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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>Artists are routinely asked to donate work toward the benefit of an organization. I have reached the point where I am just not sure how my participation ranks along with my overall exhibition history. Also, benefit shows vary greatly in scope and prestige. With some, artists are carefully selected, and others — well, we simply add to the giant pot in order to be able to help out in what little way we can. So what (if any) is a suitable way to list auctions, charitable donations, or benefit shows on one’s CV? Do they go in the “Select Group Exhibitions” category? Do they need an asterisk of some kind? Do they get their own section? Or, do they stay out altogether? Furthermore, when panels or curators view resumes, do they view these things as positive qualities, or simply padding?\u003c/b>\u003c/p>\n\u003cp>The short answer is that there is not only one answer. There’s a bit of confusion about CVs and resumes, since the two terms are often used interchangeably. However, you might want to think about your CV as an all-encompassing master document that lists every show, residency, award — and yes, charity auction — that you’ve ever participated in. After all, CV is short for curriculum vitae, or “the course of one’s life,” and it’s a good idea to keep such a document for your future biographers so that they get the facts straight when they’re writing about your early years.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/15/Tuazon1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Oscar Tuazon, installation view of \u003ci>Sensory Spaces\u003c/i> at the Museum Boijmans Van Beuningen, 2013.\u003cbr>\u003c/center>\n\u003cp>Your resume, on the other hand, is a document that usually has a prescribed length (“no more than two pages”) and \u003ci>should be tailored to the position for which you are applying\u003c/i>. I checked in with Bert Green of \u003ca href=\"http://www.bgfa.us/\">Bert Green Fine Art\u003c/a> in Chicago, and he also expressed this opinion:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“An artist’s exhibition resume is intended to give as complete a picture as possible of how widely and well the artist’s work is exhibited, and to demonstrate an involvement in and commitment to the art world. Some artists maintain two exhibition resumes, a comprehensive version with every single exhibition they have ever participated in, and a shorter version which is used publicly, to save space and emphasize quality. Generally the comprehensive version is not shared, but it is a good idea to maintain one as a document for posterity.”\u003c/p>\n\u003cp>Mr. Green continues: “That said, it is important to select the key exhibitions for the selected listings that would advance the artist’s career and prestige. I see no harm in listing any auction or benefit exhibitions under the group exhibition category, not as a separate category. However, the frequency and number of such listings should not dominate the list. I would try to keep them to no more than 25% of your total. Emphasize those events with art world connections, like museum or art organization nonprofit events. Panels and curators generally look for a mix of quality and variety when they regard your exhibition listings. Some may see donation events as padding or fill, but if the overall impression of the list is that of an artist who is engaged with their venues, and active, with multiple exhibitions, there is no down side to including them in moderation.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/15/Tuazon3.jpg\" style=\"width=\" margin-bottom:>\u003cbr>Oscar Tuazon, installation view of \u003ci>Sensory Spaces\u003c/i> at the Museum Boijmans Van Beuningen, 2013.\u003cbr>\u003c/center>\n\u003cp>It’s important to think very carefully about the people who are going to look at your resume and what their needs are. If you’re applying for a spot in an exhibition, then obviously you don’t want to look as if you’re desperately padding your resume, so a shorter but more impactful list is fine. Conversely, if you are applying for a job at an institution that depends on community engagement, you could create a section at the end of your resume to emphasize your commitment to public service. As one who has sat on hiring committees for education, I can tell you that, when all else is equal, a clear demonstration of civic responsibility often sets one candidate ahead of the others. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are any number of good resources on resumes out there in Internetlandia, although use your common sense when perusing — one of the first documents I pulled up suggested that artists should “use a larger font size… use more spacing” as strategies for lengthening a brief resume. For the love of Duchamp, don’t do this! It’s an obvious tactic — and anyway you should be proud of what you \u003ci>have\u003c/i> done and not insecure about what you \u003ci>haven’t\u003c/i> done. One of the most comprehensive guidelines can be found on the \u003ca href=\"http://www.collegeart.org/guidelines/visartcv\">College Art Association’s website\u003c/a>, and it provides a general overview of resumes and CVs, along with formatting guidelines and some tips for tailoring. Check it out, and good luck! \u003c/p>\n\n",
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"excerpt": "In which our industrious advice columnist provides tips on what to include and what to leave out of that all-important artist resume.",
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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>Artists are routinely asked to donate work toward the benefit of an organization. I have reached the point where I am just not sure how my participation ranks along with my overall exhibition history. Also, benefit shows vary greatly in scope and prestige. With some, artists are carefully selected, and others — well, we simply add to the giant pot in order to be able to help out in what little way we can. So what (if any) is a suitable way to list auctions, charitable donations, or benefit shows on one’s CV? Do they go in the “Select Group Exhibitions” category? Do they need an asterisk of some kind? Do they get their own section? Or, do they stay out altogether? Furthermore, when panels or curators view resumes, do they view these things as positive qualities, or simply padding?\u003c/b>\u003c/p>\n\u003cp>The short answer is that there is not only one answer. There’s a bit of confusion about CVs and resumes, since the two terms are often used interchangeably. However, you might want to think about your CV as an all-encompassing master document that lists every show, residency, award — and yes, charity auction — that you’ve ever participated in. After all, CV is short for curriculum vitae, or “the course of one’s life,” and it’s a good idea to keep such a document for your future biographers so that they get the facts straight when they’re writing about your early years.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/15/Tuazon1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Oscar Tuazon, installation view of \u003ci>Sensory Spaces\u003c/i> at the Museum Boijmans Van Beuningen, 2013.\u003cbr>\u003c/center>\n\u003cp>Your resume, on the other hand, is a document that usually has a prescribed length (“no more than two pages”) and \u003ci>should be tailored to the position for which you are applying\u003c/i>. I checked in with Bert Green of \u003ca href=\"http://www.bgfa.us/\">Bert Green Fine Art\u003c/a> in Chicago, and he also expressed this opinion:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“An artist’s exhibition resume is intended to give as complete a picture as possible of how widely and well the artist’s work is exhibited, and to demonstrate an involvement in and commitment to the art world. Some artists maintain two exhibition resumes, a comprehensive version with every single exhibition they have ever participated in, and a shorter version which is used publicly, to save space and emphasize quality. Generally the comprehensive version is not shared, but it is a good idea to maintain one as a document for posterity.”\u003c/p>\n\u003cp>Mr. Green continues: “That said, it is important to select the key exhibitions for the selected listings that would advance the artist’s career and prestige. I see no harm in listing any auction or benefit exhibitions under the group exhibition category, not as a separate category. However, the frequency and number of such listings should not dominate the list. I would try to keep them to no more than 25% of your total. Emphasize those events with art world connections, like museum or art organization nonprofit events. Panels and curators generally look for a mix of quality and variety when they regard your exhibition listings. Some may see donation events as padding or fill, but if the overall impression of the list is that of an artist who is engaged with their venues, and active, with multiple exhibitions, there is no down side to including them in moderation.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/15/Tuazon3.jpg\" style=\"width=\" margin-bottom:>\u003cbr>Oscar Tuazon, installation view of \u003ci>Sensory Spaces\u003c/i> at the Museum Boijmans Van Beuningen, 2013.\u003cbr>\u003c/center>\n\u003cp>It’s important to think very carefully about the people who are going to look at your resume and what their needs are. If you’re applying for a spot in an exhibition, then obviously you don’t want to look as if you’re desperately padding your resume, so a shorter but more impactful list is fine. Conversely, if you are applying for a job at an institution that depends on community engagement, you could create a section at the end of your resume to emphasize your commitment to public service. As one who has sat on hiring committees for education, I can tell you that, when all else is equal, a clear demonstration of civic responsibility often sets one candidate ahead of the others. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are any number of good resources on resumes out there in Internetlandia, although use your common sense when perusing — one of the first documents I pulled up suggested that artists should “use a larger font size… use more spacing” as strategies for lengthening a brief resume. For the love of Duchamp, don’t do this! It’s an obvious tactic — and anyway you should be proud of what you \u003ci>have\u003c/i> done and not insecure about what you \u003ci>haven’t\u003c/i> done. One of the most comprehensive guidelines can be found on the \u003ca href=\"http://www.collegeart.org/guidelines/visartcv\">College Art Association’s website\u003c/a>, and it provides a general overview of resumes and CVs, along with formatting guidelines and some tips for tailoring. Check it out, and good luck! \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Moving and Shaking: Potrero Art Walk",
"headTitle": "Moving and Shaking: Potrero Art Walk | KQED",
"content": "\u003cp>It was a gloriously warm day, the kind usually spent in Dolores Park or out at the beach with friends and a playful dog. By the time I arrived at 248 Utah Street in the late afternoon, the inaugural Potrero Art Walk was in full swing. White wine and water flowed heavily as visitors moved between the new digs for Catharine Clark and Brian Gross — both of which moved into the building a year after Todd Hosfelt Gallery successfully transitioned into the space — or to visit Jack Fischer or George Lawson nearby at 311 Potrero. The overall mood was joyous, giddy almost, with the recognition that the arrival of these galleries in the neighborhood represents a page turning in San Francisco’s cultural history book.\u003c/p>\n\u003cp>Excitement was also stirred by the work on view. Catharine Clark tapped Anthony Discenza, one of many notable artists on her roster, to organize the new space’s inaugural exhibition. The artist has stated that this adventure may be his last, but I’m hoping that he nurtures his nascent curatorial chops. As \u003ci>This Is the Sound of Someone Losing the Plot\u003c/i> demonstrates, Discenza capably balances content and concept. The work of nine alumni and faculty members at California College of the Arts (CCA) was selected to address notions of slippage or (mis)translation between working and understanding.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/14/PAWFayezHorizon.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Arash Fayez and Maya Pasternak at Catharine Clark Gallery\u003cbr>\u003c/center>\n\u003cp>Of the numerous pieces displayed, those that stand out include \u003ci>Horizon\u003c/i> (2011), in which Arash Fayez and Maya Pasternak attempt to communicate with one another in Farsi and Hebrew, their respective native languages, and Stephanie Syjuco’s \u003ci>The Precariat\u003c/i> (2013). The two monitors on which Fayez’s video feed plays are positioned too close to one another, which makes seeing or hearing what the actors say nearly impossible, and drives home the metaphoric difficulty inherent to communication. Fayez and Pasternak seem to speak beyond, not with one other, each laboring to remain civil when frustration sets in. It’s a powerful statement about relationships, be that between countries or individuals, and the centrality of clear communication.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/14/PAWSyjucoThePrecariat.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Stephanie Syjuco at Catharine Clark Gallery\u003cbr>\u003c/center>\n\u003cp>Syjuco’s installation, created in part with material that accumulated as the gallery prepared to open in its new space, notes the often fitful, failure-laden evolution of an artist’s work. This strong group exhibition, rounded out by Kate Bonner, Lauren Marsden, Bruno Fazzolari, Josh Greene, Patricia Esquivias, and collaborators Gareth Spor and Piero Passacantando celebrates the contributions made by CCA graduates and staff and further strengthens Clark’s ties to the neighborhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/14/PAWLawlorThoseHats.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Erin Lawlor at George Lawson Gallery\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/14/PAWKurtenAshesEverywhere.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Stefan Kúrten at Hosfelt Gallery\u003cbr>\u003c/center>\n\u003cp>Brian Gross, Todd Hosfelt, George Lawson, and Jack Fischer all opted to present the work of solo artists, a more traditional offering for an early fall exhibition. George Lawson, who now has three galleries between San Francisco and Los Angeles, features the work of English painter Erin Lawlor. Representing a series of recent works, \u003ci>Those Hats\u003c/i> reveals Lawlor’s interest in mark making and the canvas as subject. Todd Hosfelt, celebrating one year in the Potrero location, offers the work of Stefan Kúrten. \u003ci>Tonight and the Beautiful Future\u003c/i> includes numerous large and small canvases, which fill out the near-cavernous space without crowding any single painting, and portray our obsession with “the perfect life.” Luxurious homes complemented by swimming pools and verdant grounds betray our material desires, as much as Kúrten’s dark palette colors our fears of loss and failure.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/14/PAWEdMosesByByBlkByrd.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Ed Moses at Brian Gross Fine Art\u003cbr>\u003c/center>\n\u003cp>Brian Gross displays the crackle paintings of Ed Moses in \u003ci>Yesterday’s Tomorrow\u003c/i>. Moses, a long time fixture in the southern California art scene and an original member of the famed Ferus Art Gallery, identifies immediacy and technical and material experimentation as central to both his painting practice and professional longevity. Presently, that experimentation includes crackle painting, where primary layers of paint appear to shatter the surface, creating subtle variances in the canvas’ face. Broadly interpreted, Moses’ faith in what is revealed through trial and error syncs well with the relocation of Brian Gross Fine Art and other galleries to a mostly untested neighborhood.\u003c/p>\n\u003cp>Amid the party atmosphere, there was a secondary conversation taking place, one that draws attention to long-term implications of this gallery relocation. Is gentrification of another San Francisco neighborhood a concern? Possibly, given that the galleries profiled here are joined by the newly relocated Wattis Institute for Contemporary Arts and the Museum of Craft and Design. The shift away from downtown will bring long overdue attention to those institutions and others, and with that could come another segment of the city gobbled up by commercial developers.\u003c/p>\n\u003cp>More pressing, though, is the diversity of the region’s arts community. Many of the gallerists I corresponded with noted that with SFMOMA shuttered until 2016, the likelihood of audiences spending time in the downtown arts district diminishes. This is a telling sentiment, specifically because it acknowledges what I think we’ve all known for a long time: San Francisco is a monoculture, in terms of institutional presence. While the responsibility of sustaining audience interest during SFMOMA’s absence is not the only task taken on by institutions including YBCA, the Contemporary Jewish Museum, and Museum of the African Diaspora, it is a primary concern. Though it is too soon to tell what museums will make use of this opportunity, the programs and exhibitions so far offered leave much to be desired. Grumbling aside, this moment belongs to the gallerists who took the initiative in shaking up the San Francisco art scene. Congratulations and best wishes to all!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Exhibitions at 248-260 Utah Street and 311 Potrero are on view through the end of October, 2013. For more information, visit \u003ca href=\"http://www.briangrossfineart.com/\">Brian Gross Fine Art\u003c/a>, \u003ca href=\"http://cclarkgallery.com/\">Catharine Clark Gallery\u003c/a>, \u003ca href=\"http://www.georgelawsongallery.com/\">George Lawson Gallery\u003c/a>, \u003ca href=\"http://hosfeltgallery.com/\">Hosfelt Gallery\u003c/a>, and \u003ca href=\"http://www.jackfischergallery.com/\">Jack Fischer Gallery\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a gloriously warm day, the kind usually spent in Dolores Park or out at the beach with friends and a playful dog. By the time I arrived at 248 Utah Street in the late afternoon, the inaugural Potrero Art Walk was in full swing. White wine and water flowed heavily as visitors moved between the new digs for Catharine Clark and Brian Gross — both of which moved into the building a year after Todd Hosfelt Gallery successfully transitioned into the space — or to visit Jack Fischer or George Lawson nearby at 311 Potrero. The overall mood was joyous, giddy almost, with the recognition that the arrival of these galleries in the neighborhood represents a page turning in San Francisco’s cultural history book.