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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 have a gallery in LES [the Lower East Side of New York City] and I want to fill it with great art and sell a lot and do cool things. The problem is that I cannot find artists to represent. How do I find them? \u003c/b>\u003c/p>\n\u003cp>Surprising as it may seem, I rarely get phony questions for \u003ci>Help Desk\u003c/i>; and when I do, they are fairly easy to spot and my policy is to ignore them (for the record: dead twin guy, I’m on to you). But you, dear reader, were kind enough to provide a link to your gallery’s website, and after a bit of poking around it does indeed appear that your query is not some sort of complicated hoax inspired by a combination of whiskey and boredom.\u003c/p>\n\u003cp>But after verifying your information, I confess that I am completely mystified. You have a gallery on the \u003ci>Lower East Side of Manhattan\u003c/i> and you don’t know where to find artists? How did this come to be? I mean, you have an art space in the ostensible center of the art world and yet no art to hang in it. This is a disturbing case of putting the office before the business, if you see what I mean.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bender1.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Gretchen Bender, \u003ci>Total Recall\u003c/i>, 2013\u003c/p>\n\u003cp>Nevertheless, here we are. You have a gallery. You need art. You don’t know where to find it. You wrote to me. Your position leaves me scratching my head in perplexity, but help you I must. What you need is an education, and beyond the next four hundred words it’s going to be entirely self-directed. I can lead you to water, but the drinking is up to you.\u003c/p>\n\u003cp>Obviously, you have money, so for a quick start I suggest that you go to all the art fairs you can find. Art fairs are like supermarkets for art: you’ll look at a ton of product that has minimal shadings of difference. Occasionally you will cross paths with art that does not look like all the other art. That is the artist you want to represent. Take a friend with you, because art fairs are exhausting and you need to debrief with someone at the end of each day.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bender2.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Gretchen Bender, \u003ci>Tracking the Thrill\u003c/i>, 2013\u003c/p>\n\u003cp>Go to all the galleries in Brooklyn and Red Hook and Gowanus. The bigger artists who are already represented in New York are not going to work with you yet, because you are a (well-meaning) amateur. Also, the most interesting things happen at the peripheries of cities. Keep your eyes on the margins, because artists often produce good work when they’re not in the spotlight. Ask for studio visits and look for artists who have a steady practice. Don’t waste your time with assholes.\u003c/p>\n\u003cp>Talk to big-name artists who live in New York. Take them out to coffee and ask them whose work you should be looking at. Many of these artists also teach, and they come into contact with lots of artists whose practices deserve attention. Your gallery is somewhat medium specific, so I suggest that you also get in touch with the faculty chairs of local universities that have a department in that medium. They will know students and other faculty members whose work you can look at. They also come into contact with artists who are visiting from other cities, and will be able to point you in some interesting directions. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bender3.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Gretchen Bender, \u003ci>Wild Dead\u003c/i>, 2013\u003c/p>\n\u003cp>There are a few other things you need to think about. First, there are some ways in which you can support artists beyond selling their work. If you want to do cool things you have to be willing to stick your neck out, and at a time when many artists are forced to move out of major U.S. cities because of rising costs, it falls to all of us to work together to keep the creative economy moving. Once you do acquire some artists, consider finding a way to fund projects that aren’t commercially viable. Also, to preserve your sanity, you need a peer group, so cultivate friendships with some other gallerists in and beyond your neighborhood. These new friends will have great tips and can also help you find artists. Finally, go out and buy yourself a copy of \u003ca href=\"http://www.edwardwinkleman.com/\">Edward Winkleman\u003c/a>‘s \u003ca href=\"http://www.amazon.com/How-Start-Run-Commercial-Gallery/dp/1581156642\">\u003ci>How to Start and Run a Commercial Gallery\u003c/i>\u003c/a>. Edward’s a straight shooter with lots of good advice, and the book should help you enormously. Good luck! \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I have a gallery in LES [the Lower East Side of New York City] and I want to fill it with great art and sell a lot and do cool things. The problem is that I cannot find artists to represent. How do I find them? \u003c/b>\u003c/p>\n\u003cp>Surprising as it may seem, I rarely get phony questions for \u003ci>Help Desk\u003c/i>; and when I do, they are fairly easy to spot and my policy is to ignore them (for the record: dead twin guy, I’m on to you). But you, dear reader, were kind enough to provide a link to your gallery’s website, and after a bit of poking around it does indeed appear that your query is not some sort of complicated hoax inspired by a combination of whiskey and boredom.\u003c/p>\n\u003cp>But after verifying your information, I confess that I am completely mystified. You have a gallery on the \u003ci>Lower East Side of Manhattan\u003c/i> and you don’t know where to find artists? How did this come to be? I mean, you have an art space in the ostensible center of the art world and yet no art to hang in it. This is a disturbing case of putting the office before the business, if you see what I mean.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bender1.