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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003ci>Merry Hanukkwanzmas and Happy New Solstice Apocalypse! ‘Tis the season for gifting, so this week I’ve prepared a list to make your holiday shopping easier. My suggestions are based around the idea of advice — this is an advice column, after all, and who doesn’t need a little wise counsel now and then? For those on a tight budget who still want to share the love, I’ve thrown in a few items at the end that don’t rely on the almighty dollar. \u003c/i>\u003c/p>\n\u003cp>\u003cb>For the Art School Student:\u003c/b>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.papermonument.com/i-like-your-work/\"> I Like Your Work: Art and Etiquette\u003c/a>\u003c/em>\u003cbr>As the title suggests, this edited collection of essays explains the social mores of the professional art community. From studio etiquette to what to say and do at openings (as well as a fun essay on how to dress!), this sometimes-serious, sometimes-tongue-in-cheek volume will have you nodding in (weary) agreement. There are also a few juicy sections by anonymous authors that supply a bit of keen insight into the workings of our little world. Warning: thumbing through will only make you want to keep it, so order a copy for yourself and a copy to give away.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/DIWYEC.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Paper Monument, \u003ci>Draw It with Your Eyes Closed: The Art of the Art Assignment\u003c/i>, 2012.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>For Your Favorite Art Teacher:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.papermonument.com/drawit/\">\u003cem> Draw It with Your Eyes Closed: The Art of the Art Assignment\u003c/em>\u003c/a>\u003cbr>As with \u003ci>I Like Your Work\u003c/i>, this book is also a collection of essays edited by Paper Monument. While the title makes it sound a bit dry, the contents are actually quite touching and amusing. Some articles are written about professors’ own attempts to teach their students, and some are written by former art students about the relative efficacy of the assignments they received. As you might imagine, the pedagogical tasks described herein run the gamut from Zen-koan-like simplicity to arduously complicated, making this a winner for both the seasoned instructor and the neophyte. One personal favorite is Kevin Zucker’s tragically comic essay, “Seemingly Innocuous Assignments That Will Lead to Improbable Calamities: Cautionary Notes for Teachers, Unfortunately Based on Personal Experience” — as far as I’m concerned, this one alone is worth the price.\u003c/p>\n\u003cp>\u003cb>For the Critique Leader/Art School Program Director:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.thebolditalic.com/shop/collections/desk/products/stamps-of-disapproval\">\u003cem> Stamps of Disapproval\u003c/em>\u003c/a>\u003cbr>Okay, it’s not a book (but it is text) and it’s not really advice (unless “I’m not convinced” counts), but this set of six stamps is a great gift for anyone who has anything to do with art — they’re easily presented to everyone from your Art History T.A. to your pal the freelance graphic designer. If you don’t already have someone in mind for these babies, they’re cheap enough to keep on hand in case you are ensnared in one of those last-second gifting situations: \u003ci>Oh, you got me a gift? Well, here’s something for you.\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/GGP.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Guillermo Gómez-Peña, co-author of \u003ci>Exercises for Rebel Artists: Radical Performance Pedagogy\u003c/i>\u003c/p>\n\u003cp>\u003cb>For the Budding Performance Artist or Instructor:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.powells.com/biblio/72-9780415549233-0\">\u003cem> Exercises for Rebel Artists: Radical Performance Pedagogy\u003c/em>\u003c/a>\u003cbr>Here’s another slim volume chock-a-block with fun and exciting things to do. Though it is specifically about performance, I found some of the information adaptable to other kinds of classroom settings where you need to get people moving and thinking — or when you just need to shake things up. Written by long-term practitioners Guillermo Gómez-Peña and Roberto Sifuentes, this book is replete with honest, playful advice for artists and it walks the reader through a series of step-by-step exercises that create public spectacles, circumvent convention, and question all kinds of borders and boundaries.\u003c/p>\n\u003cp>\u003cb>For the Aspiring Gallerist:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/s/ref=nb_sb_noss_1?url=search-alias%3Dstripbooks&field-keywords=How+to+Start+and+Run+a+Commercial+Art+Gallery\">\u003cem> How to Start and Run a Commercial Art Gallery\u003c/em>\u003c/a>\u003cbr>Godblessim, that Edward Winkleman. Not only does he write \u003ca href=\"http://www.edwardwinkleman.com/2007/04/one-more-time-with-feeling-seriously.html\">a blog that offers advice to artists\u003c/a> (and contributed to \u003ca href=\"http://dailyserving.com/2012/08/help-desk-art-fairs-everywhere/\">this column\u003c/a>), but he’s also penned an in-depth look at what it takes to found and maintain a successful art gallery. From writing a business plan to finding and renovating a space to promoting the gallery and representing artists, Edward has you covered. If you’re thinking about opening a gallery, don’t miss out on his hard-earned wisdom.\u003c/p>\n\u003cp>\u003cb>For Your Favorite Advice Columnist:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/Dear-Asshole-Tear-Out-Letters-Morons/dp/0762442867\">\u003cem> Dear Asshole: 101 Tear-Out Letters to the Morons Who Muck Up Your Life\u003c/em>\u003c/a>\u003cbr>Even enthusiastic writers get tired of having to pen correctional missives, and this book steps in to fill the void. The publisher’s info says, “Ever wish you could leave a nasty note for that jerk in the Hummer who blocked you in, or the idiot who didn’t clean up after his dog? Now you can! \u003ci>Dear Asshole\u003c/i> includes 101 letters to all of the assholes you encounter on a daily basis, each letter conveniently perforated so you can tear it out and give it to the desired offender.” Amazon reviewer shadowcat410 says, “The book covers almost every type of moron out there,” and I’m hoping that means there’s a note for the haughty gallerinas who grudgingly and disdainfully hand over a press release — \u003ci>even after I tell them I’m reviewing the exhibition.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Some additional tips for those who are flat broke:\u003c/b>\u003c/p>\n\u003cp>Need to give a present, but you’re totally skint? Consider a gift of your time and energy. Certificates for your time and assistance are always appreciated: a little drawing or collage in a nifty envelope costs next to nothing, but means a lot to those who are short on help. Here are some ideas: \u003c/p>\n\u003cp>Build a Website\u003cbr>This one is definitely an undertaking, so save it for a loved one. There are quite a few template-based sites out there, but you’ll have to pay for hosting, which runs about $8/month. If you use \u003ca href=\"http://www.weebly.com/\">Weebly\u003c/a>, you can build and host a professional-looking site for free. Check it out. \u003c/p>\n\u003cp>Make a New Mailing List\u003cbr>If you’ve got a pal who’s not very organized, you can offer to help them by taking all their little scraps of paper, random business cards, and neglected Open Studios mailing-list sign-up sheets and inputting them into a useable system. This person will be singing your name to the heavens when she has to mail postcards or send an email invitation for her next solo show. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Studio Assistance\u003cbr>We could all use a hand in the studio now and again, whether it’s to construct a project or just clean up and rearrange the furniture. A gift certificate for a set number of hours is a wonderful way to support your favorite artist without spending a dime. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003ci>Merry Hanukkwanzmas and Happy New Solstice Apocalypse! ‘Tis the season for gifting, so this week I’ve prepared a list to make your holiday shopping easier. My suggestions are based around the idea of advice — this is an advice column, after all, and who doesn’t need a little wise counsel now and then? For those on a tight budget who still want to share the love, I’ve thrown in a few items at the end that don’t rely on the almighty dollar. \u003c/i>\u003c/p>\n\u003cp>\u003cb>For the Art School Student:\u003c/b>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.papermonument.com/i-like-your-work/\"> I Like Your Work: Art and Etiquette\u003c/a>\u003c/em>\u003cbr>As the title suggests, this edited collection of essays explains the social mores of the professional art community. From studio etiquette to what to say and do at openings (as well as a fun essay on how to dress!), this sometimes-serious, sometimes-tongue-in-cheek volume will have you nodding in (weary) agreement. There are also a few juicy sections by anonymous authors that supply a bit of keen insight into the workings of our little world. Warning: thumbing through will only make you want to keep it, so order a copy for yourself and a copy to give away.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/DIWYEC.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Paper Monument, \u003ci>Draw It with Your Eyes Closed: The Art of the Art Assignment\u003c/i>, 2012.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>For Your Favorite Art Teacher:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.papermonument.com/drawit/\">\u003cem> Draw It with Your Eyes Closed: The Art of the Art Assignment\u003c/em>\u003c/a>\u003cbr>As with \u003ci>I Like Your Work\u003c/i>, this book is also a collection of essays edited by Paper Monument. While the title makes it sound a bit dry, the contents are actually quite touching and amusing. Some articles are written about professors’ own attempts to teach their students, and some are written by former art students about the relative efficacy of the assignments they received. As you might imagine, the pedagogical tasks described herein run the gamut from Zen-koan-like simplicity to arduously complicated, making this a winner for both the seasoned instructor and the neophyte. One personal favorite is Kevin Zucker’s tragically comic essay, “Seemingly Innocuous Assignments That Will Lead to Improbable Calamities: Cautionary Notes for Teachers, Unfortunately Based on Personal Experience” — as far as I’m concerned, this one alone is worth the price.\u003c/p>\n\u003cp>\u003cb>For the Critique Leader/Art School Program Director:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.thebolditalic.com/shop/collections/desk/products/stamps-of-disapproval\">\u003cem> Stamps of Disapproval\u003c/em>\u003c/a>\u003cbr>Okay, it’s not a book (but it is text) and it’s not really advice (unless “I’m not convinced” counts), but this set of six stamps is a great gift for anyone who has anything to do with art — they’re easily presented to everyone from your Art History T.A. to your pal the freelance graphic designer. If you don’t already have someone in mind for these babies, they’re cheap enough to keep on hand in case you are ensnared in one of those last-second gifting situations: \u003ci>Oh, you got me a gift? Well, here’s something for you.\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/GGP.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Guillermo Gómez-Peña, co-author of \u003ci>Exercises for Rebel Artists: Radical Performance Pedagogy\u003c/i>\u003c/p>\n\u003cp>\u003cb>For the Budding Performance Artist or Instructor:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.powells.com/biblio/72-9780415549233-0\">\u003cem> Exercises for Rebel Artists: Radical Performance Pedagogy\u003c/em>\u003c/a>\u003cbr>Here’s another slim volume chock-a-block with fun and exciting things to do. Though it is specifically about performance, I found some of the information adaptable to other kinds of classroom settings where you need to get people moving and thinking — or when you just need to shake things up. Written by long-term practitioners Guillermo Gómez-Peña and Roberto Sifuentes, this book is replete with honest, playful advice for artists and it walks the reader through a series of step-by-step exercises that create public spectacles, circumvent convention, and question all kinds of borders and boundaries.\u003c/p>\n\u003cp>\u003cb>For the Aspiring Gallerist:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/s/ref=nb_sb_noss_1?url=search-alias%3Dstripbooks&field-keywords=How+to+Start+and+Run+a+Commercial+Art+Gallery\">\u003cem> How to Start and Run a Commercial Art Gallery\u003c/em>\u003c/a>\u003cbr>Godblessim, that Edward Winkleman. Not only does he write \u003ca href=\"http://www.edwardwinkleman.com/2007/04/one-more-time-with-feeling-seriously.html\">a blog that offers advice to artists\u003c/a> (and contributed to \u003ca href=\"http://dailyserving.com/2012/08/help-desk-art-fairs-everywhere/\">this column\u003c/a>), but he’s also penned an in-depth look at what it takes to found and maintain a successful art gallery. From writing a business plan to finding and renovating a space to promoting the gallery and representing artists, Edward has you covered. If you’re thinking about opening a gallery, don’t miss out on his hard-earned wisdom.\u003c/p>\n\u003cp>\u003cb>For Your Favorite Advice Columnist:\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/Dear-Asshole-Tear-Out-Letters-Morons/dp/0762442867\">\u003cem> Dear Asshole: 101 Tear-Out Letters to the Morons Who Muck Up Your Life\u003c/em>\u003c/a>\u003cbr>Even enthusiastic writers get tired of having to pen correctional missives, and this book steps in to fill the void. The publisher’s info says, “Ever wish you could leave a nasty note for that jerk in the Hummer who blocked you in, or the idiot who didn’t clean up after his dog? Now you can! \u003ci>Dear Asshole\u003c/i> includes 101 letters to all of the assholes you encounter on a daily basis, each letter conveniently perforated so you can tear it out and give it to the desired offender.” Amazon reviewer shadowcat410 says, “The book covers almost every type of moron out there,” and I’m hoping that means there’s a note for the haughty gallerinas who grudgingly and disdainfully hand over a press release — \u003ci>even after I tell them I’m reviewing the exhibition.