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"content": "\u003cp>The Quakers have a kind of secular prayer; in the face of darkness or uncertainty, they “hold in the light” a person in need of compassion or optimism. Two years after the death of Larry Sultan — extraordinary artist, teacher and Bay Area presence of over thirty years — I hope to honor and remember him in this way. In the light. As he was to many, Larry was the best teacher I have ever had. I came to study at California College of the Arts because it meant the chance to work with him, to know him (or try to know what he knew), which I did for the year before his passing. It’s hard to believe that it was just a single year; Larry became such an important and forming person in my life that I am still running things by him in my head.\u003c/p>\n\u003cp>What I really learned from Larry was not just how to be a good student, or artist, but how to be the best kind of teacher. Larry was generous, darkly funny, and sharp, though never in a way that cut. He could charm the birds out of the trees. More than anything, Larry made himself vulnerable to his students, never presuming that he knew more than we did (though, of course, he did). He challenged us to be deeper thinkers by way of mutual curiosity. Larry wrote in an email to a few of his students, myself included, in August of 2009, “I’m not sure how it works, but I often feel spoken through during the meetings. I’m not sure you share my feelings, but quite often I leave your studios like something really good has happened — and it’s happened because there was a real exchange between us all, that we acknowledged but weren’t overwhelmed by the uncertainty inherent in being artists and in trying to talk about art.”\u003c/p>\n\u003cp>For all of this, my own recollections of Larry wouldn’t do him justice alone. He was too big. I’ve asked a small group that knew him well — a curator, a colleague, several former students and assistants — to contribute to honoring his memory two years after we lost him. I am still adjusting to living in a world without Larry, which is simply not as funny, honest and interesting as a world with him in it. Feel free to share your own comments or memories on this piece.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/13/larrydancing.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image by Jon Rubin, Larry dancing at Jon’s wedding\u003c/p>\n\u003cp>\u003cb>Whitney Hubbs, former student:\u003c/b> Two years have passed and I continue to feel like Larry’s on my side, like we’re on the same team. He made me feel like the path I was on was the right one… and I know that because he told me so one night, a night in his honor, he made the gesture to put me at ease. Larry taught me to be giving, to breathe more, to see lyrics in the everyday, and to know when to pause and let things go and at the same time when to reflect on a memory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Sandy Phillips, Curator of Photography, SFMoMA:\u003c/b> I suppose the association I have with Larry is about how we both grew, and how photography also grew and changed. I knew him from the beginning of my tenure here, when the museum was in the old Veteran’s Memorial building, a structure that was built for the Museum when it opened in 1935, and from which we moved in 1995. The photography department then — so this is over twenty years ago, maybe 23, like the museum itself, were much smaller entities, and the community was tiny, everyone knew each other. One of the first shows I organized featured Larry’s work with his parents, what became \u003ci>Pictures from Home\u003c/i>. It was all so modest and casual then, and the photography program was definitely considered marginal to all the new work coming out of Germany and New York that the museum was featuring, but we had each other, so we were both very interested in each other and what we were doing. Larry and I would often have lunch together — a practice we continued and which we both enjoyed — he was my friend, and I was his, too. In a real way, Larry challenged us in the museum — by his obvious intelligence and his great gifts, and by his ambition, too. I think we both were not quite able to believe the massive interest in photography that developed, though both of us worked hard to get it there. And Larry had fun at it, too — he worked hard, but he was having a good time. And he was making good work, and knew it.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/13/sultanarchive.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image by Lindsey White, Larry’s photographs at the National Portrait gallery\u003c/p>\n\u003cp>\u003cb>Ahndraya Parlato, former student:\u003c/b> When I think about you, one of the first things that comes to mind is your generosity. I remember talking on the phone before I decided to go to CCA and you pulling over on the highway to talk to me. We hadn’t even met. I think about the level of seriousness and intention you invested everyone’s work with. We spent hours sequencing my book and I felt the gravity of my decisions in the generosity of your time. We were doing urgent and important work, and so it became. You never made anyone feel rushed or unimportant, even though you were always busy. What magic! I can only half pull it off and I have only a portion of your responsibilities.