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"title": "An Art Star Is Made: 'The Vivian Maier Mystery' Deepens at SF Camerawork",
"headTitle": "An Art Star Is Made: ‘The Vivian Maier Mystery’ Deepens at SF Camerawork | KQED",
"content": "\u003cp>Many moons ago, I was enrolled in a history of photography course at the University of Arizona. Our professor was fond of saying that if anyone in the class ever discovered a trove of photographs in our grandparents’ attic, we should consider having that found treasure appraised and use the proceeds to pay off our student loan debt. He was joking… mostly. But his statement and what it implies is telling, specifically of how easily we can be seduced by mystery and the possibility of monetary gain. I’m reminded of my professor’s advice when thinking about Vivian Maier.\u003c/p>\n\u003cp>Born in the Bronx in 1926 to immigrant parents, Maier began working as a nanny in Chicago beginning in 1956. Prior to that, she led a decidedly peripatetic existence, moving between various cities in Europe and the United States. Accounts of Maier’s personality and interaction with the world portray her as eccentric, highly intellectual, and possessed of strong opinions. Moreover, Maier is described as a pathologically private person who had little interest in those beyond the children she helped raise and immediate friends.\u003c/p>\n\u003cfigure id=\"attachment_10134611\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vivianmaier1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vivianmaier1.jpg\" alt=\"Photo by Vivian Maier; from Vivian Maier: Out of the Shadows\" width=\"500\" height=\"507\" class=\"size-full wp-image-10134611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier1-400x405.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier1-295x300.jpg 295w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier1-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Vivian Maier; from \u003ci>Vivian Maier: Out of the Shadows\u003c/i> \u003ccite>(courtesy of The Jeffrey Goldstein Collection at vivianmaierprints.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maier’s life and subsequent death in April 2009 would have been unremarkable, were it not for the discovery of her secret passion — photography. You may have heard or read about the discovery that brought Maier and her work to light: John Maloof, described as a photographer, urban historian, and flea market enthusiast who is based in Chicago, paid $340 for the contents of Maier’s storage space after it fell into delinquency in 2007. Maloof’s find, which ultimately included in excess of 100,000 negatives, 3,000 prints, roll after roll of undeveloped film, camera and film equipment, home movies, and audio interviews, was represented by 100 images that he posted to Flickr. The positive response was overwhelming, and Maloof set about archiving and promoting the work of a woman who, it seems, tried very hard to keep her interests a secret.\u003c/p>\n\u003cp>On Friday, April 4, SF Camerawork will screen one of two films that portray the life and work of the reclusive artist. \u003ci>The Vivian Maier Mystery\u003c/i> (2013) is a BBC production directed by Jill Nicholls that covers how this story unfolded and those who took on the job of bringing her work to the public eye. Not to be confused with the feature-length documentary film, \u003ci>Finding Vivian Maier\u003c/i>, which was screened at film festivals in Berlin, Miami, and Toronto to enthusiastic crowds, the BBC production offers a quick look at Maier’s life as it was pieced together through Census Bureau data and tales told by those who claim to have known her intimately.\u003c/p>\n\u003cfigure id=\"attachment_10134612\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vivianmaier3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vivianmaier3.jpg\" alt=\"Photo by Vivian Maier; from Vivian Maier: Out of the Shadows\" width=\"500\" height=\"507\" class=\"size-full wp-image-10134612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier3-400x405.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier3-295x300.jpg 295w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier3-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier3-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier3-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier3-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Vivian Maier; from \u003ci>Vivian Maier: Out of the Shadows\u003c/i> \u003ccite>(courtesy of The Jeffrey Goldstein Collection at vivianmaierprints.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maier’s was an unpolished, yet remarkable talent. So far as we know, she never studied photography or any other formal art discipline. Her work is the product of close observation of those she encountered on the streets of Chicago. As the film suggests, Maier’s view of mid-century American life overlaps with now-historical moments and social movements that shaped this country’s profile for better and for worse. She photographed a spectrum of experience, from the carefree abandon of child’s play to the isolation of addiction and homelessness, and the faces of those she captured linger in the mind like spirits. In this way, Maier reminds me of Helen Levitt, another gifted yet reclusive woman photographer whose understanding of the human condition was most comfortably explored behind her camera rather than in front of it. An exhibition of Maier’s photographs entitled \u003cb>See All About It\u003c/b> is on view at the University of California Berkeley School of Journalism through May 1, 2014. The exhibition celebrates the gift of photographs to UCB from the Reva and David Logan Foundation.\u003c/p>\n\u003cfigure id=\"attachment_10134613\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vivianmaier2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vivianmaier2.jpg\" alt=\"Photo by Vivian Maier; from Vivian Maier: Out of the Shadows\" width=\"500\" height=\"495\" class=\"size-full wp-image-10134613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier2-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier2-300x297.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier2-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Vivian Maier; from \u003ci>Vivian Maier: Out of the Shadows\u003c/i> \u003ccite>(courtesy of The Jeffrey Goldstein Collection at vivianmaierprints.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The frenzied attention paid to Vivian Maier’s work and the circumstances of its discovery are understandable. Here is a previously unknown photographer who, despite shunning exposure of her work to audiences during her lifetime, emerges as a powerful documentarian of urban existence thanks to the work of a motivated novice sleuth. Add to that the scant details of her private life, and a proper, dig-your-teeth-in story unfolds. That high-flying enthusiasm runs to ground with a heavy thud, however, when other details are considered. John Maloof, and by extension, those associated with the movies, books, and exhibitions that feature Maier’s photographs, work within a system that has the potential to exploit previously unknown artists. In Maier’s case, the fame and, one would guess, financial gain that Maloof and the esteemed New York art dealer Howard Greenberg enjoy as the result of promoting her work so aggressively comes with few limitations. There is no pesky estate that Maloof must wrangle with in order to print images from contact sheets or undeveloped film rolls, a practice that strays into deep and murky ethical waters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By contrast, when famed street photographer Garry Winogrand died suddenly in 1984, his creative legacy was entrusted to his wife, who has managed the dissemination of his work in a mostly careful manner. In the rush to situate Maier’s work within the canon of 20th-century photography, there is little evident consideration of if or how the photographer wanted her work to be seen. To this point, caution on the part of major collecting institutions that so far have stayed off the Maier/Maloof bandwagon suggest that there is more work to be done, and how challenging it may be to position Maier’s contributions to the medium because so few pieces were printed by the artist herself. In the end, Maloof’s effort to bring Vivian Maier’s work to the public has been successful. More importantly though, that same effort has exposed the mechanism of the art market, the allure of a good mystery, and the danger of co-opting another’s passion as a means to make money.