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"content": "\u003cp>Does the internet seem an unlikely place to view, appreciate, and support art? Eleanor Hanson Wise and Oliver Wise would argue otherwise. With the November 1 launch of their project \u003ca href=\"http://artmicropatronage.org/\">\u003cb>Art Micro Patronage\u003c/b>\u003c/a>, they have created an innovative online exhibition space for digital, new media, and intermedia work that harkens back to a far more traditional model of supporting the arts.\u003c/p>\n\u003cp>Explaining their motivation behind the project, they write, “While artists and makers are gaining ever more opportunities for exposure, the opportunities to get paid for their work are dwindling. As online appreciators, we are encouraged to show our thanks by sharing or reposting, with the promise that notoriety brings financial security. We’re not fully convinced of this logic.”\u003c/p>\n\u003cp>With \u003ca href=\"http://www.thepresentgroup.com/\">The Present Group\u003c/a>, an online art subscription service, under their belts and with a 2010 Alternative Exposure grant in their pockets, the Wises spent the past year developing the website, working out logistics, and securing curators and artists for the project. The result is a clear and user-friendly platform for viewing and — they hope — funding art.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.org/2011/11/17/AMP2.jpg\" alt=\"\">The first exhibition, \u003cb>Material Motion\u003c/b>, is a group of animated works created by artists who work primarily in other media, yielding a range of animation styles and materials. Curated by Bay Area artist and animator Sarah Klein, the nine video pieces are comfortably housed within the website’s format. Watching video online is something most of us do regularly, but it’s not likely we’re seeing videos such as David O’Kane’s oil painting animation of a cigarette-smoking Jean Baudrillard or Tommy Becker’s simple yet highly satisfying \u003ci>Pulling Down The Sky To Give You The Sun\u003c/i> (currently leading the pack with the most pledges).\u003c/p>\n\u003cp>During each exhibition’s month-long run, visitors can freely browse the works and watch online artist and curator talks. But after its close, only those who pledged money to pieces will be able to see those works on the website. This is donorship, the Wises stress, not ownership.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.org/2011/11/17/AMP3.jpg\" alt=\"\">In this respect, \u003cb>Art Micro Patronage\u003c/b> works on the familiar internet principle of “liking” something, with a range of monetary values (50¢ through $20) replacing the thumbs-up. Donors can choose to remain anonymous or create profiles for themselves, proudly proclaiming themselves as part of a community of support. At the end of a show, funds are dispersed to the artists accordingly, while Art Micro Patronage retains a percentage to pay future curators and developers and to cover operating costs.\u003c/p>\n\u003cp>Two weeks into \u003cb>Material Motion\u003c/b>, the show received a total of $141, spread unevenly across all nine artists. It will be interesting to see how future non-video shows fare. Upcoming exhibitions include January 2012’s \u003cb>10000 Pixels\u003c/b>, curated by Jeff Thompson, in which artists will be asked to make three works with a 10,000 pixel (in other words, a very small) allowance, and Lindsay Howard’s April exhibition of \u003cb>C.R.E.A.M.\u003c/b>, showcasing artists concerned with the “monetization of net-based work.” This last show, housed within a structure striving to monetize net-based work, will be sure to challenge viewers and patrons alike.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.org/2011/11/17/AMP4.jpg\" alt=\"\">Though \u003cb>Art Mico Patronage\u003c/b> has yet to prove itself a viable and sustainable option for funding artists’ practices, the Wises’ very attempt to address this issue in such a radically inventive way is an important step. Most of us (the 99%) don’t have the budgets to be large-scale patrons of the arts, as much as we support and appreciate such cultural contributions. I, for one, cannot afford to buy the work featured in the galleries I frequent or in the art publications I read. \u003cb>Art Micro Patronage\u003c/b> offers viewers the opportunity to give what they can, at their own speed, and on their own terms.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Material Motion\u003c/b> is on view through November 30, 2011. For \u003ca href=\"http://artmicropatronage.org\">more information\u003c/a> visit artmicropatronage.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Does the internet seem an unlikely place to view, appreciate, and support art? Eleanor Hanson Wise and Oliver Wise would argue otherwise. With the November 1 launch of their project \u003ca href=\"http://artmicropatronage.org/\">\u003cb>Art Micro Patronage\u003c/b>\u003c/a>, they have created an innovative online exhibition space for digital, new media, and intermedia work that harkens back to a far more traditional model of supporting the arts.\u003c/p>\n\u003cp>Explaining their motivation behind the project, they write, “While artists and makers are gaining ever more opportunities for exposure, the opportunities to get paid for their work are dwindling. As online appreciators, we are encouraged to show our thanks by sharing or reposting, with the promise that notoriety brings financial security. We’re not fully convinced of this logic.”\u003c/p>\n\u003cp>With \u003ca href=\"http://www.thepresentgroup.com/\">The Present Group\u003c/a>, an online art subscription service, under their belts and with a 2010 Alternative Exposure grant in their pockets, the Wises spent the past year developing the website, working out logistics, and securing curators and artists for the project. The result is a clear and user-friendly platform for viewing and — they hope — funding art.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.org/2011/11/17/AMP2.jpg\" alt=\"\">The first exhibition, \u003cb>Material Motion\u003c/b>, is a group of animated works created by artists who work primarily in other media, yielding a range of animation styles and materials. Curated by Bay Area artist and animator Sarah Klein, the nine video pieces are comfortably housed within the website’s format. Watching video online is something most of us do regularly, but it’s not likely we’re seeing videos such as David O’Kane’s oil painting animation of a cigarette-smoking Jean Baudrillard or Tommy Becker’s simple yet highly satisfying \u003ci>Pulling Down The Sky To Give You The Sun\u003c/i> (currently leading the pack with the most pledges).\u003c/p>\n\u003cp>During each exhibition’s month-long run, visitors can freely browse the works and watch online artist and curator talks. But after its close, only those who pledged money to pieces will be able to see those works on the website. This is donorship, the Wises stress, not ownership.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.org/2011/11/17/AMP3.jpg\" alt=\"\">In this respect, \u003cb>Art Micro Patronage\u003c/b> works on the familiar internet principle of “liking” something, with a range of monetary values (50¢ through $20) replacing the thumbs-up. Donors can choose to remain anonymous or create profiles for themselves, proudly proclaiming themselves as part of a community of support. At the end of a show, funds are dispersed to the artists accordingly, while Art Micro Patronage retains a percentage to pay future curators and developers and to cover operating costs.\u003c/p>\n\u003cp>Two weeks into \u003cb>Material Motion\u003c/b>, the show received a total of $141, spread unevenly across all nine artists. It will be interesting to see how future non-video shows fare. Upcoming exhibitions include January 2012’s \u003cb>10000 Pixels\u003c/b>, curated by Jeff Thompson, in which artists will be asked to make three works with a 10,000 pixel (in other words, a very small) allowance, and Lindsay Howard’s April exhibition of \u003cb>C.R.E.A.M.\u003c/b>, showcasing artists concerned with the “monetization of net-based work.” This last show, housed within a structure striving to monetize net-based work, will be sure to challenge viewers and patrons alike.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"//u.s.kqed.org/2011/11/17/AMP4.jpg\" alt=\"\">Though \u003cb>Art Mico Patronage\u003c/b> has yet to prove itself a viable and sustainable option for funding artists’ practices, the Wises’ very attempt to address this issue in such a radically inventive way is an important step. Most of us (the 99%) don’t have the budgets to be large-scale patrons of the arts, as much as we support and appreciate such cultural contributions. I, for one, cannot afford to buy the work featured in the galleries I frequent or in the art publications I read. \u003cb>Art Micro Patronage\u003c/b> offers viewers the opportunity to give what they can, at their own speed, and on their own terms.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Material Motion\u003c/b> is on view through November 30, 2011. For \u003ca href=\"http://artmicropatronage.org\">more information\u003c/a> visit artmicropatronage.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mario Ayala came to San Francisco for art school three years ago and has already made his mark. Recently, he’s created everything from a handmade bird’s nest and a cockroach diorama, to gouache and gold leaf paintings on paper. Outside of school, he is elbow-deep in other projects: gallery shows, album artwork, screen-printing, and murals. He works with a crew known as the Lost Bros and is driven by the metaphorical idea of staying lost. Ayala is wise, and his art communicates on another level. We feel he warrants a spotlight, both indoors and out.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-1.jpg\">\u003c/p>\n\u003cp>\u003cb>What’s art school been like so far?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Mario Ayala:\u003c/b> I’ve come to the conclusion that art school is kind of weird. You can’t really teach art. Before, I mostly drew rad characters that I thought looked sick. Coming here, it was more about the concept. I’ve learned more by working with other people, and talking with them about art. That’s inspired me to make more work, different work. It’s a community and you feed off of each other. I think that’s what’s important.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-11.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-3.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-4.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>What’s your ideal plan after you graduate?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MA:\u003c/b> Not to conform or get a normal job, and to keep painting. I’ve been on this drive to paint more murals. I’d like to continue showing work in galleries, and skate my whole life until I can’t walk.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-5.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-10.jpg\">\u003c/p>\n\u003cp>\u003cb>How are skating and art intertwined for you?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MA:\u003c/b> I don’t think I’d be making art if it wasn’t for skateboarding. That’s truth. I always drew and skated at the same time; I would get the Flameboy or Wet Willy stickers and redraw them because I thought they were rad. Now, I’ll be painting and need a rush or something to get me out of the painting box, and skateboarding is that release. It just helps me. In a weird way, skateboarding is like performance art. When you land a trick, whether you get it on film or not, it’s ephemeral. If you were there, you were there.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-15.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-16.jpg\">\u003c/p>\n\u003cp>\u003cb>What are some cultural influences in your work?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MA:\u003c/b> I lived with my grandparents my whole life. They’re from Cuba and practice Santería, white and black magic. They aren’t evil witches, they practice white magic, and that’s been a great influence; parts of it have symbolically entered into my art. I was into Peruvian Shamanism for a while, so that comes into play. Religion, of course, because it all has to do with Catholicism, where Santería branched off from. Also sex because it’s just human nature, skateboarding, and mostly just the people I hang around with.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-17.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-18.jpg\">\u003c/p>\n\u003cp>\u003cb>What kinds of mythology or other symbols show up in your work?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MA:\u003c/b> The skull came subconsciously at first, but the more I read about subjects like black and white magic, I realized why I was making the skulls and putting them up around the city. In indigenous cultures, people would put human skulls in front of their homes to ward off evil. Almost like how Westerners originally put pumpkins in front of their houses for the same reason. Especially in the Caribbean, witches would use human skulls and bones to purify the area. I also use a lot of snakes, which is funny, because in Western culture, snakes make people think of the Bible; the snake being a devilish creature who lures people into evilness. But snakes in most indigenous cultures, especially in Peru, are just really pure and closest to the earth. I’ve been into this motto of “montanan la serpiente,” riding the snake. Everyone’s riding the earth, this Ouroboros kind of mythology. It’s a revolving circle of cruel realities that we just kind of have to make positives out of.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-6.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-7.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-8.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-9.jpg\">\u003c/p>\n\u003cp>\u003cb>What other animal symbolism are you working with?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MA:\u003c/b> Over the summer, I felt like I was in this cave-ish hole out in the Inland Empire, where I’m from. If you’ve ever been to the IE, you know it’s definitely a black hole. I’ve seen a lot of people go down the wrong path there. My friend and I have a Star Wars philosophy where people are divided into Siths and Jedis. There’s nothing wrong with both. The goal is to meet in the middle and be half and half. The bat represents Sith life; people leaving this cave. It’s an evil-looking creature, but it doesn’t mean any harm at all. I’ll also use owls, I’ll hide them in places. They’re smalls symbols of wisdom that are creeping; they’re never fully there. It’s like that Jiminy Cricket in the back of your mind.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-13.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-14.jpg\">\u003c/p>\n\u003cp>\u003cb>You usually put up installations with your paintings, tell us about those.