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"title": "What I Saw When I Didn't See Lightning: Walter De Maria's 'The Lightning Field'",
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"content": "\u003cp>The late artist and musician Walter De Maria’s \u003ci>The Lightning Field\u003c/i> (1977) is an immersive Land Art sculpture composed of four hundred stainless steel rods gridded out in the high desert of western New Mexico. The artist’s parameters for viewing the work are explicit, stewarded by the original commissioner, the Dia Art Foundation. Viewing is roughly a twenty-four hour experience. Visitors lodge in a former homesteader’s cabin and dine on prepared offerings. The number of visitors is capped at six; if there are fewer in your party, your reservation will most assuredly be bundled with strangers. Reservations open March 1st for visits seven days a week May through October. July and August are “lightning season” and these reservations cost a premium. Though comparatively expensive when considering that many art experiences are free, a visit to \u003ci>The Lightning Field\u003c/i> is on par with the cost of staying in a decent hotel, seeing a show and dining out a few times, except, of course, for the fact that you cook your own meals with strangers in a very rustic splintery-spidery log cabin and hope for lightning to strike the property.\u003c/p>\n\u003cp>I had reservations in mid-August last year. The drive from Albuquerque — some two hours, no public transportation — wends through the breathtaking landscape of El Malpais National Monument, the result of a volcanic eruption 3000 years ago. On one side of the road massive lava flows are frozen in time, on the other Basalt columns extend up to the rolling clouds overhead. Some of the oldest Douglas Fir trees on the planet live in the monument, which was used as a bombing range to test pilots during World War II. El Malpais’ surreal lava fields and ghostly La Ventana Arch is, without a doubt, one of the most incredible landscapes I’ve ever seen.\u003c/p>\n\u003cfigure class=\"wp-caption alignncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lightningfield2.jpg\" width=\"500\" height=\"390\" alt=\"Walter De Maria, The Lightning Field, 1977; Photo: John Cliett, c. Dia Art Foundation\" class>\u003cfigcaption class=\"wp-caption-text\">Walter De Maria, The Lightning Field, 1977; Photo: John Cliett, c. Dia Art Foundation\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors meet at Dia’s office in the small town of Quemado (pop. 906), a short distance beyond El Malpais, and are instructed to check in at the white two-story building on the main street. It is, in fact, the only two-story building on a quiet stretch of road featuring fewer than a dozen buildings, including a cafe, a hardware shop, and what appeared to be a perpetually closed gallery, its entrance graced with dozens of sun bleached antlers arranged in a decorative arch. When I inquired about buying wine at the country store, the young woman at the counter harrumphed and jutted her chin eastward. Apparently the only gas station in this otherwise dry community recently began selling cheap wine, undoubtedly to the relief of a few townsfolk, many art tourists and this writer in particular. I visited a few of the other open businesses and chatted with bemused locals. None had ever visited \u003ci>The Lightning Field\u003c/i>. (Writer and curator Lucy Lippard recently remarked, “Land Art is for city people.” Nowhere does this seem more apropos than Quemado.) A young man in the hardware store told me he was sure lightning hitting the rods would scare the crap out of him. I laughed and wondered if I felt the same way.\u003c/p>\n\u003cp>A Swiss and a French couple on a marathon Land Art tour joined my husband and me as we waited at the Dia office. Robert Weathers, one of the original builders who worked with De Maria and the caretaker to this day, met our group to shuttle us out to the field. We chatted a little as we drove, but mostly we all took in the landscape, scanning the horizon and waiting to see glints of metal. When we arrived at mid-afternoon, the sculpture was barely visible in the field. As the day wore on dramatic changes in visibility arose from imperceptible shifts in sunlight, and reflections formed prismatic patterns across the distance of the sculpture. At various times different guests would walk out to the field and gradually disappear into the distance, only to reemerge on the horizon as they returned an hour or two later.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lightningfield1.jpg\" width=\"500\" height=\"632\" alt=\"Walter De Maria, The Lightning Field, 1977; Photo: John Cliett, c. Dia Art Foundation\" class>\u003cfigcaption class=\"wp-caption-text\">Walter De Maria, The Lightning Field, 1977; Photo: John Cliett, c. Dia Art Foundation\u003c/figcaption>\u003c/figure>\n\u003cp>My perception of the work was shaped by the details I found walking between the rods in the field as much as it was by looking at the sculpture from the shaded porch of the cabin. I had never walked in the desert and I was entranced. I saw nature I hadn’t seen before, including three different pre-historic looking beetles, as brilliant as rubies and sapphires, industrious red ants scurrying over hills that rivaled the pyramids, and elephantine piles of sun baked shit from wandering cows, a marvel unto themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There were also small deliberate interventions. At the outer edge of the grid, away from the cabin, I found and left undisturbed a small, recently dated memorial. Nearer the cabin, a bone-dry vertebrae large enough to belong to a small person, but more likely that of a big animal, was strung out on the ground. On the corners of the cabin, handsome rocks ranging from ochre to cinnabar had been carried in from the field and arranged on the log ends.\u003c/p>\n\u003cp>When the sun went down, our little group opened successive bottles of gas station wine and toasted the moonlit field. We marveled at the galaxy of stars spread out before us and watched silently as lightning chased a storm away in the far distance. No lightning struck during our visit, but I was not disappointed. If lightning had struck, we would have been confined to the cabin as spectators, probably jammed together on the porch. Because it hadn’t, we were at liberty to roam and to discover the work in broad swaths and fine details. “Isolation,” wrote the artist in \u003ci>Artforum\u003c/i> in 1977, “is the essence of Land Art.” Though it may not have been as hard to come by in the first few decades of the work’s existence, solitude is a particularly rare gift in today’s atmosphere of constant connectivity. Perhaps due to the absence of lightning, everything became the artwork in my mind: the journey through El Malpais, my conversations in Quemado, and the sculpture, of course, but also the shared meals with strangers, the spectacular nature, the roughshod cabin. Ultimately my experience of \u003ci>The Lightning Field\u003c/i> wasn’t of lightning at all. It might have been different from what the artist envisioned, but it was still of his creation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Walter De Maria’s \u003ci>The Lightning Field\u003c/i> is located on private property in Western New Mexico and is maintained by the Dia Art Foundation. Reservations for this year’s visiting season open Saturday, March 1, 2014. Find \u003ca href=\"http://www.diaart.org/sites/page/56/1301\">more details\u003c/a> at diaart.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The late artist and musician Walter De Maria’s \u003ci>The Lightning Field\u003c/i> (1977) is an immersive Land Art sculpture composed of four hundred stainless steel rods gridded out in the high desert of western New Mexico. The artist’s parameters for viewing the work are explicit, stewarded by the original commissioner, the Dia Art Foundation. Viewing is roughly a twenty-four hour experience. Visitors lodge in a former homesteader’s cabin and dine on prepared offerings. The number of visitors is capped at six; if there are fewer in your party, your reservation will most assuredly be bundled with strangers. Reservations open March 1st for visits seven days a week May through October. July and August are “lightning season” and these reservations cost a premium. Though comparatively expensive when considering that many art experiences are free, a visit to \u003ci>The Lightning Field\u003c/i> is on par with the cost of staying in a decent hotel, seeing a show and dining out a few times, except, of course, for the fact that you cook your own meals with strangers in a very rustic splintery-spidery log cabin and hope for lightning to strike the property.\u003c/p>\n\u003cp>I had reservations in mid-August last year. The drive from Albuquerque — some two hours, no public transportation — wends through the breathtaking landscape of El Malpais National Monument, the result of a volcanic eruption 3000 years ago. On one side of the road massive lava flows are frozen in time, on the other Basalt columns extend up to the rolling clouds overhead. Some of the oldest Douglas Fir trees on the planet live in the monument, which was used as a bombing range to test pilots during World War II. El Malpais’ surreal lava fields and ghostly La Ventana Arch is, without a doubt, one of the most incredible landscapes I’ve ever seen.\u003c/p>\n\u003cfigure class=\"wp-caption alignncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lightningfield2.jpg\" width=\"500\" height=\"390\" alt=\"Walter De Maria, The Lightning Field, 1977; Photo: John Cliett, c. Dia Art Foundation\" class>\u003cfigcaption class=\"wp-caption-text\">Walter De Maria, The Lightning Field, 1977; Photo: John Cliett, c. Dia Art Foundation\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors meet at Dia’s office in the small town of Quemado (pop. 906), a short distance beyond El Malpais, and are instructed to check in at the white two-story building on the main street. It is, in fact, the only two-story building on a quiet stretch of road featuring fewer than a dozen buildings, including a cafe, a hardware shop, and what appeared to be a perpetually closed gallery, its entrance graced with dozens of sun bleached antlers arranged in a decorative arch. When I inquired about buying wine at the country store, the young woman at the counter harrumphed and jutted her chin eastward. Apparently the only gas station in this otherwise dry community recently began selling cheap wine, undoubtedly to the relief of a few townsfolk, many art tourists and this writer in particular. I visited a few of the other open businesses and chatted with bemused locals. None had ever visited \u003ci>The Lightning Field\u003c/i>. (Writer and curator Lucy Lippard recently remarked, “Land Art is for city people.” Nowhere does this seem more apropos than Quemado.) A young man in the hardware store told me he was sure lightning hitting the rods would scare the crap out of him. I laughed and wondered if I felt the same way.\u003c/p>\n\u003cp>A Swiss and a French couple on a marathon Land Art tour joined my husband and me as we waited at the Dia office. Robert Weathers, one of the original builders who worked with De Maria and the caretaker to this day, met our group to shuttle us out to the field. We chatted a little as we drove, but mostly we all took in the landscape, scanning the horizon and waiting to see glints of metal. When we arrived at mid-afternoon, the sculpture was barely visible in the field. As the day wore on dramatic changes in visibility arose from imperceptible shifts in sunlight, and reflections formed prismatic patterns across the distance of the sculpture. At various times different guests would walk out to the field and gradually disappear into the distance, only to reemerge on the horizon as they returned an hour or two later.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lightningfield1.jpg\" width=\"500\" height=\"632\" alt=\"Walter De Maria, The Lightning Field, 1977; Photo: John Cliett, c. Dia Art Foundation\" class>\u003cfigcaption class=\"wp-caption-text\">Walter De Maria, The Lightning Field, 1977; Photo: John Cliett, c. Dia Art Foundation\u003c/figcaption>\u003c/figure>\n\u003cp>My perception of the work was shaped by the details I found walking between the rods in the field as much as it was by looking at the sculpture from the shaded porch of the cabin. I had never walked in the desert and I was entranced. I saw nature I hadn’t seen before, including three different pre-historic looking beetles, as brilliant as rubies and sapphires, industrious red ants scurrying over hills that rivaled the pyramids, and elephantine piles of sun baked shit from wandering cows, a marvel unto themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There were also small deliberate interventions. At the outer edge of the grid, away from the cabin, I found and left undisturbed a small, recently dated memorial. Nearer the cabin, a bone-dry vertebrae large enough to belong to a small person, but more likely that of a big animal, was strung out on the ground. On the corners of the cabin, handsome rocks ranging from ochre to cinnabar had been carried in from the field and arranged on the log ends.\u003c/p>\n\u003cp>When the sun went down, our little group opened successive bottles of gas station wine and toasted the moonlit field. We marveled at the galaxy of stars spread out before us and watched silently as lightning chased a storm away in the far distance. No lightning struck during our visit, but I was not disappointed. If lightning had struck, we would have been confined to the cabin as spectators, probably jammed together on the porch. Because it hadn’t, we were at liberty to roam and to discover the work in broad swaths and fine details. “Isolation,” wrote the artist in \u003ci>Artforum\u003c/i> in 1977, “is the essence of Land Art.” Though it may not have been as hard to come by in the first few decades of the work’s existence, solitude is a particularly rare gift in today’s atmosphere of constant connectivity. Perhaps due to the absence of lightning, everything became the artwork in my mind: the journey through El Malpais, my conversations in Quemado, and the sculpture, of course, but also the shared meals with strangers, the spectacular nature, the roughshod cabin. Ultimately my experience of \u003ci>The Lightning Field\u003c/i> wasn’t of lightning at all. It might have been different from what the artist envisioned, but it was still of his creation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Anne Colvin and Margaret Tait Make 'The Shape of a Pocket' at Mills",
"headTitle": "Anne Colvin and Margaret Tait Make ‘The Shape of a Pocket’ at Mills | KQED",
"content": "\u003cp>In \u003cb>The Shape of a Pocket\u003c/b>, the Mills College Art Museum brings together an exhibition of two artists whose work is by turns intangible and substantial. Fittingly, the process of wandering through the MCAM installation is akin to the private action of feeling out the edges of an unknown space. The same is true for the sensation of experiencing both Anne Colvin and Margaret Tait’s work. Using found and original footage, experimental techniques and minimal narrative, Colvin and Tait create insular and all-encompassing worlds without bound. Inside these “pockets” are even more discoveries — two remarkable artists, one working in the legacy of the other, and a multitude of beauty to be absorbed within the exhibition, given the patience and time to truly do so.\u003c/p>\n\u003cp>In the meditative darkness of the gallery, Colvin’s three-channel video installation \u003ci>A Granite Note\u003c/i> is a large physical presence (projected on three 10 by 16-foot walls), but the imagery it depicts is fragmented, out of focus, or too close to absorb, remaining obscure and unknown despite its immense parts. While Tait’s \u003ci>Portrait of Ga\u003c/i> and \u003ci>Colour Poems\u003c/i> are given a smaller stage in a screening room, they are not afterthoughts to Colvin’s installation. Brief, atmospheric, and sometimes funny, Tait’s films require an enclosed, semi-private (and seated) viewing experience.\u003c/p>\n\u003cp>Scale is in constant flux in both Colvin and Tait’s works. While one portion of \u003ci>A Granite Note\u003c/i> is visible upon opening the gallery door, the other two projections are angled towards the two closest walls, preventing viewers from ever observing the entire frame — you simply can’t get far enough away. The video facing the entrance shows marching bagpipers’ feet, their kilts swishing in slow motion and regular speed while a pleasant shimmering sound loops overhead.\u003c/p>\n\u003cp>On Colvin’s right wall, grainy high contrast flowers, their petals nearly 8 feet tall, move side to side, shifting in hue from lavender to peach to yellow. On the left wall, large boats move across the frame, cutting to choppy water and back again. The slight sound of crashing wave, possibly imagined, blends with a series of pleasant tones and the bagpipers’ shimmer.\u003c/p>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colvin1.jpg\" width=\"500\" height=\"334\" alt=\"Anne Colvin, A Granite Note installation view, 2014; Photo: Phil Bond\" class>\u003cfigcaption class=\"wp-caption-text\">Anne Colvin, A Granite Note installation view, 2014; Photo: Phil Bond\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colvin2.jpg\" width=\"500\" height=\"322\" alt=\"Anne Colvin, A Granite Note detail, 2014; Photo: Phil Bond\" class>\u003cfigcaption class=\"wp-caption-text\">Anne Colvin, A Granite Note detail, 2014; Photo: Phil Bond\u003c/figcaption>\u003c/figure>\n\u003cp>Behind the walls, red spotlights beam down on four paper sculptures. For these, Colvin sourced turn-of-the-century Scottish landscapes, printed them large-scale (halftone dots create a different type of rocky texture), then folded and shaped the paper to resemble rocks onces again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tait’s films are filled with similar shifts between breathtaking Orkney coastlines and intimate, nearly abstracted moments. In \u003ci>Portrait of Ga\u003c/i>, a playful document of her own mother, Tait opens with Ga’s diminutive figure traversing an empty field, later lingering on a zoomed-in view of the older woman’s white hands as she unwraps a sticky piece of candy against her dark dress.