect the auction house’s final calculation.\u003c/p>\n\u003cp>\u003cem>Our original post continues:\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10136544\" class=\"wp-caption alignright\" style=\"max-width: 911px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb.jpg\" alt=\"Norman Rockwell's The Rookie, seen here on display in 2005, sold at auction for $22.5 million Thursday.\" width=\"911\" height=\"921\" class=\"size-full wp-image-10136544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb.jpg 911w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb-400x404.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb-296x300.jpg 296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/rookie_frame_custom-d0c2abe05140bae81bdb5d31bd104f79da3061bb-75x75.jpg 75w\" sizes=\"(max-width: 911px) 100vw, 911px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Norman Rockwell’s \u003cem>The Rookie,\u003c/em> seen here on display in 2005, sold at auction for $22.5 million Thursday. \u003ccite>(Chitose Suzuki/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An image of the painting — its full title is \u003cem>The Rookie (Red Sox Locker Room)\u003c/em> —\u003cem> \u003c/em>originally appeared on the cover of \u003cem>The Saturday Evening Post\u003c/em>. The last time it was sold was in 1986, for $600,000.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Rookie\u003c/em> features real big-league ballplayers and a lanky high school student, Sherman “Scottie” Safford, who’s now 75.\u003c/p>\n\u003cp>“Rockwell paid me $60 for each posing session,” Safford, who now lives in Rochester, N.Y., tells \u003ca href=\"http://www.berkshireeagle.com/news/ci_25807327/norman-rockwell-rsquo-s-lsquo-rookie-rsquo-reflects\">The Berkshire Eagle\u003c/a>. “I wish I had kept those checks; they might be worth more than that now.”\u003c/p>\n\u003cp>Earlier this month, Safford and former Boston Red Sox pitcher Frank Sullivan, the only two men who posed for the painting who are alive today, visited Boston’s Fenway Park to see the framed work.\u003c/p>\n\u003cp>As the \u003cem>Eagle\u003c/em> reports, it was the first time the pair had ever met. Safford and the Red Sox players were photographed separately to give Rockwell images to work from as he created the locker-room scene. (You can check out the reference photos used for the painting at the \u003ca href=\"http://collection.nrm.org/search.do?db=object&page=1&keyword=rookie+red+sox&view=lightbox\">Norman Rockwell Museum website\u003c/a>.)\u003c/p>\n\u003cp>Here’s some background on how the painting came about, from Christie’s:\u003c/p>\n\u003cblockquote>\n\u003cp>“Rockwell conceived this cover at least 9 months in advance of its publication date on March 2\u003csup>nd\u003c/sup>, 1957, just in time for the start of spring training for the Red Sox. Over the summer of 1956, he convinced team management to send four players from the starting lineup up to Rockwell’s hometown, Stockbridge, Massachusetts, deep in Red Sox country. Pitcher Frank Sullivan, right fielder Jackie Jensen, catcher Sammy White all posed for the painting. Williams was either unable or unwilling to make the trip and Rockwell captured his likeness from his trading card, and other photographs.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Experts had predicted \u003cem>The Rookie\u003c/em> would sell for $20 million to $30 million. The record price for a Rockwell painting was set back in December, when “\u003ca href=\"http://www.npr.org/blogs/thetwo-way/2013/12/04/248790682/norman-rockwells-saying-grace-sells-for-46-million-at-auction\">Saying Grace\u003c/a>,” a work depicting a scene in a restaurant, was auctioned for $46 million. \u003c/p>\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=Norman+Rockwell+Painting+%27The+Rookie%27+Sells+For+%2422.5+Million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "how-to-have-an-artfull-bay-bound-summer",
"title": "Sights of Summer: The Season’s Don’t-Miss Visual-Art Shows",
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"headTitle": "Sights of Summer: The Season’s Don’t-Miss Visual-Art Shows | KQED",
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"content": "\u003cp>For some of us, summer isn’t what it used to be. There’s no vacation, no fireflies, no rope swings, no lazy days by the lake/pool/beach. It’s more of the same nine to five with less sweaters. But just because summer break is a thing of the past doesn’t mean we have to abandon the idea of expanding our horizons with new visual experiences.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/SummerArtsGuide-300x250-5.png\" alt=\"SummerArtsGuide-300x250-5\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>\u003c/p>\n\u003cp>With plenty of experimental formats, long-awaited shows, artist-led adventures, and some plain old off-the-wall wacky projects coming up in the summer months, this June, July, and August will make you glad you’re not off on some glamorous vacation. Forget the Grand Canyon: here’s eight art-filled reasons not to the leave the Bay Area.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10136482\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/SoEx.jpg\" alt=\"Antarctica Patch, contributed by Micaela Neus; Courtesy of A People's Archive of Sinking and Melting\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/SoEx.