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Gretchen Bender, \u003ci>Total Recall\u003c/i>, 2013\u003c/p>\n\u003cp>Nevertheless, here we are. You have a gallery. You need art. You don’t know where to find it. You wrote to me. Your position leaves me scratching my head in perplexity, but help you I must. What you need is an education, and beyond the next four hundred words it’s going to be entirely self-directed. I can lead you to water, but the drinking is up to you.\u003c/p>\n\u003cp>Obviously, you have money, so for a quick start I suggest that you go to all the art fairs you can find. Art fairs are like supermarkets for art: you’ll look at a ton of product that has minimal shadings of difference. Occasionally you will cross paths with art that does not look like all the other art. That is the artist you want to represent. Take a friend with you, because art fairs are exhausting and you need to debrief with someone at the end of each day.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bender2.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Gretchen Bender, \u003ci>Tracking the Thrill\u003c/i>, 2013\u003c/p>\n\u003cp>Go to all the galleries in Brooklyn and Red Hook and Gowanus. The bigger artists who are already represented in New York are not going to work with you yet, because you are a (well-meaning) amateur. Also, the most interesting things happen at the peripheries of cities. Keep your eyes on the margins, because artists often produce good work when they’re not in the spotlight. Ask for studio visits and look for artists who have a steady practice. Don’t waste your time with assholes.\u003c/p>\n\u003cp>Talk to big-name artists who live in New York. Take them out to coffee and ask them whose work you should be looking at. Many of these artists also teach, and they come into contact with lots of artists whose practices deserve attention. Your gallery is somewhat medium specific, so I suggest that you also get in touch with the faculty chairs of local universities that have a department in that medium. They will know students and other faculty members whose work you can look at. They also come into contact with artists who are visiting from other cities, and will be able to point you in some interesting directions. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bender3.jpg\" style=\"margin-bottom: 10px\">\u003cbr />Gretchen Bender, \u003ci>Wild Dead\u003c/i>, 2013\u003c/p>\n\u003cp>There are a few other things you need to think about. First, there are some ways in which you can support artists beyond selling their work. If you want to do cool things you have to be willing to stick your neck out, and at a time when many artists are forced to move out of major U.S. cities because of rising costs, it falls to all of us to work together to keep the creative economy moving. Once you do acquire some artists, consider finding a way to fund projects that aren’t commercially viable. Also, to preserve your sanity, you need a peer group, so cultivate friendships with some other gallerists in and beyond your neighborhood. These new friends will have great tips and can also help you find artists. Finally, go out and buy yourself a copy of \u003ca href=\"http://www.edwardwinkleman.com/\">Edward Winkleman\u003c/a>‘s \u003ca href=\"http://www.amazon.com/How-Start-Run-Commercial-Gallery/dp/1581156642\">\u003ci>How to Start and Run a Commercial Gallery\u003c/i>\u003c/a>. Edward’s a straight shooter with lots of good advice, and the book should help you enormously. Good luck! \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kids across San Francisco are holding empty beach pails, still sniffling from the news that Saturday’s sandcastle contest at Ocean Beach has been postponed. The We Players theater group is scrambling to find a new venue for their Fort Point staging of \u003ci>Macbeth\u003c/i>. SFMOMA had to cancel public tours of its Crissy Field sculpture exhibit, and visitors to the Headlands Center for the Arts are confused. The government shutdown might seem like fodder for water cooler jokes until you realize it hurts San Francisco organizations that work on shoestring budgets to bring arts to the community.\u003c/p>\n\u003cp>\u003ca href=\"http://www.leaparts.org/\">Leap\u003c/a>, an organization that provides arts education for local students, hosts an annual sand castle contest that funds 40 percent of the organization’s budget and involves thousands of people. The contest teams up elementary school students, architects and engineers. Leap executive director Julie McDonald, who’s spent over a year planning and securing permits, reports, “We’ve spent the entire day on the phone with 26 disappointed schools and kids. That’s the part that hurts the most — hearing how sad the kids are.”\u003c/p>\n\u003cp>San Francisco isn’t the only city whose youth is suffering due to the shutdown, as evidenced by “\u003ca href=\"http://www.theatlanticwire.com/politics/2013/10/sad-kid-zoo-now-defining-image-shutdown/70394/\">the absolute saddest shutdown photo you will see\u003c/a>,” which went viral yesterday. The sand castle contest will be rescheduled, but the impact on this community-based organization is significant and could affect the volume of its programming. Leap’s permit was issued after the shutdown took effect, so it seemed like they could proceed, but three days before the contest, McDonald says, “We were told that we could be fined for trespassing and that our permit was no longer valid.”\u003c/p>\n\u003cp>At Crissy Field, all public tours of Mark di Suvero’s sculptures have been cancelled. SFMOMA education curator Julie Charles explains, “We are hopeful that we can soon resume these tours because they are a wonderful way to get people talking about the connections between di Suvero’s sculptures and the site, which holds particular significance for the artist, who immigrated to San Francisco from Shanghai as a young boy.” The monumental steel-beam sculptures seem to draw an extra resonance from their juxtaposition with the Golden Gate Bridge.\u003c/p>\n\u003cp>\u003ca href=\"http://www.headlands.org/\">Headlands Center for the Arts\u003c/a> was allowed to remain open, but the park it lives in is closed. Seair Lorentz, communications and outreach manager at the center, says the situation has led to “general confusion from our constituencies.