\u003c/p>\n\u003cp>After watching \u003ci>Colour Poems\u003c/i>, some of Tait’s recurring images begin to connect to Colvin’s choices in \u003ci>A Granite Note\u003c/i>: marching or orderly walking, swaying red poppies, rocks, ocean, things that seem inherently Scottish. Though Tait’s films aren’t filled with kilt-wearing actors, the remote Orkney islands (go ahead, \u003ca href=\"http://goo.gl/maps/hL0LV\">check the map\u003c/a>) are a character of their own, further demonstrated by the lovely documentary on view within the exhibition, \u003ci>Margaret Tait, Film Poet\u003c/i>.\u003c/p>\n\u003cp>If anything could dwarf Colvin’s 10-foot walls, it would be the collected accomplishments of Margaret Tait. Responsible for 33 films, 3 books of poetry and the “most challenging restoration” the Scottish Screen Archive ever attempted, Tait was both pioneering and prolific. In the words of her family, friends and peers, she becomes a legend. As one interviewee remarks, “She didn’t say a lot, but when she did, it was very meaningful.”\u003c/p>\n\u003cp>Opposite Tait’s dark screening chamber, a bright room displays the documentary, audio of Tait reading her own poetry, copies of her various publications, and a small file organizer holding manila folders of her notes, letters, and other ephemera. While its brightness is jarring, small discoveries can be made within this room — I opened \u003ci>origins and elements\u003c/i> to find my new favorite lines of poetry in the piece called “Journalism:”\u003c/p>\n\u003cp>\u003ci>One should live to the limits of one’s own greatness,\u003cbr>\nNeither beyond nor short,\u003cbr>\nAnd not contract to the smaller duties\u003cbr>\nNor pretend\u003cbr>\nAnything.\u003c/i>\u003c/p>\n\u003cp>The title \u003cb>The Shape of a Pocket\u003c/b> is borrowed from a 2001 collection of essays by John Berger. Within Berger’s original context, “a pocket is formed when two or more people come together in agreement.” Berger’s pocket is one of resistance against the New World Economic Order — an explicit statement quite different from the fuzzy, intimate image (or feeling) conjured by the Mills College show. And yet, in the meditative space created within this exhibition, Tait’s periodic references to violence and Colvin’s depiction of fleeting moments address Berger’s call for a shared sense of urgency. Sheltering from the chaos, Tait and Colvin’s work creates a pocket where contemplation — and remarkable artistic accomplishment — becomes possible.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Shape of a Pocket: Anne Colvin and Margaret Tait\u003c/b> is on view through March 16, 2014 at the Mills College Art Museum in Oakland. For \u003ca href=\"http://mcam.mills.edu/exhibitions/current3.php\">more information\u003c/a> visit mcam.mills.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cb>The Shape of a Pocket\u003c/b>, the Mills College Art Museum brings together an exhibition of two artists whose work is by turns intangible and substantial. Fittingly, the process of wandering through the MCAM installation is akin to the private action of feeling out the edges of an unknown space. The same is true for the sensation of experiencing both Anne Colvin and Margaret Tait’s work. Using found and original footage, experimental techniques and minimal narrative, Colvin and Tait create insular and all-encompassing worlds without bound. Inside these “pockets” are even more discoveries — two remarkable artists, one working in the legacy of the other, and a multitude of beauty to be absorbed within the exhibition, given the patience and time to truly do so.\u003c/p>\n\u003cp>In the meditative darkness of the gallery, Colvin’s three-channel video installation \u003ci>A Granite Note\u003c/i> is a large physical presence (projected on three 10 by 16-foot walls), but the imagery it depicts is fragmented, out of focus, or too close to absorb, remaining obscure and unknown despite its immense parts. While Tait’s \u003ci>Portrait of Ga\u003c/i> and \u003ci>Colour Poems\u003c/i> are given a smaller stage in a screening room, they are not afterthoughts to Colvin’s installation. Brief, atmospheric, and sometimes funny, Tait’s films require an enclosed, semi-private (and seated) viewing experience.\u003c/p>\n\u003cp>Scale is in constant flux in both Colvin and Tait’s works. While one portion of \u003ci>A Granite Note\u003c/i> is visible upon opening the gallery door, the other two projections are angled towards the two closest walls, preventing viewers from ever observing the entire frame — you simply can’t get far enough away. The video facing the entrance shows marching bagpipers’ feet, their kilts swishing in slow motion and regular speed while a pleasant shimmering sound loops overhead.\u003c/p>\n\u003cp>On Colvin’s right wall, grainy high contrast flowers, their petals nearly 8 feet tall, move side to side, shifting in hue from lavender to peach to yellow. On the left wall, large boats move across the frame, cutting to choppy water and back again. The slight sound of crashing wave, possibly imagined, blends with a series of pleasant tones and the bagpipers’ shimmer.\u003c/p>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colvin1.jpg\" width=\"500\" height=\"334\" alt=\"Anne Colvin, A Granite Note installation view, 2014; Photo: Phil Bond\" class>\u003cfigcaption class=\"wp-caption-text\">Anne Colvin, A Granite Note installation view, 2014; Photo: Phil Bond\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/colvin2.jpg\" width=\"500\" height=\"322\" alt=\"Anne Colvin, A Granite Note detail, 2014; Photo: Phil Bond\" class>\u003cfigcaption class=\"wp-caption-text\">Anne Colvin, A Granite Note detail, 2014; Photo: Phil Bond\u003c/figcaption>\u003c/figure>\n\u003cp>Behind the walls, red spotlights beam down on four paper sculptures. For these, Colvin sourced turn-of-the-century Scottish landscapes, printed them large-scale (halftone dots create a different type of rocky texture), then folded and shaped the paper to resemble rocks onces again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tait’s films are filled with similar shifts between breathtaking Orkney coastlines and intimate, nearly abstracted moments. In \u003ci>Portrait of Ga\u003c/i>, a playful document of her own mother, Tait opens with Ga’s diminutive figure traversing an empty field, later lingering on a zoomed-in view of the older woman’s white hands as she unwraps a sticky piece of candy against her dark dress.\u003c/p>\n\u003cp>After watching \u003ci>Colour Poems\u003c/i>, some of Tait’s recurring images begin to connect to Colvin’s choices in \u003ci>A Granite Note\u003c/i>: marching or orderly walking, swaying red poppies, rocks, ocean, things that seem inherently Scottish. Though Tait’s films aren’t filled with kilt-wearing actors, the remote Orkney islands (go ahead, \u003ca href=\"http://goo.gl/maps/hL0LV\">check the map\u003c/a>) are a character of their own, further demonstrated by the lovely documentary on view within the exhibition, \u003ci>Margaret Tait, Film Poet\u003c/i>.\u003c/p>\n\u003cp>If anything could dwarf Colvin’s 10-foot walls, it would be the collected accomplishments of Margaret Tait. Responsible for 33 films, 3 books of poetry and the “most challenging restoration” the Scottish Screen Archive ever attempted, Tait was both pioneering and prolific. In the words of her family, friends and peers, she becomes a legend. As one interviewee remarks, “She didn’t say a lot, but when she did, it was very meaningful.”\u003c/p>\n\u003cp>Opposite Tait’s dark screening chamber, a bright room displays the documentary, audio of Tait reading her own poetry, copies of her various publications, and a small file organizer holding manila folders of her notes, letters, and other ephemera. While its brightness is jarring, small discoveries can be made within this room — I opened \u003ci>origins and elements\u003c/i> to find my new favorite lines of poetry in the piece called “Journalism:”\u003c/p>\n\u003cp>\u003ci>One should live to the limits of one’s own greatness,\u003cbr>\nNeither beyond nor short,\u003cbr>\nAnd not contract to the smaller duties\u003cbr>\nNor pretend\u003cbr>\nAnything.\u003c/i>\u003c/p>\n\u003cp>The title \u003cb>The Shape of a Pocket\u003c/b> is borrowed from a 2001 collection of essays by John Berger. Within Berger’s original context, “a pocket is formed when two or more people come together in agreement.” Berger’s pocket is one of resistance against the New World Economic Order — an explicit statement quite different from the fuzzy, intimate image (or feeling) conjured by the Mills College show. And yet, in the meditative space created within this exhibition, Tait’s periodic references to violence and Colvin’s depiction of fleeting moments address Berger’s call for a shared sense of urgency. Sheltering from the chaos, Tait and Colvin’s work creates a pocket where contemplation — and remarkable artistic accomplishment — becomes possible.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Shape of a Pocket: Anne Colvin and Margaret Tait\u003c/b> is on view through March 16, 2014 at the Mills College Art Museum in Oakland. For \u003ca href=\"http://mcam.mills.edu/exhibitions/current3.php\">more information\u003c/a> visit mcam.mills.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Email helpdesk@dailyserving.com with questions. All submissions remain strictly confidential and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I’ve been with my gallery for about four years, and had two solo shows (and participated in a few group shows) with them. They are nice people and there have been some sales, but lately I’ve been thinking that it’s time to move on. Recently I’ve had some very encouraging studio visits with other art dealers, and I think one of them might ask me to join their roster. How do I break up with my current gallery without creating hard feelings? I would definitely be moving up in the world with the new gallery. \u003c/b>\u003c/p>\n\u003cp>Back in 2008, art critic \u003ca href=\"http://www.nytimes.com/2008/04/18/arts/design/18pace.html?ref=design\">Roberta Smith wrote\u003c/a>, “An overheated art market sets all kinds of things in motion. Big galleries with money to burn and multiple spaces to fill start circling smaller galleries, eyeing their most successful artists like the underdeveloped properties they sometimes are. Artists get itchy and think about moving up the gallery food chain. And boom or bust, even the friendliest, most mutually beneficial artist-dealer relationships can prove finite. They are outgrown or become stale. Suddenly, it’s time to move on.” And lucky you, to be in a position where you can pick and choose! Most artists I know would love to be in your shoes right now — and yet we all know that everything has its price. You may not be able to advance your career without incurring some hurt feelings. The question is perhaps not \u003ci>if\u003c/i> but \u003ci>how much\u003c/i>.\u003c/p>\n\u003cp>But, unless you’re being coy, it sounds as though you may be counting your proverbial chickens before they are even out of the shell. In advance of planning your great leap forward, I want you to read \u003ca href=\"http://dailyserving.com/2013/05/help-desk-ideal-representation/\">this Help Desk column from 2013\u003c/a>, in which artists talk about how to find a gallery that’s a good match. They offer lots of pertinent questions, such as, “Do you like and respect the people running the gallery? Do you trust them, feel that they understand your work, and that they are both interested in and capable of promoting it in a way that will advance your career? Do you feel that they understand the business, and have done well for the other artists that they represent? Do you know any of those artists, or have you talked with them about how they feel their career is going? Remember that you are entering into a business partnership with these people, possibly for an extended period of time. Do you have a clear sense of what your expectations and theirs are regarding this relationship?” Read through the advice and think very carefully about where you want to be, and with whom you want to be working. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cells.JPG\" style=\"margin-bottom: 10px;\">\u003cbr>John Divola, \u003ci>Cells, 87CA1\u003c/i>, 1987-9.\u003cbr>\u003c/center>\n\u003cp>If you do get an offer and decide to move on, here are some tips: \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>• If you don’t already have one (and you should), make an inventory of all the works that are at your current gallery. List the title, size, medium, and date, and include a thumbnail image of the work if you can. You should have a copy of this, and your gallerist should have another. \u003c/p>\n\u003cp>• Review your gallery representation contract. Just kidding! Tragically, no one actually uses contracts; but they should, and this situation is exactly why. (On the off chance that you do have a well-written representation contract, it should spell out the terms of terminating your relationship.) \u003c/p>\n\u003cp>• Hurting someone’s feelings (never mind threatening their livelihood) is never easy unless you’re a jerk. You might be tempted to take the less-painful-for-you route and break the bad news at a distance, but don’t do it! No one wants you to put a career opportunity aside, but at the same time you want to be seen as an artist with whom it is good to do business, right up to the very end. Schedule a meeting with your current gallerist, perhaps after the gallery closes, or set up a lunch meeting. Here’s the hard part: you must be brave and tell your gallerist to her face that you are leaving. You must state it in the most diplomatic way possible. No emails, no texting, not even a phone call — be a person of strength and honor. Tell the truth if you’re asked about who solicited whom (you’d better believe the real story will come out anyway, so ‘fess up if you courted the new dealers). Stay calm if the conversation gets sticky. You must also remember to thank your gallerist profusely, because it’s unlikely that you’d be making a “move up” if you weren’t represented by her in the first place. Remember that this person has been working hard to promote and sell your artwork for four years. \u003c/p>\n\u003cp>• Negotiate a timeline for getting your work back. You don’t have to do it at this meeting, but you should do it very soon after. Get everything in writing (an email is fine). Are you going to pick up the artwork? Will it be delivered? Define the terms so that you both know where you stand. \u003c/p>\n\u003cp>• Write a proper thank-you note when all is said and done, even if your gallerist is mad at you. You can reiterate what you said at lunch, and be sure to stress how grateful you are. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the end, no one can expect you to pass up an opportunity that would benefit your career. Of course, as with all relationships, personal feelings can complicate things somewhat. To quote gallerist \u003ca href=\"http://www.edwardwinkleman.com/2008/04/end-of-artist-gallery-relationship-from.html\">Edward Winkleman\u003c/a>, “Every dealer knows each of his/her artists personally, and the good ones do feel sorry when things don’t work out and try to ease the transition as best they can. Every artist understands that leaving their gallery will be difficult for them (it can cause the gallery to have very unhappy collectors who were on waiting lists and lots of unpleasant questions to answer all the way around), and the considerate artists do leave as gently as they can.” Good luck!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Email helpdesk@dailyserving.com with questions. All submissions remain strictly confidential and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I’ve been with my gallery for about four years, and had two solo shows (and participated in a few group shows) with them. They are nice people and there have been some sales, but lately I’ve been thinking that it’s time to move on. Recently I’ve had some very encouraging studio visits with other art dealers, and I think one of them might ask me to join their roster. How do I break up with my current gallery without creating hard feelings? I would definitely be moving up in the world with the new gallery. \u003c/b>\u003c/p>\n\u003cp>Back in 2008, art critic \u003ca href=\"http://www.nytimes.com/2008/04/18/arts/design/18pace.html?ref=design\">Roberta Smith wrote\u003c/a>, “An overheated art market sets all kinds of things in motion. Big galleries with money to burn and multiple spaces to fill start circling smaller galleries, eyeing their most successful artists like the underdeveloped properties they sometimes are. Artists get itchy and think about moving up the gallery food chain. And boom or bust, even the friendliest, most mutually beneficial artist-dealer relationships can prove finite. They are outgrown or become stale. Suddenly, it’s time to move on.” And lucky you, to be in a position where you can pick and choose! Most artists I know would love to be in your shoes right now — and yet we all know that everything has its price. You may not be able to advance your career without incurring some hurt feelings. The question is perhaps not \u003ci>if\u003c/i> but \u003ci>how much\u003c/i>.