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/SoEx-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/SoEx-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/SoEx-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/SoEx-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/SoEx-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/SoEx-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\n\u003ch3>Off Shore\u003c/h3>\n\u003ch5>May 28 – July 3\u003cbr>\nSouthern Exposure (3030 20th Street, San Francisco and various off-site locations)\u003cbr>\n\u003ca href=\"http://soex.org/index.html\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>This ambitious large-scale project features new installations, events, lectures, walks, and a celebration of all things maritime. Artists being exhibited include Paul Cesewaski, Constance Hockaday, Marie Lorenz, Chris Sollars and A People’s Archive of Sinking and Melting. Even if I didn’t work at SoEx, I’d line up to explore the forgotten, largely ignored, watery edges of San Francisco with this talented group of artists. As cities grows ever more crowded, the water becomes another frontier, a shelter, and an encroaching threat.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10136480\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Etal.jpg\" alt=\"Cybele Lyle, <i>Boxed Out</i>, 2014; Courtesy of the artist\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Etal.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Etal-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Etal-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Etal-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Etal-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Etal-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Etal-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\n\u003ch3>Cybele Lyle\u003c/h3>\n\u003ch5>May 30 – July 4\u003cbr>\nEt al. Gallery (620 Kearny Street, San Francisco)\u003cbr>\n\u003ca href=\"http://etaletc.com/\">Information\u003c/a>\u003c/h5>\n\u003cp>Fresh from two simultaneous public installations in extremely tricky locations (one in the SFAC’s window gallery, the other in YBCA’s front door gallery), Lyle’s first solo show at Et al. promises to continue her compelling investigation into landscape and space. Melding video, photography, and collage, Lyle’s recent works are multi-dimensional and exquisitely suited to their environments. I can’t wait to see what she does in the strange underground lair beneath Kearny Street’s Union Cleaners.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10136478\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/CHS.jpg\" alt=\"Ted Huggins, <i>View of the bridge from Baker Beach</i>, 1937</i>; Courtesy of the California Historical Society\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CHS.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CHS-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CHS-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CHS-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CHS-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CHS-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CHS-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\n\u003ch3>San Francisco Time Travel Project\u003c/h3>\n\u003ch5>June 3 – November 4\u003cbr>\nCalifornia Historical Society (678 Mission Street)\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/san-francisco-time-travel-project-presale-season-passes-tickets-11253721183\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Once a month from June to November, Odd Salon (a series of curated cocktail-hour lectures) presents a talk at the California Historical Society illustrated by objects and ephemera from the CHS archives. Covering different eras of San Francisco history and focusing on the “weird and wonderful,” the series touches on shipwrecks, skyscrapers, speakeasies, and every tantalizing bit of local past in between. Grab a season pass for all six events and get a rare peek at CHS holdings in this intimate and intriguing gathering.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10136479\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/CityLimits.jpg\" alt=\"David Bayus, 2014; Courtesy of the artist\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CityLimits.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CityLimits-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CityLimits-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CityLimits-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CityLimits-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CityLimits-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CityLimits-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\n\u003ch3>Sights and Sounds of Stage and Screen: David Bayus & Ben Bigelow\u003c/h3>\n\u003ch5>June 6 – July 5\u003cbr>\nCity Limits Gallery (300 Jefferson St, Oakland)\u003cbr>\n\u003ca href=\"http://citylimitsgallery.com/\">Information\u003c/a>\u003c/h5>\n\u003cp>If the alliterative title isn’t enough, this pairing of two artists treading that oh-so-current line between art and technology proves those two words can actually get along. And that the intersection between them can lead to truly worthwhile art viewing. If you still haven’t been to City Limits, now’s the time.