\u003c/p>\n\u003cp>\u003ci>The Vivian Maier Mystery\u003c/i> screens at 6pm, Friday, April 4, 2014, at SF Camerawork. The screening is preceded by a reception starting at 5:30, and is followed by a Q&A session. For \u003ca href=\"http://www.sfcamerawork.org/events\">more information\u003c/a>, visit sfcamerawork.org.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For more on Vivian Maier, listen to the \u003ca href=\"http://www.kqed.org/.stream/anon/radio/forum/2014/03/20140327bbforum.mp3\">March 27 episode\u003c/a> of \u003ci>KQED Forum\u003c/i>. Host Dave Iverson interviews Ken Light, photo director of the UC Berkeley Graduate School of Journalism and Richard Cahan, co-author of \u003ci>Vivian Maier: Out of the Shadows\u003c/i>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many moons ago, I was enrolled in a history of photography course at the University of Arizona. Our professor was fond of saying that if anyone in the class ever discovered a trove of photographs in our grandparents’ attic, we should consider having that found treasure appraised and use the proceeds to pay off our student loan debt. He was joking… mostly. But his statement and what it implies is telling, specifically of how easily we can be seduced by mystery and the possibility of monetary gain. I’m reminded of my professor’s advice when thinking about Vivian Maier.\u003c/p>\n\u003cp>Born in the Bronx in 1926 to immigrant parents, Maier began working as a nanny in Chicago beginning in 1956. Prior to that, she led a decidedly peripatetic existence, moving between various cities in Europe and the United States. Accounts of Maier’s personality and interaction with the world portray her as eccentric, highly intellectual, and possessed of strong opinions. Moreover, Maier is described as a pathologically private person who had little interest in those beyond the children she helped raise and immediate friends.\u003c/p>\n\u003cfigure id=\"attachment_10134611\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vivianmaier1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vivianmaier1.jpg\" alt=\"Photo by Vivian Maier; from Vivian Maier: Out of the Shadows\" width=\"500\" height=\"507\" class=\"size-full wp-image-10134611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier1-400x405.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier1-295x300.jpg 295w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier1-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Vivian Maier; from \u003ci>Vivian Maier: Out of the Shadows\u003c/i> \u003ccite>(courtesy of The Jeffrey Goldstein Collection at vivianmaierprints.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maier’s life and subsequent death in April 2009 would have been unremarkable, were it not for the discovery of her secret passion — photography. You may have heard or read about the discovery that brought Maier and her work to light: John Maloof, described as a photographer, urban historian, and flea market enthusiast who is based in Chicago, paid $340 for the contents of Maier’s storage space after it fell into delinquency in 2007. Maloof’s find, which ultimately included in excess of 100,000 negatives, 3,000 prints, roll after roll of undeveloped film, camera and film equipment, home movies, and audio interviews, was represented by 100 images that he posted to Flickr. The positive response was overwhelming, and Maloof set about archiving and promoting the work of a woman who, it seems, tried very hard to keep her interests a secret.\u003c/p>\n\u003cp>On Friday, April 4, SF Camerawork will screen one of two films that portray the life and work of the reclusive artist. \u003ci>The Vivian Maier Mystery\u003c/i> (2013) is a BBC production directed by Jill Nicholls that covers how this story unfolded and those who took on the job of bringing her work to the public eye. Not to be confused with the feature-length documentary film, \u003ci>Finding Vivian Maier\u003c/i>, which was screened at film festivals in Berlin, Miami, and Toronto to enthusiastic crowds, the BBC production offers a quick look at Maier’s life as it was pieced together through Census Bureau data and tales told by those who claim to have known her intimately.\u003c/p>\n\u003cfigure id=\"attachment_10134612\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vivianmaier3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vivianmaier3.jpg\" alt=\"Photo by Vivian Maier; from Vivian Maier: Out of the Shadows\" width=\"500\" height=\"507\" class=\"size-full wp-image-10134612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier3-400x405.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier3-295x300.jpg 295w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier3-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier3-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier3-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier3-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Vivian Maier; from \u003ci>Vivian Maier: Out of the Shadows\u003c/i> \u003ccite>(courtesy of The Jeffrey Goldstein Collection at vivianmaierprints.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maier’s was an unpolished, yet remarkable talent. So far as we know, she never studied photography or any other formal art discipline. Her work is the product of close observation of those she encountered on the streets of Chicago. As the film suggests, Maier’s view of mid-century American life overlaps with now-historical moments and social movements that shaped this country’s profile for better and for worse. She photographed a spectrum of experience, from the carefree abandon of child’s play to the isolation of addiction and homelessness, and the faces of those she captured linger in the mind like spirits. In this way, Maier reminds me of Helen Levitt, another gifted yet reclusive woman photographer whose understanding of the human condition was most comfortably explored behind her camera rather than in front of it. An exhibition of Maier’s photographs entitled \u003cb>See All About It\u003c/b> is on view at the University of California Berkeley School of Journalism through May 1, 2014. The exhibition celebrates the gift of photographs to UCB from the Reva and David Logan Foundation.\u003c/p>\n\u003cfigure id=\"attachment_10134613\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vivianmaier2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/vivianmaier2.jpg\" alt=\"Photo by Vivian Maier; from Vivian Maier: Out of the Shadows\" width=\"500\" height=\"495\" class=\"size-full wp-image-10134613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier2-400x396.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier2-300x297.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/vivianmaier2-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Vivian Maier; from \u003ci>Vivian Maier: Out of the Shadows\u003c/i> \u003ccite>(courtesy of The Jeffrey Goldstein Collection at vivianmaierprints.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The frenzied attention paid to Vivian Maier’s work and the circumstances of its discovery are understandable. Here is a previously unknown photographer who, despite shunning exposure of her work to audiences during her lifetime, emerges as a powerful documentarian of urban existence thanks to the work of a motivated novice sleuth. Add to that the scant details of her private life, and a proper, dig-your-teeth-in story unfolds. That high-flying enthusiasm runs to ground with a heavy thud, however, when other details are considered. John Maloof, and by extension, those associated with the movies, books, and exhibitions that feature Maier’s photographs, work within a system that has the potential to exploit previously unknown artists. In Maier’s case, the fame and, one would guess, financial gain that Maloof and the esteemed New York art dealer Howard Greenberg enjoy as the result of promoting her work so aggressively comes with few limitations. There is no pesky estate that Maloof must wrangle with in order to print images from contact sheets or undeveloped film rolls, a practice that strays into deep and murky ethical waters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By contrast, when famed street photographer Garry Winogrand died suddenly in 1984, his creative legacy was entrusted to his wife, who has managed the dissemination of his work in a mostly careful manner. In the rush to situate Maier’s work within the canon of 20th-century photography, there is little evident consideration of if or how the photographer wanted her work to be seen. To this point, caution on the part of major collecting institutions that so far have stayed off the Maier/Maloof bandwagon suggest that there is more work to be done, and how challenging it may be to position Maier’s contributions to the medium because so few pieces were printed by the artist herself. In the end, Maloof’s effort to bring Vivian Maier’s work to the public has been successful. More importantly though, that same effort has exposed the mechanism of the art market, the allure of a good mystery, and the danger of co-opting another’s passion as a means to make money.