\u003c/p>\n\u003cp>But, unless you’re being coy, it sounds as though you may be counting your proverbial chickens before they are even out of the shell. In advance of planning your great leap forward, I want you to read \u003ca href=\"http://dailyserving.com/2013/05/help-desk-ideal-representation/\">this Help Desk column from 2013\u003c/a>, in which artists talk about how to find a gallery that’s a good match. They offer lots of pertinent questions, such as, “Do you like and respect the people running the gallery? Do you trust them, feel that they understand your work, and that they are both interested in and capable of promoting it in a way that will advance your career? Do you feel that they understand the business, and have done well for the other artists that they represent? Do you know any of those artists, or have you talked with them about how they feel their career is going? Remember that you are entering into a business partnership with these people, possibly for an extended period of time. Do you have a clear sense of what your expectations and theirs are regarding this relationship?” Read through the advice and think very carefully about where you want to be, and with whom you want to be working. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cells.JPG\" style=\"margin-bottom: 10px;\">\u003cbr>John Divola, \u003ci>Cells, 87CA1\u003c/i>, 1987-9.\u003cbr>\u003c/center>\n\u003cp>If you do get an offer and decide to move on, here are some tips: \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>• If you don’t already have one (and you should), make an inventory of all the works that are at your current gallery. List the title, size, medium, and date, and include a thumbnail image of the work if you can. You should have a copy of this, and your gallerist should have another. \u003c/p>\n\u003cp>• Review your gallery representation contract. Just kidding! Tragically, no one actually uses contracts; but they should, and this situation is exactly why. (On the off chance that you do have a well-written representation contract, it should spell out the terms of terminating your relationship.) \u003c/p>\n\u003cp>• Hurting someone’s feelings (never mind threatening their livelihood) is never easy unless you’re a jerk. You might be tempted to take the less-painful-for-you route and break the bad news at a distance, but don’t do it! No one wants you to put a career opportunity aside, but at the same time you want to be seen as an artist with whom it is good to do business, right up to the very end. Schedule a meeting with your current gallerist, perhaps after the gallery closes, or set up a lunch meeting. Here’s the hard part: you must be brave and tell your gallerist to her face that you are leaving. You must state it in the most diplomatic way possible. No emails, no texting, not even a phone call — be a person of strength and honor. Tell the truth if you’re asked about who solicited whom (you’d better believe the real story will come out anyway, so ‘fess up if you courted the new dealers). Stay calm if the conversation gets sticky. You must also remember to thank your gallerist profusely, because it’s unlikely that you’d be making a “move up” if you weren’t represented by her in the first place. Remember that this person has been working hard to promote and sell your artwork for four years. \u003c/p>\n\u003cp>• Negotiate a timeline for getting your work back. You don’t have to do it at this meeting, but you should do it very soon after. Get everything in writing (an email is fine). Are you going to pick up the artwork? Will it be delivered? Define the terms so that you both know where you stand. \u003c/p>\n\u003cp>• Write a proper thank-you note when all is said and done, even if your gallerist is mad at you. You can reiterate what you said at lunch, and be sure to stress how grateful you are. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, no one can expect you to pass up an opportunity that would benefit your career. Of course, as with all relationships, personal feelings can complicate things somewhat. To quote gallerist \u003ca href=\"http://www.edwardwinkleman.com/2008/04/end-of-artist-gallery-relationship-from.html\">Edward Winkleman\u003c/a>, “Every dealer knows each of his/her artists personally, and the good ones do feel sorry when things don’t work out and try to ease the transition as best they can. Every artist understands that leaving their gallery will be difficult for them (it can cause the gallery to have very unhappy collectors who were on waiting lists and lots of unpleasant questions to answer all the way around), and the considerate artists do leave as gently as they can.” Good luck!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fahrrad Verrückter Künst: Bicycle Derelict Art at Nowheresville SF",
"headTitle": "Fahrrad Verrückter Künst: Bicycle Derelict Art at Nowheresville SF | KQED",
"content": "\u003cp>Opening this Saturday in the Mission’s Nowheresville SF gallery is an eclectic group show featuring the paintings, drawings, watercolors and mixed-media creations of several local artists and cyclists including Alexis Knudsen, Chris McNally and Casey Robertson. Works by gallery owner Paul Urich and curator Stevil Kinevil will also be highlighted in the month-long exhibit co-presented by the Colorado-based bicycle company Swobo.\u003c/p>\n\u003cp>I’ve personally known Stevil for several years, as we frequent the same social circles within the Bay Area cycling community. In addition to his status as a beloved dark horse ambassador of cycling with a wry sense of humor, he’s a prolific writer, artist, and “an unashamed and unapologetic Germanphile” — hence the colorful title of the show: \u003cb>Fahrrad Verrückter Künst\u003c/b>. It’s “a continuation of my appreciation for German Expressionism, my wife and her family’s heritage … and because I think anything with an umlaut looks cool,” Stevil commented via email.\u003c/p>\n\u003cp>Fahrrad Verrückter Künst, which loosely translates to “Bicycle Derelict Art,” has its roots in Stevil’s passion for cycling culture and artists who work outside of the mainstream.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bicycleart-640.jpg\" width=\"640\" height=\"640\" alt=\"Stevil Kinevil, A Drawing Based On A Story Based On A Drunken Glance From A Distance\" class>\u003cfigcaption class=\"wp-caption-text\">Stevil Kinevil, A Drawing Based On A Story Based On A Drunken Glance From A Distance\u003c/figcaption>\u003c/figure>\n\u003cp>“I spent a few years employed as an art installer. Our clientele included museums, renowned galleries and the Bay Area’s elite. I was dismayed to find that in all of my time employed in that profession, only a few clients (private collectors specifically, as opposed to the museums or galleries) would purchase pieces of art because they happened to genuinely love them.\u003c/p>\n\u003cp>In all of the other cases, people were buying art that their consultants would tell them to, because the artist was the flavor of the month, or because their neighbors had bought a piece. It was all very “keeping up with the Joneses.” Suffice to say, at least in that regard, the work is ‘outsider art,’ because we’re not on the status quo’s radar, which frankly, after having seen that side of it, I’m perfectly happy with.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kinevil’s been kicking around the idea for this show for at least ten years. “Starting back when I was a bicycle messenger in San Francisco in the ’90s, it was with some regularity I’ve submitted work for consideration to shows happening in conjunction with bicycle-related events: the Bicycle Messenger World Championships, The Bicycle Film Festival, etc. And without exception, my work was rejected because “it didn’t have anything to do with bikes.”\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bicycleart2.jpg\" width=\"500\" height=\"667\" alt=\"Paul Urich, Grim Happy Face\" class>\u003cfigcaption class=\"wp-caption-text\">Paul Urich, Grim Happy Face\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the fact that he had committed himself “to nearly every facet of the bicycle world for over half my life,” Stevil realized that his ideas of what constituted “bicycle art” was different from his colleagues — so he decided to define his unique artistic connections to cycling through his own curatorial lens.\u003c/p>\n\u003cp>“It was because of those interactions that I was inspired to curate and take part in this show, which is work made by cyclists — all of whom are equally committed to their art lives as they are their bike lives, but consciously maintain a distinct separation between the two. The result is a show of work made by cyclists, that has visually nothing to do with bikes yet at the same time, because of who made it, has everything to do with them.”\u003c/p>\n\u003cp>Swobo’s president, Peter Discoe, “was very enthusiastic about supporting [the show] in whatever way [he] could. Like me, he sees the bike world as a very myopic one. This is our opportunity to hopefully expand people’s perceptions of who the brand is and the fact that cyclists are capable at being multifaceted… Plus I think they’re also buying the beer.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Fahrrad Verrückter Künst\u003c/b> opens at 6pm on February 8, 2014 at Nowheresville SF (483 14th Street, San Francisco, CA) and runs through March 31, 2014. For \u003ca href=\"http://swoboradio.com/2014/01/30/bicycle-derelict-art-nowheresville-sf-sat-2814-6-pm/\">more information\u003c/a> visit swoboradio.com. On Twitter: \u003ca href=\"https://twitter.com/NowheresvilleSF\">@NowheresvilleSF\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opening this Saturday in the Mission’s Nowheresville SF gallery is an eclectic group show featuring the paintings, drawings, watercolors and mixed-media creations of several local artists and cyclists including Alexis Knudsen, Chris McNally and Casey Robertson. Works by gallery owner Paul Urich and curator Stevil Kinevil will also be highlighted in the month-long exhibit co-presented by the Colorado-based bicycle company Swobo.\u003c/p>\n\u003cp>I’ve personally known Stevil for several years, as we frequent the same social circles within the Bay Area cycling community. In addition to his status as a beloved dark horse ambassador of cycling with a wry sense of humor, he’s a prolific writer, artist, and “an unashamed and unapologetic Germanphile” — hence the colorful title of the show: \u003cb>Fahrrad Verrückter Künst\u003c/b>. It’s “a continuation of my appreciation for German Expressionism, my wife and her family’s heritage … and because I think anything with an umlaut looks cool,” Stevil commented via email.\u003c/p>\n\u003cp>Fahrrad Verrückter Künst, which loosely translates to “Bicycle Derelict Art,” has its roots in Stevil’s passion for cycling culture and artists who work outside of the mainstream.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bicycleart-640.jpg\" width=\"640\" height=\"640\" alt=\"Stevil Kinevil, A Drawing Based On A Story Based On A Drunken Glance From A Distance\" class>\u003cfigcaption class=\"wp-caption-text\">Stevil Kinevil, A Drawing Based On A Story Based On A Drunken Glance From A Distance\u003c/figcaption>\u003c/figure>\n\u003cp>“I spent a few years employed as an art installer. Our clientele included museums, renowned galleries and the Bay Area’s elite. I was dismayed to find that in all of my time employed in that profession, only a few clients (private collectors specifically, as opposed to the museums or galleries) would purchase pieces of art because they happened to genuinely love them.\u003c/p>\n\u003cp>In all of the other cases, people were buying art that their consultants would tell them to, because the artist was the flavor of the month, or because their neighbors had bought a piece. It was all very “keeping up with the Joneses.” Suffice to say, at least in that regard, the work is ‘outsider art,’ because we’re not on the status quo’s radar, which frankly, after having seen that side of it, I’m perfectly happy with.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kinevil’s been kicking around the idea for this show for at least ten years. “Starting back when I was a bicycle messenger in San Francisco in the ’90s, it was with some regularity I’ve submitted work for consideration to shows happening in conjunction with bicycle-related events: the Bicycle Messenger World Championships, The Bicycle Film Festival, etc. And without exception, my work was rejected because “it didn’t have anything to do with bikes.”\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bicycleart2.jpg\" width=\"500\" height=\"667\" alt=\"Paul Urich, Grim Happy Face\" class>\u003cfigcaption class=\"wp-caption-text\">Paul Urich, Grim Happy Face\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the fact that he had committed himself “to nearly every facet of the bicycle world for over half my life,” Stevil realized that his ideas of what constituted “bicycle art” was different from his colleagues — so he decided to define his unique artistic connections to cycling through his own curatorial lens.\u003c/p>\n\u003cp>“It was because of those interactions that I was inspired to curate and take part in this show, which is work made by cyclists — all of whom are equally committed to their art lives as they are their bike lives, but consciously maintain a distinct separation between the two. The result is a show of work made by cyclists, that has visually nothing to do with bikes yet at the same time, because of who made it, has everything to do with them.”\u003c/p>\n\u003cp>Swobo’s president, Peter Discoe, “was very enthusiastic about supporting [the show] in whatever way [he] could. Like me, he sees the bike world as a very myopic one. This is our opportunity to hopefully expand people’s perceptions of who the brand is and the fact that cyclists are capable at being multifaceted… Plus I think they’re also buying the beer.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Fahrrad Verrückter Künst\u003c/b> opens at 6pm on February 8, 2014 at Nowheresville SF (483 14th Street, San Francisco, CA) and runs through March 31, 2014. For \u003ca href=\"http://swoboradio.com/2014/01/30/bicycle-derelict-art-nowheresville-sf-sat-2814-6-pm/\">more information\u003c/a> visit swoboradio.com. On Twitter: \u003ca href=\"https://twitter.com/NowheresvilleSF\">@NowheresvilleSF\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Zubair Simab fled Afghanistan at 17 during the Russian invasion of 1979, the young Afghan fighter who shepherded him across the mountains to safety gave him a pen as a parting gift. It was a simple plastic pen purchased from a village store. But the pen and all it symbolized has remained a touchstone for Simab through the years.\u003c/p>\n\u003cp>The pen is a revered object among Muslims, who associate it with learning and the Qur’an — and with Islamic calligraphy, the art of turning Arabic texts into decorative designs. Simab says that when he was growing up in Kabul, calligraphy was everywhere — in places of worship, in museums, in his home — and intermingled with every aspect of life. He began studying calligraphy as a boy and still works to perfect his art. “Calligraphy is not one of those things that you can do today and then put down and come back to it in two or three months,” the artist says. “It takes continual practice, continual dedication.”\u003c/p>\n\u003caside class=\"alignright noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-129114\">\u003c/a>\u003cbr>\n\u003c/aside>\n\u003cp>Calligraphy’s central role in the Islamic world came about in part as a result of prohibitions against idolatry and, to some extent, against depictions of all living beings. “Traditionally, in the beginning in Islam,” Simab says, “if you created a portrait … of an animal, for instance, some people said that you gave that form life. And you are not The Creator, right? So the entire focus became how to beautify those Arabic words from the Qur’an. And calligraphy became the highest form of Islamic art.”\u003c/p>\n\u003cp>Many of Simab’s techniques, including the use of hand-carved bamboo pens, have been handed down by master calligraphers dating back to the seventh century. He bases his designs on verses of Farsi poetry, lines from the Qur’an and on traditional Arabic proverbs. The beauty of the letterforms can often spark curiosity about their meaning: “When people see my calligraphy,” he says, “they ask me, ‘What is it you’re saying?'” This can be the beginning of what Simab calls “the grass-roots work” of building understanding among cultures.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/zubair1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/zubair1.jpg\" alt=\"zubair1\" width=\"500\" height=\"268\" class=\"aligncenter size-full wp-image-128511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/zubair1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/zubair1-400x214.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/zubair1-300x160.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Simab is thankful for being able to bring to the culture of his new home in the Bay Area something from the land of his childhood, a place that was heartbreakingly difficult to leave. “Leaving Kabul forever, leaving my friends and family, and particularly my dad, was very emotional,” recalls Simab. Over time, his whole family emigrated safely to America.\u003c/p>\n\u003cp>Simab’s work has been widely exhibited around the Bay Area, including at the De Anza College Euphrat Museum of Art and at the Triton Museum of Art in Santa Clara. He’s currently working on a commission from the Creative Work Fund, a collaboration with mosaic artist Pippa Murray. Together they’re planning a calligraphic mosaic for the front entrance for the Islamic Center of Manteca. The project’s theme is harmony; it should be finished in the fall of 2014.\u003c/p>\n\u003cfigure id=\"attachment_128512\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/zubair3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/zubair3.jpg\" alt=\"Simab during one of the many calligraphy demonstrations he gives in the Bay Area. He's shown here building cultural bridges at Read Booksellers in Danville.