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"content": "\u003cp>\u003ci>Welcome to HELP DESK, step into my office! Each week I’ll be answering your queries about making, 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</a>helpdesk@dailyserving.com</a>%20with%20your%20questions,%20or%20use%20a%20free%20anonymizer%20like%20<a%20href=\" http:>Anonymouse.org\u003c/a> to send an email to the same address. Comments are enabled, but be good or be gone! All submissions will be treated as anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I am a curator and was recently contacted by an artist whom I have never met, who was recommended to me by a mutual acquaintance (another artist). The artist is inviting me to do a studio visit, but after looking at the artist’s website, I know that I am completely uninterested in seeing the work in person. I would like to decline the request in a way that is honest but kind, without necessarily making an explicit value judgment about the work. (I realize that expressing an opinion from my position holds a specific kind of weight.) I want to avoid wasting anyone’s time by doing a studio visit that will not yield anything for either of us. From an artist’s perspective, how can a curator best handle this situation?\u003c/b>\u003c/p>\n\u003cp>This is a great question, one that many of us on the receiving end have thought about long and hard. Personally, I take my rejections straight up (with an escapist murder-mystery chaser), because the perennially used and ever-ambiguous “I’m very busy right now,” leaves me wondering, Do I ask again later? How much later? Or should I understand somehow that “busy” actually means “go away forever?” One might spend days second-guessing the intention of such messages and ultimately end up more depressed than if there had simply been a polite “No, thank you.”\u003c/p>\n\u003cp>As always, I thought I’d better ask around in case my preferences aren’t the norm. Surprisingly, everyone I asked said you should be candid, but in varying degrees. The artists I queried are all in various stages of their careers, from fresh out of school to seasoned professionals with gallery representation and long CVs. Despite the differences in experience, the sentiment was the same: don’t beat around the bush. Some had great suggestions for how they’d like their “no” served: hot, room-temperature, and/or with a side of kindness.\u003c/p>\n\u003cp>One artist told me, “I’d say give it to them straight. It was the artist that did the contacting and so they should be ready to be rejected, it’s already happened to them many times if they’ve been an artist for long. Maybe something along the lines of, ‘Thanks for your kind invitation. I enjoyed looking at the work on your website but it is not a great match for my curatorial direction. I don’t believe that a studio visit from me would prove to be of any benefit to you or your work so in order not to waste any of your time I must decline. I wish you the best and thank you again for the offer.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/29/negative1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Yes, it’s a negative.\u003cbr>\u003c/center>\n\u003cp>Another suggested, “I think if the curator wrote the artist an email saying, ‘I looked at your work on the website and while it is interesting (add whatever adjective to soften the blow), I’m not sure that it’s a great fit for the work that I generally show,’ I think the artist would find a way to understand.”\u003c/p>\n\u003cp>If you’d prefer to keep your rejection more open-ended, you could try, “Thank you for contacting me regarding a potential studio visit. At this time, I am not involved in any projects that would be suitable for your work and I prefer to make studio visits with a specific goal/endpoint/situation/exhibition in mind. I do encourage you to keep me updated on new bodies of work.”\u003c/p>\n\u003cp>An additional idea that almost everyone mentioned was your ability as a curator to point the artist in the right direction by supplying the names of other curators who might be interested. Obviously this is not always possible (for example, if the work is of a quality that you would be embarrassed to recommend); but barring the truly awful, if you can help the artist create a relationship that would be mutually beneficial, then you will have done two people (the artist and the other curator) a great service. One respondent to my query suggested, “I’m not the best person to review your work but perhaps ping these people [insert name here].”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/29/yesnomaybe.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Another artist would like to remind you that looking at work on a website isn’t the same as seeing it in person, and that sometimes there is more to a studio visit than finding a perfect aesthetic match. This person commented, “Above all, I would like for someone to come do a quick visit. You could say, ‘I have about 15 minutes to stop by,’ if the concern is wasting time. Talking with someone is never a waste of time in my opinion no matter how busy you are, and who knows what kind of relationship will develop — even if you still don’t like the work. There may be something about the work that is never seen in image form or that person may be able to contribute in some other way beyond the typical curator-artist relationship.” Another artist, thinking about this issue more long-term, added, “I would always consider if there is anything I could stand to benefit from a studio visit or meeting. If time is really of the essence, I would tell them that I have limited time for studio visits, but I would be interested in seeing what the work looks like in, say, a year, if time permits. If the artist is dedicated enough to follow up in a year, I would genuinely reevaluate the offer and take a look at the work again.”\u003c/p>\n\u003cp>To steal a line from one response, “Artists know that rejection is part and parcel of the field we have chosen.” It’s better for everyone involved in the arts — artists and curators alike — if we spend our time and energy with people who can support our endeavors.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/29/ouijaboard.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>\u003cb>How would you advise a young artist to stay mentally healthy in his/her studio? Dealing with extended solitary time and rejection can be tough. Tips?\u003c/b>\u003c/p>\n\u003cp>I gave some ideas about creating a peer group in \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=81629\">this column\u003c/a> a few weeks ago, to which I would add that you should be getting regular feedback on your work if you want to avoid that “toiling in Siberia” feeling. One way to get feedback is to contact local curators in your area and ask them for studio visits that focus on a “cold read” of your work. You might want to hunt down some similarly-young curators for this, so that you can all essentially practice on each other. They’ll be flattered to be asked and you might make some new friends.\u003c/p>\n\u003cp>Dealing with rejection is going to depend a bit on your personality and circumstances, but the one thing that you must learn to do is not internalize the negativity such that it affects your practice. Historically (and in Hollywood films), our models of oft-rejected artists have been bitter egotists, weepy depressives, and the drug-addicted. May I suggest that you sidestep these choices? Aside from being unhealthy and hard on your immediate circle of friends, they’re all quite clichéd and boring. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/29/targcast.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Jasper Johns, \u003ci>Target with Plaster Casts\u003c/i>, 1955.\u003c/center>\n\u003cp>But how to avoid getting to that dark place? Life as an artist is full of rejection, so it’s best to learn how to bear the slings and arrows of outrageous fortune early on. One method that seems to work quite well is to apply for everything. It is time consuming, but can be quite effective. Using this strategy, when you get the next letter that begins with “Dear Artist” and ends with “…but we wish you good luck in the future” you can safely move your thoughts to the next possibility and not dwell on that particular unfavorable answer. Move forward, and concentrate on opportunities. \u003c/p>\n\u003cp>A little commiseration can help you lick your wounds, too. If you’ve got a peer network that you trust, have a rejection dinner party where everyone brings their form letters and reads aloud (I’m certain there’s a drinking game to be invented from this). It helps so much to know that you’re not alone, and this applies to everyone from a freshman performance artist to the wretched three people who did not win the Turner Prize last year. Their work hangs in the Tate and I’m still pretty sure that they all went home on award night and got out the gin and the telephone.\u003c/p>\n\u003cp>I think it was the writer \u003ca href=\"http://en.wikipedia.org/wiki/Natalie_Goldberg\">Natalie Goldberg\u003c/a> who suggested that all rejections should be countenanced with the mantra, “So what, so what, so what?” but if this seems too insouciant for the novice, I suggest the more earnest, “Next time, next time, next time.” Don’t let a negative reply take the \u003ci>joie\u003c/i> from your \u003ci>vivre\u003c/i>. And if nothing else works, try to remember that “no” is an extremely small word: only two letters, a single syllable, and utterly forgettable. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and Daily Serving, 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, step into my office! Each week I’ll be answering your queries about making, 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</a>helpdesk@dailyserving.com</a>%20with%20your%20questions,%20or%20use%20a%20free%20anonymizer%20like%20<a%20href=\" http:>Anonymouse.org\u003c/a> to send an email to the same address. Comments are enabled, but be good or be gone! All submissions will be treated as anonymous and become the property of Daily Serving. \u003c/i>\u003c/p>\n\u003cp>\u003cb>I am a curator and was recently contacted by an artist whom I have never met, who was recommended to me by a mutual acquaintance (another artist). The artist is inviting me to do a studio visit, but after looking at the artist’s website, I know that I am completely uninterested in seeing the work in person. I would like to decline the request in a way that is honest but kind, without necessarily making an explicit value judgment about the work. (I realize that expressing an opinion from my position holds a specific kind of weight.) I want to avoid wasting anyone’s time by doing a studio visit that will not yield anything for either of us. From an artist’s perspective, how can a curator best handle this situation?\u003c/b>\u003c/p>\n\u003cp>This is a great question, one that many of us on the receiving end have thought about long and hard. Personally, I take my rejections straight up (with an escapist murder-mystery chaser), because the perennially used and ever-ambiguous “I’m very busy right now,” leaves me wondering, Do I ask again later? How much later? Or should I understand somehow that “busy” actually means “go away forever?” One might spend days second-guessing the intention of such messages and ultimately end up more depressed than if there had simply been a polite “No, thank you.”\u003c/p>\n\u003cp>As always, I thought I’d better ask around in case my preferences aren’t the norm. Surprisingly, everyone I asked said you should be candid, but in varying degrees. The artists I queried are all in various stages of their careers, from fresh out of school to seasoned professionals with gallery representation and long CVs. Despite the differences in experience, the sentiment was the same: don’t beat around the bush. Some had great suggestions for how they’d like their “no” served: hot, room-temperature, and/or with a side of kindness.\u003c/p>\n\u003cp>One artist told me, “I’d say give it to them straight. It was the artist that did the contacting and so they should be ready to be rejected, it’s already happened to them many times if they’ve been an artist for long. Maybe something along the lines of, ‘Thanks for your kind invitation. I enjoyed looking at the work on your website but it is not a great match for my curatorial direction. I don’t believe that a studio visit from me would prove to be of any benefit to you or your work so in order not to waste any of your time I must decline. I wish you the best and thank you again for the offer.'”\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.org/2012/01/29/negative1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Yes, it’s a negative.\u003cbr>\u003c/center>\n\u003cp>Another suggested, “I think if the curator wrote the artist an email saying, ‘I looked at your work on the website and while it is interesting (add whatever adjective to soften the blow), I’m not sure that it’s a great fit for the work that I generally show,’ I think the artist would find a way to understand.”\u003c/p>\n\u003cp>If you’d prefer to keep your rejection more open-ended, you could try, “Thank you for contacting me regarding a potential studio visit. At this time, I am not involved in any projects that would be suitable for your work and I prefer to make studio visits with a specific goal/endpoint/situation/exhibition in mind. I do encourage you to keep me updated on new bodies of work.”\u003c/p>\n\u003cp>An additional idea that almost everyone mentioned was your ability as a curator to point the artist in the right direction by supplying the names of other curators who might be interested. Obviously this is not always possible (for example, if the work is of a quality that you would be embarrassed to recommend); but barring the truly awful, if you can help the artist create a relationship that would be mutually beneficial, then you will have done two people (the artist and the other curator) a great service. One respondent to my query suggested, “I’m not the best person to review your work but perhaps ping these people [insert name here].”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/29/yesnomaybe.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Another artist would like to remind you that looking at work on a website isn’t the same as seeing it in person, and that sometimes there is more to a studio visit than finding a perfect aesthetic match. This person commented, “Above all, I would like for someone to come do a quick visit. You could say, ‘I have about 15 minutes to stop by,’ if the concern is wasting time. Talking with someone is never a waste of time in my opinion no matter how busy you are, and who knows what kind of relationship will develop — even if you still don’t like the work. There may be something about the work that is never seen in image form or that person may be able to contribute in some other way beyond the typical curator-artist relationship.” Another artist, thinking about this issue more long-term, added, “I would always consider if there is anything I could stand to benefit from a studio visit or meeting. If time is really of the essence, I would tell them that I have limited time for studio visits, but I would be interested in seeing what the work looks like in, say, a year, if time permits. If the artist is dedicated enough to follow up in a year, I would genuinely reevaluate the offer and take a look at the work again.”\u003c/p>\n\u003cp>To steal a line from one response, “Artists know that rejection is part and parcel of the field we have chosen.” It’s better for everyone involved in the arts — artists and curators alike — if we spend our time and energy with people who can support our endeavors.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/29/ouijaboard.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>\u003cb>How would you advise a young artist to stay mentally healthy in his/her studio? Dealing with extended solitary time and rejection can be tough. Tips?\u003c/b>\u003c/p>\n\u003cp>I gave some ideas about creating a peer group in \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=81629\">this column\u003c/a> a few weeks ago, to which I would add that you should be getting regular feedback on your work if you want to avoid that “toiling in Siberia” feeling. One way to get feedback is to contact local curators in your area and ask them for studio visits that focus on a “cold read” of your work. You might want to hunt down some similarly-young curators for this, so that you can all essentially practice on each other. They’ll be flattered to be asked and you might make some new friends.\u003c/p>\n\u003cp>Dealing with rejection is going to depend a bit on your personality and circumstances, but the one thing that you must learn to do is not internalize the negativity such that it affects your practice. Historically (and in Hollywood films), our models of oft-rejected artists have been bitter egotists, weepy depressives, and the drug-addicted. May I suggest that you sidestep these choices? Aside from being unhealthy and hard on your immediate circle of friends, they’re all quite clichéd and boring. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/29/targcast.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Jasper Johns, \u003ci>Target with Plaster Casts\u003c/i>, 1955.\u003c/center>\n\u003cp>But how to avoid getting to that dark place? Life as an artist is full of rejection, so it’s best to learn how to bear the slings and arrows of outrageous fortune early on. One method that seems to work quite well is to apply for everything. It is time consuming, but can be quite effective. Using this strategy, when you get the next letter that begins with “Dear Artist” and ends with “…but we wish you good luck in the future” you can safely move your thoughts to the next possibility and not dwell on that particular unfavorable answer. Move forward, and concentrate on opportunities. \u003c/p>\n\u003cp>A little commiseration can help you lick your wounds, too. If you’ve got a peer network that you trust, have a rejection dinner party where everyone brings their form letters and reads aloud (I’m certain there’s a drinking game to be invented from this). It helps so much to know that you’re not alone, and this applies to everyone from a freshman performance artist to the wretched three people who did not win the Turner Prize last year. Their work hangs in the Tate and I’m still pretty sure that they all went home on award night and got out the gin and the telephone.\u003c/p>\n\u003cp>I think it was the writer \u003ca href=\"http://en.wikipedia.org/wiki/Natalie_Goldberg\">Natalie Goldberg\u003c/a> who suggested that all rejections should be countenanced with the mantra, “So what, so what, so what?” but if this seems too insouciant for the novice, I suggest the more earnest, “Next time, next time, next time.” Don’t let a negative reply take the \u003ci>joie\u003c/i> from your \u003ci>vivre\u003c/i>. And if nothing else works, try to remember that “no” is an extremely small word: only two letters, a single syllable, and utterly forgettable. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Help Desk is a collaboration between KQED and Daily Serving, 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": "Royal NoneSuch Gallery Redefines Alternative with Space, Time and Architecture",