\u003c/p>\n\u003cp>Excitement was also stirred by the work on view. Catharine Clark tapped Anthony Discenza, one of many notable artists on her roster, to organize the new space’s inaugural exhibition. The artist has stated that this adventure may be his last, but I’m hoping that he nurtures his nascent curatorial chops. As \u003ci>This Is the Sound of Someone Losing the Plot\u003c/i> demonstrates, Discenza capably balances content and concept. The work of nine alumni and faculty members at California College of the Arts (CCA) was selected to address notions of slippage or (mis)translation between working and understanding.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/14/PAWFayezHorizon.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Arash Fayez and Maya Pasternak at Catharine Clark Gallery\u003cbr>\u003c/center>\n\u003cp>Of the numerous pieces displayed, those that stand out include \u003ci>Horizon\u003c/i> (2011), in which Arash Fayez and Maya Pasternak attempt to communicate with one another in Farsi and Hebrew, their respective native languages, and Stephanie Syjuco’s \u003ci>The Precariat\u003c/i> (2013). The two monitors on which Fayez’s video feed plays are positioned too close to one another, which makes seeing or hearing what the actors say nearly impossible, and drives home the metaphoric difficulty inherent to communication. Fayez and Pasternak seem to speak beyond, not with one other, each laboring to remain civil when frustration sets in. It’s a powerful statement about relationships, be that between countries or individuals, and the centrality of clear communication.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/14/PAWSyjucoThePrecariat.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Stephanie Syjuco at Catharine Clark Gallery\u003cbr>\u003c/center>\n\u003cp>Syjuco’s installation, created in part with material that accumulated as the gallery prepared to open in its new space, notes the often fitful, failure-laden evolution of an artist’s work. This strong group exhibition, rounded out by Kate Bonner, Lauren Marsden, Bruno Fazzolari, Josh Greene, Patricia Esquivias, and collaborators Gareth Spor and Piero Passacantando celebrates the contributions made by CCA graduates and staff and further strengthens Clark’s ties to the neighborhood.\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/2013/09/14/PAWLawlorThoseHats.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Erin Lawlor at George Lawson Gallery\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/14/PAWKurtenAshesEverywhere.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Stefan Kúrten at Hosfelt Gallery\u003cbr>\u003c/center>\n\u003cp>Brian Gross, Todd Hosfelt, George Lawson, and Jack Fischer all opted to present the work of solo artists, a more traditional offering for an early fall exhibition. George Lawson, who now has three galleries between San Francisco and Los Angeles, features the work of English painter Erin Lawlor. Representing a series of recent works, \u003ci>Those Hats\u003c/i> reveals Lawlor’s interest in mark making and the canvas as subject. Todd Hosfelt, celebrating one year in the Potrero location, offers the work of Stefan Kúrten. \u003ci>Tonight and the Beautiful Future\u003c/i> includes numerous large and small canvases, which fill out the near-cavernous space without crowding any single painting, and portray our obsession with “the perfect life.” Luxurious homes complemented by swimming pools and verdant grounds betray our material desires, as much as Kúrten’s dark palette colors our fears of loss and failure.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/14/PAWEdMosesByByBlkByrd.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Ed Moses at Brian Gross Fine Art\u003cbr>\u003c/center>\n\u003cp>Brian Gross displays the crackle paintings of Ed Moses in \u003ci>Yesterday’s Tomorrow\u003c/i>. Moses, a long time fixture in the southern California art scene and an original member of the famed Ferus Art Gallery, identifies immediacy and technical and material experimentation as central to both his painting practice and professional longevity. Presently, that experimentation includes crackle painting, where primary layers of paint appear to shatter the surface, creating subtle variances in the canvas’ face. Broadly interpreted, Moses’ faith in what is revealed through trial and error syncs well with the relocation of Brian Gross Fine Art and other galleries to a mostly untested neighborhood.\u003c/p>\n\u003cp>Amid the party atmosphere, there was a secondary conversation taking place, one that draws attention to long-term implications of this gallery relocation. Is gentrification of another San Francisco neighborhood a concern? Possibly, given that the galleries profiled here are joined by the newly relocated Wattis Institute for Contemporary Arts and the Museum of Craft and Design. The shift away from downtown will bring long overdue attention to those institutions and others, and with that could come another segment of the city gobbled up by commercial developers.\u003c/p>\n\u003cp>More pressing, though, is the diversity of the region’s arts community. Many of the gallerists I corresponded with noted that with SFMOMA shuttered until 2016, the likelihood of audiences spending time in the downtown arts district diminishes. This is a telling sentiment, specifically because it acknowledges what I think we’ve all known for a long time: San Francisco is a monoculture, in terms of institutional presence. While the responsibility of sustaining audience interest during SFMOMA’s absence is not the only task taken on by institutions including YBCA, the Contemporary Jewish Museum, and Museum of the African Diaspora, it is a primary concern. Though it is too soon to tell what museums will make use of this opportunity, the programs and exhibitions so far offered leave much to be desired. Grumbling aside, this moment belongs to the gallerists who took the initiative in shaking up the San Francisco art scene. Congratulations and best wishes to all!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Exhibitions at 248-260 Utah Street and 311 Potrero are on view through the end of October, 2013. For more information, visit \u003ca href=\"http://www.briangrossfineart.com/\">Brian Gross Fine Art\u003c/a>, \u003ca href=\"http://cclarkgallery.com/\">Catharine Clark Gallery\u003c/a>, \u003ca href=\"http://www.georgelawsongallery.com/\">George Lawson Gallery\u003c/a>, \u003ca href=\"http://hosfeltgallery.com/\">Hosfelt Gallery\u003c/a>, and \u003ca href=\"http://www.jackfischergallery.com/\">Jack Fischer Gallery\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every year for one week, bold, super-sized works of art spring to life in one of the harshest yet most starkly beautiful settings imaginable… the Black Rock Desert of Nevada. With hundreds of original works, performances, and theme camps spanning five square miles, and more than 60,000 attendees, Burning Man has become North America’s largest outdoor art festival. At the core of the Burning Man art aesthetic is participation and interactivity. Many pieces involve community volunteers who put in hundreds of hours on elaborate large-scale works that are meant to be touched — and often torched. The vast majority of the monumental metal sculptures are made in the Bay Area, the place where Burning Man got its start in 1986.\u003c/p>\n\u003cp>\u003ca href=\"http://boxshopsf.org/\">The Boxshop\u003c/a>, in San Francisco’s India Basin, is home to the \u003ca href=\"http://www.flaminglotus.com/\">Flaming Lotus Girls\u003c/a>, a female-driven team of artists who pushed themselves to the limit to create \u003ci>Xylophage\u003c/i>, a giant tree stump with larger-than-life fire-breathing fungi, for this year’s event. The Flaming Lotus Girls up the ante for viewer participation each year, creating immersive environments where spectators control the flame and sound effects.\u003c/p>\n\u003cfigure id=\"attachment_128631\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/burnerart360.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/burnerart360.jpg\" alt=\"The Flaming Lotus Girls, Xylophage, Burning Man 2013.\" width=\"640\" height=\"360\" class=\"size-full wp-image-128631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/burnerart360.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/burnerart360-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/burnerart360-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Flaming Lotus Girls, Xylophage, Burning Man 2013. \u003ccite>(Neil Girling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The influence of the Burning Man art scene is spreading beyond the desert playa. Over the past decade iconic sculptures have found new homes in urban settings, and major civic installations by former “burners” like Leo Villareal (\u003ci>The Bay Lights\u003c/i>) are gaining critical and popular acclaim.\u003c/p>\n\u003cp>One of the forces behind this trend is the \u003ca href=\"http://blackrockarts.org/\">Black Rock Arts Foundation\u003c/a>, whose mission is supporting community-driven interactive projects with a Burning Man aesthetic. As long-time “burner” and Black Rock Arts Foundation Executive Director Tomas McCabe puts it, “Art that’s meant to be interacted with is much more interesting. It’s an interesting dynamic; it’s really fun and it’s a little bit foreign in this world of museums and caution tape and don’t touch. And it’s kind of magical to be able to be invited to interact with something. So we wanted to bring that magic back.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every year for one week, bold, super-sized works of art spring to life in one of the harshest yet most starkly beautiful settings imaginable… the Black Rock Desert of Nevada. With hundreds of original works, performances, and theme camps spanning five square miles, and more than 60,000 attendees, Burning Man has become North America’s largest outdoor art festival. At the core of the Burning Man art aesthetic is participation and interactivity. Many pieces involve community volunteers who put in hundreds of hours on elaborate large-scale works that are meant to be touched — and often torched. The vast majority of the monumental metal sculptures are made in the Bay Area, the place where Burning Man got its start in 1986.\u003c/p>\n\u003cp>\u003ca href=\"http://boxshopsf.org/\">The Boxshop\u003c/a>, in San Francisco’s India Basin, is home to the \u003ca href=\"http://www.flaminglotus.com/\">Flaming Lotus Girls\u003c/a>, a female-driven team of artists who pushed themselves to the limit to create \u003ci>Xylophage\u003c/i>, a giant tree stump with larger-than-life fire-breathing fungi, for this year’s event. The Flaming Lotus Girls up the ante for viewer participation each year, creating immersive environments where spectators control the flame and sound effects.\u003c/p>\n\u003cfigure id=\"attachment_128631\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/burnerart360.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/burnerart360.jpg\" alt=\"The Flaming Lotus Girls, Xylophage, Burning Man 2013.\" width=\"640\" height=\"360\" class=\"size-full wp-image-128631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/burnerart360.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/burnerart360-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/burnerart360-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Flaming Lotus Girls, Xylophage, Burning Man 2013. \u003ccite>(Neil Girling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The influence of the Burning Man art scene is spreading beyond the desert playa. Over the past decade iconic sculptures have found new homes in urban settings, and major civic installations by former “burners” like Leo Villareal (\u003ci>The Bay Lights\u003c/i>) are gaining critical and popular acclaim.\u003c/p>\n\u003cp>One of the forces behind this trend is the \u003ca href=\"http://blackrockarts.org/\">Black Rock Arts Foundation\u003c/a>, whose mission is supporting community-driven interactive projects with a Burning Man aesthetic. As long-time “burner” and Black Rock Arts Foundation Executive Director Tomas McCabe puts it, “Art that’s meant to be interacted with is much more interesting. It’s an interesting dynamic; it’s really fun and it’s a little bit foreign in this world of museums and caution tape and don’t touch. And it’s kind of magical to be able to be invited to interact with something. So we wanted to bring that magic back.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "This Fall Bay Area Art Gets Off the Wall",
"headTitle": "This Fall Bay Area Art Gets Off the Wall | KQED",
"content": "\u003cp>Remember when fall meant a fresh wardrobe, new pens, and an empty Trapper-Keeper? It was showcase time, when all the pent-up energy of summer school (or all the pent-up stories of summer camp) manifested themselves as a reset button — new teachers, new school, new social order — accompanied by a newly awkward class photo.\u003c/p>\n\u003cp>That same nervous excitement accompanies the fall season of exhibition programming. September marks the end of summer lulls, August vacations, and slapdash group shows. This fall, in particular, has been worth the wait: SFMOMA is on the go, alternative spaces are asserting their long-term influence, and solo shows to watch include ground-breaking mid-career surveys alongside thrilling solo shows from emerging artists. The magnitude of programming in the months to come can be daunting. And so: the list. Due to the constraints of this forum and in the interests of concision, I’ve selected just 12 items out of a jam-packed schedule. Treat yourself to a new pair of shoes in honor of the good old days and start making your way out into a Bay Area full of exciting art.\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/clark-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/preview\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/29/artspreviewfall2013inset.png\" alt=\"Get all our critics' fall picks\">\u003c/a>\u003c/div>\n\u003ch5>This is the Sound of Someone Losing the Plot\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 7 – Oct. 26\u003cbr>\nCatharine Clark Gallery (248 Utah St., SF)\u003cbr>\nCatharine Clark is just one of five galleries reopening in the Potrero Hill neighborhood this fall, joining a small community of arts institutions in the area and launching a brand new art walk on September 7, 4-7pm. Picking up on the back-to-school theme, gallery artist Anthony Discenza curates a group show of nine artists with ties to nearby California College of the Arts, bringing alumni and faculty together to present “works that play with non-agreements of subject and object, incomplete utterances and thwarted expectations.” The match-up of familiar Bay Area names with fresh talents inaugurates the new space with refreshing relevance.\u003cbr>\nFor \u003ca href=\"http://cclarkgallery.com/exhibitions/this-is-the-sound\">more information\u003c/a>, visit cclarkgallery.com.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/seca-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>SECA Art Award\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 14 – Nov. 17\u003cbr>\nVarious Bay Area locations\u003cbr>\nInstead of a white-walls gallery show, this year’s \u003ci>SECA Art Award\u003c/i> presents work in “unexpected places.” The four 2012 SECA Art Award winners, Zarouhie Abdalian, Josh Faught, Jonn Herschend, and David Wilson will present work in locations ranging from downtown Oakland to San Francisco’s Neptune Society Columbarium to \u003ca href=\"http://www.sfmoma.org\">sfmoma.org\u003c/a> to the neighborhood surrounding the now-empty Third Street building. This is the first site-specific SECA Art Award show, and possibly the most interesting as a result. Not only will it get visitors to explore unfamiliar parts of the Bay Area, it marks the institution’s recognition of site-specificity as a crucial element of contemporary artmaking. Here’s hoping it sets a positive tone for future museum-funded Bay Area-wide projects.\u003cbr>\nFor \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/570\">more information\u003c/a>, visit sfmoma.org.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/illuminated-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>The Illuminated Library\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 21 – Oct. 17\u003cbr>\nSF State University (1600 Holloway Ave., SF)\u003cbr>\nConsider this exhibition the back-to-school reading list you always wished for but never had. Highlighting the longstanding relationship between artists and books, this exhibition includes illuminated musical scores, children’s books by local painters Clare Rojas and Jason Jägel, Nina Katchadourian’s book spine photo-poems, sculptures made from books, pop-ups, and more. Wonderfully diverse in terms of materials, artist representation, and time period (covering the 1400s to the present day), \u003ci>The Illuminated Library\u003c/i> is sure to be a joyous exploration of art in and inspired by all things bookish.\u003cbr>\nFor \u003ca href=\"http://gallery.sfsu.edu/exhibitions/2013/736\">more information\u003c/a>, visit gallery.sfsu.edu.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/soex-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>39 Forever Birthday Block Party & Opening Reception for \u003ci>The Long Conversation\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 21\u003cbr>\nSouthern Exposure (3030 20th St., SF)\u003cbr>\nTo celebrate 39 years of fantastic programming and support of Bay Area artists, students, and ambitious Alternative Exposure schemes, Southern Exposure (full disclosure: I work there) is throwing one heck of a party on September 21. Coinciding with the fall exhibition, a cross-generational group show of events, performances, installations, videos and sculptures, the 39th Birthday Block Party promises food trucks, live action painting, and the opportunity to have artist Pawel Kruk sing you an intimate serenade.\u003cbr>\nFor \u003ca href=\"http://soex.org/Event/447.html\">more information\u003c/a>, visit soex.org.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/walking-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Walking Symposium: The Field Trip — The Abstraction of Politics and The Politics of Abstraction\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 22\u003cbr>\nAngel Island State Park\u003cbr>\nCreated by the Center for Tactical Magic and led by co-founder Aaron Gach, this day-long event includes a round trip ferry ride, lunch, and site-specific discussions with or presentations by everyone from SFMOMA curator Dominic Willsdon to a former military remote viewer. All for just $30. The day promises to be strange, fascinating, intellectually stimulating, and a good hike all rolled into one.