\u003c/p>\n\u003cp>You were soulful. You wanted to cut straight to the wound. But you weren’t overly sincere in that weird way that makes people seem disconnected from reality. You had a wicked sense of humor — it was absurd, mischievous, and more than a bit perverted. You had a way of making people feel comfortable. Of making them want to share unshared things. I see you in the light, in the cross-over where good becomes better, and understanding lies slightly out of reach. Wherever you are, I hope they have a nice dance floor.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/13/white.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image from Lindsey White, documentation of her “Larry pin” guiding her way, 2010\u003c/p>\n\u003cp>\u003cb>Todd Hido, former student and colleague:\u003c/b> In these 2 years since Larry’s passing I think, for me, one thing that has really stood out about him not being with us is how much I deeply miss his intelligence and insight. I am just about to complete a body of work that will become a book of images that he has never seen; this is a first for me.\u003c/p>\n\u003cp>Larry confirmed for me that I was not still a naive Ohio boy and that I had actually made something worthy of existing in the world. He made me feel as if what I could say with my pictures actually mattered, just as he had done when I first had him as a teacher.\u003c/p>\n\u003cp>I felt as if I had passed a test each time as I walked back down the long, long path of wooden planks that led to and from his home. I clearly know it was really his validation that I had sought, more than just simple feedback on my sequence and selection.\u003c/p>\n\u003cp>It is curious recently when I am doing a critique or giving a lecture just how many of the concepts or ideas I have about photography had first come to light in me through him. Even things in my way of working that are cornerstones for my voice, he first pointed out to me that I had possessed them. I am so grateful and forever indebted to him for that.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/13/okeefethanks2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image from Jennifer O’Keefe, the back and front of a postcard Larry sent Jennifer after working together\u003c/p>\n\u003cp>\u003cb>Jennifer O’Keeffe, former student and assistant:\u003c/b> Home. Larry was always thinking about home, peeling back the layers, the textures that defined it for him — the heavy bedroom curtains, the soft green carpets, the grasslands and canals behind the fences of Antioch and Concord. “It has to be almost nothing,” he would say as we set up the 4 x 5 in the swampy terrain, in the fading light. It was a slippery pursuit, brave — the difficult kind. Thinking of it now, of his questions, of his intense longing to describe, sustains me on mine.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Larry made me feel at home here. He greeted me at the door; he was my advisor, my mentor. Sitting across from him in conversation has been one of the great privileges of my life. He could floor you with a brilliant sentence then break into infectious giggles. After lectures and events, the crowds would break and scatter and he was there — leather jacketed, smiling, up for a talk, a drink, or a friendly inquisition about the work at hand. He was generous and inclusive, still harboring the kid in him like a firefly in the fingers. I feel like he treated us all like that firefly, like that kid — holding us close, making sure we didn’t get crushed, that our lights were in good working condition. One by one, with the utmost care, he guided us toward home.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Quakers have a kind of secular prayer; in the face of darkness or uncertainty, they “hold in the light” a person in need of compassion or optimism. Two years after the death of Larry Sultan — extraordinary artist, teacher and Bay Area presence of over thirty years — I hope to honor and remember him in this way. In the light. As he was to many, Larry was the best teacher I have ever had. I came to study at California College of the Arts because it meant the chance to work with him, to know him (or try to know what he knew), which I did for the year before his passing. It’s hard to believe that it was just a single year; Larry became such an important and forming person in my life that I am still running things by him in my head.\u003c/p>\n\u003cp>What I really learned from Larry was not just how to be a good student, or artist, but how to be the best kind of teacher. Larry was generous, darkly funny, and sharp, though never in a way that cut. He could charm the birds out of the trees. More than anything, Larry made himself vulnerable to his students, never presuming that he knew more than we did (though, of course, he did). He challenged us to be deeper thinkers by way of mutual curiosity. Larry wrote in an email to a few of his students, myself included, in August of 2009, “I’m not sure how it works, but I often feel spoken through during the meetings. I’m not sure you share my feelings, but quite often I leave your studios like something really good has happened — and it’s happened because there was a real exchange between us all, that we acknowledged but weren’t overwhelmed by the uncertainty inherent in being artists and in trying to talk about art.”