\u003c/b>\u003c/p>\n\u003cp>\u003cb>MA:\u003c/b> As you can see in my studio space, I like to create an environment. I see my space and places where I get to show work as a chance for me to expand. I want to give more of an environmental feel to my mystical-looking landscapes and creatures. I’m trying to make people almost feel like they’re in the paintings, with little objects coming out of the wall to give an illusion.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-2.jpg\">\u003c/p>\n\u003cp>\u003cb>What is the soundtrack to your art?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MA:\u003c/b> Duke Ellington, “Train A,” [sic] that’s been in my mind lately. If I’m printmaking, I’ll definitely listen to something fast that hypes me up like Brotha Lynch Hung or Gangstarr. If I’m painting, I’m usually in a romantic, sentimental mood, so it’ll be Charles Mingus or Charlie Parker — something more vibey like that.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=cb2w2m1JmCY&version=3&hl=en_US&showinfo=0&rel=0]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Keep up with Mario Ayala on \u003ca href=\"http://ayalamario.tumblr.com/\">Tumblr\u003c/a> and check out his new murals in progress at the San Francisco Art Institute, and on the corner of 22nd and Valencia streets in SF. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mario Ayala came to San Francisco for art school three years ago and has already made his mark. Recently, he’s created everything from a handmade bird’s nest and a cockroach diorama, to gouache and gold leaf paintings on paper. Outside of school, he is elbow-deep in other projects: gallery shows, album artwork, screen-printing, and murals. He works with a crew known as the Lost Bros and is driven by the metaphorical idea of staying lost. Ayala is wise, and his art communicates on another level. We feel he warrants a spotlight, both indoors and out.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-1.jpg\">\u003c/p>\n\u003cp>\u003cb>What’s art school been like so far?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Mario Ayala:\u003c/b> I’ve come to the conclusion that art school is kind of weird. You can’t really teach art. Before, I mostly drew rad characters that I thought looked sick. Coming here, it was more about the concept. I’ve learned more by working with other people, and talking with them about art. That’s inspired me to make more work, different work. It’s a community and you feed off of each other. I think that’s what’s important.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-11.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-3.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-4.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>What’s your ideal plan after you graduate?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MA:\u003c/b> Not to conform or get a normal job, and to keep painting. I’ve been on this drive to paint more murals. I’d like to continue showing work in galleries, and skate my whole life until I can’t walk.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-5.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-10.jpg\">\u003c/p>\n\u003cp>\u003cb>How are skating and art intertwined for you?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MA:\u003c/b> I don’t think I’d be making art if it wasn’t for skateboarding. That’s truth. I always drew and skated at the same time; I would get the Flameboy or Wet Willy stickers and redraw them because I thought they were rad. Now, I’ll be painting and need a rush or something to get me out of the painting box, and skateboarding is that release. It just helps me. In a weird way, skateboarding is like performance art. When you land a trick, whether you get it on film or not, it’s ephemeral. If you were there, you were there.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-15.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-16.jpg\">\u003c/p>\n\u003cp>\u003cb>What are some cultural influences in your work?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MA:\u003c/b> I lived with my grandparents my whole life. They’re from Cuba and practice Santería, white and black magic. They aren’t evil witches, they practice white magic, and that’s been a great influence; parts of it have symbolically entered into my art. I was into Peruvian Shamanism for a while, so that comes into play. Religion, of course, because it all has to do with Catholicism, where Santería branched off from. Also sex because it’s just human nature, skateboarding, and mostly just the people I hang around with.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-17.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-18.jpg\">\u003c/p>\n\u003cp>\u003cb>What kinds of mythology or other symbols show up in your work?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MA:\u003c/b> The skull came subconsciously at first, but the more I read about subjects like black and white magic, I realized why I was making the skulls and putting them up around the city. In indigenous cultures, people would put human skulls in front of their homes to ward off evil. Almost like how Westerners originally put pumpkins in front of their houses for the same reason. Especially in the Caribbean, witches would use human skulls and bones to purify the area. I also use a lot of snakes, which is funny, because in Western culture, snakes make people think of the Bible; the snake being a devilish creature who lures people into evilness. But snakes in most indigenous cultures, especially in Peru, are just really pure and closest to the earth. I’ve been into this motto of “montanan la serpiente,” riding the snake. Everyone’s riding the earth, this Ouroboros kind of mythology. It’s a revolving circle of cruel realities that we just kind of have to make positives out of.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-6.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-7.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-8.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-9.jpg\">\u003c/p>\n\u003cp>\u003cb>What other animal symbolism are you working with?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MA:\u003c/b> Over the summer, I felt like I was in this cave-ish hole out in the Inland Empire, where I’m from. If you’ve ever been to the IE, you know it’s definitely a black hole. I’ve seen a lot of people go down the wrong path there. My friend and I have a Star Wars philosophy where people are divided into Siths and Jedis. There’s nothing wrong with both. The goal is to meet in the middle and be half and half. The bat represents Sith life; people leaving this cave. It’s an evil-looking creature, but it doesn’t mean any harm at all. I’ll also use owls, I’ll hide them in places. They’re smalls symbols of wisdom that are creeping; they’re never fully there. It’s like that Jiminy Cricket in the back of your mind.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-13.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-14.jpg\">\u003c/p>\n\u003cp>\u003cb>You usually put up installations with your paintings, tell us about those.\u003c/b>\u003c/p>\n\u003cp>\u003cb>MA:\u003c/b> As you can see in my studio space, I like to create an environment. I see my space and places where I get to show work as a chance for me to expand. I want to give more of an environmental feel to my mystical-looking landscapes and creatures. I’m trying to make people almost feel like they’re in the paintings, with little objects coming out of the wall to give an illusion.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/mario-2.jpg\">\u003c/p>\n\u003cp>\u003cb>What is the soundtrack to your art?\u003c/b>\u003c/p>\n\u003cp>\u003cb>MA:\u003c/b> Duke Ellington, “Train A,” [sic] that’s been in my mind lately. If I’m printmaking, I’ll definitely listen to something fast that hypes me up like Brotha Lynch Hung or Gangstarr. If I’m painting, I’m usually in a romantic, sentimental mood, so it’ll be Charles Mingus or Charlie Parker — something more vibey like that.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cb2w2m1JmCY'\n title='//www.youtube.com/embed/cb2w2m1JmCY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Keep up with Mario Ayala on \u003ca href=\"http://ayalamario.tumblr.com/\">Tumblr\u003c/a> and check out his new murals in progress at the San Francisco Art Institute, and on the corner of 22nd and Valencia streets in SF. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What happens when items meant to be used briefly — like travel guides, ticket stubs, and menus — are kept instead of discarded? What happens when this ephemera is collected over 170 years, growing steadily until it spans a sweeping range of interests, businesses, social concerns, and events of historical import? Archives and libraries committed to preserving such material are faced with a dilemma. Unlike your average hardcover, a personalized ticket booklet from the 1915 Panama-Pacific International Exhibition (San Francisco’s first World’s Fair) can’t be checked out to patrons. Ideally, historical ephemera should be readily accessible, but without proper records and a way of searching them, the public will never find a gateway into such a collection.\u003c/p>\n\u003cp>To remedy this situation, four San Francisco institutions — the California Historical Society, the Gay, Lesbian, Bisexual, Transgender Historical Society, the San Francisco Public Library, and the Society of California Pioneers — launched the \u003ca href=\"http://californiaephemeraproject.org/\">California Ephemera Project\u003c/a>. With a 2008 grant from the Council on Library and Information Resources titled “Cataloging Hidden Special Collections and Archives,” the partners began a two-year marathon of sorting, sifting, and identifying their respective ephemera. The project is not the fully-scanned repository we’ve come to expect from the internet (see \u003ca href=\"http://books.google.com/\">Google Books\u003c/a>), but the collections’ folder headings are now searchable via the \u003ca href=\"http://www.oac.cdlib.org/\">Online Archive of California\u003c/a>, providing general information on the items they contain.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/ephemera1.jpg\" alt=\"\">Armed with a list of tantalizing categories, I stopped by the California Historical Society to meet interim executive director Mary Morganti, the Ephemera Project’s principal investigator, and Wendy Welker, the Project’s manager and a CHS archivist. They met me with a full cart of gray archival boxes, each one containing folder after folder of postcards, booklets, coupons, and more. At the start of sorting through the CHS archives in April 2009, Welker wrote on the project blog: “This processing work has definitely highlighted the inconsistencies (including some very unorthodox alphabetizing) and general wackiness (Shaun Cassidy bio folder containing one clipping) of uncataloged ephemera collections.” Even Morganti and Welker were unsure of how many boxes of material staff and volunteers sorted. Their best guess? “Hundreds.”\u003c/p>\n\u003cp>The results of all that hard work are worth seeing firsthand. Highlights from my visit included a witty dance card from an 1872 Sadie Hawkins-style soiree. Rules for the night insist: “Ladies will endeavor to avoid leaving their partners standing alone in the centre of the room, on account of the awkwardness of the situation.” Another favorite informed me of a movement I never knew existed. It was a small paper pamphlet from the Anti Digit Dialing League, published in 1962. Arguing against the transfer from phone numbers such as MArket 6-5000 to our current ten-digit system, the text ominously declares: “beware creeping numeralism.” In one box, I glimpsed a folder titled “Bona Fide Thespian Leprechaun Brotherhood.” Shockingly, there is absolutely no information on the members or activities of the Bona Fide Thespian Leprechaun Brotherhood anywhere online, emphasizing the importance of this file’s very existence.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/ephemera2.jpg\" alt=\"\">Historians (professional and amateur), art students, family genealogy researchers, and novelists all make regular use of the CHS collection — aided greatly by its online presence. While the moods and interests of a time are so often sought in photographs, ephemera provides a mixture of personal and anonymous information that helps fill the gaps in, or open entirely new doors to, our understanding of history. And though the California Ephemera Project focuses on the past, additions to the collections are ongoing at all four participating institutions. Welker admitted to scooping up a bit of confetti in the aftermath of the Giants’ World Series victory parade. She brought it back to the California Historical Society as a welcome addition to the collection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The best way to visit any of the participating institutions is with a wide-open afternoon, an abundance of curiosity, and plenty of questions for the archivists. After spending two years helping to preserve items so easily lost to time, they know the material — and all its hidden gems — best.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.californiahistoricalsociety.org/\">California Historical Society\u003c/a> North Baker Research Library is open to the public from noon to 5pm, Wednesday through Friday.\u003c/p>\n\u003cp>\u003ca href=\"http://www.glbthistory.org/\">The Gay, Lesbian, Bisexual, Transgender Historical Society\u003c/a> is open to the public the first and third Saturdays each month from 1pm to 5pm. Appointments can also be scheduled for Fridays.\u003c/p>\n\u003cp>\u003ca href=\"http://sfpl.org/index.php?pg=0200002501\">The San Francisco Public Library History Center\u003c/a> is open every day of the week, but never before 10am.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.californiapioneers.org/\">The Society of California Pioneers\u003c/a> Reading Room is open from 10am to 5pm, Wednesday through Friday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What happens when items meant to be used briefly — like travel guides, ticket stubs, and menus — are kept instead of discarded? What happens when this ephemera is collected over 170 years, growing steadily until it spans a sweeping range of interests, businesses, social concerns, and events of historical import? Archives and libraries committed to preserving such material are faced with a dilemma. Unlike your average hardcover, a personalized ticket booklet from the 1915 Panama-Pacific International Exhibition (San Francisco’s first World’s Fair) can’t be checked out to patrons. Ideally, historical ephemera should be readily accessible, but without proper records and a way of searching them, the public will never find a gateway into such a collection.