\u003cbr>\nFor \u003ca href=\"http://www.sfmoma.org/exhib_events/events/2352\">more information\u003c/a>, visit sfmoma.org.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- title -->\n\u003ch5>Citydance: An Evening of Outdoor Screenings\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 28\u003cbr>\n(Locations TBA)\u003cbr>\nInspired by Anna Halprin’s experimental choreography and 1977 piece \u003ci>Citydance\u003c/i>, Kadist organizes an evening of outdoor screenings of nine video pieces on public buildings in San Francisco. International artists will project images of their own cities onto the walls of ours, linking San Francisco to a network of global urban spaces, contemporary art making, and politically-minded community. Further echoing the original performance, a poet will read at each of the nine venues. While details are still hazy, \u003ci>Citydance\u003c/i> sounds like a remarkable way to view San Francisco anew — with the lights of other places dancing over it.\u003cbr>\nFor \u003ca href=\"http://kadist.org\">more information\u003c/a>, visit kadist.org.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/utopia-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Work in Progress: Considering Utopia\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 3 – Jan. 20\u003cbr>\nSF Contemporary Jewish Museum (736 Mission St., SF)\u003cbr>\nThe CJM presents new work by Oded Hirsch, Ohad Meromi, and Elisheva Biernoff exploring the concept of utopia in both a Jewish context and “from a contemporary perspective that emphasizes community and participation.” Hirsch documents his own kibbutz in videos and photographs. Meromi constructs colorful abstract sculptures in reference to an architectural space. And Biernoff provides visitors with an interactive magnet painting. Construct your own utopia!\u003cbr>\nFor \u003ca href=\"http://www.thecjm.org/on-view/upcoming/work-in-progress-considering-utopia\">more information\u003c/a>, visit cjm.org.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/highlightgallery-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Facundo Argañaraz: \u003ci>Tonight Tonight\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 10 – Nov. 20\u003cbr>\nHighlight Gallery (17 Kearny St., SF)\u003cbr>\nReferencing Jorge Luis Borges referencing \u003ci>The Thousand and One Nights\u003c/i>, emerging artist Facundo Argañaraz mounts his first solo exhibition at Highlight Gallery with new paintings, photographs, and sculptures. Adding to the layers of appropriation already customary to his work, the pieces in \u003ci>Tonight Tonight\u003c/i> will contain images of each other, between layers of screenprint and spraypaint, in a loop of self-referentiality that will satisfy even those unfamiliar with his previous work.\u003cbr>\nFor \u003ca href=\"http://highlightgallery.com/exhibition/solo-exhibition/\">more information\u003c/a>, visit highlightgallery.com.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/twisted-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Twisted Sisters: Reimaging Urban Portraiture\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 16 – Jan. 17\u003cbr>\nSF City Hall (1 Dr. Carlton B Goodlett Pl, SF)\u003cbr>\nIn collaboration with the city of Zurich, the SFAC mounts this exhibition of commissioned new photographic work from San Francisco artists Tammy Rae Carland, Pablo Guardiola, John Chiara, Sanaz Mazinani, and Lindsey White alongside Zurich artists Bianca Brunner, Cat Tuong Nguyen, Georg Gatsas, Dominic Hodel, and Marianne Müller. Based on images from the show’s first realization in Zurich, the exhibition promises to conceptually challenge the notion of “portraiture” and bring new international work into our city’s contemporary art scene. I’m especially looking forward to seeing large-scale art images on downtown kiosks.\u003cbr>\nFor \u003ca href=\"http://www.sfartscommission.org/gallery/2013/2013-sister-city-exchange-san-francisco-zurich/\">more information\u003c/a>, visit sfartscommission.org/gallery.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/cmw-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Carrie Mae Weems: Three Decades of Photography and Video\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 16 – Jan. 5\u003cbr>\nCantor Arts Center (328 Lomita Dr, Stanford, CA)\u003cbr>\nThis large-scale traveling exhibition — the artist’s first major museum retrospective — gathers three decades of photography and video work centered on Weems’ impressive documentation of what she considers “the human multitude,” focusing on race, gender, and class across time and geography. If Palo Alto seems a bit far for art viewing, the exhibition’s next stop is New York’s Guggenheim, so be sure to visit while it’s at least a drive away.\u003cbr>\nFor \u003ca href=\"http://museum.stanford.edu/news_room/weems.html\">more information\u003c/a>, visit museum.stanford.edu.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/farocki-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Anoka Faruqee: \u003ci>Substance and Accident\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 19 – Dec. 7\u003cbr>\nHosfelt Gallery (260 Utah St., SF)\u003cbr>\nFaruqee paints mesmerizing abstract meditations on line and color, layering curving stripes to create handmade moire patterns. Balancing striking graphic qualities with material imperfections, the paintings vibrate with simultaneous contrast and grating colors. If you haven’t been to Hosfelt’s relatively new space in Potrero Hill, make the journey for this show, which is sure to bound off the luminous white walls.\u003cbr>\nFor \u003ca href=\"http://hosfeltgallery.com/index.php?p=exhibitions&id=284\">more information\u003c/a>, visit hosfeltgallery.com.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/baymotion-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Bay Motion: Capturing San Francisco Bay on Film & A Cinematic Study of Fog in San Francisco\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Nov. 9 – Jun. 29\u003cbr>\nOakland Museum of California (1000 Oak St., Oakland, CA)\u003cbr>\nTwo film programs at the Oakland Museum capture the essence of the Bay Area, past and present. Film and video from the Prelinger Archives explores how the area appeared on film. With clips from Hollywood camera people, travelers, industrial studios and home moviemakers, the exhibition democratizes the documentation process, in classic Prelinger style. Filmmaker Sam Green and cinematographer Andy Black narrow their focus to our constant elemental companion: fog. Contemplating the many feelings fog evokes, this film captures its endlessly varied shapes and textures. Make it a double feature!\u003cbr>\nFor \u003ca href=\"http://www.museumca.org/exhibit/bay-motion-capturing-san-francisco-bay-film\">more information\u003c/a>, visit museumca.org.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Treat yourself to a new pair of shoes and check out these 12 exhibitions and events that feature everything from a hike to a study of fog to a couple of mid-career surveys alongside thrilling solo shows by emerging artists.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember when fall meant a fresh wardrobe, new pens, and an empty Trapper-Keeper? It was showcase time, when all the pent-up energy of summer school (or all the pent-up stories of summer camp) manifested themselves as a reset button — new teachers, new school, new social order — accompanied by a newly awkward class photo.\u003c/p>\n\u003cp>That same nervous excitement accompanies the fall season of exhibition programming. September marks the end of summer lulls, August vacations, and slapdash group shows. This fall, in particular, has been worth the wait: SFMOMA is on the go, alternative spaces are asserting their long-term influence, and solo shows to watch include ground-breaking mid-career surveys alongside thrilling solo shows from emerging artists. The magnitude of programming in the months to come can be daunting. And so: the list. Due to the constraints of this forum and in the interests of concision, I’ve selected just 12 items out of a jam-packed schedule. Treat yourself to a new pair of shoes in honor of the good old days and start making your way out into a Bay Area full of exciting art.\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/clark-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/preview\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/29/artspreviewfall2013inset.png\" alt=\"Get all our critics' fall picks\">\u003c/a>\u003c/div>\n\u003ch5>This is the Sound of Someone Losing the Plot\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 7 – Oct. 26\u003cbr>\nCatharine Clark Gallery (248 Utah St., SF)\u003cbr>\nCatharine Clark is just one of five galleries reopening in the Potrero Hill neighborhood this fall, joining a small community of arts institutions in the area and launching a brand new art walk on September 7, 4-7pm. Picking up on the back-to-school theme, gallery artist Anthony Discenza curates a group show of nine artists with ties to nearby California College of the Arts, bringing alumni and faculty together to present “works that play with non-agreements of subject and object, incomplete utterances and thwarted expectations.” The match-up of familiar Bay Area names with fresh talents inaugurates the new space with refreshing relevance.\u003cbr>\nFor \u003ca href=\"http://cclarkgallery.com/exhibitions/this-is-the-sound\">more information\u003c/a>, visit cclarkgallery.com.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/seca-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>SECA Art Award\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 14 – Nov. 17\u003cbr>\nVarious Bay Area locations\u003cbr>\nInstead of a white-walls gallery show, this year’s \u003ci>SECA Art Award\u003c/i> presents work in “unexpected places.” The four 2012 SECA Art Award winners, Zarouhie Abdalian, Josh Faught, Jonn Herschend, and David Wilson will present work in locations ranging from downtown Oakland to San Francisco’s Neptune Society Columbarium to \u003ca href=\"http://www.sfmoma.org\">sfmoma.org\u003c/a> to the neighborhood surrounding the now-empty Third Street building. This is the first site-specific SECA Art Award show, and possibly the most interesting as a result. Not only will it get visitors to explore unfamiliar parts of the Bay Area, it marks the institution’s recognition of site-specificity as a crucial element of contemporary artmaking. Here’s hoping it sets a positive tone for future museum-funded Bay Area-wide projects.\u003cbr>\nFor \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/570\">more information\u003c/a>, visit sfmoma.org.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/illuminated-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>The Illuminated Library\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 21 – Oct. 17\u003cbr>\nSF State University (1600 Holloway Ave., SF)\u003cbr>\nConsider this exhibition the back-to-school reading list you always wished for but never had. Highlighting the longstanding relationship between artists and books, this exhibition includes illuminated musical scores, children’s books by local painters Clare Rojas and Jason Jägel, Nina Katchadourian’s book spine photo-poems, sculptures made from books, pop-ups, and more. Wonderfully diverse in terms of materials, artist representation, and time period (covering the 1400s to the present day), \u003ci>The Illuminated Library\u003c/i> is sure to be a joyous exploration of art in and inspired by all things bookish.\u003cbr>\nFor \u003ca href=\"http://gallery.sfsu.edu/exhibitions/2013/736\">more information\u003c/a>, visit gallery.sfsu.edu.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/soex-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>39 Forever Birthday Block Party & Opening Reception for \u003ci>The Long Conversation\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 21\u003cbr>\nSouthern Exposure (3030 20th St., SF)\u003cbr>\nTo celebrate 39 years of fantastic programming and support of Bay Area artists, students, and ambitious Alternative Exposure schemes, Southern Exposure (full disclosure: I work there) is throwing one heck of a party on September 21. Coinciding with the fall exhibition, a cross-generational group show of events, performances, installations, videos and sculptures, the 39th Birthday Block Party promises food trucks, live action painting, and the opportunity to have artist Pawel Kruk sing you an intimate serenade.\u003cbr>\nFor \u003ca href=\"http://soex.org/Event/447.html\">more information\u003c/a>, visit soex.org.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/walking-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Walking Symposium: The Field Trip — The Abstraction of Politics and The Politics of Abstraction\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 22\u003cbr>\nAngel Island State Park\u003cbr>\nCreated by the Center for Tactical Magic and led by co-founder Aaron Gach, this day-long event includes a round trip ferry ride, lunch, and site-specific discussions with or presentations by everyone from SFMOMA curator Dominic Willsdon to a former military remote viewer. All for just $30. The day promises to be strange, fascinating, intellectually stimulating, and a good hike all rolled into one.\u003cbr>\nFor \u003ca href=\"http://www.sfmoma.org/exhib_events/events/2352\">more information\u003c/a>, visit sfmoma.org.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- title -->\n\u003ch5>Citydance: An Evening of Outdoor Screenings\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Sept. 28\u003cbr>\n(Locations TBA)\u003cbr>\nInspired by Anna Halprin’s experimental choreography and 1977 piece \u003ci>Citydance\u003c/i>, Kadist organizes an evening of outdoor screenings of nine video pieces on public buildings in San Francisco. International artists will project images of their own cities onto the walls of ours, linking San Francisco to a network of global urban spaces, contemporary art making, and politically-minded community. Further echoing the original performance, a poet will read at each of the nine venues. While details are still hazy, \u003ci>Citydance\u003c/i> sounds like a remarkable way to view San Francisco anew — with the lights of other places dancing over it.\u003cbr>\nFor \u003ca href=\"http://kadist.org\">more information\u003c/a>, visit kadist.org.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/utopia-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Work in Progress: Considering Utopia\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 3 – Jan. 20\u003cbr>\nSF Contemporary Jewish Museum (736 Mission St., SF)\u003cbr>\nThe CJM presents new work by Oded Hirsch, Ohad Meromi, and Elisheva Biernoff exploring the concept of utopia in both a Jewish context and “from a contemporary perspective that emphasizes community and participation.” Hirsch documents his own kibbutz in videos and photographs. Meromi constructs colorful abstract sculptures in reference to an architectural space. And Biernoff provides visitors with an interactive magnet painting. Construct your own utopia!\u003cbr>\nFor \u003ca href=\"http://www.thecjm.org/on-view/upcoming/work-in-progress-considering-utopia\">more information\u003c/a>, visit cjm.org.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/highlightgallery-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Facundo Argañaraz: \u003ci>Tonight Tonight\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 10 – Nov. 20\u003cbr>\nHighlight Gallery (17 Kearny St., SF)\u003cbr>\nReferencing Jorge Luis Borges referencing \u003ci>The Thousand and One Nights\u003c/i>, emerging artist Facundo Argañaraz mounts his first solo exhibition at Highlight Gallery with new paintings, photographs, and sculptures. Adding to the layers of appropriation already customary to his work, the pieces in \u003ci>Tonight Tonight\u003c/i> will contain images of each other, between layers of screenprint and spraypaint, in a loop of self-referentiality that will satisfy even those unfamiliar with his previous work.\u003cbr>\nFor \u003ca href=\"http://highlightgallery.com/exhibition/solo-exhibition/\">more information\u003c/a>, visit highlightgallery.com.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/twisted-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Twisted Sisters: Reimaging Urban Portraiture\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 16 – Jan. 17\u003cbr>\nSF City Hall (1 Dr. Carlton B Goodlett Pl, SF)\u003cbr>\nIn collaboration with the city of Zurich, the SFAC mounts this exhibition of commissioned new photographic work from San Francisco artists Tammy Rae Carland, Pablo Guardiola, John Chiara, Sanaz Mazinani, and Lindsey White alongside Zurich artists Bianca Brunner, Cat Tuong Nguyen, Georg Gatsas, Dominic Hodel, and Marianne Müller. Based on images from the show’s first realization in Zurich, the exhibition promises to conceptually challenge the notion of “portraiture” and bring new international work into our city’s contemporary art scene. I’m especially looking forward to seeing large-scale art images on downtown kiosks.\u003cbr>\nFor \u003ca href=\"http://www.sfartscommission.org/gallery/2013/2013-sister-city-exchange-san-francisco-zurich/\">more information\u003c/a>, visit sfartscommission.org/gallery.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/cmw-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Carrie Mae Weems: Three Decades of Photography and Video\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 16 – Jan. 5\u003cbr>\nCantor Arts Center (328 Lomita Dr, Stanford, CA)\u003cbr>\nThis large-scale traveling exhibition — the artist’s first major museum retrospective — gathers three decades of photography and video work centered on Weems’ impressive documentation of what she considers “the human multitude,” focusing on race, gender, and class across time and geography. If Palo Alto seems a bit far for art viewing, the exhibition’s next stop is New York’s Guggenheim, so be sure to visit while it’s at least a drive away.\u003cbr>\nFor \u003ca href=\"http://museum.stanford.edu/news_room/weems.html\">more information\u003c/a>, visit museum.stanford.edu.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/farocki-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Anoka Faruqee: \u003ci>Substance and Accident\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Oct. 19 – Dec. 7\u003cbr>\nHosfelt Gallery (260 Utah St., SF)\u003cbr>\nFaruqee paints mesmerizing abstract meditations on line and color, layering curving stripes to create handmade moire patterns. Balancing striking graphic qualities with material imperfections, the paintings vibrate with simultaneous contrast and grating colors. If you haven’t been to Hosfelt’s relatively new space in Potrero Hill, make the journey for this show, which is sure to bound off the luminous white walls.