\u003c/p>\n\u003cp>For all of this, my own recollections of Larry wouldn’t do him justice alone. He was too big. I’ve asked a small group that knew him well — a curator, a colleague, several former students and assistants — to contribute to honoring his memory two years after we lost him. I am still adjusting to living in a world without Larry, which is simply not as funny, honest and interesting as a world with him in it. Feel free to share your own comments or memories on this piece.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/13/larrydancing.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image by Jon Rubin, Larry dancing at Jon’s wedding\u003c/p>\n\u003cp>\u003cb>Whitney Hubbs, former student:\u003c/b> Two years have passed and I continue to feel like Larry’s on my side, like we’re on the same team. He made me feel like the path I was on was the right one… and I know that because he told me so one night, a night in his honor, he made the gesture to put me at ease. Larry taught me to be giving, to breathe more, to see lyrics in the everyday, and to know when to pause and let things go and at the same time when to reflect on a memory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Sandy Phillips, Curator of Photography, SFMoMA:\u003c/b> I suppose the association I have with Larry is about how we both grew, and how photography also grew and changed. I knew him from the beginning of my tenure here, when the museum was in the old Veteran’s Memorial building, a structure that was built for the Museum when it opened in 1935, and from which we moved in 1995. The photography department then — so this is over twenty years ago, maybe 23, like the museum itself, were much smaller entities, and the community was tiny, everyone knew each other. One of the first shows I organized featured Larry’s work with his parents, what became \u003ci>Pictures from Home\u003c/i>. It was all so modest and casual then, and the photography program was definitely considered marginal to all the new work coming out of Germany and New York that the museum was featuring, but we had each other, so we were both very interested in each other and what we were doing. Larry and I would often have lunch together — a practice we continued and which we both enjoyed — he was my friend, and I was his, too. In a real way, Larry challenged us in the museum — by his obvious intelligence and his great gifts, and by his ambition, too. I think we both were not quite able to believe the massive interest in photography that developed, though both of us worked hard to get it there. And Larry had fun at it, too — he worked hard, but he was having a good time. And he was making good work, and knew it.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/13/sultanarchive.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image by Lindsey White, Larry’s photographs at the National Portrait gallery\u003c/p>\n\u003cp>\u003cb>Ahndraya Parlato, former student:\u003c/b> When I think about you, one of the first things that comes to mind is your generosity. I remember talking on the phone before I decided to go to CCA and you pulling over on the highway to talk to me. We hadn’t even met. I think about the level of seriousness and intention you invested everyone’s work with. We spent hours sequencing my book and I felt the gravity of my decisions in the generosity of your time. We were doing urgent and important work, and so it became. You never made anyone feel rushed or unimportant, even though you were always busy. What magic! I can only half pull it off and I have only a portion of your responsibilities.\u003c/p>\n\u003cp>You were soulful. You wanted to cut straight to the wound. But you weren’t overly sincere in that weird way that makes people seem disconnected from reality. You had a wicked sense of humor — it was absurd, mischievous, and more than a bit perverted. You had a way of making people feel comfortable. Of making them want to share unshared things. I see you in the light, in the cross-over where good becomes better, and understanding lies slightly out of reach. Wherever you are, I hope they have a nice dance floor.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/13/white.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image from Lindsey White, documentation of her “Larry pin” guiding her way, 2010\u003c/p>\n\u003cp>\u003cb>Todd Hido, former student and colleague:\u003c/b> In these 2 years since Larry’s passing I think, for me, one thing that has really stood out about him not being with us is how much I deeply miss his intelligence and insight. I am just about to complete a body of work that will become a book of images that he has never seen; this is a first for me.