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/BAM2.jpg\" alt=\"Forrest Bess, <i>Untitled (The Spider)</i>, 1970; Courtesy of the artist, collection of Christian Zacharias.\" width=\"400\" height=\"347\" class=\"alignleft size-full wp-image-10136488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/BAM2.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/BAM2-300x260.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\n\u003ch3>Forrest Bess: Seeing Things Invisible\u003c/h3>\n\u003ch5>June 11 – September 14\u003cbr>\nBerkeley Art Museum and Pacific Film Archive (2626 Bancroft Way, Berkeley)\u003cbr>\n\u003ca href=\"http://bampfa.berkeley.edu/\">Information\u003c/a>\u003c/h5>\n\u003cp>Bess, a self-described visionary painter, has enjoyed periodic moments of posthumous celebrity, most recently during the 2012 Whitney Biennial thanks to artist Robert Gober. Now, an exhibition curated by Clare Elliott of the Menil Collection finally makes its way to BAM, showcasing his remarkable paintings and the fickle favor of the art world.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10136481\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/MCD.jpg\" alt=\"Installation of <i>The Exquisite Garden Project</i>, 2012; Photo by Gary Conaughton\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MCD.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MCD-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MCD-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MCD-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MCD-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MCD-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MCD-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\n\u003ch3>Joe Brubaker And The Exquisite Gardeners: A Visible Transparency Project\u003c/h3>\n\u003ch5>June 28 – September 21\u003cbr>\nMuseum of Craft and Design (2569 Third Street, San Francisco)\u003cbr>\n\u003ca href=\"http://www.sfmcd.org/\">Information\u003c/a>\u003c/h5>\n\u003cp>Longtime educator and artist Joe Brubaker brings “The Exquisite Gardeners” to MCAD, creating a collaborative installation of scrappy and reclaimed materials in the midst of his own sculptural retrospective. Visitors can stop by during the Gardeners’ week-long installation period, giving a glimpse into an improvised (and possibly inspirational) creative process.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/CJM2.jpg\" alt=\"Women playing mah jongg in the Catskills, 1960; Collection of Harvey Abrams\" width=\"400\" height=\"293\" class=\"alignleft size-full wp-image-10136489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CJM2.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CJM2-300x219.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\n\u003ch3>Project Mah Jongg\u003c/h3>\n\u003ch5>July 13 – October 28\u003cbr>\nContemporary Jewish Museum (736 Mission Street, San Francisco)\u003cbr>\n\u003ca href=\"http://www.thecjm.org/\">Information\u003c/a>\u003c/h5>\n\u003cp>Imported from China, the game of mah jongg entered American consciousness in the 1920s and became inextricably linked to Jewish ladies’ social gatherings. This traveling exhibit showcases mah jongg artifacts (scorecards, aprons, packages, and tiles) along with the results of the game’s popularity (snazzy mah jongg-inspired fashion), exploring deep connections between this communal game-playing in both Chinese and Jewish cultures. Beef up your skills, grab a National Mah Jongg League playing card, and while away the evening hours with some friends.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/YBCA2.jpg\" alt=\"\" width=\"400\" height=\"197\" class=\"alignleft size-full wp-image-10136490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/YBCA2.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/YBCA2-300x147.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch3>Bay Area Now 7\u003c/h3>\n\u003ch5>July 18 – September 28\u003cbr>\nYerba Buena Center for the Arts (701 Mission Street, San Francisco)\u003cbr>\n\u003ca href=\"http://www.ybca.org/ban7\">Information\u003c/a>\u003c/h5>\n\u003cp>For their seventh triennial of Bay Area art, YBCA tries a new, decentralized approach to curating, inviting fifteen local visual arts organizations to stage their own projects within the museum’s space. Providing a concentrated platform for some lesser-seen Bay Area arts activity, YBCA shifts focus from a select few artists to a group of venues, projects, and arts initiatives. A full range of events, readings, and screenings provide even more opportunities to learn about everyone from [ 2nd floor projects ] to Important Projects to the San Quentin Prison Project and the artists they work diligently to promote.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Sights of Summer: The Season’s Don’t-Miss Visual-Art Shows | KQED",
