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"content": "\u003cp>Edward Martinez admits that when he was a boy growing up in Newark, N.J., the inside of his bedroom closet may not have been the best place to begin experimenting with graffiti. But the experience lit a spark. “It was like magic,” the artist remembers. “For me, graffiti art was the vehicle to give me my voice. Not so much to spread a political message — the message was that I was alive.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" width=\"300\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>Martinez named himself “Scape,” for Screaming Creative and Positive Energy. “Scape became my alter ego,” he says. “Scape was my superhero. Scape was everything that Edward wasn’t. Graffiti art allows you to do that in a way. Graffiti art allows you to leave the everyday and go out and wear that cape, if you will.”\u003c/p>\n\u003cfigure id=\"attachment_128515\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/scape360.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128515\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/scape360.jpg\" alt=\"Scape Martinez with students from his Graffiti Art Workshop\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape360.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape360-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape360-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scape Martinez with students from his Graffiti Art Workshop at The Mural, Music & Arts Project, in East Palo Alto. MMAP provides opportunity and empowerment to Bay Area youth through participation in the arts.\u003c/figcaption>\u003c/figure>\n\u003cp>Today, Martinez is wearing that cape proudly. Two decades after firing off that first, exhilarating blast from a spray can, his career is thriving, with public art commissions for murals across the Bay Area, speaking engagements, workshops, gallery exhibits and \u003ca href=\"http://www.amazon.com/Scape-Martinez/e/B002I4MBNK\">four books on graffiti art\u003c/a>. Martinez has emerged as a leading voice advocating for the social relevance and importance of graffiti art. Recently, he worked with Stanford Law students in a graffiti art workshop aimed at examining whether art forms that push societal boundaries, like graffiti, can provide a vital role promoting awareness and social change.\u003c/p>\n\u003cfigure id=\"attachment_10134683\" class=\"wp-caption alignleft\" style=\"max-width: 1244px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/01/5_Castilleja.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10134683 \" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/01/5_Castilleja.jpg\" alt='Students at Castilleja School, in San Jose, created \"The Perception, Expression Cube\" during a week-long collaboration with Scape Martinez and MMAP.' width=\"1244\" height=\"933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/01/5_Castilleja.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/01/5_Castilleja-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/01/5_Castilleja-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/01/5_Castilleja-1440x1080.jpg 1440w\" sizes=\"(max-width: 1244px) 100vw, 1244px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Students at Castilleja School, in San Jose, created “The Perception, Expression Cube” during a week-long collaboration with Scape Martinez and MMAP.\u003c/figcaption>\u003c/figure>\n\u003cp>Because graffiti art so impacted his own sense of self-worth growing up, Scape is committed to using its power to give voice to underserved youth, like those he mentors at the Mural, Music & Arts Project (MMAP), in East Palo Alto. Since its founding in 2001, MMAP has served thousands of young people who, among other activities, research, design and create public art projects. As MMAP’s Artist in Residence, Martinez works to give a sense of place and purpose to the youth of East Palo Alto through extended, hands-on, graffiti art workshops.\u003c/p>\n\u003cfigure id=\"attachment_128516\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/scape2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128516 \" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/scape2.jpg\" alt=\"In recent years Scape's work has evolved into large-scale pieces of abstract expressionism, like those seen on the exterior and interior walls at Roosevelt Community Center, a public art project commissioned by the City of San Jose.\" width=\"500\" height=\"281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape2-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape2-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">In recent years Scape’s work has evolved into large-scale pieces of abstract expressionism, like those seen on the exterior and interior walls at Roosevelt Community Center, a public art project commissioned by the City of San Jose.\u003c/figcaption>\u003c/figure>\n\u003cp>To those who see graffiti as vandalism, Martinez emphasizes that he teaches “the art of graffiti, not the act of graffiti.” He continues: “We teach that if you are going to paint a wall you must have permission. Period. We want to show the youth how to own their behavior, how to respect others and themselves, and to empower them to make better choices.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Martinez sees graffiti as a uniquely American art, like jazz and blues, and believes it’s the ultimate in democratic art forms. “It is the largest art movement in the world right now,” he says. “Millions of youth are involved in it and millions of youth are reinterpreting themselves and the world that they live in. And there’s an incredible value in that.”\u003c/p>\n\n",
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"excerpt": "When he became a graffiti artist, Edward Martinez adopted the alter-ego \"Scape,\" for Screaming Creative and Positive Energy. That positive charge is evident both in his vividly pulsating paintings and in his work with the underserved youth he mentors in East Palo Alto.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Edward Martinez admits that when he was a boy growing up in Newark, N.J., the inside of his bedroom closet may not have been the best place to begin experimenting with graffiti. But the experience lit a spark. “It was like magic,” the artist remembers. “For me, graffiti art was the vehicle to give me my voice. Not so much to spread a political message — the message was that I was alive.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/culturecreatescommunity/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-129114\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sparkcc.jpg\" alt=\"Spark: Culture Creates Community - A special KQED Arts series\" width=\"300\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>Martinez named himself “Scape,” for Screaming Creative and Positive Energy. “Scape became my alter ego,” he says. “Scape was my superhero. Scape was everything that Edward wasn’t. Graffiti art allows you to do that in a way. Graffiti art allows you to leave the everyday and go out and wear that cape, if you will.”\u003c/p>\n\u003cfigure id=\"attachment_128515\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/scape360.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128515\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/scape360.jpg\" alt=\"Scape Martinez with students from his Graffiti Art Workshop\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape360.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape360-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape360-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scape Martinez with students from his Graffiti Art Workshop at The Mural, Music & Arts Project, in East Palo Alto. MMAP provides opportunity and empowerment to Bay Area youth through participation in the arts.\u003c/figcaption>\u003c/figure>\n\u003cp>Today, Martinez is wearing that cape proudly. Two decades after firing off that first, exhilarating blast from a spray can, his career is thriving, with public art commissions for murals across the Bay Area, speaking engagements, workshops, gallery exhibits and \u003ca href=\"http://www.amazon.com/Scape-Martinez/e/B002I4MBNK\">four books on graffiti art\u003c/a>. Martinez has emerged as a leading voice advocating for the social relevance and importance of graffiti art. Recently, he worked with Stanford Law students in a graffiti art workshop aimed at examining whether art forms that push societal boundaries, like graffiti, can provide a vital role promoting awareness and social change.\u003c/p>\n\u003cfigure id=\"attachment_10134683\" class=\"wp-caption alignleft\" style=\"max-width: 1244px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/01/5_Castilleja.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10134683 \" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/01/5_Castilleja.jpg\" alt='Students at Castilleja School, in San Jose, created \"The Perception, Expression Cube\" during a week-long collaboration with Scape Martinez and MMAP.' width=\"1244\" height=\"933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/01/5_Castilleja.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/01/5_Castilleja-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/01/5_Castilleja-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/01/5_Castilleja-1440x1080.jpg 1440w\" sizes=\"(max-width: 1244px) 100vw, 1244px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Students at Castilleja School, in San Jose, created “The Perception, Expression Cube” during a week-long collaboration with Scape Martinez and MMAP.\u003c/figcaption>\u003c/figure>\n\u003cp>Because graffiti art so impacted his own sense of self-worth growing up, Scape is committed to using its power to give voice to underserved youth, like those he mentors at the Mural, Music & Arts Project (MMAP), in East Palo Alto. Since its founding in 2001, MMAP has served thousands of young people who, among other activities, research, design and create public art projects. As MMAP’s Artist in Residence, Martinez works to give a sense of place and purpose to the youth of East Palo Alto through extended, hands-on, graffiti art workshops.\u003c/p>\n\u003cfigure id=\"attachment_128516\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/scape2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128516 \" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/scape2.jpg\" alt=\"In recent years Scape's work has evolved into large-scale pieces of abstract expressionism, like those seen on the exterior and interior walls at Roosevelt Community Center, a public art project commissioned by the City of San Jose.\" width=\"500\" height=\"281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape2-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/scape2-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">In recent years Scape’s work has evolved into large-scale pieces of abstract expressionism, like those seen on the exterior and interior walls at Roosevelt Community Center, a public art project commissioned by the City of San Jose.\u003c/figcaption>\u003c/figure>\n\u003cp>To those who see graffiti as vandalism, Martinez emphasizes that he teaches “the art of graffiti, not the act of graffiti.” He continues: “We teach that if you are going to paint a wall you must have permission. Period. We want to show the youth how to own their behavior, how to respect others and themselves, and to empower them to make better choices.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Lives of the Artists: Peter Hujar at Fraenkel Gallery",
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"content": "\u003cp>The sense of the person behind the camera in a photograph is perhaps more palpable and mysterious than artists who work in other media. Through a photo, we can feel like we are more directly privy to an artist’s perspective. Think about \u003ca href=\"http://diane-arbus-photography.com/\">Diane Arbus\u003c/a> and the complicated oft-psychologized conflation of her personal life and choice of images — there’s more than one salacious biography, along with a peculiar film, \u003ca href=\"http://www.youtube.com/watch?v=iVd8RbFESw0\">\u003ci>Fur\u003c/i>\u003c/a>, with Nicole Kidman in the role of the artist during her formative years. Then there is the more complicated case of the deceased artist who was not well recognized in his or her lifetime — consider SFMOMA’s 2011 \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/430\">Francesca Woodman exhibition\u003c/a>, which told a story as informed by the artist’s tragic suicide as the numerous self-portraits on view. A mythology emerges from the idea that we are seeing the same perspective of the artist’s self, alone in her studio. In actuality, these narratives are fascinating fictions regarding the role of the photographer’s relationship to the self and others.\u003c/p>\n\u003cp>How we imagine these artists in some ways is akin to a photograph they take of us. How fitting it is that photographer Nan Goldin called her 1996 mid-career survey \u003ca href=\"http://www.amazon.com/Ill-Your-Mirror-Nan-Goldin/dp/3931141330\">\u003cb>I’ll Be Your Mirror\u003c/b>\u003c/a>, after a Velvet Underground song. Goldin, a widely known photographer whose most classic pictures chronicle a community lost to AIDS and addiction, and frequently involve self-portraiture, is the subject of one of a pair of exhibitions currently at Fraenkel Gallery. The other show, titled \u003cb>Love & Lust\u003c/b>, is a collection of photographs by Peter Hujar. While not exactly unknown, \u003ca href=\"http://www.peterhujararchive.com/\">his career\u003c/a> was erratic and cut short by an untimely death in 1987 due to complications from AIDS, one of many artists whose lives were lost to this health crisis. He was an important figure in the New York art scene in the 1970s and ’80s, yet not so widely exhibited. You might know his iconic photograph \u003ca href=\"http://en.wikipedia.org/wiki/Candy_Darling\">\u003ci>Candy Darling on Her Deathbed, 1974\u003c/i>\u003c/a> or be aware that he was the lover and mentor of artist and writer \u003ca href=\"http://en.wikipedia.org/wiki/David_Wojnarowicz\">David Wojnarowicz\u003c/a> — these details, at least, have floated into a compact Wikipedia entry.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" alt=\"Peter Hujar, David Wojnarowicz Reclining (II), 1981; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\" src=\"http://a.s.kqed.net/img/arts/blog/hujar1.jpg\" width=\"500\" height=\"496\">\u003cfigcaption class=\"wp-caption-text\">Peter Hujar, David Wojnarowicz Reclining (II), 1981; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>Many more details surfaced in an intimate gallery conversation between Goldin and \u003ci>New Yorker\u003c/i> photography critic Vince Aletti, who was close friends with Hujar. Moderated by Fraenkel, Goldin and Aletti told tales of Hujar, whose nude self-portrait in a gay bathhouse cubicle hung in the next room. That seemingly fully revealing image was enhanced by recollections of his surviving friends: Hujar was handsome, difficult and magnetic, and an aesthetically sensitive artist more gifted than schooled. But what was most striking about the conversation was the way a more fleshed-out image of the man emerged like an exposed photo in a tray of developer.\u003c/p>\n\u003cp>Fraenkel introduced Goldin, whose now-classic photographs of her circle of friends generated a cinematic aura around their very real lives, as an artist who has had enormous influence on other artists. “Something you can’t fake,” Fraenkel said. She in turn described how Hujar was a formative influence, particularly for his uncompromising commitment to his work. “Which is why he had such a small career,” she said wryly. As a contrast, Fraenkel invoked what he called “the M-Word,” Robert Mapplethorpe, a much more successful contemporary of Hujar’s. There are definite parallels; they both mined aspects of gay culture to different degrees of popular success. “You’d never see one of Peter’s pictures on a T-shirt,” Goldin countered, generating laughter from the invitation-only audience of collectors and photo professionals.\u003c/p>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" alt=\"Peter Hujar, Orgasmic Man (I, II & III), 1969; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\" src=\"http://a.s.kqed.net/img/arts/blog/hujar2.jpg\" width=\"500\" height=\"222\">\u003cfigcaption class=\"wp-caption-text\">Peter Hujar, Orgasmic Man (I, II & III), 1969; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>For Aletti, thoughtful in a manner befitting his profession, Hujar provided lessons in seeing. “He got me to understand the difficulty of photography, the struggle that goes into making a good picture,” he said. He also recalled that everyone who knew Hujar seemed to fall in love with him, at least initially. Both Goldin and Aletti noted that at the funeral everyone seemed to feel like they were Hujar’s best friend, yet none of them had met each other before.