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"content": "\u003cp>Originally from Japan, Taro Hattori moved to the United States in the ’90s and brought along a love for theater design and his family’s history of craftsmanship and design. These days, he injects those influences, as well as ideas of violence and flight, into his art projects. We recently stopped by Hattori’s Oakland studio and got to chatting about why he dislikes movie soundtracks, why he loves things that fly, and his project that involved trapping strangers in a cell and waiting for them to break out.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-1.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>Tell us about where you’re from and where you studied.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Taro Hattori:\u003c/b> I’m originally from Tokyo and I moved to the United States in 1995. I went to graduate school at Rutgers University for Theater design. When I went to New York, I saw many great experimental productions, and I felt like I should move there to study or work. But somehow I didn’t like it because the school was very conservative, more traditional theater. I started thinking about whether theater was the right thing or not because I always tended to have conflicts with directors. I realized I wanted to do everything myself. The narrative part of theater work, or text in general, was so important for me. That’s why I never thought about becoming a visual artist. But then I started talking to friends about where the best place was for me. The School of the Art Institute of Chicago had a department called Time Arts and I just liked the name, so I decided to go there.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-23.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-17.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-6.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Is your work still time-based?\u003c/i>\u003c/p>\n\u003cp>\u003cb>TH:\u003c/b> Definitely. Not because it moves or because I sometimes use video, but because my work is experiential and the audience needs to experience it on-site. In a way, it’s sculpture; spacial sculpture. Spacial experience is most important in terms of how my work creates psychological dynamics between the content and the audience, and their personal experience. In that sense, time is a crucial element.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-22.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-3.jpg\">\u003c/p>\n\u003cp>\u003ci>Is there anything specific about your upbringing that has influenced your art practice?\u003c/i>\u003c/p>\n\u003cp>\u003cb>TH:\u003c/b> There are several things. My father’s side was a family of craftsmen. My grandfather was a shoemaker, and also a photographer and sculptor. My mother was a fashion designer and became a master of flower arrangement, Ikebana. There are several schools and hers is very traditional and requires understanding all the philosophy of Buddhism, and how you place things in relation to the sense of the universe. \u003c/p>\n\u003cp>Also the idea of violence comes up in my work; it’s a heavy issue. My brother has a mental disability and has been institutionalized. He was abusive when we were young and we had a really hard time dealing with him. This kind of visceral fear of violence, or the sense of being violated is definitely there. That drives my creation. Having this big question mark all the time about why people can become violent. That’s why I studied psychology, too. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-19.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-9.jpg\">\u003c/p>\n\u003cp>\u003ci>Tell us about your latest project, “Exinclusivity.”\u003c/i>\u003c/p>\n\u003cp>\u003cb>TH:\u003c/b> I have been struggling with how I can directly engage people because what’s fashionable in the art scene is the participatory, or social practice approach to making art. I don’t think I have the personality to do such things, so this was an experiment. A sense of exploitation in labor is what I explored in my previous work called “Packed.” For the “Exinclusivity” project, I wanted to expand that idea, so I hired people to do a task which is kind of absurd. I locked them into a small cell I built in the gallery space. Their task is to sing a song and then get out of the cell. I sealed the small entrance so they basically need to destroy the wall to get out. I hired three different groups of people. I picked up the first group on High Street in Oakland, they were day laborers. \u003c/p>\n\u003cp>[vimeo 20841591 w=500 h=275]\u003c/p>\n\u003cp>\u003ci>Did you give them tools to break out of the cell?\u003c/i>\u003c/p>\n\u003cp>\u003cb>TH:\u003c/b> The first group worked together and there were seven of them, so I didn’t give them any tools. The second group was kind of punk or post-hippy kids who were looking for a job. I picked them up in the parking lot of the Home Depot in Emeryville. There were three of them, so I gave them a wooden pole so they could destroy the wall a little bit more easily. There was a sense of progression in terms of the tools they could use. The final tool was a chair, but the person had to sit there alone. She was by herself. She was a prostitute I hired on San Pablo Avenue. A prostitute needs to work alone all the time, so I kind of liked that situation. She used the chair to destroy the cell. I talked with all of the groups and documented them, and that’s what you see at the gallery. The debris from the cells, and the videos.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-4.jpg\">\u003c/p>\n\u003cp>\u003ci>From looking at some of your past projects, it seems you are very interested in things that fly. \u003c/i>\u003c/p>\n\u003cp>\u003cb>TH:\u003c/b> Yes, I am. The birds and airplanes. I can rationalize it by saying I have this visceral feeling. It’s not like I want to fly or be a pilot, but I’m interested in the way something heavy can fly; that kind of contradiction. And then I’ve been trying to define the idea of lightness and what it means for me, personally. Lightness for me is a contradictory idea where something can look light and fly, or float, but also contains some kind of heaviness in it. That’s why I’ve been making structures of flying devices, just the skeleton of it. It’s a flying object but it can still represent or evoke the feeling of heaviness, too. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-24.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-13.jpg\">\u003c/p>\n\u003cp>\u003ci>If your art had a soundtrack, what would it be?\u003c/i>\u003c/p>\n\u003cp>\u003cb>TH:\u003c/b> I have a strong belief that the idea of background music is really wrong. I hate using music in the background. It would definitely need to be composed along with my work. Music, for me, is so important. When I hear a sound, I start listening. I can’t have it in the background of something else. When they start playing music in a movie I’ll think, “Stop! Stop, I’m watching this movie.” They show their desire to agitate us. Now it’s sad, now it’s fun. Don’t tell us how we feel! That’s why I don’t like it. But if it’s composed well and used in a clever or smart way, that’s good. I like the soundtrack of Sokurov’s movie, \u003cb>The Sun\u003c/b>. It’s the story of a Japanese emperor, and the soundtrack is used really beautifully. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-21.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-5.jpg\">\u003c/p>\n\u003cp>\u003ci>How does the news media influence your work?\u003c/i>\u003c/p>\n\u003cp>\u003cb>TH:\u003c/b> The first thing I’ll say is that I hate TV. I used to work for a TV broadcasting station, which made me hate it. I don’t know why an individual person needs to have 300 channels. They use such a huge amount of money for each program, it’s such a waste. I like radio because I can limit how much information I’m getting. I always listen to KQED, and I’m not just saying that because you are here. I also listen to KCSM Jazz radio. I read Internet newspapers so much, but I sometimes force myself to stop because too much information keeps coming in. \u003c/p>\n\u003cp>I can’t help thinking about the insensitivity of the media. For example, a few days ago, the \u003ci>New York Times\u003c/i> posted an interactive media piece about Japan’s earthquake and tsunami and there was a slider function that allowed you to move the image of the Tsunami site from before to after. That made me so emotional. I couldn’t stand it. So many people died on that site; it’s horrible. That was before and after their death. And they force us to slide it. It’s definitely very important to know what’s really going on, and how horrible the situations are. But don’t let us move it like that. Things are naively presented to us, and we are conditioned by them. I hate that aspect of the media.\u003c/p>\n\u003cp>I’m organizing an art auction event to raise funds for Japan. I have so many friends here who are artists, and I am asking them to donate artworks. There are many places you can donate money right now. And in the coming 5-6 years they will really need money when they start to rebuild things. We all need to donate. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-7.jpg\">\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-8.jpg\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Visit \u003ca href=\"http://www.interaction.org/crisis-list/interaction-members-support-japan-earthquake-response\">Interaction.org\u003c/a> for a list of organizations supporting relief efforts in Japan. Taro Hattori’s Exinclusivity exhibition is on view at \u003ca href=\"http://www.proartsgallery.org/\">ProArts Gallery\u003c/a> in Oakland through April 8, 2011.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Originally from Japan, Taro Hattori moved to the United States in the ’90s and brought along a love for theater design and his family’s history of craftsmanship and design. These days, he injects those influences, as well as ideas of violence and flight, into his art projects. We recently stopped by Hattori’s Oakland studio and got to chatting about why he dislikes movie soundtracks, why he loves things that fly, and his project that involved trapping strangers in a cell and waiting for them to break out.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-1.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>Tell us about where you’re from and where you studied.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Taro Hattori:\u003c/b> I’m originally from Tokyo and I moved to the United States in 1995. I went to graduate school at Rutgers University for Theater design. When I went to New York, I saw many great experimental productions, and I felt like I should move there to study or work. But somehow I didn’t like it because the school was very conservative, more traditional theater. I started thinking about whether theater was the right thing or not because I always tended to have conflicts with directors. I realized I wanted to do everything myself. The narrative part of theater work, or text in general, was so important for me. That’s why I never thought about becoming a visual artist. But then I started talking to friends about where the best place was for me. The School of the Art Institute of Chicago had a department called Time Arts and I just liked the name, so I decided to go there.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-23.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-17.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-6.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Is your work still time-based?\u003c/i>\u003c/p>\n\u003cp>\u003cb>TH:\u003c/b> Definitely. Not because it moves or because I sometimes use video, but because my work is experiential and the audience needs to experience it on-site. In a way, it’s sculpture; spacial sculpture. Spacial experience is most important in terms of how my work creates psychological dynamics between the content and the audience, and their personal experience. In that sense, time is a crucial element.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-22.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-3.jpg\">\u003c/p>\n\u003cp>\u003ci>Is there anything specific about your upbringing that has influenced your art practice?\u003c/i>\u003c/p>\n\u003cp>\u003cb>TH:\u003c/b> There are several things. My father’s side was a family of craftsmen. My grandfather was a shoemaker, and also a photographer and sculptor. My mother was a fashion designer and became a master of flower arrangement, Ikebana. There are several schools and hers is very traditional and requires understanding all the philosophy of Buddhism, and how you place things in relation to the sense of the universe. \u003c/p>\n\u003cp>Also the idea of violence comes up in my work; it’s a heavy issue. My brother has a mental disability and has been institutionalized. He was abusive when we were young and we had a really hard time dealing with him. This kind of visceral fear of violence, or the sense of being violated is definitely there. That drives my creation. Having this big question mark all the time about why people can become violent. That’s why I studied psychology, too. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-19.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-9.jpg\">\u003c/p>\n\u003cp>\u003ci>Tell us about your latest project, “Exinclusivity.”\u003c/i>\u003c/p>\n\u003cp>\u003cb>TH:\u003c/b> I have been struggling with how I can directly engage people because what’s fashionable in the art scene is the participatory, or social practice approach to making art. I don’t think I have the personality to do such things, so this was an experiment. A sense of exploitation in labor is what I explored in my previous work called “Packed.” For the “Exinclusivity” project, I wanted to expand that idea, so I hired people to do a task which is kind of absurd. I locked them into a small cell I built in the gallery space. Their task is to sing a song and then get out of the cell. I sealed the small entrance so they basically need to destroy the wall to get out. I hired three different groups of people. I picked up the first group on High Street in Oakland, they were day laborers. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Did you give them tools to break out of the cell?\u003c/i>\u003c/p>\n\u003cp>\u003cb>TH:\u003c/b> The first group worked together and there were seven of them, so I didn’t give them any tools. The second group was kind of punk or post-hippy kids who were looking for a job. I picked them up in the parking lot of the Home Depot in Emeryville. There were three of them, so I gave them a wooden pole so they could destroy the wall a little bit more easily. There was a sense of progression in terms of the tools they could use. The final tool was a chair, but the person had to sit there alone. She was by herself. She was a prostitute I hired on San Pablo Avenue. A prostitute needs to work alone all the time, so I kind of liked that situation. She used the chair to destroy the cell. I talked with all of the groups and documented them, and that’s what you see at the gallery. The debris from the cells, and the videos.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-4.jpg\">\u003c/p>\n\u003cp>\u003ci>From looking at some of your past projects, it seems you are very interested in things that fly. \u003c/i>\u003c/p>\n\u003cp>\u003cb>TH:\u003c/b> Yes, I am. The birds and airplanes. I can rationalize it by saying I have this visceral feeling. It’s not like I want to fly or be a pilot, but I’m interested in the way something heavy can fly; that kind of contradiction. And then I’ve been trying to define the idea of lightness and what it means for me, personally. Lightness for me is a contradictory idea where something can look light and fly, or float, but also contains some kind of heaviness in it. That’s why I’ve been making structures of flying devices, just the skeleton of it. It’s a flying object but it can still represent or evoke the feeling of heaviness, too. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-24.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-13.jpg\">\u003c/p>\n\u003cp>\u003ci>If your art had a soundtrack, what would it be?\u003c/i>\u003c/p>\n\u003cp>\u003cb>TH:\u003c/b> I have a strong belief that the idea of background music is really wrong. I hate using music in the background. It would definitely need to be composed along with my work. Music, for me, is so important. When I hear a sound, I start listening. I can’t have it in the background of something else. When they start playing music in a movie I’ll think, “Stop! Stop, I’m watching this movie.” They show their desire to agitate us. Now it’s sad, now it’s fun. Don’t tell us how we feel! That’s why I don’t like it. But if it’s composed well and used in a clever or smart way, that’s good. I like the soundtrack of Sokurov’s movie, \u003cb>The Sun\u003c/b>. It’s the story of a Japanese emperor, and the soundtrack is used really beautifully. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-21.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-5.jpg\">\u003c/p>\n\u003cp>\u003ci>How does the news media influence your work?\u003c/i>\u003c/p>\n\u003cp>\u003cb>TH:\u003c/b> The first thing I’ll say is that I hate TV. I used to work for a TV broadcasting station, which made me hate it. I don’t know why an individual person needs to have 300 channels. They use such a huge amount of money for each program, it’s such a waste. I like radio because I can limit how much information I’m getting. I always listen to KQED, and I’m not just saying that because you are here. I also listen to KCSM Jazz radio. I read Internet newspapers so much, but I sometimes force myself to stop because too much information keeps coming in. \u003c/p>\n\u003cp>I can’t help thinking about the insensitivity of the media. For example, a few days ago, the \u003ci>New York Times\u003c/i> posted an interactive media piece about Japan’s earthquake and tsunami and there was a slider function that allowed you to move the image of the Tsunami site from before to after. That made me so emotional. I couldn’t stand it. So many people died on that site; it’s horrible. That was before and after their death. And they force us to slide it. It’s definitely very important to know what’s really going on, and how horrible the situations are. But don’t let us move it like that. Things are naively presented to us, and we are conditioned by them. I hate that aspect of the media.\u003c/p>\n\u003cp>I’m organizing an art auction event to raise funds for Japan. I have so many friends here who are artists, and I am asking them to donate artworks. There are many places you can donate money right now. And in the coming 5-6 years they will really need money when they start to rebuild things. We all need to donate. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-7.jpg\">\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taro-8.