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"headline": "Sights of Summer: The Season’s Don’t-Miss Visual-Art Shows",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For some of us, summer isn’t what it used to be. There’s no vacation, no fireflies, no rope swings, no lazy days by the lake/pool/beach. It’s more of the same nine to five with less sweaters. But just because summer break is a thing of the past doesn’t mean we have to abandon the idea of expanding our horizons with new visual experiences.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/SummerArtsGuide-300x250-5.png\" alt=\"SummerArtsGuide-300x250-5\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>\u003c/p>\n\u003cp>With plenty of experimental formats, long-awaited shows, artist-led adventures, and some plain old off-the-wall wacky projects coming up in the summer months, this June, July, and August will make you glad you’re not off on some glamorous vacation. Forget the Grand Canyon: here’s eight art-filled reasons not to the leave the Bay Area.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10136482\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/SoEx.jpg\" alt=\"Antarctica Patch, contributed by Micaela Neus; Courtesy of A People's Archive of Sinking and Melting\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/SoEx.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/SoEx-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/SoEx-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/SoEx-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/SoEx-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/SoEx-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/SoEx-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\n\u003ch3>Off Shore\u003c/h3>\n\u003ch5>May 28 – July 3\u003cbr>\nSouthern Exposure (3030 20th Street, San Francisco and various off-site locations)\u003cbr>\n\u003ca href=\"http://soex.org/index.html\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>This ambitious large-scale project features new installations, events, lectures, walks, and a celebration of all things maritime. Artists being exhibited include Paul Cesewaski, Constance Hockaday, Marie Lorenz, Chris Sollars and A People’s Archive of Sinking and Melting. Even if I didn’t work at SoEx, I’d line up to explore the forgotten, largely ignored, watery edges of San Francisco with this talented group of artists. As cities grows ever more crowded, the water becomes another frontier, a shelter, and an encroaching threat.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10136480\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Etal.jpg\" alt=\"Cybele Lyle, <i>Boxed Out</i>, 2014; Courtesy of the artist\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Etal.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Etal-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Etal-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Etal-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Etal-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Etal-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Etal-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\n\u003ch3>Cybele Lyle\u003c/h3>\n\u003ch5>May 30 – July 4\u003cbr>\nEt al. Gallery (620 Kearny Street, San Francisco)\u003cbr>\n\u003ca href=\"http://etaletc.com/\">Information\u003c/a>\u003c/h5>\n\u003cp>Fresh from two simultaneous public installations in extremely tricky locations (one in the SFAC’s window gallery, the other in YBCA’s front door gallery), Lyle’s first solo show at Et al. promises to continue her compelling investigation into landscape and space. Melding video, photography, and collage, Lyle’s recent works are multi-dimensional and exquisitely suited to their environments. I can’t wait to see what she does in the strange underground lair beneath Kearny Street’s Union Cleaners.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10136478\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/CHS.jpg\" alt=\"Ted Huggins, <i>View of the bridge from Baker Beach</i>, 1937</i>; Courtesy of the California Historical Society\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CHS.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CHS-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CHS-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CHS-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CHS-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CHS-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CHS-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\n\u003ch3>San Francisco Time Travel Project\u003c/h3>\n\u003ch5>June 3 – November 4\u003cbr>\nCalifornia Historical Society (678 Mission Street)\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/san-francisco-time-travel-project-presale-season-passes-tickets-11253721183\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Once a month from June to November, Odd Salon (a series of curated cocktail-hour lectures) presents a talk at the California Historical Society illustrated by objects and ephemera from the CHS archives. Covering different eras of San Francisco history and focusing on the “weird and wonderful,” the series touches on shipwrecks, skyscrapers, speakeasies, and every tantalizing bit of local past in between. Grab a season pass for all six events and get a rare peek at CHS holdings in this intimate and intriguing gathering.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10136479\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/CityLimits.jpg\" alt=\"David Bayus, 2014; Courtesy of the artist\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CityLimits.