\u003c/p>\n\u003cp>To remedy this situation, four San Francisco institutions — the California Historical Society, the Gay, Lesbian, Bisexual, Transgender Historical Society, the San Francisco Public Library, and the Society of California Pioneers — launched the \u003ca href=\"http://californiaephemeraproject.org/\">California Ephemera Project\u003c/a>. With a 2008 grant from the Council on Library and Information Resources titled “Cataloging Hidden Special Collections and Archives,” the partners began a two-year marathon of sorting, sifting, and identifying their respective ephemera. The project is not the fully-scanned repository we’ve come to expect from the internet (see \u003ca href=\"http://books.google.com/\">Google Books\u003c/a>), but the collections’ folder headings are now searchable via the \u003ca href=\"http://www.oac.cdlib.org/\">Online Archive of California\u003c/a>, providing general information on the items they contain.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/ephemera1.jpg\" alt=\"\">Armed with a list of tantalizing categories, I stopped by the California Historical Society to meet interim executive director Mary Morganti, the Ephemera Project’s principal investigator, and Wendy Welker, the Project’s manager and a CHS archivist. They met me with a full cart of gray archival boxes, each one containing folder after folder of postcards, booklets, coupons, and more. At the start of sorting through the CHS archives in April 2009, Welker wrote on the project blog: “This processing work has definitely highlighted the inconsistencies (including some very unorthodox alphabetizing) and general wackiness (Shaun Cassidy bio folder containing one clipping) of uncataloged ephemera collections.” Even Morganti and Welker were unsure of how many boxes of material staff and volunteers sorted. Their best guess? “Hundreds.”\u003c/p>\n\u003cp>The results of all that hard work are worth seeing firsthand. Highlights from my visit included a witty dance card from an 1872 Sadie Hawkins-style soiree. Rules for the night insist: “Ladies will endeavor to avoid leaving their partners standing alone in the centre of the room, on account of the awkwardness of the situation.” Another favorite informed me of a movement I never knew existed. It was a small paper pamphlet from the Anti Digit Dialing League, published in 1962. Arguing against the transfer from phone numbers such as MArket 6-5000 to our current ten-digit system, the text ominously declares: “beware creeping numeralism.” In one box, I glimpsed a folder titled “Bona Fide Thespian Leprechaun Brotherhood.” Shockingly, there is absolutely no information on the members or activities of the Bona Fide Thespian Leprechaun Brotherhood anywhere online, emphasizing the importance of this file’s very existence.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/ephemera2.jpg\" alt=\"\">Historians (professional and amateur), art students, family genealogy researchers, and novelists all make regular use of the CHS collection — aided greatly by its online presence. While the moods and interests of a time are so often sought in photographs, ephemera provides a mixture of personal and anonymous information that helps fill the gaps in, or open entirely new doors to, our understanding of history. And though the California Ephemera Project focuses on the past, additions to the collections are ongoing at all four participating institutions. Welker admitted to scooping up a bit of confetti in the aftermath of the Giants’ World Series victory parade. She brought it back to the California Historical Society as a welcome addition to the collection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The best way to visit any of the participating institutions is with a wide-open afternoon, an abundance of curiosity, and plenty of questions for the archivists. After spending two years helping to preserve items so easily lost to time, they know the material — and all its hidden gems — best.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.californiahistoricalsociety.org/\">California Historical Society\u003c/a> North Baker Research Library is open to the public from noon to 5pm, Wednesday through Friday.\u003c/p>\n\u003cp>\u003ca href=\"http://www.glbthistory.org/\">The Gay, Lesbian, Bisexual, Transgender Historical Society\u003c/a> is open to the public the first and third Saturdays each month from 1pm to 5pm. Appointments can also be scheduled for Fridays.\u003c/p>\n\u003cp>\u003ca href=\"http://sfpl.org/index.php?pg=0200002501\">The San Francisco Public Library History Center\u003c/a> is open every day of the week, but never before 10am.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.californiapioneers.org/\">The Society of California Pioneers\u003c/a> Reading Room is open from 10am to 5pm, Wednesday through Friday.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Living as Form: Two California Cultural Producers Head East",
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"content": "\u003cp>This week, the non profit arts organization \u003ca href=\"http://www.creativetime.org/\">Creative Time\u003c/a> is hosted their third annual Summit in downtown Manhattan. The Summit brought together all kinds of cultural producers — curators, writers, artists, and human rights advocates — to present and discuss how their work is engaged with the pressing social issues affecting our world today. The presenters range from well-known to unexpected, including: My Barbarian, Laurie Anderson, Alternate ROOTS, United Indian Health Services, Atlas, Claire Bishop, Teddy Cruz, Hou Hanru and Decolonizing Architecture. It’s a diverse group, to be sure; the Creative Time Summit is the only event I’m aware of that hosts such an elaborate, ambitious, and unprecedented collection of art practitioners.\u003c/p>\n\u003cp>Not surprisingly, two California College of the Arts affiliates, Ted Purves, the Chair of the MFA department, and \u003ca href=\"http://www.elysemallouk.com/\">Elyse Mallouk\u003c/a>, a recent graduate of the MFA and MA in Visual and Critical Studies department (Mallouk currently lives in LA), attended the Summit, presenting \u003cb>Landfill\u003c/b>, their joint project. I spoke to Mallouk to get a better sense of the Summit, and its international implications for socially minded art practice.\u003c/p>\n\u003cp>\u003cb>Carmen Winant:\u003c/b>This is the Summit’s third year. Have you been to any others in the past? Can you discuss how the Summit was presented to you (did you apply, were you approached, etc.) and what you believe are the implications of such a critical gathering?\u003c/p>\n\u003cp>\u003cb>Elyse Mallouk:\u003c/b> This is the first time I’ve attended the Creative Time Summit; it lasts only one day, but this year it was planned to coincide with an exhibition, called \u003ca href=\"http://www.creativetime.org/programs/archive/2011/livingasform/\">\u003cb>Living as Form\u003c/b>\u003c/a>, which opened the following day and lasts three weeks. The exhibition contains newly commissioned works installed at the Historic Essex Street Market and at other sites around the Lower East Side, shelves documenting past projects, and an archive that includes short descriptions and photographs of 366 works. As part of the exhibition programming, Ted and I presented \u003cb>Landfill\u003c/b> — an online archive and quarterly subscription service we launched last February that chronicles socially engaged projects by documenting and redistributing the materials they generate (postcards, posters, newspapers, buttons, etc). We spoke about why we started the project and how it operates differently from other forms of documentation, and provided empty plastic bags and an issue of the \u003cb>Landfill Journal\u003c/b>. We invited attendees to build an issue of the Quarterly by gathering ephemera from other projects on view at the site. Participants brought their collections back to an ephemera photo booth where we took “portraits” and printed them on postcards for collectors to keep and trade. Those photos will also be added to the \u003cb>Landfill\u003c/b> archive.\u003c/p>\n\u003cp>This is the first time the Summit is being accompanied by an exhibition. Ted was one of the show’s curatorial advisors, and he was invited by Creative Time to speak and to present a project in the exhibition space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A gathering like this is significant because it sharpens the edges around a field, in part by questioning them directly. It also focuses attention within the field on certain issues: in this case, not only how socially engaged art is related to or distinct from other kinds of art making, but also how it might be related to other forms of social organization. Certain Summit presenters exist at the edge of art practice and protest (Tahrir Documents), activism (Russian collective Viona), or service (United Indian Health Services) — to name just a few.\u003c/p>\n\u003cp>Another potential effect of a survey like this is something Ted mentioned in his talk: It could serve to put a cap on things. If socially engaged practice becomes a cohesive and readily definable field, it becomes easier to set aside. We’re hoping against this, as we think this type of practice (if it can be called a type) has more to do. The Summit did some things to hold these questions open, such as including projects and groups that aren’t primarily oriented inside the art world.\u003c/p>\n\u003cp>\u003cb>CW:\u003c/b> Your panel was two days ago. How did you feel it was received, and what was the experience of presenting like for you?\u003c/p>\n\u003cp>\u003cb>EM:\u003c/b> \u003cb>Living as Form\u003c/b> has its own massive online archive, so presenting \u003cb>Landfill\u003c/b> in that context pointed up the differences between them: ours is much smaller and will continue to grow. It has different motivations and methods. The use of ephemera is central to \u003cb>Landfill\u003c/b>. We use it for practical reasons — there’s an existing surplus after projects end — but also because leftover materials were once invitations to engage with a project, and can act that way again.\u003c/p>\n\u003cp>The exhibition is ephemera heaven. It reaffirms for me the idea that socially engaged practice is not dematerialized (though it’s often defined as such), but relies on these kinds of objects.\u003c/p>\n\u003cp>\u003cb>CW:\u003c/b> I assume you attended/plan on attending other events and discussions during the Summit’s run. Which did you find the most interesting, or which are you looking forward to?\u003c/p>\n\u003cp>I really enjoyed My Barbarian’s performance first thing in the morning. They called on participants to come up to the stage and act out 24 hours of the day over the course of fifteen minutes, riffing on the Summit subtitle — “Living as Form” — and asking how the hours of the day structure the form one’s life might take. They closed [the performance] by asking audience members to create the sound of economic crisis by humming a particular note depending on how many jobs they held and whether or not they were insured. In Ted’s talk immediately following, he discussed “social forms” as a way of thinking through not only how socially engaged projects are identifiable as art (or not), but what their capacities might be. \u003c/p>\n\u003cp>Artist Katarina Seda talked about a project in which she collected information about the daily activities residents undertake in a small Czech town, and asked everyone in the town to participate in a scheduled, documented regime she created in response. For one day, they swept the streets at the same time, ate lunch at the same time, turned out the lights at the same time, etc. \u003c/p>\n\u003cp>Darren O’Donnell spoke about Mammalian \u003cb>Diving Reflex\u003c/b>, and the ways in which the group’s performances and events (like \u003cb>Haircuts by Children\u003c/b>) break down the barriers between segments of the population often kept apart — children and non-parent adults, for example.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The range of practices presented was what made the Summit compelling, and it’s one of the strengths of the exhibition, too. I’m looking forward to writing about what these projects propose as we add their ephemera to the Archive and the Quarterly: Megawords, OurGoods, Surasi Kusolwong, Temporary Services, and others will be part of Issue 2 of \u003cb>Landfill\u003c/b>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, the non profit arts organization \u003ca href=\"http://www.creativetime.org/\">Creative Time\u003c/a> is hosted their third annual Summit in downtown Manhattan. The Summit brought together all kinds of cultural producers — curators, writers, artists, and human rights advocates — to present and discuss how their work is engaged with the pressing social issues affecting our world today. The presenters range from well-known to unexpected, including: My Barbarian, Laurie Anderson, Alternate ROOTS, United Indian Health Services, Atlas, Claire Bishop, Teddy Cruz, Hou Hanru and Decolonizing Architecture. It’s a diverse group, to be sure; the Creative Time Summit is the only event I’m aware of that hosts such an elaborate, ambitious, and unprecedented collection of art practitioners.\u003c/p>\n\u003cp>Not surprisingly, two California College of the Arts affiliates, Ted Purves, the Chair of the MFA department, and \u003ca href=\"http://www.elysemallouk.com/\">Elyse Mallouk\u003c/a>, a recent graduate of the MFA and MA in Visual and Critical Studies department (Mallouk currently lives in LA), attended the Summit, presenting \u003cb>Landfill\u003c/b>, their joint project. I spoke to Mallouk to get a better sense of the Summit, and its international implications for socially minded art practice.\u003c/p>\n\u003cp>\u003cb>Carmen Winant:\u003c/b>This is the Summit’s third year. Have you been to any others in the past? Can you discuss how the Summit was presented to you (did you apply, were you approached, etc.) and what you believe are the implications of such a critical gathering?\u003c/p>\n\u003cp>\u003cb>Elyse Mallouk:\u003c/b> This is the first time I’ve attended the Creative Time Summit; it lasts only one day, but this year it was planned to coincide with an exhibition, called \u003ca href=\"http://www.creativetime.org/programs/archive/2011/livingasform/\">\u003cb>Living as Form\u003c/b>\u003c/a>, which opened the following day and lasts three weeks. The exhibition contains newly commissioned works installed at the Historic Essex Street Market and at other sites around the Lower East Side, shelves documenting past projects, and an archive that includes short descriptions and photographs of 366 works. As part of the exhibition programming, Ted and I presented \u003cb>Landfill\u003c/b> — an online archive and quarterly subscription service we launched last February that chronicles socially engaged projects by documenting and redistributing the materials they generate (postcards, posters, newspapers, buttons, etc). We spoke about why we started the project and how it operates differently from other forms of documentation, and provided empty plastic bags and an issue of the \u003cb>Landfill Journal\u003c/b>. We invited attendees to build an issue of the Quarterly by gathering ephemera from other projects on view at the site. Participants brought their collections back to an ephemera photo booth where we took “portraits” and printed them on postcards for collectors to keep and trade. Those photos will also be added to the \u003cb>Landfill\u003c/b> archive.