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The discussion was hagiographic, tempered and perhaps enhanced by frequent revelations of Hujar’s prickliness (more on that in a fascinating 1989 interview with Fran Liebowitz reprinted in the \u003ca href=\"http://fraenkelgallery.com/publications/love-lust\">exhibition catalog\u003c/a>). On a practical level, this conversation was much about bolstering an artist’s legacy, positioning his posthumous work to an audience who might not be so open to, say, a graphic image of an ejaculating penis. Fraenkel admitted one of his collectors described the photographs as “gross,” suggesting there was risk involved in collecting explicit images in the current show.\u003c/p>\n\u003cp>And yet hearing Goldin and Aletti offer astute, heartfelt appreciations of Hujar, it was difficult not to wonder what kind of a man could make such an indelible impression. We had to take their word for it, and in a way this event was a storytelling session in which a persona was happily conjured. They were there in the service of legacy: Goldin admitted that \u003ca href=\"http://fraenkelgallery.com/exhibitions/nine-self-portraits\">one of her recent self-portraits\u003c/a>, in which she stands in bra and denim, hands tucked in her waistband, was made in response to the announcement image of the Hujar show, a 1980 self-portrait in a jock strap. Aletti committed further insights to a video on the gallery website.\u003c/p>\n\u003caside class=\"aligncenter\">[vimeo 84348087 w=640&h=360]\u003c/aside>\n\u003cp>Of course, the speakers are of some note and maintain their own personas. I was scheduled to interview Goldin the next afternoon, though was warned of her mercurial nature. I spotted her in the hallway a bit after the appointed time. She seemed a bit hobbled but still mischievous as she asked if anyone at the gallery could commandeer a boat for an impromptu jaunt to Alcatraz. She said we’d sit down to chat after she had a quick cigarette and some vegan food, then ambled out, never to return. Aletti was more available and focused to talk more about Hujar, pondering the idea of there being a filmed version of his life. While he felt the narrative was more literary, he could see the appeal. “I think so many artists’ lives are fascinating, and more fascinating when they are difficult and unhappy and unsuccessful,” he said. What becomes a legend most?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Peter Hujar: Love & Lust\u003c/b> and \u003cb>Nan Goldin: Nine Self-Portraits\u003c/b> are on view through March 8, 2014 at Fraenkel Gallery in San Francisco. For \u003ca href=\"http://fraenkelgallery.com/\">more information\u003c/a> visit fraenkelgallery.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sense of the person behind the camera in a photograph is perhaps more palpable and mysterious than artists who work in other media. Through a photo, we can feel like we are more directly privy to an artist’s perspective. Think about \u003ca href=\"http://diane-arbus-photography.com/\">Diane Arbus\u003c/a> and the complicated oft-psychologized conflation of her personal life and choice of images — there’s more than one salacious biography, along with a peculiar film, \u003ca href=\"http://www.youtube.com/watch?v=iVd8RbFESw0\">\u003ci>Fur\u003c/i>\u003c/a>, with Nicole Kidman in the role of the artist during her formative years. Then there is the more complicated case of the deceased artist who was not well recognized in his or her lifetime — consider SFMOMA’s 2011 \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/430\">Francesca Woodman exhibition\u003c/a>, which told a story as informed by the artist’s tragic suicide as the numerous self-portraits on view. A mythology emerges from the idea that we are seeing the same perspective of the artist’s self, alone in her studio. In actuality, these narratives are fascinating fictions regarding the role of the photographer’s relationship to the self and others.\u003c/p>\n\u003cp>How we imagine these artists in some ways is akin to a photograph they take of us. How fitting it is that photographer Nan Goldin called her 1996 mid-career survey \u003ca href=\"http://www.amazon.com/Ill-Your-Mirror-Nan-Goldin/dp/3931141330\">\u003cb>I’ll Be Your Mirror\u003c/b>\u003c/a>, after a Velvet Underground song. Goldin, a widely known photographer whose most classic pictures chronicle a community lost to AIDS and addiction, and frequently involve self-portraiture, is the subject of one of a pair of exhibitions currently at Fraenkel Gallery. The other show, titled \u003cb>Love & Lust\u003c/b>, is a collection of photographs by Peter Hujar. While not exactly unknown, \u003ca href=\"http://www.peterhujararchive.com/\">his career\u003c/a> was erratic and cut short by an untimely death in 1987 due to complications from AIDS, one of many artists whose lives were lost to this health crisis. He was an important figure in the New York art scene in the 1970s and ’80s, yet not so widely exhibited. You might know his iconic photograph \u003ca href=\"http://en.wikipedia.org/wiki/Candy_Darling\">\u003ci>Candy Darling on Her Deathbed, 1974\u003c/i>\u003c/a> or be aware that he was the lover and mentor of artist and writer \u003ca href=\"http://en.wikipedia.org/wiki/David_Wojnarowicz\">David Wojnarowicz\u003c/a> — these details, at least, have floated into a compact Wikipedia entry.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" alt=\"Peter Hujar, David Wojnarowicz Reclining (II), 1981; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\" src=\"http://a.s.kqed.net/img/arts/blog/hujar1.jpg\" width=\"500\" height=\"496\">\u003cfigcaption class=\"wp-caption-text\">Peter Hujar, David Wojnarowicz Reclining (II), 1981; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>Many more details surfaced in an intimate gallery conversation between Goldin and \u003ci>New Yorker\u003c/i> photography critic Vince Aletti, who was close friends with Hujar. Moderated by Fraenkel, Goldin and Aletti told tales of Hujar, whose nude self-portrait in a gay bathhouse cubicle hung in the next room. That seemingly fully revealing image was enhanced by recollections of his surviving friends: Hujar was handsome, difficult and magnetic, and an aesthetically sensitive artist more gifted than schooled. But what was most striking about the conversation was the way a more fleshed-out image of the man emerged like an exposed photo in a tray of developer.\u003c/p>\n\u003cp>Fraenkel introduced Goldin, whose now-classic photographs of her circle of friends generated a cinematic aura around their very real lives, as an artist who has had enormous influence on other artists. “Something you can’t fake,” Fraenkel said. She in turn described how Hujar was a formative influence, particularly for his uncompromising commitment to his work. “Which is why he had such a small career,” she said wryly. As a contrast, Fraenkel invoked what he called “the M-Word,” Robert Mapplethorpe, a much more successful contemporary of Hujar’s. There are definite parallels; they both mined aspects of gay culture to different degrees of popular success. “You’d never see one of Peter’s pictures on a T-shirt,” Goldin countered, generating laughter from the invitation-only audience of collectors and photo professionals.\u003c/p>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" alt=\"Peter Hujar, Orgasmic Man (I, II & III), 1969; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\" src=\"http://a.s.kqed.net/img/arts/blog/hujar2.jpg\" width=\"500\" height=\"222\">\u003cfigcaption class=\"wp-caption-text\">Peter Hujar, Orgasmic Man (I, II & III), 1969; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>For Aletti, thoughtful in a manner befitting his profession, Hujar provided lessons in seeing. “He got me to understand the difficulty of photography, the struggle that goes into making a good picture,” he said. He also recalled that everyone who knew Hujar seemed to fall in love with him, at least initially. Both Goldin and Aletti noted that at the funeral everyone seemed to feel like they were Hujar’s best friend, yet none of them had met each other before.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The discussion was hagiographic, tempered and perhaps enhanced by frequent revelations of Hujar’s prickliness (more on that in a fascinating 1989 interview with Fran Liebowitz reprinted in the \u003ca href=\"http://fraenkelgallery.com/publications/love-lust\">exhibition catalog\u003c/a>). On a practical level, this conversation was much about bolstering an artist’s legacy, positioning his posthumous work to an audience who might not be so open to, say, a graphic image of an ejaculating penis. Fraenkel admitted one of his collectors described the photographs as “gross,” suggesting there was risk involved in collecting explicit images in the current show.\u003c/p>\n\u003cp>And yet hearing Goldin and Aletti offer astute, heartfelt appreciations of Hujar, it was difficult not to wonder what kind of a man could make such an indelible impression. We had to take their word for it, and in a way this event was a storytelling session in which a persona was happily conjured. They were there in the service of legacy: Goldin admitted that \u003ca href=\"http://fraenkelgallery.com/exhibitions/nine-self-portraits\">one of her recent self-portraits\u003c/a>, in which she stands in bra and denim, hands tucked in her waistband, was made in response to the announcement image of the Hujar show, a 1980 self-portrait in a jock strap. Aletti committed further insights to a video on the gallery website.\u003c/p>\n\u003caside class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>Of course, the speakers are of some note and maintain their own personas. I was scheduled to interview Goldin the next afternoon, though was warned of her mercurial nature. I spotted her in the hallway a bit after the appointed time. She seemed a bit hobbled but still mischievous as she asked if anyone at the gallery could commandeer a boat for an impromptu jaunt to Alcatraz. She said we’d sit down to chat after she had a quick cigarette and some vegan food, then ambled out, never to return. Aletti was more available and focused to talk more about Hujar, pondering the idea of there being a filmed version of his life. While he felt the narrative was more literary, he could see the appeal. “I think so many artists’ lives are fascinating, and more fascinating when they are difficult and unhappy and unsuccessful,” he said. What becomes a legend most?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Peter Hujar: Love & Lust\u003c/b> and \u003cb>Nan Goldin: Nine Self-Portraits\u003c/b> are on view through March 8, 2014 at Fraenkel Gallery in San Francisco. For \u003ca href=\"http://fraenkelgallery.com/\">more information\u003c/a> visit fraenkelgallery.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The sense of the person behind the camera in a photograph is perhaps more palpable and mysterious than artists who work in other media. Through a photo, we can feel like we are more directly privy to an artist’s perspective. Think about \u003ca href=\"http://diane-arbus-photography.com/\">Diane Arbus\u003c/a> and the complicated oft-psychologized conflation of her personal life and choice of images — there’s more than one salacious biography, along with a peculiar film, \u003ca href=\"http://www.youtube.com/watch?v=iVd8RbFESw0\">\u003ci>Fur\u003c/i>\u003c/a>, with Nicole Kidman in the role of the artist during her formative years. Then there is the more complicated case of the deceased artist who was not well recognized in his or her lifetime — consider SFMOMA’s 2011 \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/430\">Francesca Woodman exhibition\u003c/a>, which told a story as informed by the artist’s tragic suicide as the numerous self-portraits on view. A mythology emerges from the idea that we are seeing the same perspective of the artist’s self, alone in her studio. In actuality, these narratives are fascinating fictions regarding the role of the photographer’s relationship to the self and others.\u003c/p>\n\u003cp>How we imagine these artists in some ways is akin to a photograph they take of us. How fitting it is that photographer Nan Goldin called her 1996 mid-career survey \u003ca href=\"http://www.amazon.com/Ill-Your-Mirror-Nan-Goldin/dp/3931141330\">\u003cb>I’ll Be Your Mirror\u003c/b>\u003c/a>, after a Velvet Underground song. Goldin, a widely known photographer whose most classic pictures chronicle a community lost to AIDS and addiction, and frequently involve self-portraiture, is the subject of one of a pair of exhibitions currently at Fraenkel Gallery. The other show, titled \u003cb>Love & Lust\u003c/b>, is a collection of photographs by Peter Hujar. While not exactly unknown, \u003ca href=\"http://www.peterhujararchive.com/\">his career\u003c/a> was erratic and cut short by an untimely death in 1987 due to complications from AIDS, one of many artists whose lives were lost to this health crisis. He was an important figure in the New York art scene in the 1970s and ’80s, yet not so widely exhibited. You might know his iconic photograph \u003ca href=\"http://en.wikipedia.org/wiki/Candy_Darling\">\u003ci>Candy Darling on Her Deathbed, 1974\u003c/i>\u003c/a> or be aware that he was the lover and mentor of artist and writer \u003ca href=\"http://en.wikipedia.org/wiki/David_Wojnarowicz\">David Wojnarowicz\u003c/a> — these details, at least, have floated into a compact Wikipedia entry.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hujar1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Peter Hujar, \u003ci>David Wojnarowicz Reclining (II)\u003c/i>, 1981; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\u003cbr>\u003c/center>\n\u003cp>Many more details surfaced in an intimate gallery conversation between Goldin and \u003ci>New Yorker\u003c/i> photography critic Vince Aletti, who was close friends with Hujar. Moderated by Fraenkel, Goldin and Aletti told tales of Hujar, whose nude self-portrait in a gay bathhouse cubicle hung in the next room. That seemingly fully revealing image was enhanced by recollections of his surviving friends: Hujar was handsome, difficult and magnetic, and an aesthetically sensitive artist more gifted than schooled. But what was most striking about the conversation was the way a more fleshed-out image of the man emerged like an exposed photo in a tray of developer.\u003c/p>\n\u003cp>Fraenkel introduced Goldin, whose now-classic photographs of her circle of friends generated a cinematic aura around their very real lives, as an artist who has had enormous influence on other artists. “Something you can’t fake,” Fraenkel said. She in turn described how Hujar was a formative influence, particularly for his uncompromising commitment to his work. “Which is why he had such a small career,” she said wryly. As a contrast, Fraenkel invoked what he called “the M-Word,” Robert Mapplethorpe, a much more successful contemporary of Hujar’s. There are definite parallels; they both mined aspects of gay culture to different degrees of popular success. “You’d never see one of Peter’s pictures on a T-shirt,” Goldin countered, generating laughter from the invitation-only audience of collectors and photo professionals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hujar2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Peter Hujar, \u003ci>Orgasmic Man (I, II & III)\u003c/i>, 1969; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\u003cbr>\u003c/center>\n\u003cp>For Aletti, thoughtful in a manner befitting his profession, Hujar provided lessons in seeing. “He got me to understand the difficulty of photography, the struggle that goes into making a good picture,” he said. He also recalled that everyone who knew Hujar seemed to fall in love with him, at least initially. Both Goldin and Aletti noted that at the funeral everyone seemed to feel like they were Hujar’s best friend, yet none of them had met each other before.\u003c/p>\n\u003cp>The discussion was hagiographic, tempered and perhaps enhanced by frequent revelations of Hujar’s prickliness (more on that in a fascinating 1989 interview with Fran Liebowitz reprinted in the \u003ca href=\"http://fraenkelgallery.com/publications/love-lust\">exhibition catalog\u003c/a>). On a practical level, this conversation was much about bolstering an artist’s legacy, positioning his posthumous work to an audience who might not be so open to, say, a graphic image of an ejaculating penis. Fraenkel admitted one of his collectors described the photographs as “gross,” suggesting there was risk involved in collecting explicit images in the current show.