\u003c/p>\n\u003cp>\u003ci>The Vivian Maier Mystery\u003c/i> screens at 6pm, Friday, April 4, 2014, at SF Camerawork. The screening is preceded by a reception starting at 5:30, and is followed by a Q&A session. For \u003ca href=\"http://www.sfcamerawork.org/events\">more information\u003c/a>, visit sfcamerawork.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For more on Vivian Maier, listen to the \u003ca href=\"http://www.kqed.org/.stream/anon/radio/forum/2014/03/20140327bbforum.mp3\">March 27 episode\u003c/a> of \u003ci>KQED Forum\u003c/i>. Host Dave Iverson interviews Ken Light, photo director of the UC Berkeley Graduate School of Journalism and Richard Cahan, co-author of \u003ci>Vivian Maier: Out of the Shadows\u003c/i>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Matt Lipps: Collecting Images with 'The Populist Camera'",
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"content": "\u003cfigure id=\"attachment_10134633\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mattlipps640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mattlipps640-400x400.jpg\" alt=\"Matt Lipps, Perspective, 2013; courtesy Jessica Silverman Gallery\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10134633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps640-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps640-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps640-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps640-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps640-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps640-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps640-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps640.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Matt Lipps, \u003ci>Perspective\u003c/i>, 2013; courtesy Jessica Silverman Gallery \u003ccite>(courtesy Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the ever-eventful corner of Ellis and Leavenworth Streets, in the heart of San Francisco’s Tenderloin, Jessica Silverman’s (relatively) new space is pristine, airy and filled with light, hermetically sealed from the outside world. The current exhibition, a glossy group of large-scale photographs by Matt Lipps, takes full advantage of the space. Lipps’ show, \u003cb>The Populist Camera\u003c/b>, is a collection of collections. Sourcing material from personal archives and a series of Time-Life books titled \u003ci>Library of Photography\u003c/i>, Lipps arranges crisp black-and-white cut-outs on glass shelves against the polarized backgrounds of his own images. The result is an exhibition of \u003ci>Wunderkammern\u003c/i>, cabinets of curiosity that contain samples of thrilling photographic imagery and create a persuasive argument for the continued relevance of analog methods.\u003c/p>\n\u003cp>The \u003ci>Library of Photography\u003c/i> is a 17-volume book set, published between 1970 and 1972. Those interested in learning about lighting, photojournalism, and tackling the “special problems” of photography could subscribe to the series and study up — one book at a time. The ten pieces in \u003cb>The Populist Camera\u003c/b> borrow their titles from different books in the series, providing organizing principles to the more abstract conglomerations of imagery.\u003c/p>\n\u003cfigure id=\"attachment_10134635\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mattlipps1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mattlipps1.jpg\" alt=\"Matt Lipps, 1973 - 1975, 2014; courtesy Jessica Silverman Gallery\" width=\"500\" height=\"265\" class=\"size-full wp-image-10134635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps1-400x212.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps1-300x159.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Matt Lipps, \u003ci>1973 – 1975\u003c/i>, 2014; courtesy Jessica Silverman Gallery \u003ccite>(courtesy Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition opens with an impressive triptych just past the gallery’s front desk. \u003ci>1973 – 1975\u003c/i> features ten shelves of objects, animals, interesting shapes, and figures against backgrounds of washed out Marlborough cigarette butts. Images of classic beauty rest like decorative plates on the glass shelves, the drop shadows behind them creating enough trompe l’oeil to be momentarily convincing. At second glance, the scale registers: Lipps’ cut outs are presented as is, remaining relative to their size on their respective pages. A giant baby dwarfs an adult cyclist. Three different sizes of reclining women occupy a center shelf.\u003c/p>\n\u003cp>Lipps doesn’t shy away from including images with abrupt rectangular edges, choosing instead to retain these reminders of the material’s original place on the page. \u003ci>Art\u003c/i> provides the most explicit examples of this, in a gradation from light to dark over the course of three levels of abstracted shapes, all against a minty double exposure of a GE electric fan.\u003c/p>\n\u003cp>The more puzzling the juxtapositions, the more Lipps’ photographs recall the original \u003ci>Wunderkammern\u003c/i>. Bizarre and marvelous objects, manmade, natural and inexplicable, coexisted within the same space because the categorical boundaries of natural science, archeology, geology or religious history did not yet exist. Two wondrously weird and unrelated objects in a \u003ci>Wunderkammer\u003c/i> could trigger moments of discovery for those with enough imagination to connect the pair.\u003c/p>\n\u003cfigure id=\"attachment_10134636\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mattlipps2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mattlipps2.jpg\" alt=\"Matt Lipps, Photojournalism, 2013; courtesy Jessica Silverman Gallery\" width=\"500\" height=\"759\" class=\"size-full wp-image-10134636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps2-400x607.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps2-197x300.jpg 197w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Matt Lipps, \u003ci>Photojournalism\u003c/i>, 2013; courtesy Jessica Silverman Gallery \u003ccite>(courtesy Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though each of Lipps’ photographs includes images culled from the same \u003ci>Library of Photography\u003c/i> book, the editing process he employs is evident, whether in the selection of background imagery, the cuts of the page, or the positioning on the shelves themselves. In \u003ci>Photojournalism\u003c/i>, so many images are easily recognizable that the remaining few beg to be identified. Lipps presents a rebus-like arrangement of significant events — from the Hindenburg disaster to the first moon walk — as a testament to the power of documentary photography. Even the background in this one resembles a Lee Friedlander.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other photographs are more focused on specific subject matter (as would be expected from titles like \u003ci>Children\u003c/i> and \u003ci>Travel\u003c/i>. In one, Shirley Temple sits perched on a shelf. In the other, men and women climb ruins and take pictures. When the organizing principles are more evident, I am reminded of Taryn Simon’s exhibition \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=114912\">\u003cb>The Pictures Collection\u003c/b>\u003c/a>, shown at John Berggruen Gallery just last January. Both Simon and Lipps share a desire to see everything at once. Where Simon spreads out images from individual folders in the New York Public Library’s circulating image collection, Lipps loosens images in the \u003ci>Library of Photography\u003c/i> from their pages, allowing them to meet, overlap, and finally occupy the same plane.