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Visit \u003ca href=\"http://www.interaction.org/crisis-list/interaction-members-support-japan-earthquake-response\">Interaction.org\u003c/a> for a list of organizations supporting relief efforts in Japan. Taro Hattori’s Exinclusivity exhibition is on view at \u003ca href=\"http://www.proartsgallery.org/\">ProArts Gallery\u003c/a> in Oakland through April 8, 2011.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Gina Contreras paints gardens of beautiful flowers where old folks stroll hand-in-hand, become friends with benefits, and fall in love. She is interested in the possibilities of love at any age, and is especially keen on the awkwardness of romance in the golden years. While devoted to her art full-time, Gina also works at SFMOMA where she’s clocked several celebrity sightings, including one of her longtime crushes, James Franco. We snuck into her studio just in time for Valentine’s Day to find out more about this lovely artist.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-1.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>How did you land on the subject of elderly romance?\u003c/i>\u003c/p>\n\u003cp>\u003cb>Gina Contreras:\u003c/b> “I like drawing old people because they’re the only kind of people who can be cute and creepy at the same time. I find that really lovable and funny. Most of my work is about the humor or randomness of love. A lot of people see my work and think I’m drawing my grandparents or family members, but I’m actually drawing strangers. I have a weird sense of humor about love, but I wouldn’t want to draw my own grandparents doing dirty stuff.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-12.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-9.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-16%5D.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>What are the titles of your pieces inspired by?\u003c/i>\u003c/p>\n\u003cp>\u003cb>GC:\u003c/b> “Some are just from watching T.V. Some people like listening to music while they’re drawing or painting, but I like having my TV on. The one called “I’m down for the get down,” was a quote from \u003cb>Jersey Shore\u003c/b>. “I feel it where I get it,” is from that show \u003cb>The Bad Girls Club\u003c/b>. They say amazing things on those shows. Another title is a quote from \u003cb>The Real Housewives of Atlanta\u003c/b>: “I will one-up you.” People put down these shows, but it’s the people behind these shows that I find interesting.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-6.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-8.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>Are any of your characters recurring, or are they always new people?\u003c/i>\u003c/p>\n\u003cp>\u003cb>GC:\u003c/b> “The male figures are sort of recurring because they always have brown hair, and a schoolboy haircut. The women are more different from each other in every piece. I went from being a brunette to blond in life, so now my drawings have more blonds.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-5.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-15.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>Tell us more about why you enjoy drawing frisky old folks.\u003c/i>\u003c/p>\n\u003cp>\u003cb>GC:\u003c/b> “I have so much fun drawing old people in general. My characters are coming out of their shells more now. They’re showing some skin, and situations are getting tougher for them, but they’re still pretty funny. It’s something that I’ve always drawn ever since high school. It started off with a drawing of my grandpa; a portrait I made for him. He hung it up in his house and people would say, “Oh, you drew a really good portrait of Cesar Chavez.” I always thought that was funny.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-19.jpg\">\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-20.jpg\">\u003c/p>\n\u003cp>I grew up with a bunch of older cousins, and my teacher in high school called me an old soul. I think people are afraid of growing up. You’re going to grow old, and if you have somebody and they pass away, there’s always that chance of starting over, which is a beautiful thing.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-24.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-14.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-25.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>Your characters are obviously engaged in some hanky-panky, but they seem modest. Sometimes there are flowers to provide a veil and keep them from being too graphic. \u003c/i>\u003c/p>\n\u003cp>\u003cb>GC:\u003c/b> “Sometimes people see something they consider to be perverted, but if you put a really pretty flower next to it, it somehow becomes cute. I was recently talking about the movie American Beauty where there’s that perverted moment when a man is picturing this young high school girl naked, but there are all these beautiful flowers around her. People talk about how beautiful that scene is but, you know, it’s kind of gross.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-27.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>Tell us about your current exhibit at the new Incline Gallery.\u003c/i>\u003c/p>\n\u003cp>\u003cb>GC:\u003c/b> “My friend who I’m in an art collective with (The San Pancho Art Collective) got the space. It’s huge, but there’s a ramp you have to walk up to see everything. Two of my friends from work are in the show, Nora Aoyagi and Leah Brawley. We’re going to start off the show with little murals that lead to our artwork. The title is, “And it felt like a kiss.” It plays off a song by The Crystals. It’s close to Valentine’s Day and all of us draw about love, so our show is about the possibilities of love, like the song.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-29.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-30.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>If your art had a soundtrack what would it be?\u003c/i>\u003c/p>\n\u003cp>\u003cb>GC:\u003c/b> “This band called El Guincho.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=mTJYj_uL1NQ&fs=1&hl=en_US&rel=0]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See Gina Contreras’ work for yourself at her group show, \u003cb>And It Felt Like a Kiss\u003c/b> at \u003ca href=\"http://www.inclinegallerysf.com/\" target=\"offsite\" rel=\"noopener\">Incline Gallery\u003c/a> through March 6, 2011.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>What are the titles of your pieces inspired by?