\" width=\"500\" height=\"281\" class=\"size-full wp-image-128512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/zubair3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/zubair3-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/zubair3-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Simab during one of the many calligraphy demonstrations he gives in the Bay Area. He’s shown here building cultural bridges at Read Booksellers in Danville.\u003c/figcaption>\u003c/figure>\n\u003cp>“There are many things… that are going away in this world with the way that we are globalizing,” says Simab, who is dedicated not only to connecting people and cultures through his art but also to passing on this ancient art form for future generations. “We need to appreciate these things and keep them alive. It will bring a colorful meaning to the life of all mankind.”\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003chr>\n\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\n\u003cp> \u003ca class=\"img-right\" href=\"http://www.hewlett.org/\" style=\"margin-bottom: 5px\">\u003cbr>\n \u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/29/logohewlettfoundation300px.png\" alt=\"\" width=\"125\">\u003cbr>\n \u003c/a>\u003cbr>\nFunding for KQED Arts is provided by \u003ca href=\"http://www.hewlett.org/\" target=\"_blank\" rel=\"noopener\">The William and\u003cbr>\nFlora Hewlett Foundation\u003c/a>. Support is also provided by the members of KQED.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Zubair Simab fled Afghanistan at 17 during the Russian invasion of 1979, the young Afghan fighter who shepherded him across the mountains to safety gave him a pen as a parting gift. It was a simple plastic pen purchased from a village store. But the pen and all it symbolized has remained a touchstone for Simab through the years.\u003c/p>\n\u003cp>The pen is a revered object among Muslims, who associate it with learning and the Qur’an — and with Islamic calligraphy, the art of turning Arabic texts into decorative designs. Simab says that when he was growing up in Kabul, calligraphy was everywhere — in places of worship, in museums, in his home — and intermingled with every aspect of life. He began studying calligraphy as a boy and still works to perfect his art. “Calligraphy is not one of those things that you can do today and then put down and come back to it in two or three months,” the artist says. “It takes continual practice, continual dedication.”\u003c/p>\n\u003caside class=\"alignright noborder\">\n\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-129114\">\u003c/a>\u003cbr>\n\u003c/aside>\n\u003cp>Calligraphy’s central role in the Islamic world came about in part as a result of prohibitions against idolatry and, to some extent, against depictions of all living beings. “Traditionally, in the beginning in Islam,” Simab says, “if you created a portrait … of an animal, for instance, some people said that you gave that form life. And you are not The Creator, right? So the entire focus became how to beautify those Arabic words from the Qur’an. And calligraphy became the highest form of Islamic art.”\u003c/p>\n\u003cp>Many of Simab’s techniques, including the use of hand-carved bamboo pens, have been handed down by master calligraphers dating back to the seventh century. He bases his designs on verses of Farsi poetry, lines from the Qur’an and on traditional Arabic proverbs. The beauty of the letterforms can often spark curiosity about their meaning: “When people see my calligraphy,” he says, “they ask me, ‘What is it you’re saying?'” This can be the beginning of what Simab calls “the grass-roots work” of building understanding among cultures.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/zubair1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/zubair1.jpg\" alt=\"zubair1\" width=\"500\" height=\"268\" class=\"aligncenter size-full wp-image-128511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/zubair1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/zubair1-400x214.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/zubair1-300x160.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Simab is thankful for being able to bring to the culture of his new home in the Bay Area something from the land of his childhood, a place that was heartbreakingly difficult to leave. “Leaving Kabul forever, leaving my friends and family, and particularly my dad, was very emotional,” recalls Simab. Over time, his whole family emigrated safely to America.\u003c/p>\n\u003cp>Simab’s work has been widely exhibited around the Bay Area, including at the De Anza College Euphrat Museum of Art and at the Triton Museum of Art in Santa Clara. He’s currently working on a commission from the Creative Work Fund, a collaboration with mosaic artist Pippa Murray. Together they’re planning a calligraphic mosaic for the front entrance for the Islamic Center of Manteca. The project’s theme is harmony; it should be finished in the fall of 2014.\u003c/p>\n\u003cfigure id=\"attachment_128512\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/zubair3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/zubair3.jpg\" alt=\"Simab during one of the many calligraphy demonstrations he gives in the Bay Area. He's shown here building cultural bridges at Read Booksellers in Danville.\" width=\"500\" height=\"281\" class=\"size-full wp-image-128512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/zubair3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/zubair3-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/zubair3-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Simab during one of the many calligraphy demonstrations he gives in the Bay Area. He’s shown here building cultural bridges at Read Booksellers in Danville.\u003c/figcaption>\u003c/figure>\n\u003cp>“There are many things… that are going away in this world with the way that we are globalizing,” says Simab, who is dedicated not only to connecting people and cultures through his art but also to passing on this ancient art form for future generations. “We need to appreciate these things and keep them alive. It will bring a colorful meaning to the life of all mankind.”\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003chr>\n\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\n\u003cp> \u003ca class=\"img-right\" href=\"http://www.hewlett.org/\" style=\"margin-bottom: 5px\">\u003cbr>\n \u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/29/logohewlettfoundation300px.png\" alt=\"\" width=\"125\">\u003cbr>\n \u003c/a>\u003cbr>\nFunding for KQED Arts is provided by \u003ca href=\"http://www.hewlett.org/\" target=\"_blank\" rel=\"noopener\">The William and\u003cbr>\nFlora Hewlett Foundation\u003c/a>. Support is also provided by the members of KQED.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From January 31 through February 2, over 260 international presses, booksellers, antiquarians, artists, and independent publishers descended on the Geffen Contemporary at MOCA to usher in the second SoCal version of the 8-year-old \u003ca href=\"http://nyartbookfair.com/\">NY Art Book Fair\u003c/a>. Publishers, dealers, and designers carried in their boxes of rare books, handmade zines, artist editions, and other ephemera for a four-day celebration of and — for some — shopping spree in the midst of all things print-related.\u003c/p>\n\u003cp>If the number of my surprise run-ins with fellow Bay Area dwellers is any measure, Northern California was well represented at the fair. Holding down the fort, in alphabetical order, were \u003ca href=\"http://projects2ndfloor.blogspot.com/\">[ 2nd floor projects ]\u003c/a>, \u003ca href=\"http://basement.cc/\">Basement\u003c/a>, \u003ca href=\"http://ccooll.us/\">CCOOLL\u003c/a>, \u003ca href=\"http://www.colpapress.com/\">Colpa\u003c/a>, \u003ca href=\"http://www.gallery16.com/\">Gallery 16\u003c/a>, \u003ca href=\"http://www.hamburgereyes.com/\">Hamburger Eyes\u003c/a>, \u003ca href=\"http://landandseaeditions.virb.com/\">LAND AND SEA\u003c/a>, \u003ca href=\"http://littlebigmanbooks.com/\">Little Big Man Books\u003c/a>, \u003ca href=\"http://littlepaperplanes.com/\">Little Paper Planes\u003c/a>, modlitbooks, \u003ca href=\"http://www.andpens.com/\">Needles & Pens\u003c/a>, \u003ca href=\"http://www.tbwbooks.com/\">TBW Books\u003c/a>, and \u003ca href=\"http://www.thethingquarterly.com/\">THE THING Quarterly\u003c/a>. I can’t even begin to include a list of all the vendors offering up publications created by or featuring the work of Bay Area-based artists, writers, and poets.\u003c/p>\n\u003cp>The best part of the fair is watching people — die-hard producers of printed matter — interact with one another. A large majority of the people behind the tables at the LA Art Book Fair (LAABF) run their operations out of garages and studios, off desktop computers in the hours between full-time jobs and other life obligations. They sell publications online, via friendly bookstores, or at sporadic hosted public events. But at the LAABF they set up across the aisle from like-minded presses usually continents away, rubbing elbows with colleagues, fans, collectors, and fellow print enthusiasts. At the LAABF, an entire dispersed network of people making things becomes tangible — and shacks up under the same roof for four days.\u003c/p>\n\u003cp>I’m not one to talk about energy, but let me tell you, the energy is great.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bookfair1.jpg\" width=\"500\" height=\"500\" class=\"alignleft\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This year, I weathered the fair a bit better than my 2013 attempt. Run-ins with long-lost faces from the past didn’t surprise me as much. I paced myself. I stayed hydrated. Routinely, I checked in with vendors from the Bay Area to see how the fair was treating them, to gauge their enthusiasm or exhaustion, and offer moral support.\u003c/p>\n\u003cp>THE THING premiered their latest artist edition from John Baldessari. For those of you who didn’t make it down, I won’t ruin the surprise coming to your mailboxes in one of those artfully folded cardboard boxes. Showcasing past issues and projects, THE THING team was at least four people deep at all times, fielding dozens of interested parties beneath a bright red vinyl dot on the wall. Occupying a cushy corner spot in a main thoroughfare, they had the space and vantage point to escape the fair’s crush.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bookfair2.jpg\" width=\"500\" height=\"500\" alt=\"Needles & Pens / & Pens Press\" class>\u003cfigcaption class=\"wp-caption-text\">Needles & Pens / & Pens Press\u003c/figcaption>\u003c/figure>\n\u003cp>In the crush, Little Paper Planes and Needles & Pens occupied single tables in a room of 30 other vendors. Little Paper Planes offered a small sampling of their Valencia storefront’s wares, including tiny potted air plants, self-published zines and cast rubber museum stands by Bay Area artist \u003ca href=\"http://www.danahemenway.com/\">Dana Hemenway\u003c/a>. Just two tables over, Needles & Pens (and their new LA satellite bookstore/gallery space & Pens Press) stocked familiar multi-colored stacks of zines.\u003c/p>\n\u003cp>At the other end of the Geffen, a section called (XE)ROX & PAPER + SCISSORS held some the most exciting (and affordable) work of the bunch. Disclaimer alert: I came down from San Francisco with the combination table of Colpa and Basement; the former a publisher, the latter a creative collective in the Mission. Offering up a mixture of copy-store produced and high end art publications, the Colpa / Basement table sold out a number of their offerings, but collectively the group purchased just as many — if not more — books than they sold.\u003c/p>\n\u003cp>Here lies a fundamental challenge at any fair. Surrounded by beautiful objects, clever projects, and things you’ve always dreamed of touching, the 55,000 square-foot space at the Geffen becomes completely overwhelming. You can’t help but want everything, purchase some things, and then painfully regret leaving other things behind.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bookfair3.jpg\" width=\"500\" height=\"500\" alt=\"LAND AND SEA\" class>\u003cfigcaption class=\"wp-caption-text\">LAND AND SEA\u003c/figcaption>\u003c/figure>\n\u003cp>LAND AND SEA and [ 2nd floor projects ] showcased opposite display methods. LAND AND SEA showed the Chris Duncan-produced 100-edition \u003ci>OVERVIEW\u003c/i>, a collection of 79 Risograph prints by 81 artists. The contents displayed salon-style on the wall above their table, Duncan had maybe five items on his table. Margaret Tedesco of [ 2nd floor projects ] had maybe 50. Featuring the material of artists she’s worked with in her exhibition program, Tedesco had (among other items) vintage zines from the ’90s, a Kuchar DVD and Linda Geary’s recent book \u003ci>Studio Visit\u003c/i>. In their separate ways, Duncan and Tedesco represented a living archive of Bay Area art, faithfully bringing the ethos of our art scene into conversation with the countless other innovative projects taking shape as printed matter.\u003c/p>\n\u003cp>With an extra bag full of books and weary eyes from ogling just about everything at the fair, I stumbled back to San Francisco on Sunday night, my belief in print culture reaffirmed once again by the LA Art Book Fair.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The LA Art Book Fair took place January 31 to February 2, 2014. For more information visit \u003ca href=\"http://laartbookfair.net/\">laartbookfair.net\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From January 31 through February 2, over 260 international presses, booksellers, antiquarians, artists, and independent publishers descended on the Geffen Contemporary at MOCA to usher in the second SoCal version of the 8-year-old \u003ca href=\"http://nyartbookfair.com/\">NY Art Book Fair\u003c/a>. Publishers, dealers, and designers carried in their boxes of rare books, handmade zines, artist editions, and other ephemera for a four-day celebration of and — for some — shopping spree in the midst of all things print-related.\u003c/p>\n\u003cp>If the number of my surprise run-ins with fellow Bay Area dwellers is any measure, Northern California was well represented at the fair. Holding down the fort, in alphabetical order, were \u003ca href=\"http://projects2ndfloor.blogspot.com/\">[ 2nd floor projects ]\u003c/a>, \u003ca href=\"http://basement.cc/\">Basement\u003c/a>, \u003ca href=\"http://ccooll.us/\">CCOOLL\u003c/a>, \u003ca href=\"http://www.colpapress.com/\">Colpa\u003c/a>, \u003ca href=\"http://www.gallery16.com/\">Gallery 16\u003c/a>, \u003ca href=\"http://www.hamburgereyes.com/\">Hamburger Eyes\u003c/a>, \u003ca href=\"http://landandseaeditions.virb.com/\">LAND AND SEA\u003c/a>, \u003ca href=\"http://littlebigmanbooks.com/\">Little Big Man Books\u003c/a>, \u003ca href=\"http://littlepaperplanes.com/\">Little Paper Planes\u003c/a>, modlitbooks, \u003ca href=\"http://www.andpens.com/\">Needles & Pens\u003c/a>, \u003ca href=\"http://www.tbwbooks.com/\">TBW Books\u003c/a>, and \u003ca href=\"http://www.thethingquarterly.com/\">THE THING Quarterly\u003c/a>. I can’t even begin to include a list of all the vendors offering up publications created by or featuring the work of Bay Area-based artists, writers, and poets.\u003c/p>\n\u003cp>The best part of the fair is watching people — die-hard producers of printed matter — interact with one another. A large majority of the people behind the tables at the LA Art Book Fair (LAABF) run their operations out of garages and studios, off desktop computers in the hours between full-time jobs and other life obligations. They sell publications online, via friendly bookstores, or at sporadic hosted public events. But at the LAABF they set up across the aisle from like-minded presses usually continents away, rubbing elbows with colleagues, fans, collectors, and fellow print enthusiasts. At the LAABF, an entire dispersed network of people making things becomes tangible — and shacks up under the same roof for four days.\u003c/p>\n\u003cp>I’m not one to talk about energy, but let me tell you, the energy is great.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bookfair1.jpg\" width=\"500\" height=\"500\" class=\"alignleft\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year, I weathered the fair a bit better than my 2013 attempt. Run-ins with long-lost faces from the past didn’t surprise me as much. I paced myself. I stayed hydrated. Routinely, I checked in with vendors from the Bay Area to see how the fair was treating them, to gauge their enthusiasm or exhaustion, and offer moral support.\u003c/p>\n\u003cp>THE THING premiered their latest artist edition from John Baldessari. For those of you who didn’t make it down, I won’t ruin the surprise coming to your mailboxes in one of those artfully folded cardboard boxes. Showcasing past issues and projects, THE THING team was at least four people deep at all times, fielding dozens of interested parties beneath a bright red vinyl dot on the wall. Occupying a cushy corner spot in a main thoroughfare, they had the space and vantage point to escape the fair’s crush.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bookfair2.jpg\" width=\"500\" height=\"500\" alt=\"Needles & Pens / & Pens Press\" class>\u003cfigcaption class=\"wp-caption-text\">Needles & Pens / & Pens Press\u003c/figcaption>\u003c/figure>\n\u003cp>In the crush, Little Paper Planes and Needles & Pens occupied single tables in a room of 30 other vendors. Little Paper Planes offered a small sampling of their Valencia storefront’s wares, including tiny potted air plants, self-published zines and cast rubber museum stands by Bay Area artist \u003ca href=\"http://www.danahemenway.com/\">Dana Hemenway\u003c/a>. Just two tables over, Needles & Pens (and their new LA satellite bookstore/gallery space & Pens Press) stocked familiar multi-colored stacks of zines.