\u003c/p>\n\u003cfigure id=\"attachment_10134637\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mattlipps3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mattlipps3.jpg\" alt=\"Matt Lipps, Children, 2014\" width=\"500\" height=\"830\" class=\"size-full wp-image-10134637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps3-400x664.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps3-180x300.jpg 180w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Matt Lipps, \u003ci>Children\u003c/i>, 2014; courtesy Jessica Silverman Gallery \u003ccite>(courtesy Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The press releases for both Simon and Lipps’ shows reference the digital age and, by de facto, the outdatedness of their sources. Lipps’ images seem to reside in an indefinite time. While many of the black and white images are easily dated by the events and people they depict, others look like the kind of prints coming out of any high school that still has a darkroom in 2014. Further confusing this carbon dating process are Lipps’ own photographs, colorized to mask the film’s temperature, fashion hinting at the ’90s, but otherwise afloat in time and space.\u003c/p>\n\u003cp>Lipps created nearly 500 cut outs for \u003cb>The Populist Camera\u003c/b>, and yet the show doesn’t feel overpopulated, thanks in part to the gallery’s spaciousness. Lipps’ “cabinets,” make inventive use of the photographic form, creating something new in each encasement. These are not containers where relics of a bygone (or analog age) are put to rest. Transformed from their original educational purpose, Lipps’ remixed images are true \u003ci>Wunderkammern\u003c/i>: surprising juxtapositions that lead to imaginative discoveries and make an argument for the continued relevance of the methodologies embodied by the original \u003ci>Library of Photography\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Populist Camera\u003c/b> is on view through May 10, 2014 at Jessica Silverman Gallery. For \u003ca href=\"http://jessicasilvermangallery.com/\">more information\u003c/a> visit jessicasilvermangallery.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10134633\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mattlipps640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mattlipps640-400x400.jpg\" alt=\"Matt Lipps, Perspective, 2013; courtesy Jessica Silverman Gallery\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10134633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps640-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps640-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps640-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps640-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps640-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps640-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps640-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps640.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Matt Lipps, \u003ci>Perspective\u003c/i>, 2013; courtesy Jessica Silverman Gallery \u003ccite>(courtesy Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the ever-eventful corner of Ellis and Leavenworth Streets, in the heart of San Francisco’s Tenderloin, Jessica Silverman’s (relatively) new space is pristine, airy and filled with light, hermetically sealed from the outside world. The current exhibition, a glossy group of large-scale photographs by Matt Lipps, takes full advantage of the space. Lipps’ show, \u003cb>The Populist Camera\u003c/b>, is a collection of collections. Sourcing material from personal archives and a series of Time-Life books titled \u003ci>Library of Photography\u003c/i>, Lipps arranges crisp black-and-white cut-outs on glass shelves against the polarized backgrounds of his own images. The result is an exhibition of \u003ci>Wunderkammern\u003c/i>, cabinets of curiosity that contain samples of thrilling photographic imagery and create a persuasive argument for the continued relevance of analog methods.\u003c/p>\n\u003cp>The \u003ci>Library of Photography\u003c/i> is a 17-volume book set, published between 1970 and 1972. Those interested in learning about lighting, photojournalism, and tackling the “special problems” of photography could subscribe to the series and study up — one book at a time. The ten pieces in \u003cb>The Populist Camera\u003c/b> borrow their titles from different books in the series, providing organizing principles to the more abstract conglomerations of imagery.\u003c/p>\n\u003cfigure id=\"attachment_10134635\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mattlipps1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mattlipps1.jpg\" alt=\"Matt Lipps, 1973 - 1975, 2014; courtesy Jessica Silverman Gallery\" width=\"500\" height=\"265\" class=\"size-full wp-image-10134635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps1-400x212.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps1-300x159.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Matt Lipps, \u003ci>1973 – 1975\u003c/i>, 2014; courtesy Jessica Silverman Gallery \u003ccite>(courtesy Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition opens with an impressive triptych just past the gallery’s front desk. \u003ci>1973 – 1975\u003c/i> features ten shelves of objects, animals, interesting shapes, and figures against backgrounds of washed out Marlborough cigarette butts. Images of classic beauty rest like decorative plates on the glass shelves, the drop shadows behind them creating enough trompe l’oeil to be momentarily convincing. At second glance, the scale registers: Lipps’ cut outs are presented as is, remaining relative to their size on their respective pages. A giant baby dwarfs an adult cyclist. Three different sizes of reclining women occupy a center shelf.\u003c/p>\n\u003cp>Lipps doesn’t shy away from including images with abrupt rectangular edges, choosing instead to retain these reminders of the material’s original place on the page. \u003ci>Art\u003c/i> provides the most explicit examples of this, in a gradation from light to dark over the course of three levels of abstracted shapes, all against a minty double exposure of a GE electric fan.\u003c/p>\n\u003cp>The more puzzling the juxtapositions, the more Lipps’ photographs recall the original \u003ci>Wunderkammern\u003c/i>. Bizarre and marvelous objects, manmade, natural and inexplicable, coexisted within the same space because the categorical boundaries of natural science, archeology, geology or religious history did not yet exist. Two wondrously weird and unrelated objects in a \u003ci>Wunderkammer\u003c/i> could trigger moments of discovery for those with enough imagination to connect the pair.\u003c/p>\n\u003cfigure id=\"attachment_10134636\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mattlipps2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mattlipps2.jpg\" alt=\"Matt Lipps, Photojournalism, 2013; courtesy Jessica Silverman Gallery\" width=\"500\" height=\"759\" class=\"size-full wp-image-10134636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps2-400x607.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps2-197x300.jpg 197w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Matt Lipps, \u003ci>Photojournalism\u003c/i>, 2013; courtesy Jessica Silverman Gallery \u003ccite>(courtesy Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though each of Lipps’ photographs includes images culled from the same \u003ci>Library of Photography\u003c/i> book, the editing process he employs is evident, whether in the selection of background imagery, the cuts of the page, or the positioning on the shelves themselves. In \u003ci>Photojournalism\u003c/i>, so many images are easily recognizable that the remaining few beg to be identified. Lipps presents a rebus-like arrangement of significant events — from the Hindenburg disaster to the first moon walk — as a testament to the power of documentary photography. Even the background in this one resembles a Lee Friedlander.