\u003cbr>\nFor \u003ca href=\"http://hosfeltgallery.com/index.php?p=exhibitions&id=284\">more information\u003c/a>, visit hosfeltgallery.com.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg loading=\"lazy\" decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/baymotion-400.jpg\" alt=\"\" width=\"98\" height=\"98\">\u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>Bay Motion: Capturing San Francisco Bay on Film & A Cinematic Study of Fog in San Francisco\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Nov. 9 – Jun. 29\u003cbr>\nOakland Museum of California (1000 Oak St., Oakland, CA)\u003cbr>\nTwo film programs at the Oakland Museum capture the essence of the Bay Area, past and present. Film and video from the Prelinger Archives explores how the area appeared on film. With clips from Hollywood camera people, travelers, industrial studios and home moviemakers, the exhibition democratizes the documentation process, in classic Prelinger style. Filmmaker Sam Green and cinematographer Andy Black narrow their focus to our constant elemental companion: fog. Contemplating the many feelings fog evokes, this film captures its endlessly varied shapes and textures. Make it a double feature!\u003cbr>\nFor \u003ca href=\"http://www.museumca.org/exhibit/bay-motion-capturing-san-francisco-bay-film\">more information\u003c/a>, visit museumca.org.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>SFMOMA’s doors may have closed but nothing about the museum is departed. In fact, it’s quite the opposite.\u003c/p>\n\u003cp>The $610 million renovation and expansion plan will double the museum’s current size, in part, to accommodate the new acquisition of Doris and Donald Fisher’s private collection of more than 1,100 works. SFMOMA won’t reopen again until 2016, which begs the question, where will all that art go?\u003c/p>\n\u003cp>Instead of hiding their extensive collection in storage, around 29,000 works of art, SFMOMA is partnering with a plethora of outside cultural institutions and cities, along with a substantially beefed up digital component, to launch an aggressive campaign to keep SFMOMA alive for its loyalists. In all certainty, by closing its doors, SFMOMA is more open and accessible than ever. Here are five things to look forward to:\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/21/onthego3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Robert Rauschenberg at work in his Lafayette Street studio, New York, 1968; Courtesy the Roy Lichtenstein Foundation; photo: Shunk-Kender c. Roy Lichtenstein Foundation\u003cbr>\u003c/center>\n\u003cp>1. SFMOMA’s gone digital. \u003ca href=\"http://www.sfmoma.org/projects/artscope/index.html\">SFMOMA Art Scope\u003c/a> is an expansive, albeit slightly overwhelming, new digital browsing tool that lets you access 6,793 pieces in SFMOMA’s collection. If you’re inclined you can peruse works from the likes of artists such as Robert Rauschenberg, all 87 works in SFMOMA’s collection to be exact, along with the \u003ca href=\"http://www.sfmoma.org/explore/collection/project/rauschenberg_research_project\">\u003ci>Rauschenberg Research Project\u003c/i>\u003c/a>, which offers extensive research, written essays, interviews, and other multimedia commentary about the artist and each work of art. Don’t click past this consuming online sinkhole of art.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/21/onthego1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Teresita Fernández, \u003ci>Fire\u003c/i>, 2005; Collection SFMOMA, Accessions Committee Fund purchase; c. Teresita Fernández\u003cbr>\u003c/center>\n\u003cp>2. SFMOMA’s collection is also dropping in on numerous Bay Area cultural institutions, including the Cantor Arts Center at Stanford University, the Legion of Honor and even outside against the foggy backdrop of the bay at Chrissie Field. SFMOMA purists will want to cross these thresholds to get their modern art fix. \u003ca href=\"http://beyondbelief.thecjm.org/\">\u003cb>Beyond Belief: 100 years of the Spiritual in Modern Art\u003c/b>\u003c/a> at the Contemporary Jewish Museum is a must see, on view through October 27.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/21/onthego4.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Jeremy Blake, \u003ci>Century 21\u003c/i> (video still), from the \u003ci>Winchester\u003c/i> trilogy, 2002–4; Collection SFMOMA, Accessions Committee Fund: gift of Carla Emil and Rich Silverstein, Mimi and Peter Haas, Helen and Charles Schwab, and Robin Wright; c. Estate of Jeremy Blake\u003cbr>\u003c/center>\n\u003cp>3. When SFMOMA claims they’ve “temporarily moved… everywhere,” they mean it. Not just taking up residence in other institutions in San Francisco, SFMOMA is even collaborating with other cities — uh, Los Altos anyone? SFMOMA will host \u003cb>Project Los Altos\u003c/b> where national and international contemporary artists, the caliber of Jessica Stockolder, Christian Janowski, Chris Johanson (to name a few), will create commissioned works that respond directly to the unique history of that city. Coupled with works from SFMOMA’s collection, these projects will be exhibited in the downtown area, both indoors and out. \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/572\">\u003cb>Project Los Altos\u003c/b>\u003c/a> runs November 9, 2013 through March 2, 2014.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/21/onthego2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Josh Faught, \u003ci>BE BOLD For What You Stand For, BE CAREFUL For What You Fall For\u003c/i> (detail), 2013; commissioned by SFMOMA, courtesy the artist and Lisa Cooley, New York; c. Josh Faught; photo: Ben Blackwell\u003cbr>\u003c/center>\n\u003cp>4. SECA like you’ve never seen it before! The \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/570\">Society for the Encouragement of Contemporary Art Award\u003c/a> is SFMOMA’s prestigious biennial award honoring Bay Area artists. This year’s four artists Zarouhie Abdalian, Josh Faught, Jonn Herschend, and David Wilson created “site-responsive projects” that will literally ring from the rooftops of downtown Oakland, inhabit the Neptune Society Columbarium, SFMOMA’s website, and various other sites in San Francisco. These amazing projects will be on display September 14 through November 17, 2013 in multiple locations.\u003c/p>\n\u003cp>5. Is it art? In conjunction with the meandering collection and the artists who make it, \u003ca href=\"http://www.sfmoma.org/exhib_events/festivals/578\">\u003cb>Live Projects\u003c/b>\u003c/a> is SFMOMA’s education and public programs, a bimonthly series of talks, interviews, film screenings, poetry readings, workshops and more. Hosted at venues like the historic Castro Theater, Angel Island, SFJAZZ Center and Chrissie Field, you might not even know it’s art until it hits you.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.sfmoma.org/\">more information on all programming and exhibitions\u003c/a> during renovations please visit sfmoma.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>SFMOMA’s doors may have closed but nothing about the museum is departed. In fact, it’s quite the opposite.\u003c/p>\n\u003cp>The $610 million renovation and expansion plan will double the museum’s current size, in part, to accommodate the new acquisition of Doris and Donald Fisher’s private collection of more than 1,100 works. SFMOMA won’t reopen again until 2016, which begs the question, where will all that art go?\u003c/p>\n\u003cp>Instead of hiding their extensive collection in storage, around 29,000 works of art, SFMOMA is partnering with a plethora of outside cultural institutions and cities, along with a substantially beefed up digital component, to launch an aggressive campaign to keep SFMOMA alive for its loyalists. In all certainty, by closing its doors, SFMOMA is more open and accessible than ever. Here are five things to look forward to:\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/21/onthego3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Robert Rauschenberg at work in his Lafayette Street studio, New York, 1968; Courtesy the Roy Lichtenstein Foundation; photo: Shunk-Kender c. Roy Lichtenstein Foundation\u003cbr>\u003c/center>\n\u003cp>1. SFMOMA’s gone digital. \u003ca href=\"http://www.sfmoma.org/projects/artscope/index.html\">SFMOMA Art Scope\u003c/a> is an expansive, albeit slightly overwhelming, new digital browsing tool that lets you access 6,793 pieces in SFMOMA’s collection. If you’re inclined you can peruse works from the likes of artists such as Robert Rauschenberg, all 87 works in SFMOMA’s collection to be exact, along with the \u003ca href=\"http://www.sfmoma.org/explore/collection/project/rauschenberg_research_project\">\u003ci>Rauschenberg Research Project\u003c/i>\u003c/a>, which offers extensive research, written essays, interviews, and other multimedia commentary about the artist and each work of art. Don’t click past this consuming online sinkhole of art.\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/2013/08/21/onthego1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Teresita Fernández, \u003ci>Fire\u003c/i>, 2005; Collection SFMOMA, Accessions Committee Fund purchase; c. Teresita Fernández\u003cbr>\u003c/center>\n\u003cp>2. SFMOMA’s collection is also dropping in on numerous Bay Area cultural institutions, including the Cantor Arts Center at Stanford University, the Legion of Honor and even outside against the foggy backdrop of the bay at Chrissie Field. SFMOMA purists will want to cross these thresholds to get their modern art fix. \u003ca href=\"http://beyondbelief.thecjm.org/\">\u003cb>Beyond Belief: 100 years of the Spiritual in Modern Art\u003c/b>\u003c/a> at the Contemporary Jewish Museum is a must see, on view through October 27.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/21/onthego4.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Jeremy Blake, \u003ci>Century 21\u003c/i> (video still), from the \u003ci>Winchester\u003c/i> trilogy, 2002–4; Collection SFMOMA, Accessions Committee Fund: gift of Carla Emil and Rich Silverstein, Mimi and Peter Haas, Helen and Charles Schwab, and Robin Wright; c. Estate of Jeremy Blake\u003cbr>\u003c/center>\n\u003cp>3. When SFMOMA claims they’ve “temporarily moved… everywhere,” they mean it. Not just taking up residence in other institutions in San Francisco, SFMOMA is even collaborating with other cities — uh, Los Altos anyone? SFMOMA will host \u003cb>Project Los Altos\u003c/b> where national and international contemporary artists, the caliber of Jessica Stockolder, Christian Janowski, Chris Johanson (to name a few), will create commissioned works that respond directly to the unique history of that city. Coupled with works from SFMOMA’s collection, these projects will be exhibited in the downtown area, both indoors and out. \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/572\">\u003cb>Project Los Altos\u003c/b>\u003c/a> runs November 9, 2013 through March 2, 2014.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/21/onthego2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Josh Faught, \u003ci>BE BOLD For What You Stand For, BE CAREFUL For What You Fall For\u003c/i> (detail), 2013; commissioned by SFMOMA, courtesy the artist and Lisa Cooley, New York; c. Josh Faught; photo: Ben Blackwell\u003cbr>\u003c/center>\n\u003cp>4. SECA like you’ve never seen it before! The \u003ca href=\"http://www.sfmoma.org/exhib_events/exhibitions/570\">Society for the Encouragement of Contemporary Art Award\u003c/a> is SFMOMA’s prestigious biennial award honoring Bay Area artists. This year’s four artists Zarouhie Abdalian, Josh Faught, Jonn Herschend, and David Wilson created “site-responsive projects” that will literally ring from the rooftops of downtown Oakland, inhabit the Neptune Society Columbarium, SFMOMA’s website, and various other sites in San Francisco. These amazing projects will be on display September 14 through November 17, 2013 in multiple locations.\u003c/p>\n\u003cp>5. Is it art? In conjunction with the meandering collection and the artists who make it, \u003ca href=\"http://www.sfmoma.org/exhib_events/festivals/578\">\u003cb>Live Projects\u003c/b>\u003c/a> is SFMOMA’s education and public programs, a bimonthly series of talks, interviews, film screenings, poetry readings, workshops and more. Hosted at venues like the historic Castro Theater, Angel Island, SFJAZZ Center and Chrissie Field, you might not even know it’s art until it hits you.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.sfmoma.org/\">more information on all programming and exhibitions\u003c/a> during renovations please visit sfmoma.org.\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: \u003ca href=\"http://bit.ly/132VchD\">http://bit.ly/132VchD\u003c/a>. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’m a new arts administrator and I live in [a mid-sized city]. Through four years of art school here and my job I know many artists who live in [this city]. I started writing art reviews last year and all of a sudden I’m feeling pressure to write about my friends’ work. It’s not like they are asking me directly, but hints have been dropped. I have no problem reviewing work that I think is good, but the problem is that there are some people that I like very much but I don’t think their work is that great. How do I get out of reviewing the work that I don’t like, without losing my friends? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is a sticky situation indeed. You want to write about the artwork that you enjoy, but you also want to support the people you love; unfortunately, sometimes there’s not much overlap between these two groups in the big Venn Diagram of Life. Let’s review some of the ways you can negotiate this minefield without blowing up your friendships.\u003c/p>\n\u003cp>First, there’s the “it’s out of my hands” tactic, which is my personal favorite because someone else gets to play Bad Cop. If you’re publishing reviews, you ought to see if there’s an editorial policy already in place at the blog/newspaper/magazine(s) with whom you are working. The policy will spell out what you’re allowed to write about and what you’re not, and if you haven’t been presented with one yet, it can’t hurt to ask. Many editorial policies state that a writer cannot review the work of an artist with whom she has a personal relationship. Admittedly, this kind of thing is a double-edged sword: it removes all responsibility for not being able to review friends’ bad exhibitions, but it also eliminates the possibility of reviewing friends’ work that is good. The important thing is that your hands are tied; in either case, all you have to do is shrug and say, “It’s too bad I can’t write about this show.” End of story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/19/KenPrice2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Ken Price, \u003ci>Desert Architecture\u003c/i>, 2005.\u003cbr>\u003c/center>\n\u003cp>On a related note, you may also have some easy outs due to your job as an arts administrator. For example, if you work for a granting institution, you might not be able to review shows that were made by artists receiving funding from your institution. Once again, check with the higher-ups at your place of employment to see if they have any guidelines (tacit or explicit) that they expect you to follow. Obviously, if you work in a gallery or museum you can’t review an exhibition there; again these affiliations take the decision-making power out of your hands. \u003c/p>\n\u003cp>Depending on how strict the conflict-of-interest policy is, you may not be able to write about work that you do like, so let’s talk about other ways that you can support your artist friends. Probably the most essential way to encourage and sustain your friends is to show up. It’s often difficult to accomplish because by Thursday night we’re all tired and busy and coming down with a head cold. Yet the most supportive thing to do is simply be present for openings, performances, screenings, gallery talks, etc. In an age where most artwork is available online, showing up is becoming a profound act. So be present, shake hands, and say congratulations when you can. \u003c/p>\n\u003cp>You can also help spread the word on opportunities like exhibitions, grants, and residencies. As an arts administrator, you probably see calls for entry and applications all the time, and you can post these to your Facebook page or tweet them, or even, if the opportunity seems tailor-made for someone in particular, send an email letting the artist know that you thought of her when you saw it. Again, this is a simple act, but it says, “I see you. I see your work. I want you to do well.” We all need to feel like someone is looking out for us from time to time. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/19/KenPrice3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Ken Price, \u003ci>Exalted Sanctuary\u003c/i>, 2004.\u003cbr>\u003c/center>\n\u003cp>Bear in mind, too, that just because you don’t like a friend’s work doesn’t mean that it’s without merit. It’s possible that you can use your writing skills to support your friends in other ways, such as writing a short profile of the artist (very different from passing judgment in a review), or interviewing her about her process. You can also connect like-minded artists to help them expand their support networks, or possibly organize workshops through your employer that help artists with career skills. Writing a review may be the most prestigious way to validate an artist’s work, but other strategies may be more long-lasting and have more impact on the day-to-day exigencies of an art practice, so don’t discount your ability to help your friends — all of them — using vehicles other than the coveted review. \u003c/p>\n\u003cp>And what if there are no guidelines at any of the places where you work or publish your writing, and you can’t foist the decision to write or not to write onto anyone else? Well, perhaps it would be best to set a policy of not reviewing the work of any friends at all. But this can be a very burdensome restriction in a smaller town where everyone knows everyone, so if you can’t or won’t heed this counsel, at minimum you should draw the line at sex and money. Never review the exhibition of someone you are currently sleeping with or have slept with in the past — there are so many ways this could come back to haunt you. Likewise, if you own the artist’s work or have a financial relationship with the gallery, don’t write about the show; this is a classic case of conflict and even if your intentions are good, it will make you look bad. Whatever else you do, don’t put your own credibility on the line. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Saying this, I admit that some people will never be happy with your decision and at some point “friends” may drift out of your life when they don’t get what they want from you. Let them. I may sound like your mom, but the old chestnut about those people not being your real friends anyway certainly holds true here. You need never defend yourself or apologize for not reviewing a show, no matter what your relationships are to the artist or the gallery. If you’re working with integrity and helping artists in ways that show you appreciate their endeavors, then your real friends will have nothing but respect for you. Good luck! \u003c/p>\n\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: \u003ca href=\"http://bit.ly/132VchD\">http://bit.ly/132VchD\u003c/a>. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I’m a new arts administrator and I live in [a mid-sized city]. Through four years of art school here and my job I know many artists who live in [this city]. I started writing art reviews last year and all of a sudden I’m feeling pressure to write about my friends’ work. It’s not like they are asking me directly, but hints have been dropped. I have no problem reviewing work that I think is good, but the problem is that there are some people that I like very much but I don’t think their work is that great. How do I get out of reviewing the work that I don’t like, without losing my friends? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is a sticky situation indeed. You want to write about the artwork that you enjoy, but you also want to support the people you love; unfortunately, sometimes there’s not much overlap between these two groups in the big Venn Diagram of Life. Let’s review some of the ways you can negotiate this minefield without blowing up your friendships.\u003c/p>\n\u003cp>First, there’s the “it’s out of my hands” tactic, which is my personal favorite because someone else gets to play Bad Cop. If you’re publishing reviews, you ought to see if there’s an editorial policy already in place at the blog/newspaper/magazine(s) with whom you are working. The policy will spell out what you’re allowed to write about and what you’re not, and if you haven’t been presented with one yet, it can’t hurt to ask. Many editorial policies state that a writer cannot review the work of an artist with whom she has a personal relationship. Admittedly, this kind of thing is a double-edged sword: it removes all responsibility for not being able to review friends’ bad exhibitions, but it also eliminates the possibility of reviewing friends’ work that is good. The important thing is that your hands are tied; in either case, all you have to do is shrug and say, “It’s too bad I can’t write about this show.” End of story.\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/2013/08/19/KenPrice2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Ken Price, \u003ci>Desert Architecture\u003c/i>, 2005.\u003cbr>\u003c/center>\n\u003cp>On a related note, you may also have some easy outs due to your job as an arts administrator. For example, if you work for a granting institution, you might not be able to review shows that were made by artists receiving funding from your institution. Once again, check with the higher-ups at your place of employment to see if they have any guidelines (tacit or explicit) that they expect you to follow. Obviously, if you work in a gallery or museum you can’t review an exhibition there; again these affiliations take the decision-making power out of your hands. \u003c/p>\n\u003cp>Depending on how strict the conflict-of-interest policy is, you may not be able to write about work that you do like, so let’s talk about other ways that you can support your artist friends. Probably the most essential way to encourage and sustain your friends is to show up. It’s often difficult to accomplish because by Thursday night we’re all tired and busy and coming down with a head cold. Yet the most supportive thing to do is simply be present for openings, performances, screenings, gallery talks, etc. In an age where most artwork is available online, showing up is becoming a profound act. So be present, shake hands, and say congratulations when you can. \u003c/p>\n\u003cp>You can also help spread the word on opportunities like exhibitions, grants, and residencies. As an arts administrator, you probably see calls for entry and applications all the time, and you can post these to your Facebook page or tweet them, or even, if the opportunity seems tailor-made for someone in particular, send an email letting the artist know that you thought of her when you saw it. Again, this is a simple act, but it says, “I see you. I see your work. I want you to do well.” We all need to feel like someone is looking out for us from time to time. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/19/KenPrice3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Ken Price, \u003ci>Exalted Sanctuary\u003c/i>, 2004.\u003cbr>\u003c/center>\n\u003cp>Bear in mind, too, that just because you don’t like a friend’s work doesn’t mean that it’s without merit. It’s possible that you can use your writing skills to support your friends in other ways, such as writing a short profile of the artist (very different from passing judgment in a review), or interviewing her about her process. You can also connect like-minded artists to help them expand their support networks, or possibly organize workshops through your employer that help artists with career skills. Writing a review may be the most prestigious way to validate an artist’s work, but other strategies may be more long-lasting and have more impact on the day-to-day exigencies of an art practice, so don’t discount your ability to help your friends — all of them — using vehicles other than the coveted review. \u003c/p>\n\u003cp>And what if there are no guidelines at any of the places where you work or publish your writing, and you can’t foist the decision to write or not to write onto anyone else? Well, perhaps it would be best to set a policy of not reviewing the work of any friends at all. But this can be a very burdensome restriction in a smaller town where everyone knows everyone, so if you can’t or won’t heed this counsel, at minimum you should draw the line at sex and money. Never review the exhibition of someone you are currently sleeping with or have slept with in the past — there are so many ways this could come back to haunt you. Likewise, if you own the artist’s work or have a financial relationship with the gallery, don’t write about the show; this is a classic case of conflict and even if your intentions are good, it will make you look bad. Whatever else you do, don’t put your own credibility on the line. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Cyrus Cylinder, reputedly the oldest known declaration of human rights, went on view at the Asian Art Museum last Friday, August 9, 2013. It is a cylinder made of clay, tapered at both ends, and inscribed with Babylonian cuneiform script, one of the world’s oldest known systems of writing.\u003c/p>\n\u003cp>British archaeologists discovered the cylinder in 1879 as they excavated a wall of the ancient city of Babylon. They were looking for, among other things, evidence of the stories told in the Bible and by Greek historians. What they found was basically a political broadside from Persian King Cyrus the Great justifying his conquest of Babylon in 539 BCE.\u003c/p>\n\u003cp>“According to the cylinder and the Bible,” says Qamar Adamjee, Associate Curator for South Asian Studies at the Asian Art Museum in San Francisco, “Babylon was conquered by Cyrus without any fight.” True or not, the cylinder claims the Babylonians had neglected their chief god, Marduk. “And then,” Adamjee says, “it goes on to talk about how Marduk invites Cyrus to come to Babylon and to bring back the appropriate divine cults.”\u003c/p>\n\u003cp>Adamjee says the key phrase that has given the cylinder its status as a symbol of human rights is where Cyrus states what he intends for the peoples the Babylonians had conquered and taken into exile in Babylon. “He allows them to return to their homelands, taking with them objects of their worship that had been confiscated.” Among these groups were the Israelites, who recorded the fall of Babylon in the book of Daniel; and their return to Jerusalem, and the rebuilding of the Temple under Cyrus’ rule in \u003ci>Chronicles\u003c/i> and the book of Ezra. Not, Adamjee notes, that the cylinder’s text mentions the Israelites, or any other displaced people by name.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cylinder2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>The Cyrus Cylinder, 539-538 BCE. Iraq, Achaemenid period (550-330 BCE). c. Trustees of the British Museum.\u003cbr>\u003c/center>\n\u003cp>In the late 1960s, the Shah of Iran dubbed the Cyrus Cylinder “the world’s first charter of human rights,” ironic since the Shah was also famous for his use of secret police and torture to control his country. Still the cylinder’s U.S. tour (it arrives in San Francisco from the Metropolitan Museum in New York City) has inspired the interest of many Iranian Americans. Bita Daryabari is co-sponsoring the cylinder exhibit at the Asian. Daryabari founded the PARS Equality Center, based in Menlo Park and San Jose. PARS provides social and legal services to the Iranian American Community around the world and Darayabi held the cylinder in her hands during a visit to the British Museum in 2006.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There is a good reason for the Cyrus Cylinder being seen around the US,” says Darybari, “to bring hope and freedom and compassion to the people again. That meant so much 3,000 years ago. And that’s something we don’t see in other countries around the world, and I think most of the leaders around the world should revisit that message.”\u003c/p>\n\u003cp>But here’s a historical reality check: Museum curator Adamjee says when people call the cylinder a declaration of human rights, they may be reading what they want to see into an artifact with a more prosaic purpose. The cylinder was a foundation deposit, like a time capsule in a cornerstone in a prominent modern building. Adamjee calls it “a very traditional kingship document. The inscriptions mention a particular ruler and his lineage and invite the blessings of the divinities to protect the structure they were building.” So, Adamjee says, “it’s anachronistic to use 20th century terms to describe events that happened two thousand five hundred years ago.”\u003c/p>\n\u003cp>Yet even Adamjee says that what matters most now are the ideals the cylinder has inspired: “Regardless of what we call it, it is that universal aspiration for ethical governance.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Cyrus Cylinder is on view through September 22, 2013 at the Asian Art Museum in San Francisco. For \u003ca href=\"http://www.asianart.org/exhibitions_index/cyrus-cylinder\">more information\u003c/a>, visit asianart.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Cyrus Cylinder, reputedly the oldest known declaration of human rights, went on view at the Asian Art Museum last Friday, August 9, 2013. It is a cylinder made of clay, tapered at both ends, and inscribed with Babylonian cuneiform script, one of the world’s oldest known systems of writing.\u003c/p>\n\u003cp>British archaeologists discovered the cylinder in 1879 as they excavated a wall of the ancient city of Babylon. They were looking for, among other things, evidence of the stories told in the Bible and by Greek historians. What they found was basically a political broadside from Persian King Cyrus the Great justifying his conquest of Babylon in 539 BCE.\u003c/p>\n\u003cp>“According to the cylinder and the Bible,” says Qamar Adamjee, Associate Curator for South Asian Studies at the Asian Art Museum in San Francisco, “Babylon was conquered by Cyrus without any fight.” True or not, the cylinder claims the Babylonians had neglected their chief god, Marduk. “And then,” Adamjee says, “it goes on to talk about how Marduk invites Cyrus to come to Babylon and to bring back the appropriate divine cults.”\u003c/p>\n\u003cp>Adamjee says the key phrase that has given the cylinder its status as a symbol of human rights is where Cyrus states what he intends for the peoples the Babylonians had conquered and taken into exile in Babylon. “He allows them to return to their homelands, taking with them objects of their worship that had been confiscated.” Among these groups were the Israelites, who recorded the fall of Babylon in the book of Daniel; and their return to Jerusalem, and the rebuilding of the Temple under Cyrus’ rule in \u003ci>Chronicles\u003c/i> and the book of Ezra. Not, Adamjee notes, that the cylinder’s text mentions the Israelites, or any other displaced people by name.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cylinder2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>The Cyrus Cylinder, 539-538 BCE. Iraq, Achaemenid period (550-330 BCE). c. Trustees of the British Museum.\u003cbr>\u003c/center>\n\u003cp>In the late 1960s, the Shah of Iran dubbed the Cyrus Cylinder “the world’s first charter of human rights,” ironic since the Shah was also famous for his use of secret police and torture to control his country. Still the cylinder’s U.S. tour (it arrives in San Francisco from the Metropolitan Museum in New York City) has inspired the interest of many Iranian Americans. Bita Daryabari is co-sponsoring the cylinder exhibit at the Asian. Daryabari founded the PARS Equality Center, based in Menlo Park and San Jose. PARS provides social and legal services to the Iranian American Community around the world and Darayabi held the cylinder in her hands during a visit to the British Museum in 2006.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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>When is it a good investment to travel for your work? Recently I sold my largest piece yet to a collector out of my studio in Berlin while I was working there. I don’t have an extensive sales record and mostly subsist on grants, fundraising, and a day job. The collector is someone I have just met, but I feel that he has a good understanding of my work and has expressed interest in advocating my work to his friends and professional contacts, i.e. hosting dinners in his home to show the work, and putting me in touch with dealers he works with.\u003c/b>\u003c/p>\n\u003cp>\u003cb>I returned to the States shortly after selling the piece, but since have been invited to participate in a group show at a commercial gallery in Berlin that will coincide with an art fair there. I plan to put my work in the show but I am conflicted over whether or not I should travel for the openings. It’s important to me to maintain good contact with this collector and gallerist, yet expensive to fly to Europe to do so. However, part of me thinks this expense is in some ways an investment in what I do and therefore I should do it. I have the money to do it, but it would be very expensive to me. What’re your thoughts?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-pretzel.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Nina Katchadourian, \u003ci>Pretzel Meteor\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>Personally, I love to travel and can’t think of a better way to spend my money, so I’m biased in favor of you going. That said, I think it’s unwise to wipe out your savings or max out your credit cards. What you need is a cost-benefit analysis and a plan to work this scenario in your favor. Start with the cost part: look up the airfare for the dates that you’d be in Berlin and factor in your other transportation costs (bus, metro, taxi). Now add the money that you’d spend on a hotel (if you need one) and three meals a day. Depending on how long you’re going to stay and what kind of lifestyle you have, you’ll probably want to pad your total with another $100+ for taxes and miscellaneous stuff, in case you forget to pack socks or your favorite rash cream. Take that running total and add another sum: your lost wages for the time that you’re gone. Now you’ve got a fairly accurate figure of what it will cost you to go. How can you offset those costs? Well, as you’ve mentioned, you might see future benefits in increased sales, exposure to other collectors in Berlin, and contact with dealers. But given the vagaries of the art market, these are all hard to weigh with any certainty. Let’s consider some of your other options for at least breaking even if not truly coming out ahead — cue RuPaul’s \u003ca href=\"http://www.youtube.com/watch?v=z2wrU2tkl38\">“Supermodel (You Better Work)”\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To travel on a budget, get pragmatic: if you’re going to be away for a week or more, you can likely rent out your living space while you’re gone. Perhaps a friend of a friend needs a place to stay? This might be a low-stress way to recoup some of your costs. You’ll have to do some some washing up when you get home (never a fun thing after a transatlantic flight), but you’ll recover some money and get your houseplants watered. You could sign up for a service like \u003ca href=\"https://www.airbnb.com/help/getting-started/how-to-host\">AirBnB\u003c/a>, or you could email your local associates and see if anyone has a cousin who’s been wanting to come for a visit.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-centaur.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Nina Katchadourian, \u003ci>Centaur (from the Creatures series)\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>In addition to a dinner with your collector, consider setting up other meetings while you’re in Berlin: with the permission of the gallery, you could use their space for “studio visits” — a way to meet art professionals and talk to them in person about your work. Obviously, you can’t invite other gallerists — that would be bad form — but you could talk with independent curators and I’m sure the gallery would be delighted to have you bring in more collectors. The group-show gallery and/or your collector could likely suggest a list of people to contact.\u003c/p>\n\u003cp>Are there travel grants for which you could apply? Spend a couple of hours researching granting institutions, especially local ones that might be set up to help an emerging artist extend her reach. If you’ve graduated recently, call your school and ask if they provide any travel funding for recent alumni (and you could offer to give a talk on the Berlin art scene when you get back). Make a list of any and all possible sources of art-travel revenue and pick up the phone. \u003ci>Work it, girl!