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CityLimits-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CityLimits-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CityLimits-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CityLimits-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CityLimits-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CityLimits-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\n\u003ch3>Sights and Sounds of Stage and Screen: David Bayus & Ben Bigelow\u003c/h3>\n\u003ch5>June 6 – July 5\u003cbr>\nCity Limits Gallery (300 Jefferson St, Oakland)\u003cbr>\n\u003ca href=\"http://citylimitsgallery.com/\">Information\u003c/a>\u003c/h5>\n\u003cp>If the alliterative title isn’t enough, this pairing of two artists treading that oh-so-current line between art and technology proves those two words can actually get along. And that the intersection between them can lead to truly worthwhile art viewing. If you still haven’t been to City Limits, now’s the time.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/BAM2.jpg\" alt=\"Forrest Bess, <i>Untitled (The Spider)</i>, 1970; Courtesy of the artist, collection of Christian Zacharias.\" width=\"400\" height=\"347\" class=\"alignleft size-full wp-image-10136488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/BAM2.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/BAM2-300x260.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\n\u003ch3>Forrest Bess: Seeing Things Invisible\u003c/h3>\n\u003ch5>June 11 – September 14\u003cbr>\nBerkeley Art Museum and Pacific Film Archive (2626 Bancroft Way, Berkeley)\u003cbr>\n\u003ca href=\"http://bampfa.berkeley.edu/\">Information\u003c/a>\u003c/h5>\n\u003cp>Bess, a self-described visionary painter, has enjoyed periodic moments of posthumous celebrity, most recently during the 2012 Whitney Biennial thanks to artist Robert Gober. Now, an exhibition curated by Clare Elliott of the Menil Collection finally makes its way to BAM, showcasing his remarkable paintings and the fickle favor of the art world.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10136481\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/MCD.jpg\" alt=\"Installation of <i>The Exquisite Garden Project</i>, 2012; Photo by Gary Conaughton\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MCD.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MCD-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MCD-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MCD-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MCD-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MCD-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/MCD-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\n\u003ch3>Joe Brubaker And The Exquisite Gardeners: A Visible Transparency Project\u003c/h3>\n\u003ch5>June 28 – September 21\u003cbr>\nMuseum of Craft and Design (2569 Third Street, San Francisco)\u003cbr>\n\u003ca href=\"http://www.sfmcd.org/\">Information\u003c/a>\u003c/h5>\n\u003cp>Longtime educator and artist Joe Brubaker brings “The Exquisite Gardeners” to MCAD, creating a collaborative installation of scrappy and reclaimed materials in the midst of his own sculptural retrospective. Visitors can stop by during the Gardeners’ week-long installation period, giving a glimpse into an improvised (and possibly inspirational) creative process.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/CJM2.jpg\" alt=\"Women playing mah jongg in the Catskills, 1960; Collection of Harvey Abrams\" width=\"400\" height=\"293\" class=\"alignleft size-full wp-image-10136489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CJM2.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/CJM2-300x219.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\n\u003ch3>Project Mah Jongg\u003c/h3>\n\u003ch5>July 13 – October 28\u003cbr>\nContemporary Jewish Museum (736 Mission Street, San Francisco)\u003cbr>\n\u003ca href=\"http://www.thecjm.org/\">Information\u003c/a>\u003c/h5>\n\u003cp>Imported from China, the game of mah jongg entered American consciousness in the 1920s and became inextricably linked to Jewish ladies’ social gatherings. This traveling exhibit showcases mah jongg artifacts (scorecards, aprons, packages, and tiles) along with the results of the game’s popularity (snazzy mah jongg-inspired fashion), exploring deep connections between this communal game-playing in both Chinese and Jewish cultures. Beef up your skills, grab a National Mah Jongg League playing card, and while away the evening hours with some friends.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/YBCA2.jpg\" alt=\"\" width=\"400\" height=\"197\" class=\"alignleft size-full wp-image-10136490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/YBCA2.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/YBCA2-300x147.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch3>Bay Area Now 7\u003c/h3>\n\u003ch5>July 18 – September 28\u003cbr>\nYerba Buena Center for the Arts (701 Mission Street, San Francisco)\u003cbr>\n\u003ca href=\"http://www.ybca.org/ban7\">Information\u003c/a>\u003c/h5>\n\u003cp>For their seventh triennial of Bay Area art, YBCA tries a new, decentralized approach to curating, inviting fifteen local visual arts organizations to stage their own projects within the museum’s space. Providing a concentrated platform for some lesser-seen Bay Area arts activity, YBCA shifts focus from a select few artists to a group of venues, projects, and arts initiatives. A full range of events, readings, and screenings provide even more opportunities to learn about everyone from [ 2nd floor projects ] to Important Projects to the San Quentin Prison Project and the artists they work diligently to promote.