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other photographs are more focused on specific subject matter (as would be expected from titles like \u003ci>Children\u003c/i> and \u003ci>Travel\u003c/i>. In one, Shirley Temple sits perched on a shelf. In the other, men and women climb ruins and take pictures. When the organizing principles are more evident, I am reminded of Taryn Simon’s exhibition \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=114912\">\u003cb>The Pictures Collection\u003c/b>\u003c/a>, shown at John Berggruen Gallery just last January. Both Simon and Lipps share a desire to see everything at once. Where Simon spreads out images from individual folders in the New York Public Library’s circulating image collection, Lipps loosens images in the \u003ci>Library of Photography\u003c/i> from their pages, allowing them to meet, overlap, and finally occupy the same plane.\u003c/p>\n\u003cfigure id=\"attachment_10134637\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mattlipps3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mattlipps3.jpg\" alt=\"Matt Lipps, Children, 2014\" width=\"500\" height=\"830\" class=\"size-full wp-image-10134637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps3-400x664.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mattlipps3-180x300.jpg 180w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Matt Lipps, \u003ci>Children\u003c/i>, 2014; courtesy Jessica Silverman Gallery \u003ccite>(courtesy Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The press releases for both Simon and Lipps’ shows reference the digital age and, by de facto, the outdatedness of their sources. Lipps’ images seem to reside in an indefinite time. While many of the black and white images are easily dated by the events and people they depict, others look like the kind of prints coming out of any high school that still has a darkroom in 2014. Further confusing this carbon dating process are Lipps’ own photographs, colorized to mask the film’s temperature, fashion hinting at the ’90s, but otherwise afloat in time and space.\u003c/p>\n\u003cp>Lipps created nearly 500 cut outs for \u003cb>The Populist Camera\u003c/b>, and yet the show doesn’t feel overpopulated, thanks in part to the gallery’s spaciousness. Lipps’ “cabinets,” make inventive use of the photographic form, creating something new in each encasement. These are not containers where relics of a bygone (or analog age) are put to rest. Transformed from their original educational purpose, Lipps’ remixed images are true \u003ci>Wunderkammern\u003c/i>: surprising juxtapositions that lead to imaginative discoveries and make an argument for the continued relevance of the methodologies embodied by the original \u003ci>Library of Photography\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Populist Camera\u003c/b> is on view through May 10, 2014 at Jessica Silverman Gallery. For \u003ca href=\"http://jessicasilvermangallery.com/\">more information\u003c/a> visit jessicasilvermangallery.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Meanwhile in San Francisco, Wendy MacNaughton Illustrates the City's Truth",
"headTitle": "Meanwhile in San Francisco, Wendy MacNaughton Illustrates the City’s Truth | KQED",
"content": "\u003cfigure id=\"attachment_10134964\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/macnaughton.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/macnaughton.jpg\" alt=\"Wendy Macnaughton, Meanwhile in San Francisco: The City in its Own Words\" width=\"500\" height=\"707\" class=\"size-full wp-image-10134964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton-400x565.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton-212x300.jpg 212w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wendy Macnaughton, \u003ci>Meanwhile in San Francisco: The City in its Own Words\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Do you know the names of all the bison in Golden Gate Park? Do you know how people on 6th Street really feel about living there? Have you ever stopped to ask? Wendy MacNaughton makes a habit of asking, sketchbook in hand, as she creates illustrated journalism projects about San Francisco. These stories are collected in her new book, \u003ci>Meanwhile in San Francisco: The City in its Own Words\u003c/i>. Our beloved city is currently very sensitive, angst-y, and in desperate need of a creative reminder of the multiformity that has made this place special to so many of us for so long.\u003c/p>\n\u003cp>For three years, MacNaughton embedded herself in communities, situations, and landmarks, listening to stories and illustrating them. She’s a former social worker, and she is a good listener who has a gift for illuminating the sameness in all of us, as well as the admirable differences. She talked to a cross-section of local folks, including MUNI drivers, dog walkers, farmer’s market vendors, and people who swim in the hella cold bay without wetsuits.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=CwPU8itOSN4\u003c/p>\n\u003cp>She talks about the good stuff (burritos, maker culture) and the difficult stuff (gentrification, food justice issues). She’s a poetic, respectful storyteller, and she lets you fill in the blanks. You know exactly what she is saying in those very quiet spaces on the page. And she nails the little details, like the specific spot in Dolores Park where couples go to have serious talks or break up. I broke up in that exact spot ten years ago! Her observations are uncanny, and every little thing she draws is charming and feels immediate. You can sense her presence and full investment in every moment. Macnaughton has illustrated other books, but this her first solo publication. It is \u003ci>The City in its Own Words\u003c/i>, but the words are recorded, selected and illustrated by a thoughtful investigator.\u003c/p>\n\u003cp>There are so many things to love about Wendy’s style, which we learned more about when she was featured on\u003cbr>\n\u003ca href=\"http://www.kqed.org/arts/programs/artschool/episode.jsp?essid=118704\">Art School\u003c/a> in 2013. She talked about her process and\u003cbr>\n\u003ca href=\"https://www.youtube.com/watch?v=T8NAf44Lpl8\">showed us how to draw beverages\u003c/a>, and we captured her \u003ca href=\"http://youtu.be/CwPU8itOSN4\">laying out a story about SF’s Main Library\u003c/a>, which is included in the new book.\u003c/p>\n\u003cfigure id=\"attachment_10134962\" class=\"wp-caption alignnone\" style=\"max-width: 1440px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/macnaughton1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/macnaughton1.jpg\" alt=\"Wendy Macnaughton, Meanwhile in San Francisco: The City in its Own Words\" width=\"1440\" height=\"960\" class=\"size-full wp-image-10134962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton1-300x200.jpg 300w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wendy Macnaughton, \u003ci>Meanwhile in San Francisco: The City in its Own Words\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>MacNaughton identifies as an illustrator, but to me, she’s an artist who integrates documentation, drawing, painting, lettering, thoughts, facts, and dialogue snippets. I love her handwriting, how her isolation of text creates emotion, and how she only writes the littlest words in cursive. And her illustrations are so painterly. Just wait until you get to the book’s final spread. Spoiler alert: It’s the Outer Sunset and it’s a stunner.\u003c/p>\n\u003cfigure id=\"attachment_10134963\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/macnaughton2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/macnaughton2-1010x1440.jpg\" alt=\"Wendy Macnaughton, Meanwhile in San Francisco: The City in its Own Words\" width=\"640\" height=\"912\" class=\"size-large wp-image-10134963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton2-1010x1440.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton2-400x570.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton2-210x300.jpg 210w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton2.jpg 1440w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wendy Macnaughton, \u003ci>Meanwhile in San Francisco: The City in its Own Words\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>I don’t live in SF anymore, but I work here, and MacNaughton’s book left me nostalgic and even more curious about the future of The City. It illuminates all the beautiful, intriguing, and incomprehensible realities that exist here. A copy of it should be left in the nightstand drawer of every hotel and $6k-per-month apartment in the Mission, like a Gideon’s \u003ci>Bible\u003c/i> for San Francisco. It’s full of good stories.