\u003c/p>\n\u003cp>Larry confirmed for me that I was not still a naive Ohio boy and that I had actually made something worthy of existing in the world. He made me feel as if what I could say with my pictures actually mattered, just as he had done when I first had him as a teacher.\u003c/p>\n\u003cp>I felt as if I had passed a test each time as I walked back down the long, long path of wooden planks that led to and from his home. I clearly know it was really his validation that I had sought, more than just simple feedback on my sequence and selection.\u003c/p>\n\u003cp>It is curious recently when I am doing a critique or giving a lecture just how many of the concepts or ideas I have about photography had first come to light in me through him. Even things in my way of working that are cornerstones for my voice, he first pointed out to me that I had possessed them. I am so grateful and forever indebted to him for that.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/12/13/okeefethanks2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image from Jennifer O’Keefe, the back and front of a postcard Larry sent Jennifer after working together\u003c/p>\n\u003cp>\u003cb>Jennifer O’Keeffe, former student and assistant:\u003c/b> Home. Larry was always thinking about home, peeling back the layers, the textures that defined it for him — the heavy bedroom curtains, the soft green carpets, the grasslands and canals behind the fences of Antioch and Concord. “It has to be almost nothing,” he would say as we set up the 4 x 5 in the swampy terrain, in the fading light. It was a slippery pursuit, brave — the difficult kind. Thinking of it now, of his questions, of his intense longing to describe, sustains me on mine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Larry made me feel at home here. He greeted me at the door; he was my advisor, my mentor. Sitting across from him in conversation has been one of the great privileges of my life. He could floor you with a brilliant sentence then break into infectious giggles. After lectures and events, the crowds would break and scatter and he was there — leather jacketed, smiling, up for a talk, a drink, or a friendly inquisition about the work at hand. He was generous and inclusive, still harboring the kid in him like a firefly in the fingers. I feel like he treated us all like that firefly, like that kid — holding us close, making sure we didn’t get crushed, that our lights were in good working condition. One by one, with the utmost care, he guided us toward home.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was that time of year again. Thousands of galleries, collectors, artists, consultants, and passersby rubbed fashionable shoulders in Miami for art fair season. While the largest fair of all is Miami Basel (it is also amongst the largest in the world with 260 international galleries represented), there are officially nineteen unique fairs that take place over the weekend, ranging from Pulse, Scope, NADA, Aqua, Design Miami. It’s a lot to take in, and felt, for this artist, both encouraging and demoralizing; the art world is thriving, but only for those who can afford its cost. I have attempted to sum up a few of the highlights of the experience.\u003c/p>\n\u003cp>1. The Alligator Park. Miami is only forty-five minutes from the \u003ca href=\"http://www.nps.gov/ever/index.htm\">Everglades National Park\u003c/a>; contrary to popular belief, the water is not a swamp, but a very, very slow moving river which feeds into the Atlantic ocean. More famously, the everglades are home to Florida alligators. I took an airboat ride through the water, led by a man named Bubba, who later wrestled an alligator and held a scorpion a foot from my face. It may have been under an hour from downtown Miami, but it was a world away from Miami’s reality.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/silverman.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Silverman Gallery\u003cbr>\u003c/center>\n\u003cp>2. San Francisco Galleries. San Francisco galleries were represented at various fairs, including \u003ca href=\"http://www.wolfecontemporary.com/\">Mark Wolfe\u003c/a> and \u003ca href=\"http://basebasebase.com/\">Triple Base\u003c/a> at Aqua, \u003ca href=\"http://altmansiegel.com/main.php?menu=&page=\">Altman Siegel\u003c/a>, \u003ca href=\"http://www.silverman-gallery.com/\">Silverman Gallery\u003c/a> and \u003ca href=\"http://www.ratio3.org/\">Ratio 3\u003c/a> at NADA. Of the booths, all of which looked strong, Silverman and Altman Siegel were the real stand-outs, with perfectly curated selections. Silverman elected to show only one artist, the Toronto-based Hugh Scott-Douglass, while Altman Siegel went with several (a Trevor Paglen print was amongst the largest and most stunning in the group). Regardless of my Bay Area affinities, I would have found both booths among the most considered, and least cluttered, of the fair.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/collage.