"headTitle": "Royal NoneSuch Gallery Redefines Alternative with Space, Time and Architecture | KQED",
"content": "\u003cp>Royal NoneSuch Gallery, a small artist-run alternative art and event space in Oakland’s Temescal district, began as an alternative to conventional models right from the start. Founders Elizabeth Bernstein and Carrie Hott, acquaintance-slash-friends on Facebook, deepened their connection when Bernstein posted that she was looking for someone to partner with her to start an artist-run space. She already had the space and she wanted someone to share it with. This month, after two years of successfully managing operations between the two of them, Bernstein and Hott conducted a similar search before partnering with Carey Lin and Kathleen Quillian. This expansion allows each to maintain an interest in the gallery while further distributing labor and allowing more time for individual pursuits. Overall it is a lean operation, with fundraising limited to the overhead costs of keeping the lights on and the doors open and viewing hours limited to the weekend. Among the organizers it is a labor of love: each volunteers their time. This open-handed, collaborative approach to authorship is, in itself, a salient alternative to most alternative spaces based on jealously guarded singular leadership.\u003c/p>\n\u003cp>\u003cb>Space, Time and Architecture\u003c/b>, a two-person exhibition featuring works by Cybele Lyle and Luca Nino Antonucci, is the first show curated by this newly expanded foursome of organizers. Programming is selected through a democratic process within the group. This pairing of artists, as the first show of the year, auspiciously received a unanimous response among the four, cementing their faith in Royal NoneSuch’s unique organizational style. Interestingly, \u003cb>Space, Time and Architecture\u003c/b> reflects the gallery ethos while presenting the distinctly separate practices of two artists previously unfamiliar with one another. Rather than delineating space within the gallery for each artist, the work is intermixed. It is a dynamic pairing that reveals itself quietly.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nonesuch2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Luca Nino Antonucci\u003c/p>\n\u003cp>Lyle’s prints alternate with Antonucci’s print transparencies, cleanly installed around the one room space. The later features text, redacted by Antonucci, from architectural historian Siegfried Giedion’s seminal book \u003ci>Space, Time and Architecture: The Growth of a New Tradition\u003c/i>, published by Harvard University Press in 1941. (Giedion is counted among those who influenced the work of media theorist Marshall McLuhan, who in turn would probably have found some amusing significance in Giedion’s work ending up as edited text in a gallery formed over the bonds of Facebook. The medium is the message, indeed.) Using an actual tome, the artist has begun editing the book to create a distillation of the author’s essential arguments — at the same time, Antonucci’s redactions update the tenets of the book to reflect the collaborative phenomena evident in today’s creative practices, from social networking to collective production. Antonucci’s copy of \u003ci>Space, Time and Architecture\u003c/i>, each page variously altered with white paint or black lines, sits on a quirky pedestal in the center of the space. The visual quality of the pedestal mirror’s Lyle’s prints, purely by coincidence, as seems to happen quite naturally here.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nonesuch1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Cybele Lyle\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lyle’s prints are a departure from a larger body of work that explores projected images in architectural space. Each print is an image collaged from Lyle’s photographs of the natural landscape, cropped and arranged as architectural elements in open space. The original compositions are scanned and printed on metallic paper. The result is a series of uncanny landscapes where familiar elements are made surreal and a fourth dimension, merging time and space, is made real. “Space, Time and Architecture \u003ci>is an entity in itself which, with all its shortcomings should \u003cstrike>not\u003c/strike> be disturbed\u003c/i>,” reads some of Giedion’s text revised by Antonucci. The work is both collaborative and revisionist; a reflection on the imperative to study and respect old models — before destroying them to create anew from the pieces.\u003c/p>\n\u003cp>The gallery mission statement treads familiar territory — denying commercial interests, emphasizing community and experimentation — while reflecting an ideology that is both the driving compact of its partnerships and its programmatic agenda. It’s the approach not the agenda, per se, that is new here. Royal NoneSuch Gallery reflects a true alternative based on collaboration, with a willingness to reinvent as space and time allow. Long may it reign.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Space, Time and Architecture\u003c/b> is on view at Royal NoneSuch Gallery through February 26; Saturdays and Sundays 1 – 4 and by appointment. For \u003ca href=\"http://www.royalnonesuchgallery.com\">more information\u003c/a>\u003ca>\u003c/a> visit royalnonesuchgallery.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Royal NoneSuch Gallery, a small artist-run alternative art and event space in Oakland’s Temescal district, began as an alternative to conventional models right from the start. Founders Elizabeth Bernstein and Carrie Hott, acquaintance-slash-friends on Facebook, deepened their connection when Bernstein posted that she was looking for someone to partner with her to start an artist-run space. She already had the space and she wanted someone to share it with. This month, after two years of successfully managing operations between the two of them, Bernstein and Hott conducted a similar search before partnering with Carey Lin and Kathleen Quillian. This expansion allows each to maintain an interest in the gallery while further distributing labor and allowing more time for individual pursuits. Overall it is a lean operation, with fundraising limited to the overhead costs of keeping the lights on and the doors open and viewing hours limited to the weekend. Among the organizers it is a labor of love: each volunteers their time. This open-handed, collaborative approach to authorship is, in itself, a salient alternative to most alternative spaces based on jealously guarded singular leadership.\u003c/p>\n\u003cp>\u003cb>Space, Time and Architecture\u003c/b>, a two-person exhibition featuring works by Cybele Lyle and Luca Nino Antonucci, is the first show curated by this newly expanded foursome of organizers. Programming is selected through a democratic process within the group. This pairing of artists, as the first show of the year, auspiciously received a unanimous response among the four, cementing their faith in Royal NoneSuch’s unique organizational style. Interestingly, \u003cb>Space, Time and Architecture\u003c/b> reflects the gallery ethos while presenting the distinctly separate practices of two artists previously unfamiliar with one another. Rather than delineating space within the gallery for each artist, the work is intermixed. It is a dynamic pairing that reveals itself quietly.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nonesuch2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Luca Nino Antonucci\u003c/p>\n\u003cp>Lyle’s prints alternate with Antonucci’s print transparencies, cleanly installed around the one room space. The later features text, redacted by Antonucci, from architectural historian Siegfried Giedion’s seminal book \u003ci>Space, Time and Architecture: The Growth of a New Tradition\u003c/i>, published by Harvard University Press in 1941. (Giedion is counted among those who influenced the work of media theorist Marshall McLuhan, who in turn would probably have found some amusing significance in Giedion’s work ending up as edited text in a gallery formed over the bonds of Facebook. The medium is the message, indeed.) Using an actual tome, the artist has begun editing the book to create a distillation of the author’s essential arguments — at the same time, Antonucci’s redactions update the tenets of the book to reflect the collaborative phenomena evident in today’s creative practices, from social networking to collective production. Antonucci’s copy of \u003ci>Space, Time and Architecture\u003c/i>, each page variously altered with white paint or black lines, sits on a quirky pedestal in the center of the space. The visual quality of the pedestal mirror’s Lyle’s prints, purely by coincidence, as seems to happen quite naturally here.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nonesuch1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Cybele Lyle\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lyle’s prints are a departure from a larger body of work that explores projected images in architectural space. Each print is an image collaged from Lyle’s photographs of the natural landscape, cropped and arranged as architectural elements in open space. The original compositions are scanned and printed on metallic paper. The result is a series of uncanny landscapes where familiar elements are made surreal and a fourth dimension, merging time and space, is made real. “Space, Time and Architecture \u003ci>is an entity in itself which, with all its shortcomings should \u003cstrike>not\u003c/strike> be disturbed\u003c/i>,” reads some of Giedion’s text revised by Antonucci. The work is both collaborative and revisionist; a reflection on the imperative to study and respect old models — before destroying them to create anew from the pieces.\u003c/p>\n\u003cp>The gallery mission statement treads familiar territory — denying commercial interests, emphasizing community and experimentation — while reflecting an ideology that is both the driving compact of its partnerships and its programmatic agenda. It’s the approach not the agenda, per se, that is new here. Royal NoneSuch Gallery reflects a true alternative based on collaboration, with a willingness to reinvent as space and time allow. Long may it reign.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Space, Time and Architecture\u003c/b> is on view at Royal NoneSuch Gallery through February 26; Saturdays and Sundays 1 – 4 and by appointment. For \u003ca href=\"http://www.royalnonesuchgallery.com\">more information\u003c/a>\u003ca>\u003c/a> visit royalnonesuchgallery.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Help Desk: Not Enough/Too Much?",
"headTitle": "Help Desk: Not Enough/Too Much? | KQED",
"content": "\u003cp>\u003ci>Welcome to HELP DESK, step into my office! Each week I’ll be answering your queries about making, 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, or use a free anonymizer like \u003ca href=\"http://anonymouse.org/anonemail.html\">Anonymouse.org\u003c/a> to send an email to the same address. Comments are enabled, but be good or be gone! All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Some galleries provide artists with information on who is purchasing their artwork… others do not. What’s up with that? I feel like smaller galleries are super paranoid of artists selling out from under them while bigger more stable galleries offer full contact information to artists.\u003c/b>\u003c/p>\n\u003cp>I’m not a gallerist, so I asked around to see if anyone could help me shed a little light on this subject. Catharine Clark, of \u003ca href=\"http://www.cclarkgallery.com/\">Catharine Clark Gallery\u003c/a> in San Francisco, generously provided this information for me to share:\u003c/p>\n\u003cp>“We disclose the name of a collector to an artist when a sale is made. Often collectors and artists enjoy meeting one another, and we help to facilitate that when it’s possible. We disclose additional contact information when artists are in the process of determining what work can be available for a museum exhibit, for example, or if they ask for it because they want to write a thank you note or correspond in some way with the collector. Some collectors are very private, and the information about them is proprietary, so we evaluate each request as it is made and determine whether the use of the information will be respectful. We have had the unfortunate experience of the information being inappropriately shared and the collectors have then felt betrayed. Since we work on loan agreements with the museum registrars, collectors, and artists, usually it is at that point that all contact information becomes most transparent. We also maintain relationships with the collectors so that we are able to follow the whereabouts of work as people move or re-sell their collections.”\u003c/p>\n\u003cp>Of course, Catharine Clark is an established and highly professional operation. You might find a different set of standards at work with another, smaller or newer gallery. While I can’t speak to the “paranoia” of a gallery, I can offer some advice to artists just starting out: ask for a contract that specifically states that you need to be given collector information when a sale is made. I do believe that you have a right to know where your work is going.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I also want to stress that you don’t want to use collector information in an improper way. It would be indecorous and short-sighted to pester your collector, or to try to make a direct-from-studio sale next time and skip the gallery’s commission. If you’re represented, don’t ever ever do this; and if you’re not represented and the buyer connected with you through a gallery, then you owe the gallery a percentage of the sale anyway — unless you like bad blood and never want to show there again. But it’s not a bad idea to have at least basic collector information so that you can keep a spreadsheet on the whereabouts of your work. That way when \u003ca href=\"http://momaps1.org/\">PS1\u003c/a> offers you a retrospective and then makes you track down and then pick up all your own work — like they did to a certain unnamed young female artist recently — you can find it all. I also refer readers to Chapter 13, “Gallery Representation” of the excellent \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333/ref=sr_1_1?ie=UTF8&qid=1327205617&sr=8-1\">\u003cem>Art/Work\u003c/em>\u003c/a> by Heather Darcy Bhandari and Jonathan Melber, which goes into more detail about the ins and outs of working with galleries.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"//u.s.kqed.org/2012/01/22/nolandtarget.jpg\">\u003cbr>\nKenneth Noland, \u003ci>Untitled (Target)\u003c/i>, 1963. Collection of the Museum of Contemporary Art, Los Angeles.\u003c/p>\n\u003cp>\u003cb>I have large breasts. I recognize that this affords me some extra opportunities, considering most of the dealers I have worked with are straight men. I should add that I think my work is strong. Should I feel guilty about the advantages my sex appeal might grant me?\u003c/b>\u003c/p>\n\u003cp>At first glance, your question seems rather straightforward: Can I use my boobs to get ahead? And the answer, of course, is yes, you can. But I worry about you, buxom lass, because I wonder what “extra opportunities” you’re talking about. Is this a euphemism for being shtupped on the casting couch or just an invitation to show at an art fair? If it’s the former, please do be careful, I’d hate to read a follow-up letter about a chesty misunderstanding. If it’s the latter, I’m not entirely convinced. Your assumption that large tatas give you an edge is a smidge dubious; how do you know it’s not just the power of your “strong” work? Because believe it or not, there are a lot of men out there for whom a pair of big knockers is a non-issue. It’s been forty years since Dow Corning first introduced breast implants to the market, so it’s not as if large breasts are hard to find these days, even in the art world.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"//u.s.kqed.org/2012/01/22/abramovic.jpg\">\u003cbr>\nMarina Abramovic, \u003ci>Balkan Erotic Epic\u003c/i>, 2005.\u003c/p>\n\u003cp>Remember that a condition that is emphasized in the mind may not be such a big deal in reality. Consider this: you probably use your smile often. Your happy grin might possibly contribute to your sex appeal. When you smile at your dealers, do you consider the advantages of your teeth, which I’m guessing are clean(ish) and all still in your mouth? Do you feel guilty about using your lips and teeth? Probably not, but you have to admit that they are a physical advantage that others may not have. As ridiculous as that sounds, I want you to consider your breasts as just one more attribute, like shiny white teeth or your height or red hair, that may or may not have a bearing on your relative position in the world. Otherwise, I fear you run the risk of overestimating the advantage of your chest and underestimating the energy of your work.