\u003c/p>\n\u003cp>This is the first time the Summit is being accompanied by an exhibition. Ted was one of the show’s curatorial advisors, and he was invited by Creative Time to speak and to present a project in the exhibition space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A gathering like this is significant because it sharpens the edges around a field, in part by questioning them directly. It also focuses attention within the field on certain issues: in this case, not only how socially engaged art is related to or distinct from other kinds of art making, but also how it might be related to other forms of social organization. Certain Summit presenters exist at the edge of art practice and protest (Tahrir Documents), activism (Russian collective Viona), or service (United Indian Health Services) — to name just a few.\u003c/p>\n\u003cp>Another potential effect of a survey like this is something Ted mentioned in his talk: It could serve to put a cap on things. If socially engaged practice becomes a cohesive and readily definable field, it becomes easier to set aside. We’re hoping against this, as we think this type of practice (if it can be called a type) has more to do. The Summit did some things to hold these questions open, such as including projects and groups that aren’t primarily oriented inside the art world.\u003c/p>\n\u003cp>\u003cb>CW:\u003c/b> Your panel was two days ago. How did you feel it was received, and what was the experience of presenting like for you?\u003c/p>\n\u003cp>\u003cb>EM:\u003c/b> \u003cb>Living as Form\u003c/b> has its own massive online archive, so presenting \u003cb>Landfill\u003c/b> in that context pointed up the differences between them: ours is much smaller and will continue to grow. It has different motivations and methods. The use of ephemera is central to \u003cb>Landfill\u003c/b>. We use it for practical reasons — there’s an existing surplus after projects end — but also because leftover materials were once invitations to engage with a project, and can act that way again.\u003c/p>\n\u003cp>The exhibition is ephemera heaven. It reaffirms for me the idea that socially engaged practice is not dematerialized (though it’s often defined as such), but relies on these kinds of objects.\u003c/p>\n\u003cp>\u003cb>CW:\u003c/b> I assume you attended/plan on attending other events and discussions during the Summit’s run. Which did you find the most interesting, or which are you looking forward to?\u003c/p>\n\u003cp>I really enjoyed My Barbarian’s performance first thing in the morning. They called on participants to come up to the stage and act out 24 hours of the day over the course of fifteen minutes, riffing on the Summit subtitle — “Living as Form” — and asking how the hours of the day structure the form one’s life might take. They closed [the performance] by asking audience members to create the sound of economic crisis by humming a particular note depending on how many jobs they held and whether or not they were insured. In Ted’s talk immediately following, he discussed “social forms” as a way of thinking through not only how socially engaged projects are identifiable as art (or not), but what their capacities might be. \u003c/p>\n\u003cp>Artist Katarina Seda talked about a project in which she collected information about the daily activities residents undertake in a small Czech town, and asked everyone in the town to participate in a scheduled, documented regime she created in response. For one day, they swept the streets at the same time, ate lunch at the same time, turned out the lights at the same time, etc. \u003c/p>\n\u003cp>Darren O’Donnell spoke about Mammalian \u003cb>Diving Reflex\u003c/b>, and the ways in which the group’s performances and events (like \u003cb>Haircuts by Children\u003c/b>) break down the barriers between segments of the population often kept apart — children and non-parent adults, for example.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The range of practices presented was what made the Summit compelling, and it’s one of the strengths of the exhibition, too. I’m looking forward to writing about what these projects propose as we add their ephemera to the Archive and the Quarterly: Megawords, OurGoods, Surasi Kusolwong, Temporary Services, and others will be part of Issue 2 of \u003cb>Landfill\u003c/b>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Charles Linder isn’t hunting wild boar, collecting found objects, or BBQ-ing in the Tenderloin, he can be found in his studio, which was formerly used as a sweat shop. Unsurprisingly, Linder and the art he creates are just as interesting as all of that implies. He recently closed his LincArt Gallery to focus on his own art practice, which is tied very closely to his lifestyle. We visited his ridiculously expansive digs in SOMA where we learned about his process, his past, and how to remove a tusk from a boar’s jaw.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-1.jpg\">\u003c/p>\n\u003cp>\u003cb>What are your plans for the fall?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Charles Linder:\u003c/b> At the end of summer I always go and pick grapes with Angelo Garro at a couple different friends’ places and make his homemade wine. And with fall comes more hunting. I’ve been doing a lot of hunting lately. Since I closed the gallery, I’ve been enjoying a more spontaneous schedule. I’ve been working on some new paintings that came out of the pool show I had at Guerrero Gallery over the summer. I’m not quite done with swimming pools yet, even though summer’s over. It’s a weird obsession.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-5.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-17.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Swimming pools and bullet holes often recur in your work.\u003c/b>\u003c/p>\n\u003cp>\u003cb>CL:\u003c/b> I think the swimming pool connotes leisure time or a placidity that I don’t really have in my own life, but it’s something I enjoy when I travel. A few moments by a pool is the height of relaxation. In the Bay Area, not so many people have pools, so it’s become a compulsion to document pools wherever I stay, particularly at night. They’re beautiful at night. I’m still finding them to be a rich source of material both with the photographs and the more imagined color puddle pieces.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-2.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-18.jpg\">\u003c/p>\n\u003cp>The bullet holes have definitely been a recurring theme. I have the standard lanterns, which are also a recurring theme, and those red, bullet-riddled gas cans, which are process pieces. I find the cans on Ebay and they’re shipped to my house in a cardboard box. I take the packages to the range or desert and shoot them until the box comes off. Sometimes I forget which can is in the box until it’s blown apart. My collection of signs with bullet holes is an archeology project, whereas the cans are much more of an authorship piece. The shot-up cans reference that whole American penchant for recreational violence. I’m not a proponent of that, but the works address it. They’re humorous, but alternately deadly and troubling.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-7.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-8.jpg\">\u003c/p>\n\u003cp>\u003cb>Tell us about the Ghostang, a shot-up car you found that became your artwork.\u003c/b>\u003c/p>\n\u003cp>\u003cb>CL:\u003c/b> It was a found object that came out of my travels. I’m constantly wandering and looking for material, and when I saw that object in the desert down in Southern California, I was so stunned. It had all of the things that interested me — this crazy sense of recreational violence, the found object, the rust. My first car was a ’65 Mustang, so that also struck me — why would someone do this to a Mustang? We couldn’t find out much about who owned it. We traced the VIN number and nothing came up. It was on Bureau of Land Management property, so we asked if we could take it and if we needed a permit, and the guys jokingly said no, but we’ll give you an award for cleaning up the desert. I came up with the term Ghostang. I always make up words. It was like this beached ship that just ended up in the desert. It was also called a Car-B-Q at one point. There’s some talk of making it into a permanent barbecue. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-26.jpg\">\u003c/p>\n\u003cp>\u003cb>Could you make custom Ghostangs?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CL:\u003c/b> Yes, if somebody could meet the totally absurd budget for it. It’s had several iterations so it really needs a coffee table book to go with it. I would like to sell the piece, but it’s more of a lifestyle work. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-3.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-6.jpg\">\u003c/p>\n\u003cp>\u003cb>How are your lifestyle and artwork intertwined? \u003c/b>\u003c/p>\n\u003cp>\u003cb>CL:\u003c/b> I’ve found myself more preoccupied with lifestyle than product. I feel fortunate and lucky enough to be able to live in a way where work doesn’t necessarily dominate my life. I’m good at balancing work and play on a functional level so that it becomes effortless. With the aspect of going on adventures — if I don’t do that, the work doesn’t happen. I have to be able to factor in that kind of time to find what might not necessarily be a thing, but an inspiration. You have to be able to just go on the trip to find the swimming pools, or whatever. That’s important to me. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-12.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-23.jpg\">\u003c/p>\n\u003cp>\u003cb>Can you talk more about being a hunter?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CL:\u003c/b> I grew up in Alabama, where I was introduced to guns as a kid. I had a mentor, a hunting mentor, and when I found hunting and being in the woods, it was everything for me. It was a recreational activity that was also connected to harvesting food. I’ve never hunted anything that I didn’t eat. That’s the absolute last byproduct of a spiritual partnership with your hunting buddies and the land itself, and a respect for animals that is tantamount to harvesting one. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-24.jpg\">\u003c/p>\n\u003cp>I got my first deer this year. I’ve hunted for 25 years and missed a lot of shots. I’ve never injured one, I just missed. It was incredible to get one; we ate it the next night. It’s essentially like land sushi. The finest part of the deer loin, when brazed for just a moment in some ghee and lovely chicken stock, is like sushi. I learned how to physically butcher the animal, package it, use all of the parts, and make stock out of the leftover cuts. It’s an elaborate procedure, and I’d consider myself a novice in that aspect. With hunting, I feel somewhat accomplished in terms of learning, but the actual preparation, that’s another lifetime of work. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-15.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-11.jpg\">\u003c/p>\n\u003cp>\u003cb>You’ve also been making wearable art with some of the animal parts. \u003c/b>\u003c/p>\n\u003cp>\u003cb>CL:\u003c/b> I’ve making jewelry pieces with the wild pig jaws; I’m harvesting the tusks. In fact, I’m boiling some in a pot right now, I’ll show you. I’m extracting the teeth to make a new bracelet. They’re two separate teeth, so I take one from each side of the jaw and glue them together. They have a metal infrastructure that joins them, and they’re glued with epoxy so it looks as if it’s one piece, but it’s actually two. The formalism of them is what interests me, the way they almost form a circle. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-13.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-14.jpg\">\u003c/p>\n\u003cp>\u003cb>What would you make if you had endless resources?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CL:\u003c/b> More money. I’d move into the mint, evict the current owners, and begin minting Emperor Norton-esque Charles Linder monies which I could use about town and around the world in my favorite hotels. Charles Linder coin and paper monies would be accepted widely. Or I would have a non-profit entity that would allow me to continue my maniacal sponsorship of un-fundable art projects that other people present me with. That’s the second idea. The third would be a ranch. That’s my real cowboy fantasy project. I’d love to spend more time on a ranch. I could see vanishing to the country at some strategic point. So it would be a mint, a museum, or a ranch. How about all three?\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-4.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-10.jpg\">\u003c/p>\n\u003cp>\u003cb>There is something very American about your work. \u003c/b>\u003c/p>\n\u003cp>\u003cb>CL:\u003c/b>When I was a kid, some of the first work I looked at, and bought and loved was from so-called outsider artists or folk artists from the South that were in this category of their own. They had a way of operating that I admired and wanted to have in my own work. And I always wondered what differentiated them from the supposed insider artist. Who is to say on what side of the fence you should lie? Modern art is so skeptical and snooty, and I just hate that about art. The challenge is to keep it fun and curious and innocent somehow. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-22.jpg\">\u003c/p>\n\u003cp>\u003cb>If your art had a soundtrack what would it be?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CL:\u003c/b> Right now I’m liking the new Lil’ Weezy. I’m also enjoying some old Coltrane sides.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>See Charles Linder’s work on view at \u003ca href=\"http://620-jones.com/\">Jones\u003c/a>, 620 Jones Street in San Francisco. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Charles Linder isn’t hunting wild boar, collecting found objects, or BBQ-ing in the Tenderloin, he can be found in his studio, which was formerly used as a sweat shop. Unsurprisingly, Linder and the art he creates are just as interesting as all of that implies. He recently closed his LincArt Gallery to focus on his own art practice, which is tied very closely to his lifestyle. We visited his ridiculously expansive digs in SOMA where we learned about his process, his past, and how to remove a tusk from a boar’s jaw.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-1.jpg\">\u003c/p>\n\u003cp>\u003cb>What are your plans for the fall?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Charles Linder:\u003c/b> At the end of summer I always go and pick grapes with Angelo Garro at a couple different friends’ places and make his homemade wine. And with fall comes more hunting. I’ve been doing a lot of hunting lately. Since I closed the gallery, I’ve been enjoying a more spontaneous schedule. I’ve been working on some new paintings that came out of the pool show I had at Guerrero Gallery over the summer. I’m not quite done with swimming pools yet, even though summer’s over. It’s a weird obsession.