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Collage by Kader Attia\u003cbr>\u003c/center>\n\u003cp>3. Collage. I was delighted to see the amount of collage up on the walls, across all kinds of fairs. \u003ca href=\"http://www.jackhanley.com/db/posters/363.jpg\">Vince Roark at Jack Hanley\u003c/a>, \u003ca href=\"http://www.leokoenig.com/artist/view/443\">Nicole Eisenman at Leo Koenig\u003c/a>, \u003ca href=\"http://www.galeriekamm.de/kuenstler/michele-di-menna.html\">Michelle Di Menna at Galerie Kamm\u003c/a> (Berlin), \u003ca href=\"http://www.artnet.com/artists/kader-attia/\">Kader Attia,/a> at Galerie Krinzinger (Vienna), and \u003c/a>\u003ca href=\"http://en.wikipedia.org/wiki/Amanda_Ross-Ho\">Amanda Ross-Ho\u003c/a> at Mitchell-Innes and Nash, were a few of a varied and impressive collage selection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>4.The NADA party. Half of the appeal of Miami art weekend is the wild socializing, in which outsiders can indulge in full-on Miami-style hedonism. The weather is warm, the outfits are outlandish (see number 7) and, after the sun sets, people really get down to business. While partying with fellow art folk can be a chance to rub shoulders with the “right” people, it can also be a chance to blow off art-fair steam. This party, one of many that night, was held around the pool of a South Beach hotel, and featured a performance artist who pulled scarves out of her vagina and a renegade who swam naked in the pool, then hid from the authorities behind a large, freestanding painting. It was weird.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogan.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Works by Will Rogan\u003cbr>\u003c/center>\n\u003cp>5. \u003ca href=\"http://altmansiegel.com/main.php?menu=wrogan&page=pics\">Will Rogan\u003c/a>. The Bay Area-based artist was represented at the NADA fair by both Altman Siegel and Laurel Gitlin gallery (NY), which where in fact just feet away from one another. Both booths showed smaller works of Rogan’s, in which the artist delicately erased the majority of the content away (most of which are sourced from old magic magazines). The results are ghostly and spare, a kind of anti-collage craft. Amongst the larger and more bombastic pieces in the fair, these erasure pieces where a welcome point of entry.\u003c/p>\n\u003cp>6. Smaller Galleries and Independents. While their booths are the size of small walk-in closets, they make the most of what they’ve got. \u003ca href=\"http://www.facebook.com/pages/Rawson-Projects/129317910454729\">Rawson Projects\u003c/a>, run by Chris Lawson, featured small abstract paintings and photographs; \u003ca href=\"http://reginarex.org/\">Regina Rex\u003c/a> showed a beautiful wooden sculpture; and \u003ca href=\"http://www.toomerlabzda.com/Site/toomer_labzda_home.html\">Toomer Labzda\u003c/a>‘s whole booth was filled with an interactive colored plastic installation by Mia Taylor. All three spaces are in New York City, and likely adept at making smaller spaces work in their favor.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/outfits.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>7. The Outfits. I know this post is in danger of veering too far from the art itself, but at points, it appeared that attendees’ outfits were bettering the displays. No matter how people were dressed — shockingly sexy or just plain weird — no one threw on their outfit during the weekend by accident. Highlights included: a mother dressed in a leather bodice and red netting, pushing her toddler-aged daughter wearing the same outfit in a stroller, and a male/female couple with identical shaved heads and red dresses. At the very least, everyone put effort into their style. It can be hard to look at the spectacle on the wall with all this spectacle roaming the floors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>8. \u003ca href=\"http://en.wikipedia.org/wiki/Carol_Bove\">Carol Bove\u003c/a>. The artist, who has come into prominence since 2005’s \u003cb>Greater New York\u003c/b> exhibition, had half of a booth dedicated to her work, and she hit just the right tone within it. A combination of intricate chain-link paintings on the wall, and installation based sculpture (small objects carefully curated on a shelf and a table, linked by a single gold chain) was cryptic, cold and also strangely emotive.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was that time of year again. Thousands of galleries, collectors, artists, consultants, and passersby rubbed fashionable shoulders in Miami for art fair season. While the largest fair of all is Miami Basel (it is also amongst the largest in the world with 260 international galleries represented), there are officially nineteen unique fairs that take place over the weekend, ranging from Pulse, Scope, NADA, Aqua, Design Miami. It’s a lot to take in, and felt, for this artist, both encouraging and demoralizing; the art world is thriving, but only for those who can afford its cost. I have attempted to sum up a few of the highlights of the experience.\u003c/p>\n\u003cp>1. The Alligator Park. Miami is only forty-five minutes from the \u003ca href=\"http://www.nps.gov/ever/index.htm\">Everglades National Park\u003c/a>; contrary to popular belief, the water is not a swamp, but a very, very slow moving river which feeds into the Atlantic ocean. More famously, the everglades are home to Florida alligators. I took an airboat ride through the water, led by a man named Bubba, who later wrestled an alligator and held a scorpion a foot from my face. It may have been under an hour from downtown Miami, but it was a world away from Miami’s reality.