\u003c/i>\u003c/p>\n\u003cp>\u003cb>GC:\u003c/b> “Some are just from watching T.V. Some people like listening to music while they’re drawing or painting, but I like having my TV on. The one called “I’m down for the get down,” was a quote from \u003cb>Jersey Shore\u003c/b>. “I feel it where I get it,” is from that show \u003cb>The Bad Girls Club\u003c/b>. They say amazing things on those shows. Another title is a quote from \u003cb>The Real Housewives of Atlanta\u003c/b>: “I will one-up you.” People put down these shows, but it’s the people behind these shows that I find interesting.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-6.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-8.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>Are any of your characters recurring, or are they always new people?\u003c/i>\u003c/p>\n\u003cp>\u003cb>GC:\u003c/b> “The male figures are sort of recurring because they always have brown hair, and a schoolboy haircut. The women are more different from each other in every piece. I went from being a brunette to blond in life, so now my drawings have more blonds.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-5.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-15.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>Tell us more about why you enjoy drawing frisky old folks.\u003c/i>\u003c/p>\n\u003cp>\u003cb>GC:\u003c/b> “I have so much fun drawing old people in general. My characters are coming out of their shells more now. They’re showing some skin, and situations are getting tougher for them, but they’re still pretty funny. It’s something that I’ve always drawn ever since high school. It started off with a drawing of my grandpa; a portrait I made for him. He hung it up in his house and people would say, “Oh, you drew a really good portrait of Cesar Chavez.” I always thought that was funny.\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-19.jpg\">\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-20.jpg\">\u003c/p>\n\u003cp>I grew up with a bunch of older cousins, and my teacher in high school called me an old soul. I think people are afraid of growing up. You’re going to grow old, and if you have somebody and they pass away, there’s always that chance of starting over, which is a beautiful thing.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-24.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-14.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-25.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>Your characters are obviously engaged in some hanky-panky, but they seem modest. Sometimes there are flowers to provide a veil and keep them from being too graphic. \u003c/i>\u003c/p>\n\u003cp>\u003cb>GC:\u003c/b> “Sometimes people see something they consider to be perverted, but if you put a really pretty flower next to it, it somehow becomes cute. I was recently talking about the movie American Beauty where there’s that perverted moment when a man is picturing this young high school girl naked, but there are all these beautiful flowers around her. People talk about how beautiful that scene is but, you know, it’s kind of gross.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-27.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>Tell us about your current exhibit at the new Incline Gallery.\u003c/i>\u003c/p>\n\u003cp>\u003cb>GC:\u003c/b> “My friend who I’m in an art collective with (The San Pancho Art Collective) got the space. It’s huge, but there’s a ramp you have to walk up to see everything. Two of my friends from work are in the show, Nora Aoyagi and Leah Brawley. We’re going to start off the show with little murals that lead to our artwork. The title is, “And it felt like a kiss.” It plays off a song by The Crystals. It’s close to Valentine’s Day and all of us draw about love, so our show is about the possibilities of love, like the song.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-29.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/gina-30.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>If your art had a soundtrack what would it be?\u003c/i>\u003c/p>\n\u003cp>\u003cb>GC:\u003c/b> “This band called El Guincho.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mTJYj_uL1NQ'\n title='//www.youtube.com/embed/mTJYj_uL1NQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See Gina Contreras’ work for yourself at her group show, \u003cb>And It Felt Like a Kiss\u003c/b> at \u003ca href=\"http://www.inclinegallerysf.com/\" target=\"offsite\" rel=\"noopener\">Incline Gallery\u003c/a> through March 6, 2011.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Valentine’s Day can be a kind of non-holiday, like a party gone wrong, where the highest offerings are heart-shaped-nothings, flowers, and the dinner-movie date. Fortunately February’s smattering of art exhibitions affords something for everyone, so whether you’re looking for a destination that will heat up a first date, open a door with your longtime partner, or to simply get away from all this love and affection here is KQED’s guide to spending your V-Day out.\u003c/p>\n\u003cp>At Catharine Clark Gallery Kambui Olujimi’s mixed media sculptures tantalize the gallery’s open front room. In a gesture as tender and effortless as Picasso’s “Bull’s Head,” each of Olujimi’s sculptures pair the same two objects — handcuffs and jewels — with slight changes in patina and form. Each hangs off of two nails, the baubles appearing to crystallize off the cuff’s chain, rough and delicate in even measures. The gallery also presents drawings by Jonathan Solo that make smooth transitions between coy magazine cut-outs and charged, erotic bodies. \u003cbr>\u003cem>Recommended to the piquant and the sado-elegant.\u003c/em>\u003c/p>\n\u003cp>Meet your date at Pro Arts in Oakland, where two young artists, Chris Fraser and Weston Teruya (see Danielle Sommer’s \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=43455\">review of Teruya’s show\u003c/a>), are using their bodies and materials like it’s 1969 all over again. Fraser’s organically abstract videos bring swaying refractions of light through crevices in womb-like darkness, while Teruya’s cautiously constructed paper replicas of industrial detritus bring love to cinder blocks, desk clamps, and barren girders. Both employ an intimate, qualified technique. \u003cbr>\u003cem>For smart, punctilious art-lovers.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/romaine89.