\u003c/p>\n\u003cp>And yet hearing Goldin and Aletti offer astute, heartfelt appreciations of Hujar, it was difficult not to wonder what kind of a man could make such an indelible impression. We had to take their word for it, and in a way this event was a storytelling session in which a persona was happily conjured. They were there in the service of legacy: Goldin admitted that \u003ca href=\"http://fraenkelgallery.com/exhibitions/nine-self-portraits\">one of her recent self-portraits\u003c/a>, in which she stands in bra and denim, hands tucked in her waistband, was made in response to the announcement image of the Hujar show, a 1980 self-portrait in a jock strap. Aletti committed further insights to a video on the gallery website.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" src=\"//player.vimeo.com/video/84348087?title=0&byline=0&portrait=0&color=ffffff\" width=\"480\" height=\"270\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe> \n\u003cp>\u003ca href=\"http://vimeo.com/84348087\">Vince Aletti on Peter Hujar’s Love & Lust\u003c/a> from \u003ca href=\"http://vimeo.com/fraenkelgallery\">Fraenkel Gallery\u003c/a> on \u003ca href=\"https://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Of course, the speakers are of some note and maintain their own personas. I was scheduled to interview Goldin the next afternoon, though was warned of her mercurial nature. I spotted her in the hallway a bit after the appointed time. She seemed a bit hobbled but still mischievous as she asked if anyone at the gallery could commandeer a boat for an impromptu jaunt to Alcatraz. She said we’d sit down to chat after she had a quick cigarette and some vegan food, then ambled out, never to return. Aletti was more available and focused to talk more about Hujar, pondering the idea of there being a filmed version of his life. While he felt the narrative was more literary, he could see the appeal. “I think so many artists’ lives are fascinating, and more fascinating when they are difficult and unhappy and unsuccessful,” he said. What becomes a legend most?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Peter Hujar: Love & Lust\u003c/b> and \u003cb>Nan Goldin: Nine Self-Portraits\u003c/b> are on view through March 8, 2014 at Fraenkel Gallery in San Francisco. For \u003ca href=\"http://fraenkelgallery.com/\">more information\u003c/a> visit fraenkelgallery.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sense of the person behind the camera in a photograph is perhaps more palpable and mysterious than artists who work in other media. Through a photo, we can feel like we are more directly privy to an artist’s perspective. Think about \u003ca href=\"http://diane-arbus-photography.com/\">Diane Arbus\u003c/a> and the complicated oft-psychologized conflation of her personal life and choice of images — there’s more than one salacious biography, along with a peculiar film, \u003ca href=\"http://www.youtube.com/watch?v=iVd8RbFESw0\">\u003ci>Fur\u003c/i>\u003c/a>, with Nicole Kidman in the role of the artist during her formative years. Then there is the more complicated case of the deceased artist who was not well recognized in his or her lifetime — consider SFMOMA’s 2011 \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/430\">Francesca Woodman exhibition\u003c/a>, which told a story as informed by the artist’s tragic suicide as the numerous self-portraits on view. A mythology emerges from the idea that we are seeing the same perspective of the artist’s self, alone in her studio. In actuality, these narratives are fascinating fictions regarding the role of the photographer’s relationship to the self and others.\u003c/p>\n\u003cp>How we imagine these artists in some ways is akin to a photograph they take of us. How fitting it is that photographer Nan Goldin called her 1996 mid-career survey \u003ca href=\"http://www.amazon.com/Ill-Your-Mirror-Nan-Goldin/dp/3931141330\">\u003cb>I’ll Be Your Mirror\u003c/b>\u003c/a>, after a Velvet Underground song. Goldin, a widely known photographer whose most classic pictures chronicle a community lost to AIDS and addiction, and frequently involve self-portraiture, is the subject of one of a pair of exhibitions currently at Fraenkel Gallery. The other show, titled \u003cb>Love & Lust\u003c/b>, is a collection of photographs by Peter Hujar. While not exactly unknown, \u003ca href=\"http://www.peterhujararchive.com/\">his career\u003c/a> was erratic and cut short by an untimely death in 1987 due to complications from AIDS, one of many artists whose lives were lost to this health crisis. He was an important figure in the New York art scene in the 1970s and ’80s, yet not so widely exhibited. You might know his iconic photograph \u003ca href=\"http://en.wikipedia.org/wiki/Candy_Darling\">\u003ci>Candy Darling on Her Deathbed, 1974\u003c/i>\u003c/a> or be aware that he was the lover and mentor of artist and writer \u003ca href=\"http://en.wikipedia.org/wiki/David_Wojnarowicz\">David Wojnarowicz\u003c/a> — these details, at least, have floated into a compact Wikipedia entry.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hujar1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Peter Hujar, \u003ci>David Wojnarowicz Reclining (II)\u003c/i>, 1981; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\u003cbr>\u003c/center>\n\u003cp>Many more details surfaced in an intimate gallery conversation between Goldin and \u003ci>New Yorker\u003c/i> photography critic Vince Aletti, who was close friends with Hujar. Moderated by Fraenkel, Goldin and Aletti told tales of Hujar, whose nude self-portrait in a gay bathhouse cubicle hung in the next room. That seemingly fully revealing image was enhanced by recollections of his surviving friends: Hujar was handsome, difficult and magnetic, and an aesthetically sensitive artist more gifted than schooled. But what was most striking about the conversation was the way a more fleshed-out image of the man emerged like an exposed photo in a tray of developer.\u003c/p>\n\u003cp>Fraenkel introduced Goldin, whose now-classic photographs of her circle of friends generated a cinematic aura around their very real lives, as an artist who has had enormous influence on other artists. “Something you can’t fake,” Fraenkel said. She in turn described how Hujar was a formative influence, particularly for his uncompromising commitment to his work. “Which is why he had such a small career,” she said wryly. As a contrast, Fraenkel invoked what he called “the M-Word,” Robert Mapplethorpe, a much more successful contemporary of Hujar’s. There are definite parallels; they both mined aspects of gay culture to different degrees of popular success. “You’d never see one of Peter’s pictures on a T-shirt,” Goldin countered, generating laughter from the invitation-only audience of collectors and photo professionals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hujar2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Peter Hujar, \u003ci>Orgasmic Man (I, II & III)\u003c/i>, 1969; c. The Estate of Peter Hujar, courtesy Fraenkel Gallery, San Francisco\u003cbr>\u003c/center>\n\u003cp>For Aletti, thoughtful in a manner befitting his profession, Hujar provided lessons in seeing. “He got me to understand the difficulty of photography, the struggle that goes into making a good picture,” he said. He also recalled that everyone who knew Hujar seemed to fall in love with him, at least initially. Both Goldin and Aletti noted that at the funeral everyone seemed to feel like they were Hujar’s best friend, yet none of them had met each other before.\u003c/p>\n\u003cp>The discussion was hagiographic, tempered and perhaps enhanced by frequent revelations of Hujar’s prickliness (more on that in a fascinating 1989 interview with Fran Liebowitz reprinted in the \u003ca href=\"http://fraenkelgallery.com/publications/love-lust\">exhibition catalog\u003c/a>). On a practical level, this conversation was much about bolstering an artist’s legacy, positioning his posthumous work to an audience who might not be so open to, say, a graphic image of an ejaculating penis. Fraenkel admitted one of his collectors described the photographs as “gross,” suggesting there was risk involved in collecting explicit images in the current show.\u003c/p>\n\u003cp>And yet hearing Goldin and Aletti offer astute, heartfelt appreciations of Hujar, it was difficult not to wonder what kind of a man could make such an indelible impression. We had to take their word for it, and in a way this event was a storytelling session in which a persona was happily conjured. They were there in the service of legacy: Goldin admitted that \u003ca href=\"http://fraenkelgallery.com/exhibitions/nine-self-portraits\">one of her recent self-portraits\u003c/a>, in which she stands in bra and denim, hands tucked in her waistband, was made in response to the announcement image of the Hujar show, a 1980 self-portrait in a jock strap. Aletti committed further insights to a video on the gallery website.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" src=\"//player.vimeo.com/video/84348087?title=0&byline=0&portrait=0&color=ffffff\" width=\"480\" height=\"270\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe> \n\u003cp>\u003ca href=\"http://vimeo.com/84348087\">Vince Aletti on Peter Hujar’s Love & Lust\u003c/a> from \u003ca href=\"http://vimeo.com/fraenkelgallery\">Fraenkel Gallery\u003c/a> on \u003ca href=\"https://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Of course, the speakers are of some note and maintain their own personas. I was scheduled to interview Goldin the next afternoon, though was warned of her mercurial nature. I spotted her in the hallway a bit after the appointed time. She seemed a bit hobbled but still mischievous as she asked if anyone at the gallery could commandeer a boat for an impromptu jaunt to Alcatraz. She said we’d sit down to chat after she had a quick cigarette and some vegan food, then ambled out, never to return. Aletti was more available and focused to talk more about Hujar, pondering the idea of there being a filmed version of his life. While he felt the narrative was more literary, he could see the appeal. “I think so many artists’ lives are fascinating, and more fascinating when they are difficult and unhappy and unsuccessful,” he said. What becomes a legend most?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Peter Hujar: Love & Lust\u003c/b> and \u003cb>Nan Goldin: Nine Self-Portraits\u003c/b> are on view through March 8, 2014 at Fraenkel Gallery in San Francisco. For \u003ca href=\"http://fraenkelgallery.com/\">more information\u003c/a> visit fraenkelgallery.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a muggy crush of people at 49 Geary’s first First Friday of the new year, Laeh Glenn’s quietly surprising solo show was a welcome moment of reprieve. \u003cb>Ordinary Objects\u003c/b> is an exhibition of 16 paintings, all roughly the same size (just under 17 by 13 inches), nearly all untitled, and within the same black, cream, blue, gray color scheme. The surfaces are flat, graphically rendered oil on panel, wrapped by unexpected disruptions in the framing — a bottom edge missing here, a triangular gap between frame and panel there. The uniformity of color, shape, and size make the paintings’ varied content all the more thrilling.\u003c/p>\n\u003cp>Altman Siegel’s press release claims “Glenn’s work directly addresses the traditions and formal tropes of painting with a nuanced awareness of contemporary culture’s excess of and accessibility to images.” In this light, the uniformly-sized paintings could be read as image search thumbnails. But what query yielded this result?\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/24/lglenn1.jpg\" width=\"500\" height=\"620\" alt=\"Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\" class>\u003cfigcaption class=\"wp-caption-text\">Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>While some of the works resemble illustrations of optical illusions, others are cartoony renderings of inanimate objects. There’s one grayscale still life of pears, and more than a few straight-up odes to monochromatic shaped-canvas minimalism. Glenn’s hard edges and sometimes-mysterious shapes call to mind Stuart Davis, especially in the lone blue painting on the main space’s right wall.\u003c/p>\n\u003cp>If \u003cb>Ordinary Objects\u003c/b> is an attempt at stringing together different elements into a unifying statement, or at making “new meaning from familiar vocabularies,” as the press release states, I’m not sure if I understand that language. To me, the 16 paintings are a cypher. Their flatness, the exclusion of all but three colors (at most), and the simply shaped but often unfamiliar elements make them symbols in a puzzle I can’t quite crack.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/24/lglenn2.jpg\" width=\"500\" height=\"645\" alt=\"Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\" class>\u003cfigcaption class=\"wp-caption-text\">Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>But I also don’t want to. Art critic Jerry Saltz \u003ca href=\"http://www.vulture.com/2013/10/jerry-saltz-on-arts-insidious-new-clich.html\">recently complained\u003c/a> about the glut of what he deemed “Modest Abstraction,” writing, “Nowadays we see endless arrays of decorous, medium-size, handsome, harmless paintings. It’s rendered mainly in black, white, gray, or, more recently, violet or blue.” Check.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While Laeh Glenn’s \u003cb>Ordinary Objects\u003c/b> are easily grouped under this rubric, they are anything but boring. The bizarre combination of self-serious geometric shapes with subtle variations in color and Snoopy-esque cosmic apparitions is amusing, entertaining, and above all, intriguing. In a space as brightly lit and tight-lipped as Altman Siegel, a little humor goes a long way.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/24/lglenn3.jpg\" width=\"500\" height=\"632\" alt=\"Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\" class>\u003cfigcaption class=\"wp-caption-text\">Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>The strangest painting, by far, features a coffee mug against a plaid background, dark liquid pouring into it from above. The mug boasts downturned eyelashes and an adorable “o” mouth. Is the mug actually animated or are these details simply decorations on the mug’s surface? Is this a glimpse into a Toonville type of world or a banal morning ritual? The areas of flat color, Glenn’s hard edges and chromatic restraint are deadpan. All I could do was giggle helplessly, quietly, and move on to the next painting with a smirk on my lips.\u003c/p>\n\u003cp>In the same op-ed, Saltz claims, “All this art is dying to be understood. And it is, instantly, by everyone, in the exact same way.” Glenn’s work defies appearances — withholding the easy consumption Saltz decries to puzzling and tantalizing effect. Her linear installation, the language-like combination of simple elements into more complex structures, reminds me of \u003ca href=\"http://en.wikipedia.org/wiki/R._H._Quaytman\">R.H. Quaytman’s\u003c/a> ongoing “Chapters,” in which site-specific elements are borrowed from institutions and their archives. Quaytman then represents this material in a variety of permutations as a visual narrative of her own exhibition history. If Glenn’s work is a similar ongoing exploration of the artists’ peculiar visual vocabulary, I look forward to the next chapter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ordinary Objects\u003c/b> is on view at Altman Siegel through March 1, 2014. For \u003ca href=\"http://www.altmansiegel.com/\">more information\u003c/a>, visit altmansiegel.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a muggy crush of people at 49 Geary’s first First Friday of the new year, Laeh Glenn’s quietly surprising solo show was a welcome moment of reprieve. \u003cb>Ordinary Objects\u003c/b> is an exhibition of 16 paintings, all roughly the same size (just under 17 by 13 inches), nearly all untitled, and within the same black, cream, blue, gray color scheme. The surfaces are flat, graphically rendered oil on panel, wrapped by unexpected disruptions in the framing — a bottom edge missing here, a triangular gap between frame and panel there. The uniformity of color, shape, and size make the paintings’ varied content all the more thrilling.\u003c/p>\n\u003cp>Altman Siegel’s press release claims “Glenn’s work directly addresses the traditions and formal tropes of painting with a nuanced awareness of contemporary culture’s excess of and accessibility to images.” In this light, the uniformly-sized paintings could be read as image search thumbnails. But what query yielded this result?