\u003c/i>\u003c/p>\n\u003cp>How are you in front of an audience? You could give a slide lecture about your work (either at the gallery, at the collector’s house, or at another art space), or perhaps you have a particular skill that you could demonstrate at an art school — this might bring in a small stipend. You could also offer to do studio visits with art students, which sometimes pays handsomely. These activities won’t cover your costs completely, but together they could really help defray them. Additionally, meeting arts faculty and staff at Berlin schools will strengthen your network and you might make some new friends.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If none of these approaches appeal to you or fit your skill set, make sure you’re at least keeping your receipts and ticket stubs, because you should be writing off all of these expenses on your taxes, even if you don’t break even on the trip you are still pursuing revenue from a professional activity. But if you \u003ci>do\u003c/i> decide to try one or more of these options, remember to follow the basic rules: don’t be afraid to ask for what you need, be polite, and take a “no” with good grace. Viel glück! \u003c/p>\n\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>When is it a good investment to travel for your work? Recently I sold my largest piece yet to a collector out of my studio in Berlin while I was working there. I don’t have an extensive sales record and mostly subsist on grants, fundraising, and a day job. The collector is someone I have just met, but I feel that he has a good understanding of my work and has expressed interest in advocating my work to his friends and professional contacts, i.e. hosting dinners in his home to show the work, and putting me in touch with dealers he works with.\u003c/b>\u003c/p>\n\u003cp>\u003cb>I returned to the States shortly after selling the piece, but since have been invited to participate in a group show at a commercial gallery in Berlin that will coincide with an art fair there. I plan to put my work in the show but I am conflicted over whether or not I should travel for the openings. It’s important to me to maintain good contact with this collector and gallerist, yet expensive to fly to Europe to do so. However, part of me thinks this expense is in some ways an investment in what I do and therefore I should do it. I have the money to do it, but it would be very expensive to me. What’re your thoughts?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-pretzel.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Nina Katchadourian, \u003ci>Pretzel Meteor\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>Personally, I love to travel and can’t think of a better way to spend my money, so I’m biased in favor of you going. That said, I think it’s unwise to wipe out your savings or max out your credit cards. What you need is a cost-benefit analysis and a plan to work this scenario in your favor. Start with the cost part: look up the airfare for the dates that you’d be in Berlin and factor in your other transportation costs (bus, metro, taxi). Now add the money that you’d spend on a hotel (if you need one) and three meals a day. Depending on how long you’re going to stay and what kind of lifestyle you have, you’ll probably want to pad your total with another $100+ for taxes and miscellaneous stuff, in case you forget to pack socks or your favorite rash cream. Take that running total and add another sum: your lost wages for the time that you’re gone. Now you’ve got a fairly accurate figure of what it will cost you to go. How can you offset those costs? Well, as you’ve mentioned, you might see future benefits in increased sales, exposure to other collectors in Berlin, and contact with dealers. But given the vagaries of the art market, these are all hard to weigh with any certainty. Let’s consider some of your other options for at least breaking even if not truly coming out ahead — cue RuPaul’s \u003ca href=\"http://www.youtube.com/watch?v=z2wrU2tkl38\">“Supermodel (You Better Work)”\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To travel on a budget, get pragmatic: if you’re going to be away for a week or more, you can likely rent out your living space while you’re gone. Perhaps a friend of a friend needs a place to stay? This might be a low-stress way to recoup some of your costs. You’ll have to do some some washing up when you get home (never a fun thing after a transatlantic flight), but you’ll recover some money and get your houseplants watered. You could sign up for a service like \u003ca href=\"https://www.airbnb.com/help/getting-started/how-to-host\">AirBnB\u003c/a>, or you could email your local associates and see if anyone has a cousin who’s been wanting to come for a visit.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-centaur.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Nina Katchadourian, \u003ci>Centaur (from the Creatures series)\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>In addition to a dinner with your collector, consider setting up other meetings while you’re in Berlin: with the permission of the gallery, you could use their space for “studio visits” — a way to meet art professionals and talk to them in person about your work. Obviously, you can’t invite other gallerists — that would be bad form — but you could talk with independent curators and I’m sure the gallery would be delighted to have you bring in more collectors. The group-show gallery and/or your collector could likely suggest a list of people to contact.\u003c/p>\n\u003cp>Are there travel grants for which you could apply? Spend a couple of hours researching granting institutions, especially local ones that might be set up to help an emerging artist extend her reach. If you’ve graduated recently, call your school and ask if they provide any travel funding for recent alumni (and you could offer to give a talk on the Berlin art scene when you get back). Make a list of any and all possible sources of art-travel revenue and pick up the phone. \u003ci>Work it, girl!\u003c/i>\u003c/p>\n\u003cp>How are you in front of an audience? You could give a slide lecture about your work (either at the gallery, at the collector’s house, or at another art space), or perhaps you have a particular skill that you could demonstrate at an art school — this might bring in a small stipend. You could also offer to do studio visits with art students, which sometimes pays handsomely. These activities won’t cover your costs completely, but together they could really help defray them. Additionally, meeting arts faculty and staff at Berlin schools will strengthen your network and you might make some new friends.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If none of these approaches appeal to you or fit your skill set, make sure you’re at least keeping your receipts and ticket stubs, because you should be writing off all of these expenses on your taxes, even if you don’t break even on the trip you are still pursuing revenue from a professional activity. But if you \u003ci>do\u003c/i> decide to try one or more of these options, remember to follow the basic rules: don’t be afraid to ask for what you need, be polite, and take a “no” with good grace. Viel glück! \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tanya Madoff is a San Francisco artist who loved the idea of an art subscription service and was particularly inspired by \u003ca href=\"http://www.thethingquarterly.com/\">The Thing Quarterly\u003c/a>, which offers a new multiple by a famous artist every three months. Madoff wanted to create a subscription club that was a bit smaller and more accessible. As she says, “Living in San Francisco (frequently in small spaces), I wanted something that someone renting a room or studio apartment could enjoy. I started \u003ca href=\"http://tanyamadoff.com/collections/frontpage\">Button Club\u003c/a> because I wanted an ongoing project that would challenge me creatively and allow me to collaborate with other artists.” She always loved getting surprises in the mail and wanted to create that experience for others.\u003c/p>\n\u003cp>As a former guest artist and Button Club subscriber, I can tell you that receiving new buttons featuring art each month is always a welcome surprise. Mixed among my bills and junk mail will be a colorful little package put together with care and creativity. Some of my favorites have been a button with a drawing of a record with its own little sleeve, and another was a button representing Chinese New Year, tucked into a traditional red and gold envelope. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Madoff essentially creates a collage and packaging that matches the art on the button. She says she felt frustrated as an artist before she started Button Club, and that she enjoys having a deadline and audience for her collaborative work each month. She’s also “learned to adopt the wabi-sabi approach and have an appreciation for the imperfections and variations that come from handmade art.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Small buttons are ubiquitous, you can find them everywhere, but Madoff’s are extra special. She spends time creating custom packages, but also sees the projects as ephemeral: “Often you have to rip part of the packaging to get the button. I like to think I’m creating an experience for the subscriber. It’s art, but not pretentious. Also, there’s something very pleasing to me about the one-inch button size. They almost seem like candy. It’s like having a delicious snack. An it immediately becomes unique to the person receiving it because they choose how to wear or display it. Plus, it’s way easier than the “Fruit of the Month Club”–you don’t need grapefruit spoons!” Madoff sums up the essence of Button Club best, “When people put care and love into whatever they are creating, it makes a difference that can be felt.”\u003c/p>\n\u003cp>July 2013 is the fourth anniversary of Button Club, and August will mark its 50th issue. Many of the artists Madoff works with are in the Bay Area, and she finds them online, in galleries, and through her own art network of friends. The first time an artist approached her, asking to be featured, she says, “It felt like a really great benchmark.” Button Club was officially on the map as a unique way to share tiny, wearable art prints with a new audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://tanyamadoff.com/\">Subscribe to Button Club\u003c/a> at TanyaMadoff.com. All photos by Tanya Madoff. Button Club artists pictured: Kristin Farr, Albert Campbell, Annie Galvin. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tanya Madoff is a San Francisco artist who loved the idea of an art subscription service and was particularly inspired by \u003ca href=\"http://www.thethingquarterly.com/\">The Thing Quarterly\u003c/a>, which offers a new multiple by a famous artist every three months. Madoff wanted to create a subscription club that was a bit smaller and more accessible. As she says, “Living in San Francisco (frequently in small spaces), I wanted something that someone renting a room or studio apartment could enjoy. I started \u003ca href=\"http://tanyamadoff.com/collections/frontpage\">Button Club\u003c/a> because I wanted an ongoing project that would challenge me creatively and allow me to collaborate with other artists.” She always loved getting surprises in the mail and wanted to create that experience for others.\u003c/p>\n\u003cp>As a former guest artist and Button Club subscriber, I can tell you that receiving new buttons featuring art each month is always a welcome surprise. Mixed among my bills and junk mail will be a colorful little package put together with care and creativity. Some of my favorites have been a button with a drawing of a record with its own little sleeve, and another was a button representing Chinese New Year, tucked into a traditional red and gold envelope. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Madoff essentially creates a collage and packaging that matches the art on the button. She says she felt frustrated as an artist before she started Button Club, and that she enjoys having a deadline and audience for her collaborative work each month. She’s also “learned to adopt the wabi-sabi approach and have an appreciation for the imperfections and variations that come from handmade art.”\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://a.s.kqed.net/img/arts/blog/buttonclub5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Small buttons are ubiquitous, you can find them everywhere, but Madoff’s are extra special. She spends time creating custom packages, but also sees the projects as ephemeral: “Often you have to rip part of the packaging to get the button. I like to think I’m creating an experience for the subscriber. It’s art, but not pretentious. Also, there’s something very pleasing to me about the one-inch button size. They almost seem like candy. It’s like having a delicious snack. An it immediately becomes unique to the person receiving it because they choose how to wear or display it. Plus, it’s way easier than the “Fruit of the Month Club”–you don’t need grapefruit spoons!” Madoff sums up the essence of Button Club best, “When people put care and love into whatever they are creating, it makes a difference that can be felt.”\u003c/p>\n\u003cp>July 2013 is the fourth anniversary of Button Club, and August will mark its 50th issue. Many of the artists Madoff works with are in the Bay Area, and she finds them online, in galleries, and through her own art network of friends. The first time an artist approached her, asking to be featured, she says, “It felt like a really great benchmark.” Button Club was officially on the map as a unique way to share tiny, wearable art prints with a new audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://tanyamadoff.com/\">Subscribe to Button Club\u003c/a> at TanyaMadoff.com. All photos by Tanya Madoff. Button Club artists pictured: Kristin Farr, Albert Campbell, Annie Galvin. \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>We recently sold a piece at an art fair, a photograph, the sale being the second of this particular edition. Because it was the second edition, we needed to have it produced from scratch, printed/mounted/framed. All the production was paid for by us as a courtesy. After informing the collector it would take a couple of weeks, we were recently bombarded with complaints from said collector that we were taking him for a ride and that he wanted a refund, because of how long it was taking to get the piece made professionally. Collector then went on a witch hunt, in which he called Amex to report us, tweeted that people should “beware” about our gallery, stormed into our gallery to scream at us, as well as abuse us in emails. We eventually decided to return the money, even though there is a clear ALL SALES FINAL disclosure on all our sale documents, just to get rid of the negative distraction. \u003c/b>\u003c/p>\n\u003cp>\u003cb>I guess my question here is, how do we avoid this in the future? We are a small gallery, and these fairs are more than we can afford, but we have to participate to try and sell the work. Any words of advice for our fledgling initiative? \u003c/b>\u003c/p>\n\u003cp>Allow me to rephrase your question: \u003ci>We run a small gallery. Recently, a would-be collector went bananas and things ended badly. How do we avoid dealing with a person like this in the future? \u003c/i> And here’s the short answer: if I knew how to keep clear of crazy people, I’d be a rich woman. But since the art world is filled with lunatics* — both loveable and malevolent — and complete avoidance probably isn’t an option unless you move to a hermit’s shack, let’s talk about the things you might do to circumvent a situation like this in your life to come. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/baldessari2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>John Baldessari, \u003ci>Man with Blue Shape, \u003c/i> 1991.\u003cbr>\u003c/center>\n\u003cp>At the risk of seeming unsympathetic, I’m going to remind you that sometimes crazy takes two. Take a moment to assess the situation honestly. Ask yourself: \u003ci>Did this man walk away with all the information he needed?\u003c/i> In my experience, one of the main reasons that a person flies off the handle is that he has one set of expectations based on assumptions, and his associate has another set of expectations based on different assumptions. And this is the key part: their expectations may overlap — leading everyone to believe that they are on the same page — but the assumptions underlying those expectations are inconsistent, and sometimes that gets everyone into trouble. So I wonder: how effectively did you convey information to this man about his wait time? Did you casually mention that it would be “a couple of weeks” before he received his print? Or did you mutually agree on a delivery date, put it in writing, and then communicate any changes? If you say “a couple of weeks” as a loose estimate, and he hears “exactly two weeks,” you can see that this is where the problem is going to start. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And what happened when this guy started yelling at everyone? Did you greet his onslaught with a rabbit-in-the-headlights look (my go-to reaction), or did you talk to him calmly, go over the situation to see where the two of you went off the rails, and then work toward a mutually-agreed solution? If he thought you did something wrong, and you thought you did nothing wrong (all based on those pesky assumptions) then probably your first reaction was something along the lines of, \u003ci>We told you it was going to be a couple of weeks, you crazy bastard.\u003c/i> Most of us, when faced with an Anger Monster, just want to defend ourselves or flee. It’s a natural (and not necessarily unhealthy) feeling. I’m guessing that you did not say something really direct like, “I hear what you are saying and I understand why you are angry. It seems that we’ve had a miscommunication. What would you like to have happen next?”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/baldessari.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>John Baldessari, \u003ci>Two Whales (with People), \u003c/i>2010.