\u003c/p>\n\u003cp>At the other end of the Geffen, a section called (XE)ROX & PAPER + SCISSORS held some the most exciting (and affordable) work of the bunch. Disclaimer alert: I came down from San Francisco with the combination table of Colpa and Basement; the former a publisher, the latter a creative collective in the Mission. Offering up a mixture of copy-store produced and high end art publications, the Colpa / Basement table sold out a number of their offerings, but collectively the group purchased just as many — if not more — books than they sold.\u003c/p>\n\u003cp>Here lies a fundamental challenge at any fair. Surrounded by beautiful objects, clever projects, and things you’ve always dreamed of touching, the 55,000 square-foot space at the Geffen becomes completely overwhelming. You can’t help but want everything, purchase some things, and then painfully regret leaving other things behind.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bookfair3.jpg\" width=\"500\" height=\"500\" alt=\"LAND AND SEA\" class>\u003cfigcaption class=\"wp-caption-text\">LAND AND SEA\u003c/figcaption>\u003c/figure>\n\u003cp>LAND AND SEA and [ 2nd floor projects ] showcased opposite display methods. LAND AND SEA showed the Chris Duncan-produced 100-edition \u003ci>OVERVIEW\u003c/i>, a collection of 79 Risograph prints by 81 artists. The contents displayed salon-style on the wall above their table, Duncan had maybe five items on his table. Margaret Tedesco of [ 2nd floor projects ] had maybe 50. Featuring the material of artists she’s worked with in her exhibition program, Tedesco had (among other items) vintage zines from the ’90s, a Kuchar DVD and Linda Geary’s recent book \u003ci>Studio Visit\u003c/i>. In their separate ways, Duncan and Tedesco represented a living archive of Bay Area art, faithfully bringing the ethos of our art scene into conversation with the countless other innovative projects taking shape as printed matter.\u003c/p>\n\u003cp>With an extra bag full of books and weary eyes from ogling just about everything at the fair, I stumbled back to San Francisco on Sunday night, my belief in print culture reaffirmed once again by the LA Art Book Fair.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The LA Art Book Fair took place January 31 to February 2, 2014. For more information visit \u003ca href=\"http://laartbookfair.net/\">laartbookfair.net\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Robin Bowman is a photojournalist who traveled the country interviewing teenagers about their lives in the early 2000s. She took their portraits to illustrate the interviews, and later published them in a book. Bowman’s portraits prove that a picture is worth many words. She skillfully captures moments and complex stories in single, black-and-white images. The project grew when Bowman began working with teens on another level, training them to conduct their own interviews and shoot portraits of their peers. The group of students currently working on the project are in Richmond where many of the portraits are on view in the bustling back hallway of the Richmond Art Center.\u003c/p>\n\u003cp>Students worked with a prescribed set of questions related to fears, family, identity, experiences with violence, hopes, and dreams for the future. The interviews are printed in gallery catalogues and you can also listen to them on \u003ca href=\"https://soundcloud.com/amteenaudio/sets/the-american-teenager-project/s-bhHu4\">SoundCloud\u003c/a> while viewing the exhibition. Part of the mission of \u003cb>The American Teenager Project\u003c/b> is to “challenge youth to think critically, connect with each other across difference, and become change agents for a more just and inclusive community,” and the project’s leaders genuinely and successfully work towards this goal. They partner with organizations like \u003ca href=\"http://www.rysecenter.org/\">RYSE Youth Center\u003c/a> in Richmond to work with a curriculum they developed to foster learning, discussion and creativity among teens.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amteenager-640.jpg\" width=\"640\" height=\"640\" class=\"alignright\">\u003c/p>\n\u003cp>It’s clear that the American Teenager Project lights a fire within students; they’re given the space to have their deepest desires and emotions documented, and the recognition that their stories and voices are valuable and relevant. On top of the opportunity to practice and participate in journalism, many are inspired by the chance to work in photography. As Francisco Rojas, who has several photographs in the exhibition, told\u003cbr>\n\u003ca href=\"http://richmondconfidential.org/2013/12/19/art-event-to-showcase-teen-photography-give-insight-into-growing-up-in-richmond/\">Richmond Confidential\u003c/a>, “I just liked the whole process. I’m definitely wanting to do photography as a living.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amteenager2.jpg\" width=\"500\" height=\"215\" class=\"alignleft\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Besides the portraits of Richmond teens, some of Bowman’s original \u003ci>American Teenager\u003c/i> portraits are on view, and it’s an interesting juxtaposition seeing kids from a decade ago, from the East Coast and other parts of the country, alongside today’s local youth. The thread that ties Bowman’s own work to that of the budding photographers in Richmond is very apparent. Many of the teen photographers captured the same striking emotional uncertainty and significant personal experience on the faces of their subjects in the same way that Bowman does. There is an extraordinary amount of care, acceptance, and interest evident between photographer and subject in every portrait in the exhibition.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Explore \u003ca href=\"http://theamericanteenagerproject.org/\">The American Teenager Project\u003c/a> online and see the exhibit at the \u003ca href=\"http://www.therac.org/\">Richmond Art Center\u003c/a> through March 7, 2014. The opening reception is on February 1, 2014 at noon, followed by a participant panel and workshop at 2pm.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robin Bowman is a photojournalist who traveled the country interviewing teenagers about their lives in the early 2000s. She took their portraits to illustrate the interviews, and later published them in a book. Bowman’s portraits prove that a picture is worth many words. She skillfully captures moments and complex stories in single, black-and-white images. The project grew when Bowman began working with teens on another level, training them to conduct their own interviews and shoot portraits of their peers. The group of students currently working on the project are in Richmond where many of the portraits are on view in the bustling back hallway of the Richmond Art Center.\u003c/p>\n\u003cp>Students worked with a prescribed set of questions related to fears, family, identity, experiences with violence, hopes, and dreams for the future. The interviews are printed in gallery catalogues and you can also listen to them on \u003ca href=\"https://soundcloud.com/amteenaudio/sets/the-american-teenager-project/s-bhHu4\">SoundCloud\u003c/a> while viewing the exhibition. Part of the mission of \u003cb>The American Teenager Project\u003c/b> is to “challenge youth to think critically, connect with each other across difference, and become change agents for a more just and inclusive community,” and the project’s leaders genuinely and successfully work towards this goal. They partner with organizations like \u003ca href=\"http://www.rysecenter.org/\">RYSE Youth Center\u003c/a> in Richmond to work with a curriculum they developed to foster learning, discussion and creativity among teens.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amteenager-640.jpg\" width=\"640\" height=\"640\" class=\"alignright\">\u003c/p>\n\u003cp>It’s clear that the American Teenager Project lights a fire within students; they’re given the space to have their deepest desires and emotions documented, and the recognition that their stories and voices are valuable and relevant. On top of the opportunity to practice and participate in journalism, many are inspired by the chance to work in photography. As Francisco Rojas, who has several photographs in the exhibition, told\u003cbr>\n\u003ca href=\"http://richmondconfidential.org/2013/12/19/art-event-to-showcase-teen-photography-give-insight-into-growing-up-in-richmond/\">Richmond Confidential\u003c/a>, “I just liked the whole process. I’m definitely wanting to do photography as a living.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amteenager2.jpg\" width=\"500\" height=\"215\" class=\"alignleft\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Besides the portraits of Richmond teens, some of Bowman’s original \u003ci>American Teenager\u003c/i> portraits are on view, and it’s an interesting juxtaposition seeing kids from a decade ago, from the East Coast and other parts of the country, alongside today’s local youth. The thread that ties Bowman’s own work to that of the budding photographers in Richmond is very apparent. Many of the teen photographers captured the same striking emotional uncertainty and significant personal experience on the faces of their subjects in the same way that Bowman does. There is an extraordinary amount of care, acceptance, and interest evident between photographer and subject in every portrait in the exhibition.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Explore \u003ca href=\"http://theamericanteenagerproject.org/\">The American Teenager Project\u003c/a> online and see the exhibit at the \u003ca href=\"http://www.therac.org/\">Richmond Art Center\u003c/a> through March 7, 2014. The opening reception is on February 1, 2014 at noon, followed by a participant panel and workshop at 2pm.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Robin Bowman is a photojournalist who traveled the country interviewing teenagers about their lives in the early 2000s. She took their portraits to illustrate the interviews, and later published them in a book. Bowman’s portraits prove that a picture is worth many words. She skillfully captures moments and complex stories in single, black-and-white images. The project grew when Bowman began working with teens on another level, training them to conduct their own interviews and shoot portraits of their peers. The group of students currently working on the project are in Richmond where many of the portraits are on view in the bustling back hallway of the Richmond Art Center.\u003c/p>\n\u003cp>Students worked with a prescribed set of questions related to fears, family, identity, experiences with violence, hopes, and dreams for the future. The interviews are printed in gallery catalogues and you can also listen to them on \u003ca href=\"https://soundcloud.com/amteenaudio/sets/the-american-teenager-project/s-bhHu4\">SoundCloud\u003c/a> while viewing the exhibition. Part of the mission of \u003cb>The American Teenager Project\u003c/b> is to “challenge youth to think critically, connect with each other across difference, and become change agents for a more just and inclusive community,” and the project’s leaders genuinely and successfully work towards this goal. They partner with organizations like \u003ca href=\"http://www.rysecenter.org/\">RYSE Youth Center\u003c/a> in Richmond to work with a curriculum they developed to foster learning, discussion and creativity among teens.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amteenager1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>It’s clear that the American Teenager Project lights a fire within students; they’re given the space to have their deepest desires and emotions documented, and the recognition that their stories and voices are valuable and relevant. On top of the opportunity to practice and participate in journalism, many are inspired by the chance to work in photography. As Francisco Rojas, who has several photographs in the exhibition, told\u003ca href=\"http://richmondconfidential.org/2013/12/19/art-event-to-showcase-teen-photography-give-insight-into-growing-up-in-richmond/\">Richmond Confidential\u003c/a>, “I just liked the whole process. I’m definitely wanting to do photography as a living.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amteenager2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Besides the portraits of Richmond teens, some of Bowman’s original \u003ci>American Teenager\u003c/i> portraits are on view, and it’s an interesting juxtaposition seeing kids from a decade ago, from the East Coast and other parts of the country, alongside today’s local youth. The thread that ties Bowman’s own work to that of the budding photographers in Richmond is very apparent. Many of the teen photographers captured the same striking emotional uncertainty and significant personal experience on the faces of their subjects in the same way that Bowman does. There is an extraordinary amount of care, acceptance, and interest evident between photographer and subject in every portrait in the exhibition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Explore \u003ca href=\"http://theamericanteenagerproject.org/\">The American Teenager Project\u003c/a> online and see the exhibit at the \u003ca href=\"http://www.therac.org/\">Richmond Art Center\u003c/a> through March 7, 2014. The opening reception is on February 1, 2014 at noon, followed by a participant panel and workshop at 2pm.\u003c/p>\n\n",
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"excerpt": "Photojournalist Robin Bowman has been working on her \u003cb>American Teenager Project\u003c/b> in various locations across the U.S. since the early 2000s. The latest iteration is a collaboration with Richmond teens that runs through March 7, 2014 at the Richmond Art Center.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robin Bowman is a photojournalist who traveled the country interviewing teenagers about their lives in the early 2000s. She took their portraits to illustrate the interviews, and later published them in a book. Bowman’s portraits prove that a picture is worth many words. She skillfully captures moments and complex stories in single, black-and-white images. The project grew when Bowman began working with teens on another level, training them to conduct their own interviews and shoot portraits of their peers. The group of students currently working on the project are in Richmond where many of the portraits are on view in the bustling back hallway of the Richmond Art Center.\u003c/p>\n\u003cp>Students worked with a prescribed set of questions related to fears, family, identity, experiences with violence, hopes, and dreams for the future. The interviews are printed in gallery catalogues and you can also listen to them on \u003ca href=\"https://soundcloud.com/amteenaudio/sets/the-american-teenager-project/s-bhHu4\">SoundCloud\u003c/a> while viewing the exhibition. Part of the mission of \u003cb>The American Teenager Project\u003c/b> is to “challenge youth to think critically, connect with each other across difference, and become change agents for a more just and inclusive community,” and the project’s leaders genuinely and successfully work towards this goal. They partner with organizations like \u003ca href=\"http://www.rysecenter.org/\">RYSE Youth Center\u003c/a> in Richmond to work with a curriculum they developed to foster learning, discussion and creativity among teens.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amteenager1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>It’s clear that the American Teenager Project lights a fire within students; they’re given the space to have their deepest desires and emotions documented, and the recognition that their stories and voices are valuable and relevant. On top of the opportunity to practice and participate in journalism, many are inspired by the chance to work in photography. As Francisco Rojas, who has several photographs in the exhibition, told\u003ca href=\"http://richmondconfidential.org/2013/12/19/art-event-to-showcase-teen-photography-give-insight-into-growing-up-in-richmond/\">Richmond Confidential\u003c/a>, “I just liked the whole process. I’m definitely wanting to do photography as a living.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amteenager2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Besides the portraits of Richmond teens, some of Bowman’s original \u003ci>American Teenager\u003c/i> portraits are on view, and it’s an interesting juxtaposition seeing kids from a decade ago, from the East Coast and other parts of the country, alongside today’s local youth. The thread that ties Bowman’s own work to that of the budding photographers in Richmond is very apparent. Many of the teen photographers captured the same striking emotional uncertainty and significant personal experience on the faces of their subjects in the same way that Bowman does. There is an extraordinary amount of care, acceptance, and interest evident between photographer and subject in every portrait in the exhibition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Edward Martinez admits that when he was a boy growing up in Newark, N.J., the inside of his bedroom closet may not have been the best place to begin experimenting with graffiti. But the experience lit a spark. “It was like magic,” the artist remembers. “For me, graffiti art was the vehicle to give me my voice. Not so much to spread a political message — the message was that I was alive.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" width=\"300\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>Martinez named himself “Scape,” for Screaming Creative and Positive Energy. “Scape became my alter ego,” he says. “Scape was my superhero. Scape was everything that Edward wasn’t. Graffiti art allows you to do that in a way. Graffiti art allows you to leave the everyday and go out and wear that cape, if you will.”