\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/24/lglenn1.jpg\" width=\"500\" height=\"620\" alt=\"Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\" class>\u003cfigcaption class=\"wp-caption-text\">Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>While some of the works resemble illustrations of optical illusions, others are cartoony renderings of inanimate objects. There’s one grayscale still life of pears, and more than a few straight-up odes to monochromatic shaped-canvas minimalism. Glenn’s hard edges and sometimes-mysterious shapes call to mind Stuart Davis, especially in the lone blue painting on the main space’s right wall.\u003c/p>\n\u003cp>If \u003cb>Ordinary Objects\u003c/b> is an attempt at stringing together different elements into a unifying statement, or at making “new meaning from familiar vocabularies,” as the press release states, I’m not sure if I understand that language. To me, the 16 paintings are a cypher. Their flatness, the exclusion of all but three colors (at most), and the simply shaped but often unfamiliar elements make them symbols in a puzzle I can’t quite crack.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/24/lglenn2.jpg\" width=\"500\" height=\"645\" alt=\"Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\" class>\u003cfigcaption class=\"wp-caption-text\">Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>But I also don’t want to. Art critic Jerry Saltz \u003ca href=\"http://www.vulture.com/2013/10/jerry-saltz-on-arts-insidious-new-clich.html\">recently complained\u003c/a> about the glut of what he deemed “Modest Abstraction,” writing, “Nowadays we see endless arrays of decorous, medium-size, handsome, harmless paintings. It’s rendered mainly in black, white, gray, or, more recently, violet or blue.” Check.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While Laeh Glenn’s \u003cb>Ordinary Objects\u003c/b> are easily grouped under this rubric, they are anything but boring. The bizarre combination of self-serious geometric shapes with subtle variations in color and Snoopy-esque cosmic apparitions is amusing, entertaining, and above all, intriguing. In a space as brightly lit and tight-lipped as Altman Siegel, a little humor goes a long way.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/24/lglenn3.jpg\" width=\"500\" height=\"632\" alt=\"Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\" class>\u003cfigcaption class=\"wp-caption-text\">Laeh Glenn, Untitled, 2013. Oil and panel with wood; Courtesy Altman Siegel Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>The strangest painting, by far, features a coffee mug against a plaid background, dark liquid pouring into it from above. The mug boasts downturned eyelashes and an adorable “o” mouth. Is the mug actually animated or are these details simply decorations on the mug’s surface? Is this a glimpse into a Toonville type of world or a banal morning ritual? The areas of flat color, Glenn’s hard edges and chromatic restraint are deadpan. All I could do was giggle helplessly, quietly, and move on to the next painting with a smirk on my lips.\u003c/p>\n\u003cp>In the same op-ed, Saltz claims, “All this art is dying to be understood. And it is, instantly, by everyone, in the exact same way.” Glenn’s work defies appearances — withholding the easy consumption Saltz decries to puzzling and tantalizing effect. Her linear installation, the language-like combination of simple elements into more complex structures, reminds me of \u003ca href=\"http://en.wikipedia.org/wiki/R._H._Quaytman\">R.H. Quaytman’s\u003c/a> ongoing “Chapters,” in which site-specific elements are borrowed from institutions and their archives. Quaytman then represents this material in a variety of permutations as a visual narrative of her own exhibition history. If Glenn’s work is a similar ongoing exploration of the artists’ peculiar visual vocabulary, I look forward to the next chapter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ordinary Objects\u003c/b> is on view at Altman Siegel through March 1, 2014. For \u003ca href=\"http://www.altmansiegel.com/\">more information\u003c/a>, visit altmansiegel.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Experimenting Online: MoMA's 'Design and Violence'",
"headTitle": "Experimenting Online: MoMA’s ‘Design and Violence’ | KQED",
"content": "\u003cp>Consider the \u003ca href=\"http://www.moma.org/\">Museum of Modern Art \u003c/a>‘s latest curatorial project, \u003ci>Design and Violence\u003c/i>, as comparable to an experimental online course. It has an intriguing class description, set topics for each week, and a comments section akin to the discussion following a lecture (and like most classes, the success of this part depends on the quality and quantity of student participation).\u003c/p>\n\u003cp>The catalog description might read something like this: Designer Victor Papanek once said, “There are professions more harmful than industrial design, but only a very few of them.” \u003ci>Design and Violence\u003c/i> will explore the concept of violence in design in the context of today’s world, and deconstruct the ambiguous relationship of design and violence. Violent design often arises as the byproduct of designers making commentary, protesting, and sometimes succumbing to ambiguous morality and mistakes. “Violence,” here, is defined as “the manifestation of the power to alter circumstances against the will of others and to their detriment.”\u003c/p>\n\u003cp>Like any other course would be, there’s a bit of novelty and ingenuity involved. The project is helmed by a curatorial staff and selected weekly “authors,” whose expertise ranges from science fiction (William Gibson) to journalism (John Hockenberry) to policy planning (Anne-Marie Slaughter). And the shelf life for the project is not a quarter, nor a semester, but TBD: It may last for several months, or even years. Having begun in October, it’s too early to tell. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/designviolence1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Fountain\u003c/i>, 1997, Diller + Scofidio; Photo: Michael Moran/OTTO\u003cbr>\u003c/center>\n\u003cp>The project’s concept of violence is broad: While the curators have determined set categories — hack/infect, constrain, stun, penetrate, manipulate/control, intimidate, and explode — the violent objects that the project actually studies sometimes fall into more vague categories. There’s the fragrance made of sweat samples culled from cage fights. There’s also the Merrick Lamp — a simple IKEA design, exposed to a computer virus and conceived via a 3-D printer. (In its final version, it looks like a lamp stricken with elephantiasis.) Within the broad array of designs, many of these are objects that don’t necessarily inflict violence, but have been subject to it. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While all of the intriguing objects fall within the overlap of design and violence, they also occupy other intersections: of design and commerce, or design and protest. There’s the Guardian Angel handbag, a felt purse imprinted with the outline of a dangerous weapon, for one. According to designers, it was a handbag made in response to the media’s reaction to street violence in the Netherlands. It was also a handbag for sale, toted by pop icon Rihanna and selling for prices reaching upwards of 500 dollars. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/designviolence2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Exhaust\u003c/i>, 1997, Diller + Scofidio; Photo: Michael Moran/OTTO\u003cbr>\u003c/center>\n\u003cp>Exposition on the curated objects ranges from the personal to analytical. The authors alternate between mining their personal associations with the object at hand (martini glasses with a built-in cigarette holder) to writing more analytically (perhaps the Liberator, a gun manufactured by a 3-D printer, is not just a DIY weapon; maybe it’s also a critique of gun control and a reaffirmation of the Second Amendment!). Like a classroom, a lot of the analysis involves a close-reading of the objects, some of it grounded in fact and history, some in semi-indulgent reflection.\u003c/p>\n\u003cp>As the MoMA curators will tell you, this is a project that captures the cultural zeitgeist, with all of the selected designs made after 2001. But the project is more than rooted in the past, and for the future of the project, the curators are looking to expand with their proposed phase two. The plan is to add a Google Earth component, one that will pinpoint worldwide locations in which each object can be found. It’s supposed to allow any curious — and travel-ready — audiences to be able to physically see the object, much like a traditional exhibition display. And as the project shifts to include a more conventional exhibition space, it’ll be interesting not only to see how the curation shifts, but also to determine the success of the online component of the project itself. It is, after all, an experiment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.designandviolence.moma.org/\">more information\u003c/a> visit designandviolence.moma.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Consider the \u003ca href=\"http://www.moma.org/\">Museum of Modern Art \u003c/a>‘s latest curatorial project, \u003ci>Design and Violence\u003c/i>, as comparable to an experimental online course. It has an intriguing class description, set topics for each week, and a comments section akin to the discussion following a lecture (and like most classes, the success of this part depends on the quality and quantity of student participation).\u003c/p>\n\u003cp>The catalog description might read something like this: Designer Victor Papanek once said, “There are professions more harmful than industrial design, but only a very few of them.” \u003ci>Design and Violence\u003c/i> will explore the concept of violence in design in the context of today’s world, and deconstruct the ambiguous relationship of design and violence. Violent design often arises as the byproduct of designers making commentary, protesting, and sometimes succumbing to ambiguous morality and mistakes. “Violence,” here, is defined as “the manifestation of the power to alter circumstances against the will of others and to their detriment.”\u003c/p>\n\u003cp>Like any other course would be, there’s a bit of novelty and ingenuity involved. The project is helmed by a curatorial staff and selected weekly “authors,” whose expertise ranges from science fiction (William Gibson) to journalism (John Hockenberry) to policy planning (Anne-Marie Slaughter). And the shelf life for the project is not a quarter, nor a semester, but TBD: It may last for several months, or even years. Having begun in October, it’s too early to tell. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/designviolence1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Fountain\u003c/i>, 1997, Diller + Scofidio; Photo: Michael Moran/OTTO\u003cbr>\u003c/center>\n\u003cp>The project’s concept of violence is broad: While the curators have determined set categories — hack/infect, constrain, stun, penetrate, manipulate/control, intimidate, and explode — the violent objects that the project actually studies sometimes fall into more vague categories. There’s the fragrance made of sweat samples culled from cage fights. There’s also the Merrick Lamp — a simple IKEA design, exposed to a computer virus and conceived via a 3-D printer. (In its final version, it looks like a lamp stricken with elephantiasis.) Within the broad array of designs, many of these are objects that don’t necessarily inflict violence, but have been subject to it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While all of the intriguing objects fall within the overlap of design and violence, they also occupy other intersections: of design and commerce, or design and protest. There’s the Guardian Angel handbag, a felt purse imprinted with the outline of a dangerous weapon, for one. According to designers, it was a handbag made in response to the media’s reaction to street violence in the Netherlands. It was also a handbag for sale, toted by pop icon Rihanna and selling for prices reaching upwards of 500 dollars. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/designviolence2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Exhaust\u003c/i>, 1997, Diller + Scofidio; Photo: Michael Moran/OTTO\u003cbr>\u003c/center>\n\u003cp>Exposition on the curated objects ranges from the personal to analytical. The authors alternate between mining their personal associations with the object at hand (martini glasses with a built-in cigarette holder) to writing more analytically (perhaps the Liberator, a gun manufactured by a 3-D printer, is not just a DIY weapon; maybe it’s also a critique of gun control and a reaffirmation of the Second Amendment!). Like a classroom, a lot of the analysis involves a close-reading of the objects, some of it grounded in fact and history, some in semi-indulgent reflection.\u003c/p>\n\u003cp>As the MoMA curators will tell you, this is a project that captures the cultural zeitgeist, with all of the selected designs made after 2001. But the project is more than rooted in the past, and for the future of the project, the curators are looking to expand with their proposed phase two. The plan is to add a Google Earth component, one that will pinpoint worldwide locations in which each object can be found. It’s supposed to allow any curious — and travel-ready — audiences to be able to physically see the object, much like a traditional exhibition display. And as the project shifts to include a more conventional exhibition space, it’ll be interesting not only to see how the curation shifts, but also to determine the success of the online component of the project itself. It is, after all, an experiment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.designandviolence.moma.org/\">more information\u003c/a> visit designandviolence.moma.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>People judge you by your bookshelf, so help out your friends and family members by expanding the art sections of their home libraries this holiday season. Here’s a list of new items, perfect for gifting, from local booksellers, Last Gasp and Park Life.\u003c/p>\n\u003cp>For the knitters: Expand their horizons with a stunning, minimalist book, \u003ca href=\"http://www.parklifestore.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=PLS&Product_Code=LOESVENNSTRA&Category_Code=DESIGN\">\u003ci>The Collected Knitting of Loes Veenstra (Het Verzameld Breiwerk van Loes Veenstra)\u003c/i>\u003c/a>. This dedicated knitter made over 500 sweaters since 1955 and kept them in boxes. They have never been worn, and are now documented, individually, by artist Christien Meindertsma in this chunky little paperback that I used like a flipbook to watch happy sweaters of all shapes and colors dance across the pages.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/incurabledisorder.jpg\" style=\"margin-bottom: 10px; alt=\" elizabeth mcgrath incurable disorder>\u003c/center>\n\u003cp>For the misfits: Paging through Elizabeth McGrath’s new monograph, \u003ca href=\"http://www.lastgasp.com/d/38995/incurable-disorder%20\">\u003ci>Incurable Disorder\u003c/i>\u003c/a>, is like riding a rickety antique carnival ride through a haunted house of forgotten toys that have come to life and are desperate to play with you. Her oeuvre includes sculptural works laden with meaningful stories that convey acceptance of all circus freaks. Besides delighting in an in-depth look at her work over the years, it’s inspiring to see how McGrath’s use of materials has unfolded, especially with the introduction of crystals. Go the extra mile when gifting this book by having McGrath autograph it at one of her upcoming signings: \u003ca href=\"http://www.lovedtodeath.com/\">Loved to Death\u003c/a> on December 18 and \u003ca href=\"https://www.facebook.com/events/163398203870162\">Cakeland\u003c/a> on December 21, 2013.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/lipton.jpg\" style=\"margin-bottom: 10px; alt=\" the drawings of laurie lipton>\u003c/center>\n\u003cp>For the intense: Laurie Lipton’s drawings are pretty much unreal. The level of detail is sickening. People will stare at her work for long periods of time, mouths agape, wondering if she \u003ci>really drew that\u003c/i>. At the same time, viewers’ minds are blown with the content: intense dancing skeletons, faces being poked and prodded, robot dolls, cannibalism and scary babies are just a few of Lipton’s subjects, and she puppeteers them through insane situations. There is no relaxed Lipton drawing, and that’s what makes her superhuman. I can only look at \u003ca href=\"http://www.lastgasp.com/d/40052/the-drawings-of-laurie-lipton\">\u003ci>The Drawings of Laurie Lipton\u003c/i>\u003c/a> in short spurts before I have to stick the book in the freezer. Then I occasionally take it out for a few more peeks and scary thrills. Lipton also has \u003ca href=\"http://www.lastgasp.com/story/2013/12/liptoninsf\">upcoming Bay Area book signings\u003c/a> December 12-14, 2013.