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"//u.s.kqed.org/2012/01/22/lorenmansfield.jpg\">\u003cbr>\nSophia Loren and Jayne Mansfield\u003c/p>\n\u003cp>My final answer is this: you’re not going to feel guilty, Miss Balcony, because you’re going to continue to make good art and get it in front of the people who need to see it. If your breasts provide a pleasing place for a dealer’s eye to occasionally rest when taking a breather from oggling your incredible work, so be it, \u003ci>as long as you’re comfortable with that\u003c/i>. You may use this if you like, but I beg you not to believe, not for one minute, that this is the source of your power. You are an artist, not a stripper, and may you never mistake one profession for 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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"excerpt": "In which our intrepid advice columnist considers not enough and possibly too much information.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to HELP DESK, step into my office! Each week I’ll be answering your queries about making, 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, or use a free anonymizer like \u003ca href=\"http://anonymouse.org/anonemail.html\">Anonymouse.org\u003c/a> to send an email to the same address. Comments are enabled, but be good or be gone! All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Some galleries provide artists with information on who is purchasing their artwork… others do not. What’s up with that? I feel like smaller galleries are super paranoid of artists selling out from under them while bigger more stable galleries offer full contact information to artists.\u003c/b>\u003c/p>\n\u003cp>I’m not a gallerist, so I asked around to see if anyone could help me shed a little light on this subject. Catharine Clark, of \u003ca href=\"http://www.cclarkgallery.com/\">Catharine Clark Gallery\u003c/a> in San Francisco, generously provided this information for me to share:\u003c/p>\n\u003cp>“We disclose the name of a collector to an artist when a sale is made. Often collectors and artists enjoy meeting one another, and we help to facilitate that when it’s possible. We disclose additional contact information when artists are in the process of determining what work can be available for a museum exhibit, for example, or if they ask for it because they want to write a thank you note or correspond in some way with the collector. Some collectors are very private, and the information about them is proprietary, so we evaluate each request as it is made and determine whether the use of the information will be respectful. We have had the unfortunate experience of the information being inappropriately shared and the collectors have then felt betrayed. Since we work on loan agreements with the museum registrars, collectors, and artists, usually it is at that point that all contact information becomes most transparent. We also maintain relationships with the collectors so that we are able to follow the whereabouts of work as people move or re-sell their collections.”\u003c/p>\n\u003cp>Of course, Catharine Clark is an established and highly professional operation. You might find a different set of standards at work with another, smaller or newer gallery. While I can’t speak to the “paranoia” of a gallery, I can offer some advice to artists just starting out: ask for a contract that specifically states that you need to be given collector information when a sale is made. I do believe that you have a right to know where your work is going.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I also want to stress that you don’t want to use collector information in an improper way. It would be indecorous and short-sighted to pester your collector, or to try to make a direct-from-studio sale next time and skip the gallery’s commission. If you’re represented, don’t ever ever do this; and if you’re not represented and the buyer connected with you through a gallery, then you owe the gallery a percentage of the sale anyway — unless you like bad blood and never want to show there again. But it’s not a bad idea to have at least basic collector information so that you can keep a spreadsheet on the whereabouts of your work. That way when \u003ca href=\"http://momaps1.org/\">PS1\u003c/a> offers you a retrospective and then makes you track down and then pick up all your own work — like they did to a certain unnamed young female artist recently — you can find it all. I also refer readers to Chapter 13, “Gallery Representation” of the excellent \u003ca href=\"http://www.amazon.com/ART-WORK-Everything-Pursue-Career/dp/1416572333/ref=sr_1_1?ie=UTF8&qid=1327205617&sr=8-1\">\u003cem>Art/Work\u003c/em>\u003c/a> by Heather Darcy Bhandari and Jonathan Melber, which goes into more detail about the ins and outs of working with galleries.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"//u.s.kqed.org/2012/01/22/nolandtarget.jpg\">\u003cbr>\nKenneth Noland, \u003ci>Untitled (Target)\u003c/i>, 1963. Collection of the Museum of Contemporary Art, Los Angeles.\u003c/p>\n\u003cp>\u003cb>I have large breasts. I recognize that this affords me some extra opportunities, considering most of the dealers I have worked with are straight men. I should add that I think my work is strong. Should I feel guilty about the advantages my sex appeal might grant me?\u003c/b>\u003c/p>\n\u003cp>At first glance, your question seems rather straightforward: Can I use my boobs to get ahead? And the answer, of course, is yes, you can. But I worry about you, buxom lass, because I wonder what “extra opportunities” you’re talking about. Is this a euphemism for being shtupped on the casting couch or just an invitation to show at an art fair? If it’s the former, please do be careful, I’d hate to read a follow-up letter about a chesty misunderstanding. If it’s the latter, I’m not entirely convinced. Your assumption that large tatas give you an edge is a smidge dubious; how do you know it’s not just the power of your “strong” work? Because believe it or not, there are a lot of men out there for whom a pair of big knockers is a non-issue. It’s been forty years since Dow Corning first introduced breast implants to the market, so it’s not as if large breasts are hard to find these days, even in the art world.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"//u.s.kqed.org/2012/01/22/abramovic.jpg\">\u003cbr>\nMarina Abramovic, \u003ci>Balkan Erotic Epic\u003c/i>, 2005.\u003c/p>\n\u003cp>Remember that a condition that is emphasized in the mind may not be such a big deal in reality. Consider this: you probably use your smile often. Your happy grin might possibly contribute to your sex appeal. When you smile at your dealers, do you consider the advantages of your teeth, which I’m guessing are clean(ish) and all still in your mouth? Do you feel guilty about using your lips and teeth? Probably not, but you have to admit that they are a physical advantage that others may not have. As ridiculous as that sounds, I want you to consider your breasts as just one more attribute, like shiny white teeth or your height or red hair, that may or may not have a bearing on your relative position in the world. Otherwise, I fear you run the risk of overestimating the advantage of your chest and underestimating the energy of your work.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px;\" alt=\"\" src=\"//u.s.kqed.org/2012/01/22/lorenmansfield.jpg\">\u003cbr>\nSophia Loren and Jayne Mansfield\u003c/p>\n\u003cp>My final answer is this: you’re not going to feel guilty, Miss Balcony, because you’re going to continue to make good art and get it in front of the people who need to see it. If your breasts provide a pleasing place for a dealer’s eye to occasionally rest when taking a breather from oggling your incredible work, so be it, \u003ci>as long as you’re comfortable with that\u003c/i>. You may use this if you like, but I beg you not to believe, not for one minute, that this is the source of your power. You are an artist, not a stripper, and may you never mistake one profession for the other.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Recology San Francisco Enables Artists to 'Make Art, Not Landfill'",
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"content": "\u003cp>Recology San Francisco is the only garbage dump in the country that hosts a rotating artist-in-residence program. Artists are granted studio space for four months, along with a stipend and free access to items dropped off in the Public Disposal and Recycling (PDR) area. It is essentially the penultimate dumpster diving experience: anything and everything, from old electronics to musical instruments and every other possible art material under the sun, appears at some point, free for the unlimited taking. Resident artists must use only that which they salvage from the PDR to make new work while in residence. Founded in 1990 by artist Jo Hanson, by the end of this year the Recology San Francisco A. I. R. program will have served 99 artists, including the likes of Val Britton, Packard Jennings, Christine Lee, and Scott Oliver. Current resident artists Terry Berlier and Donna Anderson Kam present the fruits of their labor in a two-day reception in the on-site studio this weekend.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/recology-1.jpg\">\u003c/p>\n\u003cp>Terry Berlier\u003cbr>\u003ci>The Beginning and the End Meet\u003c/i>\u003cbr>Photo: Micah Gibson\u003c/p>\n\u003cp>The residency program is an exercise in resourcefulness and a resounding statement about the surplus generated by consumer culture. Upon arrival, Berlier wondered about the possibility of procuring a piano. Within two days a perfectly suitable upright was brought to the dump and snagged for deconstruction in her studio. A fully functioning MacBook computer dropped off for electronics recycling is among other plethora implemented in the construction of the artist’s sculptural new media installations. An assistant professor of sculpture at Stanford University, Berlier took a sabbatical to work in her dump studio. She notes that “the residency has blown up my practice” through the wealth of raw materials available daily as people arrive hourly with carloads of stuff cleared out of their homes, offices and storage spaces. For someone like Berlier, who previously worked with found objects, the residency can be an overwhelming abundance of raw materials for art-making. The anticipated challenge of finding supplies for artists who have more narrowly focused practices can be nerve wracking. But the experience can also lead to new discoveries, such as for Anderson Kam, whose practice prior to the residency focused on drawing on conventional paper. During the residency, she has begun experimenting with new materials, such as the cast-off perforated vinyl advertising skins from transit buses. Oversized cardboard spools have spurred her development of continuous narratives drawn on their circular surfaces.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/recology-2.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Donna Anderson Kam\u003cbr>\u003ci>(08-12-2011) 4:47 PDT Little Hollywood, Ca.\u003c/i>\u003cbr>Photo: Micah Gibson\u003c/p>\n\u003cp>Beyond the art program, this dump is a surprisingly fascinating place. Despite whatever expectations one might have about messiness, it is very orderly and clean. Even the seagulls are kept in line by a professional Falconer named Indigo who patrols regularly with three exquisite falcons, steering the gulls away from the organic waste and out to the Bay. The facility itself is a model for creative reuse — a private sculpture garden on site offers sound buffering between the dump and the nearby residential neighborhood known as Little Hollywood. Designed by Susan Leibovitz Steinman (sister to photographer Annie Leibovitz) in 1992, the garden features concrete salvaged from the collapsed Embarcadero Freeway damaged in the 1989 Loma Prieta Earthquake. Resident artists are encouraged to create work for the garden — to date it houses more than 35 sculptures scattered throughout the three-acre space.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/recology-3.jpg\">\u003c/p>\n\u003cp>Ethan Estess\u003cbr>\u003ci>Last Dive at the Farallones: 100,000 Marine Mammals Killed Per Year\u003c/i>\u003cbr>Photo: Micah Gibson\u003c/p>\n\u003cp>Recycling is, of course, the highest order of Recology San Francisco, followed closely by educational efforts to encourage recycling. Every pound of waste that goes into a landfill has a cost attached to it and, as a for-profit employee-owned company, Recology San Francisco is incentivized to educate the public about recycling efficiently. The artist-in-residence program is an internally funded community-based endeavor that combines actual recycling with public outreach. Other efforts include participation in street parades — a spotless garage houses an extensive collection of antique garbage trucks — and more than 150 public tours for adults and children annually. Beyond the work it does locally, Recology San Francisco endeavors to provide a model for other waste management programs by making its business model available as an open source set of guidelines. “Make Art, Not Landfill” reads a stamp on the Recology San Francisco materials, designed to look like a stenciled graffiti tag. The message that we need to recycle for the betterment of the planet is writing on the wall, as it were — that recycling can also support artists gives new life to an old idea.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/20/garden.jpg\">\u003c/p>\n\u003cp>Recology Sculpture Garden\u003cbr>Garden designed by Susan Leibowitz-Steinman\u003cbr>\u003ci>Conehead Chairs\u003c/i> by Norma Yorba\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Artist in Residence Program at Recology San Francisco will host an exhibition and reception for current artists-in-residence Terry Berlier, Donna Anderson Kam and Ethan Estess on Friday, January 20, 2012 from 5-9pm and Saturday, January 21, from 1-5pm. For more information \u003ca href=\"http://sunsetscavenger.com/AIR/\">vist sunsetscavenger.com/AIR\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recology San Francisco is the only garbage dump in the country that hosts a rotating artist-in-residence program. Artists are granted studio space for four months, along with a stipend and free access to items dropped off in the Public Disposal and Recycling (PDR) area. It is essentially the penultimate dumpster diving experience: anything and everything, from old electronics to musical instruments and every other possible art material under the sun, appears at some point, free for the unlimited taking. Resident artists must use only that which they salvage from the PDR to make new work while in residence. Founded in 1990 by artist Jo Hanson, by the end of this year the Recology San Francisco A. I. R. program will have served 99 artists, including the likes of Val Britton, Packard Jennings, Christine Lee, and Scott Oliver. Current resident artists Terry Berlier and Donna Anderson Kam present the fruits of their labor in a two-day reception in the on-site studio this weekend.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/recology-1.jpg\">\u003c/p>\n\u003cp>Terry Berlier\u003cbr>\u003ci>The Beginning and the End Meet\u003c/i>\u003cbr>Photo: Micah Gibson\u003c/p>\n\u003cp>The residency program is an exercise in resourcefulness and a resounding statement about the surplus generated by consumer culture. Upon arrival, Berlier wondered about the possibility of procuring a piano. Within two days a perfectly suitable upright was brought to the dump and snagged for deconstruction in her studio. A fully functioning MacBook computer dropped off for electronics recycling is among other plethora implemented in the construction of the artist’s sculptural new media installations. An assistant professor of sculpture at Stanford University, Berlier took a sabbatical to work in her dump studio. She notes that “the residency has blown up my practice” through the wealth of raw materials available daily as people arrive hourly with carloads of stuff cleared out of their homes, offices and storage spaces. For someone like Berlier, who previously worked with found objects, the residency can be an overwhelming abundance of raw materials for art-making. The anticipated challenge of finding supplies for artists who have more narrowly focused practices can be nerve wracking. But the experience can also lead to new discoveries, such as for Anderson Kam, whose practice prior to the residency focused on drawing on conventional paper. During the residency, she has begun experimenting with new materials, such as the cast-off perforated vinyl advertising skins from transit buses. Oversized cardboard spools have spurred her development of continuous narratives drawn on their circular surfaces.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/recology-2.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Donna Anderson Kam\u003cbr>\u003ci>(08-12-2011) 4:47 PDT Little Hollywood, Ca.\u003c/i>\u003cbr>Photo: Micah Gibson\u003c/p>\n\u003cp>Beyond the art program, this dump is a surprisingly fascinating place. Despite whatever expectations one might have about messiness, it is very orderly and clean. Even the seagulls are kept in line by a professional Falconer named Indigo who patrols regularly with three exquisite falcons, steering the gulls away from the organic waste and out to the Bay. The facility itself is a model for creative reuse — a private sculpture garden on site offers sound buffering between the dump and the nearby residential neighborhood known as Little Hollywood. Designed by Susan Leibovitz Steinman (sister to photographer Annie Leibovitz) in 1992, the garden features concrete salvaged from the collapsed Embarcadero Freeway damaged in the 1989 Loma Prieta Earthquake. Resident artists are encouraged to create work for the garden — to date it houses more than 35 sculptures scattered throughout the three-acre space.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/recology-3.jpg\">\u003c/p>\n\u003cp>Ethan Estess\u003cbr>\u003ci>Last Dive at the Farallones: 100,000 Marine Mammals Killed Per Year\u003c/i>\u003cbr>Photo: Micah Gibson\u003c/p>\n\u003cp>Recycling is, of course, the highest order of Recology San Francisco, followed closely by educational efforts to encourage recycling. Every pound of waste that goes into a landfill has a cost attached to it and, as a for-profit employee-owned company, Recology San Francisco is incentivized to educate the public about recycling efficiently. The artist-in-residence program is an internally funded community-based endeavor that combines actual recycling with public outreach. Other efforts include participation in street parades — a spotless garage houses an extensive collection of antique garbage trucks — and more than 150 public tours for adults and children annually. Beyond the work it does locally, Recology San Francisco endeavors to provide a model for other waste management programs by making its business model available as an open source set of guidelines. “Make Art, Not Landfill” reads a stamp on the Recology San Francisco materials, designed to look like a stenciled graffiti tag. The message that we need to recycle for the betterment of the planet is writing on the wall, as it were — that recycling can also support artists gives new life to an old idea.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2012/01/20/garden.jpg\">\u003c/p>\n\u003cp>Recology Sculpture Garden\u003cbr>Garden designed by Susan Leibowitz-Steinman\u003cbr>\u003ci>Conehead Chairs\u003c/i> by Norma Yorba\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Artist in Residence Program at Recology San Francisco will host an exhibition and reception for current artists-in-residence Terry Berlier, Donna Anderson Kam and Ethan Estess on Friday, January 20, 2012 from 5-9pm and Saturday, January 21, from 1-5pm. For more information \u003ca href=\"http://sunsetscavenger.com/AIR/\">vist sunsetscavenger.com/AIR\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco History Beneath the Future Transbay Terminal",