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lauren Chavez, of the \u003ca href=\"http://www.weplayers.org/\">We Players\u003c/a> theater group, had to send this message to ticket holders, who still don’t know where or if the show will go on: “Our current production of \u003ci>Macbeth\u003c/i> is built very carefully and conscientiously into Fort Point, the Civil War era fortress beneath the Golden Gate Bridge. For over a year we have been integrating our work into that unique physical, sonic and energetic landscape. Because of the government shutdown we have been blocked from our stage, our most prominent scene partner and creative inspiration.”\u003c/p>\n\u003cp>San Francisco is also home to several NEA-funded arts education organizations, such as Streetside Stories and Performing Arts Workshop, whose upcoming grantee meeting in Washington, D.C., was cancelled. Securing airfare refunds is a challenge, and any amount of rescheduling impacts precious staff resources for organizations with lean budgets. Streetside’s Linda Johnson expressed gratitude for the NEA’s support but added, “To launch our new project, we are already fronting thousands of dollars in project expenses.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A small silver lining was pointed out by Leap’s McDonald, who heard that several schools were using the sand castle shutdown as an occasion for a civics lesson: “They’re using this situation as a teaching opportunity in community involvement, and are having their students write letters to their representatives, urging the federal government to get back on track.” You don’t have to be old enough to vote to recognize that the federal government needs to get their heads out of the sand.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kids across San Francisco are holding empty beach pails, still sniffling from the news that Saturday’s sandcastle contest at Ocean Beach has been postponed. The We Players theater group is scrambling to find a new venue for their Fort Point staging of \u003ci>Macbeth\u003c/i>. SFMOMA had to cancel public tours of its Crissy Field sculpture exhibit, and visitors to the Headlands Center for the Arts are confused. The government shutdown might seem like fodder for water cooler jokes until you realize it hurts San Francisco organizations that work on shoestring budgets to bring arts to the community.\u003c/p>\n\u003cp>\u003ca href=\"http://www.leaparts.org/\">Leap\u003c/a>, an organization that provides arts education for local students, hosts an annual sand castle contest that funds 40 percent of the organization’s budget and involves thousands of people. The contest teams up elementary school students, architects and engineers. Leap executive director Julie McDonald, who’s spent over a year planning and securing permits, reports, “We’ve spent the entire day on the phone with 26 disappointed schools and kids. That’s the part that hurts the most — hearing how sad the kids are.”\u003c/p>\n\u003cp>San Francisco isn’t the only city whose youth is suffering due to the shutdown, as evidenced by “\u003ca href=\"http://www.theatlanticwire.com/politics/2013/10/sad-kid-zoo-now-defining-image-shutdown/70394/\">the absolute saddest shutdown photo you will see\u003c/a>,” which went viral yesterday. The sand castle contest will be rescheduled, but the impact on this community-based organization is significant and could affect the volume of its programming. Leap’s permit was issued after the shutdown took effect, so it seemed like they could proceed, but three days before the contest, McDonald says, “We were told that we could be fined for trespassing and that our permit was no longer valid.”\u003c/p>\n\u003cp>At Crissy Field, all public tours of Mark di Suvero’s sculptures have been cancelled. SFMOMA education curator Julie Charles explains, “We are hopeful that we can soon resume these tours because they are a wonderful way to get people talking about the connections between di Suvero’s sculptures and the site, which holds particular significance for the artist, who immigrated to San Francisco from Shanghai as a young boy.” The monumental steel-beam sculptures seem to draw an extra resonance from their juxtaposition with the Golden Gate Bridge.\u003c/p>\n\u003cp>\u003ca href=\"http://www.headlands.org/\">Headlands Center for the Arts\u003c/a> was allowed to remain open, but the park it lives in is closed. Seair Lorentz, communications and outreach manager at the center, says the situation has led to “general confusion from our constituencies.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lauren Chavez, of the \u003ca href=\"http://www.weplayers.org/\">We Players\u003c/a> theater group, had to send this message to ticket holders, who still don’t know where or if the show will go on: “Our current production of \u003ci>Macbeth\u003c/i> is built very carefully and conscientiously into Fort Point, the Civil War era fortress beneath the Golden Gate Bridge. For over a year we have been integrating our work into that unique physical, sonic and energetic landscape. Because of the government shutdown we have been blocked from our stage, our most prominent scene partner and creative inspiration.”\u003c/p>\n\u003cp>San Francisco is also home to several NEA-funded arts education organizations, such as Streetside Stories and Performing Arts Workshop, whose upcoming grantee meeting in Washington, D.C., was cancelled. Securing airfare refunds is a challenge, and any amount of rescheduling impacts precious staff resources for organizations with lean budgets. Streetside’s Linda Johnson expressed gratitude for the NEA’s support but added, “To launch our new project, we are already fronting thousands of dollars in project expenses.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A small silver lining was pointed out by Leap’s McDonald, who heard that several schools were using the sand castle shutdown as an occasion for a civics lesson: “They’re using this situation as a teaching opportunity in community involvement, and are having their students write letters to their representatives, urging the federal government to get back on track.” You don’t have to be old enough to vote to recognize that the federal government needs to get their heads out of the sand.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ryan McGinley's (Wholesome) Wall of Flesh",
