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On the other hand, “works of the imagination are sites of interpretation,” claims artist David Robbins in his book \u003ci>Concrete Comedy\u003c/i>. “Indeed they are made in order to be interpreted; art is not simply a matter of ‘appreciation,’ of ‘understanding the artist’s intentions.’ If we accept that the spectator completes the work, then it follows that the audience for imaginative works may interpret them with the same freedom and intensity that informed their creation. Nothing can and should prevent us from offering imaginative interpretations of works of the imagination, since every individual’s relation to their own imagination is sacred — more sacred, even, then is respecting an artist’s intentions. The idea that certain interpretations must be cordoned off and others reinforced without challenge… is a position finally impossible to defend. To do so is to violate an essential principle of human history.” \u003c/p>\n\u003cp>Sometimes I think a former professor had the last word on pointing out the limits of artistic intent when he asked, “Given how very little most people really know about themselves, why should we trust their stated intentions?” \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-burden-shoot.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Chris Burden, \u003ci>Shoot\u003c/i>, 1971.\u003cbr>\u003c/center>\n\u003cp>\u003cb>Do you think that tattooing/tattoo derived imagery (drawings, flash, etc) is a valid form of contemporary art? Would you view it as a fine art, an occupation, or a mixture of both? Do you think a hierarchy of importance should be in place when talking about contemporary art and its applications? \u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>This is not exactly my area of expertise, but thankfully I found just the person to answer your query: Dan Gilsdorf, who has been tattooing professionally for 20 years, agreed to guest-write the opinions below. He also has a professional career in the fine arts, and so was uniquely qualified to opine on both tattooing and contemporary art. \u003c/i>\u003c/p>\n\u003cp>I ought to make a couple of clarifications before diving into an answer. I’m going to assume that by “tattooing” you mean as it’s practiced conventionally in the U.S. and other developed countries — that is to say a professionalized activity that takes place in a business context and provides, to a greater or lesser extent, a living in the economic sense. Let me also state that art is a term that gets thrown around pretty loosely and is often misapplied to anything that is done in a highly skilled manner, such as graphic design, furniture making, plumbing, etc. For our purposes here, let’s agree not to use the term ‘art’ as a value judgment (either positive or negative) and let’s concede that a great plumber is best and most suitably appreciated for his or her greatness as a plumber, not as a plumbing artist. After all, who of us would really want our toilet to subvert the dominant conceptual paradigm? \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-burden-lapd.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Chris Burden, \u003ci>L.A.P.D. Uniform\u003c/i>, 1994.\u003cbr>\u003c/center>\n\u003cp>So, on to your first question about the validity of tattooing as a form of contemporary art. One of the great features of postmodernity is that there are no invalid forms of contemporary art. An artist’s work can take on any form whatsoever, and that form can change at any time and to any extent. Indeed, artwork need not take a “form” at all, as seen in the examples of conceptualism and social practice. The flip side of this principle is that there are no forms whose validity as contemporary art is a given. Painting a wall and doing a painting on a wall are essentially the same thing, yet we categorize them differently based on subtle distinctions such as context, intent, etc. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-burden-relic.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Chris Burden, \u003ci>Relic from Jaizu\u003c/i>, 1972.\u003cbr>\u003c/center>\n\u003cp>The same holds true for tattooing. Many artists have utilized tattooing and tattoo imagery with the intent to create contemporary art and have presented their work within a fine arts context. (Santiago Sierra, Spider Webb, Tony Fitzpatrick, Shelley Jackson, Dr. Lakra and Don Ed Hardy are examples) However, this does not mean that all tattooing qualifies as contemporary art. Likewise, a lot of this kind of work, great art though it may be, doesn’t really make good tattoos.\u003c/p>\n\u003cp>Unlike the examples above, the vast majority of tattoos in the world are made according to the specifications of the people wearing them, that is, the customers. In this way, most tattooing has more in common with a design service than with contemporary art. Of course, as with any design service there are considerations of style, and customers will choose tattooists based on the style of their work, but stylistic input doesn’t make it art, at least as far as the tattooist is concerned. Therefore, if you’re considering taking up tattooing as means to express yourself artistically, I’d suggest finding another medium; one that doesn’t bleed, squirm, or make off-the-wall design requests that you find to be in horrible taste.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-burden-ships.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Chris Burden, \u003ci>Three Ghost Ships\u003c/i>, 1991.\u003cbr>\u003c/center>\n\u003cp>As for tattoo imagery, the flash designs drawn or painted by tattooists are typically intended to be sold individually as tattoos and are akin to a catalogue of available motifs. Many tattooists make and sell paintings, drawings, prints, and the like without necessarily intending that they end up on someone’s skin, but these tend to be shown and marketed to a tattoo audience rather than a fine arts audience. Granted there is significant potential overlap in these two audiences but, generally speaking, they are quite dissimilar in their tastes and expectations. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Which brings us to hierarchies. Hierarchies abound in the arts, for better or worse. Most of us would agree that work of higher quality should be regarded above work of lower quality, but what constitutes a quality work of art turns out to be remarkably subjective. In tattooing, the standards of quality are much simpler; if the customer likes his or her tattoo, and is happy with it, then mission accomplished. It doesn’t really matter what the tattooist, the tattoo community, or anybody else thinks about it, and that’s pretty much the end of the story in my opinion. But then there is the question of hierarchy in a more general sense; is tattooing “lower” than contemporary art? Not surprisingly, it depends on whom you ask and how they valuate such things. It’s a little like comparing ice hockey to basketball. They’re not without their similarities but they are different games. The good news is that you can appreciate both for what they are. It’s perfectly acceptable to love art and to love tattoos equally and simultaneously. \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>How important is it to consider the intent of an artist when viewing his or her work? \u003c/b>\u003c/p>\n\u003cp>Your position on this matter depends on how you feel about the artist’s desire for a particular expression versus your own powers of interpretation. On one hand, we might wish to honor — or at least consider — the stated intentions of the artist when viewing the work, even if only to see how it matches up against our own perception. On the other hand, “works of the imagination are sites of interpretation,” claims artist David Robbins in his book \u003ci>Concrete Comedy\u003c/i>. “Indeed they are made in order to be interpreted; art is not simply a matter of ‘appreciation,’ of ‘understanding the artist’s intentions.’ If we accept that the spectator completes the work, then it follows that the audience for imaginative works may interpret them with the same freedom and intensity that informed their creation. Nothing can and should prevent us from offering imaginative interpretations of works of the imagination, since every individual’s relation to their own imagination is sacred — more sacred, even, then is respecting an artist’s intentions. The idea that certain interpretations must be cordoned off and others reinforced without challenge… is a position finally impossible to defend. To do so is to violate an essential principle of human history.” \u003c/p>\n\u003cp>Sometimes I think a former professor had the last word on pointing out the limits of artistic intent when he asked, “Given how very little most people really know about themselves, why should we trust their stated intentions?” \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-burden-shoot.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Chris Burden, \u003ci>Shoot\u003c/i>, 1971.\u003cbr>\u003c/center>\n\u003cp>\u003cb>Do you think that tattooing/tattoo derived imagery (drawings, flash, etc) is a valid form of contemporary art? Would you view it as a fine art, an occupation, or a mixture of both? Do you think a hierarchy of importance should be in place when talking about contemporary art and its applications? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>This is not exactly my area of expertise, but thankfully I found just the person to answer your query: Dan Gilsdorf, who has been tattooing professionally for 20 years, agreed to guest-write the opinions below. He also has a professional career in the fine arts, and so was uniquely qualified to opine on both tattooing and contemporary art. \u003c/i>\u003c/p>\n\u003cp>I ought to make a couple of clarifications before diving into an answer. I’m going to assume that by “tattooing” you mean as it’s practiced conventionally in the U.S. and other developed countries — that is to say a professionalized activity that takes place in a business context and provides, to a greater or lesser extent, a living in the economic sense. Let me also state that art is a term that gets thrown around pretty loosely and is often misapplied to anything that is done in a highly skilled manner, such as graphic design, furniture making, plumbing, etc. For our purposes here, let’s agree not to use the term ‘art’ as a value judgment (either positive or negative) and let’s concede that a great plumber is best and most suitably appreciated for his or her greatness as a plumber, not as a plumbing artist. After all, who of us would really want our toilet to subvert the dominant conceptual paradigm? \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-burden-lapd.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Chris Burden, \u003ci>L.A.P.D. Uniform\u003c/i>, 1994.\u003cbr>\u003c/center>\n\u003cp>So, on to your first question about the validity of tattooing as a form of contemporary art. One of the great features of postmodernity is that there are no invalid forms of contemporary art. An artist’s work can take on any form whatsoever, and that form can change at any time and to any extent. Indeed, artwork need not take a “form” at all, as seen in the examples of conceptualism and social practice. The flip side of this principle is that there are no forms whose validity as contemporary art is a given. Painting a wall and doing a painting on a wall are essentially the same thing, yet we categorize them differently based on subtle distinctions such as context, intent, etc. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-burden-relic.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Chris Burden, \u003ci>Relic from Jaizu\u003c/i>, 1972.\u003cbr>\u003c/center>\n\u003cp>The same holds true for tattooing. Many artists have utilized tattooing and tattoo imagery with the intent to create contemporary art and have presented their work within a fine arts context. (Santiago Sierra, Spider Webb, Tony Fitzpatrick, Shelley Jackson, Dr. Lakra and Don Ed Hardy are examples) However, this does not mean that all tattooing qualifies as contemporary art. Likewise, a lot of this kind of work, great art though it may be, doesn’t really make good tattoos.\u003c/p>\n\u003cp>Unlike the examples above, the vast majority of tattoos in the world are made according to the specifications of the people wearing them, that is, the customers. In this way, most tattooing has more in common with a design service than with contemporary art. Of course, as with any design service there are considerations of style, and customers will choose tattooists based on the style of their work, but stylistic input doesn’t make it art, at least as far as the tattooist is concerned. Therefore, if you’re considering taking up tattooing as means to express yourself artistically, I’d suggest finding another medium; one that doesn’t bleed, squirm, or make off-the-wall design requests that you find to be in horrible taste.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-burden-ships.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Chris Burden, \u003ci>Three Ghost Ships\u003c/i>, 1991.\u003cbr>\u003c/center>\n\u003cp>As for tattoo imagery, the flash designs drawn or painted by tattooists are typically intended to be sold individually as tattoos and are akin to a catalogue of available motifs. Many tattooists make and sell paintings, drawings, prints, and the like without necessarily intending that they end up on someone’s skin, but these tend to be shown and marketed to a tattoo audience rather than a fine arts audience. Granted there is significant potential overlap in these two audiences but, generally speaking, they are quite dissimilar in their tastes and expectations. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which brings us to hierarchies. Hierarchies abound in the arts, for better or worse. Most of us would agree that work of higher quality should be regarded above work of lower quality, but what constitutes a quality work of art turns out to be remarkably subjective. In tattooing, the standards of quality are much simpler; if the customer likes his or her tattoo, and is happy with it, then mission accomplished. It doesn’t really matter what the tattooist, the tattoo community, or anybody else thinks about it, and that’s pretty much the end of the story in my opinion. But then there is the question of hierarchy in a more general sense; is tattooing “lower” than contemporary art? Not surprisingly, it depends on whom you ask and how they valuate such things. It’s a little like comparing ice hockey to basketball. They’re not without their similarities but they are different games. The good news is that you can appreciate both for what they are. It’s perfectly acceptable to love art and to love tattoos equally and simultaneously. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Now is a good time to see a whole lot of art all at once. Between the Spring MFA exhibitions and the commercial Art Fair selection, viewers can see a boatload of art in one place, and one-percenters can conveniently make a big dent in their art-collecting budgets. ArtMrkt, the SF Fine Art Fair, and ArtPadSF are all going down this weekend, and we jumped on the first pair of free tickets we were offered (Thank you, kind folks at Marx Zavattero Gallery).\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"500\" height=\"375\">\u003cparam name=\"flashvars\" value=\"offsite=true&lang=en-us&page_show_url=%2Fphotos%2F8837740%40N04%2Fsets%2F72157629789425736%2Fshow%2F&page_show_back_url=%2Fphotos%2F8837740%40N04%2Fsets%2F72157629789425736%2F&set_id=72157629789425736&jump_to=\">\u003cparam name=\"movie\" value=\"http://www.flickr.com/apps/slideshow/show.swf?v=109615\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cembed type=\"application/x-shockwave-flash\" src=\"http://www.flickr.com/apps/slideshow/show.swf?v=109615\" allowfullscreen=\"true\" flashvars=\"offsite=true&lang=en-us&page_show_url=%2Fphotos%2F8837740%40N04%2Fsets%2F72157629789425736%2Fshow%2F&page_show_back_url=%2Fphotos%2F8837740%40N04%2Fsets%2F72157629789425736%2F&set_id=72157629789425736&jump_to=\" width=\"500\" height=\"375\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>Art Fairs are new to San Francisco; this is the second annual showdown. They are strange occasions where the blissfully ignored line between art and commerce stands proudly in the spotlight. ArtPadSF was our chosen fair, held in the Phoenix hotel on the heels of SFAI’s MFA show. It would be easy to make a sleazy joke about galleries paying hourly rates to sell their goods in skeezy hotel rooms, so we won’t. There was a Butoh performance in the hotel’s pool, and that was funny enough for us.\u003c/p>\n\u003cp>Some of our favorite local galleries took up residence at the Phoenix, including Electric Works, Eleanor Harwood, The Luggage Store, Marx Zavattero, and Swarm, and we were also excited for the opportunity to see out-of-towners on our home turf, such as New Image Art from LA, among others.\u003c/p>\n\u003cp>On one hand, we were disappointed. Safe, salable works were aplenty, but we did see a few gems, including an appropriately sexy George Kuchar tribute leftover from the SFAI show, and loveable pieces from a few of our favorites like Libby Black, Barry McGee, Andrew Schoultz, Os Gemeos, and the Date Farmers. We were also stunned by an incredibly realistic sculpture of a dead Courtney Love lookalike, who \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\">Emmanuel\u003c/a> apologized to as he shot an awkward close-up several moments before realizing he was photographing a dummy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One art fair perk was major: the celebrity sightings. Ron Turner of Last Gasp, and local artists Paul Madonna and \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=38532\">Ann Weber\u003c/a> were just a few of the luminaries we spotted. And at the veggie Vietnamese restaurant around the corner, we dined a few yards from Mission School royalty: Barry McGee, Chris Johanson, and Jo Jackson.