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/silverman.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Silverman Gallery\u003cbr>\u003c/center>\n\u003cp>2. San Francisco Galleries. San Francisco galleries were represented at various fairs, including \u003ca href=\"http://www.wolfecontemporary.com/\">Mark Wolfe\u003c/a> and \u003ca href=\"http://basebasebase.com/\">Triple Base\u003c/a> at Aqua, \u003ca href=\"http://altmansiegel.com/main.php?menu=&page=\">Altman Siegel\u003c/a>, \u003ca href=\"http://www.silverman-gallery.com/\">Silverman Gallery\u003c/a> and \u003ca href=\"http://www.ratio3.org/\">Ratio 3\u003c/a> at NADA. Of the booths, all of which looked strong, Silverman and Altman Siegel were the real stand-outs, with perfectly curated selections. Silverman elected to show only one artist, the Toronto-based Hugh Scott-Douglass, while Altman Siegel went with several (a Trevor Paglen print was amongst the largest and most stunning in the group). Regardless of my Bay Area affinities, I would have found both booths among the most considered, and least cluttered, of the fair.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/collage.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Collage by Kader Attia\u003cbr>\u003c/center>\n\u003cp>3. Collage. I was delighted to see the amount of collage up on the walls, across all kinds of fairs. \u003ca href=\"http://www.jackhanley.com/db/posters/363.jpg\">Vince Roark at Jack Hanley\u003c/a>, \u003ca href=\"http://www.leokoenig.com/artist/view/443\">Nicole Eisenman at Leo Koenig\u003c/a>, \u003ca href=\"http://www.galeriekamm.de/kuenstler/michele-di-menna.html\">Michelle Di Menna at Galerie Kamm\u003c/a> (Berlin), \u003ca href=\"http://www.artnet.com/artists/kader-attia/\">Kader Attia,/a> at Galerie Krinzinger (Vienna), and \u003c/a>\u003ca href=\"http://en.wikipedia.org/wiki/Amanda_Ross-Ho\">Amanda Ross-Ho\u003c/a> at Mitchell-Innes and Nash, were a few of a varied and impressive collage selection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>4.The NADA party. Half of the appeal of Miami art weekend is the wild socializing, in which outsiders can indulge in full-on Miami-style hedonism. The weather is warm, the outfits are outlandish (see number 7) and, after the sun sets, people really get down to business. While partying with fellow art folk can be a chance to rub shoulders with the “right” people, it can also be a chance to blow off art-fair steam. This party, one of many that night, was held around the pool of a South Beach hotel, and featured a performance artist who pulled scarves out of her vagina and a renegade who swam naked in the pool, then hid from the authorities behind a large, freestanding painting. It was weird.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rogan.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Works by Will Rogan\u003cbr>\u003c/center>\n\u003cp>5. \u003ca href=\"http://altmansiegel.com/main.php?menu=wrogan&page=pics\">Will Rogan\u003c/a>. The Bay Area-based artist was represented at the NADA fair by both Altman Siegel and Laurel Gitlin gallery (NY), which where in fact just feet away from one another. Both booths showed smaller works of Rogan’s, in which the artist delicately erased the majority of the content away (most of which are sourced from old magic magazines). The results are ghostly and spare, a kind of anti-collage craft. Amongst the larger and more bombastic pieces in the fair, these erasure pieces where a welcome point of entry.\u003c/p>\n\u003cp>6. Smaller Galleries and Independents. While their booths are the size of small walk-in closets, they make the most of what they’ve got. \u003ca href=\"http://www.facebook.com/pages/Rawson-Projects/129317910454729\">Rawson Projects\u003c/a>, run by Chris Lawson, featured small abstract paintings and photographs; \u003ca href=\"http://reginarex.org/\">Regina Rex\u003c/a> showed a beautiful wooden sculpture; and \u003ca href=\"http://www.toomerlabzda.com/Site/toomer_labzda_home.html\">Toomer Labzda\u003c/a>‘s whole booth was filled with an interactive colored plastic installation by Mia Taylor. All three spaces are in New York City, and likely adept at making smaller spaces work in their favor.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/outfits.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>7. The Outfits. I know this post is in danger of veering too far from the art itself, but at points, it appeared that attendees’ outfits were bettering the displays. No matter how people were dressed — shockingly sexy or just plain weird — no one threw on their outfit during the weekend by accident. Highlights included: a mother dressed in a leather bodice and red netting, pushing her toddler-aged daughter wearing the same outfit in a stroller, and a male/female couple with identical shaved heads and red dresses. At the very least, everyone put effort into their style. It can be hard to look at the spectacle on the wall with all this spectacle roaming the floors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>8. \u003ca href=\"http://en.wikipedia.org/wiki/Carol_Bove\">Carol Bove\u003c/a>. The artist, who has come into prominence since 2005’s \u003cb>Greater New York\u003c/b> exhibition, had half of a booth dedicated to her work, and she hit just the right tone within it. A combination of intricate chain-link paintings on the wall, and installation based sculpture (small objects carefully curated on a shelf and a table, linked by a single gold chain) was cryptic, cold and also strangely emotive.