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-5.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-17.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Swimming pools and bullet holes often recur in your work.\u003c/b>\u003c/p>\n\u003cp>\u003cb>CL:\u003c/b> I think the swimming pool connotes leisure time or a placidity that I don’t really have in my own life, but it’s something I enjoy when I travel. A few moments by a pool is the height of relaxation. In the Bay Area, not so many people have pools, so it’s become a compulsion to document pools wherever I stay, particularly at night. They’re beautiful at night. I’m still finding them to be a rich source of material both with the photographs and the more imagined color puddle pieces.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-2.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-18.jpg\">\u003c/p>\n\u003cp>The bullet holes have definitely been a recurring theme. I have the standard lanterns, which are also a recurring theme, and those red, bullet-riddled gas cans, which are process pieces. I find the cans on Ebay and they’re shipped to my house in a cardboard box. I take the packages to the range or desert and shoot them until the box comes off. Sometimes I forget which can is in the box until it’s blown apart. My collection of signs with bullet holes is an archeology project, whereas the cans are much more of an authorship piece. The shot-up cans reference that whole American penchant for recreational violence. I’m not a proponent of that, but the works address it. They’re humorous, but alternately deadly and troubling.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-7.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-8.jpg\">\u003c/p>\n\u003cp>\u003cb>Tell us about the Ghostang, a shot-up car you found that became your artwork.\u003c/b>\u003c/p>\n\u003cp>\u003cb>CL:\u003c/b> It was a found object that came out of my travels. I’m constantly wandering and looking for material, and when I saw that object in the desert down in Southern California, I was so stunned. It had all of the things that interested me — this crazy sense of recreational violence, the found object, the rust. My first car was a ’65 Mustang, so that also struck me — why would someone do this to a Mustang? We couldn’t find out much about who owned it. We traced the VIN number and nothing came up. It was on Bureau of Land Management property, so we asked if we could take it and if we needed a permit, and the guys jokingly said no, but we’ll give you an award for cleaning up the desert. I came up with the term Ghostang. I always make up words. It was like this beached ship that just ended up in the desert. It was also called a Car-B-Q at one point. There’s some talk of making it into a permanent barbecue. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-26.jpg\">\u003c/p>\n\u003cp>\u003cb>Could you make custom Ghostangs?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CL:\u003c/b> Yes, if somebody could meet the totally absurd budget for it. It’s had several iterations so it really needs a coffee table book to go with it. I would like to sell the piece, but it’s more of a lifestyle work. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-3.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-6.jpg\">\u003c/p>\n\u003cp>\u003cb>How are your lifestyle and artwork intertwined? \u003c/b>\u003c/p>\n\u003cp>\u003cb>CL:\u003c/b> I’ve found myself more preoccupied with lifestyle than product. I feel fortunate and lucky enough to be able to live in a way where work doesn’t necessarily dominate my life. I’m good at balancing work and play on a functional level so that it becomes effortless. With the aspect of going on adventures — if I don’t do that, the work doesn’t happen. I have to be able to factor in that kind of time to find what might not necessarily be a thing, but an inspiration. You have to be able to just go on the trip to find the swimming pools, or whatever. That’s important to me. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-12.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-23.jpg\">\u003c/p>\n\u003cp>\u003cb>Can you talk more about being a hunter?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CL:\u003c/b> I grew up in Alabama, where I was introduced to guns as a kid. I had a mentor, a hunting mentor, and when I found hunting and being in the woods, it was everything for me. It was a recreational activity that was also connected to harvesting food. I’ve never hunted anything that I didn’t eat. That’s the absolute last byproduct of a spiritual partnership with your hunting buddies and the land itself, and a respect for animals that is tantamount to harvesting one. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-24.jpg\">\u003c/p>\n\u003cp>I got my first deer this year. I’ve hunted for 25 years and missed a lot of shots. I’ve never injured one, I just missed. It was incredible to get one; we ate it the next night. It’s essentially like land sushi. The finest part of the deer loin, when brazed for just a moment in some ghee and lovely chicken stock, is like sushi. I learned how to physically butcher the animal, package it, use all of the parts, and make stock out of the leftover cuts. It’s an elaborate procedure, and I’d consider myself a novice in that aspect. With hunting, I feel somewhat accomplished in terms of learning, but the actual preparation, that’s another lifetime of work. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-15.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-11.jpg\">\u003c/p>\n\u003cp>\u003cb>You’ve also been making wearable art with some of the animal parts. \u003c/b>\u003c/p>\n\u003cp>\u003cb>CL:\u003c/b> I’ve making jewelry pieces with the wild pig jaws; I’m harvesting the tusks. In fact, I’m boiling some in a pot right now, I’ll show you. I’m extracting the teeth to make a new bracelet. They’re two separate teeth, so I take one from each side of the jaw and glue them together. They have a metal infrastructure that joins them, and they’re glued with epoxy so it looks as if it’s one piece, but it’s actually two. The formalism of them is what interests me, the way they almost form a circle. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-13.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-14.jpg\">\u003c/p>\n\u003cp>\u003cb>What would you make if you had endless resources?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CL:\u003c/b> More money. I’d move into the mint, evict the current owners, and begin minting Emperor Norton-esque Charles Linder monies which I could use about town and around the world in my favorite hotels. Charles Linder coin and paper monies would be accepted widely. Or I would have a non-profit entity that would allow me to continue my maniacal sponsorship of un-fundable art projects that other people present me with. That’s the second idea. The third would be a ranch. That’s my real cowboy fantasy project. I’d love to spend more time on a ranch. I could see vanishing to the country at some strategic point. So it would be a mint, a museum, or a ranch. How about all three?\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-4.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-10.jpg\">\u003c/p>\n\u003cp>\u003cb>There is something very American about your work. \u003c/b>\u003c/p>\n\u003cp>\u003cb>CL:\u003c/b>When I was a kid, some of the first work I looked at, and bought and loved was from so-called outsider artists or folk artists from the South that were in this category of their own. They had a way of operating that I admired and wanted to have in my own work. And I always wondered what differentiated them from the supposed insider artist. Who is to say on what side of the fence you should lie? Modern art is so skeptical and snooty, and I just hate that about art. The challenge is to keep it fun and curious and innocent somehow. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/linder-22.jpg\">\u003c/p>\n\u003cp>\u003cb>If your art had a soundtrack what would it be?\u003c/b>\u003c/p>\n\u003cp>\u003cb>CL:\u003c/b> Right now I’m liking the new Lil’ Weezy. I’m also enjoying some old Coltrane sides.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>See Charles Linder’s work on view at \u003ca href=\"http://620-jones.com/\">Jones\u003c/a>, 620 Jones Street in San Francisco. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tucked away from the clamor of downtown San Francisco, \u003cb>The Poetry Garden\u003c/b> opened at 199 Fremont Street with little fanfare in the summer of 2001. A product of the municipal ordinance that requires commercial development to include public space — lest the city become a lifeless concrete maze — the garden is one of many privately owned, public open spaces (POPOS) scattered throughout downtown. This quiet collaboration by conceptual artist Paul Kos and Pulitzer Prize-winning, former U. S. Poet Laureate Robert Hass is a site-specific meditation on the poetics of time and space.\u003c/p>\n\u003cp>A poem by Hass, “Daisy Laps,” the title a play on the words ‘days elapse,’ is featured on a long wall leading off of the street. The twenty foot high text is variously carved and set in relief. Its visibility is seasonal: set behind young birch trees, the poetry is easier to read in the winter when the leaves have fallen and harder to read in the summer when the trees are full. One section reads: \u003c/p>\n\u003cblockquote>\u003cp>\u003ci>“An echo wandered through here what? an echo wandered through hear it? there was morning and later/there was evening days elapse what? a reck oh! wan where are we going this city of stone and/hills and sudden vistas and people rushing to their various appointments what points the way?”\u003c/i>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/poetrygarden2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>The Poetry Garden in 2001\u003c/p>\n\u003cp>Time passes, the poem reminds us, and the days begin to run together in their momentum. Each year, the trees provide a living example of the life cycle. In the ten years since the garden opened, their branches have inched up the wall offering unexpected emphasis through the inverse effect of obscuring Hass’s message. Like the sage riddles of an elder, lessons are embedded in the metaphors of the garden. Sight, sound and touch provide the clues.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/poetrygarden3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>The Poetry Garden in 2001\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The text continues around the corner with the word “NOW” standing sentinel over Kos’ installation of an 84-ton boulder from the Sierras and a slow-dripping spigot. (“People call it a ‘fountain,’ but its not a fountain — it’s a leaky faucet,” he emphasized recently.) \u003ci>“rock and water/light and air/the sound is a quiet thing”\u003c/i> further reads Hass’ text. Smaller boulders are arranged to one side of the garden. To the casual observer, they look like seats. But Kos envisioned them functioning sculpturally like daubs of paint in Impressionist waterscapes, casting the reflection of the large boulder in a “pool” of smaller rocks below. “An echo is to sound as a reflection is to visuals,” he explained while discussing the nature of his collaboration with Hass. Their objective was to create a quiet space for reflection amidst the rush of the city. The poem and the installation are integrated, each resonates with the other’s intentions. In the larger scheme of things, such as a glacial boulder from the Sierras, the days and years are but fleeting moments. Yet in the emotions of the present, an eternity can seem to pass between the drips of a leaky faucet.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/09/16/now.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Photo courtesy of the artist and Gallery Paule Anglim\u003c/p>\n\u003cp>As leaves begin to fall, Hass’ poem is slowly revealed once again, urging us to contemplate the future with an eye towards history. Though the garden reflects on the past, the message is forward thinking. \u003ci>Where are we going and what points the way?\u003c/i> the poem asks. Almost imperceptibly, water slowly drips into a nearby copper bowl, echoing \u003ci>drip-drop/tick-tock\u003c/i>, indeed while days elapse, and years turn into decades.\u003c/p>\n\u003cp>\u003cb>The Poetry Garden\u003c/b> is located in downtown San Francisco at 199 Fremont Street and is publicly accessible 24/7.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All images courtesy: GLL BIT Fremont Street Partners, L.P., except where noted.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tucked away from the clamor of downtown San Francisco, \u003cb>The Poetry Garden\u003c/b> opened at 199 Fremont Street with little fanfare in the summer of 2001. A product of the municipal ordinance that requires commercial development to include public space — lest the city become a lifeless concrete maze — the garden is one of many privately owned, public open spaces (POPOS) scattered throughout downtown. This quiet collaboration by conceptual artist Paul Kos and Pulitzer Prize-winning, former U. S. Poet Laureate Robert Hass is a site-specific meditation on the poetics of time and space.\u003c/p>\n\u003cp>A poem by Hass, “Daisy Laps,” the title a play on the words ‘days elapse,’ is featured on a long wall leading off of the street. The twenty foot high text is variously carved and set in relief. Its visibility is seasonal: set behind young birch trees, the poetry is easier to read in the winter when the leaves have fallen and harder to read in the summer when the trees are full. One section reads: \u003c/p>\n\u003cblockquote>\u003cp>\u003ci>“An echo wandered through here what? an echo wandered through hear it? there was morning and later/there was evening days elapse what? a reck oh! wan where are we going this city of stone and/hills and sudden vistas and people rushing to their various appointments what points the way?”\u003c/i>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/poetrygarden2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>The Poetry Garden in 2001\u003c/p>\n\u003cp>Time passes, the poem reminds us, and the days begin to run together in their momentum. Each year, the trees provide a living example of the life cycle. In the ten years since the garden opened, their branches have inched up the wall offering unexpected emphasis through the inverse effect of obscuring Hass’s message. Like the sage riddles of an elder, lessons are embedded in the metaphors of the garden. Sight, sound and touch provide the clues.