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/thesmiths.jpg\" style=\"margin-bottom: 10px; alt=\" kevin cummins morrissey and the smiths>\u003c/center>\n\u003cp>For the Morrissey lovers: Park Life has a classy postcard set that comes in a handsome green box full of black-and-white photos of Morrissey… looking handsome. In this \u003ca href=\"http://www.parklifestore.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=PLS&Product_Code=SMITHSPHOTOBOX&Category_Code=PHOTO\">\u003ci>Morrissey & The Smiths\u003c/i>\u003c/a> collection, Kevin Cummins’ rare or never-before-scene shots are finally published, and a true fan would probably frame each and every one in order to better examine the many faces of Morrissey. Inside the box, each card is different, and you’ll find Morrissey brooding, relaxing, contemplating, hugging, singing in party-mode and so much more.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/ballad.jpg\" style=\"margin-bottom: 10px; alt=\" blexbolex ballad>\u003c/center>\n\u003cp>For the whimsical: \u003ca href=\"http://www.brainpickings.org/index.php/2013/10/28/ballad-blexbolex-enchanted-lion/\">\u003ci>Ballad\u003c/i>\u003c/a> is a colorful, visual story dreamed up by French graphic artist, Blexbolex, and tells the tale of a child who takes the same road to school every day, “and how his small world suddenly becomes enormous.” The artist’s comic screen-print style is beloved by many and lends itself well to this simplified storytelling mode that reads like a graphic novel or a vintage children’s book, and is a follow up to 2011’s \u003ca href=\"http://vimeo.com/29156761\">\u003ci>People\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/hoteloracle.jpg\" style=\"margin-bottom: 10px; alt=\" jason fulford hotel oracle>\u003c/center>\n\u003cp>For the Instagrammers: \u003ca href=\"http://www.parklifestore.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=PLS&Product_Code=HOTELORACLE&Category_Code=\">\u003ci>Hotel Oracle\u003c/i>\u003c/a> seems like your average art photo book at first. Images are laid out on white pages with lots of negative space, and the narrative is vague. But photographer Jason Fulford has created something a little more magical by letting his images illustrate little story vignettes made up of just a sentence or two, here and there, mixed in throughout the book between his square images of mundane scenes and random oddities. The images express little glimmers of insight into who we are as people in the universe. A photograph of a typical, round banquet table with a white tablecloth and three candles appears on two pages in a row. The subtle difference between the two images clearly excited the artist, and it’s fun to try and see these images through Fulford’s eyes and wonder what he enjoyed about that tablecloth, or that stubby tree or that bowl of egg yolks. His photos evoke contemplation of the stories behind objects and moments, and what those stories say about us. And there’s plenty of room for interpretation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Find all of these books and many more at Park Life, Last Gasp, and other local indie booksellers. Shop local!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>People judge you by your bookshelf, so help out your friends and family members by expanding the art sections of their home libraries this holiday season. Here’s a list of new items, perfect for gifting, from local booksellers, Last Gasp and Park Life.\u003c/p>\n\u003cp>For the knitters: Expand their horizons with a stunning, minimalist book, \u003ca href=\"http://www.parklifestore.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=PLS&Product_Code=LOESVENNSTRA&Category_Code=DESIGN\">\u003ci>The Collected Knitting of Loes Veenstra (Het Verzameld Breiwerk van Loes Veenstra)\u003c/i>\u003c/a>. This dedicated knitter made over 500 sweaters since 1955 and kept them in boxes. They have never been worn, and are now documented, individually, by artist Christien Meindertsma in this chunky little paperback that I used like a flipbook to watch happy sweaters of all shapes and colors dance across the pages.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/incurabledisorder.jpg\" style=\"margin-bottom: 10px; alt=\" elizabeth mcgrath incurable disorder>\u003c/center>\n\u003cp>For the misfits: Paging through Elizabeth McGrath’s new monograph, \u003ca href=\"http://www.lastgasp.com/d/38995/incurable-disorder%20\">\u003ci>Incurable Disorder\u003c/i>\u003c/a>, is like riding a rickety antique carnival ride through a haunted house of forgotten toys that have come to life and are desperate to play with you. Her oeuvre includes sculptural works laden with meaningful stories that convey acceptance of all circus freaks. Besides delighting in an in-depth look at her work over the years, it’s inspiring to see how McGrath’s use of materials has unfolded, especially with the introduction of crystals. Go the extra mile when gifting this book by having McGrath autograph it at one of her upcoming signings: \u003ca href=\"http://www.lovedtodeath.com/\">Loved to Death\u003c/a> on December 18 and \u003ca href=\"https://www.facebook.com/events/163398203870162\">Cakeland\u003c/a> on December 21, 2013.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/lipton.jpg\" style=\"margin-bottom: 10px; alt=\" the drawings of laurie lipton>\u003c/center>\n\u003cp>For the intense: Laurie Lipton’s drawings are pretty much unreal. The level of detail is sickening. People will stare at her work for long periods of time, mouths agape, wondering if she \u003ci>really drew that\u003c/i>. At the same time, viewers’ minds are blown with the content: intense dancing skeletons, faces being poked and prodded, robot dolls, cannibalism and scary babies are just a few of Lipton’s subjects, and she puppeteers them through insane situations. There is no relaxed Lipton drawing, and that’s what makes her superhuman. I can only look at \u003ca href=\"http://www.lastgasp.com/d/40052/the-drawings-of-laurie-lipton\">\u003ci>The Drawings of Laurie Lipton\u003c/i>\u003c/a> in short spurts before I have to stick the book in the freezer. Then I occasionally take it out for a few more peeks and scary thrills. Lipton also has \u003ca href=\"http://www.lastgasp.com/story/2013/12/liptoninsf\">upcoming Bay Area book signings\u003c/a> December 12-14, 2013.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/thesmiths.jpg\" style=\"margin-bottom: 10px; alt=\" kevin cummins morrissey and the smiths>\u003c/center>\n\u003cp>For the Morrissey lovers: Park Life has a classy postcard set that comes in a handsome green box full of black-and-white photos of Morrissey… looking handsome. In this \u003ca href=\"http://www.parklifestore.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=PLS&Product_Code=SMITHSPHOTOBOX&Category_Code=PHOTO\">\u003ci>Morrissey & The Smiths\u003c/i>\u003c/a> collection, Kevin Cummins’ rare or never-before-scene shots are finally published, and a true fan would probably frame each and every one in order to better examine the many faces of Morrissey. Inside the box, each card is different, and you’ll find Morrissey brooding, relaxing, contemplating, hugging, singing in party-mode and so much more.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/ballad.jpg\" style=\"margin-bottom: 10px; alt=\" blexbolex ballad>\u003c/center>\n\u003cp>For the whimsical: \u003ca href=\"http://www.brainpickings.org/index.php/2013/10/28/ballad-blexbolex-enchanted-lion/\">\u003ci>Ballad\u003c/i>\u003c/a> is a colorful, visual story dreamed up by French graphic artist, Blexbolex, and tells the tale of a child who takes the same road to school every day, “and how his small world suddenly becomes enormous.” The artist’s comic screen-print style is beloved by many and lends itself well to this simplified storytelling mode that reads like a graphic novel or a vintage children’s book, and is a follow up to 2011’s \u003ca href=\"http://vimeo.com/29156761\">\u003ci>People\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/13/hoteloracle.jpg\" style=\"margin-bottom: 10px; alt=\" jason fulford hotel oracle>\u003c/center>\n\u003cp>For the Instagrammers: \u003ca href=\"http://www.parklifestore.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=PLS&Product_Code=HOTELORACLE&Category_Code=\">\u003ci>Hotel Oracle\u003c/i>\u003c/a> seems like your average art photo book at first. Images are laid out on white pages with lots of negative space, and the narrative is vague. But photographer Jason Fulford has created something a little more magical by letting his images illustrate little story vignettes made up of just a sentence or two, here and there, mixed in throughout the book between his square images of mundane scenes and random oddities. The images express little glimmers of insight into who we are as people in the universe. A photograph of a typical, round banquet table with a white tablecloth and three candles appears on two pages in a row. The subtle difference between the two images clearly excited the artist, and it’s fun to try and see these images through Fulford’s eyes and wonder what he enjoyed about that tablecloth, or that stubby tree or that bowl of egg yolks. His photos evoke contemplation of the stories behind objects and moments, and what those stories say about us. And there’s plenty of room for interpretation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Find all of these books and many more at Park Life, Last Gasp, and other local indie booksellers. Shop local!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Merry Krampus!",
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"content": "\u003cp>If children misbehave in the US, they’re threatened with a lump of coal or no visit from Santa. If kids are bad in Europe, the devil comes calling and his name is “Krampus.” Run for your life! This dude is a scary faun-type character who will sneak into your house and rip your ears off or kidnap you if you sass your parents \u003ci>one more time!\u003c/i> And don’t even think about stealing that candy; Krampus is watching and he’s making his own kind of list. Naughty kids get hit with sticks.\u003c/p>\n\u003cp>There are many iterations of Krampus across Europe, and he is part of holiday celebrations in Germany, Austria, Croatia and other locations. The original St. Nicolas feast day is on December 6, and Krampus comes out the night before to chase after children and frighten them into being good by jangling rusty chains and bells. Nothing is scarier than rusty metal objects and goat monsters! Check out \u003ca href=\"http://www.theatlantic.com/infocus/2013/12/krampus-saint-nicholas-dark-companion/100639/\">The Atlantic’s epic slideshow\u003c/a> of Krampus celebrations across the land.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/07/krampus1.jpg\" style=\"margin-bottom: 10px\" alt=\"Last Gasp's Krampus\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/07/krampuscards.jpg\" style=\"margin-bottom: 10px\" alt=\"Last Gasp's Krampus\">\u003c/p>\n\u003cp>Local publisher and book shop\u003ca href=\"http://www.lastgasp.com/\">Last Gasp\u003c/a> has a \u003ca href=\"http://www.lastgasp.com/?search=krampus\">large collection of devilish Krampus items\u003c/a> for the holidays. Why not scare the crap out of your grandma when you invite her to play gin rummy with your new deck of Krampus playing cards? Or teach the little rascals in your life a lesson with a book full of Krampus stickers to remind them what could happen if they act rotten. Decorate their presents with scary Krampus faces and their horrified reactions could be fun for the whole family! The Krampus greeting cards also come in handy for wishing your enemies an unhappy holiday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/07/krampusbook.jpg\" style=\"margin-bottom: 10px\" alt=\"Last Gasp's Krampus\">\u003c/p>\n\u003cp>For dark art lovers, \u003ci>Krampus: The Devil of Christmas\u003c/i>, a book of illustrations, is a perfect holiday token. Each vintage interpretation of the anti-Santa being creepy and torturing kids has its own special details, and author/designer Monte Beauchamp provides all the history and mythology you need to know.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Need more Krampus? Check out a group art show of Krampus-inspired work at \u003ca href=\"http://www.63bluxomestreetgallery.com/\">63 Bluxome Street Gallery\u003c/a>, open through January 31, 2014. Merry Krampus to all, and to all a good nightmare.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If children misbehave in the US, they’re threatened with a lump of coal or no visit from Santa. If kids are bad in Europe, the devil comes calling and his name is “Krampus.” Run for your life! This dude is a scary faun-type character who will sneak into your house and rip your ears off or kidnap you if you sass your parents \u003ci>one more time!\u003c/i> And don’t even think about stealing that candy; Krampus is watching and he’s making his own kind of list. Naughty kids get hit with sticks.\u003c/p>\n\u003cp>There are many iterations of Krampus across Europe, and he is part of holiday celebrations in Germany, Austria, Croatia and other locations. The original St. Nicolas feast day is on December 6, and Krampus comes out the night before to chase after children and frighten them into being good by jangling rusty chains and bells. Nothing is scarier than rusty metal objects and goat monsters! Check out \u003ca href=\"http://www.theatlantic.com/infocus/2013/12/krampus-saint-nicholas-dark-companion/100639/\">The Atlantic’s epic slideshow\u003c/a> of Krampus celebrations across the land.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/07/krampus1.jpg\" style=\"margin-bottom: 10px\" alt=\"Last Gasp's Krampus\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/07/krampuscards.jpg\" style=\"margin-bottom: 10px\" alt=\"Last Gasp's Krampus\">\u003c/p>\n\u003cp>Local publisher and book shop\u003ca href=\"http://www.lastgasp.com/\">Last Gasp\u003c/a> has a \u003ca href=\"http://www.lastgasp.com/?search=krampus\">large collection of devilish Krampus items\u003c/a> for the holidays. Why not scare the crap out of your grandma when you invite her to play gin rummy with your new deck of Krampus playing cards? Or teach the little rascals in your life a lesson with a book full of Krampus stickers to remind them what could happen if they act rotten. Decorate their presents with scary Krampus faces and their horrified reactions could be fun for the whole family! The Krampus greeting cards also come in handy for wishing your enemies an unhappy holiday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/07/krampusbook.jpg\" style=\"margin-bottom: 10px\" alt=\"Last Gasp's Krampus\">\u003c/p>\n\u003cp>For dark art lovers, \u003ci>Krampus: The Devil of Christmas\u003c/i>, a book of illustrations, is a perfect holiday token. Each vintage interpretation of the anti-Santa being creepy and torturing kids has its own special details, and author/designer Monte Beauchamp provides all the history and mythology you need to know.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Need more Krampus? Check out a group art show of Krampus-inspired work at \u003ca href=\"http://www.63bluxomestreetgallery.com/\">63 Bluxome Street Gallery\u003c/a>, open through January 31, 2014. Merry Krampus to all, and to all a good nightmare.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hidden from view, inside the garage of a nondescript Richmond neighborhood home, is \u003ca href=\"http://www.pied-terre.com/\">Pied-à-terre\u003c/a>, an “occasional off-space and publishing house” run by artist McIntyre Parker. Showing only one work at a time, Parker keeps the self-funded operation as small as possible, creating an intimate viewing experience for each piece. Pied-à-terre (literally “foot on the ground”) is a perfect name for the slightly-below street level gallery space Parker carved out of his garage almost five years ago. Bringing artworks in from artists around the world, Pied-à-terre provides locals with an opportunity to experience pieces it might be impossible to see otherwise, all within a surprising and memorable space.\u003c/p>\n\u003cp>I visited Pied-à-terre on a sunny Sunday afternoon during the final viewing hours for the last show, a video by Canadian artist Michael Snow titled \u003ci>Solar Breath (Northern Caryatids)\u003c/i>. Parker rolled up the garage door and welcomed me onto a cleared-off viewing platform. A simple set-up of one projector, two speakers, a DVD player and four chairs provided the setting for Snow’s mesmerizing 62-minute piece.