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>“Flux #89,” Dianne Romaine, 2006.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Head over to Chandra Cerrito Contemporary where two artists working in painting and sculpture host a more subtle conversation. Dianne Romaine has worked for several years within the strictest of formal constraints in a series called “Flux”. Romaine paints woody-hued circles on wet canvas that soften at their edges and maintain boundaries like blood cells. The rear gallery features several sculptures of string by Sabine Reckewell, whose minimalist preparatory ink drawings impress the same alterations in space that her sculptures achieve. Both artists find warmth through calculated processes. \u003cbr>\u003cem>For the science-oriented looking for a hushed, pitch-perfect tête-à-tête\u003c/em>\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/loaway.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>“All the Good Ones Get Away,” Kenneth Lo, 2010.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Misery would like some company at Kenneth Lo’s exhibition at SOEX. Lo has filled the space with tombstones and memorials, decorated with icons and text that take time to sink in. On the floor a grid of cement blocks are decorated with engraved panels that perfectly replicate Lo’s formerly transient Facebook Wall posts, replete with friend’s responses. But you’ll want to spend time with “All the Good Ones Get Away” (2010), an engraving on marble, from memory, of everyone that has ever rejected Lo’s romantic advances, and where they were at the time. This includes the same person at multiple locations, as well as a girl in high school whom he accidentally hit with a baseball bat (“[she] inexplicably lost interest in me”) and while at a cousin’s wedding both a girl (“a great dancer”) and her mother (“also a great dancer. If I ever see her, or Irene, again I’ll need to apologize.”) His recollections are forthright and honest — several names bare asterisks for “the most beautiful woman I had ever seen, at that time” — but sad and severe for the same reasons. Is there any number of rejections that will stop us from pursuing the one we consider the most beautiful? \u003cbr>\u003cem>Recommended to the recently dumped. This exhibition will definitely make you laugh. Bonus: Shotwell’s Bar is 2 blocks east on 20th.\u003c/em>\u003c/p>\n\u003cp>If you’re doing the dumping, you better pick another day for it. Instead take your date for a stroll in the Sculpture Garden at Recology San Francisco, the world’s “only art park located at a garbage company.” Situated atop a hill in a grove of trees, the garden is tranquil and fanciful. Artists in Residence at the SF dump have long been transforming the city’s waste into sculptures that belie their material origin. Permanent works by Colette Crutcher, Rick Carpenter, and Marilyn Kuksht are graceful and calming. \u003cbr>\u003cem>Recommended to those who need to turn things around.\u003c/em>\u003c/p>\n\u003cp>Finally, if you’re the stay-at-home type, Google just made it one step easier. Applying Streetview technology to some of the world’s greatest art museums, including the MoMA, the Tate, and the Met, the Google Art Project allows you to navigate through galleries, zooming closer into masterworks than any real-life guard would permit, and view information and videos about the work in the quick, clean layout that one would expect from this company. \u003cbr>\u003cem>Recommended to homebodies everywhere — bring your own blanket.\u003c/em>\u003c/p>\n\u003cp>PLEASE NOTE: Most art galleries are open Tuesday through Saturday, so you might have to get your Valentine’s Day gallery crawl on a little early if you want to catch most of these shows with a date. But why not start the weekend off right? Kambui Olujimi is at \u003ca href=\"http://www.cclarkgallery.com\">Catharine Clark Gallery\u003c/a> through February 19, 2011. Chris Fraser and Weston Teruya at \u003ca href=\"http://www.proartsgallery.org\">Pro Arts Gallery\u003c/a> through February 25, 2011. Sabine Reckewell and Dianne Romaine at \u003ca href=\"http://www.chandracerrito.com\">Chandra Cerrito Contemporary\u003c/a> through March 19, 2011. Kenneth Lo at\u003ca href=\"http://www.soex.org\">Southern Exposure\u003c/a> through February 19, 2011. \u003ca href=\"http://sunsetscavenger.com/AIR/sculpturegarden.php\">Recology Sculpture Garden\u003c/a> ongoing. \u003ca href=\"http://www.googleartproject.com\">Google Art Project\u003c/a> ongoing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Olujimi image courtesy the artist and Catharine Clark Gallery, San Francisco. Romaine image courtesy the artist and Chandra Cerrito Contemporary, Oakland. Lo image courtesy the artist and Southern Exposure, San Francisco. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Valentine’s Day can be a kind of non-holiday, like a party gone wrong, where the highest offerings are heart-shaped-nothings, flowers, and the dinner-movie date. Fortunately February’s smattering of art exhibitions affords something for everyone, so whether you’re looking for a destination that will heat up a first date, open a door with your longtime partner, or to simply get away from all this love and affection here is KQED’s guide to spending your V-Day out.\u003c/p>\n\u003cp>At Catharine Clark Gallery Kambui Olujimi’s mixed media sculptures tantalize the gallery’s open front room. In a gesture as tender and effortless as Picasso’s “Bull’s Head,” each of Olujimi’s sculptures pair the same two objects — handcuffs and jewels — with slight changes in patina and form. Each hangs off of two nails, the baubles appearing to crystallize off the cuff’s chain, rough and delicate in even measures. The gallery also presents drawings by Jonathan Solo that make smooth transitions between coy magazine cut-outs and charged, erotic bodies. \u003cbr>\u003cem>Recommended to the piquant and the sado-elegant.\u003c/em>\u003c/p>\n\u003cp>Meet your date at Pro Arts in Oakland, where two young artists, Chris Fraser and Weston Teruya (see Danielle Sommer’s \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=43455\">review of Teruya’s show\u003c/a>), are using their bodies and materials like it’s 1969 all over again. Fraser’s organically abstract videos bring swaying refractions of light through crevices in womb-like darkness, while Teruya’s cautiously constructed paper replicas of industrial detritus bring love to cinder blocks, desk clamps, and barren girders. Both employ an intimate, qualified technique. \u003cbr>\u003cem>For smart, punctilious art-lovers.