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Desirée Holman’s solo exhibition at di Rosa’s Gatehouse Gallery prompts, among other things, a deep tumble down that rabbit hole known as the internet. Citing figures from the history of spiritual mysticism while displaying pseudo-technological sculptures, her work makes an argument for the intersection of New Age and tech culture. The Bay Area is ground zero for both movements, and yet they exist at a remove from each other, approximately the distance of a ten foot pole. In works on paper, sculpture, video, and performance, Holman creates a world of weird harmony between science, science fiction, the past, and the future.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10136298 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606.jpg\" alt=\"\" width=\"796\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606.jpg 796w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606-300x168.jpg 300w\" sizes=\"auto, (max-width: 796px) 100vw, 796px\">\u003c/a>\u003c/p>\n\u003cp>The night of the opening reception, five ethereal figures stood at the lip of the di Rosa’s lake. Evenly dispersed, they enacted a repeated set of movements, described in the exhibition brochure as “choreography inspired by science fiction films, spiritual dance forms and yoga asanas.” This teaser of a large-scale performance scheduled for June 28 was mesmerizing. Their gestures were equally welcoming, equally alien.\u003c/p>\n\u003cp>The figures represented just some of the characters who will roam the di Rosa landscape come June. The Ecstatic Dancer uses improvisational moves to express spiritual belief and looks like a member of the Merce Cunningham Dance Company. The Time Traveler wears a psionic helmet (often made of discarded kitchenware) and represents a bridge between the classic tinfoil-wearing loony and our contemporary cadre of Google Glass enthusiasts. The Indigo Child, with her bright blue aura, is extremely empathetic and intelligent; she is a precursor to the next level of humanity and a true \u003cem>sophont\u003c/em> (a term borrowed from science fiction).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10136300\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c-400x266.jpg\" alt=\"2014.05.10 di_Rosa-Desiree Holman\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c.jpg 800w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As in her previous research-based projects, Holman gives physical shape to lesser-known communities and their unique forms of expression, utilizing role-playing, costume, and dance to enact alternative and often empowering identities. The ideas represented within \u003cstrong>Sophont in Action\u003c/strong> are abstract and spacey, but once combined, make perfect sense. Each drawing, painting, sculpture and video shows evidence of the hand, paying homage to ideas of self-actualization and individual innovation, cornerstones (respectively) of New Age culture and technological entrepreneurship.\u003c/p>\n\u003cp>The exhibition traces the lineage of contemporary movements to the occult investigations of the past. A series of aura works feature the familiar rainbow cloud sans subject, triggering the start of the aforementioned internet search. Names like Annie Besant, Aleister Crowley, Edgar Cayce, Franz Mesmer, Helena Blavatskyn, and Norbert Wiener cover subjects from theosophy to magic and futurism to mathematics, from the 18th century to the 20th. Holman indulges in a little creative license, fashioning her own versions of these historical figures’ multi-hued “frequencies.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10136302\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2-400x266.jpg\" alt=\"2014.05.10 di_Rosa-Desiree Holman\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2.jpg 800w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Her \u003cem>Channelling Aura\u003c/em> series places a masked figure in the midst of the aura, questioning the veracity of the imaging. Does the aura represent the hidden human identity or the costume-shop extraterrestrial? Alien faces bridge the gap between individual aura and an expanded view of the universe. In ten acrylic works, Holman depicts a variety of dazzling spacescapes made from a combination of real and fictionalized views of the cosmos, full of glittering stars and dusty nebulas. \u003cem>Outer Space 2\u003c/em> features a brain-like formation of orange clouds, a fitting companion to the aura set. \u003cem>Outer Space 5\u003c/em> is more violent, with large airbrushed starbursts punctuating the panel surface.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10136303 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1-400x592.jpg\" alt=\"2014.05.10 di_Rosa-Desiree Holman\" width=\"400\" height=\"592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1-400x592.