\u003c/p>\n\u003cfigure id=\"attachment_128515\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/scape360.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128515\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/scape360.jpg\" alt=\"Scape Martinez with students from his Graffiti Art Workshop\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape360.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape360-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape360-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scape Martinez with students from his Graffiti Art Workshop at The Mural, Music & Arts Project, in East Palo Alto. MMAP provides opportunity and empowerment to Bay Area youth through participation in the arts.\u003c/figcaption>\u003c/figure>\n\u003cp>Today, Martinez is wearing that cape proudly. Two decades after firing off that first, exhilarating blast from a spray can, his career is thriving, with public art commissions for murals across the Bay Area, speaking engagements, workshops, gallery exhibits and \u003ca href=\"http://www.amazon.com/Scape-Martinez/e/B002I4MBNK\">four books on graffiti art\u003c/a>. Martinez has emerged as a leading voice advocating for the social relevance and importance of graffiti art. Recently, he worked with Stanford Law students in a graffiti art workshop aimed at examining whether art forms that push societal boundaries, like graffiti, can provide a vital role promoting awareness and social change.\u003c/p>\n\u003cfigure id=\"attachment_10134683\" class=\"wp-caption alignleft\" style=\"max-width: 1244px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/01/5_Castilleja.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10134683 \" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/01/5_Castilleja.jpg\" alt='Students at Castilleja School, in San Jose, created \"The Perception, Expression Cube\" during a week-long collaboration with Scape Martinez and MMAP.' width=\"1244\" height=\"933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/01/5_Castilleja.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/01/5_Castilleja-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/01/5_Castilleja-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/01/5_Castilleja-1440x1080.jpg 1440w\" sizes=\"(max-width: 1244px) 100vw, 1244px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Students at Castilleja School, in San Jose, created “The Perception, Expression Cube” during a week-long collaboration with Scape Martinez and MMAP.\u003c/figcaption>\u003c/figure>\n\u003cp>Because graffiti art so impacted his own sense of self-worth growing up, Scape is committed to using its power to give voice to underserved youth, like those he mentors at the Mural, Music & Arts Project (MMAP), in East Palo Alto. Since its founding in 2001, MMAP has served thousands of young people who, among other activities, research, design and create public art projects. As MMAP’s Artist in Residence, Martinez works to give a sense of place and purpose to the youth of East Palo Alto through extended, hands-on, graffiti art workshops.\u003c/p>\n\u003cfigure id=\"attachment_128516\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/scape2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128516 \" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/scape2.jpg\" alt=\"In recent years Scape's work has evolved into large-scale pieces of abstract expressionism, like those seen on the exterior and interior walls at Roosevelt Community Center, a public art project commissioned by the City of San Jose.\" width=\"500\" height=\"281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape2-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape2-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">In recent years Scape’s work has evolved into large-scale pieces of abstract expressionism, like those seen on the exterior and interior walls at Roosevelt Community Center, a public art project commissioned by the City of San Jose.\u003c/figcaption>\u003c/figure>\n\u003cp>To those who see graffiti as vandalism, Martinez emphasizes that he teaches “the art of graffiti, not the act of graffiti.” He continues: “We teach that if you are going to paint a wall you must have permission. Period. We want to show the youth how to own their behavior, how to respect others and themselves, and to empower them to make better choices.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Martinez sees graffiti as a uniquely American art, like jazz and blues, and believes it’s the ultimate in democratic art forms. “It is the largest art movement in the world right now,” he says. “Millions of youth are involved in it and millions of youth are reinterpreting themselves and the world that they live in. And there’s an incredible value in that.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Edward Martinez admits that when he was a boy growing up in Newark, N.J., the inside of his bedroom closet may not have been the best place to begin experimenting with graffiti. But the experience lit a spark. “It was like magic,” the artist remembers. “For me, graffiti art was the vehicle to give me my voice. Not so much to spread a political message — the message was that I was alive.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" width=\"300\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>Martinez named himself “Scape,” for Screaming Creative and Positive Energy. “Scape became my alter ego,” he says. “Scape was my superhero. Scape was everything that Edward wasn’t. Graffiti art allows you to do that in a way. Graffiti art allows you to leave the everyday and go out and wear that cape, if you will.”\u003c/p>\n\u003cfigure id=\"attachment_128515\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/scape360.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128515\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/scape360.jpg\" alt=\"Scape Martinez with students from his Graffiti Art Workshop\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape360.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape360-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape360-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scape Martinez with students from his Graffiti Art Workshop at The Mural, Music & Arts Project, in East Palo Alto. MMAP provides opportunity and empowerment to Bay Area youth through participation in the arts.\u003c/figcaption>\u003c/figure>\n\u003cp>Today, Martinez is wearing that cape proudly. Two decades after firing off that first, exhilarating blast from a spray can, his career is thriving, with public art commissions for murals across the Bay Area, speaking engagements, workshops, gallery exhibits and \u003ca href=\"http://www.amazon.com/Scape-Martinez/e/B002I4MBNK\">four books on graffiti art\u003c/a>. Martinez has emerged as a leading voice advocating for the social relevance and importance of graffiti art. Recently, he worked with Stanford Law students in a graffiti art workshop aimed at examining whether art forms that push societal boundaries, like graffiti, can provide a vital role promoting awareness and social change.\u003c/p>\n\u003cfigure id=\"attachment_10134683\" class=\"wp-caption alignleft\" style=\"max-width: 1244px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/01/5_Castilleja.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10134683 \" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/01/5_Castilleja.jpg\" alt='Students at Castilleja School, in San Jose, created \"The Perception, Expression Cube\" during a week-long collaboration with Scape Martinez and MMAP.' width=\"1244\" height=\"933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/01/5_Castilleja.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/01/5_Castilleja-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/01/5_Castilleja-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/01/5_Castilleja-1440x1080.jpg 1440w\" sizes=\"(max-width: 1244px) 100vw, 1244px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Students at Castilleja School, in San Jose, created “The Perception, Expression Cube” during a week-long collaboration with Scape Martinez and MMAP.\u003c/figcaption>\u003c/figure>\n\u003cp>Because graffiti art so impacted his own sense of self-worth growing up, Scape is committed to using its power to give voice to underserved youth, like those he mentors at the Mural, Music & Arts Project (MMAP), in East Palo Alto. Since its founding in 2001, MMAP has served thousands of young people who, among other activities, research, design and create public art projects. As MMAP’s Artist in Residence, Martinez works to give a sense of place and purpose to the youth of East Palo Alto through extended, hands-on, graffiti art workshops.\u003c/p>\n\u003cfigure id=\"attachment_128516\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/scape2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128516 \" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/scape2.jpg\" alt=\"In recent years Scape's work has evolved into large-scale pieces of abstract expressionism, like those seen on the exterior and interior walls at Roosevelt Community Center, a public art project commissioned by the City of San Jose.\" width=\"500\" height=\"281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape2-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape2-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">In recent years Scape’s work has evolved into large-scale pieces of abstract expressionism, like those seen on the exterior and interior walls at Roosevelt Community Center, a public art project commissioned by the City of San Jose.\u003c/figcaption>\u003c/figure>\n\u003cp>To those who see graffiti as vandalism, Martinez emphasizes that he teaches “the art of graffiti, not the act of graffiti.” He continues: “We teach that if you are going to paint a wall you must have permission. 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"content": "\u003cp>The sense of the person behind the camera in a photograph is perhaps more palpable and mysterious than artists who work in other media. Through a photo, we can feel like we are more directly privy to an artist’s perspective. Think about \u003ca href=\"http://diane-arbus-photography.com/\">Diane Arbus\u003c/a> and the complicated oft-psychologized conflation of her personal life and choice of images — there’s more than one salacious biography, along with a peculiar film, \u003ca href=\"http://www.youtube.com/watch?v=iVd8RbFESw0\">\u003ci>Fur\u003c/i>\u003c/a>, with Nicole Kidman in the role of the artist during her formative years. Then there is the more complicated case of the deceased artist who was not well recognized in his or her lifetime — consider SFMOMA’s 2011 \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/430\">Francesca Woodman exhibition\u003c/a>, which told a story as informed by the artist’s tragic suicide as the numerous self-portraits on view. A mythology emerges from the idea that we are seeing the same perspective of the artist’s self, alone in her studio. In actuality, these narratives are fascinating fictions regarding the role of the photographer’s relationship to the self and others.\u003c/p>\n\u003cp>How we imagine these artists in some ways is akin to a photograph they take of us. How fitting it is that photographer Nan Goldin called her 1996 mid-career survey \u003ca href=\"http://www.amazon.com/Ill-Your-Mirror-Nan-Goldin/dp/3931141330\">\u003cb>I’ll Be Your Mirror\u003c/b>\u003c/a>, after a Velvet Underground song. Goldin, a widely known photographer whose most classic pictures chronicle a community lost to AIDS and addiction, and frequently involve self-portraiture, is the subject of one of a pair of exhibitions currently at Fraenkel Gallery. The other show, titled \u003cb>Love & Lust\u003c/b>, is a collection of photographs by Peter Hujar. While not exactly unknown, \u003ca href=\"http://www.peterhujararchive.com/\">his career\u003c/a> was erratic and cut short by an untimely death in 1987 due to complications from AIDS, one of many artists whose lives were lost to this health crisis. He was an important figure in the New York art scene in the 1970s and ’80s, yet not so widely exhibited. You might know his iconic photograph \u003ca href=\"http://en.wikipedia.org/wiki/Candy_Darling\">\u003ci>Candy Darling on Her Deathbed, 1974\u003c/i>\u003c/a> or be aware that he was the lover and mentor of artist and writer \u003ca href=\"http://en.wikipedia.org/wiki/David_Wojnarowicz\">David Wojnarowicz\u003c/a> — these details, at least, have floated into a compact Wikipedia entry.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" alt=\"Peter Hujar, David Wojnarowicz Reclining (II), 1981; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\" src=\"http://a.s.kqed.net/img/arts/blog/hujar1.jpg\" width=\"500\" height=\"496\">\u003cfigcaption class=\"wp-caption-text\">Peter Hujar, David Wojnarowicz Reclining (II), 1981; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>Many more details surfaced in an intimate gallery conversation between Goldin and \u003ci>New Yorker\u003c/i> photography critic Vince Aletti, who was close friends with Hujar. Moderated by Fraenkel, Goldin and Aletti told tales of Hujar, whose nude self-portrait in a gay bathhouse cubicle hung in the next room. That seemingly fully revealing image was enhanced by recollections of his surviving friends: Hujar was handsome, difficult and magnetic, and an aesthetically sensitive artist more gifted than schooled. But what was most striking about the conversation was the way a more fleshed-out image of the man emerged like an exposed photo in a tray of developer.\u003c/p>\n\u003cp>Fraenkel introduced Goldin, whose now-classic photographs of her circle of friends generated a cinematic aura around their very real lives, as an artist who has had enormous influence on other artists. “Something you can’t fake,” Fraenkel said. She in turn described how Hujar was a formative influence, particularly for his uncompromising commitment to his work. “Which is why he had such a small career,” she said wryly. As a contrast, Fraenkel invoked what he called “the M-Word,” Robert Mapplethorpe, a much more successful contemporary of Hujar’s. There are definite parallels; they both mined aspects of gay culture to different degrees of popular success. “You’d never see one of Peter’s pictures on a T-shirt,” Goldin countered, generating laughter from the invitation-only audience of collectors and photo professionals.\u003c/p>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" alt=\"Peter Hujar, Orgasmic Man (I, II & III), 1969; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\" src=\"http://a.s.kqed.net/img/arts/blog/hujar2.jpg\" width=\"500\" height=\"222\">\u003cfigcaption class=\"wp-caption-text\">Peter Hujar, Orgasmic Man (I, II & III), 1969; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>For Aletti, thoughtful in a manner befitting his profession, Hujar provided lessons in seeing. “He got me to understand the difficulty of photography, the struggle that goes into making a good picture,” he said. He also recalled that everyone who knew Hujar seemed to fall in love with him, at least initially. Both Goldin and Aletti noted that at the funeral everyone seemed to feel like they were Hujar’s best friend, yet none of them had met each other before.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The discussion was hagiographic, tempered and perhaps enhanced by frequent revelations of Hujar’s prickliness (more on that in a fascinating 1989 interview with Fran Liebowitz reprinted in the \u003ca href=\"http://fraenkelgallery.com/publications/love-lust\">exhibition catalog\u003c/a>). On a practical level, this conversation was much about bolstering an artist’s legacy, positioning his posthumous work to an audience who might not be so open to, say, a graphic image of an ejaculating penis. Fraenkel admitted one of his collectors described the photographs as “gross,” suggesting there was risk involved in collecting explicit images in the current show.\u003c/p>\n\u003cp>And yet hearing Goldin and Aletti offer astute, heartfelt appreciations of Hujar, it was difficult not to wonder what kind of a man could make such an indelible impression. We had to take their word for it, and in a way this event was a storytelling session in which a persona was happily conjured. They were there in the service of legacy: Goldin admitted that \u003ca href=\"http://fraenkelgallery.com/exhibitions/nine-self-portraits\">one of her recent self-portraits\u003c/a>, in which she stands in bra and denim, hands tucked in her waistband, was made in response to the announcement image of the Hujar show, a 1980 self-portrait in a jock strap. Aletti committed further insights to a video on the gallery website.\u003c/p>\n\u003caside class=\"aligncenter\">[vimeo 84348087 w=640&h=360]\u003c/aside>\n\u003cp>Of course, the speakers are of some note and maintain their own personas. I was scheduled to interview Goldin the next afternoon, though was warned of her mercurial nature. I spotted her in the hallway a bit after the appointed time. She seemed a bit hobbled but still mischievous as she asked if anyone at the gallery could commandeer a boat for an impromptu jaunt to Alcatraz. She said we’d sit down to chat after she had a quick cigarette and some vegan food, then ambled out, never to return. Aletti was more available and focused to talk more about Hujar, pondering the idea of there being a filmed version of his life. While he felt the narrative was more literary, he could see the appeal. “I think so many artists’ lives are fascinating, and more fascinating when they are difficult and unhappy and unsuccessful,” he said. What becomes a legend most?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Peter Hujar: Love & Lust\u003c/b> and \u003cb>Nan Goldin: Nine Self-Portraits\u003c/b> are on view through March 8, 2014 at Fraenkel Gallery in San Francisco. For \u003ca href=\"http://fraenkelgallery.com/\">more information\u003c/a> visit fraenkelgallery.com.\u003c/p>\n\n",