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"content": "\u003cp>Tucked away inside the lobby of 201 Mission Street is a deceptively simple arrangement of four vitrines and four information stands. I say deceptively because I only expected to spend about twenty minutes browsing the seventy-odd items. An hour later, I was ruminating on an empty container of Burnett’s Cocoaine, a product from 1857 Boston and purportedly “a perfect hair dressing.”\u003c/p>\n\u003cp>Through the end of January, the \u003cb>Transbay Archaeology Exhibit\u003c/b> is on view during building hours, free to any curious passersby. While contractors excavate the future terminal site, archaeologists from William Self Associates, commissioned by the Transbay Joint Powers Authority (TJPA), have pinpointed prime locations for exploratory digs and unearthed a variety of historical artifacts.\u003c/p>\n\u003cp>If you’re hoping for buried treasure, you won’t find it here. Instead, the archaeologists discovered evidence of rough working-class lives, the remnants of families and businesses in the South of Market neighborhood in the difficult post-Gold Rush time. The exhibition casts an unbiased eye across the selected objects, providing evidence of both virtue (a student’s slate pencil) and vice (an opium pipe).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/burnetts.jpg\" alt=\"\">\u003cbr>\nBurnett’s CocoaineViewing the bluish glass bottle that formerly housed Burnett’s Cocoaine, I was impressed by the sheer number of small business with custom containers. It appears that nearly every pharmacist marketed his own “miraculous” product (most of them mostly alcohol, a tried and true cure-all). Some examples on display: Dr. Rowell’s Fire of Life (made in San Francisco from 1875 to 1897), Emerson’s Bromo-Seltzer (popular for the impressive span of 1889 to 1950), and Dr. J. Hostetter’s Stomach Bitters, a brown embossed vial that once contained a liquid so high in alcohol content it was sold by the glass at saloons.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/bitters.jpg\" alt=\"\">The objects themselves are intriguing, but the exhibition truly excels in expanding upon the artifacts through the use of written and visual support materials. One featured newspaper clipping from the \u003ci>San Francisco Chronicle\u003c/i>, titled “CASUALTIES THE LOT OF THIS SMALL BOY” tells the story of little Joseph Ferry, bit by dogs. The article’s value comes from the telling picture it paints of the neighborhood in 1899.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the first South of Market residents lived in tents and shacks, these dwellings were gradually replaced with prefabricated wooden homes brought in from New England. Ferry and his family lived in one of these narrow buildings, crowded onto a tiny lot with others like it. He suffered his accident watching the neighborhood take on a new permanence: “this boy, with several other youngsters, was in the alley, admiring the prowess of mechanics engaged in the construction of a two-story brick stable at 40 Natoma Street, for new brick buildings do not rise in the lifetime of many dwellers in that humble thoroughfare.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/southofmarket.jpg\" alt=\"\">Such snippets of information — combined with pictures, maps, and census records — cannot bring viewers fully into the past, but even a brief glimpse into the South of Market neighborhood in the latter half of the 19th century can (and will) spark a visitors’ curiosity for more.\u003c/p>\n\u003cp>Some complementary resources for the amateur historian are readily available online. If you are interested in the “medicines” of the time, the bottles of which dominate the exhibit’s vitrines, go no further than the \u003ca href=\"http://www.lcpimages.org/inventories/helfand/\">William H. Helfand Collection of Proprietary Medicine Pamphlets\u003c/a>. For those more interested in San Francisco’s physical transition into the present, \u003ca href=\"http://www.oldsf.org/about\">Old SF\u003c/a> pairs Google Maps with images from the San Francisco Public Library’s Historical Photographs Collection. And lastly, \u003ca href=\"http://www.pastmapper.com/\">Pastmapper\u003c/a> puts the 1852-53 San Francisco city directory into yet another Google Maps format, providing glimpses of the people and business (importers, cabinet makers, and tinmen galore) that once were.\u003c/p>\n\u003cp>Exiting the exhibition onto Mission Street as the light was fading, I thought about all the remnants of San Francisco lives that sit buried under our contemporary city, literally providing the foundations for our daily activities. In turn, what material objects will prove to be our legacy in generations to come? We can only hope they are as strange and wonderful as Burnett’s Cocoaine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Transbay Archaeology Exhibit\u003c/b> is on view through the end of January 2012 at 201 Mission Street, with plans to go on tour around the Bay Area, locations not yet announced. For \u003ca href=\"http://transbaycenter.org/project/archaeology\">more information\u003c/a> visit transbaycenter.org/project/archaeology.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tucked away inside the lobby of 201 Mission Street is a deceptively simple arrangement of four vitrines and four information stands. I say deceptively because I only expected to spend about twenty minutes browsing the seventy-odd items. An hour later, I was ruminating on an empty container of Burnett’s Cocoaine, a product from 1857 Boston and purportedly “a perfect hair dressing.”\u003c/p>\n\u003cp>Through the end of January, the \u003cb>Transbay Archaeology Exhibit\u003c/b> is on view during building hours, free to any curious passersby. While contractors excavate the future terminal site, archaeologists from William Self Associates, commissioned by the Transbay Joint Powers Authority (TJPA), have pinpointed prime locations for exploratory digs and unearthed a variety of historical artifacts.\u003c/p>\n\u003cp>If you’re hoping for buried treasure, you won’t find it here. Instead, the archaeologists discovered evidence of rough working-class lives, the remnants of families and businesses in the South of Market neighborhood in the difficult post-Gold Rush time. The exhibition casts an unbiased eye across the selected objects, providing evidence of both virtue (a student’s slate pencil) and vice (an opium pipe).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/burnetts.jpg\" alt=\"\">\u003cbr>\nBurnett’s CocoaineViewing the bluish glass bottle that formerly housed Burnett’s Cocoaine, I was impressed by the sheer number of small business with custom containers. It appears that nearly every pharmacist marketed his own “miraculous” product (most of them mostly alcohol, a tried and true cure-all). Some examples on display: Dr. Rowell’s Fire of Life (made in San Francisco from 1875 to 1897), Emerson’s Bromo-Seltzer (popular for the impressive span of 1889 to 1950), and Dr. J. Hostetter’s Stomach Bitters, a brown embossed vial that once contained a liquid so high in alcohol content it was sold by the glass at saloons.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/bitters.jpg\" alt=\"\">The objects themselves are intriguing, but the exhibition truly excels in expanding upon the artifacts through the use of written and visual support materials. One featured newspaper clipping from the \u003ci>San Francisco Chronicle\u003c/i>, titled “CASUALTIES THE LOT OF THIS SMALL BOY” tells the story of little Joseph Ferry, bit by dogs. The article’s value comes from the telling picture it paints of the neighborhood in 1899.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the first South of Market residents lived in tents and shacks, these dwellings were gradually replaced with prefabricated wooden homes brought in from New England. Ferry and his family lived in one of these narrow buildings, crowded onto a tiny lot with others like it. He suffered his accident watching the neighborhood take on a new permanence: “this boy, with several other youngsters, was in the alley, admiring the prowess of mechanics engaged in the construction of a two-story brick stable at 40 Natoma Street, for new brick buildings do not rise in the lifetime of many dwellers in that humble thoroughfare.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/southofmarket.jpg\" alt=\"\">Such snippets of information — combined with pictures, maps, and census records — cannot bring viewers fully into the past, but even a brief glimpse into the South of Market neighborhood in the latter half of the 19th century can (and will) spark a visitors’ curiosity for more.\u003c/p>\n\u003cp>Some complementary resources for the amateur historian are readily available online. If you are interested in the “medicines” of the time, the bottles of which dominate the exhibit’s vitrines, go no further than the \u003ca href=\"http://www.lcpimages.org/inventories/helfand/\">William H. Helfand Collection of Proprietary Medicine Pamphlets\u003c/a>. For those more interested in San Francisco’s physical transition into the present, \u003ca href=\"http://www.oldsf.org/about\">Old SF\u003c/a> pairs Google Maps with images from the San Francisco Public Library’s Historical Photographs Collection. And lastly, \u003ca href=\"http://www.pastmapper.com/\">Pastmapper\u003c/a> puts the 1852-53 San Francisco city directory into yet another Google Maps format, providing glimpses of the people and business (importers, cabinet makers, and tinmen galore) that once were.\u003c/p>\n\u003cp>Exiting the exhibition onto Mission Street as the light was fading, I thought about all the remnants of San Francisco lives that sit buried under our contemporary city, literally providing the foundations for our daily activities. In turn, what material objects will prove to be our legacy in generations to come? We can only hope they are as strange and wonderful as Burnett’s Cocoaine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Transbay Archaeology Exhibit\u003c/b> is on view through the end of January 2012 at 201 Mission Street, with plans to go on tour around the Bay Area, locations not yet announced. For \u003ca href=\"http://transbaycenter.org/project/archaeology\">more information\u003c/a> visit transbaycenter.org/project/archaeology.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Help Desk: Extracurricular (!) Activities",
"headTitle": "Help Desk: Extracurricular (!) Activities | KQED",
"content": "\u003cp>\u003ci>Welcome to \u003ci>Help Desk\u003c/i>, step into my office! Each week I’ll be answering your queries about making, 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, or use a free anonymizer like \u003ca href=\"http://anonymouse.org/anonemail.html\">Anonymouse.org\u003c/a> to send an email to the same address. Comments are enabled, but be good or be gone! All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>What advice would you have for artists who are separated from the university realm to keep themselves sharp (in terms of criticism and general growth)? Have you found specific groups or events that have helped keep you on track beyond academic circles?\u003c/b>\u003c/p>\n\u003cp>Good for you for wanting to stay sharp! The instantaneous peer network and programming that a school provides helps to keep you on your toes, and once school is over it’s hard to maintain that momentum outside of an institutional setting. Groups and events do different things, so you’ll definitely want both in your life: a group will keep you connected and supported, and events will keep you informed and thinking. For groups, the network you’ve already established is a good start: with any luck, you still have the contact information for some of your old classmates. Why not email them to suggest a get-together? I recommend keeping it short and informal at first if you haven’t seen them in a while — maybe just a one-beer meetup at a bar or even an email list — because too much pressure to commit will drive shyer folks away. When you settle in with some like-minded people you could start a crit group or a reading club, go to openings together, or even just host a few fun, gossipy dinner parties.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/breakfast-club-KQED.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>First, find a group of people who share your interests.\u003cbr>\u003c/center>\n\u003cp>If that’s no good (you hated everyone, you moved to another state, etc.) and you don’t already have a circle of art friends, you can make one by going to the events in your area and meeting other artists and curators. It will take time and effort, but it can be done. Start by listing the institutional networks that are available to you. If there’s an art school or a university art program in your area, they probably have a lecture series. Ditto for the local art museum and the galleries. Don’t forget to do an internet search for medium-specific groups like \u003ca href=\"http://dorkbot.org/\">Dorkbot\u003c/a>, and if you don’t know the name of a particular group try googling search terms in your field (I tried “painters art group Seattle” and got a great list of links to follow). Go to their websites and put yourself on their mailing lists, and then go to every lecture and opening you can possibly muster the energy for, where you will simultaneously look at a lot of art and see the same people over and over again. Put some energy into it, and within three months you’ll be a familiar face to a lot of people and have a good handle on your local art scene. If you feel extra stuck right now, consider taking a class. Most institutions offer noncredit classes where you can get in some studio time and meet other artists. And good luck! Build yourself a network of thoughtful, hard-working people and make sure to get in — and out! — of the studio regularly, and you’ll never have to worry about staying on track.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bueller-hd.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Go to museums, galleries, lectures, and medium-specific group meetings.\u003cbr>\u003c/center>\n\u003cp>\u003cb>I have a strange question involving an incident I witnessed two years ago when I moved to a new city. Some friends set up a welcome dinner for me at a trendy restaurant. Upon entering the bathroom I came upon a woman in her late-30s sobbing hysterically. She begged me to help her and revealed that her husband was cheating on her and she was absolutely going to do something desperate if I didn’t help her at that moment. I called a cab and helped her outside and waited until she was picked up. I never knew her name, but I do have a remarkable memory for faces. Fast forward, two years: I am a recent grad of an MFA program and I’ve had a close relationship with my adviser all along. I knew he was married and had children, but it wasn’t until our MFA show that I met his family. Imagine my shock when I saw that his wife was that drunk lady I had helped. My real issue lies in my relationship with my adviser. He has helped me greatly and until this revelation, I would have continued our communications, which are still frequent. This information has severely altered my impression of him, and I’m just not sure how to proceed. Any advice?\u003c/b>\u003c/p>\n\u003cp>Can you trust this man, or not? I’ll accept your avowal that the weeping restaurant inebriate and the advisor’s wife are truly the same woman, but before you un-friend this man on Facebook and delete his name from your phone, let’s look at another possibility. How do you know she was telling the truth? She may be bipolar, delusional, or simply mistaken. She may be a pathological liar, desperately needy for attention from strangers. Let’s remember that the world is full of broken people who say and do aberrant things — just look at reality TV. Perhaps the only way to know the veracity of this story would be to ask him, which you are not going to do. My rule is that you can only inquire about a person’s sex life if you are currently sleeping with him or her; and if you are now sleeping with your ex-advisor, you’ve asked me the wrong question. But I digress.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dialm-hd.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>If you haven’t seen Hitchcock’s masterpiece about an affair, revenge, and redemption, you really should. Also, it was his only film made for 3D! Keep an eye out for staging that specifically creates depth.