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/poetrygarden3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>The Poetry Garden in 2001\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The text continues around the corner with the word “NOW” standing sentinel over Kos’ installation of an 84-ton boulder from the Sierras and a slow-dripping spigot. (“People call it a ‘fountain,’ but its not a fountain — it’s a leaky faucet,” he emphasized recently.) \u003ci>“rock and water/light and air/the sound is a quiet thing”\u003c/i> further reads Hass’ text. Smaller boulders are arranged to one side of the garden. To the casual observer, they look like seats. But Kos envisioned them functioning sculpturally like daubs of paint in Impressionist waterscapes, casting the reflection of the large boulder in a “pool” of smaller rocks below. “An echo is to sound as a reflection is to visuals,” he explained while discussing the nature of his collaboration with Hass. Their objective was to create a quiet space for reflection amidst the rush of the city. The poem and the installation are integrated, each resonates with the other’s intentions. In the larger scheme of things, such as a glacial boulder from the Sierras, the days and years are but fleeting moments. Yet in the emotions of the present, an eternity can seem to pass between the drips of a leaky faucet.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/09/16/now.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Photo courtesy of the artist and Gallery Paule Anglim\u003c/p>\n\u003cp>As leaves begin to fall, Hass’ poem is slowly revealed once again, urging us to contemplate the future with an eye towards history. Though the garden reflects on the past, the message is forward thinking. \u003ci>Where are we going and what points the way?\u003c/i> the poem asks. Almost imperceptibly, water slowly drips into a nearby copper bowl, echoing \u003ci>drip-drop/tick-tock\u003c/i>, indeed while days elapse, and years turn into decades.\u003c/p>\n\u003cp>\u003cb>The Poetry Garden\u003c/b> is located in downtown San Francisco at 199 Fremont Street and is publicly accessible 24/7.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All images courtesy: GLL BIT Fremont Street Partners, L.P., except where noted.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We see people living on the streets every day and become practiced at turning away because we can’t spare any change, or we’re uneasy. Hugh Leeman practices the opposite. He supports the under-served folks in his neighborhood by printing t-shirts for them to sell, and also works with them as the subjects of his portraits that you might have noticed pasted up on a block near you. Originally from rural Indiana, Leeman ended up in San Francisco where he stayed put to plant roots for the greater good. We visited his studio near 6th and Market and drilled down to his mission statement. Skeptics beware, we’re buying what he’s selling.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-1.jpg\">\u003c/p>\n\u003cp>\u003cb>Tell us your story, and how you originally started working with people who are living on the streets. \u003c/b>\u003c/p>\n\u003cp>\u003cb>Hugh Leeman:\u003c/b> I always wanted to travel ever since I was a kid. When I was fourteen, I started working and saving money and, when I was 18, I moved to the Virgin Islands. I thought I’d be living there the rest of my life, but it only lasted a year. I moved to Europe, which started a three-year adventure around the world, and I ended up in San Francisco. I came here thinking I was going to work for a few months as a bartender and save money to go around the world again. Long story short, I got here to this apartment and started making some art and really fell in love with the things I was doing. I fell in love with the neighborhood and never left. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-2.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-3.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>What have you been making this summer?\u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> These pieces on paper are new and are based on the life stories of guys who live on the streets. As I’ve gotten to know them better over the years, they’ve become friends, and they tell me stories from their lives. I started painting some stories from their childhoods.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-12.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-13.jpg\">\u003c/p>\n\u003cp>\u003cb>Have portraits always been your main jam?\u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> I’ve always done portraiture but, with the new work, I wanted to start telling more of the story in a literal sense. Certainly, a portrait tells some of the story, but some of these guys have profound and beautiful stories to tell. It became a challenge for me to discuss this, and put it in front of a viewer. Some of the stories are not especially palatable, so I started using my own artistic interpretations to depict it. You can look at it and have a different interpretation than I do, but the beauty is that we are coming to it and basing our ideas off of someone else’s life story. Someone who has endured something that you or I typically haven’t experienced. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-15.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-9.jpg\">\u003c/p>\n\u003cp>\u003cb>What made you want to work with folks on the street? Did it start when you moved to San Francisco?\u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> I had no idea what The Tenderloin was before I moved here. I looked at five places from Cragislist, and this place was bigger, cheaper and right downtown. It was close to Muni and BART and I thought it was a steal. When I told people I’d moved to 6th and Market, they said they wouldn’t even come here in the daytime. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-10.jpg\">\u003c/p>\n\u003cp>\u003cb>It’s a well-known intersection. \u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> It was a blank canvas and I wanted models, and these guys were pretty willing. Maybe it’s me projecting a bit, but part of my fascination is that I see myself in them. There’s this freedom in them. My perception of freedom is that I can save up my money and one day I can retire. I can take a two-week vacation here and there, but I know I have to go to work. I know I have to get up in the morning. Their freedom is that they can do what they want, and they don’t have to retire or think about going to work. That’s the simplest way to sum it up. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-18.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-19.jpg\">\u003c/p>\n\u003cp>\u003cb>Tell us about one of the first people you worked with, and what that interaction was like. \u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> I would come home from bartending and walk up Jones Street late at night, and the same guy would always be trying to sell me drugs. I would never respond, I’d just keep walking. But one night I turned around and said hey, I don’t want that stuff, but can I take your picture? And he said, sure. I started taking photos of him under the street lights and getting to know his story. It dissipates your ignorance. I’m not saying he’s an angel, but you have a preconceived notion that he’s a bad guy. But, in fact, the guy had a wife and a kid, and was short on rent, so he was selling this stuff. Again, he’s not an angel, but you start thinking, if I was in his position and I had to make rent or else I’d be out on the street, then yeah, I would probably do the same thing. That was match to kerosene for me. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-14.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-16.jpg\">\u003c/p>\n\u003cp>\u003cb>What are some of the less obvious challenges of working the way that you do?\u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> Early on, lots of people thought I was a cop.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-5.jpg\">\u003c/p>\n\u003cp>\u003cb>When someone asks what kind of art you make, what do you say?\u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> I always had the idea that I wanted to do something more. Not necessarily for people, but for the greater good of the world. It seems isolating to sit in your studio and strategically place pigment on a blank canvas. You want to communicate with people and have real life experiences. Lots of these guys I met asked if they could come over and stretch canvases, or put up posters for me. I had already been printing t-shirts, and I asked a guy I knew named Elbert if he’d want to sell them. At first it seemed like a silly idea, but he said he’d love to. It became exciting in my mind because it was like this entrepreneurship. They’re outside meeting people, shaking hands, and trying to sell t-shirts, and profit from that. I’ve always seen my street art like an advertisement. It’s an ad for my artwork, but it’s also an ad for these people and who they are. The successes of it, quite frankly, are drops of water in the ocean. I can’t say anyone’s life is being changed on a major scale, but some of the successes have been when guys want to move on from selling the shirts because they get employment or something like that. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-17.jpg\">\u003c/p>\n\u003cp>\u003cb>What’s your main goal with your artwork?\u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> My highest aspiration would be to do something akin to the Pichação in South America. People couldn’t speak out against the government, so they would take little rollers and dip them in paint and write political slogans. It was social criticism. I don’t see there being any real social criticism in my work, it’s just simply giving people a voice. As an artist, you often feel that you don’t have a voice; that it’s such a massive world. You talk about art bubbles and auction houses and think, who the hell am I? You’re knocking on a coffee shop door trying to get a print hung. Through street art, I can talk to the public when I want, and I don’t need a curator to tell me what month of the year I can show my work. I want to communicate with massive amounts of people about what I feel is an under-served demographic. That’s a common denominator with these guys on the streets — they want to be remembered too. Lots of them pass away, and they don’t have family, or they’re not remembered. I think it’s just a way to dignify and humanize them. And maybe sometimes, when I’m painting their portrait, I’m painting myself, in a way. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-21.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-6.jpg\">\u003c/p>\n\u003cp>\u003cb>We were wondering why there aren’t many women represented in your work.\u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> A month ago, I took the first picture I’ve ever taken of a woman living on the street. I have yet to draw her. Early on, people would ask me why I depicted so many African Americans, and my answer was always well, frankly, it’s because I walk out my door and take pictures of the people I meet. I’m not seeking them out, but they’re a large part of the demographic. The same answer applies here, in a way. The majority of people I see sleeping on the streets are men. There certainly are women on the streets, and the work has been maybe a bit too literal and focused on homeless men. It’s more about people who are oppressed, and that’s two thirds of the world. I want to start painting women, and I’ve just started to scratch the surface. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-11.jpg\">\u003c/p>\n\u003cp>\u003cb>Tell us about the wallpaper patterns you sometimes use in the background of the portraits. \u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> They’re stencils that I buy from this site for home decorators. It’s aesthetically pleasing, but it also adds visual irony. I’m taking people who live on the street and depicting them, hoping that someone will buy the paintings to match their couch and beautify their wall. There’s an irony to that, and I didn’t want it to be lost. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-4.jpg\">\u003c/p>\n\u003cp>\u003cb>If your work had a soundtrack what would it be?\u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> I think it would be something that is in a foreign language to me. I have this CD called Ambient Africa. I don’t know what the hell they’re saying, but I can feel it. I think that is hopefully what my work conveys. You may not know exactly what I’m talking about because the language doesn’t hit you the same way it hits someone else, but you can feel it. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Hugh Leeman’s work can be seen in \u003cb>The City We Love\u003c/b>, a group show at \u003ca href=\"http://www.941geary.com/events\">941 Geary \u003c/a>in San Francisco on view August 13 – September 3, 2011. \u003c/p>\n\n",
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"excerpt": "We recently visited Hugh Leeman's studio near 6th and Market and drilled down to his mission statement. Skeptics beware, we're buying what he's selling.",