\u003cbr>\u003c/center>\n\u003cp>But, for the sake of argument, let’s say you did all that. You clearly communicated all dates and attempted to work toward a solution in a very deep way, and this guy still went cuckoo. Ultimately you can only control your own actions, and some people will not be placated no matter how calm your voice is; you have to decide when to cut your losses, and that’s exactly what you did. The way to come out on top of this mess is to learn from this for next time, and to not dwell on it in an unhealthy way. \u003c/p>\n\u003cp>Let me be specific: \u003ci>unhealthy\u003c/i> would be three months of muttering to yourself over a nightly glass of whisky while mentally rehashing the ugliest parts of these interactions; \u003ci>healthy\u003c/i> would be analyzing the situation to assess the efficacy of your communications and figuring out a new strategy for the future. This takes conscious effort, honesty, and maybe some brainstorming with trusted colleagues. \u003c/p>\n\u003cp>Going forward, the best way to avoid this kind of conflict is to make sure that you are transmitting information as effectively as you can. Go over the interactions and see where you could have said or done something different, something that might have alleviated confusion. Go over your gallery paperwork and see where you could strengthen the language or add space for additional information that would clarify the gallery’s needs and timelines. And don’t forget to go to the bar with some fellow gallery owners and perform a dramatic re-telling for your (surely appreciative) audience — because time and catharsis heal all wounds. Good luck! \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>*Indeed, the world is filled with deranged people and there’s no shortage of them in any discipline.\u003c/p>\n\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>We recently sold a piece at an art fair, a photograph, the sale being the second of this particular edition. Because it was the second edition, we needed to have it produced from scratch, printed/mounted/framed. All the production was paid for by us as a courtesy. After informing the collector it would take a couple of weeks, we were recently bombarded with complaints from said collector that we were taking him for a ride and that he wanted a refund, because of how long it was taking to get the piece made professionally. Collector then went on a witch hunt, in which he called Amex to report us, tweeted that people should “beware” about our gallery, stormed into our gallery to scream at us, as well as abuse us in emails. We eventually decided to return the money, even though there is a clear ALL SALES FINAL disclosure on all our sale documents, just to get rid of the negative distraction. \u003c/b>\u003c/p>\n\u003cp>\u003cb>I guess my question here is, how do we avoid this in the future? We are a small gallery, and these fairs are more than we can afford, but we have to participate to try and sell the work. Any words of advice for our fledgling initiative? \u003c/b>\u003c/p>\n\u003cp>Allow me to rephrase your question: \u003ci>We run a small gallery. Recently, a would-be collector went bananas and things ended badly. How do we avoid dealing with a person like this in the future? \u003c/i> And here’s the short answer: if I knew how to keep clear of crazy people, I’d be a rich woman. But since the art world is filled with lunatics* — both loveable and malevolent — and complete avoidance probably isn’t an option unless you move to a hermit’s shack, let’s talk about the things you might do to circumvent a situation like this in your life to come. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/baldessari2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>John Baldessari, \u003ci>Man with Blue Shape, \u003c/i> 1991.\u003cbr>\u003c/center>\n\u003cp>At the risk of seeming unsympathetic, I’m going to remind you that sometimes crazy takes two. Take a moment to assess the situation honestly. Ask yourself: \u003ci>Did this man walk away with all the information he needed?\u003c/i> In my experience, one of the main reasons that a person flies off the handle is that he has one set of expectations based on assumptions, and his associate has another set of expectations based on different assumptions. And this is the key part: their expectations may overlap — leading everyone to believe that they are on the same page — but the assumptions underlying those expectations are inconsistent, and sometimes that gets everyone into trouble. So I wonder: how effectively did you convey information to this man about his wait time? Did you casually mention that it would be “a couple of weeks” before he received his print? Or did you mutually agree on a delivery date, put it in writing, and then communicate any changes? If you say “a couple of weeks” as a loose estimate, and he hears “exactly two weeks,” you can see that this is where the problem is going to start. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And what happened when this guy started yelling at everyone? Did you greet his onslaught with a rabbit-in-the-headlights look (my go-to reaction), or did you talk to him calmly, go over the situation to see where the two of you went off the rails, and then work toward a mutually-agreed solution? If he thought you did something wrong, and you thought you did nothing wrong (all based on those pesky assumptions) then probably your first reaction was something along the lines of, \u003ci>We told you it was going to be a couple of weeks, you crazy bastard.\u003c/i> Most of us, when faced with an Anger Monster, just want to defend ourselves or flee. It’s a natural (and not necessarily unhealthy) feeling. I’m guessing that you did not say something really direct like, “I hear what you are saying and I understand why you are angry. It seems that we’ve had a miscommunication. What would you like to have happen next?”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/baldessari.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>John Baldessari, \u003ci>Two Whales (with People), \u003c/i>2010.\u003cbr>\u003c/center>\n\u003cp>But, for the sake of argument, let’s say you did all that. You clearly communicated all dates and attempted to work toward a solution in a very deep way, and this guy still went cuckoo. Ultimately you can only control your own actions, and some people will not be placated no matter how calm your voice is; you have to decide when to cut your losses, and that’s exactly what you did. The way to come out on top of this mess is to learn from this for next time, and to not dwell on it in an unhealthy way. \u003c/p>\n\u003cp>Let me be specific: \u003ci>unhealthy\u003c/i> would be three months of muttering to yourself over a nightly glass of whisky while mentally rehashing the ugliest parts of these interactions; \u003ci>healthy\u003c/i> would be analyzing the situation to assess the efficacy of your communications and figuring out a new strategy for the future. This takes conscious effort, honesty, and maybe some brainstorming with trusted colleagues. \u003c/p>\n\u003cp>Going forward, the best way to avoid this kind of conflict is to make sure that you are transmitting information as effectively as you can. Go over the interactions and see where you could have said or done something different, something that might have alleviated confusion. Go over your gallery paperwork and see where you could strengthen the language or add space for additional information that would clarify the gallery’s needs and timelines. And don’t forget to go to the bar with some fellow gallery owners and perform a dramatic re-telling for your (surely appreciative) audience — because time and catharsis heal all wounds. Good luck! \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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>What’s the best way to write a press release so that my show gets reviewed?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you poke around on the Internet, you’ll find that there’s a lot of information out there about how to write a press release. In fact, there is so much information on the subject that I recommend you start with a broad search to familiarize yourself with the fundamentals, which are too numerous (and somewhat boring) to cover here. Go do that now, and I’ll wait here.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-kv1.jpg\" style=\"margin-bottom: 10px\">\u003cbr> \u003ci>installation view of “Larry Bell and Sarah Crowner, Meet Marlow Moss” at Kunstverein, Amsterdam, \u003c/i>2013.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You’re back! You probably noticed that much of what you’ve gleaned from the web about press releases is still written as though you’re going to print one, stick it in an envelope, and mail it; bear in mind that tips such as “to ensure readability, your press release should be typed, double-spaced, on white letterhead” are a little outdated. There’s nothing wrong with an e-mailed press release, and that’s what I recommend. \u003c/p>\n\u003cp>Now that you’ve researched the basics and committed to the e-mail format, we can move on to the strategies that will actually get your press release read (you can follow the links back to the original sites): \u003c/p>\n\u003cp>\u003ca href=\"http://www.huffingtonpost.com/zach-cutler/press-release-tips_b_2120630.html\">Get right to the point\u003c/a> in the first paragraph. Because reporters are busy people, you must assume that they will only read the first sentence and then scan the rest — and even that’s a generous assumption. Get the message of your press release out quickly. Every important point should be addressed in the first few sentences. The subsequent paragraphs should be for supporting information.” \u003c/p>\n\u003cp>\u003ca href=\"http://www.entrepreneur.com/article/226011\">Don’t embellish\u003c/a> or hype the information. Remember, you are not writing the article, you are merely presenting the information and showing why it is relevant to that publication in hopes that they will write about it. \u003c/p>\n\u003cp>\u003ca href=\"http://www.24-7pressrelease.com/press_writing_tips.php\">Your goal is to communicate\u003c/a> your news using everyday language, so avoid overusing technical jargon. Not everyone understands your industry terminology as well as you do. Excess jargon will confuse your reader and may be enough for a journalist to pass over your release for one that is easier to understand. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hdkv3.jpg\" style=\"margin-bottom: 10px\">\u003cbr> \u003ci>installation view of “Larry Bell and Sarah Crowner, Meet Marlow Moss” at Kunstverein, Amsterdam, \u003c/i>2013.\u003c/p>\n\u003cp>I also talked to \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=8\">Mark Taylor\u003c/a>, who is my editor at KQED and the Senior Interactive Producer for Arts and Culture there as well as the editor of KQED’s daily Arts blog. I asked him what he usually pays attention to, and this is what he told me: \u003c/p>\n\u003cp> “I receive about fifty press releases a day.* Most have subject lines like ‘Press Opportunity.’ I’m press, so I open it, but I wish people would say what the subject of the document actually is. Why I should open your e-mail? I would like to see something like, ‘Artist Soandso solo show at Gallery X, June 11 to July 24.'” \u003c/p>\n\u003cp>Some of Mr. Taylor’s wisdom contradicts what you’ll find on many of the sites that give advice on writing; that’s because the tips on many sites are targeted to non-arts businesses. These sites may encourage you to start your release with a rhetorical question or an anecdote, but Mr. Taylor insists: “I need information over clever attention grabbers. I don’t need a weird, ‘catchy’ headline, I need facts — the who, what, when, and where instead of ‘Have you ever thought about stars?’ or ‘Everyone loves lollipops!'”** \u003c/p>\n\u003cp>“Tell me what are you promoting, when it is, and where it is happening. In the case of visual art, tell me what the artist does. A lot of times I’ll get a release that says, ‘Soandso is having a show at Gallery X.’ And this is followed by a history of Soandso’s exhibitions, but what I want to know is what is \u003cem>this \u003c/em>a show of? This is your opportunity to describe it.” Likewise, if you’re going to include information about your education, awards, or the history of the gallery, write a brief summary and put it farther down on the page. “I think press release writers add a lot of extra information because some journalists write stories from press releases. I understand that, but I’m not that kind of an assignment editor and we don’t do that at KQED. If you’re going to include a lot of information, I would prefer that it be farther down the e-mail.” \u003c/p>\n\u003cp>Your images are important, too. Make sure you’re including images that represent your work to its best advantage and aren’t too big to open quickly. If you format your e-mail with the images embedded, you might also want to attach them separately in case the image doesn’t properly open within the e-mail. Don’t assume that the recipient is using the same Internet browser or e-mail reader as you — theirs might withhold an embedded image (Gmail does this).\u003c/p>\n\u003cp>Should you send a generic press release or one that is more targeted to specific people? “The personalized, ‘Hey Mark, I want to bring this show to your attention’-type press release can work if you’re good at it, but it can also backfire. The personal approach only works if you’re genuinely being personal. You have to know what the person does and what he or she is interested in.”\u003c/p>\n\u003cp>Of course, there are no guarantees in life, and I can’t assure you that your show will be reviewed. However, if you take these suggestions to heart, your press release is more likely to be read, and that’s the first step toward getting a show reviewed. Some last tips: if you get really stuck, find a press release that you like and use its format as a guide for your own. And before you hit “send,” make sure your spelling and grammar are flawless; if you have a hard time spotting errors, give it to a sharp-eyed friend or try reading the release out loud.\u003c/p>\n\u003cp>Good luck! I’ll leave you with my favorite example, an informative, witty, and well-played release from \u003ca href=\"http://www.jackshainman.com/exhibition134.html\">a show at Jack Shainman Gallery\u003c/a> in 2012: \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/HiJack.jpg\" style=\"margin-bottom: 10px\">\u003cbr> Press release for \u003ci>HiJack!,\u003c/i> 2012.\u003c/p>\n\u003cp>*Mark has worked at KQED for 13 years; a conservative estimate will tell you that he’s read at least thirty-two thousand press releases.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>**Now that I’m the managing editor of this site and newly on the receiving end of a slew of press releases, I concur. The “catchy” headline and rhetorical-question strategy is not intriguing; it is annoying. \u003c/p>\n\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>What’s the best way to write a press release so that my show gets reviewed?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you poke around on the Internet, you’ll find that there’s a lot of information out there about how to write a press release. In fact, there is so much information on the subject that I recommend you start with a broad search to familiarize yourself with the fundamentals, which are too numerous (and somewhat boring) to cover here. Go do that now, and I’ll wait here.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-kv1.jpg\" style=\"margin-bottom: 10px\">\u003cbr> \u003ci>installation view of “Larry Bell and Sarah Crowner, Meet Marlow Moss” at Kunstverein, Amsterdam, \u003c/i>2013.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You’re back! You probably noticed that much of what you’ve gleaned from the web about press releases is still written as though you’re going to print one, stick it in an envelope, and mail it; bear in mind that tips such as “to ensure readability, your press release should be typed, double-spaced, on white letterhead” are a little outdated. There’s nothing wrong with an e-mailed press release, and that’s what I recommend. \u003c/p>\n\u003cp>Now that you’ve researched the basics and committed to the e-mail format, we can move on to the strategies that will actually get your press release read (you can follow the links back to the original sites): \u003c/p>\n\u003cp>\u003ca href=\"http://www.huffingtonpost.com/zach-cutler/press-release-tips_b_2120630.html\">Get right to the point\u003c/a> in the first paragraph. Because reporters are busy people, you must assume that they will only read the first sentence and then scan the rest — and even that’s a generous assumption. Get the message of your press release out quickly. Every important point should be addressed in the first few sentences. The subsequent paragraphs should be for supporting information.” \u003c/p>\n\u003cp>\u003ca href=\"http://www.entrepreneur.com/article/226011\">Don’t embellish\u003c/a> or hype the information. Remember, you are not writing the article, you are merely presenting the information and showing why it is relevant to that publication in hopes that they will write about it. \u003c/p>\n\u003cp>\u003ca href=\"http://www.24-7pressrelease.com/press_writing_tips.php\">Your goal is to communicate\u003c/a> your news using everyday language, so avoid overusing technical jargon. Not everyone understands your industry terminology as well as you do. Excess jargon will confuse your reader and may be enough for a journalist to pass over your release for one that is easier to understand. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hdkv3.jpg\" style=\"margin-bottom: 10px\">\u003cbr> \u003ci>installation view of “Larry Bell and Sarah Crowner, Meet Marlow Moss” at Kunstverein, Amsterdam, \u003c/i>2013.\u003c/p>\n\u003cp>I also talked to \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=8\">Mark Taylor\u003c/a>, who is my editor at KQED and the Senior Interactive Producer for Arts and Culture there as well as the editor of KQED’s daily Arts blog. I asked him what he usually pays attention to, and this is what he told me: \u003c/p>\n\u003cp> “I receive about fifty press releases a day.* Most have subject lines like ‘Press Opportunity.’ I’m press, so I open it, but I wish people would say what the subject of the document actually is. Why I should open your e-mail? I would like to see something like, ‘Artist Soandso solo show at Gallery X, June 11 to July 24.'” \u003c/p>\n\u003cp>Some of Mr. Taylor’s wisdom contradicts what you’ll find on many of the sites that give advice on writing; that’s because the tips on many sites are targeted to non-arts businesses. These sites may encourage you to start your release with a rhetorical question or an anecdote, but Mr. Taylor insists: “I need information over clever attention grabbers. I don’t need a weird, ‘catchy’ headline, I need facts — the who, what, when, and where instead of ‘Have you ever thought about stars?’ or ‘Everyone loves lollipops!'”** \u003c/p>\n\u003cp>“Tell me what are you promoting, when it is, and where it is happening. In the case of visual art, tell me what the artist does. A lot of times I’ll get a release that says, ‘Soandso is having a show at Gallery X.’ And this is followed by a history of Soandso’s exhibitions, but what I want to know is what is \u003cem>this \u003c/em>a show of? This is your opportunity to describe it.” Likewise, if you’re going to include information about your education, awards, or the history of the gallery, write a brief summary and put it farther down on the page. “I think press release writers add a lot of extra information because some journalists write stories from press releases. I understand that, but I’m not that kind of an assignment editor and we don’t do that at KQED. If you’re going to include a lot of information, I would prefer that it be farther down the e-mail.” \u003c/p>\n\u003cp>Your images are important, too. Make sure you’re including images that represent your work to its best advantage and aren’t too big to open quickly. If you format your e-mail with the images embedded, you might also want to attach them separately in case the image doesn’t properly open within the e-mail. Don’t assume that the recipient is using the same Internet browser or e-mail reader as you — theirs might withhold an embedded image (Gmail does this).\u003c/p>\n\u003cp>Should you send a generic press release or one that is more targeted to specific people? “The personalized, ‘Hey Mark, I want to bring this show to your attention’-type press release can work if you’re good at it, but it can also backfire. The personal approach only works if you’re genuinely being personal. You have to know what the person does and what he or she is interested in.”\u003c/p>\n\u003cp>Of course, there are no guarantees in life, and I can’t assure you that your show will be reviewed. However, if you take these suggestions to heart, your press release is more likely to be read, and that’s the first step toward getting a show reviewed. Some last tips: if you get really stuck, find a press release that you like and use its format as a guide for your own. And before you hit “send,” make sure your spelling and grammar are flawless; if you have a hard time spotting errors, give it to a sharp-eyed friend or try reading the release out loud.\u003c/p>\n\u003cp>Good luck! I’ll leave you with my favorite example, an informative, witty, and well-played release from \u003ca href=\"http://www.jackshainman.com/exhibition134.html\">a show at Jack Shainman Gallery\u003c/a> in 2012: \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/HiJack.jpg\" style=\"margin-bottom: 10px\">\u003cbr> Press release for \u003ci>HiJack!,\u003c/i> 2012.\u003c/p>\n\u003cp>*Mark has worked at KQED for 13 years; a conservative estimate will tell you that he’s read at least thirty-two thousand press releases.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>**Now that I’m the managing editor of this site and newly on the receiving end of a slew of press releases, I concur. The “catchy” headline and rhetorical-question strategy is not intriguing; it is annoying. \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>I’m an artist in my mid-twenties who has absolutely no formal education. So far I’ve managed to be fairly happy with small but very meaningful visibility, knowing that art-making is about process and that it takes time to find one’s self. But I’m starting to hit a wall when it comes to the growth of my practice and I’m worried that my lack of ‘training’ might be my problem, so I’m slowly starting to consider going to an art school, with great fear, mainly because I haven’t been in an educational institution for a long time. So my question is: how important do you think education (art school) is in order for someone to be or to become a professional artist? Do you see it as absolutely necessary, or do you think that one can do without? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I hate to be the bearer of bad news, but you could toil your whole life and make profound work and still remain nearly invisible; so let’s separate the notions of visibility and making. \u003ci>Visibility\u003c/i> — that is to say participating in group exhibitions, exhibiting your work in solo shows, receiving press, and all the ancillary duties that come with and reinforce it (such as giving artist lectures) — has shockingly little to do with art making. Instead, visibility is often correlated with how much money you’re born with, who you know, where you went to school, where you work, and other social factors; but in the long run it is not directly related to the \u003ci>quality\u003c/i> or \u003ci>process\u003c/i> of your work. This is why \u003ca href=\"http://observer.com/2011/04/art-world-bad-boy-josh-smith-is-peter-brants-new-protg/\">Josh Smith is a famous painter\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-stingel3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Rudolf Stingel, \u003ci>detail of “Rudolf Stingel” at Palazzo Grassi, \u003c/i>2013.\u003cbr>\u003c/center>\n\u003cp>Now we need to also set aside the notion of how you become a “professional” artist. There’s a wide range of what can be considered professional, so figure out what it means to you. Does it mean that you make enough sales to support yourself (and possibly a family)? Does it mean that a gallery represents you? Or is it enough to be able to scrawl \u003cem>artist\u003c/em> on your tax forms and write off your studio rent and materials? Take a moment to read Dan Fox’s beautiful essay, \u003ci>\u003ca href=\"https://www.frieze.com/issue/article/a_serious_business/\">A Serious Business: What does it mean to be a professional artist?\u003c/a>\u003c/i> and explore your assumptions about what makes one a “professional.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now let’s consider growth. You’re right that school is a great place to push past your current boundaries. Your professors, advisors, and peers alike will challenge you, and you can learn a tremendous amount in a short time if you really immerse yourself in that environment. However, you might want to weigh the cost: according to \u003ca href=\"http://suite101.com/article/top-visual-art-college-2010-a185185\">this website\u003c/a>, unless you receive a full tuition scholarship you’ll pay an average of $28,000 per year for a BFA degree (for an MFA you might pay as much as $40,000 per year). Assuming that you could get a scholarship for half of that, you’d pay $14,000 per year or a total of $56,000 for four years. And that’s not including other fees: housing, food, transportation, books and supplies, or art materials. On July 1, 2013, the \u003ca href=\"http://www.consumerfinance.gov/blog/changes-to-federal-student-loan-interest-rates/\">federal student loan interest rates go up\u003c/a> to 6.8%, so if you took out a loan for $60,000 and paid it back over 30 years, you’d end up paying a total of \u003ca href=\"http://www.bankrate.com/calculators/managing-debt/annual-percentage-rate-calculator.aspx\">$140,815.84\u003c/a>. Did I mention that this doesn’t include your bus fare or sketchbooks?\u003c/p>\n\u003cp>I don’t want to discourage you from exploring school as an option; it can truly be a wonderful place to grow if you do your research and \u003ca href=\"http://dailyserving.com/2012/02/help-desk-school-daze/\">find a school that’s right for you\u003c/a>. But I would be remiss if I didn’t ask you to consider the financial burden you’d likely take on as a result. There are approximately 846 MFA programs in the US and the MFA degree is no longer a rarity, so employers have their pick of each year’s crop; this means you can’t count on a high-or-medium compensation job after you graduate, and you’d likely be repaying your loans on roughly the same salary or wage you’re making now. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-stingel4.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Rudolf Stingel, \u003ci>detail of “Rudolf Stingel” at Palazzo Grassi, \u003c/i>2013.\u003cbr>\u003c/center>\n\u003cp>Luckily, if you’re self-motivated and don’t care about an actual degree, you have other options for getting an education and having a dialog around your studio practice. You need three basic components in order to replicate the work of an MFA: looking at art, reading about art, and talking about art. The first of these is accomplished by going to museums and galleries regularly; looking at institutional, gallery, and artist websites; and looking at books, especially exhibition catalogs and artist monographs. The second component is also fairly easy: if you have a good public library in your area you can start there; if there’s an art school nearby you can also ask if they provide public accounts (if not, you can still look at the books and magazines, just not check them out). There are tons of online resources like \u003ca href=\"http://www.besthistorysites.net/index.php/art-history\">this list of art history websites\u003c/a> and the archives of contemporary art magazines. Many professors put their course syllabi on the web, so by going to art school websites and looking at the class offerings, you can follow links to the materials that professors are using in their seminars. \u003c/p>\n\u003cp>The last component is the most difficult to obtain, but it’s still possible with some hard work and persistence. Write to artists and curators in your area and ask them for \u003ca href=\"http://dailyserving.com/2012/06/help-desk-studio-visits-part-2/\">studio visits\u003c/a>. They might not respond, or they might turn you down, but it’s worth trying. You probably know other artists in your city, so think about starting an informal critique group that meets once or twice a month (you could also start an art-theory book club and wrestle with the big ideas of the 20\u003csup>th\u003c/sup> and 21\u003csup>st\u003c/sup> centuries over wine). If you want to grow, you need to be talking to people about your work and ideas, and getting feedback and advice. As you acknowledged in your query, making art is a process, and the best way to speed up your growth is to find out what other people think about your work and the work of others. A good studio visit isn’t about selling or future exhibitions, it’s about starting a dialog that will help you make your artwork better and better. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I want to close by saying that this list of options isn’t comprehensive. I encourage you to talk your ideas and plans through with some trusted colleagues, and ask studio visitors what they think of art school and education. In the end, your best resource is the community right outside your studio. Good luck!\u003c/p>\n\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’m an artist in my mid-twenties who has absolutely no formal education. So far I’ve managed to be fairly happy with small but very meaningful visibility, knowing that art-making is about process and that it takes time to find one’s self. But I’m starting to hit a wall when it comes to the growth of my practice and I’m worried that my lack of ‘training’ might be my problem, so I’m slowly starting to consider going to an art school, with great fear, mainly because I haven’t been in an educational institution for a long time. So my question is: how important do you think education (art school) is in order for someone to be or to become a professional artist? Do you see it as absolutely necessary, or do you think that one can do without? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I hate to be the bearer of bad news, but you could toil your whole life and make profound work and still remain nearly invisible; so let’s separate the notions of visibility and making. \u003ci>Visibility\u003c/i> — that is to say participating in group exhibitions, exhibiting your work in solo shows, receiving press, and all the ancillary duties that come with and reinforce it (such as giving artist lectures) — has shockingly little to do with art making. Instead, visibility is often correlated with how much money you’re born with, who you know, where you went to school, where you work, and other social factors; but in the long run it is not directly related to the \u003ci>quality\u003c/i> or \u003ci>process\u003c/i> of your work. This is why \u003ca href=\"http://observer.com/2011/04/art-world-bad-boy-josh-smith-is-peter-brants-new-protg/\">Josh Smith is a famous painter\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-stingel3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Rudolf Stingel, \u003ci>detail of “Rudolf Stingel” at Palazzo Grassi, \u003c/i>2013.\u003cbr>\u003c/center>\n\u003cp>Now we need to also set aside the notion of how you become a “professional” artist. There’s a wide range of what can be considered professional, so figure out what it means to you. Does it mean that you make enough sales to support yourself (and possibly a family)? Does it mean that a gallery represents you? Or is it enough to be able to scrawl \u003cem>artist\u003c/em> on your tax forms and write off your studio rent and materials? Take a moment to read Dan Fox’s beautiful essay, \u003ci>\u003ca href=\"https://www.frieze.com/issue/article/a_serious_business/\">A Serious Business: What does it mean to be a professional artist?\u003c/a>\u003c/i> and explore your assumptions about what makes one a “professional.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now let’s consider growth. You’re right that school is a great place to push past your current boundaries. Your professors, advisors, and peers alike will challenge you, and you can learn a tremendous amount in a short time if you really immerse yourself in that environment. However, you might want to weigh the cost: according to \u003ca href=\"http://suite101.com/article/top-visual-art-college-2010-a185185\">this website\u003c/a>, unless you receive a full tuition scholarship you’ll pay an average of $28,000 per year for a BFA degree (for an MFA you might pay as much as $40,000 per year). Assuming that you could get a scholarship for half of that, you’d pay $14,000 per year or a total of $56,000 for four years. And that’s not including other fees: housing, food, transportation, books and supplies, or art materials. On July 1, 2013, the \u003ca href=\"http://www.consumerfinance.gov/blog/changes-to-federal-student-loan-interest-rates/\">federal student loan interest rates go up\u003c/a> to 6.8%, so if you took out a loan for $60,000 and paid it back over 30 years, you’d end up paying a total of \u003ca href=\"http://www.bankrate.com/calculators/managing-debt/annual-percentage-rate-calculator.aspx\">$140,815.84\u003c/a>. Did I mention that this doesn’t include your bus fare or sketchbooks?\u003c/p>\n\u003cp>I don’t want to discourage you from exploring school as an option; it can truly be a wonderful place to grow if you do your research and \u003ca href=\"http://dailyserving.com/2012/02/help-desk-school-daze/\">find a school that’s right for you\u003c/a>. But I would be remiss if I didn’t ask you to consider the financial burden you’d likely take on as a result. There are approximately 846 MFA programs in the US and the MFA degree is no longer a rarity, so employers have their pick of each year’s crop; this means you can’t count on a high-or-medium compensation job after you graduate, and you’d likely be repaying your loans on roughly the same salary or wage you’re making now. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-stingel4.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Rudolf Stingel, \u003ci>detail of “Rudolf Stingel” at Palazzo Grassi, \u003c/i>2013.\u003cbr>\u003c/center>\n\u003cp>Luckily, if you’re self-motivated and don’t care about an actual degree, you have other options for getting an education and having a dialog around your studio practice. You need three basic components in order to replicate the work of an MFA: looking at art, reading about art, and talking about art. The first of these is accomplished by going to museums and galleries regularly; looking at institutional, gallery, and artist websites; and looking at books, especially exhibition catalogs and artist monographs. The second component is also fairly easy: if you have a good public library in your area you can start there; if there’s an art school nearby you can also ask if they provide public accounts (if not, you can still look at the books and magazines, just not check them out). There are tons of online resources like \u003ca href=\"http://www.besthistorysites.net/index.php/art-history\">this list of art history websites\u003c/a> and the archives of contemporary art magazines. Many professors put their course syllabi on the web, so by going to art school websites and looking at the class offerings, you can follow links to the materials that professors are using in their seminars. \u003c/p>\n\u003cp>The last component is the most difficult to obtain, but it’s still possible with some hard work and persistence. Write to artists and curators in your area and ask them for \u003ca href=\"http://dailyserving.com/2012/06/help-desk-studio-visits-part-2/\">studio visits\u003c/a>. They might not respond, or they might turn you down, but it’s worth trying. You probably know other artists in your city, so think about starting an informal critique group that meets once or twice a month (you could also start an art-theory book club and wrestle with the big ideas of the 20\u003csup>th\u003c/sup> and 21\u003csup>st\u003c/sup> centuries over wine). If you want to grow, you need to be talking to people about your work and ideas, and getting feedback and advice. As you acknowledged in your query, making art is a process, and the best way to speed up your growth is to find out what other people think about your work and the work of others. A good studio visit isn’t about selling or future exhibitions, it’s about starting a dialog that will help you make your artwork better and better. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I want to close by saying that this list of options isn’t comprehensive. I encourage you to talk your ideas and plans through with some trusted colleagues, and ask studio visitors what they think of art school and education. In the end, your best resource is the community right outside your studio. Good luck!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"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",
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"source": "Commonwealth Club of California"
},
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"title": "Forum",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"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. ",
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"jerrybrown": {
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"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. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"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/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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