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This was our first SF Art Fair, and we’ve concluded that it was worth a late-night trip to the TL, but that we’d rather see a mobile art fair fleet: airstream trailers and cruise ships travelling the Bay Area, overflowing with art and champagne. We demand more decadence and splendor in 2013. We want a fair to remember.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now is a good time to see a whole lot of art all at once. Between the Spring MFA exhibitions and the commercial Art Fair selection, viewers can see a boatload of art in one place, and one-percenters can conveniently make a big dent in their art-collecting budgets. ArtMrkt, the SF Fine Art Fair, and ArtPadSF are all going down this weekend, and we jumped on the first pair of free tickets we were offered (Thank you, kind folks at Marx Zavattero Gallery).\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"500\" height=\"375\">\u003cparam name=\"flashvars\" value=\"offsite=true&lang=en-us&page_show_url=%2Fphotos%2F8837740%40N04%2Fsets%2F72157629789425736%2Fshow%2F&page_show_back_url=%2Fphotos%2F8837740%40N04%2Fsets%2F72157629789425736%2F&set_id=72157629789425736&jump_to=\">\u003cparam name=\"movie\" value=\"http://www.flickr.com/apps/slideshow/show.swf?v=109615\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cembed type=\"application/x-shockwave-flash\" src=\"http://www.flickr.com/apps/slideshow/show.swf?v=109615\" allowfullscreen=\"true\" flashvars=\"offsite=true&lang=en-us&page_show_url=%2Fphotos%2F8837740%40N04%2Fsets%2F72157629789425736%2Fshow%2F&page_show_back_url=%2Fphotos%2F8837740%40N04%2Fsets%2F72157629789425736%2F&set_id=72157629789425736&jump_to=\" width=\"500\" height=\"375\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>Art Fairs are new to San Francisco; this is the second annual showdown. They are strange occasions where the blissfully ignored line between art and commerce stands proudly in the spotlight. ArtPadSF was our chosen fair, held in the Phoenix hotel on the heels of SFAI’s MFA show. It would be easy to make a sleazy joke about galleries paying hourly rates to sell their goods in skeezy hotel rooms, so we won’t. There was a Butoh performance in the hotel’s pool, and that was funny enough for us.\u003c/p>\n\u003cp>Some of our favorite local galleries took up residence at the Phoenix, including Electric Works, Eleanor Harwood, The Luggage Store, Marx Zavattero, and Swarm, and we were also excited for the opportunity to see out-of-towners on our home turf, such as New Image Art from LA, among others.\u003c/p>\n\u003cp>On one hand, we were disappointed. Safe, salable works were aplenty, but we did see a few gems, including an appropriately sexy George Kuchar tribute leftover from the SFAI show, and loveable pieces from a few of our favorites like Libby Black, Barry McGee, Andrew Schoultz, Os Gemeos, and the Date Farmers. We were also stunned by an incredibly realistic sculpture of a dead Courtney Love lookalike, who \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20082\">Emmanuel\u003c/a> apologized to as he shot an awkward close-up several moments before realizing he was photographing a dummy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One art fair perk was major: the celebrity sightings. Ron Turner of Last Gasp, and local artists Paul Madonna and \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=38532\">Ann Weber\u003c/a> were just a few of the luminaries we spotted. And at the veggie Vietnamese restaurant around the corner, we dined a few yards from Mission School royalty: Barry McGee, Chris Johanson, and Jo Jackson.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This was our first SF Art Fair, and we’ve concluded that it was worth a late-night trip to the TL, but that we’d rather see a mobile art fair fleet: airstream trailers and cruise ships travelling the Bay Area, overflowing with art and champagne. We demand more decadence and splendor in 2013. We want a fair to remember.\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>Do you think that learning the technique of mediums before using them (instead of just doing something arbitrary with the medium) is stifling to creativity? \u003c/b>\u003c/p>\n\u003cp>No, I don’t. Creativity isn’t arbitrary, it is direct imaginative action oriented toward a medium. The more you know, the more calculating and precise you can be (all while making it seem effortless). What \u003ci>is\u003c/i> stifling to creativity is when the urge to create is stymied by a lack of knowledge. Stop complaining about your color theory homework — I promise it will stand you in good stead some day. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-greenwood.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Wynne Greenwood, \u003cb>Peace In\u003c/b> installation view\u003c/center>\n\u003cp>\u003cb>I have Asperger’s Syndrome. I’ve known this since I was very young, and was fortunate enough to have parents who helped me sort through it in the right way. It is very mild, and I don’t even really think much of it, however I’ve noticed that my behavior tends to color people’s opinion of my artwork. Sometimes I get the impression that they think I am some narrowly-focused-boy-wonder-type. I can’t say that this impression has hurt me — in fact, I believe it amplifies any interest in my work — however I’m not sure how I feel about being contextualized this way. Should I fight against this reputation I seem to be inadvertently building? \u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I wonder what you could possibly do to combat the impression you believe you are making. After all, you don’t know what conclusions people are actually coming to when you interact with them. You’re just guessing. But if you want to try to fight this assumption (yours and, potentially, your studio visitor’s) you’ll have to beat them to the punch. Maybe you could make a t-shirt that says, “I think that you think that I’m some kind of boy wonder, but I want to preemptively let you know that I’m not.” For brevity’s sake, on the back it could just say ASPERGER’S — you know, like a team jersey.\u003c/p>\n\u003cp>However, fashion’s not really my thing (see column lead picture, above) so in place of sartorial advice let’s get to the heart of this matter: the problem of how an artist controls her public image. Obviously, it’s necessary for the professional artist to have some information about herself out in the world (name, birthplace, education, and exhibitions are all basic resume items and statements often mention inspirations, etc.), but it’s funny how quickly this can get distorted or mischaracterized. Sometimes it seems that fact checking is passé: if someone gets a notion about who you are, and especially if it enlivens a story, there’s not much you can do. It’s no easy task to fight the rising tide of misinformation that gets circulated, especially when we live in a culture that fetishizes artists even as it undervalues them. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-greenwood-2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Wynne Greenwood, \u003ci>Head #1 with Pillar\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>Let me give you an extreme example of how biographical information gets twisted: one young artist I know was born in Africa but raised in the US. She has an American accent. Upon meeting her, one patron said enthusiastically, “Oh, you’re African!” “No,” corrected my pal, “I was born in Africa, but I was raised in the US, in the South.” The patron immediately switched to expressing her sympathy, appearing to believe that the artist grew up in poverty-stricken circumstances. In reality, the artist had a comfortable middle-class suburban childhood, but this woman clearly wanted to put her into a particular category: either the “foreign/exotic” box or, when that didn’t work, in the “black ghetto” box. She wanted the artist’s life experience to be one that neatly dovetailed with her own assumptions.\u003c/p>\n\u003cp>Even at its most benign, the art world (indeed, the entire world) loves a good narrative. Many artists have cannily crafted a detailed back-story for themselves that enhances the reception of their work. Others (like collectives) eschew authorship and, in the process, reject the idea of creating a personal history that supports their oeuvre. But in contemporary art — which, let’s face it, is often confusing or opaque — there’s a lust for biography and a desire to make direct connections between the life of the artist and her work. No matter what you do, if critics, gallerists and curators are paying attention to your practice they are going to construct a narrative that links their perception of your personal tale with your artmaking. It’s just one way that humans attempt to explain the circumstances of imagination and creativity. \u003c/p>\n\u003cp>It seems that there is little you can do about it — at least preemptively — without falling victim to your \u003ci>own\u003c/i> conjectures about what other people might think of you and your work. Consider the possibility that your work is simply good enough to merit attention. If your natural behavioral eccentricities make you an even more charming or romantic figure, so be it. As long as you are not being disingenuous, then there’s nothing wrong with allowing people to cultivate whatever notions they want about you — and remember that they’re going to do it anyway. If you feel that it’s important to correct any possible misunderstanding of your work or your studio practice, you’re free to mention Asperger’s in your artist statement or in studio visits. But be warned that this information will create another dialog around the work that will only play into another set of assumptions, ones that you may not want to deal with. \u003c/p>\n\u003cp>\u003ci>This week’s column is accompanied by images from \u003ca href=\"http://www.wynnegreenwood.com/\">Wynne Greenwood\u003c/a>‘s recent show \u003cb>Peace In\u003c/b> at \u003ca href=\"http://www.lawrimoreproject.com/\">Lawrimore Project\u003c/a> in Seattle.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\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>Do you think that learning the technique of mediums before using them (instead of just doing something arbitrary with the medium) is stifling to creativity? \u003c/b>\u003c/p>\n\u003cp>No, I don’t. Creativity isn’t arbitrary, it is direct imaginative action oriented toward a medium. The more you know, the more calculating and precise you can be (all while making it seem effortless). What \u003ci>is\u003c/i> stifling to creativity is when the urge to create is stymied by a lack of knowledge. Stop complaining about your color theory homework — I promise it will stand you in good stead some day. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-greenwood.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Wynne Greenwood, \u003cb>Peace In\u003c/b> installation view\u003c/center>\n\u003cp>\u003cb>I have Asperger’s Syndrome. I’ve known this since I was very young, and was fortunate enough to have parents who helped me sort through it in the right way. It is very mild, and I don’t even really think much of it, however I’ve noticed that my behavior tends to color people’s opinion of my artwork. Sometimes I get the impression that they think I am some narrowly-focused-boy-wonder-type. I can’t say that this impression has hurt me — in fact, I believe it amplifies any interest in my work — however I’m not sure how I feel about being contextualized this way. Should I fight against this reputation I seem to be inadvertently building? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I wonder what you could possibly do to combat the impression you believe you are making. After all, you don’t know what conclusions people are actually coming to when you interact with them. You’re just guessing. But if you want to try to fight this assumption (yours and, potentially, your studio visitor’s) you’ll have to beat them to the punch. Maybe you could make a t-shirt that says, “I think that you think that I’m some kind of boy wonder, but I want to preemptively let you know that I’m not.” For brevity’s sake, on the back it could just say ASPERGER’S — you know, like a team jersey.\u003c/p>\n\u003cp>However, fashion’s not really my thing (see column lead picture, above) so in place of sartorial advice let’s get to the heart of this matter: the problem of how an artist controls her public image. Obviously, it’s necessary for the professional artist to have some information about herself out in the world (name, birthplace, education, and exhibitions are all basic resume items and statements often mention inspirations, etc.), but it’s funny how quickly this can get distorted or mischaracterized. Sometimes it seems that fact checking is passé: if someone gets a notion about who you are, and especially if it enlivens a story, there’s not much you can do. It’s no easy task to fight the rising tide of misinformation that gets circulated, especially when we live in a culture that fetishizes artists even as it undervalues them. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-greenwood-2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Wynne Greenwood, \u003ci>Head #1 with Pillar\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>Let me give you an extreme example of how biographical information gets twisted: one young artist I know was born in Africa but raised in the US. She has an American accent. Upon meeting her, one patron said enthusiastically, “Oh, you’re African!” “No,” corrected my pal, “I was born in Africa, but I was raised in the US, in the South.” The patron immediately switched to expressing her sympathy, appearing to believe that the artist grew up in poverty-stricken circumstances. In reality, the artist had a comfortable middle-class suburban childhood, but this woman clearly wanted to put her into a particular category: either the “foreign/exotic” box or, when that didn’t work, in the “black ghetto” box. She wanted the artist’s life experience to be one that neatly dovetailed with her own assumptions.\u003c/p>\n\u003cp>Even at its most benign, the art world (indeed, the entire world) loves a good narrative. Many artists have cannily crafted a detailed back-story for themselves that enhances the reception of their work. Others (like collectives) eschew authorship and, in the process, reject the idea of creating a personal history that supports their oeuvre. But in contemporary art — which, let’s face it, is often confusing or opaque — there’s a lust for biography and a desire to make direct connections between the life of the artist and her work. No matter what you do, if critics, gallerists and curators are paying attention to your practice they are going to construct a narrative that links their perception of your personal tale with your artmaking. It’s just one way that humans attempt to explain the circumstances of imagination and creativity. \u003c/p>\n\u003cp>It seems that there is little you can do about it — at least preemptively — without falling victim to your \u003ci>own\u003c/i> conjectures about what other people might think of you and your work. Consider the possibility that your work is simply good enough to merit attention. If your natural behavioral eccentricities make you an even more charming or romantic figure, so be it. As long as you are not being disingenuous, then there’s nothing wrong with allowing people to cultivate whatever notions they want about you — and remember that they’re going to do it anyway. If you feel that it’s important to correct any possible misunderstanding of your work or your studio practice, you’re free to mention Asperger’s in your artist statement or in studio visits. But be warned that this information will create another dialog around the work that will only play into another set of assumptions, ones that you may not want to deal with. \u003c/p>\n\u003cp>\u003ci>This week’s column is accompanied by images from \u003ca href=\"http://www.wynnegreenwood.com/\">Wynne Greenwood\u003c/a>‘s recent show \u003cb>Peace In\u003c/b> at \u003ca href=\"http://www.lawrimoreproject.com/\">Lawrimore Project\u003c/a> in Seattle.\u003c/i>\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. Help Desk is co-sponsored by KQED.org.\u003c/i>\u003c/p>\n\u003cp>\u003cb>My question is: how does an artist decide how much a certain piece is worth, monetarily?\u003c/b>\u003c/p>\n\u003cp>One of the most difficult things to do is put a dollar value on your work. In the absence of a gallerist’s guiding hand and prior knowledge, you have to ask yourself all kinds of ancillary questions: where am I at in my career, is this object well-made, is it unique, what have I sold in the past? etc. Pricing your work means it’s time to be brutally honest about where you stand in your career vis à vis what the market will bear. It can be a tough call. Who — at least of the unrepresented among us — hasn’t sold a piece and then wished they had asked for more? Or wondered if unsold work might have had a buyer if it was offered for less? \u003c/p>\n\u003cp>This is just one more situation in which artists need to do their research. Start with the local galleries and art fairs and look at the prices of work that is similar to yours to get a range of values. This will help you create a basic list of prices, but don’t stop there because numbers aren’t the only part of the equation. Take a look at the resumes of the artists, too, as accomplishments make a difference in setting a price. If the paintings of an established mid-career artist with work in private and public collections sell for $30,000, and you’re fresh out of a BFA program, then your work is not going to sell for the same amount even if the size, medium, and style are comparable. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-framing.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>[ framing, deframing and reframing of semi-accidental linkages ]\u003c/i>, Irina and Silviu Szekely; courtesy of the artists.