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"description": "We recently visited Hugh Leeman's studio near 6th and Market and drilled down to his mission statement. Skeptics beware, we're buying what he's selling.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We see people living on the streets every day and become practiced at turning away because we can’t spare any change, or we’re uneasy. Hugh Leeman practices the opposite. He supports the under-served folks in his neighborhood by printing t-shirts for them to sell, and also works with them as the subjects of his portraits that you might have noticed pasted up on a block near you. Originally from rural Indiana, Leeman ended up in San Francisco where he stayed put to plant roots for the greater good. We visited his studio near 6th and Market and drilled down to his mission statement. Skeptics beware, we’re buying what he’s selling.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-1.jpg\">\u003c/p>\n\u003cp>\u003cb>Tell us your story, and how you originally started working with people who are living on the streets. \u003c/b>\u003c/p>\n\u003cp>\u003cb>Hugh Leeman:\u003c/b> I always wanted to travel ever since I was a kid. When I was fourteen, I started working and saving money and, when I was 18, I moved to the Virgin Islands. I thought I’d be living there the rest of my life, but it only lasted a year. I moved to Europe, which started a three-year adventure around the world, and I ended up in San Francisco. I came here thinking I was going to work for a few months as a bartender and save money to go around the world again. Long story short, I got here to this apartment and started making some art and really fell in love with the things I was doing. I fell in love with the neighborhood and never left. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-2.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-3.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>What have you been making this summer?\u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> These pieces on paper are new and are based on the life stories of guys who live on the streets. As I’ve gotten to know them better over the years, they’ve become friends, and they tell me stories from their lives. I started painting some stories from their childhoods.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-12.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-13.jpg\">\u003c/p>\n\u003cp>\u003cb>Have portraits always been your main jam?\u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> I’ve always done portraiture but, with the new work, I wanted to start telling more of the story in a literal sense. Certainly, a portrait tells some of the story, but some of these guys have profound and beautiful stories to tell. It became a challenge for me to discuss this, and put it in front of a viewer. Some of the stories are not especially palatable, so I started using my own artistic interpretations to depict it. You can look at it and have a different interpretation than I do, but the beauty is that we are coming to it and basing our ideas off of someone else’s life story. Someone who has endured something that you or I typically haven’t experienced. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-15.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-9.jpg\">\u003c/p>\n\u003cp>\u003cb>What made you want to work with folks on the street? Did it start when you moved to San Francisco?\u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> I had no idea what The Tenderloin was before I moved here. I looked at five places from Cragislist, and this place was bigger, cheaper and right downtown. It was close to Muni and BART and I thought it was a steal. When I told people I’d moved to 6th and Market, they said they wouldn’t even come here in the daytime. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-10.jpg\">\u003c/p>\n\u003cp>\u003cb>It’s a well-known intersection. \u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> It was a blank canvas and I wanted models, and these guys were pretty willing. Maybe it’s me projecting a bit, but part of my fascination is that I see myself in them. There’s this freedom in them. My perception of freedom is that I can save up my money and one day I can retire. I can take a two-week vacation here and there, but I know I have to go to work. I know I have to get up in the morning. Their freedom is that they can do what they want, and they don’t have to retire or think about going to work. That’s the simplest way to sum it up. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-18.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-19.jpg\">\u003c/p>\n\u003cp>\u003cb>Tell us about one of the first people you worked with, and what that interaction was like. \u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> I would come home from bartending and walk up Jones Street late at night, and the same guy would always be trying to sell me drugs. I would never respond, I’d just keep walking. But one night I turned around and said hey, I don’t want that stuff, but can I take your picture? And he said, sure. I started taking photos of him under the street lights and getting to know his story. It dissipates your ignorance. I’m not saying he’s an angel, but you have a preconceived notion that he’s a bad guy. But, in fact, the guy had a wife and a kid, and was short on rent, so he was selling this stuff. Again, he’s not an angel, but you start thinking, if I was in his position and I had to make rent or else I’d be out on the street, then yeah, I would probably do the same thing. That was match to kerosene for me. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-14.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-16.jpg\">\u003c/p>\n\u003cp>\u003cb>What are some of the less obvious challenges of working the way that you do?\u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> Early on, lots of people thought I was a cop.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-5.jpg\">\u003c/p>\n\u003cp>\u003cb>When someone asks what kind of art you make, what do you say?\u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> I always had the idea that I wanted to do something more. Not necessarily for people, but for the greater good of the world. It seems isolating to sit in your studio and strategically place pigment on a blank canvas. You want to communicate with people and have real life experiences. Lots of these guys I met asked if they could come over and stretch canvases, or put up posters for me. I had already been printing t-shirts, and I asked a guy I knew named Elbert if he’d want to sell them. At first it seemed like a silly idea, but he said he’d love to. It became exciting in my mind because it was like this entrepreneurship. They’re outside meeting people, shaking hands, and trying to sell t-shirts, and profit from that. I’ve always seen my street art like an advertisement. It’s an ad for my artwork, but it’s also an ad for these people and who they are. The successes of it, quite frankly, are drops of water in the ocean. I can’t say anyone’s life is being changed on a major scale, but some of the successes have been when guys want to move on from selling the shirts because they get employment or something like that. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-17.jpg\">\u003c/p>\n\u003cp>\u003cb>What’s your main goal with your artwork?\u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> My highest aspiration would be to do something akin to the Pichação in South America. People couldn’t speak out against the government, so they would take little rollers and dip them in paint and write political slogans. It was social criticism. I don’t see there being any real social criticism in my work, it’s just simply giving people a voice. As an artist, you often feel that you don’t have a voice; that it’s such a massive world. You talk about art bubbles and auction houses and think, who the hell am I? You’re knocking on a coffee shop door trying to get a print hung. Through street art, I can talk to the public when I want, and I don’t need a curator to tell me what month of the year I can show my work. I want to communicate with massive amounts of people about what I feel is an under-served demographic. That’s a common denominator with these guys on the streets — they want to be remembered too. Lots of them pass away, and they don’t have family, or they’re not remembered. I think it’s just a way to dignify and humanize them. And maybe sometimes, when I’m painting their portrait, I’m painting myself, in a way. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-21.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-6.jpg\">\u003c/p>\n\u003cp>\u003cb>We were wondering why there aren’t many women represented in your work.\u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> A month ago, I took the first picture I’ve ever taken of a woman living on the street. I have yet to draw her. Early on, people would ask me why I depicted so many African Americans, and my answer was always well, frankly, it’s because I walk out my door and take pictures of the people I meet. I’m not seeking them out, but they’re a large part of the demographic. The same answer applies here, in a way. The majority of people I see sleeping on the streets are men. There certainly are women on the streets, and the work has been maybe a bit too literal and focused on homeless men. It’s more about people who are oppressed, and that’s two thirds of the world. I want to start painting women, and I’ve just started to scratch the surface. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-11.jpg\">\u003c/p>\n\u003cp>\u003cb>Tell us about the wallpaper patterns you sometimes use in the background of the portraits. \u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> They’re stencils that I buy from this site for home decorators. It’s aesthetically pleasing, but it also adds visual irony. I’m taking people who live on the street and depicting them, hoping that someone will buy the paintings to match their couch and beautify their wall. There’s an irony to that, and I didn’t want it to be lost. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hugh-4.jpg\">\u003c/p>\n\u003cp>\u003cb>If your work had a soundtrack what would it be?\u003c/b>\u003c/p>\n\u003cp>\u003cb>HL:\u003c/b> I think it would be something that is in a foreign language to me. I have this CD called Ambient Africa. I don’t know what the hell they’re saying, but I can feel it. I think that is hopefully what my work conveys. You may not know exactly what I’m talking about because the language doesn’t hit you the same way it hits someone else, but you can feel it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hugh Leeman’s work can be seen in \u003cb>The City We Love\u003c/b>, a group show at \u003ca href=\"http://www.941geary.com/events\">941 Geary \u003c/a>in San Francisco on view August 13 – September 3, 2011. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Twice a day, on my way to and from work, I walk by a Richard Serra sculpture called \u003cb>Charlie Brown\u003c/b>. The 60-foot tall object is located at Gap headquarters in San Francisco, and unless you work in the building, it’s only viewable from The Embarcadero between Folsom and Howard Streets. Composed of four, rusty steel plates, the piece gently twists as it ascends through the building’s east-facing atrium. When viewed from above, the plates apparently overlap at the top to describe a square. From the street, you can sort of get that, but my eye has always been drawn to the opening at the sculpture’s base, an invitation to timidly enter the piece and, one can only imagine, gaze up in wonder.\u003c/p>\n\u003cp>In late July, 2011, the Bay Area’s newest Serra sculpture, \u003cb>Sequence\u003c/b>, from 2006, was installed at the Cantor Arts Center. On loan from the Doris and Don Fisher Collection (Doris and her late husband founded the Gap), it will remain at Stanford until the new Fisher wing at the San Francisco Museum of Modern Art is completed in 2016. \u003cb>Sequence\u003c/b> has been living indoors at the Los Angeles County Museum of Art since 2008; this is the first time it’s been exhibited outdoors.\u003c/p>\n\u003cp>In simple terms, \u003cb>Sequence\u003c/b> is basically a parallel pair of figure-eights made of two-inch-thick steel plates that rest on one edge, creating rusty ribbons about 13-feet high. Torqued and angled, the void between the ribbons can be entered from either end, and visitors to the Cantor are invited to stroll the path between the curving bands of steel. Along the way, the walls of the ribbons alternately fall away from or overhang the route, widening and narrowing the path below one’s feet and the slot to the sky above, although usually not at the same time. A pair of somewhat circular, similarly uneven dead-end spaces await at either end.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sequence-1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The first thing you notice when walking through or around \u003cb>Sequence\u003c/b> is the shadow of the piece that’s been drawn by the sun. These lines on the sculpture’s concrete foundation are as hard and emphatic as the edges of the steel itself, a precise but naturalistic echo of Serra’s machined creation. Then there’s the steel’s texture, whose rusty splotches give the unforgiving material an improbable softness and warmth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Quickly, though, one becomes preoccupied by the sculpture’s scale, which on the day I visited the Cantor was all people around me were talking about. “They had to transport it in pieces on 12 flatbeds,” one man remarked. “It weighs more than 200 tons,” marveled another. In fact, it’s difficult not to be impressed by the scale of \u003cb>Sequence\u003c/b> and all it implies. The danger, though, is that the massiveness of the thing will call so much attention to itself, some might ignore its implications as a work of art.\u003c/p>\n\u003cp>Serra, of course, is smart enough to know that he can’t control what people might think about his work once it’s out there. He’s even called the people who manufacture his pieces his first audience, so I doubt if he’s particularly troubled that many of the people who visit art museums to see his objects are gossiping about how much his creations weigh and how they are shipped.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sequence-2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Still, Serra has also confessed to wanting to create objects that animate the spaces they occupy and truly engage viewers. If so, \u003cb>Sequence\u003c/b> and pieces like \u003cb>Charlie Brown\u003c/b> succeed because they deliver both, but only on their own terms. For example, one can stroll within \u003cb>Sequence\u003c/b> to become, in a way, a part of the piece. This is engagement of the highest order, but the price of participating so intimately in the sculpture is to give up the experience of the observer. How well does it animate the space it occupies? The only way to find out is to ascend to the Cantor’s second-floor McMurtry Family Terrace that overlooks the piece. The answer is, very well, but you are now far removed from the experience of the work, an observer only.\u003c/p>\n\u003cp>Thus Serra accomplishes his goals, but not necessarily in the same moment. In this way, his work is very black or white, very either-or, a radical concept in Western cultures whose populations are trained to get everything they want, all at once and all the time. As an observer, I will continue to admire \u003cb>Charlie Brown\u003c/b> from the street, and perhaps my distance from it all these years has been a part of its allure. But I’m also grateful that Doris Fisher has made \u003cb>Sequence\u003c/b> so accessible to so many people, giving those of us down on the peninsula a chance to become participants in Serra’s work as well.\u003c/p>\n\u003cp>All photos by Linda A. Cicero / Stanford News Service.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://museum.stanford.edu/news_room/serra-sequence.html\">more information\u003c/a> visit museum.stanford.edu. You can also browse the \u003ca href=\"http://www.flickr.com/photos/stanforduniversity/sets/72157627280617586/with/5975440733/\">Flickr set of photos\u003c/a> taken when \u003cb>Sequence\u003c/b> was being installed.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twice a day, on my way to and from work, I walk by a Richard Serra sculpture called \u003cb>Charlie Brown\u003c/b>. The 60-foot tall object is located at Gap headquarters in San Francisco, and unless you work in the building, it’s only viewable from The Embarcadero between Folsom and Howard Streets. Composed of four, rusty steel plates, the piece gently twists as it ascends through the building’s east-facing atrium. When viewed from above, the plates apparently overlap at the top to describe a square. From the street, you can sort of get that, but my eye has always been drawn to the opening at the sculpture’s base, an invitation to timidly enter the piece and, one can only imagine, gaze up in wonder.