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>P.S. The book’s cover folds out into a poster detailing SF’s neighborhoods. More prints from the book are available at\u003cbr>\n\u003ca href=\"http://society6.com/wendymacnaughton/prints/\">Society 6\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Check out Wendy MacNaughton’s \u003ci>Art School\u003c/i> interview:\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10134964\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/macnaughton.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/macnaughton.jpg\" alt=\"Wendy Macnaughton, Meanwhile in San Francisco: The City in its Own Words\" width=\"500\" height=\"707\" class=\"size-full wp-image-10134964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton-400x565.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton-212x300.jpg 212w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wendy Macnaughton, \u003ci>Meanwhile in San Francisco: The City in its Own Words\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Do you know the names of all the bison in Golden Gate Park? Do you know how people on 6th Street really feel about living there? Have you ever stopped to ask? Wendy MacNaughton makes a habit of asking, sketchbook in hand, as she creates illustrated journalism projects about San Francisco. These stories are collected in her new book, \u003ci>Meanwhile in San Francisco: The City in its Own Words\u003c/i>. Our beloved city is currently very sensitive, angst-y, and in desperate need of a creative reminder of the multiformity that has made this place special to so many of us for so long.\u003c/p>\n\u003cp>For three years, MacNaughton embedded herself in communities, situations, and landmarks, listening to stories and illustrating them. She’s a former social worker, and she is a good listener who has a gift for illuminating the sameness in all of us, as well as the admirable differences. She talked to a cross-section of local folks, including MUNI drivers, dog walkers, farmer’s market vendors, and people who swim in the hella cold bay without wetsuits.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CwPU8itOSN4'\n title='//www.youtube.com/embed/CwPU8itOSN4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She talks about the good stuff (burritos, maker culture) and the difficult stuff (gentrification, food justice issues). She’s a poetic, respectful storyteller, and she lets you fill in the blanks. You know exactly what she is saying in those very quiet spaces on the page. And she nails the little details, like the specific spot in Dolores Park where couples go to have serious talks or break up. I broke up in that exact spot ten years ago! Her observations are uncanny, and every little thing she draws is charming and feels immediate. You can sense her presence and full investment in every moment. Macnaughton has illustrated other books, but this her first solo publication. It is \u003ci>The City in its Own Words\u003c/i>, but the words are recorded, selected and illustrated by a thoughtful investigator.\u003c/p>\n\u003cp>There are so many things to love about Wendy’s style, which we learned more about when she was featured on\u003cbr>\n\u003ca href=\"http://www.kqed.org/arts/programs/artschool/episode.jsp?essid=118704\">Art School\u003c/a> in 2013. She talked about her process and\u003cbr>\n\u003ca href=\"https://www.youtube.com/watch?v=T8NAf44Lpl8\">showed us how to draw beverages\u003c/a>, and we captured her \u003ca href=\"http://youtu.be/CwPU8itOSN4\">laying out a story about SF’s Main Library\u003c/a>, which is included in the new book.\u003c/p>\n\u003cfigure id=\"attachment_10134962\" class=\"wp-caption alignnone\" style=\"max-width: 1440px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/macnaughton1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/macnaughton1.jpg\" alt=\"Wendy Macnaughton, Meanwhile in San Francisco: The City in its Own Words\" width=\"1440\" height=\"960\" class=\"size-full wp-image-10134962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton1-300x200.jpg 300w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wendy Macnaughton, \u003ci>Meanwhile in San Francisco: The City in its Own Words\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>MacNaughton identifies as an illustrator, but to me, she’s an artist who integrates documentation, drawing, painting, lettering, thoughts, facts, and dialogue snippets. I love her handwriting, how her isolation of text creates emotion, and how she only writes the littlest words in cursive. And her illustrations are so painterly. Just wait until you get to the book’s final spread. Spoiler alert: It’s the Outer Sunset and it’s a stunner.\u003c/p>\n\u003cfigure id=\"attachment_10134963\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/macnaughton2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/macnaughton2-1010x1440.jpg\" alt=\"Wendy Macnaughton, Meanwhile in San Francisco: The City in its Own Words\" width=\"640\" height=\"912\" class=\"size-large wp-image-10134963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton2-1010x1440.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton2-400x570.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton2-210x300.jpg 210w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/macnaughton2.jpg 1440w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wendy Macnaughton, \u003ci>Meanwhile in San Francisco: The City in its Own Words\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>I don’t live in SF anymore, but I work here, and MacNaughton’s book left me nostalgic and even more curious about the future of The City. It illuminates all the beautiful, intriguing, and incomprehensible realities that exist here. A copy of it should be left in the nightstand drawer of every hotel and $6k-per-month apartment in the Mission, like a Gideon’s \u003ci>Bible\u003c/i> for San Francisco. It’s full of good stories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>P.S. The book’s cover folds out into a poster detailing SF’s neighborhoods. More prints from the book are available at\u003cbr>\n\u003ca href=\"http://society6.com/wendymacnaughton/prints/\">Society 6\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Check out Wendy MacNaughton’s \u003ci>Art School\u003c/i> interview:\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "photographer-on-a-mission-uses-19th-century-technique-to-make-timeless-images",
"title": "Photographer on a Mission Uses 19th-Century Technique to Make Timeless Images",
"publishDate": 1394114450,
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"content": "\u003cp>California Air National Guardsman \u003ca href=\"http://eddrew.com/\">Ed Drew\u003c/a>‘s job as a gunner on combat search-and-rescue helicopters is one of the most dangerous in the military. When he got word he was heading to Afghanistan last spring, Drew, who’s also an artist, was inspired to make something lasting while he was there — in case he didn’t return.\u003c/p>\n\u003cp>\u003ca href=\"/arts/series/culturecreatescommunity\" target=\"_Blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" width=\"300\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>Before shipping out, Drew taught himself the 19th-century tintype method of portraiture. It’s a painstaking, multi-step process with highly reactive chemicals; any misstep can ruin the outcome. But once the plates are varnished, they’re durable, lasting from generation to generation.\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Drew says “I’m not an embedded photographer; I’m there to do the same job that my comrades… do.” His knowledge, “sweat” and experience as a soldier make for an intimate relationship between subject and photographer — as does the finicky work of making wet-plate photos in a desert. Drew calls the slow process “reflective,” noting that the exposure times can be six seconds, “which in photography terms is an eternity.”\u003c/span>In Afghanistan, Drew devised his own method for making wet-plate tintypes in the heat and dust of a combat zone.