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"excerpt": "Fraenkel Gallery's \u003cb>Love & Lust\u003c/b> collects photographs by Peter Hujar, an important figure in the New York art scene in the 1970s and '80s whose erratic career was cut short by his untimely death in 1987 due to complications from AIDS.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sense of the person behind the camera in a photograph is perhaps more palpable and mysterious than artists who work in other media. Through a photo, we can feel like we are more directly privy to an artist’s perspective. Think about \u003ca href=\"http://diane-arbus-photography.com/\">Diane Arbus\u003c/a> and the complicated oft-psychologized conflation of her personal life and choice of images — there’s more than one salacious biography, along with a peculiar film, \u003ca href=\"http://www.youtube.com/watch?v=iVd8RbFESw0\">\u003ci>Fur\u003c/i>\u003c/a>, with Nicole Kidman in the role of the artist during her formative years. Then there is the more complicated case of the deceased artist who was not well recognized in his or her lifetime — consider SFMOMA’s 2011 \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/430\">Francesca Woodman exhibition\u003c/a>, which told a story as informed by the artist’s tragic suicide as the numerous self-portraits on view. A mythology emerges from the idea that we are seeing the same perspective of the artist’s self, alone in her studio. In actuality, these narratives are fascinating fictions regarding the role of the photographer’s relationship to the self and others.\u003c/p>\n\u003cp>How we imagine these artists in some ways is akin to a photograph they take of us. How fitting it is that photographer Nan Goldin called her 1996 mid-career survey \u003ca href=\"http://www.amazon.com/Ill-Your-Mirror-Nan-Goldin/dp/3931141330\">\u003cb>I’ll Be Your Mirror\u003c/b>\u003c/a>, after a Velvet Underground song. Goldin, a widely known photographer whose most classic pictures chronicle a community lost to AIDS and addiction, and frequently involve self-portraiture, is the subject of one of a pair of exhibitions currently at Fraenkel Gallery. The other show, titled \u003cb>Love & Lust\u003c/b>, is a collection of photographs by Peter Hujar. While not exactly unknown, \u003ca href=\"http://www.peterhujararchive.com/\">his career\u003c/a> was erratic and cut short by an untimely death in 1987 due to complications from AIDS, one of many artists whose lives were lost to this health crisis. He was an important figure in the New York art scene in the 1970s and ’80s, yet not so widely exhibited. You might know his iconic photograph \u003ca href=\"http://en.wikipedia.org/wiki/Candy_Darling\">\u003ci>Candy Darling on Her Deathbed, 1974\u003c/i>\u003c/a> or be aware that he was the lover and mentor of artist and writer \u003ca href=\"http://en.wikipedia.org/wiki/David_Wojnarowicz\">David Wojnarowicz\u003c/a> — these details, at least, have floated into a compact Wikipedia entry.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" alt=\"Peter Hujar, David Wojnarowicz Reclining (II), 1981; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\" src=\"http://a.s.kqed.net/img/arts/blog/hujar1.jpg\" width=\"500\" height=\"496\">\u003cfigcaption class=\"wp-caption-text\">Peter Hujar, David Wojnarowicz Reclining (II), 1981; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>Many more details surfaced in an intimate gallery conversation between Goldin and \u003ci>New Yorker\u003c/i> photography critic Vince Aletti, who was close friends with Hujar. Moderated by Fraenkel, Goldin and Aletti told tales of Hujar, whose nude self-portrait in a gay bathhouse cubicle hung in the next room. That seemingly fully revealing image was enhanced by recollections of his surviving friends: Hujar was handsome, difficult and magnetic, and an aesthetically sensitive artist more gifted than schooled. But what was most striking about the conversation was the way a more fleshed-out image of the man emerged like an exposed photo in a tray of developer.\u003c/p>\n\u003cp>Fraenkel introduced Goldin, whose now-classic photographs of her circle of friends generated a cinematic aura around their very real lives, as an artist who has had enormous influence on other artists. “Something you can’t fake,” Fraenkel said. She in turn described how Hujar was a formative influence, particularly for his uncompromising commitment to his work. “Which is why he had such a small career,” she said wryly. As a contrast, Fraenkel invoked what he called “the M-Word,” Robert Mapplethorpe, a much more successful contemporary of Hujar’s. There are definite parallels; they both mined aspects of gay culture to different degrees of popular success. “You’d never see one of Peter’s pictures on a T-shirt,” Goldin countered, generating laughter from the invitation-only audience of collectors and photo professionals.\u003c/p>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" alt=\"Peter Hujar, Orgasmic Man (I, II & III), 1969; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\" src=\"http://a.s.kqed.net/img/arts/blog/hujar2.jpg\" width=\"500\" height=\"222\">\u003cfigcaption class=\"wp-caption-text\">Peter Hujar, Orgasmic Man (I, II & III), 1969; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>For Aletti, thoughtful in a manner befitting his profession, Hujar provided lessons in seeing. “He got me to understand the difficulty of photography, the struggle that goes into making a good picture,” he said. He also recalled that everyone who knew Hujar seemed to fall in love with him, at least initially. Both Goldin and Aletti noted that at the funeral everyone seemed to feel like they were Hujar’s best friend, yet none of them had met each other before.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The discussion was hagiographic, tempered and perhaps enhanced by frequent revelations of Hujar’s prickliness (more on that in a fascinating 1989 interview with Fran Liebowitz reprinted in the \u003ca href=\"http://fraenkelgallery.com/publications/love-lust\">exhibition catalog\u003c/a>). On a practical level, this conversation was much about bolstering an artist’s legacy, positioning his posthumous work to an audience who might not be so open to, say, a graphic image of an ejaculating penis. Fraenkel admitted one of his collectors described the photographs as “gross,” suggesting there was risk involved in collecting explicit images in the current show.\u003c/p>\n\u003cp>And yet hearing Goldin and Aletti offer astute, heartfelt appreciations of Hujar, it was difficult not to wonder what kind of a man could make such an indelible impression. We had to take their word for it, and in a way this event was a storytelling session in which a persona was happily conjured. They were there in the service of legacy: Goldin admitted that \u003ca href=\"http://fraenkelgallery.com/exhibitions/nine-self-portraits\">one of her recent self-portraits\u003c/a>, in which she stands in bra and denim, hands tucked in her waistband, was made in response to the announcement image of the Hujar show, a 1980 self-portrait in a jock strap. Aletti committed further insights to a video on the gallery website.\u003c/p>\n\u003caside class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>Of course, the speakers are of some note and maintain their own personas. I was scheduled to interview Goldin the next afternoon, though was warned of her mercurial nature. I spotted her in the hallway a bit after the appointed time. She seemed a bit hobbled but still mischievous as she asked if anyone at the gallery could commandeer a boat for an impromptu jaunt to Alcatraz. She said we’d sit down to chat after she had a quick cigarette and some vegan food, then ambled out, never to return. Aletti was more available and focused to talk more about Hujar, pondering the idea of there being a filmed version of his life. While he felt the narrative was more literary, he could see the appeal. “I think so many artists’ lives are fascinating, and more fascinating when they are difficult and unhappy and unsuccessful,” he said. What becomes a legend most?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Peter Hujar: Love & Lust\u003c/b> and \u003cb>Nan Goldin: Nine Self-Portraits\u003c/b> are on view through March 8, 2014 at Fraenkel Gallery in San Francisco. For \u003ca href=\"http://fraenkelgallery.com/\">more information\u003c/a> visit fraenkelgallery.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Lives of the Artists: Peter Hujar at Fraenkel Gallery | KQED",
"content": "\u003cp>The sense of the person behind the camera in a photograph is perhaps more palpable and mysterious than artists who work in other media. Through a photo, we can feel like we are more directly privy to an artist’s perspective. Think about \u003ca href=\"http://diane-arbus-photography.com/\">Diane Arbus\u003c/a> and the complicated oft-psychologized conflation of her personal life and choice of images — there’s more than one salacious biography, along with a peculiar film, \u003ca href=\"http://www.youtube.com/watch?v=iVd8RbFESw0\">\u003ci>Fur\u003c/i>\u003c/a>, with Nicole Kidman in the role of the artist during her formative years. Then there is the more complicated case of the deceased artist who was not well recognized in his or her lifetime — consider SFMOMA’s 2011 \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/430\">Francesca Woodman exhibition\u003c/a>, which told a story as informed by the artist’s tragic suicide as the numerous self-portraits on view. A mythology emerges from the idea that we are seeing the same perspective of the artist’s self, alone in her studio. In actuality, these narratives are fascinating fictions regarding the role of the photographer’s relationship to the self and others.\u003c/p>\n\u003cp>How we imagine these artists in some ways is akin to a photograph they take of us. How fitting it is that photographer Nan Goldin called her 1996 mid-career survey \u003ca href=\"http://www.amazon.com/Ill-Your-Mirror-Nan-Goldin/dp/3931141330\">\u003cb>I’ll Be Your Mirror\u003c/b>\u003c/a>, after a Velvet Underground song. Goldin, a widely known photographer whose most classic pictures chronicle a community lost to AIDS and addiction, and frequently involve self-portraiture, is the subject of one of a pair of exhibitions currently at Fraenkel Gallery. The other show, titled \u003cb>Love & Lust\u003c/b>, is a collection of photographs by Peter Hujar. While not exactly unknown, \u003ca href=\"http://www.peterhujararchive.com/\">his career\u003c/a> was erratic and cut short by an untimely death in 1987 due to complications from AIDS, one of many artists whose lives were lost to this health crisis. He was an important figure in the New York art scene in the 1970s and ’80s, yet not so widely exhibited. You might know his iconic photograph \u003ca href=\"http://en.wikipedia.org/wiki/Candy_Darling\">\u003ci>Candy Darling on Her Deathbed, 1974\u003c/i>\u003c/a> or be aware that he was the lover and mentor of artist and writer \u003ca href=\"http://en.wikipedia.org/wiki/David_Wojnarowicz\">David Wojnarowicz\u003c/a> — these details, at least, have floated into a compact Wikipedia entry.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hujar1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Peter Hujar, \u003ci>David Wojnarowicz Reclining (II)\u003c/i>, 1981; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\u003cbr>\u003c/center>\n\u003cp>Many more details surfaced in an intimate gallery conversation between Goldin and \u003ci>New Yorker\u003c/i> photography critic Vince Aletti, who was close friends with Hujar. Moderated by Fraenkel, Goldin and Aletti told tales of Hujar, whose nude self-portrait in a gay bathhouse cubicle hung in the next room. That seemingly fully revealing image was enhanced by recollections of his surviving friends: Hujar was handsome, difficult and magnetic, and an aesthetically sensitive artist more gifted than schooled. But what was most striking about the conversation was the way a more fleshed-out image of the man emerged like an exposed photo in a tray of developer.\u003c/p>\n\u003cp>Fraenkel introduced Goldin, whose now-classic photographs of her circle of friends generated a cinematic aura around their very real lives, as an artist who has had enormous influence on other artists. “Something you can’t fake,” Fraenkel said. She in turn described how Hujar was a formative influence, particularly for his uncompromising commitment to his work. “Which is why he had such a small career,” she said wryly. As a contrast, Fraenkel invoked what he called “the M-Word,” Robert Mapplethorpe, a much more successful contemporary of Hujar’s. There are definite parallels; they both mined aspects of gay culture to different degrees of popular success. “You’d never see one of Peter’s pictures on a T-shirt,” Goldin countered, generating laughter from the invitation-only audience of collectors and photo professionals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hujar2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Peter Hujar, \u003ci>Orgasmic Man (I, II & III)\u003c/i>, 1969; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\u003cbr>\u003c/center>\n\u003cp>For Aletti, thoughtful in a manner befitting his profession, Hujar provided lessons in seeing. “He got me to understand the difficulty of photography, the struggle that goes into making a good picture,” he said. He also recalled that everyone who knew Hujar seemed to fall in love with him, at least initially. Both Goldin and Aletti noted that at the funeral everyone seemed to feel like they were Hujar’s best friend, yet none of them had met each other before.\u003c/p>\n\u003cp>The discussion was hagiographic, tempered and perhaps enhanced by frequent revelations of Hujar’s prickliness (more on that in a fascinating 1989 interview with Fran Liebowitz reprinted in the \u003ca href=\"http://fraenkelgallery.com/publications/love-lust\">exhibition catalog\u003c/a>). On a practical level, this conversation was much about bolstering an artist’s legacy, positioning his posthumous work to an audience who might not be so open to, say, a graphic image of an ejaculating penis. Fraenkel admitted one of his collectors described the photographs as “gross,” suggesting there was risk involved in collecting explicit images in the current show.\u003c/p>\n\u003cp>And yet hearing Goldin and Aletti offer astute, heartfelt appreciations of Hujar, it was difficult not to wonder what kind of a man could make such an indelible impression. We had to take their word for it, and in a way this event was a storytelling session in which a persona was happily conjured. They were there in the service of legacy: Goldin admitted that \u003ca href=\"http://fraenkelgallery.com/exhibitions/nine-self-portraits\">one of her recent self-portraits\u003c/a>, in which she stands in bra and denim, hands tucked in her waistband, was made in response to the announcement image of the Hujar show, a 1980 self-portrait in a jock strap. Aletti committed further insights to a video on the gallery website.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" src=\"//player.vimeo.com/video/84348087?title=0&byline=0&portrait=0&color=ffffff\" width=\"480\" height=\"270\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe> \n\u003cp>\u003ca href=\"http://vimeo.com/84348087\">Vince Aletti on Peter Hujar’s Love & Lust\u003c/a> from \u003ca href=\"http://vimeo.com/fraenkelgallery\">Fraenkel Gallery\u003c/a> on \u003ca href=\"https://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Of course, the speakers are of some note and maintain their own personas. I was scheduled to interview Goldin the next afternoon, though was warned of her mercurial nature. I spotted her in the hallway a bit after the appointed time. She seemed a bit hobbled but still mischievous as she asked if anyone at the gallery could commandeer a boat for an impromptu jaunt to Alcatraz. She said we’d sit down to chat after she had a quick cigarette and some vegan food, then ambled out, never to return. Aletti was more available and focused to talk more about Hujar, pondering the idea of there being a filmed version of his life. While he felt the narrative was more literary, he could see the appeal. “I think so many artists’ lives are fascinating, and more fascinating when they are difficult and unhappy and unsuccessful,” he said. What becomes a legend most?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Peter Hujar: Love & Lust\u003c/b> and \u003cb>Nan Goldin: Nine Self-Portraits\u003c/b> are on view through March 8, 2014 at Fraenkel Gallery in San Francisco. For \u003ca href=\"http://fraenkelgallery.com/\">more information\u003c/a> visit fraenkelgallery.com.\u003c/p>\n\n",