\u003c/center>\n\u003cp>You’ll also need to consider what it takes to make your work and what kind of work you’re making. For example, take the economics of production into account. What do you spend on your materials? Likewise, if you’re selling framed work you need to account for the costs of matting and framing. The type of work you’re making also has a particular value. If the work is part of an edition, it’s valued less than an original. A print from an edition of three hundred is less expensive than one from an edition of five. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When you’ve accounted for as many variables as possible, give yourself a small range of prices that you think are acceptable and run them by an artist friend who understands the art market. If you have access to a sympathetic teacher or dealer, you could ask those folks, too. I find that bouncing a number off a neutral party can help me make a final decision. I also take into account the words of a former professor, who told me that his sales strategy was to price things on the lower end of the scale. “I’d rather have a slightly smaller check than store [my paintings] indefinitely,” he said, and this is yet another thing to consider when you’re trying to put a dollar value on your work. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-amputated.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>[ the amputated experience of Sir Coincidence Sobject ]\u003c/i>, Irina and Silviu Szekely; courtesy of the artists.\u003c/center>\n\u003cp>\u003cb>I am a performance artist. I have had many invitations lately to show my work, but I am worried I won’t have enough money to pay for all of the travel and materials. Is there a way to get an ‘art loan’? What would you do? I’m right on the cusp of something. It is so much about freeness, but also, it’s crazy to be running on hot air.\u003c/b>\u003c/p>\n\u003cp>The first thing I want to say is that if you’re receiving invitations to perform, you should be getting at least some financial support from the institutions and venues themselves. Have you written any emails along the lines of, “Thank you for your interest in my work. Here are the costs associated with my performance, including airfare to your city. Please let me know how you are going to fund this performance”? Though I suspect that this is not a magical solution to your problem, I would love for your work to be supported by the venues that ask you to perform for them. That’s not going to happen if you don’t ask directly, and at least it gives you a place to start. \u003c/p>\n\u003cp>As always, there are some larger issues at work here. We all know of some great institutions that operate on a shoestring budget. What happens when one of those worthy venues sends you an invitation? Do you turn them down if they can’t fully fund your work, thereby maintaining your financial integrity but losing an opportunity? Or do you suck it up, go into debt, and hope that this performance leads to one that will be fully financed? In a broader sense, how much do we artists have to give away before our work has (real cash) value? Can any of us afford to turn down an opportunity on principle? It’s frustrating to feel manipulated by a system that asks the very producers of culture to give it away for free. Considered on a global scale, someone somewhere is making money on our collective work, and it’s no good if you’re contributing meaningful effort and not getting your slice. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-temps.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>[ temps de rêver au temps de vie, s’écrire et s’en douter ]\u003c/i>, Irina and Silviu Szekely; courtesy of the artists.\u003c/center>\n\u003cp>Would I get an art loan? Only if absolutely necessary and with a clear and realistic repayment strategy in place. Debt has a way of spiraling out of control, and it might be a while before you can get out from under the lead thumb of interest rates and minimum monthly payments. After all, this isn’t just about cold hard cash; it’s about your mental and emotional health, too. If the debt from today’s performance crushes your soul, how in the world are you going to get out of bed to make tomorrow’s? You need to consider the long-term implications of debt so that you can have a satisfying career instead of money-related burnout. \u003c/p>\n\u003cp>After you try to get some funding directly from your venues, the next step is to look into grants and awards. \u003ca href=\"http://grantspace.org/Tools/Knowledge-Base/Individual-Grantseekers/Artists/Funding-for-performing-artists\">Grant Space at the Foundation Center\u003c/a> has a comprehensive list of grant-making institutions. The online guide is by subscription (about $19/mo), but you can search their site for a bricks-and-mortar location near you where you can look through the guide for free. Grants are great. Not only do you get some money toward a project, you also get a line-item on your resume; even if the grant is small it has more than a financial benefit. One of the related perks of getting a grant is that it provides you with a grant history, which makes it easier to receive grants in the future (in general, granting institutions want to give their money to artists who have a proven record of being able to manage their funding properly). Start small and work your way up — a $200 grant today might not cover many of your expenses but it boosts your chance of getting a $2000 grant next year. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-simulacram.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>[ simulacrum of an aesthetic mistrust prepared on the back of a postcard after periods of ontological fissures ]\u003c/i>, Irina and Silviu Szekely; courtesy of the artists.\u003c/center>\n\u003cp>Local funding can be crucial. Is there an institution in your area that provides small grants and awards? Try googling the name of your city and “art grant” to see what comes up. The great thing about funding on a local level is that it gives you the chance to form relationships beyond mere dollars. One artist I know received two grants from \u003ca href=\"http://racc.org/\">this regional institution\u003c/a> and then was asked to sit on a grant-judging panel a few years later. The money came at the right time, to be sure; but additionally he got a wonderful “grant education” from being a judge and helping evaluate the applications. That’s the kind of knowledge that will help him get larger grants in the future. \u003c/p>\n\u003cp>Some of my friends have had substantial success with \u003ca href=\"http://www.kickstarter.com/start\">Kickstarter\u003c/a> and similar crowd-sourced funding. One friend raised enough money to go off to a two-month residency across the country, and another’s campaign was so effective that he raised almost $4000 more than he requested. However, a good Kickstarter campaign takes time and energy to put together. If you’re going to try it, I suggest you spend a lot of time researching the site’s prior funded projects to determine what elements contributed to their success. \u003c/p>\n\u003cp>One thing to note about all of these sources is that they don’t provide money overnight, so it’s a good idea to think as far ahead as possible. Kickstarter may be among the fastest to pay out, but for any of these options it can take weeks to put together a strong application, and the checks from granting institutions come months after the application process ends. Where will you be in a year, and what will you be making? If you can start planning well in advance of production you’ll have a better chance of finding financial help. Art is so much about freeness: to experiment, create and perform. The trick is to find financial backing so that you can continue to develop your work without the weight of pecuniary shackles. \u003c/p>\n\u003cp>This week’s column is illustrated with collages by \u003ca href=\"http://deuxbricoleurs.tumblr.com/\">Irina and Silviu Szekely\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\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. Help Desk is co-sponsored by KQED.org.\u003c/i>\u003c/p>\n\u003cp>\u003cb>My question is: how does an artist decide how much a certain piece is worth, monetarily?\u003c/b>\u003c/p>\n\u003cp>One of the most difficult things to do is put a dollar value on your work. In the absence of a gallerist’s guiding hand and prior knowledge, you have to ask yourself all kinds of ancillary questions: where am I at in my career, is this object well-made, is it unique, what have I sold in the past? etc. Pricing your work means it’s time to be brutally honest about where you stand in your career vis à vis what the market will bear. It can be a tough call. Who — at least of the unrepresented among us — hasn’t sold a piece and then wished they had asked for more? Or wondered if unsold work might have had a buyer if it was offered for less? \u003c/p>\n\u003cp>This is just one more situation in which artists need to do their research. Start with the local galleries and art fairs and look at the prices of work that is similar to yours to get a range of values. This will help you create a basic list of prices, but don’t stop there because numbers aren’t the only part of the equation. Take a look at the resumes of the artists, too, as accomplishments make a difference in setting a price. If the paintings of an established mid-career artist with work in private and public collections sell for $30,000, and you’re fresh out of a BFA program, then your work is not going to sell for the same amount even if the size, medium, and style are comparable. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-framing.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>[ framing, deframing and reframing of semi-accidental linkages ]\u003c/i>, Irina and Silviu Szekely; courtesy of the artists.\u003c/center>\n\u003cp>You’ll also need to consider what it takes to make your work and what kind of work you’re making. For example, take the economics of production into account. What do you spend on your materials? Likewise, if you’re selling framed work you need to account for the costs of matting and framing. The type of work you’re making also has a particular value. If the work is part of an edition, it’s valued less than an original. A print from an edition of three hundred is less expensive than one from an edition of five. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When you’ve accounted for as many variables as possible, give yourself a small range of prices that you think are acceptable and run them by an artist friend who understands the art market. If you have access to a sympathetic teacher or dealer, you could ask those folks, too. I find that bouncing a number off a neutral party can help me make a final decision. I also take into account the words of a former professor, who told me that his sales strategy was to price things on the lower end of the scale. “I’d rather have a slightly smaller check than store [my paintings] indefinitely,” he said, and this is yet another thing to consider when you’re trying to put a dollar value on your work. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-amputated.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>[ the amputated experience of Sir Coincidence Sobject ]\u003c/i>, Irina and Silviu Szekely; courtesy of the artists.\u003c/center>\n\u003cp>\u003cb>I am a performance artist. I have had many invitations lately to show my work, but I am worried I won’t have enough money to pay for all of the travel and materials. Is there a way to get an ‘art loan’? What would you do? I’m right on the cusp of something. It is so much about freeness, but also, it’s crazy to be running on hot air.\u003c/b>\u003c/p>\n\u003cp>The first thing I want to say is that if you’re receiving invitations to perform, you should be getting at least some financial support from the institutions and venues themselves. Have you written any emails along the lines of, “Thank you for your interest in my work. Here are the costs associated with my performance, including airfare to your city. Please let me know how you are going to fund this performance”? Though I suspect that this is not a magical solution to your problem, I would love for your work to be supported by the venues that ask you to perform for them. That’s not going to happen if you don’t ask directly, and at least it gives you a place to start. \u003c/p>\n\u003cp>As always, there are some larger issues at work here. We all know of some great institutions that operate on a shoestring budget. What happens when one of those worthy venues sends you an invitation? Do you turn them down if they can’t fully fund your work, thereby maintaining your financial integrity but losing an opportunity? Or do you suck it up, go into debt, and hope that this performance leads to one that will be fully financed? In a broader sense, how much do we artists have to give away before our work has (real cash) value? Can any of us afford to turn down an opportunity on principle? It’s frustrating to feel manipulated by a system that asks the very producers of culture to give it away for free. Considered on a global scale, someone somewhere is making money on our collective work, and it’s no good if you’re contributing meaningful effort and not getting your slice. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-temps.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>[ temps de rêver au temps de vie, s’écrire et s’en douter ]\u003c/i>, Irina and Silviu Szekely; courtesy of the artists.\u003c/center>\n\u003cp>Would I get an art loan? Only if absolutely necessary and with a clear and realistic repayment strategy in place. Debt has a way of spiraling out of control, and it might be a while before you can get out from under the lead thumb of interest rates and minimum monthly payments. After all, this isn’t just about cold hard cash; it’s about your mental and emotional health, too. If the debt from today’s performance crushes your soul, how in the world are you going to get out of bed to make tomorrow’s? You need to consider the long-term implications of debt so that you can have a satisfying career instead of money-related burnout. \u003c/p>\n\u003cp>After you try to get some funding directly from your venues, the next step is to look into grants and awards. \u003ca href=\"http://grantspace.org/Tools/Knowledge-Base/Individual-Grantseekers/Artists/Funding-for-performing-artists\">Grant Space at the Foundation Center\u003c/a> has a comprehensive list of grant-making institutions. The online guide is by subscription (about $19/mo), but you can search their site for a bricks-and-mortar location near you where you can look through the guide for free. Grants are great. Not only do you get some money toward a project, you also get a line-item on your resume; even if the grant is small it has more than a financial benefit. One of the related perks of getting a grant is that it provides you with a grant history, which makes it easier to receive grants in the future (in general, granting institutions want to give their money to artists who have a proven record of being able to manage their funding properly). Start small and work your way up — a $200 grant today might not cover many of your expenses but it boosts your chance of getting a $2000 grant next year. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-simulacram.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>[ simulacrum of an aesthetic mistrust prepared on the back of a postcard after periods of ontological fissures ]\u003c/i>, Irina and Silviu Szekely; courtesy of the artists.\u003c/center>\n\u003cp>Local funding can be crucial. Is there an institution in your area that provides small grants and awards? Try googling the name of your city and “art grant” to see what comes up. The great thing about funding on a local level is that it gives you the chance to form relationships beyond mere dollars. One artist I know received two grants from \u003ca href=\"http://racc.org/\">this regional institution\u003c/a> and then was asked to sit on a grant-judging panel a few years later. The money came at the right time, to be sure; but additionally he got a wonderful “grant education” from being a judge and helping evaluate the applications. That’s the kind of knowledge that will help him get larger grants in the future. \u003c/p>\n\u003cp>Some of my friends have had substantial success with \u003ca href=\"http://www.kickstarter.com/start\">Kickstarter\u003c/a> and similar crowd-sourced funding. One friend raised enough money to go off to a two-month residency across the country, and another’s campaign was so effective that he raised almost $4000 more than he requested. However, a good Kickstarter campaign takes time and energy to put together. If you’re going to try it, I suggest you spend a lot of time researching the site’s prior funded projects to determine what elements contributed to their success. \u003c/p>\n\u003cp>One thing to note about all of these sources is that they don’t provide money overnight, so it’s a good idea to think as far ahead as possible. Kickstarter may be among the fastest to pay out, but for any of these options it can take weeks to put together a strong application, and the checks from granting institutions come months after the application process ends. Where will you be in a year, and what will you be making? If you can start planning well in advance of production you’ll have a better chance of finding financial help. Art is so much about freeness: to experiment, create and perform. The trick is to find financial backing so that you can continue to develop your work without the weight of pecuniary shackles. \u003c/p>\n\u003cp>This week’s column is illustrated with collages by \u003ca href=\"http://deuxbricoleurs.tumblr.com/\">Irina and Silviu Szekely\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\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 and save the comments section to chime in on the topics of the day. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Also, check it out: \u003ca href=\"http://blog.art21.org/2012/04/12/praxis-makes-perfect-help/\">Help Desk was interviewed\u003c/a> for the Art21 blog!