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A celebration is in order. Three of this year’s USA Fellows are local artists. Only a small percentage of creative folks make a living doing what they love, so it’s always good news when a few of our own are recognized with a substantial grant.\u003c/p>\n\u003cp>And at $50,000 each, the U.S.A. Fellows grants are definitely substantial. Launched in September 2005 with seed money provided by a handful of large foundations, including Ford and Rockefeller, \u003ca href=\"http://www.unitedstatesartists.org/\">United States Artists\u003c/a> awards unrestricted grants directly to 50 artists a year. Local artist John Jota Leaños, author Karen Tei Yamashita, and playwright Octavio Solis are three of this year’s recipients. These Bay Area superstars were selected from a pool of two million nominees, and will be honored tonight on the Broad Stage at the Santa Monica College Performing Arts Center.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/leanos.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>John Jota Leaños\u003cbr>\u003c/center>\n\u003cp>Recently featured in KQED’s \u003ci>Spark\u003c/i> episode on \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=29274\">Mission District Street Art\u003c/a>, installation, new media and performance artist John Jota Leaños calls attention to the tragedies of war and globalization through accessible forms, like murals and animation. His animated short, \u003ci>Los ABCs\u003c/i>, was an official selection at the Sundance Film Festival in 2006. Leaños was also a guest on a 2005 \u003ci>Forum\u003c/i> episode titled, “Is Graffiti Art?” \u003ca href=\"http://www.kqed.org/a/forum/R508261000\">Check it out\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"420\" height=\"315\" src=\"http://www.youtube.com/embed/Xd7WK4y52T0\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/yamashita.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Karen Tei Yamashita\u003cbr>\u003c/center>\n\u003cp>Author Karen Tei Yamashita’s \u003ci>I Hotel\u003c/i> was a 2010 National Book Award finalist. Her work gives voice to communities whose stories are not often told. \u003ci>I Hotel\u003c/i> uses the International Hotel, a Chinatown landmark, to bring together 10 interconnected stories that span a decade (1968-1978) and describe the artistic and political activities of San Francisco’s Asian American community. \u003ca href=\"http://www.californiareport.org/archive/R201007161630/c\">Listen to \u003ci>The California Report\u003c/i>‘s 2010 review.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/solis.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Octavio Solis\u003cbr>\u003c/center>\n\u003cp>Featured on \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=29841\">\u003ci>Spark\u003c/i> in 2010\u003c/a>, playwright and director Octavio Solis was recently commissioned by CalShakes to adapt John Steinbeck’s short story collection \u003ci>Pastures of Heaven\u003c/i> for the stage. Solis, a native of El Paso, Texas, has seen his poetic dramas produced at festivals and venues all over the country, including the Oregon Shakespeare Festival, Los Angeles’ Mark Taper Forum and the Magic Theater in San Francisco, among many others. His works, such as \u003ci>El Paso Blue\u003c/i> and \u003ci>Lydia\u003c/i>, convey and question the roots of the American cultural experience. Solis has also been the recipient of numerous other awards, including a 1995 NEA Playwrighting Fellowship and a 2003 National Latino Playwrighting Award.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cheers to the winners! \u003ca href=\"http://www.usafellows.org/fellows\">See the full list of grantees\u003c/a> at unitedstatesartists.org. And check out \u003ca href=\"http://www.usaprojects.org/\">USA Projects\u003c/a>, the newly-created United States Artists platform where you can personally fund independent art projects through Kickstarter-style campaigns.\u003c/p>\n\n",
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"content": "\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": "\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. 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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. 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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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"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": "\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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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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