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"excerpt": "Fraenkel Gallery's \u003cb>Love & Lust\u003c/b> collects photographs by Peter Hujar, an important figure in the New York art scene in the 1970s and '80s whose erratic career was cut short by his untimely death in 1987 due to complications from AIDS.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sense of the person behind the camera in a photograph is perhaps more palpable and mysterious than artists who work in other media. Through a photo, we can feel like we are more directly privy to an artist’s perspective. Think about \u003ca href=\"http://diane-arbus-photography.com/\">Diane Arbus\u003c/a> and the complicated oft-psychologized conflation of her personal life and choice of images — there’s more than one salacious biography, along with a peculiar film, \u003ca href=\"http://www.youtube.com/watch?v=iVd8RbFESw0\">\u003ci>Fur\u003c/i>\u003c/a>, with Nicole Kidman in the role of the artist during her formative years. Then there is the more complicated case of the deceased artist who was not well recognized in his or her lifetime — consider SFMOMA’s 2011 \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/430\">Francesca Woodman exhibition\u003c/a>, which told a story as informed by the artist’s tragic suicide as the numerous self-portraits on view. A mythology emerges from the idea that we are seeing the same perspective of the artist’s self, alone in her studio. In actuality, these narratives are fascinating fictions regarding the role of the photographer’s relationship to the self and others.\u003c/p>\n\u003cp>How we imagine these artists in some ways is akin to a photograph they take of us. How fitting it is that photographer Nan Goldin called her 1996 mid-career survey \u003ca href=\"http://www.amazon.com/Ill-Your-Mirror-Nan-Goldin/dp/3931141330\">\u003cb>I’ll Be Your Mirror\u003c/b>\u003c/a>, after a Velvet Underground song. Goldin, a widely known photographer whose most classic pictures chronicle a community lost to AIDS and addiction, and frequently involve self-portraiture, is the subject of one of a pair of exhibitions currently at Fraenkel Gallery. The other show, titled \u003cb>Love & Lust\u003c/b>, is a collection of photographs by Peter Hujar. While not exactly unknown, \u003ca href=\"http://www.peterhujararchive.com/\">his career\u003c/a> was erratic and cut short by an untimely death in 1987 due to complications from AIDS, one of many artists whose lives were lost to this health crisis. He was an important figure in the New York art scene in the 1970s and ’80s, yet not so widely exhibited. You might know his iconic photograph \u003ca href=\"http://en.wikipedia.org/wiki/Candy_Darling\">\u003ci>Candy Darling on Her Deathbed, 1974\u003c/i>\u003c/a> or be aware that he was the lover and mentor of artist and writer \u003ca href=\"http://en.wikipedia.org/wiki/David_Wojnarowicz\">David Wojnarowicz\u003c/a> — these details, at least, have floated into a compact Wikipedia entry.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hujar1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Peter Hujar, \u003ci>David Wojnarowicz Reclining (II)\u003c/i>, 1981; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\u003cbr>\u003c/center>\n\u003cp>Many more details surfaced in an intimate gallery conversation between Goldin and \u003ci>New Yorker\u003c/i> photography critic Vince Aletti, who was close friends with Hujar. Moderated by Fraenkel, Goldin and Aletti told tales of Hujar, whose nude self-portrait in a gay bathhouse cubicle hung in the next room. That seemingly fully revealing image was enhanced by recollections of his surviving friends: Hujar was handsome, difficult and magnetic, and an aesthetically sensitive artist more gifted than schooled. But what was most striking about the conversation was the way a more fleshed-out image of the man emerged like an exposed photo in a tray of developer.\u003c/p>\n\u003cp>Fraenkel introduced Goldin, whose now-classic photographs of her circle of friends generated a cinematic aura around their very real lives, as an artist who has had enormous influence on other artists. “Something you can’t fake,” Fraenkel said. She in turn described how Hujar was a formative influence, particularly for his uncompromising commitment to his work. “Which is why he had such a small career,” she said wryly. As a contrast, Fraenkel invoked what he called “the M-Word,” Robert Mapplethorpe, a much more successful contemporary of Hujar’s. There are definite parallels; they both mined aspects of gay culture to different degrees of popular success. “You’d never see one of Peter’s pictures on a T-shirt,” Goldin countered, generating laughter from the invitation-only audience of collectors and photo professionals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hujar2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Peter Hujar, \u003ci>Orgasmic Man (I, II & III)\u003c/i>, 1969; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\u003cbr>\u003c/center>\n\u003cp>For Aletti, thoughtful in a manner befitting his profession, Hujar provided lessons in seeing. “He got me to understand the difficulty of photography, the struggle that goes into making a good picture,” he said. He also recalled that everyone who knew Hujar seemed to fall in love with him, at least initially. Both Goldin and Aletti noted that at the funeral everyone seemed to feel like they were Hujar’s best friend, yet none of them had met each other before.\u003c/p>\n\u003cp>The discussion was hagiographic, tempered and perhaps enhanced by frequent revelations of Hujar’s prickliness (more on that in a fascinating 1989 interview with Fran Liebowitz reprinted in the \u003ca href=\"http://fraenkelgallery.com/publications/love-lust\">exhibition catalog\u003c/a>). On a practical level, this conversation was much about bolstering an artist’s legacy, positioning his posthumous work to an audience who might not be so open to, say, a graphic image of an ejaculating penis. Fraenkel admitted one of his collectors described the photographs as “gross,” suggesting there was risk involved in collecting explicit images in the current show.\u003c/p>\n\u003cp>And yet hearing Goldin and Aletti offer astute, heartfelt appreciations of Hujar, it was difficult not to wonder what kind of a man could make such an indelible impression. We had to take their word for it, and in a way this event was a storytelling session in which a persona was happily conjured. They were there in the service of legacy: Goldin admitted that \u003ca href=\"http://fraenkelgallery.com/exhibitions/nine-self-portraits\">one of her recent self-portraits\u003c/a>, in which she stands in bra and denim, hands tucked in her waistband, was made in response to the announcement image of the Hujar show, a 1980 self-portrait in a jock strap. Aletti committed further insights to a video on the gallery website.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" src=\"//player.vimeo.com/video/84348087?title=0&byline=0&portrait=0&color=ffffff\" width=\"480\" height=\"270\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe> \n\u003cp>\u003ca href=\"http://vimeo.com/84348087\">Vince Aletti on Peter Hujar’s Love & Lust\u003c/a> from \u003ca href=\"http://vimeo.com/fraenkelgallery\">Fraenkel Gallery\u003c/a> on \u003ca href=\"https://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Of course, the speakers are of some note and maintain their own personas. I was scheduled to interview Goldin the next afternoon, though was warned of her mercurial nature. I spotted her in the hallway a bit after the appointed time. She seemed a bit hobbled but still mischievous as she asked if anyone at the gallery could commandeer a boat for an impromptu jaunt to Alcatraz. She said we’d sit down to chat after she had a quick cigarette and some vegan food, then ambled out, never to return. Aletti was more available and focused to talk more about Hujar, pondering the idea of there being a filmed version of his life. While he felt the narrative was more literary, he could see the appeal. “I think so many artists’ lives are fascinating, and more fascinating when they are difficult and unhappy and unsuccessful,” he said. What becomes a legend most?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Peter Hujar: Love & Lust\u003c/b> and \u003cb>Nan Goldin: Nine Self-Portraits\u003c/b> are on view through March 8, 2014 at Fraenkel Gallery in San Francisco. For \u003ca href=\"http://fraenkelgallery.com/\">more information\u003c/a> visit fraenkelgallery.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a muggy crush of people at 49 Geary’s first First Friday of the new year, Laeh Glenn’s quietly surprising solo show was a welcome moment of reprieve. \u003cb>Ordinary Objects\u003c/b> is an exhibition of 16 paintings, all roughly the same size (just under 17 by 13 inches), nearly all untitled, and within the same black, cream, blue, gray color scheme. The surfaces are flat, graphically rendered oil on panel, wrapped by unexpected disruptions in the framing — a bottom edge missing here, a triangular gap between frame and panel there. The uniformity of color, shape, and size make the paintings’ varied content all the more thrilling.\u003c/p>\n\u003cp>Altman Siegel’s press release claims “Glenn’s work directly addresses the traditions and formal tropes of painting with a nuanced awareness of contemporary culture’s excess of and accessibility to images.” In this light, the uniformly-sized paintings could be read as image search thumbnails. But what query yielded this result?\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/24/lglenn1.jpg\" width=\"500\" height=\"620\" alt=\"Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\" class>\u003cfigcaption class=\"wp-caption-text\">Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>While some of the works resemble illustrations of optical illusions, others are cartoony renderings of inanimate objects. There’s one grayscale still life of pears, and more than a few straight-up odes to monochromatic shaped-canvas minimalism. Glenn’s hard edges and sometimes-mysterious shapes call to mind Stuart Davis, especially in the lone blue painting on the main space’s right wall.\u003c/p>\n\u003cp>If \u003cb>Ordinary Objects\u003c/b> is an attempt at stringing together different elements into a unifying statement, or at making “new meaning from familiar vocabularies,” as the press release states, I’m not sure if I understand that language. To me, the 16 paintings are a cypher. Their flatness, the exclusion of all but three colors (at most), and the simply shaped but often unfamiliar elements make them symbols in a puzzle I can’t quite crack.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/24/lglenn2.jpg\" width=\"500\" height=\"645\" alt=\"Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\" class>\u003cfigcaption class=\"wp-caption-text\">Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>But I also don’t want to. Art critic Jerry Saltz \u003ca href=\"http://www.vulture.com/2013/10/jerry-saltz-on-arts-insidious-new-clich.html\">recently complained\u003c/a> about the glut of what he deemed “Modest Abstraction,” writing, “Nowadays we see endless arrays of decorous, medium-size, handsome, harmless paintings. It’s rendered mainly in black, white, gray, or, more recently, violet or blue.” Check.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While Laeh Glenn’s \u003cb>Ordinary Objects\u003c/b> are easily grouped under this rubric, they are anything but boring. The bizarre combination of self-serious geometric shapes with subtle variations in color and Snoopy-esque cosmic apparitions is amusing, entertaining, and above all, intriguing. In a space as brightly lit and tight-lipped as Altman Siegel, a little humor goes a long way.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/24/lglenn3.jpg\" width=\"500\" height=\"632\" alt=\"Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\" class>\u003cfigcaption class=\"wp-caption-text\">Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>The strangest painting, by far, features a coffee mug against a plaid background, dark liquid pouring into it from above. The mug boasts downturned eyelashes and an adorable “o” mouth. Is the mug actually animated or are these details simply decorations on the mug’s surface? Is this a glimpse into a Toonville type of world or a banal morning ritual? The areas of flat color, Glenn’s hard edges and chromatic restraint are deadpan. All I could do was giggle helplessly, quietly, and move on to the next painting with a smirk on my lips.\u003c/p>\n\u003cp>In the same op-ed, Saltz claims, “All this art is dying to be understood. And it is, instantly, by everyone, in the exact same way.” Glenn’s work defies appearances — withholding the easy consumption Saltz decries to puzzling and tantalizing effect. Her linear installation, the language-like combination of simple elements into more complex structures, reminds me of \u003ca href=\"http://en.wikipedia.org/wiki/R._H._Quaytman\">R.H. Quaytman’s\u003c/a> ongoing “Chapters,” in which site-specific elements are borrowed from institutions and their archives. Quaytman then represents this material in a variety of permutations as a visual narrative of her own exhibition history. If Glenn’s work is a similar ongoing exploration of the artists’ peculiar visual vocabulary, I look forward to the next chapter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ordinary Objects\u003c/b> is on view at Altman Siegel through March 1, 2014. For \u003ca href=\"http://www.altmansiegel.com/\">more information\u003c/a>, visit altmansiegel.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a muggy crush of people at 49 Geary’s first First Friday of the new year, Laeh Glenn’s quietly surprising solo show was a welcome moment of reprieve. \u003cb>Ordinary Objects\u003c/b> is an exhibition of 16 paintings, all roughly the same size (just under 17 by 13 inches), nearly all untitled, and within the same black, cream, blue, gray color scheme. The surfaces are flat, graphically rendered oil on panel, wrapped by unexpected disruptions in the framing — a bottom edge missing here, a triangular gap between frame and panel there. The uniformity of color, shape, and size make the paintings’ varied content all the more thrilling.\u003c/p>\n\u003cp>Altman Siegel’s press release claims “Glenn’s work directly addresses the traditions and formal tropes of painting with a nuanced awareness of contemporary culture’s excess of and accessibility to images.” In this light, the uniformly-sized paintings could be read as image search thumbnails. But what query yielded this result?\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/24/lglenn1.jpg\" width=\"500\" height=\"620\" alt=\"Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\" class>\u003cfigcaption class=\"wp-caption-text\">Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>While some of the works resemble illustrations of optical illusions, others are cartoony renderings of inanimate objects. There’s one grayscale still life of pears, and more than a few straight-up odes to monochromatic shaped-canvas minimalism. Glenn’s hard edges and sometimes-mysterious shapes call to mind Stuart Davis, especially in the lone blue painting on the main space’s right wall.\u003c/p>\n\u003cp>If \u003cb>Ordinary Objects\u003c/b> is an attempt at stringing together different elements into a unifying statement, or at making “new meaning from familiar vocabularies,” as the press release states, I’m not sure if I understand that language. To me, the 16 paintings are a cypher. Their flatness, the exclusion of all but three colors (at most), and the simply shaped but often unfamiliar elements make them symbols in a puzzle I can’t quite crack.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/24/lglenn2.jpg\" width=\"500\" height=\"645\" alt=\"Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\" class>\u003cfigcaption class=\"wp-caption-text\">Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>But I also don’t want to. Art critic Jerry Saltz \u003ca href=\"http://www.vulture.com/2013/10/jerry-saltz-on-arts-insidious-new-clich.html\">recently complained\u003c/a> about the glut of what he deemed “Modest Abstraction,” writing, “Nowadays we see endless arrays of decorous, medium-size, handsome, harmless paintings. It’s rendered mainly in black, white, gray, or, more recently, violet or blue.” Check.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While Laeh Glenn’s \u003cb>Ordinary Objects\u003c/b> are easily grouped under this rubric, they are anything but boring. The bizarre combination of self-serious geometric shapes with subtle variations in color and Snoopy-esque cosmic apparitions is amusing, entertaining, and above all, intriguing. In a space as brightly lit and tight-lipped as Altman Siegel, a little humor goes a long way.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/24/lglenn3.jpg\" width=\"500\" height=\"632\" alt=\"Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\" class>\u003cfigcaption class=\"wp-caption-text\">Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>The strangest painting, by far, features a coffee mug against a plaid background, dark liquid pouring into it from above. The mug boasts downturned eyelashes and an adorable “o” mouth. Is the mug actually animated or are these details simply decorations on the mug’s surface? Is this a glimpse into a Toonville type of world or a banal morning ritual? The areas of flat color, Glenn’s hard edges and chromatic restraint are deadpan. All I could do was giggle helplessly, quietly, and move on to the next painting with a smirk on my lips.\u003c/p>\n\u003cp>In the same op-ed, Saltz claims, “All this art is dying to be understood. And it is, instantly, by everyone, in the exact same way.” Glenn’s work defies appearances — withholding the easy consumption Saltz decries to puzzling and tantalizing effect. Her linear installation, the language-like combination of simple elements into more complex structures, reminds me of \u003ca href=\"http://en.wikipedia.org/wiki/R._H._Quaytman\">R.H. Quaytman’s\u003c/a> ongoing “Chapters,” in which site-specific elements are borrowed from institutions and their archives. Quaytman then represents this material in a variety of permutations as a visual narrative of her own exhibition history. If Glenn’s work is a similar ongoing exploration of the artists’ peculiar visual vocabulary, I look forward to the next chapter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ordinary Objects\u003c/b> is on view at Altman Siegel through March 1, 2014. For \u003ca href=\"http://www.altmansiegel.com/\">more information\u003c/a>, visit altmansiegel.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"info": "",
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"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"ted-radio-hour": {
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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