\u003cbr>\u003c/center>\n\u003cp>Even if you do have all your facts straight (same woman, definitely an affair), the matter of another person’s extracurricular nookie is really none of your business. I understand why you’re in a muddle and why your view of this man is shaken. Of necessity, when you are in school you must put your faith in your relationship with your advisors. After all, these men and women are charged with nothing less than overseeing the personal, intellectual and artistic growth of the students that they work with. You probably looked up to this man for some good reasons: he is wise and has been generous with his time and energy. He helped you focus on your work to make it better, and if you’re still in touch it means that you had a good personality match. While you may not have articulated it to yourself, you probably assumed that because his professional behavior was congenial, \u003ci>all\u003c/i> his actions were above reproach. And now you’re also in the unsteady transition period from graduate school to real life, one in which very good mentors slowly develop into friends. Your trust in this person has been altered by the revelation that he is, or at least was, weak and unreliable to an important person in his family. The higher your former regard for this man, the more profound your disappointment is now.\u003c/p>\n\u003cp>Yet his marital iniquity doesn’t have anything to do with his ability to act as a friend and mentor. Yes, the moral transgression of adultery is ugly and wounding, but it doesn’t mean that he is completely evil. If you have other, undivulged, reasons for cutting this person out of your life, then do so. But consider that a person who has been kind to you but who has issues in other parts of his life may need a little compassion. A marriage is a complicated and private alliance and this incident with his wife occurred two years ago. If they are still together, then perhaps she has forgiven him and he has become a better husband. Why should you condemn what his own wife would absolve? An advisor-advisee relationship that evolves into a true friendship is a rare thing. If he hasn’t done anything vexatious to you personally, then don’t throw your advisor out with his dirty bathwater.\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 \u003ci>Help Desk\u003c/i>, step into my office! Each week I’ll be answering your queries about making, 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, or use a free anonymizer like \u003ca href=\"http://anonymouse.org/anonemail.html\">Anonymouse.org\u003c/a> to send an email to the same address. Comments are enabled, but be good or be gone! All submissions will be treated as anonymous and become the property of Daily Serving.\u003c/i>\u003c/p>\n\u003cp>\u003cb>What advice would you have for artists who are separated from the university realm to keep themselves sharp (in terms of criticism and general growth)? Have you found specific groups or events that have helped keep you on track beyond academic circles?\u003c/b>\u003c/p>\n\u003cp>Good for you for wanting to stay sharp! The instantaneous peer network and programming that a school provides helps to keep you on your toes, and once school is over it’s hard to maintain that momentum outside of an institutional setting. Groups and events do different things, so you’ll definitely want both in your life: a group will keep you connected and supported, and events will keep you informed and thinking. For groups, the network you’ve already established is a good start: with any luck, you still have the contact information for some of your old classmates. Why not email them to suggest a get-together? I recommend keeping it short and informal at first if you haven’t seen them in a while — maybe just a one-beer meetup at a bar or even an email list — because too much pressure to commit will drive shyer folks away. When you settle in with some like-minded people you could start a crit group or a reading club, go to openings together, or even just host a few fun, gossipy dinner parties.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/breakfast-club-KQED.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>First, find a group of people who share your interests.\u003cbr>\u003c/center>\n\u003cp>If that’s no good (you hated everyone, you moved to another state, etc.) and you don’t already have a circle of art friends, you can make one by going to the events in your area and meeting other artists and curators. It will take time and effort, but it can be done. Start by listing the institutional networks that are available to you. If there’s an art school or a university art program in your area, they probably have a lecture series. Ditto for the local art museum and the galleries. Don’t forget to do an internet search for medium-specific groups like \u003ca href=\"http://dorkbot.org/\">Dorkbot\u003c/a>, and if you don’t know the name of a particular group try googling search terms in your field (I tried “painters art group Seattle” and got a great list of links to follow). Go to their websites and put yourself on their mailing lists, and then go to every lecture and opening you can possibly muster the energy for, where you will simultaneously look at a lot of art and see the same people over and over again. Put some energy into it, and within three months you’ll be a familiar face to a lot of people and have a good handle on your local art scene. If you feel extra stuck right now, consider taking a class. Most institutions offer noncredit classes where you can get in some studio time and meet other artists. And good luck! Build yourself a network of thoughtful, hard-working people and make sure to get in — and out! — of the studio regularly, and you’ll never have to worry about staying on track.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bueller-hd.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Go to museums, galleries, lectures, and medium-specific group meetings.\u003cbr>\u003c/center>\n\u003cp>\u003cb>I have a strange question involving an incident I witnessed two years ago when I moved to a new city. Some friends set up a welcome dinner for me at a trendy restaurant. Upon entering the bathroom I came upon a woman in her late-30s sobbing hysterically. She begged me to help her and revealed that her husband was cheating on her and she was absolutely going to do something desperate if I didn’t help her at that moment. I called a cab and helped her outside and waited until she was picked up. I never knew her name, but I do have a remarkable memory for faces. Fast forward, two years: I am a recent grad of an MFA program and I’ve had a close relationship with my adviser all along. I knew he was married and had children, but it wasn’t until our MFA show that I met his family. Imagine my shock when I saw that his wife was that drunk lady I had helped. My real issue lies in my relationship with my adviser. He has helped me greatly and until this revelation, I would have continued our communications, which are still frequent. This information has severely altered my impression of him, and I’m just not sure how to proceed. Any advice?\u003c/b>\u003c/p>\n\u003cp>Can you trust this man, or not? I’ll accept your avowal that the weeping restaurant inebriate and the advisor’s wife are truly the same woman, but before you un-friend this man on Facebook and delete his name from your phone, let’s look at another possibility. How do you know she was telling the truth? She may be bipolar, delusional, or simply mistaken. She may be a pathological liar, desperately needy for attention from strangers. Let’s remember that the world is full of broken people who say and do aberrant things — just look at reality TV. Perhaps the only way to know the veracity of this story would be to ask him, which you are not going to do. My rule is that you can only inquire about a person’s sex life if you are currently sleeping with him or her; and if you are now sleeping with your ex-advisor, you’ve asked me the wrong question. But I digress.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/dialm-hd.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>If you haven’t seen Hitchcock’s masterpiece about an affair, revenge, and redemption, you really should. Also, it was his only film made for 3D! Keep an eye out for staging that specifically creates depth.\u003cbr>\u003c/center>\n\u003cp>Even if you do have all your facts straight (same woman, definitely an affair), the matter of another person’s extracurricular nookie is really none of your business. I understand why you’re in a muddle and why your view of this man is shaken. Of necessity, when you are in school you must put your faith in your relationship with your advisors. After all, these men and women are charged with nothing less than overseeing the personal, intellectual and artistic growth of the students that they work with. You probably looked up to this man for some good reasons: he is wise and has been generous with his time and energy. He helped you focus on your work to make it better, and if you’re still in touch it means that you had a good personality match. While you may not have articulated it to yourself, you probably assumed that because his professional behavior was congenial, \u003ci>all\u003c/i> his actions were above reproach. And now you’re also in the unsteady transition period from graduate school to real life, one in which very good mentors slowly develop into friends. Your trust in this person has been altered by the revelation that he is, or at least was, weak and unreliable to an important person in his family. The higher your former regard for this man, the more profound your disappointment is now.\u003c/p>\n\u003cp>Yet his marital iniquity doesn’t have anything to do with his ability to act as a friend and mentor. Yes, the moral transgression of adultery is ugly and wounding, but it doesn’t mean that he is completely evil. If you have other, undivulged, reasons for cutting this person out of your life, then do so. But consider that a person who has been kind to you but who has issues in other parts of his life may need a little compassion. A marriage is a complicated and private alliance and this incident with his wife occurred two years ago. If they are still together, then perhaps she has forgiven him and he has become a better husband. Why should you condemn what his own wife would absolve? An advisor-advisee relationship that evolves into a true friendship is a rare thing. If he hasn’t done anything vexatious to you personally, then don’t throw your advisor out with his dirty bathwater.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Depression Art in Jeopardy?",
"headTitle": "Depression Art in Jeopardy? | KQED",
"content": "\u003cp>Two-hundred thousand visitors show up at Coit Tower in San Francisco every year, and most of them seem to ignore one the most fascinating and enjoyable art treasures in the country: the depression-era murals that cover the tower’s walls. In the course of preparing a video story on the state of the murals for the \u003ci>PBS NewsHour\u003c/i>, I watched as hundreds of tourists entered the tower, paid $7 for an elevator ride to the top, and hardly gave a second glance to the frescos painted by 25 artists during the depression.\u003c/p>\n\u003cp>Those art works may be in jeopardy from weather and official (as well as tourist) neglect. In fact, many of the 2500 murals from that era in schools and post offices and other public buildings, have already been destroyed, and more could be, as the post offices are closed around the country, some of them home to valuable art.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/coit4.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Coit Tower was built in 1933 atop Telegraph Hill with money — $125,000 — bequested to the city for its beautification by a wealthy, eccentric widow, Lillie Hitchcock Coit. It stands out on the San Francisco skyline, viewable from miles around.\u003c/p>\n\u003cp>When Franklin Roosevelt decided to put out-of-work artists back to work, the recently-dedicated tower was chosen as one of the sites in the country for murals. In less than a year, artists had turned the walls of the tower into a grand display of realistic art depicting life in California in the ’30s. It’s lovely stuff; there are city scenes of congestion and crime, views of tranquil country life, agriculture and leisure. Some panels portray a distinct political message: certainly leftist and pro worker. Others are completely non political and show Californians at play, in collegiate sports and outdoor recreation. The quality of the art is high, and the scenes of California evoke awe and nostalgia.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/coit1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Ruth Gottstein at Coit Tower, standing in front of the portrait her father painted when she was 12 years old.\u003cbr>\u003c/center>\n\u003cp>One of the murals shows a young girl in a middy blouse — the 12-year-old Ruth Gottstein — whose father, Bernard Zakheim, was one of the prominent artists who painted the walls. Today, Gottstein is 89, and she is disturbed by what she sees in Coit Tower: water-damaged murals, chipped plaster, general neglect of the frescos.\u003c/p>\n\u003cp>“They’re constantly threatened, not only by people walking by, but the building itself,” she told me. “If it were treated as a museum, if the walls were kept secure, if the entrance was guarded so that people could walk around as in any other museum of any importance in the world, it would be secure. And it’s not.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/coit2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Water damage on one of the murals.\u003cbr>\u003c/center>\n\u003cp>The city says it is concerned, and is trying to find money to preserve the murals. But these are hard economic times, the Recreation and Parks department has millions of dollars in deferred maintenance, and so little is being done, other than studying the problem. There’s no climate control in the tower, and little protection for the murals. Workmen repairing the elevator recently stored equipment in one area and chipped some frescos.\u003c/p>\n\u003cp>Those problems have prompted residents of Telegraph Hill to start gathering signatures to place a measure on the San Francisco ballot that would make preservation of Coit Tower and its murals a priority, and insure that funds from the elevator ride and the other concessions be used for the tower’s upkeep. Much of that money today goes to support other recreation sites in the city that don’t generate any revenue.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/coit3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The city wants to rent out the top floor for small parties once a month, as a way of getting funds. But the Telegraph Hill Dwellers Association objects, concerned about traffic and the idea of corporations holding private affairs in a public space.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The issue of how to preserve the tower and its murals is a long way from resolved. Most, though not all, of the frescos are in good shape and retain the brilliant colors that were applied by dedicated, hungry artists in the 1930s. Frescos are generally pretty hearty. But the clamor to take a new approach to Coit Tower seems to be increasing, and that attention may be what those old murals need, even if the tourists pass them by.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two-hundred thousand visitors show up at Coit Tower in San Francisco every year, and most of them seem to ignore one the most fascinating and enjoyable art treasures in the country: the depression-era murals that cover the tower’s walls. In the course of preparing a video story on the state of the murals for the \u003ci>PBS NewsHour\u003c/i>, I watched as hundreds of tourists entered the tower, paid $7 for an elevator ride to the top, and hardly gave a second glance to the frescos painted by 25 artists during the depression.\u003c/p>\n\u003cp>Those art works may be in jeopardy from weather and official (as well as tourist) neglect. In fact, many of the 2500 murals from that era in schools and post offices and other public buildings, have already been destroyed, and more could be, as the post offices are closed around the country, some of them home to valuable art.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/coit4.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Coit Tower was built in 1933 atop Telegraph Hill with money — $125,000 — bequested to the city for its beautification by a wealthy, eccentric widow, Lillie Hitchcock Coit. It stands out on the San Francisco skyline, viewable from miles around.\u003c/p>\n\u003cp>When Franklin Roosevelt decided to put out-of-work artists back to work, the recently-dedicated tower was chosen as one of the sites in the country for murals. In less than a year, artists had turned the walls of the tower into a grand display of realistic art depicting life in California in the ’30s. It’s lovely stuff; there are city scenes of congestion and crime, views of tranquil country life, agriculture and leisure. Some panels portray a distinct political message: certainly leftist and pro worker. Others are completely non political and show Californians at play, in collegiate sports and outdoor recreation. The quality of the art is high, and the scenes of California evoke awe and nostalgia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/coit1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Ruth Gottstein at Coit Tower, standing in front of the portrait her father painted when she was 12 years old.\u003cbr>\u003c/center>\n\u003cp>One of the murals shows a young girl in a middy blouse — the 12-year-old Ruth Gottstein — whose father, Bernard Zakheim, was one of the prominent artists who painted the walls. Today, Gottstein is 89, and she is disturbed by what she sees in Coit Tower: water-damaged murals, chipped plaster, general neglect of the frescos.\u003c/p>\n\u003cp>“They’re constantly threatened, not only by people walking by, but the building itself,” she told me. “If it were treated as a museum, if the walls were kept secure, if the entrance was guarded so that people could walk around as in any other museum of any importance in the world, it would be secure. And it’s not.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/coit2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Water damage on one of the murals.\u003cbr>\u003c/center>\n\u003cp>The city says it is concerned, and is trying to find money to preserve the murals. But these are hard economic times, the Recreation and Parks department has millions of dollars in deferred maintenance, and so little is being done, other than studying the problem. There’s no climate control in the tower, and little protection for the murals. Workmen repairing the elevator recently stored equipment in one area and chipped some frescos.