\u003c/p>\n\u003cp>In late July, 2011, the Bay Area’s newest Serra sculpture, \u003cb>Sequence\u003c/b>, from 2006, was installed at the Cantor Arts Center. On loan from the Doris and Don Fisher Collection (Doris and her late husband founded the Gap), it will remain at Stanford until the new Fisher wing at the San Francisco Museum of Modern Art is completed in 2016. \u003cb>Sequence\u003c/b> has been living indoors at the Los Angeles County Museum of Art since 2008; this is the first time it’s been exhibited outdoors.\u003c/p>\n\u003cp>In simple terms, \u003cb>Sequence\u003c/b> is basically a parallel pair of figure-eights made of two-inch-thick steel plates that rest on one edge, creating rusty ribbons about 13-feet high. Torqued and angled, the void between the ribbons can be entered from either end, and visitors to the Cantor are invited to stroll the path between the curving bands of steel. Along the way, the walls of the ribbons alternately fall away from or overhang the route, widening and narrowing the path below one’s feet and the slot to the sky above, although usually not at the same time. A pair of somewhat circular, similarly uneven dead-end spaces await at either end.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sequence-1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The first thing you notice when walking through or around \u003cb>Sequence\u003c/b> is the shadow of the piece that’s been drawn by the sun. These lines on the sculpture’s concrete foundation are as hard and emphatic as the edges of the steel itself, a precise but naturalistic echo of Serra’s machined creation. Then there’s the steel’s texture, whose rusty splotches give the unforgiving material an improbable softness and warmth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Quickly, though, one becomes preoccupied by the sculpture’s scale, which on the day I visited the Cantor was all people around me were talking about. “They had to transport it in pieces on 12 flatbeds,” one man remarked. “It weighs more than 200 tons,” marveled another. In fact, it’s difficult not to be impressed by the scale of \u003cb>Sequence\u003c/b> and all it implies. The danger, though, is that the massiveness of the thing will call so much attention to itself, some might ignore its implications as a work of art.\u003c/p>\n\u003cp>Serra, of course, is smart enough to know that he can’t control what people might think about his work once it’s out there. He’s even called the people who manufacture his pieces his first audience, so I doubt if he’s particularly troubled that many of the people who visit art museums to see his objects are gossiping about how much his creations weigh and how they are shipped.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sequence-2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Still, Serra has also confessed to wanting to create objects that animate the spaces they occupy and truly engage viewers. If so, \u003cb>Sequence\u003c/b> and pieces like \u003cb>Charlie Brown\u003c/b> succeed because they deliver both, but only on their own terms. For example, one can stroll within \u003cb>Sequence\u003c/b> to become, in a way, a part of the piece. This is engagement of the highest order, but the price of participating so intimately in the sculpture is to give up the experience of the observer. How well does it animate the space it occupies? The only way to find out is to ascend to the Cantor’s second-floor McMurtry Family Terrace that overlooks the piece. The answer is, very well, but you are now far removed from the experience of the work, an observer only.\u003c/p>\n\u003cp>Thus Serra accomplishes his goals, but not necessarily in the same moment. In this way, his work is very black or white, very either-or, a radical concept in Western cultures whose populations are trained to get everything they want, all at once and all the time. As an observer, I will continue to admire \u003cb>Charlie Brown\u003c/b> from the street, and perhaps my distance from it all these years has been a part of its allure. But I’m also grateful that Doris Fisher has made \u003cb>Sequence\u003c/b> so accessible to so many people, giving those of us down on the peninsula a chance to become participants in Serra’s work as well.\u003c/p>\n\u003cp>All photos by Linda A. Cicero / Stanford News Service.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://museum.stanford.edu/news_room/serra-sequence.html\">more information\u003c/a> visit museum.stanford.edu. You can also browse the \u003ca href=\"http://www.flickr.com/photos/stanforduniversity/sets/72157627280617586/with/5975440733/\">Flickr set of photos\u003c/a> taken when \u003cb>Sequence\u003c/b> was being installed.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Reconsidering the City: Art in Storefronts on Central Market",
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"content": "\u003cp>The San Francisco Art Commission unveiled \u003cb>Art in Storefronts\u003c/b> in 2009, a program of temporary public art commissioned by local artists to populate vacant storefronts. Many of the city’s commercial corridors were hurt by the economy and empty storefronts contributed to a palpable malaise. Further, vacancies invited vandalism that propagated more vandalism, which dispelled new business. Inviting artists to revivify empty storefronts, it was theorized, would generate community pride and increase foot traffic. Beyond its success locally, this San Francisco program, with its open source online Toolkit, has become a model for other cities across the country.\u003c/p>\n\u003cp>The current iteration is along the Central Market Street corridor, between UN Plaza and 6th Street. It features eleven site-specific projects, including murals and sculptural installations, along with seven additional projects hosted by community partners including the Luggage Store and Gray Area Foundation for the Arts. As a walking experience, the program invites a reconsideration of areas you may not visit often, or ever. While looking for the projects, denoted with purple and gold signage, you notice things that could easily be construed as art but are simply components of the urban fabric, such as vintage signage for places like the Odd Fellows Temple or the mysterious and anachronistic International Art Museum of America.\u003c/p>\n\u003cp>I emerged from the Civic Center station, blinking confusedly like a mole adjusting to sunlight. Though I know the city well enough, this particular area felt unfamiliar. I was intrigued by a traveler’s sense of wonder without having gone any further than downtown. \u003c/p>\n\u003cp>Paz de la Calzada’s \u003cb>Central Market Dreamscape\u003c/b> (2011) wraps around the exterior of the defunct Strand Theater. Rendered in charcoal, the artist created a swirling mass of hair-like strands over the boarded-up former entrance. Above the iconic sign and marquee, a cut paper installation adorns the second floor windows, evocative of street artist SWOON. A diminutive paper signature spelling ‘Swoon’ made me wonder if I stumbled upon one of Swoon’s actual interventions or the work of a copycat. My eyes traveled back and forth between the drawing, the original theater sign, and the cut paper in the windows, thinking about how simply the artist encapsulated the layered histories of the site: there isn’t one strand, there are many. I crossed the street to see the work better but the finely rendered drawing was a sooty mass from a distance. To really take it in, you had to stand close — but if you stood too close, you couldn’t really take it all in.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/truth.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>“TRUTH,” Rigo 23, 2002.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was like a metaphor about living with urban peculiarities. From across the street, I spied a tiny corner of something compelling on another building. To see it more clearly, I backed further and further up UN Plaza, going behind the fountain while holding my breath to avoid the stench of piss and god knows what else — this is a city, after all. And there it was, for anyone who had the fortitude to look from that vantage point, Rigo 23’s \u003cb>TRUTH\u003c/b> (2002) spelled out larger than life in black, white, and silver. Like \u003cb>Art in Storefronts\u003c/b>, you could almost miss it in the visual cacophony of the street.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/butterflies.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>“Swallowtails & Sycamores,” Amber Hasselbring, 2011.\u003c/p>\n\u003cp>Further up Market, Keith Agoada’s \u003cb>City of Green\u003c/b> (2011) presents a vertical garden on the exterior of the Luggage Store. With so much discussion in popular media about greening the urban cityscape, it felt plausible that I was looking at an actual garden and not an artwork. Another work, Amber Hasselbring’s digital mural \u003cb>Swallowtails & Sycamores\u003c/b> (2011), depicting indigenous butterflies and trees on the exterior of a former drug store, further complicated my sense of reality.\u003c/p>\n\u003cp>\u003ci>Do butterflies really inhabit downtown?\u003c/i> I wondered as I made my way back down into the caverns of another transit station. Before today, I might not have imagined such intricate phenomena on Market Street.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Art in Storefronts\u003c/b> runs through August 13, 2011 along Central Market Street corridor in San Francisco. For \u003ca href=\"http://www.sfartscommission.org/artery/\">more information or to listen to the \u003cb>Sights and Sounds of Central Market\u003c/b> podcast\u003c/a> visit sfartscommission.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Art Commission unveiled \u003cb>Art in Storefronts\u003c/b> in 2009, a program of temporary public art commissioned by local artists to populate vacant storefronts. Many of the city’s commercial corridors were hurt by the economy and empty storefronts contributed to a palpable malaise. Further, vacancies invited vandalism that propagated more vandalism, which dispelled new business. Inviting artists to revivify empty storefronts, it was theorized, would generate community pride and increase foot traffic. Beyond its success locally, this San Francisco program, with its open source online Toolkit, has become a model for other cities across the country.\u003c/p>\n\u003cp>The current iteration is along the Central Market Street corridor, between UN Plaza and 6th Street. It features eleven site-specific projects, including murals and sculptural installations, along with seven additional projects hosted by community partners including the Luggage Store and Gray Area Foundation for the Arts. As a walking experience, the program invites a reconsideration of areas you may not visit often, or ever. While looking for the projects, denoted with purple and gold signage, you notice things that could easily be construed as art but are simply components of the urban fabric, such as vintage signage for places like the Odd Fellows Temple or the mysterious and anachronistic International Art Museum of America.\u003c/p>\n\u003cp>I emerged from the Civic Center station, blinking confusedly like a mole adjusting to sunlight. Though I know the city well enough, this particular area felt unfamiliar. I was intrigued by a traveler’s sense of wonder without having gone any further than downtown. \u003c/p>\n\u003cp>Paz de la Calzada’s \u003cb>Central Market Dreamscape\u003c/b> (2011) wraps around the exterior of the defunct Strand Theater. Rendered in charcoal, the artist created a swirling mass of hair-like strands over the boarded-up former entrance. Above the iconic sign and marquee, a cut paper installation adorns the second floor windows, evocative of street artist SWOON. A diminutive paper signature spelling ‘Swoon’ made me wonder if I stumbled upon one of Swoon’s actual interventions or the work of a copycat. My eyes traveled back and forth between the drawing, the original theater sign, and the cut paper in the windows, thinking about how simply the artist encapsulated the layered histories of the site: there isn’t one strand, there are many. I crossed the street to see the work better but the finely rendered drawing was a sooty mass from a distance. To really take it in, you had to stand close — but if you stood too close, you couldn’t really take it all in.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/truth.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>“TRUTH,” Rigo 23, 2002.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was like a metaphor about living with urban peculiarities. From across the street, I spied a tiny corner of something compelling on another building. To see it more clearly, I backed further and further up UN Plaza, going behind the fountain while holding my breath to avoid the stench of piss and god knows what else — this is a city, after all. And there it was, for anyone who had the fortitude to look from that vantage point, Rigo 23’s \u003cb>TRUTH\u003c/b> (2002) spelled out larger than life in black, white, and silver. Like \u003cb>Art in Storefronts\u003c/b>, you could almost miss it in the visual cacophony of the street.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/butterflies.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>“Swallowtails & Sycamores,” Amber Hasselbring, 2011.\u003c/p>\n\u003cp>Further up Market, Keith Agoada’s \u003cb>City of Green\u003c/b> (2011) presents a vertical garden on the exterior of the Luggage Store. With so much discussion in popular media about greening the urban cityscape, it felt plausible that I was looking at an actual garden and not an artwork. Another work, Amber Hasselbring’s digital mural \u003cb>Swallowtails & Sycamores\u003c/b> (2011), depicting indigenous butterflies and trees on the exterior of a former drug store, further complicated my sense of reality.\u003c/p>\n\u003cp>\u003ci>Do butterflies really inhabit downtown?\u003c/i> I wondered as I made my way back down into the caverns of another transit station. Before today, I might not have imagined such intricate phenomena on Market Street.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Art in Storefronts\u003c/b> runs through August 13, 2011 along Central Market Street corridor in San Francisco. For \u003ca href=\"http://www.sfartscommission.org/artery/\">more information or to listen to the \u003cb>Sights and Sounds of Central Market\u003c/b> podcast\u003c/a> visit sfartscommission.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>View the July 2011 \u003ci>Gallery Crawl\u003c/i> interview with Book Conservator Daniel Flanagan about \u003cem>SUMMER/SELECTIONS\u003c/em>, Ratio 3’s exhibition of works by Margaret Kilgallen.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>Resources\u003c/h3>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.kqed.org/assets/pdf/arts/programs/gallerycrawl/1107-kilgallen.pdf\">Download educator guide\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"info": "",
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"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"ted-radio-hour": {
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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}