\u003c/p>\n\u003cp>Parker added a bit of white wall to the garage’s exposed wooden framework for this particular show, but beyond this necessary touch, he makes no attempts to gussy up the garage or hide its contents. The minimalism of each exhibition creates clear demarcation between it and the organized clutter of household storage. In fact, the darkened domestic space provided the perfect ambiance for \u003ci>Solar Breath\u003c/i>, a fixed-camera shot of curtains in the artist’s Newfoundland summer cabin.\u003c/p>\n\u003cp>In Snow’s video, a strange wind gently moves the left curtain both in and out, causing it to hit the window’s screen with a satisfying “fwomp” again and again. Visually, it strikes a similar chord to Andrew Wyeth’s iconic tempera painting \u003ca href=\"http://www.nga.gov/content/ngaweb/Collection/art-object-page.143926.html\">\u003ci>Wind from the Sea\u003c/i>\u003c/a>, in which a transparent curtain flutters before an empty country road. Glimpses here of the land outside are fleeting. Small domestic sounds — cooking, conversational murmurs, utensils against plates — blended during my viewing with muffled street noises from outside.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/michael-snow-1.jpg\" alt=\"\">\u003cbr>\nParker sought out \u003ci>Solar Breath\u003c/i> after seeing it at MoMA years ago. He uses his curatorial process as a way to bring works he wants to see, objects he would like to spend time with, to San Francisco. In this way, Pied-à-terre is a vital contribution to the local arts environment, providing glimpses of works and artists’ practices from beyond the often-hermetic Bay Area scene. From \u003ca href=\"http://charlottemoth.com/\">Charlotte Moth\u003c/a> to \u003ca href=\"http://www.marymarygallery.co.uk/index.php/artists/lorna_macintyre/\">Lorna Macintyre\u003c/a>, the artists who exhibit at Pied-à-terre are not likely to show up in your average Bay Area commercial gallery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An economy of means permeates the entire project: showing one piece at a time, Parker splits shipping costs with the artists and the space is covered by his rent. In 2011 he received an Alternative Exposure grant from Southern Exposure to help support the space. Instead of coming off as either low-budget or overly precious, the works shown at Pied-à-terre are thoughtfully selected through Parker’s intuitive and careful process and exhibited with equal sensitivity. Donating his energy and time, Parker offers Pied-à-terre to the public like a gift. When the next piece comes into town, (\u003ca href=\"http://www.lisaradon.com/\">Lisa Radon\u003c/a> in the spring), be sure to knock on the garage and have a singular experience of your own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.pied-terre.com/\">more information\u003c/a> visit pied-terre.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hidden from view, inside the garage of a nondescript Richmond neighborhood home, is \u003ca href=\"http://www.pied-terre.com/\">Pied-à-terre\u003c/a>, an “occasional off-space and publishing house” run by artist McIntyre Parker. Showing only one work at a time, Parker keeps the self-funded operation as small as possible, creating an intimate viewing experience for each piece. Pied-à-terre (literally “foot on the ground”) is a perfect name for the slightly-below street level gallery space Parker carved out of his garage almost five years ago. Bringing artworks in from artists around the world, Pied-à-terre provides locals with an opportunity to experience pieces it might be impossible to see otherwise, all within a surprising and memorable space.\u003c/p>\n\u003cp>I visited Pied-à-terre on a sunny Sunday afternoon during the final viewing hours for the last show, a video by Canadian artist Michael Snow titled \u003ci>Solar Breath (Northern Caryatids)\u003c/i>. Parker rolled up the garage door and welcomed me onto a cleared-off viewing platform. A simple set-up of one projector, two speakers, a DVD player and four chairs provided the setting for Snow’s mesmerizing 62-minute piece.\u003c/p>\n\u003cp>Parker added a bit of white wall to the garage’s exposed wooden framework for this particular show, but beyond this necessary touch, he makes no attempts to gussy up the garage or hide its contents. The minimalism of each exhibition creates clear demarcation between it and the organized clutter of household storage. In fact, the darkened domestic space provided the perfect ambiance for \u003ci>Solar Breath\u003c/i>, a fixed-camera shot of curtains in the artist’s Newfoundland summer cabin.\u003c/p>\n\u003cp>In Snow’s video, a strange wind gently moves the left curtain both in and out, causing it to hit the window’s screen with a satisfying “fwomp” again and again. Visually, it strikes a similar chord to Andrew Wyeth’s iconic tempera painting \u003ca href=\"http://www.nga.gov/content/ngaweb/Collection/art-object-page.143926.html\">\u003ci>Wind from the Sea\u003c/i>\u003c/a>, in which a transparent curtain flutters before an empty country road. Glimpses here of the land outside are fleeting. Small domestic sounds — cooking, conversational murmurs, utensils against plates — blended during my viewing with muffled street noises from outside.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/michael-snow-1.jpg\" alt=\"\">\u003cbr>\nParker sought out \u003ci>Solar Breath\u003c/i> after seeing it at MoMA years ago. He uses his curatorial process as a way to bring works he wants to see, objects he would like to spend time with, to San Francisco. In this way, Pied-à-terre is a vital contribution to the local arts environment, providing glimpses of works and artists’ practices from beyond the often-hermetic Bay Area scene. From \u003ca href=\"http://charlottemoth.com/\">Charlotte Moth\u003c/a> to \u003ca href=\"http://www.marymarygallery.co.uk/index.php/artists/lorna_macintyre/\">Lorna Macintyre\u003c/a>, the artists who exhibit at Pied-à-terre are not likely to show up in your average Bay Area commercial gallery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An economy of means permeates the entire project: showing one piece at a time, Parker splits shipping costs with the artists and the space is covered by his rent. In 2011 he received an Alternative Exposure grant from Southern Exposure to help support the space. Instead of coming off as either low-budget or overly precious, the works shown at Pied-à-terre are thoughtfully selected through Parker’s intuitive and careful process and exhibited with equal sensitivity. Donating his energy and time, Parker offers Pied-à-terre to the public like a gift. When the next piece comes into town, (\u003ca href=\"http://www.lisaradon.com/\">Lisa Radon\u003c/a> in the spring), be sure to knock on the garage and have a singular experience of your own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.pied-terre.com/\">more information\u003c/a> visit pied-terre.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>How valuable is an MFA these days and is it really worth the cost? I’ve spent the last 2 months researching schools and preparing applications for MFA programs in several different countries (my partner’s job might require me to study abroad). I would like the degree not because I am interested in teaching, but because I am interested in the intensity of a two-year program to cultivate solid research and focus on work amidst peers and access to faculty input. In some cases, however, the cost for international students is very high. I just took part in an artist residency that left me wondering: if I’m not that interested in teaching, is it really necessary to have the MFA or could I have comparable experience with multiple residencies and save the money? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>The answer to this question depends a lot on what kind of person you are. Do you like deadlines? Are you disciplined and self-motivated? If aliens were invading earth in a month, would you voluntarily do hundreds of pushups a day and build a tank out of junkyard cars in order to defeat them? Or are you like me, who would eat all the cookies I could put my hands on and then find a hole in which to quietly die? If you’d answer in the former, then perhaps you have the drive to create and execute an intense plan for self-education. \u003c/p>\n\u003cp>Here’s what the MFA is: two years of studio time interrupted by seminars, readings, papers, presentations, and bitch sessions with classmates over cheap drinks. It’s an artificial structure designed to cram as much as possible into your head in a very short time. Every day is intense and even though it is a scaffolded ordeal, it is still much more self-directed than the typical undergraduate experience. In an MFA program, you have to create and think very deeply about creating at the same time, and this (plus all the hangovers you’ll suffer) is what makes it completely exhausting. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-oneill.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Pat O’Neill, \u003ci> Foregrounds, \u003c/i>1979\u003cbr />\u003c/center>\u003c/p>\n\u003cp>If you set out on your own, there are three main components to an MFA program that you’re going to have to try to replicate: studio time, coursework, and conversation. The first is easy if you’re at a series of residency programs, so let’s put this one aside.\u003c/p>\n\u003cp>The second component, coursework and research, is also not too difficult: try to obtain the syllabi for the seminars you might take at an MFA program (many professors put their syllabi online), and follow along; or you might look for online or distance-learning courses. If you opt to be on your own, you’re still going to have to spend some money on books and journals, and be aware that you won’t be replicating the actual experience of lectures and discussions unless you can make some kind of serious \u003ca href=\"http://en.wikipedia.org/wiki/Slavoj_%C5%BDi%C5%BEek\">Zizek\u003c/a> book club. If you’re diligent and have access to materials you can educate yourself; but the downside of not being in an actual classroom is that you’re going to pronounce the names of all the theorists incorrectly.\u003c/p>\n\u003cp>The last part, the ongoing deep discussion that graduate school provides, is incredibly hard to replicate. Your peers at a residency program might be well educated and down to discuss theory and practice — or they might be using their residency time to take a vacation or get laid. You’ll have to find other ways to stimulate your intellect and get feedback on your work, and here’s where we circle around to diligence and motivation again. Will you have the confidence and drive to contact artists, writers, critics, and curators in your area to do studio visits? Do you have the administrative skills to contact these folks in advance if you are traveling to different residencies? Do you take rejection well?\u003c/p>\n\u003cp>If it’s intensity you want, then well-chosen residency programs can provide it. If you want an education, you can get most of the way there on your own by being disciplined and passionate. If you want to focus on discussion and critique, then you might consider another option, like a low-residency MFA or a self-created artists’ critique/study group. In the end, only you can answer the question about value and cost because there are too many variables (we haven’t even discussed access to facilities, or making contacts, or having serious emotional sustenance for your work), but I support your desire for an independent education that doesn’t put you in a financial abyss. Check out some related questions that I’ve answered for Help Desk \u003ca href=\"http://dailyserving.com/2012/02/help-desk-school-daze/\">here\u003c/a> and \u003ca href=\"http://dailyserving.com/2013/06/help-desk-getting-schooled/\">here\u003c/a>. Good luck!\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>How valuable is an MFA these days and is it really worth the cost? I’ve spent the last 2 months researching schools and preparing applications for MFA programs in several different countries (my partner’s job might require me to study abroad). I would like the degree not because I am interested in teaching, but because I am interested in the intensity of a two-year program to cultivate solid research and focus on work amidst peers and access to faculty input. In some cases, however, the cost for international students is very high. I just took part in an artist residency that left me wondering: if I’m not that interested in teaching, is it really necessary to have the MFA or could I have comparable experience with multiple residencies and save the money? \u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>The answer to this question depends a lot on what kind of person you are. Do you like deadlines? Are you disciplined and self-motivated? If aliens were invading earth in a month, would you voluntarily do hundreds of pushups a day and build a tank out of junkyard cars in order to defeat them? Or are you like me, who would eat all the cookies I could put my hands on and then find a hole in which to quietly die? If you’d answer in the former, then perhaps you have the drive to create and execute an intense plan for self-education. \u003c/p>\n\u003cp>Here’s what the MFA is: two years of studio time interrupted by seminars, readings, papers, presentations, and bitch sessions with classmates over cheap drinks. It’s an artificial structure designed to cram as much as possible into your head in a very short time. Every day is intense and even though it is a scaffolded ordeal, it is still much more self-directed than the typical undergraduate experience. In an MFA program, you have to create and think very deeply about creating at the same time, and this (plus all the hangovers you’ll suffer) is what makes it completely exhausting. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-oneill.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Pat O’Neill, \u003ci> Foregrounds, \u003c/i>1979\u003cbr />\u003c/center>\u003c/p>\n\u003cp>If you set out on your own, there are three main components to an MFA program that you’re going to have to try to replicate: studio time, coursework, and conversation. The first is easy if you’re at a series of residency programs, so let’s put this one aside.\u003c/p>\n\u003cp>The second component, coursework and research, is also not too difficult: try to obtain the syllabi for the seminars you might take at an MFA program (many professors put their syllabi online), and follow along; or you might look for online or distance-learning courses. If you opt to be on your own, you’re still going to have to spend some money on books and journals, and be aware that you won’t be replicating the actual experience of lectures and discussions unless you can make some kind of serious \u003ca href=\"http://en.wikipedia.org/wiki/Slavoj_%C5%BDi%C5%BEek\">Zizek\u003c/a> book club. If you’re diligent and have access to materials you can educate yourself; but the downside of not being in an actual classroom is that you’re going to pronounce the names of all the theorists incorrectly.\u003c/p>\n\u003cp>The last part, the ongoing deep discussion that graduate school provides, is incredibly hard to replicate. Your peers at a residency program might be well educated and down to discuss theory and practice — or they might be using their residency time to take a vacation or get laid. You’ll have to find other ways to stimulate your intellect and get feedback on your work, and here’s where we circle around to diligence and motivation again. Will you have the confidence and drive to contact artists, writers, critics, and curators in your area to do studio visits? Do you have the administrative skills to contact these folks in advance if you are traveling to different residencies? Do you take rejection well?\u003c/p>\n\u003cp>If it’s intensity you want, then well-chosen residency programs can provide it. If you want an education, you can get most of the way there on your own by being disciplined and passionate. If you want to focus on discussion and critique, then you might consider another option, like a low-residency MFA or a self-created artists’ critique/study group. In the end, only you can answer the question about value and cost because there are too many variables (we haven’t even discussed access to facilities, or making contacts, or having serious emotional sustenance for your work), but I support your desire for an independent education that doesn’t put you in a financial abyss. Check out some related questions that I’ve answered for Help Desk \u003ca href=\"http://dailyserving.com/2012/02/help-desk-school-daze/\">here\u003c/a> and \u003ca href=\"http://dailyserving.com/2013/06/help-desk-getting-schooled/\">here\u003c/a>. Good luck!