\u003c/i>\u003c/p>\n\u003cp>\u003cb>If an artist is attempting to call attention to a particular issue that in some way either oppresses a group of people or includes imagery of unethical actions, is their artwork also unethical if they intentionally include or use oppressive tactics or graphic images to do so? \u003c/b>\u003c/p>\n\u003cp>There is no permanent, fixed equation that we can apply to art — especially art that intends to become activism — and I’m not amenable to making an ultimate pronouncement on work that exists as a hypothetical. It’s better to be aware of the concerns surrounding art and activism in general and proffer judgments on a case-by-case basis. An artist who wishes to take an activist stance in regard to an issue must think very carefully through the problem at hand.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-target.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Eva Lake, \u003ci>Target No. 32 (Wayne Thiebaud Painting)\u003c/i>, 2008.\u003cbr>\u003c/center>\n\u003cp>I contacted a few artists that are currently making work that intends to be activist, but for the first time in the brief history of this column, not one of them responded. Perhaps they were afraid to go on record regarding the conflicts and contradictions their work presents? In any case, \u003ca href=\"http://www.curativeprojects.net/bio.html\">Anuradha Vikram\u003c/a>, Curator of the Worth Ryder Art Gallery at UC Berkeley, kindly shed some light on this matter. She asks would-be activist-artists to ponder some art-world assumptions: “When seeking to call attention to any troubling issue, one key maxim to consider is that of the physician: ‘first, do no harm.’ Too often, artists seem to mistake demonstrating a set of conditions for critiquing them. If the work is replicating unethical behaviors, what is the artist doing besides perpetuating those behaviors? Perhaps, if one assumes that the context for art is a neutral one (the proverbial ‘white cube’) then it could be argued that by isolating and framing such actions, the artist makes the critique implicitly. However, if the last 40 years of art-world controversy have taught us anything, it is that ‘neutrality’ is often interchangeable with ‘privilege.’ Recreating oppression within a space of privilege is simply oppressive. A critique needs to go farther than that, and a sophisticated critique does not need to replicate such dynamics in order to unpack them.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I agree, and can’t emphasize that last sentence enough: a sophisticated critique is what any artist-activist should be working toward. I also think the issue of commodification is important here. Can art truly make a change if it doesn’t materially aid the victims whose cause it purports to advance? If it only “raises awareness” of an issue by replicating abuse, it’s possible that its primary consequence is simply to turn the expression of subjugation into an exchangeable commodity (for money, status, notoriety, etc.) which primarily benefits the artist or the art establishment. And on a personal level, if your activism turns you into a celebrity but does nothing to change the brutality you supposedly decry, your innocent intentions become worse than worldly cynicism. Emancipation cannot be achieved by oppressive means.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Related reading: \u003ca href=\"http://groundswellcollective.com/\">groundswellcollective.com\u003c/a> and the books \u003ca href=\"http://we-make-money-not-art.com/archives/2011/05/art-agenda-political-art-and-a.php\">\u003cem>Art & Agenda\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"http://highlandercenter.org/products-page/art-and-culture/wild-fire-art-as-activism/\">Wild Fire: Art as Activism\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-judd-3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Eva Lake, \u003ci>Judd Montage No. 1\u003c/i>, 2007.\u003cbr>\u003c/center>\n\u003cp>\u003cb>I am in my junior year of a BFA program at a university that I love. My grades have always been stellar, and I feel empowered to make work that extends far beyond the minimal requirements of assignments – work that I would be proud to exhibit; however, my work has been rejected from several local juried shows recently (in the past, I have been accepted to shows and even sold work). In addition, one of my main professors has been giving me lower grades than I am used to. I’m open to criticism, and I know I have a lot to learn, but the direction seems to be simply that I’m not making the work that they expect. \u003c/b>\u003c/p>\n\u003cp>\u003cb>There is a small part of me that wants to conform and get good grades so I can move on to an MFA program elsewhere. The louder, bossier side of me believes that my Postmodern ideas are valid, but happen to be inconsistent with the traditional Modernist teaching methods of the faculty at my university. Can you give me some ideas about how to make the most of my education without burning bridges or officially ruining my transcript? \u003c/b>\u003c/p>\n\u003cp>There are really three parts to your query: how to make the most of your time in school now; the correlation between grades and MFA programs; and the larger idea of the feedback you’ve been getting. I think they’re all related in the end, but let’s deal with the MFA part first because it might be the easiest. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-judd-1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Eva Lake, \u003ci>Judd Montage No. 17\u003c/i>, 2007.\u003cbr>\u003c/center>\n\u003cp>My understanding of the MFA admissions process (which I went through in 2009) is that it is heavily weighted toward the quality of the applicant’s work, her CV, her recommendations and how she performs in the interview, more or less in that order. Unlike medical school, undergraduate grades don’t really count for much when applying for the MFA. I confirmed this with one department chair at a well-known art school in a Midwestern city (all my experts requested anonymity). \u003c/p>\n\u003cp>Another department head, this one from an art school on the east coast, said, “First and foremost is the portfolio! This seems a rule and something that can be applied across the board. If the work is strong, other things become secondary.” My third expert, a painting chair from a well-regarded school in California, said, “Strong, well-documented work and a well-written statement are 90% of the battle.” Some MFA programs do have a minimum GPA requirement, but it doesn’t sound as though you’re in danger of getting an F. So on one hand, it seems that you don’t have to worry about your grades if you only consider them in aid of going for the MFA later. \u003c/p>\n\u003cp>However, your question touches on larger issues. It seems like your prior work was more successful in the past, earning you good grades and exhibitions alike. Your newer work isn’t being met with the same regard. There could be some good reasons for that: it might be that the work still needs to be developed (it’s new, after all), or that it doesn’t fit in with the status quo of your Modernist milieu, or any number of other possibilities. There’s only one way to find out for sure, and that’s to get people into your studio to see the work and talk with you about it. Here’s where we come to the subject of how to make the most of your time now. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-judd-2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Eva Lake, Judd Montage No. 13, 2007.\u003cbr>\u003c/center>\n\u003cp>If you’re a regular reader, you may have noticed that I’m an ardent advocate for following your own course. I think that if you want to make this work, you should. I’ll always stand by your right to define yourself and your work on your own terms. However, passion alone doesn’t necessarily make good art and it’s your charge to determine if your new direction shows promise or not. How can you do that? By making a concerted effort to have as many conversations about the work as possible over the next year. Begin this process with your own professors, including the one who has been giving you lesser grades. Have you asked this person directly what drives his decisions regarding your lower marks? Asking someone to explain their grading process is not the same as whining for an A; just be blunt: “I noticed that my grades are lower than before, and I’m not sure I understand why. Can you please walk me through your decision?” If nothing else, you’ll clear the air with this person and figure out if you want to work with him during your final year of school. \u003c/p>\n\u003cp>While this is a good place to start, I suggest you expand the field. If your suspicion is that the new work simply goes against the grain of the academic atmosphere, then you must investigate this hypothesis by requesting studio visits with artists who are not part of your university’s faculty. Are there visiting artists or lecturers you can contact? Are there local people (artists working in your medium, gallerists, or independent curators) that you can approach? Write them all an email asking for a visit and explain your situation: you’re not looking for a show, you’re trying to get some non-academic feedback on new work. These visits should be absolutely candid. Say what you’ve told me about your prior work versus your new work and its reception at school. Ask these people to be honest and direct. It sounds to me like you can take it, and you don’t want to waste your time.\u003c/p>\n\u003cp>Before I wrap up, I want to say something about the MFA and graduate school in general. Don’t go straight from the BFA to the MFA. Unlike undergraduate studies, graduate programs are entirely self-directed, and two years goes by very quickly. The only way to make the most of a graduate program is to go in knowing what you \u003ci>don’t\u003c/i> know so that you can ask the right questions while you are there. This requires a level of maturity and self-knowledge that can only be gained through living in the real world and negotiating a life as an artist outside the support system of school. Get your BFA, make a studio life for yourself, work on your oeuvre and your CV, and then apply for the MFA when your portfolio is so dazzling that it could blind an admissions panel to a string of Cs on your transcript.\u003c/p>\n\u003cp>\u003ci>This week’s column is illustrated with collages by \u003ca href=\"http://www.lovelake.org/\">Eva Lake\u003c/a>, whose solo show “Judd Women Targets” is currently on view at \u003ca href=\"http://www.froschportmann.com/exhibitions.html\">Frosch & Portmann\u003c/a> in New York, through June 3, 2012.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\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 and save the comments section to chime in on the topics of the day. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Also, check it out: \u003ca href=\"http://blog.art21.org/2012/04/12/praxis-makes-perfect-help/\">Help Desk was interviewed\u003c/a> for the Art21 blog!\u003c/i>\u003c/p>\n\u003cp>\u003cb>If an artist is attempting to call attention to a particular issue that in some way either oppresses a group of people or includes imagery of unethical actions, is their artwork also unethical if they intentionally include or use oppressive tactics or graphic images to do so? \u003c/b>\u003c/p>\n\u003cp>There is no permanent, fixed equation that we can apply to art — especially art that intends to become activism — and I’m not amenable to making an ultimate pronouncement on work that exists as a hypothetical. It’s better to be aware of the concerns surrounding art and activism in general and proffer judgments on a case-by-case basis. An artist who wishes to take an activist stance in regard to an issue must think very carefully through the problem at hand.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-target.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Eva Lake, \u003ci>Target No. 32 (Wayne Thiebaud Painting)\u003c/i>, 2008.\u003cbr>\u003c/center>\n\u003cp>I contacted a few artists that are currently making work that intends to be activist, but for the first time in the brief history of this column, not one of them responded. Perhaps they were afraid to go on record regarding the conflicts and contradictions their work presents? In any case, \u003ca href=\"http://www.curativeprojects.net/bio.html\">Anuradha Vikram\u003c/a>, Curator of the Worth Ryder Art Gallery at UC Berkeley, kindly shed some light on this matter. She asks would-be activist-artists to ponder some art-world assumptions: “When seeking to call attention to any troubling issue, one key maxim to consider is that of the physician: ‘first, do no harm.’ Too often, artists seem to mistake demonstrating a set of conditions for critiquing them. If the work is replicating unethical behaviors, what is the artist doing besides perpetuating those behaviors? Perhaps, if one assumes that the context for art is a neutral one (the proverbial ‘white cube’) then it could be argued that by isolating and framing such actions, the artist makes the critique implicitly. However, if the last 40 years of art-world controversy have taught us anything, it is that ‘neutrality’ is often interchangeable with ‘privilege.’ Recreating oppression within a space of privilege is simply oppressive. A critique needs to go farther than that, and a sophisticated critique does not need to replicate such dynamics in order to unpack them.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I agree, and can’t emphasize that last sentence enough: a sophisticated critique is what any artist-activist should be working toward. I also think the issue of commodification is important here. Can art truly make a change if it doesn’t materially aid the victims whose cause it purports to advance? If it only “raises awareness” of an issue by replicating abuse, it’s possible that its primary consequence is simply to turn the expression of subjugation into an exchangeable commodity (for money, status, notoriety, etc.) which primarily benefits the artist or the art establishment. And on a personal level, if your activism turns you into a celebrity but does nothing to change the brutality you supposedly decry, your innocent intentions become worse than worldly cynicism. Emancipation cannot be achieved by oppressive means.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Related reading: \u003ca href=\"http://groundswellcollective.com/\">groundswellcollective.com\u003c/a> and the books \u003ca href=\"http://we-make-money-not-art.com/archives/2011/05/art-agenda-political-art-and-a.php\">\u003cem>Art & Agenda\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"http://highlandercenter.org/products-page/art-and-culture/wild-fire-art-as-activism/\">Wild Fire: Art as Activism\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-judd-3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Eva Lake, \u003ci>Judd Montage No. 1\u003c/i>, 2007.\u003cbr>\u003c/center>\n\u003cp>\u003cb>I am in my junior year of a BFA program at a university that I love. My grades have always been stellar, and I feel empowered to make work that extends far beyond the minimal requirements of assignments – work that I would be proud to exhibit; however, my work has been rejected from several local juried shows recently (in the past, I have been accepted to shows and even sold work). In addition, one of my main professors has been giving me lower grades than I am used to. I’m open to criticism, and I know I have a lot to learn, but the direction seems to be simply that I’m not making the work that they expect. \u003c/b>\u003c/p>\n\u003cp>\u003cb>There is a small part of me that wants to conform and get good grades so I can move on to an MFA program elsewhere. The louder, bossier side of me believes that my Postmodern ideas are valid, but happen to be inconsistent with the traditional Modernist teaching methods of the faculty at my university. Can you give me some ideas about how to make the most of my education without burning bridges or officially ruining my transcript? \u003c/b>\u003c/p>\n\u003cp>There are really three parts to your query: how to make the most of your time in school now; the correlation between grades and MFA programs; and the larger idea of the feedback you’ve been getting. I think they’re all related in the end, but let’s deal with the MFA part first because it might be the easiest. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-judd-1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Eva Lake, \u003ci>Judd Montage No. 17\u003c/i>, 2007.\u003cbr>\u003c/center>\n\u003cp>My understanding of the MFA admissions process (which I went through in 2009) is that it is heavily weighted toward the quality of the applicant’s work, her CV, her recommendations and how she performs in the interview, more or less in that order. Unlike medical school, undergraduate grades don’t really count for much when applying for the MFA. I confirmed this with one department chair at a well-known art school in a Midwestern city (all my experts requested anonymity). \u003c/p>\n\u003cp>Another department head, this one from an art school on the east coast, said, “First and foremost is the portfolio! This seems a rule and something that can be applied across the board. If the work is strong, other things become secondary.” My third expert, a painting chair from a well-regarded school in California, said, “Strong, well-documented work and a well-written statement are 90% of the battle.” Some MFA programs do have a minimum GPA requirement, but it doesn’t sound as though you’re in danger of getting an F. So on one hand, it seems that you don’t have to worry about your grades if you only consider them in aid of going for the MFA later. \u003c/p>\n\u003cp>However, your question touches on larger issues. It seems like your prior work was more successful in the past, earning you good grades and exhibitions alike. Your newer work isn’t being met with the same regard. There could be some good reasons for that: it might be that the work still needs to be developed (it’s new, after all), or that it doesn’t fit in with the status quo of your Modernist milieu, or any number of other possibilities. There’s only one way to find out for sure, and that’s to get people into your studio to see the work and talk with you about it. Here’s where we come to the subject of how to make the most of your time now. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-judd-2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Eva Lake, Judd Montage No. 13, 2007.\u003cbr>\u003c/center>\n\u003cp>If you’re a regular reader, you may have noticed that I’m an ardent advocate for following your own course. I think that if you want to make this work, you should. I’ll always stand by your right to define yourself and your work on your own terms. However, passion alone doesn’t necessarily make good art and it’s your charge to determine if your new direction shows promise or not. How can you do that? By making a concerted effort to have as many conversations about the work as possible over the next year. Begin this process with your own professors, including the one who has been giving you lesser grades. Have you asked this person directly what drives his decisions regarding your lower marks? Asking someone to explain their grading process is not the same as whining for an A; just be blunt: “I noticed that my grades are lower than before, and I’m not sure I understand why. Can you please walk me through your decision?” If nothing else, you’ll clear the air with this person and figure out if you want to work with him during your final year of school. \u003c/p>\n\u003cp>While this is a good place to start, I suggest you expand the field. If your suspicion is that the new work simply goes against the grain of the academic atmosphere, then you must investigate this hypothesis by requesting studio visits with artists who are not part of your university’s faculty. Are there visiting artists or lecturers you can contact? Are there local people (artists working in your medium, gallerists, or independent curators) that you can approach? Write them all an email asking for a visit and explain your situation: you’re not looking for a show, you’re trying to get some non-academic feedback on new work. These visits should be absolutely candid. Say what you’ve told me about your prior work versus your new work and its reception at school. Ask these people to be honest and direct. It sounds to me like you can take it, and you don’t want to waste your time.\u003c/p>\n\u003cp>Before I wrap up, I want to say something about the MFA and graduate school in general. Don’t go straight from the BFA to the MFA. Unlike undergraduate studies, graduate programs are entirely self-directed, and two years goes by very quickly. The only way to make the most of a graduate program is to go in knowing what you \u003ci>don’t\u003c/i> know so that you can ask the right questions while you are there. This requires a level of maturity and self-knowledge that can only be gained through living in the real world and negotiating a life as an artist outside the support system of school. Get your BFA, make a studio life for yourself, work on your oeuvre and your CV, and then apply for the MFA when your portfolio is so dazzling that it could blind an admissions panel to a string of Cs on your transcript.\u003c/p>\n\u003cp>\u003ci>This week’s column is illustrated with collages by \u003ca href=\"http://www.lovelake.org/\">Eva Lake\u003c/a>, whose solo show “Judd Women Targets” is currently on view at \u003ca href=\"http://www.froschportmann.com/exhibitions.html\">Frosch & Portmann\u003c/a> in New York, through June 3, 2012.\u003c/i>\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 and save the comments section to chime in on the topics of the day. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I have created a book about mail art, done over a 30-year span, which served as a communication between another artist and myself. Besides containing a lot of artwork, it is also a semi-autobiographical portrait of a modern artist’s life. I’d like to find a smart way to market it, but know nothing about publishing such a highly unique product. I’ve done some research online, but much of it is still confusing. Do I need an agent? Should I try to market it myself? It’s packaged, sealed and ready to go. \u003c/b>\u003c/p>\n\u003cp>You have quite a few options for this project. The obvious one is to find an established publisher. Generally speaking, they’ll have the means to reproduce your images nicely and will provide for the marketing and distribution of your book. Not a bad way to go if you can find the right fit. \u003c/p>\n\u003cp>If this is what you desire, you’ll want to start the process by finding a good match for your creation. This part is just like looking for a gallery: you must do your research and look for someone who is already publishing books that are similar (or as similar as possible) to yours. Take some time to dig through the pertinent sections of your local bookstores and public library — is there anything there that strikes the same note? Jot down those publishers. \u003ca href=\"http://books.eserver.org/nonfiction/how-to-publish.html\">This website\u003c/a> had some other good information about finding a publisher. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-barry.jpg\">\u003cbr>Two pages from Lynda Barry’s \u003ci>What It Is\u003c/i> (Drawn and Quarterly Press)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pretty much everyone says that you do need an agent if you want your book to be published by a large house. How do you find an agent? Try putting a list of search terms related to your book into Google with the word “agent” and see what you get. For example, \u003ca href=\"http://voices.yahoo.com/how-snag-memoir-literary-agent-where-target-316704.html\">here is a list of agents\u003c/a> I found using the terms “memoir & agent.” You can also look on the \u003ca href=\"http://www.pw.org/literary_agents\">Poets & Writers website\u003c/a> under the Agents tab. I found the agent who represents \u003ca href=\"http://en.wikipedia.org/wiki/Lynda_Barry\">Lynda Barry\u003c/a> there. Lynda Barry wrote \u003ca href=\"http://www.amazon.com/What-It-Is-Lynda-Barry/dp/1897299354/ref=sr_1_1?ie=UTF8&qid=1335113686&sr=8-1\">\u003cem>What It Is\u003c/em>\u003c/a>, a book that sounds like it might be more similar to your project than not, so even though most of the agents listed at P&W work with fiction, you might find a few who are a good match. \u003c/p>\n\u003cp>How committed to this project are you? A large publishing house isn’t the only way to go — just ask \u003ca href=\"http://en.wikipedia.org/wiki/Edward_Tufte\">Edward Tufte\u003c/a>, who specializes in visual information. When he couldn’t find a publisher willing to create \u003ca href=\"http://www.edwardtufte.com/tufte/books_vdqi\">\u003cem>The Visual Display of Quantitative Information\u003c/em>\u003c/a> to his specifications, he formed his own publishing imprint and has gone on to publish four other books (all lovely, by the way — I own the set). Of course, doing it yourself requires not just time but also a potentially sizeable investment of money as well. And after you publish the book, you’ll also have to market it. I found \u003ca href=\"http://www.wordclay.com/BookMarketing.aspx\">some ideas on marketing here\u003c/a>. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-tufte.jpg\">\u003cbr>Edward Tufte’s \u003ci>The Visual Display of Quantitative Information\u003c/i> (Graphics Press is Tufte’s own imprint); Image: Iwan Gabovitch’s Flickr photostream.\u003c/p>\n\u003cp>Self-publishing is a grand undertaking, and you’ll want to visit with printers and binders in your area to talk with them about materials, costs, file sizes, and production time. If you’re not familiar with publishing software, you may also need to hire a graphic designer to help you scan and lay out the images and text of the book using a program like \u003ca href=\"http://www.adobe.com/products/indesign.html\">InDesign\u003c/a>.\u003c/p>\n\u003cp>If you hand your manuscript over to a publisher, you lose some creative control but will be more or less free to move on to the next project. If you publish it yourself, you will live and breathe this book for quite some time, but you can make exactly what you want. Good luck! In my opinion, the world needs more books about what it means to be an artist.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-loser.jpg\">\u003cbr>Nate Lowman, \u003ci>Loser\u003c/i>, 2009.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003c/p>\n\u003cp>I recently discovered an artist’s work that is a little too similar to mine for comfort. This artist is more established than I am and has probably been making this kind of work longer than I have, but I am committed to the work and don’t really want to change. To complicate matters I have an exhibition coming up and all the work for the show is finished. I don’t want to be accused of plagiarism or written off as an imitator, especially because I made the work in complete ignorance of this other artist. What should I do? \u003c/p>\n\u003cp>First things first: I believe you. It’s depressing to find out that you’re not a lone genius producing quality original artwork, but it does happen. Even with a high level of education in art history and a commitment to following the contemporary art scene, one can’t be aware of every individual artist’s work. Well, not, that is, until a well-meaning friend forwards an email with a link, saying “I saw this work and thought of yours!” Hey, thanks. \u003c/p>\n\u003cp>You say that having work finished for an upcoming show complicates the matter. Is that really true? If you hadn’t completed this body of work, or if the opening was a year from now, would you have thrown your ideas away and changed your work? The implication is that you would have taken another direction, but I’m not convinced that this would be a beneficial course of action. Why? Because there are a lot of factors that must have influenced your decisions as you were making this work, and I believe in following your lights to their logical and emotional conclusions. \u003c/p>\n\u003cp>You’re also discounting the shared forum of culture and the uncontrollable effects of zeitgeist. I’m not really sure what the specific factors are that compel everyone to have the same impulse at the same time, but it happens. Art communities are relatively small (even the global contemporary art community) and we’re all reacting to the circumstances of our shared epoch. Isn’t it natural that there is at least some degree of material or conceptual overlap if we are facing some of the same pressures and inspirations? \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-poets.jpg\">\u003cbr>L-R: William Shakespeare, John Keats, Alfred Tennyson.\u003c/p>\n\u003cp>Your question also calls up the ghosts of antiquated arguments about art, authorship and originality. It’s likely that you and this other artist are both reacting to artwork that preceded your own. \u003ca href=\"http://en.wikipedia.org/wiki/The_Anxiety_of_Influence\">\u003cem>The Anxiety of Influence\u003c/em>\u003c/a> by Harold Bloom discusses this subject in relation to poetry. “‘Influence’ is a metaphor, one that implicates a matrix of relationships — imagistic, temporal, spiritual, psychological — all of them ultimately defensive in their nature,” writes Bloom. “Without Keats’s reading of Shakespeare, Milton, and Wordsworth, we could not have Keats’s odes and sonnets and his two Hyperions. Without Tennyson’s reading of Keats, we would have almost no Tennyson.” So while you may not have known about this other artist’s work, you both are probably acquainted with a common ancestral body of work that inspired your own. That’s how artistic lineage is created: we react to what came before. \u003c/p>\n\u003cp>You’ve finished the work and it’s time to hang it, evaluate it, and move on. If you get it up on the gallery walls and you’re pleased, continue pushing your ideas; if you’re not, take some time to assess your goals for the work and determine what’s successful and what’s not. And if anyone accuses you of plagiarism or imitation, just smile and say, “Yes, I just found out about Artist X. A friend sent me a link to her work.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\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 and save the comments section to chime in on the topics of the day. All submissions remain strictly anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>I have created a book about mail art, done over a 30-year span, which served as a communication between another artist and myself. Besides containing a lot of artwork, it is also a semi-autobiographical portrait of a modern artist’s life. I’d like to find a smart way to market it, but know nothing about publishing such a highly unique product. I’ve done some research online, but much of it is still confusing. Do I need an agent? Should I try to market it myself? It’s packaged, sealed and ready to go. \u003c/b>\u003c/p>\n\u003cp>You have quite a few options for this project. The obvious one is to find an established publisher. Generally speaking, they’ll have the means to reproduce your images nicely and will provide for the marketing and distribution of your book. Not a bad way to go if you can find the right fit. \u003c/p>\n\u003cp>If this is what you desire, you’ll want to start the process by finding a good match for your creation. This part is just like looking for a gallery: you must do your research and look for someone who is already publishing books that are similar (or as similar as possible) to yours. Take some time to dig through the pertinent sections of your local bookstores and public library — is there anything there that strikes the same note? Jot down those publishers. \u003ca href=\"http://books.eserver.org/nonfiction/how-to-publish.html\">This website\u003c/a> had some other good information about finding a publisher. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-barry.jpg\">\u003cbr>Two pages from Lynda Barry’s \u003ci>What It Is\u003c/i> (Drawn and Quarterly Press)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pretty much everyone says that you do need an agent if you want your book to be published by a large house. How do you find an agent? Try putting a list of search terms related to your book into Google with the word “agent” and see what you get. For example, \u003ca href=\"http://voices.yahoo.com/how-snag-memoir-literary-agent-where-target-316704.html\">here is a list of agents\u003c/a> I found using the terms “memoir & agent.” You can also look on the \u003ca href=\"http://www.pw.org/literary_agents\">Poets & Writers website\u003c/a> under the Agents tab. I found the agent who represents \u003ca href=\"http://en.wikipedia.org/wiki/Lynda_Barry\">Lynda Barry\u003c/a> there. Lynda Barry wrote \u003ca href=\"http://www.amazon.com/What-It-Is-Lynda-Barry/dp/1897299354/ref=sr_1_1?ie=UTF8&qid=1335113686&sr=8-1\">\u003cem>What It Is\u003c/em>\u003c/a>, a book that sounds like it might be more similar to your project than not, so even though most of the agents listed at P&W work with fiction, you might find a few who are a good match. \u003c/p>\n\u003cp>How committed to this project are you? A large publishing house isn’t the only way to go — just ask \u003ca href=\"http://en.wikipedia.org/wiki/Edward_Tufte\">Edward Tufte\u003c/a>, who specializes in visual information. When he couldn’t find a publisher willing to create \u003ca href=\"http://www.edwardtufte.com/tufte/books_vdqi\">\u003cem>The Visual Display of Quantitative Information\u003c/em>\u003c/a> to his specifications, he formed his own publishing imprint and has gone on to publish four other books (all lovely, by the way — I own the set). Of course, doing it yourself requires not just time but also a potentially sizeable investment of money as well. And after you publish the book, you’ll also have to market it. I found \u003ca href=\"http://www.wordclay.com/BookMarketing.aspx\">some ideas on marketing here\u003c/a>. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-tufte.jpg\">\u003cbr>Edward Tufte’s \u003ci>The Visual Display of Quantitative Information\u003c/i> (Graphics Press is Tufte’s own imprint); Image: Iwan Gabovitch’s Flickr photostream.\u003c/p>\n\u003cp>Self-publishing is a grand undertaking, and you’ll want to visit with printers and binders in your area to talk with them about materials, costs, file sizes, and production time. If you’re not familiar with publishing software, you may also need to hire a graphic designer to help you scan and lay out the images and text of the book using a program like \u003ca href=\"http://www.adobe.com/products/indesign.html\">InDesign\u003c/a>.\u003c/p>\n\u003cp>If you hand your manuscript over to a publisher, you lose some creative control but will be more or less free to move on to the next project. If you publish it yourself, you will live and breathe this book for quite some time, but you can make exactly what you want. Good luck! In my opinion, the world needs more books about what it means to be an artist.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-loser.jpg\">\u003cbr>Nate Lowman, \u003ci>Loser\u003c/i>, 2009.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003c/p>\n\u003cp>I recently discovered an artist’s work that is a little too similar to mine for comfort. This artist is more established than I am and has probably been making this kind of work longer than I have, but I am committed to the work and don’t really want to change. To complicate matters I have an exhibition coming up and all the work for the show is finished. I don’t want to be accused of plagiarism or written off as an imitator, especially because I made the work in complete ignorance of this other artist. What should I do? \u003c/p>\n\u003cp>First things first: I believe you. It’s depressing to find out that you’re not a lone genius producing quality original artwork, but it does happen. Even with a high level of education in art history and a commitment to following the contemporary art scene, one can’t be aware of every individual artist’s work. Well, not, that is, until a well-meaning friend forwards an email with a link, saying “I saw this work and thought of yours!” Hey, thanks. \u003c/p>\n\u003cp>You say that having work finished for an upcoming show complicates the matter. Is that really true? If you hadn’t completed this body of work, or if the opening was a year from now, would you have thrown your ideas away and changed your work? The implication is that you would have taken another direction, but I’m not convinced that this would be a beneficial course of action. Why? Because there are a lot of factors that must have influenced your decisions as you were making this work, and I believe in following your lights to their logical and emotional conclusions. \u003c/p>\n\u003cp>You’re also discounting the shared forum of culture and the uncontrollable effects of zeitgeist. I’m not really sure what the specific factors are that compel everyone to have the same impulse at the same time, but it happens. Art communities are relatively small (even the global contemporary art community) and we’re all reacting to the circumstances of our shared epoch. Isn’t it natural that there is at least some degree of material or conceptual overlap if we are facing some of the same pressures and inspirations? \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hd-poets.jpg\">\u003cbr>L-R: William Shakespeare, John Keats, Alfred Tennyson.\u003c/p>\n\u003cp>Your question also calls up the ghosts of antiquated arguments about art, authorship and originality. It’s likely that you and this other artist are both reacting to artwork that preceded your own. \u003ca href=\"http://en.wikipedia.org/wiki/The_Anxiety_of_Influence\">\u003cem>The Anxiety of Influence\u003c/em>\u003c/a> by Harold Bloom discusses this subject in relation to poetry. “‘Influence’ is a metaphor, one that implicates a matrix of relationships — imagistic, temporal, spiritual, psychological — all of them ultimately defensive in their nature,” writes Bloom. “Without Keats’s reading of Shakespeare, Milton, and Wordsworth, we could not have Keats’s odes and sonnets and his two Hyperions. Without Tennyson’s reading of Keats, we would have almost no Tennyson.” So while you may not have known about this other artist’s work, you both are probably acquainted with a common ancestral body of work that inspired your own. That’s how artistic lineage is created: we react to what came before. \u003c/p>\n\u003cp>You’ve finished the work and it’s time to hang it, evaluate it, and move on. If you get it up on the gallery walls and you’re pleased, continue pushing your ideas; if you’re not, take some time to assess your goals for the work and determine what’s successful and what’s not. And if anyone accuses you of plagiarism or imitation, just smile and say, “Yes, I just found out about Artist X. A friend sent me a link to her work.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Office' at San Jose Institute of Contemporary Art",