\u003c/p>\n\u003cp>Those problems have prompted residents of Telegraph Hill to start gathering signatures to place a measure on the San Francisco ballot that would make preservation of Coit Tower and its murals a priority, and insure that funds from the elevator ride and the other concessions be used for the tower’s upkeep. Much of that money today goes to support other recreation sites in the city that don’t generate any revenue.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/coit3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The city wants to rent out the top floor for small parties once a month, as a way of getting funds. But the Telegraph Hill Dwellers Association objects, concerned about traffic and the idea of corporations holding private affairs in a public space.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The issue of how to preserve the tower and its murals is a long way from resolved. Most, though not all, of the frescos are in good shape and retain the brilliant colors that were applied by dedicated, hungry artists in the 1930s. Frescos are generally pretty hearty. But the clamor to take a new approach to Coit Tower seems to be increasing, and that attention may be what those old murals need, even if the tourists pass them by.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to \u003ci>Help Desk\u003c/i>, step into my office! Each week I’ll be answering your queries about making, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. But a few words before we begin: first, comments are enabled, but be good or be gone! You may email your questions to \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a>. All submissions become the property of \u003ci>Daily Serving\u003c/i>, and all will be treated anonymously.\u003c/i>\u003c/p>\n\u003cp>One more piece of business before we begin: \u003ci>Help Desk\u003c/i> is a brand-spanking-new 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/p>\n\u003cp>\u003cb>Question: Both my girlfriend and I are artists. Neither of us are particularly successful with our art careers (yet!). In the past, we’ve worked separately in our studios, but we are thinking that we may be stronger working together. I’m a little nervous to start this process. Do you think it is a good idea to mix art and love?\u003c/b>\u003c/p>\n\u003cp>Two creative minds are often better than one, and the examples of \u003ca href=\"http://www.christojeanneclaude.net\">Jeanne Claude and Christo\u003c/a> and \u003ca href=\"http://www.artnet.com/artists/ed%20and%20nancy-kienholz/\">Ed and Nancy Kienholz\u003c/a> tell us that art and love can surely be mixed. But before you run out to buy matching smocks and berets, consider the reality of working on tasks that you already do together. When you cook, does one of you tend to take the lead, dictating the selection of dishes and the proper ways to prep, add, and stir? Or are you happily slicing and dicing like synchronized surgeons? When you’re running errands in the car, do you argue about routes and where to park? Or does one drive and the other assume co-pilot duties with nary a cross word between you? Your everyday activities will tell you a lot about how a collaborative relationship might proceed.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/helpdesk1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Oh yeah? Well I have 20/20 vision, so I get to choose all the paint colors!\u003c/i>\u003cbr>\u003c/center>\n\u003cp>And that’s not to say that a bickering duo should never work together; friction is productive both in and out of the studio. But in the interest of household harmony, you might want to start small with one piece or a limited-run project. Lay out the terms in advance: how much time and money you’re going to spend, who decides on which aspect, how you’re going to negotiate a disagreement. Talking about the issues will prepare you for what’s ahead and alert you to any sticking points in advance. If you can agree to the basics at the verbal level, then you’ll know that working together is worth a try. And if your short-term project doesn’t pan out as well as you’d like, you’ll have an easy out that’s not as damaging to true love in the same way as saying, “You’re a pain in the ass and I don’t think we should work together anymore.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You mention that you’re “not particularly successful” and while I don’t think that has any direct bearing on your question, it does give you the advantage of being able to experiment and iron out all the kinks in your collaborative process before you’re in the public eye.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/helpdesk2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>From left to right, Whitney Biennial curatorial teams Elisabeth Sussman and Jay Sanders, Francesco Bonami and Gary Carrion-Murayari, Henriette Huldisch and Shamim M. Momin, Chrissie Iles and Philippe Vergne\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003cb>Currently, the lines between curator, artist, and gallerist are relatively flexible. A person could consider themselves all of the above, switching hats regularly to occupy different art world roles. My question stems from frequently noticing that the person responsible for curating a group show has also included his or her work into the group show. How appropriate is this? When is it being proactive about creating opportunities for oneself and when is it opportunistic?\u003c/b>\u003c/p>\n\u003cp>Let me start by saying that I’m all for the wearing of different hats. However, in art as in sartorial matters, it is strange to wear two hats at the same time. They clash, and they also make your head look big.\u003c/p>\n\u003cp>As far as I have been able to determine, there are two good reasons to put your own work into a show for which you are also administratively responsible, but for neither are you actually truly a curator. The first is if you want to organize a show around a particular theme for which none of the participants will exhibit preexisting work; that is to say, all work will be created specifically for the show. In this way, everyone is experimenting around a concept, and the hierarchy is fairly level: you are merely one of the exhibitors, albeit one with more tasks. You are not actually a curator. The other situation is an exhibition juried by an artist. In viewing the work of the juror, the audience gets a glimpse into the tastes (and perhaps methodologies) of the person selecting the pieces for the show. Often the artist-juror works in the same medium or in a similar conceptual framework, so looking at his/her art in the context of the exhibition can be enlightening. Again, this person is not a curator. So go ahead and be proactive, just don’t use the wrong terminology.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/helpdesk3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Still the right way to wear a hat.\u003c/i>\u003cbr>\u003c/center>\n\u003cp>The role of a curator is not to just select work for an exhibition, but to shape the relationships between the work, the space, and the audience. Curating involves research, studio visits, knowledge of art history and theory, and an understanding of current artistic practices, as well as a host of (probably boring) administrative tasks. Since I’m not a practitioner myself, I asked a few curators what they thought about the idea of “curating” your own work into a show. \u003ca href=\"http://en.wikipedia.org/wiki/Jens_Hoffmann\">Jens Hoffmann\u003c/a>, curator of the \u003ca href=\"http://www.wattis.org\">Wattis Institute for Contemporary Art\u003c/a> said, “It is great that someone who is an artist is organizing an exhibition without waiting for a gallery or curator to come along… If the work however is not of a certainl quality and the idea of organizing the show is just created so the organizer/artist can have his work be seen with the work of other (better) artists, it just becomes a farce.” Most other curators I asked simply said, “Don’t.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To the aspiring artist/curators out there, I ask: if you are truly curating a show, what reason do you have to include your own work? Is it because you want to pad your resume? Or do you want to get your work out into the world? If it’s the latter (let’s not even discuss the former), it would be more productive in the long run to find a space for your own artwork. Put your energy toward making contacts, writing proposals, or renting one of the ubiquitous \u003ca href=\"http://www.popupartloop.com/artists.php\">vacant storefronts\u003c/a> in your area for a solo show. Clarify and concentrate your goals… if for no other reason than because working with other artists can be a complete nightmare (see question #1).\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to \u003ci>Help Desk\u003c/i>, step into my office! Each week I’ll be answering your queries about making, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. But a few words before we begin: first, comments are enabled, but be good or be gone! You may email your questions to \u003ca href=\"mailto:helpdesk@dailyserving.com\">helpdesk@dailyserving.com\u003c/a>. All submissions become the property of \u003ci>Daily Serving\u003c/i>, and all will be treated anonymously.\u003c/i>\u003c/p>\n\u003cp>One more piece of business before we begin: \u003ci>Help Desk\u003c/i> is a brand-spanking-new 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/p>\n\u003cp>\u003cb>Question: Both my girlfriend and I are artists. Neither of us are particularly successful with our art careers (yet!). In the past, we’ve worked separately in our studios, but we are thinking that we may be stronger working together. I’m a little nervous to start this process. Do you think it is a good idea to mix art and love?\u003c/b>\u003c/p>\n\u003cp>Two creative minds are often better than one, and the examples of \u003ca href=\"http://www.christojeanneclaude.net\">Jeanne Claude and Christo\u003c/a> and \u003ca href=\"http://www.artnet.com/artists/ed%20and%20nancy-kienholz/\">Ed and Nancy Kienholz\u003c/a> tell us that art and love can surely be mixed. But before you run out to buy matching smocks and berets, consider the reality of working on tasks that you already do together. When you cook, does one of you tend to take the lead, dictating the selection of dishes and the proper ways to prep, add, and stir? Or are you happily slicing and dicing like synchronized surgeons? When you’re running errands in the car, do you argue about routes and where to park? Or does one drive and the other assume co-pilot duties with nary a cross word between you? Your everyday activities will tell you a lot about how a collaborative relationship might proceed.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/helpdesk1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Oh yeah? Well I have 20/20 vision, so I get to choose all the paint colors!\u003c/i>\u003cbr>\u003c/center>\n\u003cp>And that’s not to say that a bickering duo should never work together; friction is productive both in and out of the studio. But in the interest of household harmony, you might want to start small with one piece or a limited-run project. Lay out the terms in advance: how much time and money you’re going to spend, who decides on which aspect, how you’re going to negotiate a disagreement. Talking about the issues will prepare you for what’s ahead and alert you to any sticking points in advance. If you can agree to the basics at the verbal level, then you’ll know that working together is worth a try. And if your short-term project doesn’t pan out as well as you’d like, you’ll have an easy out that’s not as damaging to true love in the same way as saying, “You’re a pain in the ass and I don’t think we should work together anymore.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You mention that you’re “not particularly successful” and while I don’t think that has any direct bearing on your question, it does give you the advantage of being able to experiment and iron out all the kinks in your collaborative process before you’re in the public eye.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/helpdesk2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>From left to right, Whitney Biennial curatorial teams Elisabeth Sussman and Jay Sanders, Francesco Bonami and Gary Carrion-Murayari, Henriette Huldisch and Shamim M. Momin, Chrissie Iles and Philippe Vergne\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003cb>Currently, the lines between curator, artist, and gallerist are relatively flexible. A person could consider themselves all of the above, switching hats regularly to occupy different art world roles. My question stems from frequently noticing that the person responsible for curating a group show has also included his or her work into the group show. How appropriate is this? When is it being proactive about creating opportunities for oneself and when is it opportunistic?\u003c/b>\u003c/p>\n\u003cp>Let me start by saying that I’m all for the wearing of different hats. However, in art as in sartorial matters, it is strange to wear two hats at the same time. They clash, and they also make your head look big.\u003c/p>\n\u003cp>As far as I have been able to determine, there are two good reasons to put your own work into a show for which you are also administratively responsible, but for neither are you actually truly a curator. The first is if you want to organize a show around a particular theme for which none of the participants will exhibit preexisting work; that is to say, all work will be created specifically for the show. In this way, everyone is experimenting around a concept, and the hierarchy is fairly level: you are merely one of the exhibitors, albeit one with more tasks. You are not actually a curator. The other situation is an exhibition juried by an artist. In viewing the work of the juror, the audience gets a glimpse into the tastes (and perhaps methodologies) of the person selecting the pieces for the show. Often the artist-juror works in the same medium or in a similar conceptual framework, so looking at his/her art in the context of the exhibition can be enlightening. Again, this person is not a curator. So go ahead and be proactive, just don’t use the wrong terminology.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/helpdesk3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Still the right way to wear a hat.\u003c/i>\u003cbr>\u003c/center>\n\u003cp>The role of a curator is not to just select work for an exhibition, but to shape the relationships between the work, the space, and the audience. Curating involves research, studio visits, knowledge of art history and theory, and an understanding of current artistic practices, as well as a host of (probably boring) administrative tasks. Since I’m not a practitioner myself, I asked a few curators what they thought about the idea of “curating” your own work into a show. \u003ca href=\"http://en.wikipedia.org/wiki/Jens_Hoffmann\">Jens Hoffmann\u003c/a>, curator of the \u003ca href=\"http://www.wattis.org\">Wattis Institute for Contemporary Art\u003c/a> said, “It is great that someone who is an artist is organizing an exhibition without waiting for a gallery or curator to come along… If the work however is not of a certainl quality and the idea of organizing the show is just created so the organizer/artist can have his work be seen with the work of other (better) artists, it just becomes a farce.” Most other curators I asked simply said, “Don’t.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Two Years: Remembering Larry Sultan",
"headTitle": "Two Years: Remembering Larry Sultan | KQED",
"content": "\u003cp>The Quakers have a kind of secular prayer; in the face of darkness or uncertainty, they “hold in the light” a person in need of compassion or optimism. Two years after the death of Larry Sultan — extraordinary artist, teacher and Bay Area presence of over thirty years — I hope to honor and remember him in this way. In the light. As he was to many, Larry was the best teacher I have ever had. I came to study at California College of the Arts because it meant the chance to work with him, to know him (or try to know what he knew), which I did for the year before his passing. It’s hard to believe that it was just a single year; Larry became such an important and forming person in my life that I am still running things by him in my head.\u003c/p>\n\u003cp>What I really learned from Larry was not just how to be a good student, or artist, but how to be the best kind of teacher. Larry was generous, darkly funny, and sharp, though never in a way that cut. He could charm the birds out of the trees. More than anything, Larry made himself vulnerable to his students, never presuming that he knew more than we did (though, of course, he did). He challenged us to be deeper thinkers by way of mutual curiosity. Larry wrote in an email to a few of his students, myself included, in August of 2009, “I’m not sure how it works, but I often feel spoken through during the meetings. I’m not sure you share my feelings, but quite often I leave your studios like something really good has happened — and it’s happened because there was a real exchange between us all, that we acknowledged but weren’t overwhelmed by the uncertainty inherent in being artists and in trying to talk about art.”\u003c/p>\n\u003cp>For all of this, my own recollections of Larry wouldn’t do him justice alone. He was too big. I’ve asked a small group that knew him well — a curator, a colleague, several former students and assistants — to contribute to honoring his memory two years after we lost him. I am still adjusting to living in a world without Larry, which is simply not as funny, honest and interesting as a world with him in it. Feel free to share your own comments or memories on this piece.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/13/larrydancing.