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1-202x300.jpg 202w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1.jpg 506w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Dispersed throughout the Gatehouse Gallery, mixed media sculptures on custom pedestals show a combination of identifiable objects (hearing aids, a chandelier), cast and painted hands, electronics, and smooth, abstract head forms. The \u003cem>Psionics\u003c/em> are humorous props for the figures in Holman’s performances and drawings, tools to aid time travel, prevent mind-reading, or do whatever future inventors might dream of doing. Sporadically, the sculptures light up, move ever so slightly, and encourage sustained viewing.\u003c/p>\n\u003cp>A multi-channel video piece appears on monitors scattered around the show, previewing the three-channel video installation that has its own room: \u003cem>Close Contact 2\u003c/em>. In subtle shifts of color and shape, the video creates an otherworldly atmosphere akin to Jeremy Blake’s more abstract works. At one moment, an alien face appeared in the mist, but disappeared just fast enough for me to question the accuracy of my vision.\u003c/p>\n\u003cfigure id=\"attachment_10136301\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman-400x266.jpg\" alt=\"Desirée Holman\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10136301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman.jpg 800w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The artist Desirée Holman\u003c/figcaption>\u003c/figure>\n\u003cp>In repetition (of titles, subject matter, and form), Holman hints at the many interpretations natural phenomena engender. Whether we choose to gaze at the night sky as an invitation to explore beyond our physical limitations, or peer inside for spiritual guidance, both impulses are rooted in curiosity. Holman’s investigations into the weird, unrooted, and most fantastical of subject matter imbue her chosen communities with gravitas and agency. Bridging the gap between techno futurism and New Age culture, \u003cb>Sophont in Action\u003c/b> provides a utopian meeting ground for two opposing parties in the current discourse on the Bay Area’s future. Perhaps a live performance by members of the di Rosa’s local community will help pave the way towards visualizing (and enacting) a shared harmonious future, unitards and kitchenware headgear included.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sophont in Action\u003c/strong> is on view at di Rosa’s Gatehouse Gallery through July 20, 2014. A live performance will take place Saturday, June 28, 7-9:30pm, and an artist talk with cultural critic Erik Davis is scheduled for Thursday, July 10, 7pm. For \u003ca href=\"http://www.dirosaart.org\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a> visit dirosaart.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Desirée Holman’s solo exhibition at di Rosa’s Gatehouse Gallery prompts, among other things, a deep tumble down that rabbit hole known as the internet. Citing figures from the history of spiritual mysticism while displaying pseudo-technological sculptures, her work makes an argument for the intersection of New Age and tech culture. The Bay Area is ground zero for both movements, and yet they exist at a remove from each other, approximately the distance of a ten foot pole. In works on paper, sculpture, video, and performance, Holman creates a world of weird harmony between science, science fiction, the past, and the future.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10136298 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606.jpg\" alt=\"\" width=\"796\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606.jpg 796w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-a-e1400403586606-300x168.jpg 300w\" sizes=\"auto, (max-width: 796px) 100vw, 796px\">\u003c/a>\u003c/p>\n\u003cp>The night of the opening reception, five ethereal figures stood at the lip of the di Rosa’s lake. Evenly dispersed, they enacted a repeated set of movements, described in the exhibition brochure as “choreography inspired by science fiction films, spiritual dance forms and yoga asanas.” This teaser of a large-scale performance scheduled for June 28 was mesmerizing. Their gestures were equally welcoming, equally alien.\u003c/p>\n\u003cp>The figures represented just some of the characters who will roam the di Rosa landscape come June. The Ecstatic Dancer uses improvisational moves to express spiritual belief and looks like a member of the Merce Cunningham Dance Company. The Time Traveler wears a psionic helmet (often made of discarded kitchenware) and represents a bridge between the classic tinfoil-wearing loony and our contemporary cadre of Google Glass enthusiasts. The Indigo Child, with her bright blue aura, is extremely empathetic and intelligent; she is a precursor to the next level of humanity and a true \u003cem>sophont\u003c/em> (a term borrowed from science fiction).