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Some additional tips for those who are flat broke:\u003c/b>\u003c/p>\n\u003cp>Need to give a present, but you’re totally skint? Consider a gift of your time and energy. Certificates for your time and assistance are always appreciated: a little drawing or collage in a nifty envelope costs next to nothing, but means a lot to those who are short on help. Here are some ideas: \u003c/p>\n\u003cp>Build a Website\u003cbr>This one is definitely an undertaking, so save it for a loved one. There are quite a few template-based sites out there, but you’ll have to pay for hosting, which runs about $8/month. If you use \u003ca href=\"http://www.weebly.com/\">Weebly\u003c/a>, you can build and host a professional-looking site for free. Check it out. \u003c/p>\n\u003cp>Make a New Mailing List\u003cbr>If you’ve got a pal who’s not very organized, you can offer to help them by taking all their little scraps of paper, random business cards, and neglected Open Studios mailing-list sign-up sheets and inputting them into a useable system. This person will be singing your name to the heavens when she has to mail postcards or send an email invitation for her next solo show. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Studio Assistance\u003cbr>We could all use a hand in the studio now and again, whether it’s to construct a project or just clean up and rearrange the furniture. A gift certificate for a set number of hours is a wonderful way to support your favorite artist without spending a dime. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Art books are easy to wrap and will score you points for being athoughtful gift giver who recognizes the creative side in everyone. Hereare three outstanding options to brighten up any bookshelf, published justin time for the holiday season.\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/Contact-Sheet-Steve-Crist/dp/1934429082\">\u003cb>\u003ci>TheContact Sheet\u003c/i>\u003c/b>\u003c/a>\u003cbr>Everyone is a photographer these days, and owning a photography book couldhelp Instagrammers feel more legit. Before there was the iPhone “cameraroll” there were these things called contact sheets — all the images froma photo shoot printed on one page. \u003ci>The Contact Sheet\u003c/i> reveals thebefore-and-after shots of iconic photographs, like Dorothea Lange’sDepression-era \u003ci>Migrant Mother\u003c/i>, and that ubiquitous image of aFrench couple kissing by Robert Doisneau.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/doisneau-kiss.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Contact sheet for “Le baiser de l’hotel de ville (The Kiss by the Hotel de Ville)” by Robert Doisneau.\u003cbr>\u003c/center>\n\u003cp> The thing about photographs is that you can never assume they’re honest. \u003ci>The Contact Sheet\u003c/i> reveals the truth behind some of photography’s best known images.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/milk-and-honey.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ca href=\"http://work.thedutchpress.com/Milk-Honey-Contemporary-Art-in-California%20\">\u003cb>\u003ci>Milk and Honey: Contemporary Art in California\u003c/i>\u003c/b>\u003c/a>\u003cbr>Sage Vaughn’s luscious dripping color graces the cover of this beautifuland substantial book featuring artists who live in the Golden State. It’strue, California is the land of \u003ci>Milk and Honey\u003c/i>, warm and sweet withinspirational landscapes and culture. It’s no wonder so many artists livehere. Among those featured in the book are some of our favorites featuredon KQED Arts: Mel Kadel, Barry McGee, Richard Colman, Andrew Schoultz, andcountless others. This book honors the legacy of its curator and author, awell-loved L.A. artist, who passed away recently. Justin Van Hoy wasa big supporter of his community, and \u003ci>Milk and Honey\u003c/i> is one of hismany gifts to the world. He curated an exhibition featuring artists fromthe book, which will open in January, 2013 at \u003cahref>Guerrero Gallery in San Francisco.\u003c/ahref>\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/cartoon-network.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003cb>\u003ci>Cartoon Network’s 20th Anniversary Book\u003c/i>\u003c/b>\u003cbr>This book arrived in a box that said, “It’s our birthday, so we got you apresent.” Thanks, Cartoon Network! Thanks for dedicating two decades toartist-driven animation and cartoons that are OK for grown-ups to like. Aninternational group of artists are featured in the anniversary book, andwere “personally invited to interpret a Cartoon Network show orcharacter.” \u003ci>Adventure Time\u003c/i>, \u003ci>The Powerpuff Girls\u003c/i>, and\u003ci>Foster’s Home for Imaginary Friends\u003c/i> were among the most popularshows reimagined by the artists, who talk about the cartoons that inspiredthem as budding creatives. This book proves that their early interests inanimation continue to inspire their work, and that Cartoon Network’s castof characters and narratives will influence generations to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bonus: The book’s cover is a nifty fold-out poster. Bummer: We recentlydiscovered that this book was published in an edition of 2500 and notoffered to the public. Win our copy by telling us why you should be thelucky owner of this collectible art book: submissions accepted @KQEDartson Twitter.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Art books are easy to wrap and will score you points for being athoughtful gift giver who recognizes the creative side in everyone. Hereare three outstanding options to brighten up any bookshelf, published justin time for the holiday season.\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/Contact-Sheet-Steve-Crist/dp/1934429082\">\u003cb>\u003ci>TheContact Sheet\u003c/i>\u003c/b>\u003c/a>\u003cbr>Everyone is a photographer these days, and owning a photography book couldhelp Instagrammers feel more legit. Before there was the iPhone “cameraroll” there were these things called contact sheets — all the images froma photo shoot printed on one page. \u003ci>The Contact Sheet\u003c/i> reveals thebefore-and-after shots of iconic photographs, like Dorothea Lange’sDepression-era \u003ci>Migrant Mother\u003c/i>, and that ubiquitous image of aFrench couple kissing by Robert Doisneau.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/doisneau-kiss.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Contact sheet for “Le baiser de l’hotel de ville (The Kiss by the Hotel de Ville)” by Robert Doisneau.\u003cbr>\u003c/center>\n\u003cp> The thing about photographs is that you can never assume they’re honest. \u003ci>The Contact Sheet\u003c/i> reveals the truth behind some of photography’s best known images.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/milk-and-honey.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003ca href=\"http://work.thedutchpress.com/Milk-Honey-Contemporary-Art-in-California%20\">\u003cb>\u003ci>Milk and Honey: Contemporary Art in California\u003c/i>\u003c/b>\u003c/a>\u003cbr>Sage Vaughn’s luscious dripping color graces the cover of this beautifuland substantial book featuring artists who live in the Golden State. It’strue, California is the land of \u003ci>Milk and Honey\u003c/i>, warm and sweet withinspirational landscapes and culture. It’s no wonder so many artists livehere. Among those featured in the book are some of our favorites featuredon KQED Arts: Mel Kadel, Barry McGee, Richard Colman, Andrew Schoultz, andcountless others. This book honors the legacy of its curator and author, awell-loved L.A. artist, who passed away recently. Justin Van Hoy wasa big supporter of his community, and \u003ci>Milk and Honey\u003c/i> is one of hismany gifts to the world. He curated an exhibition featuring artists fromthe book, which will open in January, 2013 at \u003cahref>Guerrero Gallery in San Francisco.\u003c/ahref>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>2012 is almost gone, and over the course of this year I received some questions that didn’t seem quite right for the column — either because they only required a short answer and/or because they require me to make prescriptive pronouncements on the State of the Contemporary Arts (which I don’t like to do, though I am delighted to tell you \u003ca href=\"http://dailyserving.com/2012/11/help-desk-backstabbing/\">how to handle your jealous peers\u003c/a>). I still believe that art should be a place of freedom, and who am I to say what you, Joe Artist of Gresham, Oregon, should make? I just want you to be happy and satisfied. But every week when I go into my little Google spreadsheet to select the next issue’s query I see \u003ci>these\u003c/i> questions, and it pains me that they’ve gone unanswered. This is my opportunity to reply before the year is over so that we can have a fresh start in 2013. Here goes:\u003c/p>\n\u003cp>\u003cb>Often I see “art” that is honestly nothing more than 3 squiggles on a red background, yet I have a professor that swears it’s ingenious and I should draw just like that person to be a successful artist. So my question is this: how do I explore and grow within my own art style while I’m still within a structured group setting, when my professor is enforcing a completely different style? \u003c/b>\u003c/p>\n\u003cp>Three ideas: 1.) it seems unlikely that your professor really wants you to copy the ingenious squiggler — maybe he or she is just urging you to appreciate something you’re not accustomed to; 2.) if you’re still in school then you’re too young to have developed a style, so stop worrying about all that for now; 3.) figure out \u003ci>why\u003c/i> those three squiggles are considered ingenious. When you answer this question for yourself, you’ll be farther along your path to being an artist than if you spent four years on a “style.” Style is nothing but surface unless there is a deep understanding behind it. You’re in school to cultivate your knowledge, so the next time you’re told some work is brilliant and you think it’s not, ask for the reasons behind your professor’s opinion. You don’t have to agree, but you do have to know exactly why you disagree.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"http://u.s.kqed.net/2012/12/03/JoavBarEl1.jpg\">\u003cbr>\nJoav BarEl, \u003ci>Models in Red and Green (“Up Set”)\u003c/i>, 1969.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>What I am really concerned with is whether or not art made of perishable or non-lasting mediums can really be considered art — especially when the artist has made no clear attempt to alter the medium in question. \u003c/b>\u003c/p>\n\u003cp>So, by this logic, performance wouldn’t be considered art because nothing is more fragile than a singular moment with an audience. Yet, performance \u003ci>is\u003c/i> considered art, and so is work made from paper, or jello, or projected light.\u003c/p>\n\u003cp>\u003cb>Is there a place for explicitly “lude” (sic) art in the public venue? What are the chances that works such as Andres Serrano’s “Self Portrait Shit” or “Bull Shit” will ever be acclimated into the so-called canon of widely recognized contemporary art? (In speaking of a contemporary canon, here, I’m referring not to famous artists, per se, but to images that are widely circulated and instantly recognizable to a public that is relatively unfamiliar with the art world — take, for example, Marcel Duchamp’s “Fountain,” which is widely known as “that upside down urinal”).\u003c/b>\u003c/p>\n\u003cp>Some things we need to straighten out right away: first, it’s spelled L-E-W-D. Also, I only received a C+ in my Introduction to Probability class, so I can’t tell you what the chances are. But I wonder about your concern for “a public that is relatively unfamiliar with the art world.” Why should you care? There is no requirement that great art appeal to, or even be recognized by, a wide audience. The tone of your question makes me think that \u003ci>you\u003c/i> don’t care for this type of work. That’s okay, you’re entitled to your opinion. Just say you don’t like it instead of trying to project your personal feelings onto the straw man of some dubious non-arts-educated public.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"http://u.s.kqed.net/2012/12/03/JoavBarEl2.jpg\">\u003cbr>\nJoav BarEl, \u003ci>Yin Yang I,\u003c/i>, 1969.\u003c/p>\n\u003cp>\u003cb>Can one be a painter and be considered a contemporary artist? If so, what questions should I be dealing with? \u003c/b>\u003c/p>\n\u003cp>Yes, you can be a painter and a contemporary artist at the same time. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>What I am really concerned with is whether or not art made of perishable or non-lasting mediums can really be considered art — especially when the artist has made no clear attempt to alter the medium in question. \u003c/b>\u003c/p>\n\u003cp>So, by this logic, performance wouldn’t be considered art because nothing is more fragile than a singular moment with an audience. Yet, performance \u003ci>is\u003c/i> considered art, and so is work made from paper, or jello, or projected light.\u003c/p>\n\u003cp>\u003cb>Is there a place for explicitly “lude” (sic) art in the public venue? What are the chances that works such as Andres Serrano’s “Self Portrait Shit” or “Bull Shit” will ever be acclimated into the so-called canon of widely recognized contemporary art? (In speaking of a contemporary canon, here, I’m referring not to famous artists, per se, but to images that are widely circulated and instantly recognizable to a public that is relatively unfamiliar with the art world — take, for example, Marcel Duchamp’s “Fountain,” which is widely known as “that upside down urinal”).\u003c/b>\u003c/p>\n\u003cp>Some things we need to straighten out right away: first, it’s spelled L-E-W-D. Also, I only received a C+ in my Introduction to Probability class, so I can’t tell you what the chances are. But I wonder about your concern for “a public that is relatively unfamiliar with the art world.” Why should you care? There is no requirement that great art appeal to, or even be recognized by, a wide audience. The tone of your question makes me think that \u003ci>you\u003c/i> don’t care for this type of work. That’s okay, you’re entitled to your opinion. Just say you don’t like it instead of trying to project your personal feelings onto the straw man of some dubious non-arts-educated public.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"http://u.s.kqed.net/2012/12/03/JoavBarEl2.jpg\">\u003cbr>\nJoav BarEl, \u003ci>Yin Yang I,\u003c/i>, 1969.\u003c/p>\n\u003cp>\u003cb>Can one be a painter and be considered a contemporary artist? If so, what questions should I be dealing with? \u003c/b>\u003c/p>\n\u003cp>Yes, you can be a painter and a contemporary artist at the same time. In fact, a contemporary artist can make a claim for any medium (see jello, above), as long as there’s a conceptual basis or reason for the work to be constructed from that substance. And the question you should be dealing with is, “How will I pay the rent?”\u003c/p>\n\u003cp>\u003cb>How would you distinguish between appropriate and inappropriate street art? As a graffiti lover, I can appreciate many forms of street art, but also understand when some feel it is offensive. When do you think street art crosses the line? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If I tried to come up with an account of how to distinguish between “appropriate and inappropriate street art,” I’d end up making something that looks a lot like one of those fashion magazine Do/Don’t lists, or a cooler-than-thou index of things that are deemed \u003ci>In\u003c/i> or \u003ci>Out\u003c/i>. Instead, I’ll just give you my general opinion: I think street art is good (let’s let go of the word “appropriate,” because lots of good art is wonderfully inappropriate) when it’s bold, subversive, witty, hopeful, sarcastic, inventive, committed, clever, punk, and empowering. The ubiquitous, illegible paint-markered tag on the side of a dumpster is just a boring pseudo-rebellion. I do wish more street art lived up to its claim of real resistance.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>2012 is almost gone, and over the course of this year I received some questions that didn’t seem quite right for the column — either because they only required a short answer and/or because they require me to make prescriptive pronouncements on the State of the Contemporary Arts (which I don’t like to do, though I am delighted to tell you \u003ca href=\"http://dailyserving.com/2012/11/help-desk-backstabbing/\">how to handle your jealous peers\u003c/a>). I still believe that art should be a place of freedom, and who am I to say what you, Joe Artist of Gresham, Oregon, should make? I just want you to be happy and satisfied. But every week when I go into my little Google spreadsheet to select the next issue’s query I see \u003ci>these\u003c/i> questions, and it pains me that they’ve gone unanswered. This is my opportunity to reply before the year is over so that we can have a fresh start in 2013. Here goes:\u003c/p>\n\u003cp>\u003cb>Often I see “art” that is honestly nothing more than 3 squiggles on a red background, yet I have a professor that swears it’s ingenious and I should draw just like that person to be a successful artist. 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Yet, performance \u003ci>is\u003c/i> considered art, and so is work made from paper, or jello, or projected light. \u003c/p>\n\u003cp>\u003cb>Is there a place for explicitly “lude” (sic) art in the public venue? What are the chances that works such as Andres Serrano’s “Self Portrait Shit” or “Bull Shit” will ever be acclimated into the so-called canon of widely recognized contemporary art? (In speaking of a contemporary canon, here, I’m referring not to famous artists, per se, but to images that are widely circulated and instantly recognizable to a public that is relatively unfamiliar with the art world — take, for example, Marcel Duchamp’s “Fountain,” which is widely known as “that upside down urinal”).\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some things we need to straighten out right away: first, it’s spelled L-E-W-D. Also, I only received a C+ in my Introduction to Probability class, so I can’t tell you what the chances are. But I wonder about your concern for “a public that is relatively unfamiliar with the art world.” Why should you care? There is no requirement that great art appeal to, or even be recognized by, a wide audience. The tone of your question makes me think that \u003ci>you\u003c/i> don’t care for this type of work. That’s okay, you’re entitled to your opinion. Just say you don’t like it instead of trying to project your personal feelings onto the straw man of some dubious non-arts-educated public. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/03/JoavBarEl2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Joav BarEl, \u003ci>Yin Yang I,\u003c/i>, 1969.\u003cbr>\u003c/center>\n\u003cp>\u003cb>Can one be a painter and be considered a contemporary artist? If so, what questions should I be dealing with? \u003c/b>\u003c/p>\n\u003cp>Yes, you can be a painter and a contemporary artist at the same time. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So, by this logic, performance wouldn’t be considered art because nothing is more fragile than a singular moment with an audience. Yet, performance \u003ci>is\u003c/i> considered art, and so is work made from paper, or jello, or projected light. \u003c/p>\n\u003cp>\u003cb>Is there a place for explicitly “lude” (sic) art in the public venue? What are the chances that works such as Andres Serrano’s “Self Portrait Shit” or “Bull Shit” will ever be acclimated into the so-called canon of widely recognized contemporary art? (In speaking of a contemporary canon, here, I’m referring not to famous artists, per se, but to images that are widely circulated and instantly recognizable to a public that is relatively unfamiliar with the art world — take, for example, Marcel Duchamp’s “Fountain,” which is widely known as “that upside down urinal”).\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some things we need to straighten out right away: first, it’s spelled L-E-W-D. Also, I only received a C+ in my Introduction to Probability class, so I can’t tell you what the chances are. But I wonder about your concern for “a public that is relatively unfamiliar with the art world.” Why should you care? There is no requirement that great art appeal to, or even be recognized by, a wide audience. The tone of your question makes me think that \u003ci>you\u003c/i> don’t care for this type of work. That’s okay, you’re entitled to your opinion. Just say you don’t like it instead of trying to project your personal feelings onto the straw man of some dubious non-arts-educated public. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/12/03/JoavBarEl2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Joav BarEl, \u003ci>Yin Yang I,\u003c/i>, 1969.\u003cbr>\u003c/center>\n\u003cp>\u003cb>Can one be a painter and be considered a contemporary artist? If so, what questions should I be dealing with? \u003c/b>\u003c/p>\n\u003cp>Yes, you can be a painter and a contemporary artist at the same time. In fact, a contemporary artist can make a claim for any medium (see jello, above), as long as there’s a conceptual basis or reason for the work to be constructed from that substance. And the question you should be dealing with is, “How will I pay the rent?” \u003c/p>\n\u003cp>\u003cb>How would you distinguish between appropriate and inappropriate street art? As a graffiti lover, I can appreciate many forms of street art, but also understand when some feel it is offensive. When do you think street art crosses the line? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If I tried to come up with an account of how to distinguish between “appropriate and inappropriate street art,” I’d end up making something that looks a lot like one of those fashion magazine Do/Don’t lists, or a cooler-than-thou index of things that are deemed \u003ci>In\u003c/i> or \u003ci>Out\u003c/i>. Instead, I’ll just give you my general opinion: I think street art is good (let’s let go of the word “appropriate,” because lots of good art is wonderfully inappropriate) when it’s bold, subversive, witty, hopeful, sarcastic, inventive, committed, clever, punk, and empowering. The ubiquitous, illegible paint-markered tag on the side of a dumpster is just a boring pseudo-rebellion. I do wish more street art lived up to its claim of real resistance. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Did you hear that, according to a disappeared tribe who knew a thing or two about a solid cliffhanger, the world is totally going to end in a few weeks? As cinematic as all of us waiting to be incinerated by a gas giant on a collision course with Earth sounds (\u003ca href=\"http://25.media.tumblr.com/tumblr_m3vbmgMDx91qbxh0uo7_r1_500.gif\">you could call it Kirsten Dunst-ing\u003c/a>), perhaps the apocalypse the Mayans had in mind was more about the death of our culture’s collective attention span.\u003c/p>\n\u003cp>You probably had to start that paragraph over because you got distracted by checking whether your crush liked your latest photo on Instagram or not. It’s an illness that we multi-tasking monsters all suffer from: compulsive texting on top of neurotic emoji assemblage on top of listening to some album that just leaked while playing Words with Friends and walking at the same time. What happened to enjoying a double rainbow (\u003ca href=\"http://www.modernluxury.com/san-francisco/story/the-top-10-double-rainbow-tweets\">omg, it was so crazy!\u003c/a>), a kitten in a sweater, or just a good hair day without immortalizing it on the internets?\u003c/p>\n\u003cp>Well, something cataclysmic definitely happened to the simpler times of liking something purely in your brain and that’s not entirely a terrible thing. Social media does allow for a village-type mentality that fosters a sense of community (however warped it might seem to our ancestors), but it’s important to take a breather every now and then from being connected to everything everyone else is doing and zero in on what’s right in front of you. And with the release of \u003ci>Building Stories\u003c/i>, Chris Ware (a.k.a. the dude to thank for the lovely 826 Valencia mural) has created a graphic novel that is the perfect antidote to our distracted times, a work of art that forces you to consider it, not while elbow-warring on the bus or during other transitory in-between moments, but while keeping things stationary in a quiet place where you feel comfortable having your world rocked.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs1.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs2.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2010, classicist poet Anne Carson released \u003ci>Nox\u003c/i>, an elegy for her lost brother packaged in a box with \u003ca href=\"http://4.bp.blogspot.com/_UWoW2cVfc68/TARl2T301KI/AAAAAAAAENk/E9J4OE8s6ys/s1600/P5304001_edited-1+%281024x577%29.jpg\">pages connected in one long cumbersome accordion\u003c/a>. By creating something treasurable and impractical, Carson defied the increasingly immaterial text conduits like the Kindle and resurrected the book as an object. \u003ci>Building Stories\u003c/i> aims at the same target with an unwieldy box of its own, containing 14 components: zines, newspapers, pamphlets, books that resemble the Little Golden Books from childhood, etc. There are no rules to how you interact with the separate parts that make the whole, no right order, just an individual experience, something we have all been sorely missing, whether we realize it or not.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs3.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs4.jpg\">\u003c/p>\n\u003cp>Ware’s style, a love child of early 20th century American design and ragtime paraphernalia, commands the gaze with vibrant colors, meticulous details, intricate lettering, and perfectly geometrical layouts. And the way he handles the narrative is just as remarkable. Four isolated events on one small fold-out to a newspaper describing life in a beehive to a book detailing a 24-hour period in the life of a 100+ year old residential building. Ware takes a non-linear approach to unspooling the destinies of his characters. Everything that has happened, is happening, or will happen shares a common space, no era more relevant than another.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs6.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs7.jpg\">\u003c/p>\n\u003cp>The graphic novel’s cast of misfits all suffer from a common ailment: a bad case of dashed dreams, the blues, and an unshakeable sense of isolation. At times, treading through this precise and hyper-stylized wasteland feels like gazing into a reflection of our own world, one full of virtual interconnectedness, yet lacking in actual contact. \u003ci>Building Stories\u003c/i> is a warning against where we could end up and a reminder of where we ought to. And it couldn’t have come at a better time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs5.jpg\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Did you hear that, according to a disappeared tribe who knew a thing or two about a solid cliffhanger, the world is totally going to end in a few weeks? As cinematic as all of us waiting to be incinerated by a gas giant on a collision course with Earth sounds (\u003ca href=\"http://25.media.tumblr.com/tumblr_m3vbmgMDx91qbxh0uo7_r1_500.gif\">you could call it Kirsten Dunst-ing\u003c/a>), perhaps the apocalypse the Mayans had in mind was more about the death of our culture’s collective attention span.\u003c/p>\n\u003cp>You probably had to start that paragraph over because you got distracted by checking whether your crush liked your latest photo on Instagram or not. It’s an illness that we multi-tasking monsters all suffer from: compulsive texting on top of neurotic emoji assemblage on top of listening to some album that just leaked while playing Words with Friends and walking at the same time. What happened to enjoying a double rainbow (\u003ca href=\"http://www.modernluxury.com/san-francisco/story/the-top-10-double-rainbow-tweets\">omg, it was so crazy!\u003c/a>), a kitten in a sweater, or just a good hair day without immortalizing it on the internets?\u003c/p>\n\u003cp>Well, something cataclysmic definitely happened to the simpler times of liking something purely in your brain and that’s not entirely a terrible thing. Social media does allow for a village-type mentality that fosters a sense of community (however warped it might seem to our ancestors), but it’s important to take a breather every now and then from being connected to everything everyone else is doing and zero in on what’s right in front of you. And with the release of \u003ci>Building Stories\u003c/i>, Chris Ware (a.k.a. the dude to thank for the lovely 826 Valencia mural) has created a graphic novel that is the perfect antidote to our distracted times, a work of art that forces you to consider it, not while elbow-warring on the bus or during other transitory in-between moments, but while keeping things stationary in a quiet place where you feel comfortable having your world rocked.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs1.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs2.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2010, classicist poet Anne Carson released \u003ci>Nox\u003c/i>, an elegy for her lost brother packaged in a box with \u003ca href=\"http://4.bp.blogspot.com/_UWoW2cVfc68/TARl2T301KI/AAAAAAAAENk/E9J4OE8s6ys/s1600/P5304001_edited-1+%281024x577%29.jpg\">pages connected in one long cumbersome accordion\u003c/a>. By creating something treasurable and impractical, Carson defied the increasingly immaterial text conduits like the Kindle and resurrected the book as an object. \u003ci>Building Stories\u003c/i> aims at the same target with an unwieldy box of its own, containing 14 components: zines, newspapers, pamphlets, books that resemble the Little Golden Books from childhood, etc. There are no rules to how you interact with the separate parts that make the whole, no right order, just an individual experience, something we have all been sorely missing, whether we realize it or not.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs3.