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/romaine89.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>“Flux #89,” Dianne Romaine, 2006.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Head over to Chandra Cerrito Contemporary where two artists working in painting and sculpture host a more subtle conversation. Dianne Romaine has worked for several years within the strictest of formal constraints in a series called “Flux”. Romaine paints woody-hued circles on wet canvas that soften at their edges and maintain boundaries like blood cells. The rear gallery features several sculptures of string by Sabine Reckewell, whose minimalist preparatory ink drawings impress the same alterations in space that her sculptures achieve. Both artists find warmth through calculated processes. \u003cbr>\u003cem>For the science-oriented looking for a hushed, pitch-perfect tête-à-tête\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/loaway.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>“All the Good Ones Get Away,” Kenneth Lo, 2010.\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Misery would like some company at Kenneth Lo’s exhibition at SOEX. Lo has filled the space with tombstones and memorials, decorated with icons and text that take time to sink in. On the floor a grid of cement blocks are decorated with engraved panels that perfectly replicate Lo’s formerly transient Facebook Wall posts, replete with friend’s responses. But you’ll want to spend time with “All the Good Ones Get Away” (2010), an engraving on marble, from memory, of everyone that has ever rejected Lo’s romantic advances, and where they were at the time. This includes the same person at multiple locations, as well as a girl in high school whom he accidentally hit with a baseball bat (“[she] inexplicably lost interest in me”) and while at a cousin’s wedding both a girl (“a great dancer”) and her mother (“also a great dancer. If I ever see her, or Irene, again I’ll need to apologize.”) His recollections are forthright and honest — several names bare asterisks for “the most beautiful woman I had ever seen, at that time” — but sad and severe for the same reasons. Is there any number of rejections that will stop us from pursuing the one we consider the most beautiful? \u003cbr>\u003cem>Recommended to the recently dumped. This exhibition will definitely make you laugh. Bonus: Shotwell’s Bar is 2 blocks east on 20th.\u003c/em>\u003c/p>\n\u003cp>If you’re doing the dumping, you better pick another day for it. Instead take your date for a stroll in the Sculpture Garden at Recology San Francisco, the world’s “only art park located at a garbage company.” Situated atop a hill in a grove of trees, the garden is tranquil and fanciful. Artists in Residence at the SF dump have long been transforming the city’s waste into sculptures that belie their material origin. Permanent works by Colette Crutcher, Rick Carpenter, and Marilyn Kuksht are graceful and calming. \u003cbr>\u003cem>Recommended to those who need to turn things around.\u003c/em>\u003c/p>\n\u003cp>Finally, if you’re the stay-at-home type, Google just made it one step easier. Applying Streetview technology to some of the world’s greatest art museums, including the MoMA, the Tate, and the Met, the Google Art Project allows you to navigate through galleries, zooming closer into masterworks than any real-life guard would permit, and view information and videos about the work in the quick, clean layout that one would expect from this company. \u003cbr>\u003cem>Recommended to homebodies everywhere — bring your own blanket.\u003c/em>\u003c/p>\n\u003cp>PLEASE NOTE: Most art galleries are open Tuesday through Saturday, so you might have to get your Valentine’s Day gallery crawl on a little early if you want to catch most of these shows with a date. But why not start the weekend off right? Kambui Olujimi is at \u003ca href=\"http://www.cclarkgallery.com\">Catharine Clark Gallery\u003c/a> through February 19, 2011. Chris Fraser and Weston Teruya at \u003ca href=\"http://www.proartsgallery.org\">Pro Arts Gallery\u003c/a> through February 25, 2011. Sabine Reckewell and Dianne Romaine at \u003ca href=\"http://www.chandracerrito.com\">Chandra Cerrito Contemporary\u003c/a> through March 19, 2011. Kenneth Lo at\u003ca href=\"http://www.soex.org\">Southern Exposure\u003c/a> through February 19, 2011. \u003ca href=\"http://sunsetscavenger.com/AIR/sculpturegarden.php\">Recology Sculpture Garden\u003c/a> ongoing. \u003ca href=\"http://www.googleartproject.com\">Google Art Project\u003c/a> ongoing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Olujimi image courtesy the artist and Catharine Clark Gallery, San Francisco. Romaine image courtesy the artist and Chandra Cerrito Contemporary, Oakland. Lo image courtesy the artist and Southern Exposure, San Francisco. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Should I Stay or Should I Go?",
"headTitle": "Should I Stay or Should I Go? | KQED",
"content": "\u003cp>Last August, I shoehorned my studio into a pickup truck and moved to New York City. I had always lived in the San Francisco Bay Area and I enjoyed the perks of being a local: family, friends, community, a viable network in art and work, an active exhibition schedule, and a dreamy studio with interesting studio mates.\u003c/p>\n\u003cp>While my reasons were personal and pragmatic, I unwittingly trod a beaten path, following scores of artists who had moved to New York. Each of the profiles of contemporary artists in Calvin Tompkins’ \u003cem>The Lives of Artists\u003c/em> (2008) includes a story about arriving in New York. But every arrival in New York implies a departure from elsewhere. For me, the cliché about artists “making it” in New York wears thin quickly. The change in location is still registering with me; I feel like a Bay Area artist living in New York. I am trying to establish a new community, network, and locus of activity because I need tangible evidence of a practice; it is my campaign against a fuzzy sense of limbo.