\u003c/p>\n\u003cfigure id=\"attachment_128463\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/eddrew1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-128463 \" alt=\"One of Drew's fellow soldiers sits for a portrait. Tintypes require long exposures -- subjects must remain perfectly still for at least six seconds\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/eddrew1.jpg\" width=\"500\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/eddrew1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/eddrew1-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/eddrew1-240x300.jpg 240w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of Drew’s fellow soldiers sits for a portrait. Tintypes require long exposures — subjects must remain perfectly still for at least six seconds. \u003ccite>(Ed Drew, Courtesy of Koch Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His “darkroom” was a cloth stretched over an open storage case. In between missions, he’d make pictures, often having to drop everything and sprint to the helicopter. The last time tintypes were made of soldiers in a war zone, to Drew’s knowledge, was during the American Civil War.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“And so the person — whether they’re staring into the actual camera or they’re looking away — they have to slow down,” Drew observes.\u003c/p>\n\u003cp>The portraits evoke a sense of the timelessness of war. The faces stare at us as if from the past; only the uniforms have changed since the Civil War. Drew isn’t compelled by any political agenda; he wants to highlight his comrades’ humanity and the strong sense of brotherhood he’s experienced since joining the service right out of high school.\u003c/p>\n\u003cfigure id=\"attachment_128461\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/cc-eddrew-360.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-128461 \" alt='Ed Drew uses a large format 1930s Speed Graphic camera outfitted with a World War Two-era lens to take his tintype portraits. The \"wet plate\" tintype process requires careful mixing of chemicals in the field.' src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/cc-eddrew-360.jpg\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/cc-eddrew-360.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/cc-eddrew-360-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/cc-eddrew-360-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ed Drew uses a large format 1930s Speed Graphic camera outfitted with a World War Two-era lens to take his tintype portraits. The “wet plate” tintype process requires careful mixing of chemicals in the field.\u003c/figcaption>\u003c/figure>\n\u003cp>Drew’s tintypes struck a chord with curators at San Francisco’s \u003ca href=\"http://www.kochgallery.com/\">Robert Koch Gallery\u003c/a>, which now represents the photographer. The gallery displayed a selection of Drew’s portraits at the internationally renowned Paris Photo Fair in November, where the images quickly sold out. Meanwhile, Drew’s story was picked up by dozens of \u003ca href=\"http://www.newyorker.com/online/blogs/photobooth/2013/06/the-war-in-afghanistan-in-tintypes.html\">national media outlets\u003c/a>. Though all the attention has provided a career boost, Drew says it’s only inspired him to work even harder and find new ways to show the beauty of the people around him.\u003c/p>\n\u003cp>To that end he’s now turning his lens on a completely different community — a group of primarily African American and Hispanic low-income students who are gaining job and life skills thanks to a unique Bay Area program called \u003ca href=\"http://www.gardenproject.org/\">The Garden Project\u003c/a>. For the past few months, Drew has been making tintypes of the “Earth Steward Apprentices” who work at The Garden Project’s organic farm in San Bruno, sowing and harvesting vegetables for distribution to thousands of needy people in San Francisco food pantries.\u003c/p>\n\u003cfigure id=\"attachment_128464\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/eddrew2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128464 \" alt=\"A tintype of Jesse, one of the apprentices at The Garden Project, a program that teaches at-risk youth organic farming and landscaping -- and helps feed thousands of needy San Franciscans.\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/eddrew2.jpg\" width=\"500\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/eddrew2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/eddrew2-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/eddrew2-240x300.jpg 240w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A tintype of Jesse, one of the apprentices at The Garden Project, a program that teaches at-risk youth organic farming and landscaping — and helps feed thousands of needy San Franciscans. \u003ccite>(Ed Drew, Courtest of Robert Koch Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Drew’s early life wasn’t easy. “My mother worked all the time, my real father was out of the picture,” the artist remembers. “I really had to learn how on my own to hold myself up.” Drew sees a lot of himself in the young people who are making their own way while working to help others.\u003c/p>\n\u003cp>Drew takes the best portraits when the students are relaxed. Before every pose, he chats with them, finding common ground and creating a bond that will help him tell their stories. He hopes casting their images within the context of fine art may help dispel negative stereotypes that often follow African American youth.\u003c/p>\n\u003cp>Cathrine Sneed, founder of The Garden Project, agrees, noting that after the experience of slavery, many African Americans “said that gardening isn’t for me.” But with Drew’s tintypes, connected as they are to that earlier time yet showing farming in a positive light, “it’s come full circle.”\u003c/p>\n\u003cp>“The garden is now a place that can uplift and not just hold you down,” says Sneed. She looks to Drew’s art to help people to see the beauty both of the land and of the young people who are making it bloom.\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003chr>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003ca class=\"img-right\" style=\"margin-bottom: 5px\" href=\"http://www.hewlett.org/\">\u003cbr>\n\u003cimg decoding=\"async\" alt=\"\" src=\"http://u.s.kqed.net/2014/01/29/logohewlettfoundation300px.png\" 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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"excerpt": "Ed Drew's tintype portraits of his fellow soldiers in Afghanistan evoke the timelessness of war. Now he's turning his lens on an organic garden project that's empowering at-risk youth.",
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"title": "Photographer on a Mission Uses 19th-Century Technique to Make Timeless Images | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California Air National Guardsman \u003ca href=\"http://eddrew.com/\">Ed Drew\u003c/a>‘s job as a gunner on combat search-and-rescue helicopters is one of the most dangerous in the military. When he got word he was heading to Afghanistan last spring, Drew, who’s also an artist, was inspired to make something lasting while he was there — in case he didn’t return.\u003c/p>\n\u003cp>\u003ca href=\"/arts/series/culturecreatescommunity\" target=\"_Blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" width=\"300\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>Before shipping out, Drew taught himself the 19th-century tintype method of portraiture. It’s a painstaking, multi-step process with highly reactive chemicals; any misstep can ruin the outcome. But once the plates are varnished, they’re durable, lasting from generation to generation.\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Drew says “I’m not an embedded photographer; I’m there to do the same job that my comrades… do.” His knowledge, “sweat” and experience as a soldier make for an intimate relationship between subject and photographer — as does the finicky work of making wet-plate photos in a desert. Drew calls the slow process “reflective,” noting that the exposure times can be six seconds, “which in photography terms is an eternity.”\u003c/span>In Afghanistan, Drew devised his own method for making wet-plate tintypes in the heat and dust of a combat zone.