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs4.jpg\">\u003c/p>\n\u003cp>Ware’s style, a love child of early 20th century American design and ragtime paraphernalia, commands the gaze with vibrant colors, meticulous details, intricate lettering, and perfectly geometrical layouts. And the way he handles the narrative is just as remarkable. Four isolated events on one small fold-out to a newspaper describing life in a beehive to a book detailing a 24-hour period in the life of a 100+ year old residential building. Ware takes a non-linear approach to unspooling the destinies of his characters. Everything that has happened, is happening, or will happen shares a common space, no era more relevant than another.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs6.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs7.jpg\">\u003c/p>\n\u003cp>The graphic novel’s cast of misfits all suffer from a common ailment: a bad case of dashed dreams, the blues, and an unshakeable sense of isolation. At times, treading through this precise and hyper-stylized wasteland feels like gazing into a reflection of our own world, one full of virtual interconnectedness, yet lacking in actual contact. \u003ci>Building Stories\u003c/i> is a warning against where we could end up and a reminder of where we ought to. And it couldn’t have come at a better time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2012/11/27/bs5.jpg\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I want to start applying for artists’ residencies and I don’t know where to begin. Is there a good place to find a listing of residencies, what are the best ones, and what advice could you give for putting together a stunning application? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Residencies can be an artist’s joy: time and space (and sometimes technical facilities) to make your work, a community of dedicated peers, and stimulating conversation. But beware: they can also be financially — and emotionally — draining environments where a bunch of alcoholic drama queens keep you up all night, every night, for a month, so you need to do some very careful research before you pack your bags.\u003c/p>\n\u003cp>There are a number of online resources for finding residency programs, from collective listings to the programs’ own sites, so begin with some basic searches. I also suggest that you start semi-local: you might have a better chance of getting in, and you’ll be able to test the waters without having to sublet your apartment and move to another state or country for a few months. Try googling “[your state] artist residency” to see what comes up — my trial search for California returned a ton of opportunities. To find international residencies you can use the same Google search with the name of the city or country you’d like to go to, or you can find sites like \u003ca href=\"http://www.resartis.org/en/residencies/upcoming_deadlines/\">ResArtis.org\u003c/a> and \u003ca href=\"http://www.residencyunlimited.org/category/opportunites/ongoing/\">Residency Unlimited\u003c/a> that list international residency programs and their deadlines.\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/hd-residency.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Ellen Kooi, \u003ci>Nagele – wachthuis,\u003c/i> 2011.\u003cbr>\u003c/center>\n\u003cp>Which are the best residency programs? Well, that depends on what you’d like to accomplish. If you’re looking for some quiet time away from the pressures of everyday life, then you might prefer a cabin in the woods. If you’re desperate for interaction and dialogue, then you should look for something workshop-based or community oriented. If you’re hoping to crank out a large amount of work in a short amount of time, then you need to find a space that has the facilities you require to complete your project. I suggest you check out \u003ca href=\"http://dailyserving.com/2012/02/help-desk-school-daze/\">this HELP DESK column on finding the right MFA program\u003c/a> (scroll down to the second Q&A) — my advice for pinpointing “the best” applies to your question, too. In either case, the bottom line is that you need to be honest with yourself about what’s right for you at this stage of your practice. No single residency program can fulfill every desire, so narrow your list of goals down to one or two and then investigate residency opportunities to find the best match for what you hope to achieve. \u003c/p>\n\u003cp>Incidentally, a good match will also make a stronger application and you have a better chance of getting in if your goals fit closely with the program’s own mission. Conversely, if you’re a studio painter applying for a residency dedicated to experimental social interaction, you have what my friend Sylvan once dubbed “a rat’s-ass chance in a gator pit” of being accepted, so don’t waste time and energy — and maybe application fees — applying to residencies that don’t correspond to your aims. \u003c/p>\n\u003cp>A great resource for information on applying to residency programs is Chapter 6 of \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">\u003cem>Art/Work\u003c/em>\u003c/a>. This section of the book discusses considerations for your own practice vis-a-vis different types of residency programs, and it reviews the basic parts of an application or proposal. It also has quite a few crucial pointers for completing a successful application, such as this one: \u003c/p>\n\u003cp>“Many programs will tell you what they focus on when evaluating applications. Of all the directions to follow, these are the most important. They’re not as easy to spot because they’re not necessarily written in the form of direct directions but rather as ‘criteria.’ You might see something like this: ‘Artists’ Fellowships are chosen based on the single criterion of work that demonstrates a compelling vision as defined by the assembled panel’s collective opinion.’ Note the words \u003ci>single criterion\u003c/i>. They’re telling you up front that there’s only one thing that matters… [t]his program will make a qualitative assessment of your work, period. You therefore need to spend the most time on that part of the application and submit the best-quality images you can.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another source for information is \u003ca href=\"http://www.transartists.org/deadlines\">Trans Artists\u003c/a>, a self-described “knowledge centre on cultural mobility, with a strong focus on artist-in-residence opportunities.” Check out the \u003ca href=\"http://www.transartists.org/artist-in-residence\">Artist in Residence\u003c/a> page which describes types of programs and residency experience; and the \u003ca href=\"http://www.transartists.org/checklist\">Checklist\u003c/a> page, which has information that will help you with your research. Good luck! \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I want to start applying for artists’ residencies and I don’t know where to begin. Is there a good place to find a listing of residencies, what are the best ones, and what advice could you give for putting together a stunning application? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Residencies can be an artist’s joy: time and space (and sometimes technical facilities) to make your work, a community of dedicated peers, and stimulating conversation. But beware: they can also be financially — and emotionally — draining environments where a bunch of alcoholic drama queens keep you up all night, every night, for a month, so you need to do some very careful research before you pack your bags.\u003c/p>\n\u003cp>There are a number of online resources for finding residency programs, from collective listings to the programs’ own sites, so begin with some basic searches. I also suggest that you start semi-local: you might have a better chance of getting in, and you’ll be able to test the waters without having to sublet your apartment and move to another state or country for a few months. Try googling “[your state] artist residency” to see what comes up — my trial search for California returned a ton of opportunities. To find international residencies you can use the same Google search with the name of the city or country you’d like to go to, or you can find sites like \u003ca href=\"http://www.resartis.org/en/residencies/upcoming_deadlines/\">ResArtis.org\u003c/a> and \u003ca href=\"http://www.residencyunlimited.org/category/opportunites/ongoing/\">Residency Unlimited\u003c/a> that list international residency programs and their deadlines.\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/hd-residency.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Ellen Kooi, \u003ci>Nagele – wachthuis,\u003c/i> 2011.\u003cbr>\u003c/center>\n\u003cp>Which are the best residency programs? Well, that depends on what you’d like to accomplish. If you’re looking for some quiet time away from the pressures of everyday life, then you might prefer a cabin in the woods. If you’re desperate for interaction and dialogue, then you should look for something workshop-based or community oriented. If you’re hoping to crank out a large amount of work in a short amount of time, then you need to find a space that has the facilities you require to complete your project. I suggest you check out \u003ca href=\"http://dailyserving.com/2012/02/help-desk-school-daze/\">this HELP DESK column on finding the right MFA program\u003c/a> (scroll down to the second Q&A) — my advice for pinpointing “the best” applies to your question, too. In either case, the bottom line is that you need to be honest with yourself about what’s right for you at this stage of your practice. No single residency program can fulfill every desire, so narrow your list of goals down to one or two and then investigate residency opportunities to find the best match for what you hope to achieve. \u003c/p>\n\u003cp>Incidentally, a good match will also make a stronger application and you have a better chance of getting in if your goals fit closely with the program’s own mission. Conversely, if you’re a studio painter applying for a residency dedicated to experimental social interaction, you have what my friend Sylvan once dubbed “a rat’s-ass chance in a gator pit” of being accepted, so don’t waste time and energy — and maybe application fees — applying to residencies that don’t correspond to your aims. \u003c/p>\n\u003cp>A great resource for information on applying to residency programs is Chapter 6 of \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333\">\u003cem>Art/Work\u003c/em>\u003c/a>. This section of the book discusses considerations for your own practice vis-a-vis different types of residency programs, and it reviews the basic parts of an application or proposal. It also has quite a few crucial pointers for completing a successful application, such as this one: \u003c/p>\n\u003cp>“Many programs will tell you what they focus on when evaluating applications. Of all the directions to follow, these are the most important. They’re not as easy to spot because they’re not necessarily written in the form of direct directions but rather as ‘criteria.’ You might see something like this: ‘Artists’ Fellowships are chosen based on the single criterion of work that demonstrates a compelling vision as defined by the assembled panel’s collective opinion.’ Note the words \u003ci>single criterion\u003c/i>. They’re telling you up front that there’s only one thing that matters… [t]his program will make a qualitative assessment of your work, period. You therefore need to spend the most time on that part of the application and submit the best-quality images you can.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another source for information is \u003ca href=\"http://www.transartists.org/deadlines\">Trans Artists\u003c/a>, a self-described “knowledge centre on cultural mobility, with a strong focus on artist-in-residence opportunities.” Check out the \u003ca href=\"http://www.transartists.org/artist-in-residence\">Artist in Residence\u003c/a> page which describes types of programs and residency experience; and the \u003ca href=\"http://www.transartists.org/checklist\">Checklist\u003c/a> page, which has information that will help you with your research. Good luck! \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to HELP DESK, where I answer your queries about making, exhibiting, finding, marketing, buying, selling–or any other activity related to–contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I recently had to pick the edition size of a digital interactive project I made. I just went with a standard ten but it got me thinking. I understand that when you are making prints for example each piece in the edition has to be physically produced by the artist. Thus it makes sense to limit the number of pieces that can be made. But why arbitrarily constrict the number of something that can be copied infinitely at no cost or time to me? Video works would be another example of this. Movies, music, and literature don’t have this type of artificial supply constriction. Can you please explain the function and process of editioning digital art? \u003c/b>\u003c/p>\n\u003cp>In general, edition numbers vary for reasons both pragmatic and market-driven. Traditionally, the edition run of a print on paper is determined partially by its technology; most printmaking media such as etching plates degrade with repeated use. Therefore, if you want the last print to look as good as the first, you have to limit the overall number of prints produced so that every print is of nearly the same quality. It has less to do with being physically produced by the artist — many editions are contracted out to printing houses — and more to do with the inverse relationship between edition size and print quality. \u003c/p>\n\u003cp>But, of course, there is no limit to the amount of digital copies you can generate from an original file, because unlike prints on paper, the reproduction quality never deteriorates no matter how many CDs or DVDs you burn. So should you limit the number of copies available? It’s a great question, but the answer isn’t arbitrary even though it may be artificial. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"https://u.s.kqed.net/2012/11/19/Cfakepathsweet16675450.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Cory Arcangel, \u003ci>Sweet 16\u003c/i>, 2006.\u003cbr>\u003c/center>\n\u003cp>One factor to remember in digital editioning is that it’s contingent on the art-historical precedent set by the conventions of more traditional media. Capital-A Art typically has an aura, in part because the art object is singular (a painting) or because the technology that produced it can only last through a limited number of runs (lithography stones, ceramic molds). This has a direct bearing on digital editioning — generally, when a new technology is introduced to the arts it has to fit into the established paradigm. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to its reliance on preexisting standards absorbed from other media, editioning of digital work is also market-driven. In a capitalist society, restricted supply means increased value, so when the medium itself is cheap and infinitely reproducible, value can be contrived by limiting its availability. \u003c/p>\n\u003cp>In the case of digital editioning, historical precedence and market forces conspire — sometimes to an absurd extent. For instance, some videos are now created in editions that include “artist’s proofs” — a term used in traditional printing for the very first prints, of higher quality resulting from the fresh printing stone. Print-on-paper APs, it can be reasoned, are more valuable because they are generally sharper and more colorful than subsequent prints; but video APs have no such enhanced clarity, making them into something between an embarrassment and an in-joke. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/19/Cfakepatharcangel2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Cory Arcangel, \u003ci>I Shot Andy Warhol\u003c/i>, 2002.\u003cbr>\u003c/center>\n\u003cp>All skepticism aside, creating a limited run of a digital work is a perfectly legitimate practice. Doing so is a promise to collectors that you will not devalue their purchase by making additional copies of the work at a later date. And if you do limit the edition, it is important that you stick to this promise, painful though it may be in the long run if demand for the work increases. The question of whether or not to limit an edition of a digital work hinges on your priorities. If wide distribution is your first priority then it would be more advantageous to produce a larger edition or an open edition. If you desire a high financial value for the work then a limited edition and the scarcity it creates will serve you better. \u003c/p>\n\u003cp>But beware, there are many factors that will make a big difference to the success of an editioned project. For example, if you are very early on in your career and your reputation is not widespread enough to add any value to the work, then it might be better to create a large or open edition that will get your work in front of more people. On the other hand, if the work will be exhibited at a gallery that has a good history of sales and you can reasonably expect to sell most of the works in the edition, then limiting it will allow you to command a higher price. \u003c/p>\n\u003cp>One resource for ideas about editioning is the \u003ca href=\"http://www.ccp.org.au/podcasts/Editioning.mp3\">recording of the 2009 panel discussion\u003c/a> at the \u003ca href=\"http://www.ccp.org.au/\">Centre for Contemporary Photography\u003c/a> in Australia entitled, “\u003ca href=\"http://www.ccp.org.au/news.php?id=58\">Editioning: Photography and Video\u003c/a>.” The first speaker, Elena Galimberti (who collaboratively built the Australian Video Art Archive), discusses the minutiae of editioning videos, noting, “Emerging artists will generally offer early works in larger editions, lowering the price to more accessible levels. As an artist becomes more established, the edition size will usually decrease.” Another issue that Galimberti touches on briefly in her remarks is the manner in which the perceived value of an edition may be enhanced by certificates of authenticity, signed copies, special packaging, or other related ephemera. If you’re working with a commercial gallery, creating related materials that accompany the CD or DVD can reinforce a sense of significance and value. And when in doubt, the gallerist or dealer should be able to help you decide on an edition size. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/19/Cfakepatharcangel3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Cory Arcangel, \u003ci>Super Mario Clouds v2k3\u003c/i>, 2003.\u003cbr>\u003c/center>\n\u003cp>However, if you prefer to try for the widest possible distribution, or if the idea of accessible dissemination fits more closely with the conceptual goals of your work, you may choose to produce unlimited open edition. It’s important to note that an uneditioned work is not necessarily free for those who exhibit it. The \u003ca href=\"http://www.eai.org/resourceguide/exhibition.html\">Electronic Arts Intermix Online Resource Guide\u003c/a> explains that the creator of an open-edition video can still enforce, “restrictions governing who may make copies, how they are made, and how they may be used… With uneditioned video, artists are typically paid a royalty when the work is exhibited or sold. Thus, exhibitors pay a fee for the inclusion of an uneditioned work in an exhibition or screening.” That is, they pay if you want them to; remember that \u003ci>you\u003c/i> make the rules here. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Of course, interactive digital artwork is a relatively new field that fits rather poorly into traditional structures governing the distribution of editioned works. The EAI also has \u003ca href=\"http://www.eai.org/resourceguide/exhibition/computer/bestpractices.html\">a section on best practices for computer-based arts\u003c/a>, noting, “…most works and exhibitions need to be considered on a case-by-case basis… Although distinctions between single-channel video, video installation and computer-based arts continue to blur, the interactive attributes of many computer-based installations create unique requirements.” It’s likely that there exists an entirely novel solution to the problem of editioning your next project, one that serves the needs of producer and consumers, and will be as new as the media on which it is based. Good luck! \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to HELP DESK, where I answer your queries about making, exhibiting, finding, marketing, buying, selling–or any other activity related to–contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I recently had to pick the edition size of a digital interactive project I made. I just went with a standard ten but it got me thinking. I understand that when you are making prints for example each piece in the edition has to be physically produced by the artist. Thus it makes sense to limit the number of pieces that can be made. But why arbitrarily constrict the number of something that can be copied infinitely at no cost or time to me? Video works would be another example of this. Movies, music, and literature don’t have this type of artificial supply constriction. Can you please explain the function and process of editioning digital art? \u003c/b>\u003c/p>\n\u003cp>In general, edition numbers vary for reasons both pragmatic and market-driven. Traditionally, the edition run of a print on paper is determined partially by its technology; most printmaking media such as etching plates degrade with repeated use. Therefore, if you want the last print to look as good as the first, you have to limit the overall number of prints produced so that every print is of nearly the same quality. It has less to do with being physically produced by the artist — many editions are contracted out to printing houses — and more to do with the inverse relationship between edition size and print quality. \u003c/p>\n\u003cp>But, of course, there is no limit to the amount of digital copies you can generate from an original file, because unlike prints on paper, the reproduction quality never deteriorates no matter how many CDs or DVDs you burn. So should you limit the number of copies available? It’s a great question, but the answer isn’t arbitrary even though it may be artificial. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"https://u.s.kqed.net/2012/11/19/Cfakepathsweet16675450.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Cory Arcangel, \u003ci>Sweet 16\u003c/i>, 2006.\u003cbr>\u003c/center>\n\u003cp>One factor to remember in digital editioning is that it’s contingent on the art-historical precedent set by the conventions of more traditional media. Capital-A Art typically has an aura, in part because the art object is singular (a painting) or because the technology that produced it can only last through a limited number of runs (lithography stones, ceramic molds). This has a direct bearing on digital editioning — generally, when a new technology is introduced to the arts it has to fit into the established paradigm. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to its reliance on preexisting standards absorbed from other media, editioning of digital work is also market-driven. In a capitalist society, restricted supply means increased value, so when the medium itself is cheap and infinitely reproducible, value can be contrived by limiting its availability. \u003c/p>\n\u003cp>In the case of digital editioning, historical precedence and market forces conspire — sometimes to an absurd extent. For instance, some videos are now created in editions that include “artist’s proofs” — a term used in traditional printing for the very first prints, of higher quality resulting from the fresh printing stone. Print-on-paper APs, it can be reasoned, are more valuable because they are generally sharper and more colorful than subsequent prints; but video APs have no such enhanced clarity, making them into something between an embarrassment and an in-joke. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/19/Cfakepatharcangel2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Cory Arcangel, \u003ci>I Shot Andy Warhol\u003c/i>, 2002.\u003cbr>\u003c/center>\n\u003cp>All skepticism aside, creating a limited run of a digital work is a perfectly legitimate practice. Doing so is a promise to collectors that you will not devalue their purchase by making additional copies of the work at a later date. And if you do limit the edition, it is important that you stick to this promise, painful though it may be in the long run if demand for the work increases. The question of whether or not to limit an edition of a digital work hinges on your priorities. If wide distribution is your first priority then it would be more advantageous to produce a larger edition or an open edition. If you desire a high financial value for the work then a limited edition and the scarcity it creates will serve you better. \u003c/p>\n\u003cp>But beware, there are many factors that will make a big difference to the success of an editioned project. For example, if you are very early on in your career and your reputation is not widespread enough to add any value to the work, then it might be better to create a large or open edition that will get your work in front of more people. On the other hand, if the work will be exhibited at a gallery that has a good history of sales and you can reasonably expect to sell most of the works in the edition, then limiting it will allow you to command a higher price. \u003c/p>\n\u003cp>One resource for ideas about editioning is the \u003ca href=\"http://www.ccp.org.au/podcasts/Editioning.mp3\">recording of the 2009 panel discussion\u003c/a> at the \u003ca href=\"http://www.ccp.org.au/\">Centre for Contemporary Photography\u003c/a> in Australia entitled, “\u003ca href=\"http://www.ccp.org.au/news.php?id=58\">Editioning: Photography and Video\u003c/a>.” The first speaker, Elena Galimberti (who collaboratively built the Australian Video Art Archive), discusses the minutiae of editioning videos, noting, “Emerging artists will generally offer early works in larger editions, lowering the price to more accessible levels. As an artist becomes more established, the edition size will usually decrease.” Another issue that Galimberti touches on briefly in her remarks is the manner in which the perceived value of an edition may be enhanced by certificates of authenticity, signed copies, special packaging, or other related ephemera. If you’re working with a commercial gallery, creating related materials that accompany the CD or DVD can reinforce a sense of significance and value. And when in doubt, the gallerist or dealer should be able to help you decide on an edition size. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/19/Cfakepatharcangel3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Cory Arcangel, \u003ci>Super Mario Clouds v2k3\u003c/i>, 2003.\u003cbr>\u003c/center>\n\u003cp>However, if you prefer to try for the widest possible distribution, or if the idea of accessible dissemination fits more closely with the conceptual goals of your work, you may choose to produce unlimited open edition. It’s important to note that an uneditioned work is not necessarily free for those who exhibit it. The \u003ca href=\"http://www.eai.org/resourceguide/exhibition.html\">Electronic Arts Intermix Online Resource Guide\u003c/a> explains that the creator of an open-edition video can still enforce, “restrictions governing who may make copies, how they are made, and how they may be used… With uneditioned video, artists are typically paid a royalty when the work is exhibited or sold. Thus, exhibitors pay a fee for the inclusion of an uneditioned work in an exhibition or screening.” That is, they pay if you want them to; remember that \u003ci>you\u003c/i> make the rules here. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, interactive digital artwork is a relatively new field that fits rather poorly into traditional structures governing the distribution of editioned works. The EAI also has \u003ca href=\"http://www.eai.org/resourceguide/exhibition/computer/bestpractices.html\">a section on best practices for computer-based arts\u003c/a>, noting, “…most works and exhibitions need to be considered on a case-by-case basis… Although distinctions between single-channel video, video installation and computer-based arts continue to blur, the interactive attributes of many computer-based installations create unique requirements.” It’s likely that there exists an entirely novel solution to the problem of editioning your next project, one that serves the needs of producer and consumers, and will be as new as the media on which it is based. Good luck! \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Occupy: The Plein Air Story' at Oakland's Joyce Gordon Gallery",
"headTitle": "‘Occupy: The Plein Air Story’ at Oakland’s Joyce Gordon Gallery | KQED",