\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I graduated from college about a year ago, and have been pursuing art passionately and persistently ever since. My work is well received and I’ve participated in shows, but I’m used to being generally unnoticed. When it dawned on me that ardor does not equal opportunity, I came to another blindingly obvious realization — I know virtually nothing about building a career as an artist past this point. How do all of these young, contemporary artists that I admire get to where they are now? My whole life is art. I’ve never had more faith in anything, and can’t see myself doing anything else. My point is that I am unacceptably clueless about how to reach an audience in a way that I would like to. I’m aware that being an artist isn’t a walk in the park, but right now I’m stuck in a rut. What do I need to do to keep moving forward? I don’t want to lose my spark because I’m in the dark. \u003c/p>\n\u003cp>\u003c/b> \u003c/p>\n\u003cp>I wish I could give you a fun and non-cynical pep talk along the lines of: \u003ci>Just work hard and the magic will happen!\u003c/i>, but you’ve already figured out that you can work your fingers to bloody nubs and still no one at Art Basel will know your name. Your question, though, is a good one: it’s the fundamental—perhaps-axiological query of the emerging artist living in the shadow of late-market capitalism: “I am passionate about art; how do I garner acclaim and money for my work?” And you’ll find any number of peppy answers if you poke around in art-career books, but my advice is that you keep these two things as far from each other as you can, because — and this is the really important part — \u003ci>you can only really control one of them\u003c/i>. \u003c/p>\n\u003cp>The point I’d like to make about control is central to your concern about how young contemporary artists got where they are now. These days, most young hotshots attended highfalutin’ MFA programs in New York or LA, where their work was seen by high-level gallerists and/or curators, some of whom were paid to take a look. Most of these artists had early market successes that were driven by a dealer who was willing to speculate on the value of their work. Many artists have been plucked from the deep, dark well of obscurity by a high-powered curator who put their work into a high-profile show at a major institution. When you weigh it in the balance, it turns out that these artists did not have much control over their careers beyond getting into top-notch schools and thereby having access to VIPs — someone else with money, influence, and power made it happen. I’m not trying to cast doubt on these artists’ relative talent or make pessimistic comparisons to the likelihood of you reaching your own goals, but it’s crucial that you understand that a rapid ascent to the dizzy heights of \u003ci>Artforum\u003c/i> Mountain is not in the power of the artist alone. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/11/11/vanLankveldAqua.jpg\" style=\"margin-bottom: 10px;\" alt=\"rezi van lenkveld aqua\" />\u003cbr />Rezi van Lankveld, \u003ci>Agua\u003c/i>, 2013\u003cbr />\u003c/center>\u003c/p>\n\u003cp>That said, it is absolutely possible to meet people who believe in your work and who will help you move your career forward. You can start by building yourself a website with crisp, professional images that convey exactly what your work is, with accompanying texts that briefly explain what and how and why you do what you do. You can invite curators and gallerists and writers to your studio to chat about the work. You can submit images to online and print publications that showcase the work of emerging artists. Those \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">art-career books\u003c/a> will tell you in great detail how you can do all this. You can also look at some previous Help Desk columns \u003ca href=\"http://dailyserving.com/2012/09/help-desk-represent-me/\">here\u003c/a> and \u003ca href=\"http://dailyserving.com/2012/07/help-desk-making-a-statement/\">here\u003c/a>.\u003c/p>\n\u003cp>But the spark I’m worried about is not the one that lives in public. Not to be too negative, but what happens if you suffer a year, or a decade, or a lifetime of having your work ignored by the art establishment? How will you maintain the flame of your faith in art? It’s essential that you put fortifications and safeguards into your practice so that navigating the vagaries of this shitty market-driven system doesn’t pulverize your psyche to a sour pulp. The most important thing you can do is to make loads of art friends — the real ones, not the competitive bullies — because it’s crucial to surround yourself with people who understand the process of being an artist and who will both hold your hand through bad times and celebrate with you in good ones. \u003c/p>\n\u003cp>You are right to point out that being an artist isn’t a walk in the park (unless that park is dark and cold, uphill both ways, with sinister whispers coming from behind the bushes); yet I hope you will find ways to sustain your passion. In the lowest of times, make sure to go see great art in person frequently, because it will fill you with wonder and remind you of why you became an artist in the first place. Looking at art and talking with your friends will also motivate you to keep working in the studio, which is indispensable for your mental health. You’re young, so your watchwords should be \u003ci>experiment\u003c/i> and \u003ci>expand\u003c/i> — tattoo these terms on your wrists if you must, but make sure to make this your mantra every time you set out to work. Above all, try to remember that building a career as an artist is not the same as \u003ci>being\u003c/i> an artist, and you can “move forward” in more ways than are recognized by the current gallery/biennial/museum system. Keep the faith, and good luck!\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I graduated from college about a year ago, and have been pursuing art passionately and persistently ever since. My work is well received and I’ve participated in shows, but I’m used to being generally unnoticed. When it dawned on me that ardor does not equal opportunity, I came to another blindingly obvious realization — I know virtually nothing about building a career as an artist past this point. How do all of these young, contemporary artists that I admire get to where they are now? My whole life is art. I’ve never had more faith in anything, and can’t see myself doing anything else. My point is that I am unacceptably clueless about how to reach an audience in a way that I would like to. I’m aware that being an artist isn’t a walk in the park, but right now I’m stuck in a rut. What do I need to do to keep moving forward? I don’t want to lose my spark because I’m in the dark. \u003c/p>\n\u003cp>\u003c/b> \u003c/p>\n\u003cp>I wish I could give you a fun and non-cynical pep talk along the lines of: \u003ci>Just work hard and the magic will happen!\u003c/i>, but you’ve already figured out that you can work your fingers to bloody nubs and still no one at Art Basel will know your name. Your question, though, is a good one: it’s the fundamental—perhaps-axiological query of the emerging artist living in the shadow of late-market capitalism: “I am passionate about art; how do I garner acclaim and money for my work?” And you’ll find any number of peppy answers if you poke around in art-career books, but my advice is that you keep these two things as far from each other as you can, because — and this is the really important part — \u003ci>you can only really control one of them\u003c/i>. \u003c/p>\n\u003cp>The point I’d like to make about control is central to your concern about how young contemporary artists got where they are now. These days, most young hotshots attended highfalutin’ MFA programs in New York or LA, where their work was seen by high-level gallerists and/or curators, some of whom were paid to take a look. Most of these artists had early market successes that were driven by a dealer who was willing to speculate on the value of their work. Many artists have been plucked from the deep, dark well of obscurity by a high-powered curator who put their work into a high-profile show at a major institution. When you weigh it in the balance, it turns out that these artists did not have much control over their careers beyond getting into top-notch schools and thereby having access to VIPs — someone else with money, influence, and power made it happen. I’m not trying to cast doubt on these artists’ relative talent or make pessimistic comparisons to the likelihood of you reaching your own goals, but it’s crucial that you understand that a rapid ascent to the dizzy heights of \u003ci>Artforum\u003c/i> Mountain is not in the power of the artist alone. \u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/11/11/vanLankveldAqua.jpg\" style=\"margin-bottom: 10px;\" alt=\"rezi van lenkveld aqua\" />\u003cbr />Rezi van Lankveld, \u003ci>Agua\u003c/i>, 2013\u003cbr />\u003c/center>\u003c/p>\n\u003cp>That said, it is absolutely possible to meet people who believe in your work and who will help you move your career forward. You can start by building yourself a website with crisp, professional images that convey exactly what your work is, with accompanying texts that briefly explain what and how and why you do what you do. You can invite curators and gallerists and writers to your studio to chat about the work. You can submit images to online and print publications that showcase the work of emerging artists. Those \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">art-career books\u003c/a> will tell you in great detail how you can do all this. You can also look at some previous Help Desk columns \u003ca href=\"http://dailyserving.com/2012/09/help-desk-represent-me/\">here\u003c/a> and \u003ca href=\"http://dailyserving.com/2012/07/help-desk-making-a-statement/\">here\u003c/a>.\u003c/p>\n\u003cp>But the spark I’m worried about is not the one that lives in public. Not to be too negative, but what happens if you suffer a year, or a decade, or a lifetime of having your work ignored by the art establishment? How will you maintain the flame of your faith in art? It’s essential that you put fortifications and safeguards into your practice so that navigating the vagaries of this shitty market-driven system doesn’t pulverize your psyche to a sour pulp. The most important thing you can do is to make loads of art friends — the real ones, not the competitive bullies — because it’s crucial to surround yourself with people who understand the process of being an artist and who will both hold your hand through bad times and celebrate with you in good ones. \u003c/p>\n\u003cp>You are right to point out that being an artist isn’t a walk in the park (unless that park is dark and cold, uphill both ways, with sinister whispers coming from behind the bushes); yet I hope you will find ways to sustain your passion. In the lowest of times, make sure to go see great art in person frequently, because it will fill you with wonder and remind you of why you became an artist in the first place. Looking at art and talking with your friends will also motivate you to keep working in the studio, which is indispensable for your mental health. You’re young, so your watchwords should be \u003ci>experiment\u003c/i> and \u003ci>expand\u003c/i> — tattoo these terms on your wrists if you must, but make sure to make this your mantra every time you set out to work. Above all, try to remember that building a career as an artist is not the same as \u003ci>being\u003c/i> an artist, and you can “move forward” in more ways than are recognized by the current gallery/biennial/museum system. Keep the faith, and good luck!\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Tree Fall: Andy Goldsworthy's Newest Installation at the Presidio",
"headTitle": "Tree Fall: Andy Goldsworthy’s Newest Installation at the Presidio | KQED",
"content": "\u003cp>Over the last five years a series of sculptures by British artist Andy Goldsworthy have appeared in various sites around the Presidio, the expansive former military base adjacent to the Golden Gate Bridge. \u003ci>Spire\u003c/i> (2008) makes use of thirty-seven felled Monterey Cypress trees in an architectural formation reminiscent of great church spires. \u003ci>Wood Line\u003c/i> (2008) repurposes eucalyptus branch trimmings sourced from various projects that required tree removal, including the recent reconstruction of the Golden Gate Bridge’s southern approach, to create a winding sculpture on the Presidio’s oldest foot path, known to many as Lover’s Lane.\u003c/p>\n\u003cp>Each project follows in the long tradition of Goldsworthy’s work, which primarily repurposes natural elements to engender a greater consideration of both the natural and the built environment. His latest installation \u003ci>Tree Fall\u003c/i> (2013) debuted last month. While it is an obvious continuation on earlier themes, its placement in the former Civil War-era Powder Magazine on the Main Post offers provocative new possibilities in considering how man-made conditions collide with nature.\u003c/p>\n\u003cp>It must first be said that this work is both very much in keeping with the artist’s larger body of work and simultaneously radically different from past approaches. The Powder Magazine is a small, discreet building positioned on the far end of a large green belt surrounded by intersecting streets and parking lots, east of the Main Parade Ground. Its original function was to house gunpowder and munitions — the walls are four-feet thick stone slabs, while the doomed ceiling was built to channel accidental explosions upwards to protect people and neighboring buildings. \u003ci>Tree Fall\u003c/i> occupies this domed ceiling and the viewer is immediately positioned beneath the work upon entry, a literal allusion to the artist’s ongoing inquiry about what goes on beneath the surface of things.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/treefall-1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Andy Goldsworthy, \u003ci>Tree Fall\u003c/i> (2013), installation view; photo: JanStürmann/FOR-SITE Foundation\u003c/p>\n\u003cp>An enormous tree trunk, sourced after removal during the Presidio Parkway project, is suspended across the width of the ceiling. Both the ceiling and the root are encased in dense layers of clay sourced from the Presidio. As it air-dried, a wide crackling pattern formed over the surface of the several thousand pounds of clay used to cover the bough and ceiling, creating a subtly beautiful surface evocative of both destruction and renewal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The white walls of the spare room are otherwise pristine, save for remnants of spattered clay on the iron door. Whether this residue was intentional or not is unclear, but given the exacting details of the work in general it seems like an unlikely oversight. Without the spatters, the work would appear surreal, as if a giant growth had taken over the space, whereas the presence of the spatters quietly addresses the hand of an artist in this intervention, giving the work a human quality that might otherwise be lost to perceived perfection. This also speaks to Goldsworthy’s larger agenda, as noted in the brochure, “to make connections between what we call nature and what we call man-made.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=qfKnT-8uq0I&w=480&h=270]\u003c/p>\n\u003cp>While Goldsworthy’s other works at the Presidio engender mild trail hikes through wooded spaces, \u003ci>Tree Fall\u003c/i> is uniquely positioned amidst paved roads and ample parking. One can drive up, park, and walk in — no hiking boots needed — provided one knows one’s way around the Presidio’s proliferation of white-washed buildings. Discovering the work in this way offers breath-taking views of the Golden Gate Bridge, the Bay and charming Mission-style buildings. It is easy to forget the original intentions of this place, or the long militant history that precedes it, first as a Spanish Imperial Outpost (1776-1871) and later as the seat of the Mexican Frontier (1822-1846) before it came to function as a U.S. Army Post (1846-1994). Goldsworthy’s work at the Presidio calls attention to the unusual artificial-slash-natural dynamics of the Presidio Forest — it was planted by the U.S. Army in the late 18th and early 19th century — while perhaps positing larger questions about our present-day relationship to the military industrial complex, and, by extension, gun violence.