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"content": "\u003cp>The first vividly bleak picture of the contemporary office environment was painted by Mike Judge, whose 1999 film \u003ci>Office Space\u003c/i> made the prosaic struggle to control a lowly stapler a metaphor for oppressed white-color workers everywhere. The 2001 Ricky Gervais show \u003ci>The Office,\u003c/i> followed in 2005 by the Greg Daniels version for U.S. audiences, codified the dull despair of those who push paper in order to sell it. Naturally, both were comedies, otherwise the exercises would have been unbearable.\u003c/p>\n\u003cp>\u003cb>The Office\u003c/b>, on display now through June 2, 2012, at the San Jose Institute of Contemporary Art, owes as much to these pop-culture phenomena as to the comparatively stuffy traditions of visual art. Indeed, the pieces in the show that try to play the art game first — rather than mining all they can from their subject — are generally less successful than their counterparts.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/04/19/Cfakepathofficepanel1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/04/19/Cfakepathofficepanel16.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Packard Jennings, \u003ci>Business Reply Pamphlet,\u003c/i> Panels 1 and 16\u003cbr>\u003c/center>\n\u003cp>Take the work of Packard Jennings, whose cartoony illustrations for \u003ci>Business Reply Pamphlet,\u003c/i> 2006, were initially designed for the business-reply envelopes that accompany junk mail. Jennings conceived his 16-part piece as an instruction manual for office workers whose job it is to open those returned business-reply envelopes, the charming conceit being that Jennings’s handy how-to manual would enable them to overthrow their office hierarchy and replace it with a tribal culture in which the work space is used for homesteading, hunting and growing crops. Coincidentally, Jennings’s aesthetic lends itself to the content of his piece, but he was smart to recognize this bizarre opportunity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other artists use office supplies for their work. Jill Sylvia cuts countless rectangles out of ledger paper, transforming this pre-Excel/Google Docs artifact into something resembling fine lace or delicately pierced silver. Sylvia’s material of choice was obsolete before she made it doubly useless, but by destroying these sheets of green or yellow ledger paper, she gives us hope, as if proving that relics of the office, us included, might have some purpose after technology finally passes the last of the old ways by.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/04/19/CfakepathFosheeDrift.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Alison Foshee, \u003ci>Drift\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Alison Foshee also uses office supplies to create her pieces, but unlike Sylvia, who adds to the impact of her work by systematically eliminating it from our view, Foshee builds her pieces bit by bit. One collection of quiet pieces presents an array of delicate feathers created from nothing more than staples. Nearby, a collage of mostly red packaging labels affixed to canvas screams for our attention, thanks to the fact that its floral and optical patterns are produced by noisy “Do Not Bend,” “Please Handle With Care,” “Fragile,” “This Side Up” and other stickers.\u003c/p>\n\u003cp>Less successful are pieces like \u003ci>Cling\u003c/i> by Mitra Fabian, whose contribution to the show is a wall garlanded here and there with binder clips that have been secured to each other. It’s a passionless arrangement that’s contrived to look organic but is merely dull. The pieces in Lauren DiCioccio’s \u003ci>Paper Reconfiguration Series\u003c/i> have been lavished with more attention (they are hand-stitched to create three-dimensional shapes resembling tubes and donuts), but unlike Sylvia’s work, which is ostensibly similar due to its material, these pieces don’t provoke thoughts about offices and the people who work in them. Alas, like Fabian’s installation of binder clips, DiCioccio’s work is overly infatuated with itself.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/04/19/CfakepathKirkCrippens36301684604.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Kirk Crippens, from the \u003ci>Plants on the Job\u003c/i> series\u003cbr>\u003c/center>\n\u003cp>Better is Ian Treasure’s installation of a dozen office water coolers, which have been arranged in a grid and configured so that each bubbles at an irregular interval. The result is a symphony of bloops and gurgles, a watery version, perhaps, of the countless conversations that take place beside these monuments to the imperative of hydration. And I liked the quintet of photographs of seriously neglected office plants by Kirk Crippens. These symbols of the half-hearted effort to humanize the workplace struck me as weirdly poignant, especially those juxtaposed with plates of herbal tea and a photograph of a man holding an umbrella over his cello to protect it from the rain. Would that anyone cared as much about these plants.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Office\u003c/b> is on view through June 2, 2012, at the San Jose Institute of Contemporary Art. For \u003ca href=\"http://www.sjica.org/detail.html?eid=846\" target=\"offsite\" rel=\"noopener\">information\u003c/a>, visit sjica.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first vividly bleak picture of the contemporary office environment was painted by Mike Judge, whose 1999 film \u003ci>Office Space\u003c/i> made the prosaic struggle to control a lowly stapler a metaphor for oppressed white-color workers everywhere. The 2001 Ricky Gervais show \u003ci>The Office,\u003c/i> followed in 2005 by the Greg Daniels version for U.S. audiences, codified the dull despair of those who push paper in order to sell it. Naturally, both were comedies, otherwise the exercises would have been unbearable.\u003c/p>\n\u003cp>\u003cb>The Office\u003c/b>, on display now through June 2, 2012, at the San Jose Institute of Contemporary Art, owes as much to these pop-culture phenomena as to the comparatively stuffy traditions of visual art. Indeed, the pieces in the show that try to play the art game first — rather than mining all they can from their subject — are generally less successful than their counterparts.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/04/19/Cfakepathofficepanel1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/04/19/Cfakepathofficepanel16.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Packard Jennings, \u003ci>Business Reply Pamphlet,\u003c/i> Panels 1 and 16\u003cbr>\u003c/center>\n\u003cp>Take the work of Packard Jennings, whose cartoony illustrations for \u003ci>Business Reply Pamphlet,\u003c/i> 2006, were initially designed for the business-reply envelopes that accompany junk mail. Jennings conceived his 16-part piece as an instruction manual for office workers whose job it is to open those returned business-reply envelopes, the charming conceit being that Jennings’s handy how-to manual would enable them to overthrow their office hierarchy and replace it with a tribal culture in which the work space is used for homesteading, hunting and growing crops. Coincidentally, Jennings’s aesthetic lends itself to the content of his piece, but he was smart to recognize this bizarre opportunity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other artists use office supplies for their work. Jill Sylvia cuts countless rectangles out of ledger paper, transforming this pre-Excel/Google Docs artifact into something resembling fine lace or delicately pierced silver. Sylvia’s material of choice was obsolete before she made it doubly useless, but by destroying these sheets of green or yellow ledger paper, she gives us hope, as if proving that relics of the office, us included, might have some purpose after technology finally passes the last of the old ways by.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/04/19/CfakepathFosheeDrift.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Alison Foshee, \u003ci>Drift\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Alison Foshee also uses office supplies to create her pieces, but unlike Sylvia, who adds to the impact of her work by systematically eliminating it from our view, Foshee builds her pieces bit by bit. One collection of quiet pieces presents an array of delicate feathers created from nothing more than staples. Nearby, a collage of mostly red packaging labels affixed to canvas screams for our attention, thanks to the fact that its floral and optical patterns are produced by noisy “Do Not Bend,” “Please Handle With Care,” “Fragile,” “This Side Up” and other stickers.\u003c/p>\n\u003cp>Less successful are pieces like \u003ci>Cling\u003c/i> by Mitra Fabian, whose contribution to the show is a wall garlanded here and there with binder clips that have been secured to each other. It’s a passionless arrangement that’s contrived to look organic but is merely dull. The pieces in Lauren DiCioccio’s \u003ci>Paper Reconfiguration Series\u003c/i> have been lavished with more attention (they are hand-stitched to create three-dimensional shapes resembling tubes and donuts), but unlike Sylvia’s work, which is ostensibly similar due to its material, these pieces don’t provoke thoughts about offices and the people who work in them. Alas, like Fabian’s installation of binder clips, DiCioccio’s work is overly infatuated with itself.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/04/19/CfakepathKirkCrippens36301684604.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Kirk Crippens, from the \u003ci>Plants on the Job\u003c/i> series\u003cbr>\u003c/center>\n\u003cp>Better is Ian Treasure’s installation of a dozen office water coolers, which have been arranged in a grid and configured so that each bubbles at an irregular interval. The result is a symphony of bloops and gurgles, a watery version, perhaps, of the countless conversations that take place beside these monuments to the imperative of hydration. And I liked the quintet of photographs of seriously neglected office plants by Kirk Crippens. These symbols of the half-hearted effort to humanize the workplace struck me as weirdly poignant, especially those juxtaposed with plates of herbal tea and a photograph of a man holding an umbrella over his cello to protect it from the rain. Would that anyone cared as much about these plants.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Office\u003c/b> is on view through June 2, 2012, at the San Jose Institute of Contemporary Art. For \u003ca href=\"http://www.sjica.org/detail.html?eid=846\" target=\"offsite\" rel=\"noopener\">information\u003c/a>, visit sjica.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Working Process Revealed: Original Art by Cartoonist Daniel Clowes",
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"content": "\u003cp>In a recent interview for an Oakland Museum of California publication, Daniel Clowes explained an element of attraction to his chosen media: “Comics are the one visual narrative medium that you have absolute control over…That’s very satisfying.” For the exhibition \u003cb>Modern Cartoonist: The Art of Daniel Clowes\u003c/b>, the artist has relinquished control over his original drawings to the astute eye of guest curator Susan Miller and Senior Curator of Art René de Guzman. The result is a revealing visit into the mesmerizing and time-consuming medium of hand-drawn cartooning.\u003c/p>\n\u003cp>Granted privileged access to Clowes’ working methods, visitors to the exhibition will see over 100 drawings and gouache pieces as they have never been seen before. Copious small details — pencil marks, erasures, individual brushstrokes, and cut out pieces of paper augmenting text and facial expressions — never appear on the printed page. As Miller pointed out, the gallery mimics the artist’s studio. Visitors get to experience the drawings, and the effort that went into making them just right, as only the artist has.\u003c/p>\n\u003cp>Clowes’ list of accomplishments is an impressive one, expanding beyond the world of comics to include an Academy Award nomination for screenwriting, numerous New Yorker covers, and now a mid-career survey set to travel to the MCA Chicago, the Corcoran Gallery of Art, and the Wexner Center for the Arts. To top it all off, Abrams just published \u003ci>\u003ca href=\"http://www.abramsbooks.com/Books/The_Art_of_Daniel_Clowes-9781419702082.html\">The Art of Daniel Clowes\u003c/a>\u003c/i>, a hefty hardcover full of beautiful images, a revealing interview, and insightful essays on the man and his work.\u003c/p>\n\u003cp>Selections from each of Clowes’ comics, commissioned pieces, and graphic novels are represented in \u003cb>Modern Cartoonist\u003c/b>, demonstrating the true range of the artist’s output. Specific drawings were chosen by Clowes himself, depending on what he liked best. Beginning in the mid-80s with his first published comic, \u003ci>Lloyd Lllewellyn\u003c/i>, the exhibition then offers examples of \u003ci>Eightball\u003c/i>, in which the stories “Like a Velvet Glove Cast in Iron,” “Ghostworld,” “David Boring,” “Ice Haven,” and “The Death-Ray” were all serialized. All these were subsequently published in book form as complete narratives.\u003c/p>\n\u003cp>Clowes has long depicted a variety of weirdos and outcasts, pathetic and maligned individuals who, through the patience of his renderings, become sympathetic characters. In his most recent book, the title character Wilson is one of the most despicable of the lot. Each page documents a single vignette in Wilson’s life. More often than not, the balding middle-aged man harangues a hapless victim with his abrasive and politically incorrect opinions. Whether based on a real person or not, the fact that Wilson lives in Oakland (where Clowes also lives) makes him, if not relatable, at least identifiable, especially to a Bay Area audience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibition design borrows much from Clowes’ drawings. Close to the ceiling, sequences from different stories wrap around the walls, enlarged and rendered in a soft gray, the comics acting as thought bubbles above the gallery-goers’ heads. Original drawings are presented behind plexi, mounted to the walls or on angled surfaces that mimic drawing tables. Two free-standing structures appear as if extruded from the streetscapes in Clowes’ work. Both allow for a minimal amount of interaction, with hinged or sliding panels supporting even more drawings. Relief-cuts drawn by Clowes grace the exteriors of the structures, producing the strange sensation of being in a comic while viewing the show.\u003c/p>\n\u003cp>Many of Clowes’ stories revolve around a central mystery or journey of self-discovery. Technology, or the lack thereof, figures largely as a result. Clowes’ characters are consistently analog, either because they inhabit a world uncluttered by cell phones and laptops, or because they are self-proclaimed Luddites (like Wilson). This element is reflected in the exhibition as whole, as it forces you to examine a tangible collection of sketches and drawings, ideas that have come into being after countless hours of reworking, all by hand.