"headTitle": "Ryan McGinley’s (Wholesome) Wall of Flesh | KQED",
"content": "\u003cp>It has been a decade since Ryan MGinley’s debut museum show at the Whitney in New York. He was 25 at the time, notably young to have a solo exhibition there, and while his current show at Ratio 3 is by no means a survey, it is called \u003cb>Yearbook\u003c/b>, and by title invokes the idea of retrospective thinking. McGinley is best known for his photographs derived from infamous road trips in which he brings a team of youthful models into all corners of the American landscape and snaps them, naked in the wild. The contrast of skin and the elements often evokes a palpable sense of freedom, vulnerability, and youthful abandon fueled by physical exertion and endorphins. They run, they jump, they roller skate, they hang from trees. They have a blast.\u003c/p>\n\u003cp>\u003cb>Yearbook\u003c/b> is an offshoot of McGinley’s road trips. It features three-years’ worth of his portraits, pictures that sometimes come from his casting calls — he has a casting agent as part of his team. The show includes hundreds of poster-size portraits of men and women, most of whom seem to have recently passed into adulthood, are impossibly thin, and have a predilection for amateur tattoos, posing nude against vibrant, single colored backdrops. The images are wheat-pasted from floor to nearly the gallery’s high ceiling, one photo over another, an experiment in installing his work inspired by the gallery’s scale. The result might be described as a wall of flesh.\u003c/p>\n\u003cp>Yet that term doesn’t quite jibe with the underlying innocence and genuine positive vibes of the seemingly uber-hip models, or McGinley’s visually arresting means of capturing his subjects. You have to wonder what kind of person is able to coax so many people out of their clothes — getting their naked selves out onto craggy bluffs, scratchy wheat fields, or the relative comfort of a photo studio. In conversation during the Ratio 3 installation, the New York-based artist exudes a calm charisma, and a disarming focus as he describes his process, and the stories he’s gleaned from his subjects during shoots.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/23/mcginstall.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ryan McGinley, \u003ci>Yearbook\u003c/i>, Installation view\u003c/p>\n\u003cp>He explains that the portraits are the result of casting sessions, some serving as auditions for his legendary road trips (he just did one traveling through thirty-five states with teams of models for photos that will be shown this winter in other shows), others resulting in just studio works. “Casting is fun for me,” he says with a smile. “I like the idea of finding someone who wouldn’t necessarily think of themselves as a model. Everyone is a musician, a painter, or a performer. They’re all involved creatively. They are the people who get what I do.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a behind-the-scenes publication, he writes, aptly in longhand, “I want my photographs to look like The Rolling Stones sound.” He apparently hits that mark, as he has the popularity of front-man to a successful band with street cred — his exhibition openings typically attract mobs of folks who resemble the people in his pictures.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mcg.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>The scene might not appeal to everyone. McGinley’s consistent focus on youth, and a limited demographic range of ethnicities, however, might make older viewers feel uncomfortable or even voyeuristic. Does he get flack for this vision? “People have definitely asked me about it before,” he says, pausing. “I don’t know what to say about that; it’s my subject. It’s what I am interested in.”\u003c/p>\n\u003cp>It’s tempting to think of his work anthropologically, as a picture of a generation, though McGinley is an active participant (in that behind-the-scenes publication, he’s seen in states of undress with everyone else). He is a magnetic people person, and thrives on the stories they tell him about their lives. Walking through the show, he adds anecdotes about many of them: A gay Rasta guy whose family won’t accept his identity; a woman who just had abdominal surgery; “That guy’s dad is a rapper; that guy works in my gallery in New York; I like her because of her hairy armpits,” he says.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/23/mcginstall2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ryan McGinley, \u003ci>Yearbook\u003c/i>, Installation view\u003c/p>\n\u003cp>As we talk, cameras on tripods clicked in the service of a time-lapse record of the show’s making. Our conversation was being videotaped by one of his assistants, and he had a tiny mic clipped inside his collar. He’s been recording each photo shoot, interview, and opening reception for the last decade. To some, this may seem sinister or narcissistic, but McGinley’s emphasis is far more experiential than cultural critique. As his inspiration, he points to Andy Warhol’s practice of archiving a group of people, and the idea that he’ll one day be able to make a film of his practice, to perhaps reveal it as more of a conceptual project. The material will also offer a treasure trove of information to future McGinley scholars. The practice seems to be the hallmark of a generation that is comfortable with media’s ubiquitous presence. Unlike Warhol, McGinley doesn’t seem cynical about what media does. It is a tool, a means of creating images, and living a particular lifestyle.\u003c/p>\n\u003cp>“Overall, I think my work is pretty hopeful and positive. I’m never focused on despair or sadness. With energy comes positivity. I like it when people are moving, and I don’t know what I’m going to get.” It’s that trust in the experience that is responsible for some of his work’s appeal — and perhaps the thing that will propel it forward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ryan McGinley: Yearbook\u003c/b> is on view through October 19, 2013 at Ratio 3 in San Francisco. For \u003ca href=\"http://www.ratio3.org/exhibitions/2013/ryan-mcginley-yearbook\">more information\u003c/a>, visit ratio3.org.\u003c/p>\n\n",