"content": "\u003cp>Artists often offer accounts of social issues that become a matter of record for history. Their clear gaze can bring the unfiltered truth into focus. This sort of social accounting is a long tradition across media but is especially true of drawing and painting. Consider Goya’s etching series \u003ci>The Disasters of War\u003c/i> (1810-1820), images from the French-Spanish war of the early 1800s, or Pablo Picasso’s \u003ci>Guernica\u003c/i> (1937), depicting the bombing of a Basque Country village. More recently, contemporary artist Fernando Botero created a radical suite of works on the atrocities of Abu Ghraib, sending askew common perceptions of his kitschy rotund figures with the indictment of torture.\u003c/p>\n\u003cp>\u003cb>Occupy: The Plein Air Story\u003c/b> offers multiple accounts of the peaceful international movement instigated by Occupy Wall Street last year — and the works, created in-situ, provide a dramatic counterpoint to images of violence favored in the media. Local artists Anthony Holdsworth, Jessica Jirsa, John Paul Marcelo, Rick Rocamora, and Tomye situated themselves within the San Francisco and Oakland Occupy encampments to record the activities with conventional painting, photography, and video. The results are more sincere than sentimental, and formally beautiful while evoking larger questions around the badly quashed Occupy movement: Why were such peaceful scenes met with the aggressive force portrayed on the evening news? While much of the country saw chaos in the Occupy movement, many artists saw astonishing moments of grace.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/Cfakepathmarcelo.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>John Paul Marcelo, \u003ci>General Assembly in the Sunlight\u003c/i>, 2011.\u003cbr>\u003c/center>\n\u003cp>While artists are capable of shining a light on violence throughout history, there are also times when artists counter accounts of violence with a truer representation of peaceful demonstrations maligned in the media. \u003cb>Occupy: The Plein Air Story\u003c/b>, curated by Eric Murphy at Oakland’s Joyce Gordon Gallery, offers perspectives on what the movement looked like from within the simultaneously messy and generous Bay Area utopian encampments. Though many still parse the unfocused goals of the Occupy Movement, this query has seen a reply in the rapid mobilization of the New York Occupy community around post-Sandy disaster efforts, often reported as stronger in numbers and more nimble than the Red Cross. How the local Occupy community will resonate in the future has yet to be determined. At present, what remains are impressions of a movement that followed in a long tradition of grass roots resistance, more powerful than anything in recent memory.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/CfakepathJirsaSitIn.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Jessica Jirsa, \u003ci>The Sit In 1/6/12\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>Realist oil painter Anthony Holdsworth, a regular figure at work around the East Bay, presents a sunny vision of the tents that proliferated on the grounds in front of Oakland City Hall. Truthfully, the East Bay does offer the kind of light-filled landscape that borders on saccharine in realist representations — locals don’t call it the sunny side of the Bay for nothing. In Holdsworth’s images, figures are scattered within the compositions, standing in dialogue or sitting along stone steps. The regular resources organized within the camp aren’t explicitly represented — a free, open kitchen stocked with an abundance of donations, medical treatment tents, art workshops for children and a well-stocked public library; all organized on an honor system — but the atmosphere of community is evident.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/CfakepathHoldsworth.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Anthony Holdsworth, \u003ci>Occupy Port of Oakland\u003c/i>, 2011.\u003cbr>\u003c/center>\n\u003cp>\u003ci>Occupy Port of Oakland\u003c/i> depicts a procession of people walking and biking in the direction of the Port, silhouettes of cranes in the distance, following the group decision to obstruct business-as-usual in one of the world’s largest commercial hubs. People who were present still speak of the profound energy of the General Assembly vote that shut down the port. Holdsworth portrays a sense of this idyllic fraternity in his painting of the event. It is an image that will grow more significant with time. Tomye, Jessica Jirsa and John Paul Marcelo present similar moments rendered in varying painting styles. The multiplicity of the same perceptions of peaceful, communal situations strengthens these visual accounts as historical records.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/CfakepathRocomora.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Rick Rocomora, \u003ci>Rocket and her dog\u003c/i>, 2011.\u003cbr>\u003c/center>\n\u003cp>Photographer Rick Rocamora focused his lens on the issues at stake in the movement. One such image shows a damning sign of protest in front of a financial institution, calling into question why big business received bailout money, while resources for struggling individuals weren’t forthcoming. Though only a select few joined the ranks of the protest last year, many could commiserate with this sentiment and did so conversationally, everywhere else. Many of the core issues in the decentralized anger of the Occupy Movement have been revisited in the recent election: the ongoing economic crisis for many, housing insecurity, health care access, education costs, and the absence of employment opportunities. \u003cb>Occupy: The Plein Air Story\u003c/b> holds a mirror up to the community a year after the people’s movement took hold in the Bay Area and reminds us of the issues at stake, including, significantly, a diminishing ability to take a stand in public space.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Occupy: The Plein Air Story\u003c/b> is on view at Joyce Gordon Gallery through December 1, 2012. For \u003ca href=\"http://joycegordongallery.com/\">more information\u003c/a> visit joycegordongallery.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artists often offer accounts of social issues that become a matter of record for history. Their clear gaze can bring the unfiltered truth into focus. This sort of social accounting is a long tradition across media but is especially true of drawing and painting. Consider Goya’s etching series \u003ci>The Disasters of War\u003c/i> (1810-1820), images from the French-Spanish war of the early 1800s, or Pablo Picasso’s \u003ci>Guernica\u003c/i> (1937), depicting the bombing of a Basque Country village. More recently, contemporary artist Fernando Botero created a radical suite of works on the atrocities of Abu Ghraib, sending askew common perceptions of his kitschy rotund figures with the indictment of torture.\u003c/p>\n\u003cp>\u003cb>Occupy: The Plein Air Story\u003c/b> offers multiple accounts of the peaceful international movement instigated by Occupy Wall Street last year — and the works, created in-situ, provide a dramatic counterpoint to images of violence favored in the media. Local artists Anthony Holdsworth, Jessica Jirsa, John Paul Marcelo, Rick Rocamora, and Tomye situated themselves within the San Francisco and Oakland Occupy encampments to record the activities with conventional painting, photography, and video. The results are more sincere than sentimental, and formally beautiful while evoking larger questions around the badly quashed Occupy movement: Why were such peaceful scenes met with the aggressive force portrayed on the evening news? While much of the country saw chaos in the Occupy movement, many artists saw astonishing moments of grace.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/Cfakepathmarcelo.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>John Paul Marcelo, \u003ci>General Assembly in the Sunlight\u003c/i>, 2011.\u003cbr>\u003c/center>\n\u003cp>While artists are capable of shining a light on violence throughout history, there are also times when artists counter accounts of violence with a truer representation of peaceful demonstrations maligned in the media. \u003cb>Occupy: The Plein Air Story\u003c/b>, curated by Eric Murphy at Oakland’s Joyce Gordon Gallery, offers perspectives on what the movement looked like from within the simultaneously messy and generous Bay Area utopian encampments. Though many still parse the unfocused goals of the Occupy Movement, this query has seen a reply in the rapid mobilization of the New York Occupy community around post-Sandy disaster efforts, often reported as stronger in numbers and more nimble than the Red Cross. How the local Occupy community will resonate in the future has yet to be determined. At present, what remains are impressions of a movement that followed in a long tradition of grass roots resistance, more powerful than anything in recent memory.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/CfakepathJirsaSitIn.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Jessica Jirsa, \u003ci>The Sit In 1/6/12\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>Realist oil painter Anthony Holdsworth, a regular figure at work around the East Bay, presents a sunny vision of the tents that proliferated on the grounds in front of Oakland City Hall. Truthfully, the East Bay does offer the kind of light-filled landscape that borders on saccharine in realist representations — locals don’t call it the sunny side of the Bay for nothing. In Holdsworth’s images, figures are scattered within the compositions, standing in dialogue or sitting along stone steps. The regular resources organized within the camp aren’t explicitly represented — a free, open kitchen stocked with an abundance of donations, medical treatment tents, art workshops for children and a well-stocked public library; all organized on an honor system — but the atmosphere of community is evident.\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/2012/11/13/CfakepathHoldsworth.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Anthony Holdsworth, \u003ci>Occupy Port of Oakland\u003c/i>, 2011.\u003cbr>\u003c/center>\n\u003cp>\u003ci>Occupy Port of Oakland\u003c/i> depicts a procession of people walking and biking in the direction of the Port, silhouettes of cranes in the distance, following the group decision to obstruct business-as-usual in one of the world’s largest commercial hubs. People who were present still speak of the profound energy of the General Assembly vote that shut down the port. Holdsworth portrays a sense of this idyllic fraternity in his painting of the event. It is an image that will grow more significant with time. Tomye, Jessica Jirsa and John Paul Marcelo present similar moments rendered in varying painting styles. The multiplicity of the same perceptions of peaceful, communal situations strengthens these visual accounts as historical records.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/13/CfakepathRocomora.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Rick Rocomora, \u003ci>Rocket and her dog\u003c/i>, 2011.\u003cbr>\u003c/center>\n\u003cp>Photographer Rick Rocamora focused his lens on the issues at stake in the movement. One such image shows a damning sign of protest in front of a financial institution, calling into question why big business received bailout money, while resources for struggling individuals weren’t forthcoming. Though only a select few joined the ranks of the protest last year, many could commiserate with this sentiment and did so conversationally, everywhere else. Many of the core issues in the decentralized anger of the Occupy Movement have been revisited in the recent election: the ongoing economic crisis for many, housing insecurity, health care access, education costs, and the absence of employment opportunities. \u003cb>Occupy: The Plein Air Story\u003c/b> holds a mirror up to the community a year after the people’s movement took hold in the Bay Area and reminds us of the issues at stake, including, significantly, a diminishing ability to take a stand in public space.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Occupy: The Plein Air Story\u003c/b> is on view at Joyce Gordon Gallery through December 1, 2012. For \u003ca href=\"http://joycegordongallery.com/\">more information\u003c/a> visit joycegordongallery.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to HELP DESK, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I am having a rather embarrassing problem with some of my local colleagues in the visual arts. That problem is a general enmity and competitiveness when it comes to grants and exhibitions. I have always taken a ‘win some lose some’ approach to my own art career and have always applied this sentiment to the failures and successes of my peers. Lately however, I have noticed that as I move up the food chain, as it were, many of the people I have known for a long time are now taking a much nastier tack with me, making underhanded digs at my decision making or being sure to insert a subtle insult along with their congratulations. I also notice that new artists that I meet at this same level act the same toward me, being generally snotty and backstabbing. Is this just a necessary evil of being an up-and-coming artist? Is there an end to it? Do blue chip artists have to deal with the petty insecurities of their peers or does everyone just get along past a certain point? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I wonder why you’re embarrassed by this problem when the poor behavior is coming from your colleagues and not from you. It seems that if anyone should be embarrassed, it’s them — after all, who hasn’t felt a little green-eyed when faced with the news of a competitor’s good fortune, even if that competitor is a friend — but they should have the good sense to offer their best wishes and leave it at that. Sulking is best done at home where no one can see your frowny little face. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/11/CfakepathKozyrev3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Dimitri Kozyrev, \u003ci>Last one 16\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>It’s true that the competition model breeds insecurity. When 300 artists apply for one $10,000 grant, that leaves 299 disappointed; and everyone expresses disappointment in their own way. A few can shrug it off, as you seem to do, and others grow embittered and let it poison their relationships. Limited resources can sometimes turn friends into frenemies and complete strangers into adversaries. Yes, some people live their lives like this, but that doesn’t mean you have to follow suit, and no matter what else you decide to do, please don’t adopt their paradigm. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So what can you do with your current situation? First, I hope you will take a moment to review all those underhanded digs and subtle insults and make sure you’re not just being hypersensitive. Sometimes we imagine the responses of others in advance (“Gosh, this new award is going to make everyone jealous!”) and then project those imaginings onto reality. Before you go any further, make sure you read the situation correctly and keep your \u003ci>own\u003c/i> insecurities out of the driver’s seat. Got it? Okay, just checking. \u003c/p>\n\u003cp>Then, assuming you are really being insulted, you have a few options. You could ignore it and hope to find some nicer, more generous colleagues soon, or you can respond when your current pals start misbehaving. If they don’t know enough to say, “Congratulations!” and then bite their tongues, you are free to acknowledge their unkindness. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/11/CfakepathKozyrev2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Dimitri Kozyrev, \u003ci>Last one 14\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>There are probably some people with whom you’d like to remain on friendly terms. You might consider speaking to these people in private, letting them know that they’ve hurt your feelings and that you’re uncomfortable with your current interactions. Tread carefully here, using “I feel” and “I think” assertions, instead of “you” statements, which tend to make people defensive and combative. If your goal is to preserve and even enhance former good feelings between the two of you, be ready to listen as well as talk. \u003c/p>\n\u003cp>When in public, the indirect and slippery nature of the left-handed compliment becomes trickier to address. You might try to face the issue head on by asking innocently, “Why do you say that?” or “What do you mean?” when you’re served with a subtle taunt. Pretending to not comprehend is a great way to get your antagonists to own what they are saying. With a little luck, they’ll either quickly learn to keep the belittling innuendoes in check, or bash you more openly — at which point you’re free to cut them loose. But at least you won’t die of a thousand tiny cuts. \u003c/p>\n\u003cp>For the really rude remarks made by people you don’t care about, one old favorite is complete silence coupled with a blank face and full eye contact, letting the remark hang uncomfortably in the air before turning away and talking to someone else. Save that for the really asinine over-the-top jabs. Anyone who is rude to you does not deserve your attention, so just remove yourself from this person’s presence and don’t subject yourself to any more bad energy. If jealousy and insecurity is making a colleague temporarily (or permanently) insane, you want to get away before the knives come out. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/11/CfakepathKozyrev1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Dimitri Kozyrev, \u003ci>Last one 10\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>And what to do with the people you’ve only just met? Kill them with kindness by being as generous and sympathetic as you can. Self-awareness is something that most people lack, so maybe they aren’t even cognizant of how their remarks are perceived. Give them the benefit of the doubt until you get to know them better. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Is there an end to it? Do you ever get to pass through some pearly gates to join an enlightened level of arts participation where everyone is gracious and respectful? I wouldn’t know, but I sincerely doubt it. There’s no end to the competition (well, okay, maybe if you win a MacArthur), so there’s probably not an end to the sniping. That’s fine, you don’t have to engage in that kind of thing. Choose what kind of artist you want to be, and choose how you want to interact with people. You can’t dictate what other people do, but you can control how you operate and who you let into your life based on how they behave. The trick is to find people that you trust, who are open and aware of their own feelings, and then be as loving and honest as you can with them — and with yourself. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to HELP DESK, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I am having a rather embarrassing problem with some of my local colleagues in the visual arts. That problem is a general enmity and competitiveness when it comes to grants and exhibitions. I have always taken a ‘win some lose some’ approach to my own art career and have always applied this sentiment to the failures and successes of my peers. Lately however, I have noticed that as I move up the food chain, as it were, many of the people I have known for a long time are now taking a much nastier tack with me, making underhanded digs at my decision making or being sure to insert a subtle insult along with their congratulations. I also notice that new artists that I meet at this same level act the same toward me, being generally snotty and backstabbing. Is this just a necessary evil of being an up-and-coming artist? Is there an end to it? Do blue chip artists have to deal with the petty insecurities of their peers or does everyone just get along past a certain point? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I wonder why you’re embarrassed by this problem when the poor behavior is coming from your colleagues and not from you. It seems that if anyone should be embarrassed, it’s them — after all, who hasn’t felt a little green-eyed when faced with the news of a competitor’s good fortune, even if that competitor is a friend — but they should have the good sense to offer their best wishes and leave it at that. Sulking is best done at home where no one can see your frowny little face. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/11/CfakepathKozyrev3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Dimitri Kozyrev, \u003ci>Last one 16\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>It’s true that the competition model breeds insecurity. When 300 artists apply for one $10,000 grant, that leaves 299 disappointed; and everyone expresses disappointment in their own way. A few can shrug it off, as you seem to do, and others grow embittered and let it poison their relationships. Limited resources can sometimes turn friends into frenemies and complete strangers into adversaries. Yes, some people live their lives like this, but that doesn’t mean you have to follow suit, and no matter what else you decide to do, please don’t adopt their paradigm. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So what can you do with your current situation? First, I hope you will take a moment to review all those underhanded digs and subtle insults and make sure you’re not just being hypersensitive. Sometimes we imagine the responses of others in advance (“Gosh, this new award is going to make everyone jealous!”) and then project those imaginings onto reality. Before you go any further, make sure you read the situation correctly and keep your \u003ci>own\u003c/i> insecurities out of the driver’s seat. Got it? Okay, just checking. \u003c/p>\n\u003cp>Then, assuming you are really being insulted, you have a few options. You could ignore it and hope to find some nicer, more generous colleagues soon, or you can respond when your current pals start misbehaving. If they don’t know enough to say, “Congratulations!” and then bite their tongues, you are free to acknowledge their unkindness. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/11/CfakepathKozyrev2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Dimitri Kozyrev, \u003ci>Last one 14\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>There are probably some people with whom you’d like to remain on friendly terms. You might consider speaking to these people in private, letting them know that they’ve hurt your feelings and that you’re uncomfortable with your current interactions. Tread carefully here, using “I feel” and “I think” assertions, instead of “you” statements, which tend to make people defensive and combative. If your goal is to preserve and even enhance former good feelings between the two of you, be ready to listen as well as talk. \u003c/p>\n\u003cp>When in public, the indirect and slippery nature of the left-handed compliment becomes trickier to address. You might try to face the issue head on by asking innocently, “Why do you say that?” or “What do you mean?” when you’re served with a subtle taunt. Pretending to not comprehend is a great way to get your antagonists to own what they are saying. With a little luck, they’ll either quickly learn to keep the belittling innuendoes in check, or bash you more openly — at which point you’re free to cut them loose. But at least you won’t die of a thousand tiny cuts. \u003c/p>\n\u003cp>For the really rude remarks made by people you don’t care about, one old favorite is complete silence coupled with a blank face and full eye contact, letting the remark hang uncomfortably in the air before turning away and talking to someone else. Save that for the really asinine over-the-top jabs. Anyone who is rude to you does not deserve your attention, so just remove yourself from this person’s presence and don’t subject yourself to any more bad energy. If jealousy and insecurity is making a colleague temporarily (or permanently) insane, you want to get away before the knives come out. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/11/CfakepathKozyrev1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Dimitri Kozyrev, \u003ci>Last one 10\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>And what to do with the people you’ve only just met? Kill them with kindness by being as generous and sympathetic as you can. Self-awareness is something that most people lack, so maybe they aren’t even cognizant of how their remarks are perceived. Give them the benefit of the doubt until you get to know them better. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Yarn bombing is an art form involving outdoor installations, covering existing urban objects with yarn, and adding color, coziness, and a handmade touch to urban landscapes. From turning \u003ca href=\"http://www.huffingtonpost.com/2012/04/25/stop-sign-yarn-flowers-san-diego_n_1454101.html\">stop signs into flowers\u003c/a>, to \u003ca href=\"http://www.nytimes.com/2011/05/19/fashion/creating-graffiti-with-yarn.html?_r=0l\">blanketing the Wall Street bull\u003c/a>, yarn bombing is an established art form that leaves viewers curious and city workers confused. I contacted Bay Area artist Street Color to ask about her experiences as a yarn bomber, and get down to the ‘knitty’ gritty (let’s just get that pun out of the way).\u003c/p>\n\u003cp>Initially, Street Color chose an anonymous name as a way to separate yarn bombing from her work in other media, and because many street artists use pseudonyms to avoid the cops. But, she says, “eventually the anonymous stance became mostly a reaction to our cultural emphasis on personality.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/06/CfakepathHouse.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>House by Luke Haynes.\u003c/p>\n\u003cp>Within any art form, there will always be different approaches. Some artists use the knit wrapping technique for commercial purposes, garnering a lot of attention, but this isn’t exactly yarn bombing in Street Color’s opinion. “In the U.S., almost all of the media coverage is about yarn bombing that was done for corporate commissions, which is the opposite of the non-commercial nature of graffiti and street art.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/06/CfakepathBart.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because their work is easily removable, yarn bombers haven’t experienced traditional graffiti artists’ \u003ca href=\"http://www.flickr.com/photos/kqed_arts/8137386334/in/photostream/lightbox/\">criminal status\u003c/a>. According to Street Color, many bombers have been “scolded crossly and had their work taken down, but no legal action was taken.” The Department of Public Works is responsible for removing yarn bombs, and they’ll only act if there has been a complaint. Though she has been stopped by police for yarn bombing near the Capitol in Sacramento, she mostly adorns the more local streets around her favorite bakeries, bookstores, libraries, gardens, and galleries. She creates a “yarn bombing map” of her life in Berkeley, Oakland, and San Francisco, and has put up work near many museums “as a little conversation about where we see art.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/06/CfakepathTrees.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Trees by Suzanne Tidwell.\u003c/p>\n\u003cp>Street Color hand spins her own yarn “so that is sustainable and as beautiful as possible,” and she sees her work as a way to honor women who knit and crochet, as she says, “happily and anonymously all over the world. It is wonderful to see these old practical and modest arts appearing boldly and joyously all over our cities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Check out \u003ca href=\"http://streetcolor.wordpress.com/\">Street Color’s blog\u003c/a>, where she keeps track of yarn bombing around the world, then get your hands on \u003ca href=\"http://www.arsenalpulp.com/bookinfo.php?index=294\">\u003ci>Yarn Bombing: The Art of Crochet and Knit Graffiti\u003c/i>\u003c/a>, the book that inspired her. Next, visit \u003ca href=\"http://croshame.com/2011/06/10/i-left-my-yarn-in-san-francisco/\">croshame.com\u003c/a> for circumference measurements of various poles, park benches, and bike racks in San Francisco. Get to work on your own yarn bombing and \u003ca href=\"http://www.facebook.com/pages/KQED-Arts/231139070292217\">send us the pictures\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yarn bombing is an art form involving outdoor installations, covering existing urban objects with yarn, and adding color, coziness, and a handmade touch to urban landscapes. From turning \u003ca href=\"http://www.huffingtonpost.com/2012/04/25/stop-sign-yarn-flowers-san-diego_n_1454101.html\">stop signs into flowers\u003c/a>, to \u003ca href=\"http://www.nytimes.com/2011/05/19/fashion/creating-graffiti-with-yarn.html?_r=0l\">blanketing the Wall Street bull\u003c/a>, yarn bombing is an established art form that leaves viewers curious and city workers confused. I contacted Bay Area artist Street Color to ask about her experiences as a yarn bomber, and get down to the ‘knitty’ gritty (let’s just get that pun out of the way).\u003c/p>\n\u003cp>Initially, Street Color chose an anonymous name as a way to separate yarn bombing from her work in other media, and because many street artists use pseudonyms to avoid the cops. But, she says, “eventually the anonymous stance became mostly a reaction to our cultural emphasis on personality.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/06/CfakepathHouse.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>House by Luke Haynes.\u003c/p>\n\u003cp>Within any art form, there will always be different approaches. Some artists use the knit wrapping technique for commercial purposes, garnering a lot of attention, but this isn’t exactly yarn bombing in Street Color’s opinion. “In the U.S., almost all of the media coverage is about yarn bombing that was done for corporate commissions, which is the opposite of the non-commercial nature of graffiti and street art.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/06/CfakepathBart.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because their work is easily removable, yarn bombers haven’t experienced traditional graffiti artists’ \u003ca href=\"http://www.flickr.com/photos/kqed_arts/8137386334/in/photostream/lightbox/\">criminal status\u003c/a>. According to Street Color, many bombers have been “scolded crossly and had their work taken down, but no legal action was taken.” The Department of Public Works is responsible for removing yarn bombs, and they’ll only act if there has been a complaint. Though she has been stopped by police for yarn bombing near the Capitol in Sacramento, she mostly adorns the more local streets around her favorite bakeries, bookstores, libraries, gardens, and galleries. She creates a “yarn bombing map” of her life in Berkeley, Oakland, and San Francisco, and has put up work near many museums “as a little conversation about where we see art.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2012/11/06/CfakepathTrees.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Trees by Suzanne Tidwell.