\u003c/p>\n\u003cp>Representing 26 years of Clowes’ life work, \u003cb>Modern Cartoonist\u003c/b> is a special treat for preexisting fans. For those new to the strange, funny, and always relevant stories, it will likely be frustrating to glimpse only short segments of the larger narratives. I imagine this introduction will inspire many more to join the legions of fans in Clowes’ corner, all eager for the immersive, one-on-one experience that brings art straight from his studio to the publication in their hands.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Modern Cartoonist: The Art of Daniel Clowes\u003c/b> is on view at the Oakland Museum of California through August 12, 2012. For \u003ca href=\"http://museumca.org/\">more information\u003c/a> visit museumca.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a recent interview for an Oakland Museum of California publication, Daniel Clowes explained an element of attraction to his chosen media: “Comics are the one visual narrative medium that you have absolute control over…That’s very satisfying.” For the exhibition \u003cb>Modern Cartoonist: The Art of Daniel Clowes\u003c/b>, the artist has relinquished control over his original drawings to the astute eye of guest curator Susan Miller and Senior Curator of Art René de Guzman. The result is a revealing visit into the mesmerizing and time-consuming medium of hand-drawn cartooning.\u003c/p>\n\u003cp>Granted privileged access to Clowes’ working methods, visitors to the exhibition will see over 100 drawings and gouache pieces as they have never been seen before. Copious small details — pencil marks, erasures, individual brushstrokes, and cut out pieces of paper augmenting text and facial expressions — never appear on the printed page. As Miller pointed out, the gallery mimics the artist’s studio. Visitors get to experience the drawings, and the effort that went into making them just right, as only the artist has.\u003c/p>\n\u003cp>Clowes’ list of accomplishments is an impressive one, expanding beyond the world of comics to include an Academy Award nomination for screenwriting, numerous New Yorker covers, and now a mid-career survey set to travel to the MCA Chicago, the Corcoran Gallery of Art, and the Wexner Center for the Arts. To top it all off, Abrams just published \u003ci>\u003ca href=\"http://www.abramsbooks.com/Books/The_Art_of_Daniel_Clowes-9781419702082.html\">The Art of Daniel Clowes\u003c/a>\u003c/i>, a hefty hardcover full of beautiful images, a revealing interview, and insightful essays on the man and his work.\u003c/p>\n\u003cp>Selections from each of Clowes’ comics, commissioned pieces, and graphic novels are represented in \u003cb>Modern Cartoonist\u003c/b>, demonstrating the true range of the artist’s output. Specific drawings were chosen by Clowes himself, depending on what he liked best. Beginning in the mid-80s with his first published comic, \u003ci>Lloyd Lllewellyn\u003c/i>, the exhibition then offers examples of \u003ci>Eightball\u003c/i>, in which the stories “Like a Velvet Glove Cast in Iron,” “Ghostworld,” “David Boring,” “Ice Haven,” and “The Death-Ray” were all serialized. All these were subsequently published in book form as complete narratives.\u003c/p>\n\u003cp>Clowes has long depicted a variety of weirdos and outcasts, pathetic and maligned individuals who, through the patience of his renderings, become sympathetic characters. In his most recent book, the title character Wilson is one of the most despicable of the lot. Each page documents a single vignette in Wilson’s life. More often than not, the balding middle-aged man harangues a hapless victim with his abrasive and politically incorrect opinions. Whether based on a real person or not, the fact that Wilson lives in Oakland (where Clowes also lives) makes him, if not relatable, at least identifiable, especially to a Bay Area audience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The exhibition design borrows much from Clowes’ drawings. Close to the ceiling, sequences from different stories wrap around the walls, enlarged and rendered in a soft gray, the comics acting as thought bubbles above the gallery-goers’ heads. Original drawings are presented behind plexi, mounted to the walls or on angled surfaces that mimic drawing tables. Two free-standing structures appear as if extruded from the streetscapes in Clowes’ work. Both allow for a minimal amount of interaction, with hinged or sliding panels supporting even more drawings. Relief-cuts drawn by Clowes grace the exteriors of the structures, producing the strange sensation of being in a comic while viewing the show.\u003c/p>\n\u003cp>Many of Clowes’ stories revolve around a central mystery or journey of self-discovery. Technology, or the lack thereof, figures largely as a result. Clowes’ characters are consistently analog, either because they inhabit a world uncluttered by cell phones and laptops, or because they are self-proclaimed Luddites (like Wilson). This element is reflected in the exhibition as whole, as it forces you to examine a tangible collection of sketches and drawings, ideas that have come into being after countless hours of reworking, all by hand.\u003c/p>\n\u003cp>Representing 26 years of Clowes’ life work, \u003cb>Modern Cartoonist\u003c/b> is a special treat for preexisting fans. For those new to the strange, funny, and always relevant stories, it will likely be frustrating to glimpse only short segments of the larger narratives. I imagine this introduction will inspire many more to join the legions of fans in Clowes’ corner, all eager for the immersive, one-on-one experience that brings art straight from his studio to the publication in their hands.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Modern Cartoonist: The Art of Daniel Clowes\u003c/b> is on view at the Oakland Museum of California through August 12, 2012. For \u003ca href=\"http://museumca.org/\">more information\u003c/a> visit museumca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>\u003c/i>\u003c/p>\n\u003cp>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 helpdesk@dailyserving.com with your questions and save the comments section to chime in on the topics of the day. \u003cb>If you’ve submitted a question using an anonymizer, we regret that it may not have made it into our inbox\u003c/b> (it has come to our attention that questions have gone missing). Please resend your query using a regular email service. All submissions remain anonymous and become the property of Daily Serving. HELP DESK is co-sponsored by KQED.org. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>What are your thoughts on Thomas Kinkade? \u003c/b>\u003c/p>\n\u003cp>Since this question was written to me before the maestro died, I’m going to answer it aside from the issues that have been raised since his untimely demise. My thoughts on Kinkade are quite simple: I feel that in many ways he is no different from Damien Hirst and that it’s a useful exercise to see exactly where the two artists overlap. The main similarity, of course, is that they both make market-driven work that simultaneously panders and condescends to their respective audiences, but I think they also have a whiff of the totalitarian to them. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/04/16/KQEDHirstKinkade.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr> The Painter of Light ™ and the Painter of Dots. Are they really so different?\u003c/center>\n\u003cp>Of course, I’m not the only one who finds either artist’s output objectionable. On the face of it, Kinkade’s main sin was peddling pablum: hyper-sentimental paintings of garden cottages executed by assistants in saleable colors and hangable dimensions that never challenged the ability of their owners to display above the front hall console or the living room couch. We could argue that Hirst does more or less the same thing from the other end of the professional artist spectrum, provided that the loft walls of his über-rich collectors are large enough. His incredibly un-provocative dot canvases are painted by a squadron of rent-hungry MFAs and are designed to be, if not beautiful or thought-provoking, at least reassuringly easy to identify in terms of market value. The two artists concentrated on creating a trafficable commercial product, though one is placed in the galleria and the other you can find at Sotheby’s. Aside from the base distinctions of high and low, if Kinkade’s paintings insist on a revisionist bucolic America that — for his spiritually-certain followers — reinforce a sense of nostalgia for a time that never existed, then Hirst’s “spin paintings” must bring a similar peace of mind to their investment-savvy owners. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/04/16/KQEDcobblestonebridgeandaddictive.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>On the left, Kinkade’s \u003ci>Cobblestone Bridge\u003c/i> (n.d.) and on the right, Hirst’s \u003ci>Methoxyverapamil\u003c/i> (1991). Actually, I think they look kind of good together! Image Sources: artbythomaskinkade.com and guardian.co.uk, respectively\u003c/center>\n\u003cp>In terms of oeuvre, both Kinkade’s and Hirst’s formulaic work evokes the monolithic and oppressive. Even though stylistically they are worlds apart, they are steadfast in the assertion of their belief systems. Kinkade’s ideologically-loaded work creates an unyielding, emotionally sanitized vision of the home territory, while Hirst’s aesthetics are simplistic to the point of vapidity. Both bodies of work are so defined by sheer economics that they surpass any concern for the defining principles of art and satisfy only the cynical dictatorial control exercised by the free market. \u003c/p>\n\u003cp>Here’s a \u003ca href=\"http://wonkette.com/469282/the-time-worlds-most-collected-painter-thomas-kinkade-who-is-dead-now-lied-to-us-about-the-nea\">mildly related anecdote.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/04/16/KQEDworkofart.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>The cast of the first season of “Work of Art.” Image Source: www.sundancechannel.com\u003c/center>\n\u003cp>\u003cb>How do you become a famous artist? I am an artist and make lots of art (performance, paintings, drawings, etc.) but I never went to art school. What should I do to slowly but surely become better known in the art world? \u003c/b>\u003c/p>\n\u003cp>Fame, huh? Without a doubt, you must already know that there is no way to “surely” become “better known in the art world,” especially if you are going to do it slowly. Fame strikes like lightening, white hot and irrefutably blinding those in its immediate path. If fame is your goal, why bother trying to climb the ladder rung by greasy rung? Why not charter a helicopter and get airlifted to the top? Since my job as an advice columnist is to answer the queries set before me, here is a short list of actions that others have tried in pursuit of fame: \u003c/p>\n\u003cp>— Kiss (with lipstick on) the museum-hung artwork of an already-renowned artist. When you are arrested, explain to the press and the jury that it was a form of homage and that you were simply overcome by the power of the art. Alternately, if you are the fighter-not-a-lover type, you could punch, kick, stab, or otherwise wound an artwork you find objectionable or offensive.\u003cbr>— Sleep with someone powerful. It’s pretty well tested as a means to gain recognition, why not give your favorite rock star/politician/A-list dealer a bounce? And then he or she can give your career a boost in return.\u003cbr>— Make a complete spectacle of yourself: do buckets of drugs while making art, have sex in the gallery, don’t bathe, etc. Be the wild and crazy guy who publicly justifies all the stereotypes of the tortured artist. Bonus points if you are a.) attractive and b.) from an old-money family.\u003cbr>— Two words: reality show. \u003c/p>\n\u003cp>Not pretty, is it? Okay, now that I’ve rinsed the snark from my bloodstream — sorry, the Kinkade thing always riles me up — it’s on to the real advice, and here it is: if you want to become better known in the art world, make great work. Yes, it’s really that simple, and yes, it’s really really hard. It might take you a lifetime. It might happen tomorrow, or never. \u003c/p>\n\u003cp>From the tone of your question, I’m concerned that you would put something as fleeting as fame ahead of your integrity (see photo, above). Like all but the most saintly among us, I’d be lying if I said that some of the same thoughts never once occurred to me. Nevertheless, your question makes me wince. Wouldn’t it be better to make solid work that no one ever sees than to put renown above all? What do you think might happen to your sense of self-worth if you favor the path to notoriety over building a career by making great work — especially if you fail? The truth is, there are no steps that guarantee success. And since that is certainly true, why not focus on the one thing that you can control: your work. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"420\" height=\"315\" src=\"http://www.youtube.com/embed/qpOlaLTXP4E\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Maybe I’m naïve, or a dinosaur, but I believe that artmaking should be its own reward (that’s not to say you shouldn’t be compensated fairly for your work, but that’s a topic for another day). Don’t let your quest for public prominence take away your dignity or interfere with the enjoyment of making your work. Let’s put the gratification and pleasure back into hard work and making, because to focus only on fame is to miss the point. To quote Erma Bombeck (okay, I \u003ci>am\u003c/i> a dinosaur), “Don’t confuse fame with success. Madonna is one; Helen Keller is the other.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and \u003ca href=\"http://dailyserving.com/\">Daily Serving\u003c/a>, an international forum for the contemporary visual arts. Please use the comments section below to ask for help and to tell us what you think.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003c/i>\u003c/p>\n\u003cp>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 helpdesk@dailyserving.com with your questions and save the comments section to chime in on the topics of the day. \u003cb>If you’ve submitted a question using an anonymizer, we regret that it may not have made it into our inbox\u003c/b> (it has come to our attention that questions have gone missing). Please resend your query using a regular email service. All submissions remain anonymous and become the property of Daily Serving. HELP DESK is co-sponsored by KQED.org. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>What are your thoughts on Thomas Kinkade? \u003c/b>\u003c/p>\n\u003cp>Since this question was written to me before the maestro died, I’m going to answer it aside from the issues that have been raised since his untimely demise. My thoughts on Kinkade are quite simple: I feel that in many ways he is no different from Damien Hirst and that it’s a useful exercise to see exactly where the two artists overlap. The main similarity, of course, is that they both make market-driven work that simultaneously panders and condescends to their respective audiences, but I think they also have a whiff of the totalitarian to them. \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=\"//u.s.kqed.net/2012/04/16/KQEDHirstKinkade.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr> The Painter of Light ™ and the Painter of Dots. Are they really so different?\u003c/center>\n\u003cp>Of course, I’m not the only one who finds either artist’s output objectionable. On the face of it, Kinkade’s main sin was peddling pablum: hyper-sentimental paintings of garden cottages executed by assistants in saleable colors and hangable dimensions that never challenged the ability of their owners to display above the front hall console or the living room couch. We could argue that Hirst does more or less the same thing from the other end of the professional artist spectrum, provided that the loft walls of his über-rich collectors are large enough. His incredibly un-provocative dot canvases are painted by a squadron of rent-hungry MFAs and are designed to be, if not beautiful or thought-provoking, at least reassuringly easy to identify in terms of market value. The two artists concentrated on creating a trafficable commercial product, though one is placed in the galleria and the other you can find at Sotheby’s. Aside from the base distinctions of high and low, if Kinkade’s paintings insist on a revisionist bucolic America that — for his spiritually-certain followers — reinforce a sense of nostalgia for a time that never existed, then Hirst’s “spin paintings” must bring a similar peace of mind to their investment-savvy owners. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/04/16/KQEDcobblestonebridgeandaddictive.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>On the left, Kinkade’s \u003ci>Cobblestone Bridge\u003c/i> (n.d.) and on the right, Hirst’s \u003ci>Methoxyverapamil\u003c/i> (1991). Actually, I think they look kind of good together! Image Sources: artbythomaskinkade.com and guardian.co.uk, respectively\u003c/center>\n\u003cp>In terms of oeuvre, both Kinkade’s and Hirst’s formulaic work evokes the monolithic and oppressive. Even though stylistically they are worlds apart, they are steadfast in the assertion of their belief systems. Kinkade’s ideologically-loaded work creates an unyielding, emotionally sanitized vision of the home territory, while Hirst’s aesthetics are simplistic to the point of vapidity. Both bodies of work are so defined by sheer economics that they surpass any concern for the defining principles of art and satisfy only the cynical dictatorial control exercised by the free market. \u003c/p>\n\u003cp>Here’s a \u003ca href=\"http://wonkette.com/469282/the-time-worlds-most-collected-painter-thomas-kinkade-who-is-dead-now-lied-to-us-about-the-nea\">mildly related anecdote.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/04/16/KQEDworkofart.