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"excerpt": "McGinley is best known for his photographs in which he brings a team of youthful models into all corners of the American landscape and snaps them, naked in the wild. They run, they jump, they roller skate, they hang from trees. They have a blast.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It has been a decade since Ryan MGinley’s debut museum show at the Whitney in New York. He was 25 at the time, notably young to have a solo exhibition there, and while his current show at Ratio 3 is by no means a survey, it is called \u003cb>Yearbook\u003c/b>, and by title invokes the idea of retrospective thinking. McGinley is best known for his photographs derived from infamous road trips in which he brings a team of youthful models into all corners of the American landscape and snaps them, naked in the wild. The contrast of skin and the elements often evokes a palpable sense of freedom, vulnerability, and youthful abandon fueled by physical exertion and endorphins. They run, they jump, they roller skate, they hang from trees. They have a blast.\u003c/p>\n\u003cp>\u003cb>Yearbook\u003c/b> is an offshoot of McGinley’s road trips. It features three-years’ worth of his portraits, pictures that sometimes come from his casting calls — he has a casting agent as part of his team. The show includes hundreds of poster-size portraits of men and women, most of whom seem to have recently passed into adulthood, are impossibly thin, and have a predilection for amateur tattoos, posing nude against vibrant, single colored backdrops. The images are wheat-pasted from floor to nearly the gallery’s high ceiling, one photo over another, an experiment in installing his work inspired by the gallery’s scale. The result might be described as a wall of flesh.\u003c/p>\n\u003cp>Yet that term doesn’t quite jibe with the underlying innocence and genuine positive vibes of the seemingly uber-hip models, or McGinley’s visually arresting means of capturing his subjects. You have to wonder what kind of person is able to coax so many people out of their clothes — getting their naked selves out onto craggy bluffs, scratchy wheat fields, or the relative comfort of a photo studio. In conversation during the Ratio 3 installation, the New York-based artist exudes a calm charisma, and a disarming focus as he describes his process, and the stories he’s gleaned from his subjects during shoots.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/23/mcginstall.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ryan McGinley, \u003ci>Yearbook\u003c/i>, Installation view\u003c/p>\n\u003cp>He explains that the portraits are the result of casting sessions, some serving as auditions for his legendary road trips (he just did one traveling through thirty-five states with teams of models for photos that will be shown this winter in other shows), others resulting in just studio works. “Casting is fun for me,” he says with a smile. “I like the idea of finding someone who wouldn’t necessarily think of themselves as a model. Everyone is a musician, a painter, or a performer. They’re all involved creatively. They are the people who get what I do.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a behind-the-scenes publication, he writes, aptly in longhand, “I want my photographs to look like The Rolling Stones sound.” He apparently hits that mark, as he has the popularity of front-man to a successful band with street cred — his exhibition openings typically attract mobs of folks who resemble the people in his pictures.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mcg.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>The scene might not appeal to everyone. McGinley’s consistent focus on youth, and a limited demographic range of ethnicities, however, might make older viewers feel uncomfortable or even voyeuristic. Does he get flack for this vision? “People have definitely asked me about it before,” he says, pausing. “I don’t know what to say about that; it’s my subject. It’s what I am interested in.”\u003c/p>\n\u003cp>It’s tempting to think of his work anthropologically, as a picture of a generation, though McGinley is an active participant (in that behind-the-scenes publication, he’s seen in states of undress with everyone else). He is a magnetic people person, and thrives on the stories they tell him about their lives. Walking through the show, he adds anecdotes about many of them: A gay Rasta guy whose family won’t accept his identity; a woman who just had abdominal surgery; “That guy’s dad is a rapper; that guy works in my gallery in New York; I like her because of her hairy armpits,” he says.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/23/mcginstall2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ryan McGinley, \u003ci>Yearbook\u003c/i>, Installation view\u003c/p>\n\u003cp>As we talk, cameras on tripods clicked in the service of a time-lapse record of the show’s making. Our conversation was being videotaped by one of his assistants, and he had a tiny mic clipped inside his collar. He’s been recording each photo shoot, interview, and opening reception for the last decade. To some, this may seem sinister or narcissistic, but McGinley’s emphasis is far more experiential than cultural critique. As his inspiration, he points to Andy Warhol’s practice of archiving a group of people, and the idea that he’ll one day be able to make a film of his practice, to perhaps reveal it as more of a conceptual project. The material will also offer a treasure trove of information to future McGinley scholars. The practice seems to be the hallmark of a generation that is comfortable with media’s ubiquitous presence. Unlike Warhol, McGinley doesn’t seem cynical about what media does. It is a tool, a means of creating images, and living a particular lifestyle.\u003c/p>\n\u003cp>“Overall, I think my work is pretty hopeful and positive. I’m never focused on despair or sadness. With energy comes positivity. I like it when people are moving, and I don’t know what I’m going to get.” It’s that trust in the experience that is responsible for some of his work’s appeal — and perhaps the thing that will propel it forward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ryan McGinley: Yearbook\u003c/b> is on view through October 19, 2013 at Ratio 3 in San Francisco. For \u003ca href=\"http://www.ratio3.org/exhibitions/2013/ryan-mcginley-yearbook\">more information\u003c/a>, visit ratio3.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Good Things Require Money: THE THING Quarterly's 'Moment to Moment'",