\u003c/p>\n\u003cp>Street Color hand spins her own yarn “so that is sustainable and as beautiful as possible,” and she sees her work as a way to honor women who knit and crochet, as she says, “happily and anonymously all over the world. It is wonderful to see these old practical and modest arts appearing boldly and joyously all over our cities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Check out \u003ca href=\"http://streetcolor.wordpress.com/\">Street Color’s blog\u003c/a>, where she keeps track of yarn bombing around the world, then get your hands on \u003ca href=\"http://www.arsenalpulp.com/bookinfo.php?index=294\">\u003ci>Yarn Bombing: The Art of Crochet and Knit Graffiti\u003c/i>\u003c/a>, the book that inspired her. Next, visit \u003ca href=\"http://croshame.com/2011/06/10/i-left-my-yarn-in-san-francisco/\">croshame.com\u003c/a> for circumference measurements of various poles, park benches, and bike racks in San Francisco. Get to work on your own yarn bombing and \u003ca href=\"http://www.facebook.com/pages/KQED-Arts/231139070292217\">send us the pictures\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I have to give a lecture on my work to students and faculty in the Fine Arts Department of a good size liberal arts college. I have lectured in the past to smaller audiences and have some Power Point chops so I’m not worried about putting together a decent looking program, what I am worried about is being boring. I, myself have suffered trough many boring lectures (some by artists whose work I admire) and would really love to spare the poor folks at this college from the same fate.\u003c/b>\u003c/p>\n\u003cp>\u003cb>I’d like to avoid the moldy old standard “this is a chronology of my output from Grad School to present” but I’m having a hard time coming up with ideas that will engage the audience but still get a decent amount of my work up in front of them. Is it okay to include a few images of work that are not my own in order to discuss some of my influences? Do you have any hints on how to create a dynamic stage presence, assuming the lecture hall isn’t pitch dark? And, lastly, I’ve noticed that some artists’ lectures are a little dry but they shine during the Q and A. I’d like to shine during the Q and A too, in part because it’s the last thing the audience hears and in part because you look really smart if your unscripted responses are cogent. Any tips? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>An artist lecture certainly doesn’t have to be boring. The best ones leave the audience energized with a new appreciation of what it means to be an artist in a contemporary community. There are many ways to rock your presentation, and there really isn’t a one-size-fits-all answer, so what follows are some general suggestions that you can tailor to your style and comfort level.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-horses.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Isa Genzken, \u003ci>White Horses \u003c/i>, 2008.\u003c/p>\n\u003cp>This first tip is non-negotiable: above all other considerations, practice is the key to success. Whether you are a veteran at the microphone or terrified of an audience, practice will make your talk go smoothly, so once you have your PowerPoint slides in order, take the time to run through your images and talk out loud about the work — even to an empty room. Just hearing your own voice will alert you to any gaps or flaws and you can tighten up your lecture considerably by running through it a couple of times before the actual presentation. You can also use these opportunities to time your talk — no matter how good the work is, everyone’s butt starts to hurt at around the 50-minute mark, so don’t go over the time you’ve been allotted. \u003c/p>\n\u003cp>Another factor to consider is your audience: you’ll want to adjust your talk in keeping with who will be listening. In this case, your information should be mainly geared toward the students, so find out if they are undergrads or grads and speak accordingly. I’m not suggesting that you dumb down your presentation, but if you’re a theory geek and plan to talk about \u003ca href=\"http://en.wikipedia.org/wiki/Giorgio_Agamben#State_of_Exception_.282005.29\">Giorgio Agamben’s state of exception\u003c/a>, be prepared to introduce these complex ideas to an audience that may not already be familiar (which, by the way, will lengthen your talking time). No one gets excited about a presentation they don’t understand, so if you know in advance whom your audience is you can customize the information to meet their needs. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-horses2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Isa Genzken, \u003ci>Abendmahl\u003c/i>, 2008.\u003c/p>\n\u003cp>Stage presence can definitely help a lecture along. To begin: stand up straight, smile, look around the room, and look the audience in the eyes. If you’re nervous, learn some breathing techniques that will keep you focused enough to get through the first few minutes — after that, the fight-or-flight mechanism will have died down and you’ll be in the zone. Also, avoid being a cadaver at the podium; during your rehearsals try to practice some natural gestures that you might make, such as holding your hands apart to indicate size or pointing to a particular area in an image. If you are comfortable on stage, you may want to get out from behind the podium a few times, because movement is dynamic and creates energy. Finally, humor is an excellent strategy for livening up a lecture. If there’s a funny point you could make, by all means we in the audience want to hear it. \u003c/p>\n\u003cp>Since your job is to open up your practice, images of your influences can be great — \u003ci>if\u003c/i> they’re truly related to your work in a tangible, expressible way. For example, let’s say you’re profoundly inspired by the work of Cindy Sherman, yet you make abstract paintings: you need to explain very clearly why you believe these two different bodies of work are connected. If your work is a response to another artist’s, or a continuation of a prior creative exploration, then talking about your influences can be very enlightening. But there’s a caveat: be careful that you’re not justifying your own work by trying to stand on the shoulders of other (likely famous) artists. Your work should rest on its own merits, and talking about influences should illuminate, not vindicate, your practice. \u003c/p>\n\u003cp>One idea to consider for the Q&A is to not save it for the end. When possible, I explicitly open up my lecture to questions from the beginning, asking the audience to jump in at any point when they need clarification. This serves two functions: it allows people to ask questions before they forget them, and it can also break the ice on queries so that there’s not an awkward pause at the end of the lecture while everyone waits to see who will ask a question first. This opening-up strategy is not for everyone — it can derail a really tightly scripted talk, so this method may not work for you if you’re reading word-for-word from your notes — but if you’re comfortable enough to do your lecture from an outline, the odd interjected question can liven things up considerably. \u003c/p>\n\u003cp>One of the reasons that artists often shine during the post-talk Q&A is that they’re more or less done with the task at hand — they’re relieved, relaxed, and, after 45 minutes of talking, they’re in the swing of things. Take time to acknowledge your questioners by saying things like, “Thanks for asking that question,” or “That’s an important question.” If you don’t know the answer to a query, throw it out to the audience and open up a general discussion with something like: “I’m not sure what the right answer is, but I bet someone else in this room does.” If you’re greeted with a lengthening silence after your introducer announces that the floor is open for questions, don’t feel bad, just turn the tables on your audience and ask questions of \u003ci>them\u003c/i>. With a little practice, you’ll learn to read each crowd and use strategies that will keep the presentation energetic right up to the final moment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Finally, remember that being invited to give a lecture is a form of praise and respect. Start and end your talk by expressing your gratitude. Thank the audience for coming, and thank the specific people in the department who brought you there. Practice, smile, be confident — and break a leg! \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Help Desk, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a> with your questions. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I have to give a lecture on my work to students and faculty in the Fine Arts Department of a good size liberal arts college. I have lectured in the past to smaller audiences and have some Power Point chops so I’m not worried about putting together a decent looking program, what I am worried about is being boring. I, myself have suffered trough many boring lectures (some by artists whose work I admire) and would really love to spare the poor folks at this college from the same fate.\u003c/b>\u003c/p>\n\u003cp>\u003cb>I’d like to avoid the moldy old standard “this is a chronology of my output from Grad School to present” but I’m having a hard time coming up with ideas that will engage the audience but still get a decent amount of my work up in front of them. Is it okay to include a few images of work that are not my own in order to discuss some of my influences? Do you have any hints on how to create a dynamic stage presence, assuming the lecture hall isn’t pitch dark? And, lastly, I’ve noticed that some artists’ lectures are a little dry but they shine during the Q and A. I’d like to shine during the Q and A too, in part because it’s the last thing the audience hears and in part because you look really smart if your unscripted responses are cogent. Any tips? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>An artist lecture certainly doesn’t have to be boring. The best ones leave the audience energized with a new appreciation of what it means to be an artist in a contemporary community. There are many ways to rock your presentation, and there really isn’t a one-size-fits-all answer, so what follows are some general suggestions that you can tailor to your style and comfort level.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-horses.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Isa Genzken, \u003ci>White Horses \u003c/i>, 2008.\u003c/p>\n\u003cp>This first tip is non-negotiable: above all other considerations, practice is the key to success. Whether you are a veteran at the microphone or terrified of an audience, practice will make your talk go smoothly, so once you have your PowerPoint slides in order, take the time to run through your images and talk out loud about the work — even to an empty room. Just hearing your own voice will alert you to any gaps or flaws and you can tighten up your lecture considerably by running through it a couple of times before the actual presentation. 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No one gets excited about a presentation they don’t understand, so if you know in advance whom your audience is you can customize the information to meet their needs. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-horses2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Isa Genzken, \u003ci>Abendmahl\u003c/i>, 2008.\u003c/p>\n\u003cp>Stage presence can definitely help a lecture along. To begin: stand up straight, smile, look around the room, and look the audience in the eyes. If you’re nervous, learn some breathing techniques that will keep you focused enough to get through the first few minutes — after that, the fight-or-flight mechanism will have died down and you’ll be in the zone. Also, avoid being a cadaver at the podium; during your rehearsals try to practice some natural gestures that you might make, such as holding your hands apart to indicate size or pointing to a particular area in an image. If you are comfortable on stage, you may want to get out from behind the podium a few times, because movement is dynamic and creates energy. Finally, humor is an excellent strategy for livening up a lecture. If there’s a funny point you could make, by all means we in the audience want to hear it. \u003c/p>\n\u003cp>Since your job is to open up your practice, images of your influences can be great — \u003ci>if\u003c/i> they’re truly related to your work in a tangible, expressible way. For example, let’s say you’re profoundly inspired by the work of Cindy Sherman, yet you make abstract paintings: you need to explain very clearly why you believe these two different bodies of work are connected. If your work is a response to another artist’s, or a continuation of a prior creative exploration, then talking about your influences can be very enlightening. 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"content": "\u003cp>Sacramento photographer Doug Rickard has traveled thousands of miles across America — without leaving his studio. Rickard drives around the country in search of artistic inspiration using \u003ca href=\"http://maps.google.com/intl/en/help/maps/streetview/\">Google Street View\u003c/a>. What he has brought back from these expeditions is a portrait of the bleak and forgotten places that are often overlooked in the U.S. His work carries on a photographic tradition that stretches back to the Great Depression, when a number of famous photographers (Walker Evans, Dorothea Lang) fanned out across the country to document the plight of the poor.\u003c/p>\n\u003cp>Street View, which launched in May 2007, is the perfect vehicle for capturing the effects of the recent economic collapse. Google’s goal of providing a street-level vision of the buildings and landscapes represented on a bird’s eye map has resulted in the freezing of countless scenes of economic hardship and devastation, which are isolated and reified in Rickard’s photographs.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rickard1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Doug Rickard, \u003ci>#26.431997, Belle Glade, Fl (2007), 2010.\u003c/i>\u003c/p>\n\u003cp>While not the only person to make art using online tools — several artists even use Street View — Rickard’s work “speaks to American dynamics both present and past that are separate from technology (socio-economics, racial divide, class divide, historical events, etc.) and then technology adds layers to this work that are in themselves manifold (privacy, surveillance, participation or lack of participation in the technology transformations of our culture, etc. etc).”\u003c/p>\n\u003cp>View KQED’s video profile of Doug Rickard:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=X9cAK2LJWQY&w=480&h=270]\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"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>",
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"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?",
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"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",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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