\u003c/p>\n\u003cfigure id=\"attachment_128463\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/eddrew1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-128463 \" alt=\"One of Drew's fellow soldiers sits for a portrait. Tintypes require long exposures -- subjects must remain perfectly still for at least six seconds\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/eddrew1.jpg\" width=\"500\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/eddrew1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/eddrew1-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/eddrew1-240x300.jpg 240w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of Drew’s fellow soldiers sits for a portrait. Tintypes require long exposures — subjects must remain perfectly still for at least six seconds. \u003ccite>(Ed Drew, Courtesy of Koch Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His “darkroom” was a cloth stretched over an open storage case. In between missions, he’d make pictures, often having to drop everything and sprint to the helicopter. The last time tintypes were made of soldiers in a war zone, to Drew’s knowledge, was during the American Civil War.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And so the person — whether they’re staring into the actual camera or they’re looking away — they have to slow down,” Drew observes.\u003c/p>\n\u003cp>The portraits evoke a sense of the timelessness of war. The faces stare at us as if from the past; only the uniforms have changed since the Civil War. Drew isn’t compelled by any political agenda; he wants to highlight his comrades’ humanity and the strong sense of brotherhood he’s experienced since joining the service right out of high school.\u003c/p>\n\u003cfigure id=\"attachment_128461\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/cc-eddrew-360.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-128461 \" alt='Ed Drew uses a large format 1930s Speed Graphic camera outfitted with a World War Two-era lens to take his tintype portraits. The \"wet plate\" tintype process requires careful mixing of chemicals in the field.' src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/cc-eddrew-360.jpg\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/cc-eddrew-360.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/cc-eddrew-360-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/cc-eddrew-360-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ed Drew uses a large format 1930s Speed Graphic camera outfitted with a World War Two-era lens to take his tintype portraits. The “wet plate” tintype process requires careful mixing of chemicals in the field.\u003c/figcaption>\u003c/figure>\n\u003cp>Drew’s tintypes struck a chord with curators at San Francisco’s \u003ca href=\"http://www.kochgallery.com/\">Robert Koch Gallery\u003c/a>, which now represents the photographer. The gallery displayed a selection of Drew’s portraits at the internationally renowned Paris Photo Fair in November, where the images quickly sold out. Meanwhile, Drew’s story was picked up by dozens of \u003ca href=\"http://www.newyorker.com/online/blogs/photobooth/2013/06/the-war-in-afghanistan-in-tintypes.html\">national media outlets\u003c/a>. Though all the attention has provided a career boost, Drew says it’s only inspired him to work even harder and find new ways to show the beauty of the people around him.\u003c/p>\n\u003cp>To that end he’s now turning his lens on a completely different community — a group of primarily African American and Hispanic low-income students who are gaining job and life skills thanks to a unique Bay Area program called \u003ca href=\"http://www.gardenproject.org/\">The Garden Project\u003c/a>. For the past few months, Drew has been making tintypes of the “Earth Steward Apprentices” who work at The Garden Project’s organic farm in San Bruno, sowing and harvesting vegetables for distribution to thousands of needy people in San Francisco food pantries.\u003c/p>\n\u003cfigure id=\"attachment_128464\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/eddrew2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128464 \" alt=\"A tintype of Jesse, one of the apprentices at The Garden Project, a program that teaches at-risk youth organic farming and landscaping -- and helps feed thousands of needy San Franciscans.\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/eddrew2.jpg\" width=\"500\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/eddrew2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/eddrew2-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/eddrew2-240x300.jpg 240w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A tintype of Jesse, one of the apprentices at The Garden Project, a program that teaches at-risk youth organic farming and landscaping — and helps feed thousands of needy San Franciscans. \u003ccite>(Ed Drew, Courtest of Robert Koch Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Drew’s early life wasn’t easy. “My mother worked all the time, my real father was out of the picture,” the artist remembers. “I really had to learn how on my own to hold myself up.” Drew sees a lot of himself in the young people who are making their own way while working to help others.\u003c/p>\n\u003cp>Drew takes the best portraits when the students are relaxed. Before every pose, he chats with them, finding common ground and creating a bond that will help him tell their stories. He hopes casting their images within the context of fine art may help dispel negative stereotypes that often follow African American youth.\u003c/p>\n\u003cp>Cathrine Sneed, founder of The Garden Project, agrees, noting that after the experience of slavery, many African Americans “said that gardening isn’t for me.” But with Drew’s tintypes, connected as they are to that earlier time yet showing farming in a positive light, “it’s come full circle.”\u003c/p>\n\u003cp>“The garden is now a place that can uplift and not just hold you down,” says Sneed. She looks to Drew’s art to help people to see the beauty both of the land and of the young people who are making it bloom.\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003chr>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003ca class=\"img-right\" style=\"margin-bottom: 5px\" href=\"http://www.hewlett.org/\">\u003cbr>\n\u003cimg decoding=\"async\" alt=\"\" src=\"http://u.s.kqed.net/2014/01/29/logohewlettfoundation300px.png\" 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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"title": "What I Saw When I Didn't See Lightning: Walter De Maria's 'The Lightning Field'",
"headTitle": "What I Saw When I Didn’t See Lightning: Walter De Maria’s ‘The Lightning Field’ | KQED",
"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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"excerpt": "The late artist Walter De Maria's \u003ci>The Lightning Field\u003c/i> in Western New Mexico is an immersive Land Art sculpture designed to attract lightning. Different ways of experiencing the work come to the fore when the skies are clear.",
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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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"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>\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>\u003c/p>\n\u003cp>If you do get an offer and decide to move on, here are some tips: \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>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",
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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>\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>\u003c/p>\n\u003cp>If you do get an offer and decide to move on, here are some tips: \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>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\u003c/div>\u003c/p>",
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"title": "Fahrrad Verrückter Künst: Bicycle Derelict Art at Nowheresville SF",
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"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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"title": "Wish You Were Here: A Postcard from the LA Art Book Fair",
"headTitle": "Wish You Were Here: A Postcard from the LA Art Book Fair | KQED",
"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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"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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"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}