"headTitle": "Good Things Require Money: THE THING Quarterly’s ‘Moment to Moment’ | KQED",
"content": "\u003cp>If you’ve boarded a train at the Castro Muni station since mid-July, or spent time near the intersection of Market and 16th Streets, you may have noticed the large text panels and billboard installations currently on view and wondered what you were looking at. Well, wonder no more. San Francisco-based artists Jonn Herschend and Will Rogan have temporarily intervened in our daily comings and goings with \u003cb>Moment to Moment\u003c/b>, the latest installment in the ongoing project THE THING Quarterly, on view first in San Francisco and later in New York City, London, Los Angeles, and Tokyo. (Though the San Francisco exhibition was scheduled to be up July 22 – August 18, as of this writing it was still on view in the Castro Muni station, though how long it will remain is anyone’s guess. Companies that own public ad space will often wait until the next campaign is ready before swapping out the old one.)\u003c/p>\n\u003cp>What is THE THING Quarterly? Broadly described, it is a publication… with a twist. Each iteration of THE THING is conceived of and executed by different collaborators. Since its inception in 2009, an impressive roster of artists and writers have contributed, including Miranda July, Allora & Calzadilla, Dave Eggers, Tauba Auerbach, and the annoyingly ubiquitous James Franco. Each project produces a useful object, such as Eggers’ readable shower curtain, July’s forlornly notated window shade, and a switchblade Franco commissioned to honor the memory of friend and fellow actor Brad Renfro. Through subscriptions and sales of these unique items, Herschend and Rogan have established both a sustainable business model for small arts institutions, and thrown a wrench into our thinking about the form and lifespan of a “publication.” For \u003cb>Moment to Moment\u003c/b>, Herschend and Rogan drew from the work of conceptual artist Dan Graham, who was inspired by the musings of the 19th-century French poet Stéphane Mallarmé, who considered the book as a performative, collective experience. Between 1966 and 1968, Graham co-opted commercial advertising space in publications as wildly different as \u003ci>Harper’s Bazaar\u003c/i> and \u003ci>The New York Review of Sex\u003c/i>. In each instance, he drew attention to text-based work and proposed that publications, conservative or radical, were ideal locations for intervention.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-shows.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Billboard by Leslie Shows (16th & Market, SF)\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-kine.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Castro Muni Train Station, Starlee Kine\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-omalley.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Susan O’Malley, \u003ci>Right Now\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003cb>Moment to Moment\u003c/b> brings the “art as media” model up to date, utilizing multiple platforms including print, billboards, animation, film, painting, and photography. For these impermanent interventions, Herschend and Rogan selected artists with whom they’ve worked and whose practice supports the idea of an interactive, transitory publication. In the Castro Street station, Starlee Kine and Dave Muller’s playful, vaguely angst-infused musings are presented as two large floor pieces sited on both inbound and outbound platforms. Opposite the text pieces, on billboards usually occupied by advertisements, is the work of Susan O’Malley and Harrell Fletcher. Taken individually and as a group installation, the pieces offer relief from our otherwise frantic daily agendas. O’Malley’s colorful, graphically oriented pieces reroute my speeding thought train back to the moment at hand. Editions that will soon roll out in Los Angeles, New York, Tokyo and online feature the work of John Rubin, Anthony Discenza, and Kota Ezawa and offer the same momentary respite, encouraging us to slow down, finish a thought, take time to talk with a friend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-fletcher.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Harrell Fletcher, \u003ci>Hello There Friend\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-discenza.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Anthony Discenza, \u003ci>Advisory #1: Feasibility Studies\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Over the course of several emails, Jonn Herschend graciously fielded numerous questions about the origin of the project, and the decision to join forces with a corporate sponsor, Levi’s Made & Crafted. It is obvious that all parties involved want to see the varied visual components of this project well represented and their creators acknowledged for their contributions, and that goal was achieved. It’s also apparent that the promotion of Levi’s brand name was important, and that’s frustrating. We — art consumers — are accustomed to large institutions partnering with corporate entities to present exhibitions. Without Charles Schwab, Wells Fargo, and others on board, most museums could not afford the near-staggering costs associated with mounting major shows. It stands to reason, then, that another corporate-sponsored art installations would not raise any eyebrows.\u003c/p>\n\u003cp>In this instance, however, the THING/Levi’s Made & Crafted union is troublesome, if only because the partnership defies the critique posited by Dan Graham and others including Joseph Kosuth, Adrian Piper, and Robert Heinecken whose work interrogated pervasive consumer culture. As historian Gwen Allen states in her contribution to \u003cb>Moment to Moment\u003c/b>, which is accessible both online and in print, Graham and others had solidly anti-establishment motives in mind when the means and execution of placing their work in the public realm was undertaken. By comparison, the latest offering by THE THING reads more as promotion than subtle provocation to thought.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Moment to Moment\u003c/b> is on view in various cities and online. For \u003ca href=\"http://www.goodthingstaketime.com/\">more information\u003c/a>, visit goodthingstaketime.com\u003c/p>\n\n",