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10136300\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c-400x266.jpg\" alt=\"2014.05.10 di_Rosa-Desiree Holman\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_performance-c.jpg 800w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As in her previous research-based projects, Holman gives physical shape to lesser-known communities and their unique forms of expression, utilizing role-playing, costume, and dance to enact alternative and often empowering identities. The ideas represented within \u003cstrong>Sophont in Action\u003c/strong> are abstract and spacey, but once combined, make perfect sense. Each drawing, painting, sculpture and video shows evidence of the hand, paying homage to ideas of self-actualization and individual innovation, cornerstones (respectively) of New Age culture and technological entrepreneurship.\u003c/p>\n\u003cp>The exhibition traces the lineage of contemporary movements to the occult investigations of the past. A series of aura works feature the familiar rainbow cloud sans subject, triggering the start of the aforementioned internet search. Names like Annie Besant, Aleister Crowley, Edgar Cayce, Franz Mesmer, Helena Blavatskyn, and Norbert Wiener cover subjects from theosophy to magic and futurism to mathematics, from the 18th century to the 20th. Holman indulges in a little creative license, fashioning her own versions of these historical figures’ multi-hued “frequencies.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10136302\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2-400x266.jpg\" alt=\"2014.05.10 di_Rosa-Desiree Holman\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install2.jpg 800w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Her \u003cem>Channelling Aura\u003c/em> series places a masked figure in the midst of the aura, questioning the veracity of the imaging. Does the aura represent the hidden human identity or the costume-shop extraterrestrial? Alien faces bridge the gap between individual aura and an expanded view of the universe. In ten acrylic works, Holman depicts a variety of dazzling spacescapes made from a combination of real and fictionalized views of the cosmos, full of glittering stars and dusty nebulas. \u003cem>Outer Space 2\u003c/em> features a brain-like formation of orange clouds, a fitting companion to the aura set. \u003cem>Outer Space 5\u003c/em> is more violent, with large airbrushed starbursts punctuating the panel surface.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-10136303 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1-400x592.jpg\" alt=\"2014.05.10 di_Rosa-Desiree Holman\" width=\"400\" height=\"592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1-400x592.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1-202x300.jpg 202w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman_install1.jpg 506w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Dispersed throughout the Gatehouse Gallery, mixed media sculptures on custom pedestals show a combination of identifiable objects (hearing aids, a chandelier), cast and painted hands, electronics, and smooth, abstract head forms. The \u003cem>Psionics\u003c/em> are humorous props for the figures in Holman’s performances and drawings, tools to aid time travel, prevent mind-reading, or do whatever future inventors might dream of doing. Sporadically, the sculptures light up, move ever so slightly, and encourage sustained viewing.\u003c/p>\n\u003cp>A multi-channel video piece appears on monitors scattered around the show, previewing the three-channel video installation that has its own room: \u003cem>Close Contact 2\u003c/em>. In subtle shifts of color and shape, the video creates an otherworldly atmosphere akin to Jeremy Blake’s more abstract works. At one moment, an alien face appeared in the mist, but disappeared just fast enough for me to question the accuracy of my vision.\u003c/p>\n\u003cfigure id=\"attachment_10136301\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman-400x266.jpg\" alt=\"Desirée Holman\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10136301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/di_Rosa-DesireeHolman.jpg 800w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The artist Desirée Holman\u003c/figcaption>\u003c/figure>\n\u003cp>In repetition (of titles, subject matter, and form), Holman hints at the many interpretations natural phenomena engender. Whether we choose to gaze at the night sky as an invitation to explore beyond our physical limitations, or peer inside for spiritual guidance, both impulses are rooted in curiosity. Holman’s investigations into the weird, unrooted, and most fantastical of subject matter imbue her chosen communities with gravitas and agency. Bridging the gap between techno futurism and New Age culture, \u003cb>Sophont in Action\u003c/b> provides a utopian meeting ground for two opposing parties in the current discourse on the Bay Area’s future. Perhaps a live performance by members of the di Rosa’s local community will help pave the way towards visualizing (and enacting) a shared harmonious future, unitards and kitchenware headgear included.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sophont in Action\u003c/strong> is on view at di Rosa’s Gatehouse Gallery through July 20, 2014. A live performance will take place Saturday, June 28, 7-9:30pm, and an artist talk with cultural critic Erik Davis is scheduled for Thursday, July 10, 7pm. For \u003ca href=\"http://www.dirosaart.org\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a> visit dirosaart.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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