\u003c/p>\n\u003cp>It is not accidental that Goldsworthy’s title \u003ci>Tree Fall\u003c/i> summons the old philosophical question, “If a tree falls in the forest and no one is around to hear it, does it make a sound?” Here the artist amplifies this challenge with literal cracks in the surface of things. Situated as it is, \u003ci>Tree Fall\u003c/i> uniquely provokes questions about sustainability in a declining environment and in an environment of escalating violence. With \u003ci>Tree Fall\u003c/i>, Goldsworthy challenges the tendency to think “out of sight, out of mind” by complicating our relationship to what we see and where we see it. Though the work employs the familiar tropes of the artist’s larger body of work, this time the work presents pointedly new challenges, set in a modest framework designed to explode.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goldsworthy in the Presidio is organized by the FOR-SITE Foundation in partnership with the Presidio Trust; \u003ci>Tree Fall\u003c/i> is on view by appointment Saturdays and Sundays 10am – 4pm. To \u003ca href=\"http://www.for-site.org/projects/visit/\">plan a visit\u003c/a> visit for-site.org or contact the Presidio Trust at 415-561-5300.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the last five years a series of sculptures by British artist Andy Goldsworthy have appeared in various sites around the Presidio, the expansive former military base adjacent to the Golden Gate Bridge. \u003ci>Spire\u003c/i> (2008) makes use of thirty-seven felled Monterey Cypress trees in an architectural formation reminiscent of great church spires. \u003ci>Wood Line\u003c/i> (2008) repurposes eucalyptus branch trimmings sourced from various projects that required tree removal, including the recent reconstruction of the Golden Gate Bridge’s southern approach, to create a winding sculpture on the Presidio’s oldest foot path, known to many as Lover’s Lane.\u003c/p>\n\u003cp>Each project follows in the long tradition of Goldsworthy’s work, which primarily repurposes natural elements to engender a greater consideration of both the natural and the built environment. His latest installation \u003ci>Tree Fall\u003c/i> (2013) debuted last month. While it is an obvious continuation on earlier themes, its placement in the former Civil War-era Powder Magazine on the Main Post offers provocative new possibilities in considering how man-made conditions collide with nature.\u003c/p>\n\u003cp>It must first be said that this work is both very much in keeping with the artist’s larger body of work and simultaneously radically different from past approaches. The Powder Magazine is a small, discreet building positioned on the far end of a large green belt surrounded by intersecting streets and parking lots, east of the Main Parade Ground. Its original function was to house gunpowder and munitions — the walls are four-feet thick stone slabs, while the doomed ceiling was built to channel accidental explosions upwards to protect people and neighboring buildings. \u003ci>Tree Fall\u003c/i> occupies this domed ceiling and the viewer is immediately positioned beneath the work upon entry, a literal allusion to the artist’s ongoing inquiry about what goes on beneath the surface of things.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/treefall-1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Andy Goldsworthy, \u003ci>Tree Fall\u003c/i> (2013), installation view; photo: JanStürmann/FOR-SITE Foundation\u003c/p>\n\u003cp>An enormous tree trunk, sourced after removal during the Presidio Parkway project, is suspended across the width of the ceiling. Both the ceiling and the root are encased in dense layers of clay sourced from the Presidio. As it air-dried, a wide crackling pattern formed over the surface of the several thousand pounds of clay used to cover the bough and ceiling, creating a subtly beautiful surface evocative of both destruction and renewal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The white walls of the spare room are otherwise pristine, save for remnants of spattered clay on the iron door. Whether this residue was intentional or not is unclear, but given the exacting details of the work in general it seems like an unlikely oversight. Without the spatters, the work would appear surreal, as if a giant growth had taken over the space, whereas the presence of the spatters quietly addresses the hand of an artist in this intervention, giving the work a human quality that might otherwise be lost to perceived perfection. This also speaks to Goldsworthy’s larger agenda, as noted in the brochure, “to make connections between what we call nature and what we call man-made.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qfKnT-8uq0I'\n title='//www.youtube.com/embed/qfKnT-8uq0I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>While Goldsworthy’s other works at the Presidio engender mild trail hikes through wooded spaces, \u003ci>Tree Fall\u003c/i> is uniquely positioned amidst paved roads and ample parking. One can drive up, park, and walk in — no hiking boots needed — provided one knows one’s way around the Presidio’s proliferation of white-washed buildings. Discovering the work in this way offers breath-taking views of the Golden Gate Bridge, the Bay and charming Mission-style buildings. It is easy to forget the original intentions of this place, or the long militant history that precedes it, first as a Spanish Imperial Outpost (1776-1871) and later as the seat of the Mexican Frontier (1822-1846) before it came to function as a U.S. Army Post (1846-1994). Goldsworthy’s work at the Presidio calls attention to the unusual artificial-slash-natural dynamics of the Presidio Forest — it was planted by the U.S. Army in the late 18th and early 19th century — while perhaps positing larger questions about our present-day relationship to the military industrial complex, and, by extension, gun violence.\u003c/p>\n\u003cp>It is not accidental that Goldsworthy’s title \u003ci>Tree Fall\u003c/i> summons the old philosophical question, “If a tree falls in the forest and no one is around to hear it, does it make a sound?” Here the artist amplifies this challenge with literal cracks in the surface of things. Situated as it is, \u003ci>Tree Fall\u003c/i> uniquely provokes questions about sustainability in a declining environment and in an environment of escalating violence. With \u003ci>Tree Fall\u003c/i>, Goldsworthy challenges the tendency to think “out of sight, out of mind” by complicating our relationship to what we see and where we see it. Though the work employs the familiar tropes of the artist’s larger body of work, this time the work presents pointedly new challenges, set in a modest framework designed to explode.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goldsworthy in the Presidio is organized by the FOR-SITE Foundation in partnership with the Presidio Trust; \u003ci>Tree Fall\u003c/i> is on view by appointment Saturdays and Sundays 10am – 4pm. To \u003ca href=\"http://www.for-site.org/projects/visit/\">plan a visit\u003c/a> visit for-site.org or contact the Presidio Trust at 415-561-5300.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Could you tell me the best way for a newcomer to select an appropriate art consultant in the first place? It appears to be almost impossible in this economy to get into a gallery without the proper help. I have just completed a series that would probably be better suited to an institutional setting, i.e. a winery or a business. How do I find someone to help me place this series?\u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>Okay, so you have two issues: you want to “get into” a gallery (i.e., become a represented artist), and you want to find a permanent home for a series of works. The problem here is that you’re assuming these two goals have one solution: an art consultant; and I’m sorry to tell you that this is not how things work.\u003c/p>\n\u003cp>In all likelihood, an art consultant cannot help you become represented by a gallery. A consultant’s job is to place artwork with clients. Most consultants work with galleries, but the flow is almost always uni-directional: that is to say, the consultant gets work from a gallery, and not the other way around. But just to make sure my hunch was correct, I asked \u003ca href=\"http://outtherenyc.com/\">Maria Brito\u003c/a>, \u003ca href=\"http://outtherenyc.com/get-the-book/\">author\u003c/a> and \u003ca href=\"http://www.mariabrito.com/#/home/\">art advisor\u003c/a>, and an “authority on why, where, when and how to display and mix contemporary art… in any environment” (that’s from her bio) and this is what she said:\u003c/p>\n\u003cp>“As an art advisor, my company is set up to provide support to our clients (the collectors) in selecting the right pieces for their own collections. I try to understand my clients’ goals as much as possible and to work closely with them to reach their objectives. I work mostly with galleries that I trust and like and whose artists’ works I’m really interested in introducing to my clients. I’m also always meeting new galleries in art fairs or through invitations that they send. I’m always open to seeing new art and meeting new people, but I rarely place the work of an unrepresented artist directly from his/her studio; it has happened maybe a couple of times in the past four years. It is not a matter of talent or the quality of the works, it is mostly that my clients feel more comfortable dealing with a gallery and having that kind of back-up when spending money on art.”\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/Olowska1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Paulina Olowska, \u003ci>Cake\u003c/i>, 2010\u003cbr />\u003c/center>\u003c/p>\n\u003cp>“I understand that the contemporary art world has gotten very competitive for artists and that there are only so many galleries that can take them and seriously invest in their careers. Some galleries are open to submissions, others have directors who are always going on studio visits, and some others get artists right out of school. It all depends on the economic circumstances and the evolution of the market, but typically (because there are always exceptions) top galleries pay attention to graduates from top schools, artists who are already represented in other cities or by other galleries in the same city, or who, as self-taught artists, have developed something extraordinary.”\u003c/p>\n\u003cp>Lest this all seem like bad news and not at all a solution to your dilemma, let’s look on the bright side: you no longer have to track down a consultant to try to place your works. Instead, you can take another tack: if you think that your work is made for wineries, why not contact a few and ask who buys their art? Larger wineries might work with an art consultant, but chances are good that smaller and newer wineries do all their own buying. If you can find a winery or other business with a temporary exhibition space, pitch a show of your own work and perhaps you’ll end up having this series acquired by the institution.\u003c/p>\n\u003cp>In terms of finding a gallery, it’s true that the present economy sucks. But if you’re starting from scratch it’s going to be a while before you find representation anyway — we can all hope that the economy will pick up in the time that it will take you to do the necessary research and some serious legwork. If you’re new to the gallery game, I recommend that you start the process with \u003ca href=\"http://dailyserving.com/2012/09/help-desk-represent-me/\">my advice here\u003c/a>. Also, pick up a copy of the book \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">Art/Work\u003c/a>, which will explain many of the important details of negotiating the commercial gallery world. And remember the words of Alexis Mackenzie, assistant director at \u003ca href=\"http://www.wolfecontemporary.com/\">Mark Wolfe Contemporary Art\u003c/a>: “…the work itself should always come first. Make strong work that you believe in, and the rest should follow.” Good luck!\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Could you tell me the best way for a newcomer to select an appropriate art consultant in the first place? It appears to be almost impossible in this economy to get into a gallery without the proper help. I have just completed a series that would probably be better suited to an institutional setting, i.e. a winery or a business. How do I find someone to help me place this series?\u003c/p>\n\u003cp>\u003c/b>\u003c/p>\n\u003cp>Okay, so you have two issues: you want to “get into” a gallery (i.e., become a represented artist), and you want to find a permanent home for a series of works. The problem here is that you’re assuming these two goals have one solution: an art consultant; and I’m sorry to tell you that this is not how things work.\u003c/p>\n\u003cp>In all likelihood, an art consultant cannot help you become represented by a gallery. A consultant’s job is to place artwork with clients. Most consultants work with galleries, but the flow is almost always uni-directional: that is to say, the consultant gets work from a gallery, and not the other way around. But just to make sure my hunch was correct, I asked \u003ca href=\"http://outtherenyc.com/\">Maria Brito\u003c/a>, \u003ca href=\"http://outtherenyc.com/get-the-book/\">author\u003c/a> and \u003ca href=\"http://www.mariabrito.com/#/home/\">art advisor\u003c/a>, and an “authority on why, where, when and how to display and mix contemporary art… in any environment” (that’s from her bio) and this is what she said:\u003c/p>\n\u003cp>“As an art advisor, my company is set up to provide support to our clients (the collectors) in selecting the right pieces for their own collections. I try to understand my clients’ goals as much as possible and to work closely with them to reach their objectives. I work mostly with galleries that I trust and like and whose artists’ works I’m really interested in introducing to my clients. I’m also always meeting new galleries in art fairs or through invitations that they send. I’m always open to seeing new art and meeting new people, but I rarely place the work of an unrepresented artist directly from his/her studio; it has happened maybe a couple of times in the past four years. It is not a matter of talent or the quality of the works, it is mostly that my clients feel more comfortable dealing with a gallery and having that kind of back-up when spending money on art.”\u003c/p>\n\u003cp>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/Olowska1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr />Paulina Olowska, \u003ci>Cake\u003c/i>, 2010\u003cbr />\u003c/center>\u003c/p>\n\u003cp>“I understand that the contemporary art world has gotten very competitive for artists and that there are only so many galleries that can take them and seriously invest in their careers. Some galleries are open to submissions, others have directors who are always going on studio visits, and some others get artists right out of school. It all depends on the economic circumstances and the evolution of the market, but typically (because there are always exceptions) top galleries pay attention to graduates from top schools, artists who are already represented in other cities or by other galleries in the same city, or who, as self-taught artists, have developed something extraordinary.”\u003c/p>\n\u003cp>Lest this all seem like bad news and not at all a solution to your dilemma, let’s look on the bright side: you no longer have to track down a consultant to try to place your works. Instead, you can take another tack: if you think that your work is made for wineries, why not contact a few and ask who buys their art? Larger wineries might work with an art consultant, but chances are good that smaller and newer wineries do all their own buying. If you can find a winery or other business with a temporary exhibition space, pitch a show of your own work and perhaps you’ll end up having this series acquired by the institution.\u003c/p>\n\u003cp>In terms of finding a gallery, it’s true that the present economy sucks. But if you’re starting from scratch it’s going to be a while before you find representation anyway — we can all hope that the economy will pick up in the time that it will take you to do the necessary research and some serious legwork. If you’re new to the gallery game, I recommend that you start the process with \u003ca href=\"http://dailyserving.com/2012/09/help-desk-represent-me/\">my advice here\u003c/a>. Also, pick up a copy of the book \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">Art/Work\u003c/a>, which will explain many of the important details of negotiating the commercial gallery world. And remember the words of Alexis Mackenzie, assistant director at \u003ca href=\"http://www.wolfecontemporary.com/\">Mark Wolfe Contemporary Art\u003c/a>: “…the work itself should always come first. Make strong work that you believe in, and the rest should follow.” Good luck!\u003c/p>\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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