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"excerpt": "THE THING is a quarterly \"publication\" designed by guest artists that has taken many forms: from James Franco's switchblade to Miranda July's window shades. With \u003cb>Moment to Moment\u003c/b>, the latest edition is in billboard form, providing its own unique take on advertising.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve boarded a train at the Castro Muni station since mid-July, or spent time near the intersection of Market and 16th Streets, you may have noticed the large text panels and billboard installations currently on view and wondered what you were looking at. Well, wonder no more. San Francisco-based artists Jonn Herschend and Will Rogan have temporarily intervened in our daily comings and goings with \u003cb>Moment to Moment\u003c/b>, the latest installment in the ongoing project THE THING Quarterly, on view first in San Francisco and later in New York City, London, Los Angeles, and Tokyo. (Though the San Francisco exhibition was scheduled to be up July 22 – August 18, as of this writing it was still on view in the Castro Muni station, though how long it will remain is anyone’s guess. Companies that own public ad space will often wait until the next campaign is ready before swapping out the old one.)\u003c/p>\n\u003cp>What is THE THING Quarterly? Broadly described, it is a publication… with a twist. Each iteration of THE THING is conceived of and executed by different collaborators. Since its inception in 2009, an impressive roster of artists and writers have contributed, including Miranda July, Allora & Calzadilla, Dave Eggers, Tauba Auerbach, and the annoyingly ubiquitous James Franco. Each project produces a useful object, such as Eggers’ readable shower curtain, July’s forlornly notated window shade, and a switchblade Franco commissioned to honor the memory of friend and fellow actor Brad Renfro. Through subscriptions and sales of these unique items, Herschend and Rogan have established both a sustainable business model for small arts institutions, and thrown a wrench into our thinking about the form and lifespan of a “publication.” For \u003cb>Moment to Moment\u003c/b>, Herschend and Rogan drew from the work of conceptual artist Dan Graham, who was inspired by the musings of the 19th-century French poet Stéphane Mallarmé, who considered the book as a performative, collective experience. Between 1966 and 1968, Graham co-opted commercial advertising space in publications as wildly different as \u003ci>Harper’s Bazaar\u003c/i> and \u003ci>The New York Review of Sex\u003c/i>. In each instance, he drew attention to text-based work and proposed that publications, conservative or radical, were ideal locations for intervention.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-shows.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Billboard by Leslie Shows (16th & Market, SF)\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-kine.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Castro Muni Train Station, Starlee Kine\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-omalley.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Susan O’Malley, \u003ci>Right Now\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003cb>Moment to Moment\u003c/b> brings the “art as media” model up to date, utilizing multiple platforms including print, billboards, animation, film, painting, and photography. For these impermanent interventions, Herschend and Rogan selected artists with whom they’ve worked and whose practice supports the idea of an interactive, transitory publication. In the Castro Street station, Starlee Kine and Dave Muller’s playful, vaguely angst-infused musings are presented as two large floor pieces sited on both inbound and outbound platforms. Opposite the text pieces, on billboards usually occupied by advertisements, is the work of Susan O’Malley and Harrell Fletcher. Taken individually and as a group installation, the pieces offer relief from our otherwise frantic daily agendas. O’Malley’s colorful, graphically oriented pieces reroute my speeding thought train back to the moment at hand. Editions that will soon roll out in Los Angeles, New York, Tokyo and online feature the work of John Rubin, Anthony Discenza, and Kota Ezawa and offer the same momentary respite, encouraging us to slow down, finish a thought, take time to talk with a friend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-fletcher.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Harrell Fletcher, \u003ci>Hello There Friend\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/thing-discenza.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Anthony Discenza, \u003ci>Advisory #1: Feasibility Studies\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Over the course of several emails, Jonn Herschend graciously fielded numerous questions about the origin of the project, and the decision to join forces with a corporate sponsor, Levi’s Made & Crafted. It is obvious that all parties involved want to see the varied visual components of this project well represented and their creators acknowledged for their contributions, and that goal was achieved. It’s also apparent that the promotion of Levi’s brand name was important, and that’s frustrating. We — art consumers — are accustomed to large institutions partnering with corporate entities to present exhibitions. Without Charles Schwab, Wells Fargo, and others on board, most museums could not afford the near-staggering costs associated with mounting major shows. It stands to reason, then, that another corporate-sponsored art installations would not raise any eyebrows.