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image by Jon Rubin, Larry dancing at Jon’s wedding\u003c/p>\n\u003cp>\u003cb>Whitney Hubbs, former student:\u003c/b> Two years have passed and I continue to feel like Larry’s on my side, like we’re on the same team. He made me feel like the path I was on was the right one… and I know that because he told me so one night, a night in his honor, he made the gesture to put me at ease. Larry taught me to be giving, to breathe more, to see lyrics in the everyday, and to know when to pause and let things go and at the same time when to reflect on a memory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Sandy Phillips, Curator of Photography, SFMoMA:\u003c/b> I suppose the association I have with Larry is about how we both grew, and how photography also grew and changed. I knew him from the beginning of my tenure here, when the museum was in the old Veteran’s Memorial building, a structure that was built for the Museum when it opened in 1935, and from which we moved in 1995. The photography department then — so this is over twenty years ago, maybe 23, like the museum itself, were much smaller entities, and the community was tiny, everyone knew each other. One of the first shows I organized featured Larry’s work with his parents, what became \u003ci>Pictures from Home\u003c/i>. It was all so modest and casual then, and the photography program was definitely considered marginal to all the new work coming out of Germany and New York that the museum was featuring, but we had each other, so we were both very interested in each other and what we were doing. Larry and I would often have lunch together — a practice we continued and which we both enjoyed — he was my friend, and I was his, too. In a real way, Larry challenged us in the museum — by his obvious intelligence and his great gifts, and by his ambition, too. I think we both were not quite able to believe the massive interest in photography that developed, though both of us worked hard to get it there. And Larry had fun at it, too — he worked hard, but he was having a good time. And he was making good work, and knew it.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/13/sultanarchive.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image by Lindsey White, Larry’s photographs at the National Portrait gallery\u003c/p>\n\u003cp>\u003cb>Ahndraya Parlato, former student:\u003c/b> When I think about you, one of the first things that comes to mind is your generosity. I remember talking on the phone before I decided to go to CCA and you pulling over on the highway to talk to me. We hadn’t even met. I think about the level of seriousness and intention you invested everyone’s work with. We spent hours sequencing my book and I felt the gravity of my decisions in the generosity of your time. We were doing urgent and important work, and so it became. You never made anyone feel rushed or unimportant, even though you were always busy. What magic! I can only half pull it off and I have only a portion of your responsibilities.\u003c/p>\n\u003cp>You were soulful. You wanted to cut straight to the wound. But you weren’t overly sincere in that weird way that makes people seem disconnected from reality. You had a wicked sense of humor — it was absurd, mischievous, and more than a bit perverted. You had a way of making people feel comfortable. Of making them want to share unshared things. I see you in the light, in the cross-over where good becomes better, and understanding lies slightly out of reach. Wherever you are, I hope they have a nice dance floor.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/13/white.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image from Lindsey White, documentation of her “Larry pin” guiding her way, 2010\u003c/p>\n\u003cp>\u003cb>Todd Hido, former student and colleague:\u003c/b> In these 2 years since Larry’s passing I think, for me, one thing that has really stood out about him not being with us is how much I deeply miss his intelligence and insight. I am just about to complete a body of work that will become a book of images that he has never seen; this is a first for me.\u003c/p>\n\u003cp>Larry confirmed for me that I was not still a naive Ohio boy and that I had actually made something worthy of existing in the world. He made me feel as if what I could say with my pictures actually mattered, just as he had done when I first had him as a teacher.\u003c/p>\n\u003cp>I felt as if I had passed a test each time as I walked back down the long, long path of wooden planks that led to and from his home. I clearly know it was really his validation that I had sought, more than just simple feedback on my sequence and selection.\u003c/p>\n\u003cp>It is curious recently when I am doing a critique or giving a lecture just how many of the concepts or ideas I have about photography had first come to light in me through him. Even things in my way of working that are cornerstones for my voice, he first pointed out to me that I had possessed them. I am so grateful and forever indebted to him for that.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/13/okeefethanks2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image from Jennifer O’Keefe, the back and front of a postcard Larry sent Jennifer after working together\u003c/p>\n\u003cp>\u003cb>Jennifer O’Keeffe, former student and assistant:\u003c/b> Home. Larry was always thinking about home, peeling back the layers, the textures that defined it for him — the heavy bedroom curtains, the soft green carpets, the grasslands and canals behind the fences of Antioch and Concord. “It has to be almost nothing,” he would say as we set up the 4 x 5 in the swampy terrain, in the fading light. It was a slippery pursuit, brave — the difficult kind. Thinking of it now, of his questions, of his intense longing to describe, sustains me on mine.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Larry made me feel at home here. He greeted me at the door; he was my advisor, my mentor. Sitting across from him in conversation has been one of the great privileges of my life. He could floor you with a brilliant sentence then break into infectious giggles. After lectures and events, the crowds would break and scatter and he was there — leather jacketed, smiling, up for a talk, a drink, or a friendly inquisition about the work at hand. He was generous and inclusive, still harboring the kid in him like a firefly in the fingers. I feel like he treated us all like that firefly, like that kid — holding us close, making sure we didn’t get crushed, that our lights were in good working condition. One by one, with the utmost care, he guided us toward home.\u003c/p>\n\n",
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"excerpt": "Two years after the death of Larry Sultan, the author gathers her own thoughts and those of a small handful of friends, former students and colleagues to remember an extraordinary artist, teacher and Bay Area presence.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Quakers have a kind of secular prayer; in the face of darkness or uncertainty, they “hold in the light” a person in need of compassion or optimism. Two years after the death of Larry Sultan — extraordinary artist, teacher and Bay Area presence of over thirty years — I hope to honor and remember him in this way. In the light. As he was to many, Larry was the best teacher I have ever had. I came to study at California College of the Arts because it meant the chance to work with him, to know him (or try to know what he knew), which I did for the year before his passing. It’s hard to believe that it was just a single year; Larry became such an important and forming person in my life that I am still running things by him in my head.\u003c/p>\n\u003cp>What I really learned from Larry was not just how to be a good student, or artist, but how to be the best kind of teacher. Larry was generous, darkly funny, and sharp, though never in a way that cut. He could charm the birds out of the trees. More than anything, Larry made himself vulnerable to his students, never presuming that he knew more than we did (though, of course, he did). He challenged us to be deeper thinkers by way of mutual curiosity. Larry wrote in an email to a few of his students, myself included, in August of 2009, “I’m not sure how it works, but I often feel spoken through during the meetings. I’m not sure you share my feelings, but quite often I leave your studios like something really good has happened — and it’s happened because there was a real exchange between us all, that we acknowledged but weren’t overwhelmed by the uncertainty inherent in being artists and in trying to talk about art.”\u003c/p>\n\u003cp>For all of this, my own recollections of Larry wouldn’t do him justice alone. He was too big. I’ve asked a small group that knew him well — a curator, a colleague, several former students and assistants — to contribute to honoring his memory two years after we lost him. I am still adjusting to living in a world without Larry, which is simply not as funny, honest and interesting as a world with him in it. Feel free to share your own comments or memories on this piece.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/13/larrydancing.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image by Jon Rubin, Larry dancing at Jon’s wedding\u003c/p>\n\u003cp>\u003cb>Whitney Hubbs, former student:\u003c/b> Two years have passed and I continue to feel like Larry’s on my side, like we’re on the same team. He made me feel like the path I was on was the right one… and I know that because he told me so one night, a night in his honor, he made the gesture to put me at ease. Larry taught me to be giving, to breathe more, to see lyrics in the everyday, and to know when to pause and let things go and at the same time when to reflect on a memory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Sandy Phillips, Curator of Photography, SFMoMA:\u003c/b> I suppose the association I have with Larry is about how we both grew, and how photography also grew and changed. I knew him from the beginning of my tenure here, when the museum was in the old Veteran’s Memorial building, a structure that was built for the Museum when it opened in 1935, and from which we moved in 1995. The photography department then — so this is over twenty years ago, maybe 23, like the museum itself, were much smaller entities, and the community was tiny, everyone knew each other. One of the first shows I organized featured Larry’s work with his parents, what became \u003ci>Pictures from Home\u003c/i>. It was all so modest and casual then, and the photography program was definitely considered marginal to all the new work coming out of Germany and New York that the museum was featuring, but we had each other, so we were both very interested in each other and what we were doing. Larry and I would often have lunch together — a practice we continued and which we both enjoyed — he was my friend, and I was his, too. In a real way, Larry challenged us in the museum — by his obvious intelligence and his great gifts, and by his ambition, too. I think we both were not quite able to believe the massive interest in photography that developed, though both of us worked hard to get it there. And Larry had fun at it, too — he worked hard, but he was having a good time. And he was making good work, and knew it.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/13/sultanarchive.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image by Lindsey White, Larry’s photographs at the National Portrait gallery\u003c/p>\n\u003cp>\u003cb>Ahndraya Parlato, former student:\u003c/b> When I think about you, one of the first things that comes to mind is your generosity. I remember talking on the phone before I decided to go to CCA and you pulling over on the highway to talk to me. We hadn’t even met. I think about the level of seriousness and intention you invested everyone’s work with. We spent hours sequencing my book and I felt the gravity of my decisions in the generosity of your time. We were doing urgent and important work, and so it became. You never made anyone feel rushed or unimportant, even though you were always busy. What magic! I can only half pull it off and I have only a portion of your responsibilities.\u003c/p>\n\u003cp>You were soulful. You wanted to cut straight to the wound. But you weren’t overly sincere in that weird way that makes people seem disconnected from reality. You had a wicked sense of humor — it was absurd, mischievous, and more than a bit perverted. You had a way of making people feel comfortable. Of making them want to share unshared things. I see you in the light, in the cross-over where good becomes better, and understanding lies slightly out of reach. Wherever you are, I hope they have a nice dance floor.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/13/white.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image from Lindsey White, documentation of her “Larry pin” guiding her way, 2010\u003c/p>\n\u003cp>\u003cb>Todd Hido, former student and colleague:\u003c/b> In these 2 years since Larry’s passing I think, for me, one thing that has really stood out about him not being with us is how much I deeply miss his intelligence and insight. I am just about to complete a body of work that will become a book of images that he has never seen; this is a first for me.\u003c/p>\n\u003cp>Larry confirmed for me that I was not still a naive Ohio boy and that I had actually made something worthy of existing in the world. He made me feel as if what I could say with my pictures actually mattered, just as he had done when I first had him as a teacher.\u003c/p>\n\u003cp>I felt as if I had passed a test each time as I walked back down the long, long path of wooden planks that led to and from his home. I clearly know it was really his validation that I had sought, more than just simple feedback on my sequence and selection.\u003c/p>\n\u003cp>It is curious recently when I am doing a critique or giving a lecture just how many of the concepts or ideas I have about photography had first come to light in me through him. Even things in my way of working that are cornerstones for my voice, he first pointed out to me that I had possessed them. I am so grateful and forever indebted to him for that.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/13/okeefethanks2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image from Jennifer O’Keefe, the back and front of a postcard Larry sent Jennifer after working together\u003c/p>\n\u003cp>\u003cb>Jennifer O’Keeffe, former student and assistant:\u003c/b> Home. Larry was always thinking about home, peeling back the layers, the textures that defined it for him — the heavy bedroom curtains, the soft green carpets, the grasslands and canals behind the fences of Antioch and Concord. “It has to be almost nothing,” he would say as we set up the 4 x 5 in the swampy terrain, in the fading light. It was a slippery pursuit, brave — the difficult kind. Thinking of it now, of his questions, of his intense longing to describe, sustains me on mine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Larry made me feel at home here. He greeted me at the door; he was my advisor, my mentor. Sitting across from him in conversation has been one of the great privileges of my life. He could floor you with a brilliant sentence then break into infectious giggles. After lectures and events, the crowds would break and scatter and he was there — leather jacketed, smiling, up for a talk, a drink, or a friendly inquisition about the work at hand. He was generous and inclusive, still harboring the kid in him like a firefly in the fingers. I feel like he treated us all like that firefly, like that kid — holding us close, making sure we didn’t get crushed, that our lights were in good working condition. One by one, with the utmost care, he guided us toward home.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was that time of year again. Thousands of galleries, collectors, artists, consultants, and passersby rubbed fashionable shoulders in Miami for art fair season. While the largest fair of all is Miami Basel (it is also amongst the largest in the world with 260 international galleries represented), there are officially nineteen unique fairs that take place over the weekend, ranging from Pulse, Scope, NADA, Aqua, Design Miami. It’s a lot to take in, and felt, for this artist, both encouraging and demoralizing; the art world is thriving, but only for those who can afford its cost. I have attempted to sum up a few of the highlights of the experience.\u003c/p>\n\u003cp>1. The Alligator Park. Miami is only forty-five minutes from the \u003ca href=\"http://www.nps.gov/ever/index.htm\">Everglades National Park\u003c/a>; contrary to popular belief, the water is not a swamp, but a very, very slow moving river which feeds into the Atlantic ocean. More famously, the everglades are home to Florida alligators. I took an airboat ride through the water, led by a man named Bubba, who later wrestled an alligator and held a scorpion a foot from my face. It may have been under an hour from downtown Miami, but it was a world away from Miami’s reality.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/silverman.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Silverman Gallery\u003cbr>\u003c/center>\n\u003cp>2. San Francisco Galleries. San Francisco galleries were represented at various fairs, including \u003ca href=\"http://www.wolfecontemporary.com/\">Mark Wolfe\u003c/a> and \u003ca href=\"http://basebasebase.com/\">Triple Base\u003c/a> at Aqua, \u003ca href=\"http://altmansiegel.com/main.php?menu=&page=\">Altman Siegel\u003c/a>, \u003ca href=\"http://www.silverman-gallery.com/\">Silverman Gallery\u003c/a> and \u003ca href=\"http://www.ratio3.org/\">Ratio 3\u003c/a> at NADA. Of the booths, all of which looked strong, Silverman and Altman Siegel were the real stand-outs, with perfectly curated selections. Silverman elected to show only one artist, the Toronto-based Hugh Scott-Douglass, while Altman Siegel went with several (a Trevor Paglen print was amongst the largest and most stunning in the group). Regardless of my Bay Area affinities, I would have found both booths among the most considered, and least cluttered, of the fair.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/collage.