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>The cast of the first season of “Work of Art.” Image Source: www.sundancechannel.com\u003c/center>\n\u003cp>\u003cb>How do you become a famous artist? I am an artist and make lots of art (performance, paintings, drawings, etc.) but I never went to art school. What should I do to slowly but surely become better known in the art world? \u003c/b>\u003c/p>\n\u003cp>Fame, huh? Without a doubt, you must already know that there is no way to “surely” become “better known in the art world,” especially if you are going to do it slowly. Fame strikes like lightening, white hot and irrefutably blinding those in its immediate path. If fame is your goal, why bother trying to climb the ladder rung by greasy rung? Why not charter a helicopter and get airlifted to the top? Since my job as an advice columnist is to answer the queries set before me, here is a short list of actions that others have tried in pursuit of fame: \u003c/p>\n\u003cp>— Kiss (with lipstick on) the museum-hung artwork of an already-renowned artist. When you are arrested, explain to the press and the jury that it was a form of homage and that you were simply overcome by the power of the art. Alternately, if you are the fighter-not-a-lover type, you could punch, kick, stab, or otherwise wound an artwork you find objectionable or offensive.\u003cbr>— Sleep with someone powerful. It’s pretty well tested as a means to gain recognition, why not give your favorite rock star/politician/A-list dealer a bounce? And then he or she can give your career a boost in return.\u003cbr>— Make a complete spectacle of yourself: do buckets of drugs while making art, have sex in the gallery, don’t bathe, etc. Be the wild and crazy guy who publicly justifies all the stereotypes of the tortured artist. Bonus points if you are a.) attractive and b.) from an old-money family.\u003cbr>— Two words: reality show. \u003c/p>\n\u003cp>Not pretty, is it? Okay, now that I’ve rinsed the snark from my bloodstream — sorry, the Kinkade thing always riles me up — it’s on to the real advice, and here it is: if you want to become better known in the art world, make great work. Yes, it’s really that simple, and yes, it’s really really hard. It might take you a lifetime. It might happen tomorrow, or never. \u003c/p>\n\u003cp>From the tone of your question, I’m concerned that you would put something as fleeting as fame ahead of your integrity (see photo, above). Like all but the most saintly among us, I’d be lying if I said that some of the same thoughts never once occurred to me. Nevertheless, your question makes me wince. Wouldn’t it be better to make solid work that no one ever sees than to put renown above all? What do you think might happen to your sense of self-worth if you favor the path to notoriety over building a career by making great work — especially if you fail? The truth is, there are no steps that guarantee success. And since that is certainly true, why not focus on the one thing that you can control: your work. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"420\" height=\"315\" src=\"http://www.youtube.com/embed/qpOlaLTXP4E\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Maybe I’m naïve, or a dinosaur, but I believe that artmaking should be its own reward (that’s not to say you shouldn’t be compensated fairly for your work, but that’s a topic for another day). Don’t let your quest for public prominence take away your dignity or interfere with the enjoyment of making your work. Let’s put the gratification and pleasure back into hard work and making, because to focus only on fame is to miss the point. To quote Erma Bombeck (okay, I \u003ci>am\u003c/i> a dinosaur), “Don’t confuse fame with success. Madonna is one; Helen Keller is the other.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Only Birds Sing the Music of Heaven in this World\u003c/b>, a multimedia group exhibition curated by artist Harrell Fletcher, plumbs the overlap between contemporary art and craft, socially engaged practices, and agriculture. The title is borrowed from early 19th century Japanese poet Issa, a regular influence on Fletcher’s work. It reflects, in his words, “the impossibility of trying to make ‘art’ when ‘nature’ does a much better job of making art.” Anyone who has seen fresh produce at the farmer’s market might concur. Beyond imagery, the gnarled politics of food production are increasingly the territory of artists who challenge social issues with creative solutions, as only artists can.\u003c/p>\n\u003cp>Last year San Francisco-based collective Futurefarmers, with Amy Franceschini, created \u003ci>Soil Kitchen\u003c/i> 2011, a temporary, windmill-powered architectural intervention and multi-use space where North Philadelphia neighbors traded soil samples in exchange for free soup. 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In 2008 Wheat proposed transitioning the program from income-dependency on “piece-rate” factory labor to the sale of arts and crafts through the farm’s newly launched CSA (community supported agriculture) program. Today the site houses a woodworking program, along with textile and fiber arts, an art gallery, art studios and the North Portland farm; most critically, Wheat’s experimental proposal developed into a model of sustainability.\u003c/p>\n\u003cp>Projects such as these have roots in earlier social experiments such as Bonnie Ora Sherk’s \u003ci>Crossroads Community (the farm)\u003c/i> 1974-1980, a life-scale environmental artwork, also shown here. The farm created a community hub from disparate San Francisco parcels of land ringed by major freeway interchanges and was one of the first inner-city Brownfield projects undertaken by the Trust for Public Land. It included live/work spaces for artists, a hands-on educational farm, a pre-school, a library, a gallery space and a performance space for theatre and punk rock. Experimental performance artist Mark Pauline of Survival Research Laboratories was an early resident.\u003c/p>\n\u003cp>Socially engaged practices, by necessity, are often represented as documentation and video — finding a balance between so much media and actual art objects is a common challenge. A series of photographic reproductions depicting the 1965 Delano Grape Strike lends a mild material presence to the exhibition, along with reproductions of other ephemera from the Cesar Chavez Foundation. But how to best represent a 340 mile protest march? The potent politics embedded in these prints is undercut by their static nature, with so much video present elsewhere. Further the historic issue of racial disparity in agriculture feels underserved, though the Delano Grape Strike is fore grounded in the publication — a lovely newspaper designed by John Borruso.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=6ktvERblDRA&w=420&h=315]\u003c/p>\n\u003cp>Discussion around socially engaged projects often boils down to a semantic debate around the nature of art, with some disregarding actions in favor of the art object. Perhaps in anticipation of this old argument, farm scene prints by Wayne Thiebaud and Bernard Zakheim’s painting \u003ci>Tractored Out\u003c/i> 1941 unduly command space where more dynamic contemporary projects could have been considered, such as Asiya Wadud’s Forage Oakland or the work of Los Angeles-based collective Fallen Fruit. Each champions access to fresh produce and challenges traditional notions of food production.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ultimately, the larger ideas at stake in much of the work on display here are inspiring. In a video about Pie Ranch, a working farm with an educational focus, Mimosa Collins, a young apprentice, observed that the educators “inspire my favorite version of myself.” Traditionalists might challenge the art status of some projects in \u003cb>Only Birds Sing the Music of Heaven in this World\u003c/b>, but this matters less than real community impact. In art, and in life, we are reminded, we reap what we sow.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Only Birds Sing the Music of Heaven in this World\u003c/b> is on view at the San Francisco Museum of Craft and Folk Art through July 7. For \u003ca href=\"http://www.mocfa.org\">more information\u003c/a>, please visit www.mocfa.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Only Birds Sing the Music of Heaven in this World\u003c/b>, a multimedia group exhibition curated by artist Harrell Fletcher, plumbs the overlap between contemporary art and craft, socially engaged practices, and agriculture. The title is borrowed from early 19th century Japanese poet Issa, a regular influence on Fletcher’s work. It reflects, in his words, “the impossibility of trying to make ‘art’ when ‘nature’ does a much better job of making art.” Anyone who has seen fresh produce at the farmer’s market might concur. Beyond imagery, the gnarled politics of food production are increasingly the territory of artists who challenge social issues with creative solutions, as only artists can.\u003c/p>\n\u003cp>Last year San Francisco-based collective Futurefarmers, with Amy Franceschini, created \u003ci>Soil Kitchen\u003c/i> 2011, a temporary, windmill-powered architectural intervention and multi-use space where North Philadelphia neighbors traded soil samples in exchange for free soup. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ultimately, the larger ideas at stake in much of the work on display here are inspiring. In a video about Pie Ranch, a working farm with an educational focus, Mimosa Collins, a young apprentice, observed that the educators “inspire my favorite version of myself.” Traditionalists might challenge the art status of some projects in \u003cb>Only Birds Sing the Music of Heaven in this World\u003c/b>, but this matters less than real community impact. In art, and in life, we are reminded, we reap what we sow.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Only Birds Sing the Music of Heaven in this World\u003c/b> is on view at the San Francisco Museum of Craft and Folk Art through July 7. For \u003ca href=\"http://www.mocfa.org\">more information\u003c/a>, please visit www.mocfa.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"www.anzferfarms.com\">Anzfer Farms\u003c/a>, a collaboration between Jonathan Anzalone and Joseph Ferriso, produces handmade furniture with an emphasis on reclaimed wood, strong design, and unexpected moments of color in familiar forms. In the current Park Life gallery show \u003cb>Holz\u003c/b>, Anzalone and Ferriso exhibit works from their separate artistic practices along with items from the Anzfer Farms showroom. Whether the show achieves its advertised goal of becoming a “unified work, a house of construction” is debatable, but more interesting than that, it offers insight as to how two very different artistic styles can merge into concrete and usable forms.\u003c/p>\n\u003cp>At first glimpse, Anzalone’s practice appears more directly connected to the often highly finished Anzfer Farms output than Ferriso’s paintings are. Using bits and pieces of painted wood to create relief works and assemblages, Anzalone’s pieces exhibit a formal quality with well-considered color and shape. Many works are obviously connected to furniture construction, including a framed grouping of used sand paper, titled \u003ci>Grit\u003c/i>, and the piece \u003ci>By-product\u003c/i>, a cluster of painted squares of wood, slices of checkered inlays, and general detritus seemingly scooped off the wood shop floor.\u003c/p>\n\u003cp>In comparison to Anzalone’s works, Ferriso’s paintings are imprecise and goofy, but refreshingly so. Ferriso applies paint loosely, seemingly straight out of the tube, imbuing each piece with a sense of immediacy. \u003ci>Chicken S.P.\u003c/i>, a shaped panel with spray painted edges and a thick arc of lavender above a skeptical eye, embodies the jokey quality present throughout his contributions to \u003cb>Holz\u003c/b>.\u003c/p>\n\u003cp>Ferriso’s paintings seem to fly in direct contrast to Anzalone’s more subdued colors and careful surface treatment. That is, until two paintings hanging side by side assert their centrality to this collaboration. Facing the exhibition’s entrance, Anzalone’s \u003ci>Mirage\u003c/i> hangs next to Ferriso’s \u003ci>Bowling Ball\u003c/i>. In this perfect pairing of the artists’ individual styles, both works contain angular and segmented zones of color that morph into fragmented “landscapes,” creating two spaces very much like the gallery they inhabit.\u003c/p>\n\u003cp>The furniture reflects these shared qualities as well: beautiful woodwork is punctuated by bright, often fluorescent highlights that fracture and disrupt the familiar shape of an item. The walls of the gallery, painted ochre, lavender, rose, kelly green, and bright cyan, operate as larger versions of the solid-colored panes in both the wall works and furniture. Separate sets of furniture are placed within each color zone, resembling staged groupings. It is here that the show feels more like a catalog suggestion for how one’s own home might be decorated than an experiment in Bauhaus design.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead of offering seating for viewing the walls, the furniture faces itself. This drives home the point that the furniture is on display too, not just positioned to facilitate a different vantage point for the wall works. Though \u003cb>Holz\u003c/b> is at its essence a three-part show, I couldn’t help but wonder what furniture for art viewing might look like coming from the Anzfer Farms showroom.\u003c/p>\n\u003cp>The closest I could imagine was their lock and key chair (of which there are several examples in the show, both assembled and disassembled). Two shaped pieces of wood slide together to create a surprisingly comfortable seat that necessitates leaning back in a moment of forced relaxation. No good for intense conversations, this chair would do well positioned directly in front of any work of art you’d like to spend quality time observing. But to do so, you’ll have to try the setup in your own home, and after a few purchases.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Holz\u003c/b> is on view at Park Life through May 6, 2012. For \u003ca href=\"http://parklifestore.com\">more information, visit parklifestore.com.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"www.anzferfarms.com\">Anzfer Farms\u003c/a>, a collaboration between Jonathan Anzalone and Joseph Ferriso, produces handmade furniture with an emphasis on reclaimed wood, strong design, and unexpected moments of color in familiar forms. In the current Park Life gallery show \u003cb>Holz\u003c/b>, Anzalone and Ferriso exhibit works from their separate artistic practices along with items from the Anzfer Farms showroom. Whether the show achieves its advertised goal of becoming a “unified work, a house of construction” is debatable, but more interesting than that, it offers insight as to how two very different artistic styles can merge into concrete and usable forms.\u003c/p>\n\u003cp>At first glimpse, Anzalone’s practice appears more directly connected to the often highly finished Anzfer Farms output than Ferriso’s paintings are. Using bits and pieces of painted wood to create relief works and assemblages, Anzalone’s pieces exhibit a formal quality with well-considered color and shape. Many works are obviously connected to furniture construction, including a framed grouping of used sand paper, titled \u003ci>Grit\u003c/i>, and the piece \u003ci>By-product\u003c/i>, a cluster of painted squares of wood, slices of checkered inlays, and general detritus seemingly scooped off the wood shop floor.\u003c/p>\n\u003cp>In comparison to Anzalone’s works, Ferriso’s paintings are imprecise and goofy, but refreshingly so. Ferriso applies paint loosely, seemingly straight out of the tube, imbuing each piece with a sense of immediacy. \u003ci>Chicken S.P.\u003c/i>, a shaped panel with spray painted edges and a thick arc of lavender above a skeptical eye, embodies the jokey quality present throughout his contributions to \u003cb>Holz\u003c/b>.\u003c/p>\n\u003cp>Ferriso’s paintings seem to fly in direct contrast to Anzalone’s more subdued colors and careful surface treatment. That is, until two paintings hanging side by side assert their centrality to this collaboration. Facing the exhibition’s entrance, Anzalone’s \u003ci>Mirage\u003c/i> hangs next to Ferriso’s \u003ci>Bowling Ball\u003c/i>. In this perfect pairing of the artists’ individual styles, both works contain angular and segmented zones of color that morph into fragmented “landscapes,” creating two spaces very much like the gallery they inhabit.\u003c/p>\n\u003cp>The furniture reflects these shared qualities as well: beautiful woodwork is punctuated by bright, often fluorescent highlights that fracture and disrupt the familiar shape of an item. The walls of the gallery, painted ochre, lavender, rose, kelly green, and bright cyan, operate as larger versions of the solid-colored panes in both the wall works and furniture. Separate sets of furniture are placed within each color zone, resembling staged groupings. It is here that the show feels more like a catalog suggestion for how one’s own home might be decorated than an experiment in Bauhaus design.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead of offering seating for viewing the walls, the furniture faces itself. This drives home the point that the furniture is on display too, not just positioned to facilitate a different vantage point for the wall works. Though \u003cb>Holz\u003c/b> is at its essence a three-part show, I couldn’t help but wonder what furniture for art viewing might look like coming from the Anzfer Farms showroom.\u003c/p>\n\u003cp>The closest I could imagine was their lock and key chair (of which there are several examples in the show, both assembled and disassembled). Two shaped pieces of wood slide together to create a surprisingly comfortable seat that necessitates leaning back in a moment of forced relaxation. No good for intense conversations, this chair would do well positioned directly in front of any work of art you’d like to spend quality time observing. But to do so, you’ll have to try the setup in your own home, and after a few purchases.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Holz\u003c/b> is on view at Park Life through May 6, 2012. For \u003ca href=\"http://parklifestore.com\">more information, visit parklifestore.com.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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