\u003c/p>\n\u003cp>In this instance, however, the THING/Levi’s Made & Crafted union is troublesome, if only because the partnership defies the critique posited by Dan Graham and others including Joseph Kosuth, Adrian Piper, and Robert Heinecken whose work interrogated pervasive consumer culture. As historian Gwen Allen states in her contribution to \u003cb>Moment to Moment\u003c/b>, which is accessible both online and in print, Graham and others had solidly anti-establishment motives in mind when the means and execution of placing their work in the public realm was undertaken. By comparison, the latest offering by THE THING reads more as promotion than subtle provocation to thought.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Moment to Moment\u003c/b> is on view in various cities and online. For \u003ca href=\"http://www.goodthingstaketime.com/\">more information\u003c/a>, visit goodthingstaketime.com\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Help Desk is co-sponsored by Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>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>\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>\u003c/p>\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>“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>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/15/Tuazon3.jpg\" style=\"width=\"500px; margin-bottom: 10px;\">\u003cbr />Oscar Tuazon, installation view of \u003ci>Sensory Spaces\u003c/i> at the Museum Boijmans Van Beuningen, 2013.\u003cbr />\u003c/center>\u003c/p>\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>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",
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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>\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>\u003c/p>\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>“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>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/15/Tuazon3.jpg\" style=\"width=\"500px; margin-bottom: 10px;\">\u003cbr />Oscar Tuazon, installation view of \u003ci>Sensory Spaces\u003c/i> at the Museum Boijmans Van Beuningen, 2013.\u003cbr />\u003c/center>\u003c/p>\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>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\u003c/div>\u003c/p>",
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"title": "Moving and Shaking: Potrero Art Walk",
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"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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"title": "SFMOMA Is 'On The Go': Five Reasons to Track it Down",
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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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"excerpt": "San Francisco's Museum of Modern Art is closed and won't reopen again until 2016, which begs the question: Where did all the art go? SFMOMA's answer: Everywhere.",
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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/p>\n\u003cp>\u003c/b>\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>\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>\u003c/p>\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>\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>\u003c/p>\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>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",
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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/p>\n\u003cp>\u003c/b>\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>\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>\u003c/p>\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>\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>\u003c/p>\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>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\u003c/div>\u003c/p>",
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"title": "Oldest Known Charter of Human Rights Comes to San Francisco",
"headTitle": "Oldest Known Charter of Human Rights Comes to San Francisco | KQED",
"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": "\u003cdiv class=\"post-body\">\u003cp>\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\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>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>\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>\u003c/p>\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>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>\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>\u003c/p>\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>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",
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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>\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>\u003c/p>\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>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>\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>\u003c/p>\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>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\u003c/div>\u003c/p>",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"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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"meta": {
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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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"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",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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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": {
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"source": "WaitWhat"
},
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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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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