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Collage by Kader Attia\u003cbr>\u003c/center>\n\u003cp>3. Collage. I was delighted to see the amount of collage up on the walls, across all kinds of fairs. \u003ca href=\"http://www.jackhanley.com/db/posters/363.jpg\">Vince Roark at Jack Hanley\u003c/a>, \u003ca href=\"http://www.leokoenig.com/artist/view/443\">Nicole Eisenman at Leo Koenig\u003c/a>, \u003ca href=\"http://www.galeriekamm.de/kuenstler/michele-di-menna.html\">Michelle Di Menna at Galerie Kamm\u003c/a> (Berlin), \u003ca href=\"http://www.artnet.com/artists/kader-attia/\">Kader Attia,/a> at Galerie Krinzinger (Vienna), and \u003c/a>\u003ca href=\"http://en.wikipedia.org/wiki/Amanda_Ross-Ho\">Amanda Ross-Ho\u003c/a> at Mitchell-Innes and Nash, were a few of a varied and impressive collage selection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>4.The NADA party. Half of the appeal of Miami art weekend is the wild socializing, in which outsiders can indulge in full-on Miami-style hedonism. The weather is warm, the outfits are outlandish (see number 7) and, after the sun sets, people really get down to business. While partying with fellow art folk can be a chance to rub shoulders with the “right” people, it can also be a chance to blow off art-fair steam. This party, one of many that night, was held around the pool of a South Beach hotel, and featured a performance artist who pulled scarves out of her vagina and a renegade who swam naked in the pool, then hid from the authorities behind a large, freestanding painting. It was weird.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogan.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Works by Will Rogan\u003cbr>\u003c/center>\n\u003cp>5. \u003ca href=\"http://altmansiegel.com/main.php?menu=wrogan&page=pics\">Will Rogan\u003c/a>. The Bay Area-based artist was represented at the NADA fair by both Altman Siegel and Laurel Gitlin gallery (NY), which where in fact just feet away from one another. Both booths showed smaller works of Rogan’s, in which the artist delicately erased the majority of the content away (most of which are sourced from old magic magazines). The results are ghostly and spare, a kind of anti-collage craft. Amongst the larger and more bombastic pieces in the fair, these erasure pieces where a welcome point of entry.\u003c/p>\n\u003cp>6. Smaller Galleries and Independents. While their booths are the size of small walk-in closets, they make the most of what they’ve got. \u003ca href=\"http://www.facebook.com/pages/Rawson-Projects/129317910454729\">Rawson Projects\u003c/a>, run by Chris Lawson, featured small abstract paintings and photographs; \u003ca href=\"http://reginarex.org/\">Regina Rex\u003c/a> showed a beautiful wooden sculpture; and \u003ca href=\"http://www.toomerlabzda.com/Site/toomer_labzda_home.html\">Toomer Labzda\u003c/a>‘s whole booth was filled with an interactive colored plastic installation by Mia Taylor. All three spaces are in New York City, and likely adept at making smaller spaces work in their favor.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/outfits.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>7. The Outfits. I know this post is in danger of veering too far from the art itself, but at points, it appeared that attendees’ outfits were bettering the displays. No matter how people were dressed — shockingly sexy or just plain weird — no one threw on their outfit during the weekend by accident. Highlights included: a mother dressed in a leather bodice and red netting, pushing her toddler-aged daughter wearing the same outfit in a stroller, and a male/female couple with identical shaved heads and red dresses. At the very least, everyone put effort into their style. It can be hard to look at the spectacle on the wall with all this spectacle roaming the floors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>8. \u003ca href=\"http://en.wikipedia.org/wiki/Carol_Bove\">Carol Bove\u003c/a>. The artist, who has come into prominence since 2005’s \u003cb>Greater New York\u003c/b> exhibition, had half of a booth dedicated to her work, and she hit just the right tone within it. A combination of intricate chain-link paintings on the wall, and installation based sculpture (small objects carefully curated on a shelf and a table, linked by a single gold chain) was cryptic, cold and also strangely emotive.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was that time of year again. Thousands of galleries, collectors, artists, consultants, and passersby rubbed fashionable shoulders in Miami for art fair season. While the largest fair of all is Miami Basel (it is also amongst the largest in the world with 260 international galleries represented), there are officially nineteen unique fairs that take place over the weekend, ranging from Pulse, Scope, NADA, Aqua, Design Miami. It’s a lot to take in, and felt, for this artist, both encouraging and demoralizing; the art world is thriving, but only for those who can afford its cost. I have attempted to sum up a few of the highlights of the experience.\u003c/p>\n\u003cp>1. The Alligator Park. Miami is only forty-five minutes from the \u003ca href=\"http://www.nps.gov/ever/index.htm\">Everglades National Park\u003c/a>; contrary to popular belief, the water is not a swamp, but a very, very slow moving river which feeds into the Atlantic ocean. More famously, the everglades are home to Florida alligators. I took an airboat ride through the water, led by a man named Bubba, who later wrestled an alligator and held a scorpion a foot from my face. It may have been under an hour from downtown Miami, but it was a world away from Miami’s reality.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/silverman.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Silverman Gallery\u003cbr>\u003c/center>\n\u003cp>2. San Francisco Galleries. San Francisco galleries were represented at various fairs, including \u003ca href=\"http://www.wolfecontemporary.com/\">Mark Wolfe\u003c/a> and \u003ca href=\"http://basebasebase.com/\">Triple Base\u003c/a> at Aqua, \u003ca href=\"http://altmansiegel.com/main.php?menu=&page=\">Altman Siegel\u003c/a>, \u003ca href=\"http://www.silverman-gallery.com/\">Silverman Gallery\u003c/a> and \u003ca href=\"http://www.ratio3.org/\">Ratio 3\u003c/a> at NADA. Of the booths, all of which looked strong, Silverman and Altman Siegel were the real stand-outs, with perfectly curated selections. Silverman elected to show only one artist, the Toronto-based Hugh Scott-Douglass, while Altman Siegel went with several (a Trevor Paglen print was amongst the largest and most stunning in the group). Regardless of my Bay Area affinities, I would have found both booths among the most considered, and least cluttered, of the fair.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/collage.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Collage by Kader Attia\u003cbr>\u003c/center>\n\u003cp>3. Collage. I was delighted to see the amount of collage up on the walls, across all kinds of fairs. \u003ca href=\"http://www.jackhanley.com/db/posters/363.jpg\">Vince Roark at Jack Hanley\u003c/a>, \u003ca href=\"http://www.leokoenig.com/artist/view/443\">Nicole Eisenman at Leo Koenig\u003c/a>, \u003ca href=\"http://www.galeriekamm.de/kuenstler/michele-di-menna.html\">Michelle Di Menna at Galerie Kamm\u003c/a> (Berlin), \u003ca href=\"http://www.artnet.com/artists/kader-attia/\">Kader Attia,/a> at Galerie Krinzinger (Vienna), and \u003c/a>\u003ca href=\"http://en.wikipedia.org/wiki/Amanda_Ross-Ho\">Amanda Ross-Ho\u003c/a> at Mitchell-Innes and Nash, were a few of a varied and impressive collage selection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>4.The NADA party. Half of the appeal of Miami art weekend is the wild socializing, in which outsiders can indulge in full-on Miami-style hedonism. The weather is warm, the outfits are outlandish (see number 7) and, after the sun sets, people really get down to business. While partying with fellow art folk can be a chance to rub shoulders with the “right” people, it can also be a chance to blow off art-fair steam. This party, one of many that night, was held around the pool of a South Beach hotel, and featured a performance artist who pulled scarves out of her vagina and a renegade who swam naked in the pool, then hid from the authorities behind a large, freestanding painting. It was weird.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogan.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Works by Will Rogan\u003cbr>\u003c/center>\n\u003cp>5. \u003ca href=\"http://altmansiegel.com/main.php?menu=wrogan&page=pics\">Will Rogan\u003c/a>. The Bay Area-based artist was represented at the NADA fair by both Altman Siegel and Laurel Gitlin gallery (NY), which where in fact just feet away from one another. Both booths showed smaller works of Rogan’s, in which the artist delicately erased the majority of the content away (most of which are sourced from old magic magazines). The results are ghostly and spare, a kind of anti-collage craft. Amongst the larger and more bombastic pieces in the fair, these erasure pieces where a welcome point of entry.\u003c/p>\n\u003cp>6. Smaller Galleries and Independents. While their booths are the size of small walk-in closets, they make the most of what they’ve got. \u003ca href=\"http://www.facebook.com/pages/Rawson-Projects/129317910454729\">Rawson Projects\u003c/a>, run by Chris Lawson, featured small abstract paintings and photographs; \u003ca href=\"http://reginarex.org/\">Regina Rex\u003c/a> showed a beautiful wooden sculpture; and \u003ca href=\"http://www.toomerlabzda.com/Site/toomer_labzda_home.html\">Toomer Labzda\u003c/a>‘s whole booth was filled with an interactive colored plastic installation by Mia Taylor. All three spaces are in New York City, and likely adept at making smaller spaces work in their favor.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/outfits.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>7. The Outfits. I know this post is in danger of veering too far from the art itself, but at points, it appeared that attendees’ outfits were bettering the displays. No matter how people were dressed — shockingly sexy or just plain weird — no one threw on their outfit during the weekend by accident. Highlights included: a mother dressed in a leather bodice and red netting, pushing her toddler-aged daughter wearing the same outfit in a stroller, and a male/female couple with identical shaved heads and red dresses. At the very least, everyone put effort into their style. It can be hard to look at the spectacle on the wall with all this spectacle roaming the floors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>8. \u003ca href=\"http://en.wikipedia.org/wiki/Carol_Bove\">Carol Bove\u003c/a>. The artist, who has come into prominence since 2005’s \u003cb>Greater New York\u003c/b> exhibition, had half of a booth dedicated to her work, and she hit just the right tone within it. A combination of intricate chain-link paintings on the wall, and installation based sculpture (small objects carefully curated on a shelf and a table, linked by a single gold chain) was cryptic, cold and also strangely emotive.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A celebration is in order. Three of this year’s USA Fellows are local artists. Only a small percentage of creative folks make a living doing what they love, so it’s always good news when a few of our own are recognized with a substantial grant.\u003c/p>\n\u003cp>And at $50,000 each, the U.S.A. Fellows grants are definitely substantial. Launched in September 2005 with seed money provided by a handful of large foundations, including Ford and Rockefeller, \u003ca href=\"http://www.unitedstatesartists.org/\">United States Artists\u003c/a> awards unrestricted grants directly to 50 artists a year. Local artist John Jota Leaños, author Karen Tei Yamashita, and playwright Octavio Solis are three of this year’s recipients. These Bay Area superstars were selected from a pool of two million nominees, and will be honored tonight on the Broad Stage at the Santa Monica College Performing Arts Center.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/leanos.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>John Jota Leaños\u003cbr>\u003c/center>\n\u003cp>Recently featured in KQED’s \u003ci>Spark\u003c/i> episode on \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=29274\">Mission District Street Art\u003c/a>, installation, new media and performance artist John Jota Leaños calls attention to the tragedies of war and globalization through accessible forms, like murals and animation. His animated short, \u003ci>Los ABCs\u003c/i>, was an official selection at the Sundance Film Festival in 2006. Leaños was also a guest on a 2005 \u003ci>Forum\u003c/i> episode titled, “Is Graffiti Art?” \u003ca href=\"http://www.kqed.org/a/forum/R508261000\">Check it out\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"420\" height=\"315\" src=\"http://www.youtube.com/embed/Xd7WK4y52T0\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/yamashita.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Karen Tei Yamashita\u003cbr>\u003c/center>\n\u003cp>Author Karen Tei Yamashita’s \u003ci>I Hotel\u003c/i> was a 2010 National Book Award finalist. Her work gives voice to communities whose stories are not often told. \u003ci>I Hotel\u003c/i> uses the International Hotel, a Chinatown landmark, to bring together 10 interconnected stories that span a decade (1968-1978) and describe the artistic and political activities of San Francisco’s Asian American community. \u003ca href=\"http://www.californiareport.org/archive/R201007161630/c\">Listen to \u003ci>The California Report\u003c/i>‘s 2010 review.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/solis.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Octavio Solis\u003cbr>\u003c/center>\n\u003cp>Featured on \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=29841\">\u003ci>Spark\u003c/i> in 2010\u003c/a>, playwright and director Octavio Solis was recently commissioned by CalShakes to adapt John Steinbeck’s short story collection \u003ci>Pastures of Heaven\u003c/i> for the stage. Solis, a native of El Paso, Texas, has seen his poetic dramas produced at festivals and venues all over the country, including the Oregon Shakespeare Festival, Los Angeles’ Mark Taper Forum and the Magic Theater in San Francisco, among many others. His works, such as \u003ci>El Paso Blue\u003c/i> and \u003ci>Lydia\u003c/i>, convey and question the roots of the American cultural experience. Solis has also been the recipient of numerous other awards, including a 1995 NEA Playwrighting Fellowship and a 2003 National Latino Playwrighting Award.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cheers to the winners! \u003ca href=\"http://www.usafellows.org/fellows\">See the full list of grantees\u003c/a> at unitedstatesartists.org. And check out \u003ca href=\"http://www.usaprojects.org/\">USA Projects\u003c/a>, the newly-created United States Artists platform where you can personally fund independent art projects through Kickstarter-style campaigns.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A celebration is in order. Three of this year’s USA Fellows are local artists. Only a small percentage of creative folks make a living doing what they love, so it’s always good news when a few of our own are recognized with a substantial grant.\u003c/p>\n\u003cp>And at $50,000 each, the U.S.A. Fellows grants are definitely substantial. Launched in September 2005 with seed money provided by a handful of large foundations, including Ford and Rockefeller, \u003ca href=\"http://www.unitedstatesartists.org/\">United States Artists\u003c/a> awards unrestricted grants directly to 50 artists a year. Local artist John Jota Leaños, author Karen Tei Yamashita, and playwright Octavio Solis are three of this year’s recipients. These Bay Area superstars were selected from a pool of two million nominees, and will be honored tonight on the Broad Stage at the Santa Monica College Performing Arts Center.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/leanos.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>John Jota Leaños\u003cbr>\u003c/center>\n\u003cp>Recently featured in KQED’s \u003ci>Spark\u003c/i> episode on \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=29274\">Mission District Street Art\u003c/a>, installation, new media and performance artist John Jota Leaños calls attention to the tragedies of war and globalization through accessible forms, like murals and animation. His animated short, \u003ci>Los ABCs\u003c/i>, was an official selection at the Sundance Film Festival in 2006. Leaños was also a guest on a 2005 \u003ci>Forum\u003c/i> episode titled, “Is Graffiti Art?” \u003ca href=\"http://www.kqed.org/a/forum/R508261000\">Check it out\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"420\" height=\"315\" src=\"http://www.youtube.com/embed/Xd7WK4y52T0\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/yamashita.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Karen Tei Yamashita\u003cbr>\u003c/center>\n\u003cp>Author Karen Tei Yamashita’s \u003ci>I Hotel\u003c/i> was a 2010 National Book Award finalist. Her work gives voice to communities whose stories are not often told. \u003ci>I Hotel\u003c/i> uses the International Hotel, a Chinatown landmark, to bring together 10 interconnected stories that span a decade (1968-1978) and describe the artistic and political activities of San Francisco’s Asian American community. \u003ca href=\"http://www.californiareport.org/archive/R201007161630/c\">Listen to \u003ci>The California Report\u003c/i>‘s 2010 review.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 3
},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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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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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"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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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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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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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"id": "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",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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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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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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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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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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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"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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