\u003c/p>\n\u003cp>\u003cstrong>Background\u003c/strong>\u003c/p>\n\u003cp>Last February, curator Renny Pritikin published “\u003ca href=\"http://blog.sfmoma.org/2010/02/artists-whove-left-town/\">Artists Who’ve Left Town\u003c/a>,” a post on SFMOMA’s \u003cem>Open Space\u003c/em> blog that proposed a thought experiment using quantitative evidence to address “why do [artists] stay or leave, and what objective information can we glean from the facts we have?” An outpouring of comments followed — ninety-six in three days, an overwhelming number considering the breadth of respondents and depth of reflections. The comments were predominantly qualitative, anecdotal, and personal, despite Pritikin’s intentions to seek hard data. But I suspect push-and-pull factors are too numerous and idiosyncratic to be quantified in statistics. Even when psychologist Mihaly Csikszentmihalyi and his students at the University of Chicago conducted ninety-one in-depth interviews with exceptionally creative artists, writers, scientists, and innovators between 1990 and 1995, his extrapolations included multiple paradoxes about creative lives.\u003csup>1\u003c/sup> So rather than asking for concrete data, I decided to seek insights about what compels Bay Area artists to stay or go from those with first-hand experience.\u003c/p>\n\u003cp>\u003cstrong>Some Who Stay, Some Who Go\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I approached three friends who claimed the Bay Area as a home, even though they were currently out of the state or country.\u003csup>2\u003c/sup> I think of them as particularly San Franciscan: community-minded, diversity-oriented, and international yet “super-local,” as Stephanie Syjuco calls herself and others who can claim to be “from here.”\u003c/p>\n\u003cp>\u003ca href=\"http://wofflehouse.com/\">Jenifer K Wofford\u003c/a> received her BFA from the San Francisco Art Institute (SFAI) and her MFA from UC Berkeley; she is a multidisciplinary artist and member of the performance group Mail Order Brides. Her recent drawings investigate semi-fictional Filipino American narratives. A longtime educator, Wofford relocated to Prague in 2009 after many years in Oakland; she returned to California to teach for the spring 2011 semester.\u003c/p>\n\u003cp>\u003ca href=\"http://www.stephaniesyjuco.com/\">Stephanie Syjuco\u003c/a>, who graduated from SFAI with her BFA and from Stanford University with her MFA, is a project-based sculptor and installation artist whose work often challenges conventional economics. A San Francisco native, she has recently completed a teaching stint in Pittsburgh and a residency at the International Studio and Curatorial Program in New York.\u003c/p>\n\u003cp>\u003ca href=\"http://arcega.us/\">Michael Arcega\u003c/a> also graduated from SFAI and Stanford University with his undergraduate and graduate degrees, respectively, but is originally from Manila via Los Angeles. His sculptures and installations are rooted in cross-cultural miscommunications. Arcega accepted a short-term teaching position in Virginia last fall.\u003c/p>\n\u003cp>I also corresponded with two artists who currently reside in the Bay Area. They both happen to make installations using photographs. I had seen \u003ca href=\"http://pabloguardiola.com/\">Pablo Guardiola\u003c/a>‘s conceptual spaces made with photographs of mundane objects around town. Originally from Puerto Rico, he received an MFA from SFAI and resides in San Francisco for now. \u003ca href=\"http://www.emmaspertus.com/\">Emma Spertus\u003c/a>‘ installations use photographs of vernacular architecture. Born and raised in Berkeley, Spertus attended college in Minneapolis and graduate school in New York, but emphatically calls Oakland home.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/i2-10_Yap_Feature_Spertus.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Detail of \u003cem>White Room\u003c/em>, Emma Spertus, 2010. Courtesy of White Columns, New York.\u003c/p>\n\u003cp>\u003cstrong>Primary Push/Pull Factors: Economics\u003c/strong>\u003c/p>\n\u003cp>Those who left the Bay Area did so reluctantly, but out of economic necessity. They told me they left for work, but would leave again, without pause, for opportunities to advance their art practices and careers.\u003c/p>\n\u003cp>Even with so many art schools, colleges, and universities in the region, they found the competition and conventions around seniority for young teachers to be almost insurmountable hurdles to securing decent, stable incomes. Arcega was lured to “a temporary teaching position at Virginia Commonwealth University… Overall, the move was for financial and employment stability.” Wofford noted that before she left, “as an adjunct professor, I was having classes either cancelled or yanked … by full-timers.” Spertus, who is deeply invested in her Oakland community, said, “The only thing that might compel me to leave the Bay is a teaching job at the college level.”\u003c/p>\n\u003cp>Guardiola stated it simply. The two reasons that he’d leave the Bay were the same reasons he would stay: “Better opportunities as an artist, or a better job.”\u003c/p>\n\u003cp>In some cases, I perceived that these artists were weighing their loyalties to a place against the sustainability of their practices. For example, Wofford said, “I absolutely think of myself as Bay Area. Proudly so,” yet qualified, “I am going to go where the opportunities are.” Syjuco wrote to me: “I would only leave again [to have a bigger studio and to fund ambitious projects] — for me it’s really about economics now and seeing to it that I can keep making the work that needs to be made.”\u003c/p>\n\u003cp>Whether or not the Bay Area could provide this support was up for debate. As Arcega pointed out, when weighing “things like retirement, healthcare, and savings … San Francisco is prohibitively expensive.” Syjuco also expressed some uncertainty: “My big hurdle in San Francisco is being able to afford everything and keep the art career going. I’m still not sure it’s possible in the long run.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/i2-10_Yap_Feature_Syjuco.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003cem>Particulate Matter (Things, Thingys, Thingies),\u003c/em> Stephanie Syjuco, 2010; installation view at Gallery 400, University of lllinois, Chicago; over seventy handmade objects based on ‘shared’ designs sourced from Google SketchUp and accompanying digital video projection; overall 35 x 30 x 6 ft. Courtesy of the Artist and Catharine Clark Gallery, San Francisco.\u003c/p>\n\u003cp>\u003cstrong>What Artists Need\u003c/strong>\u003c/p>\n\u003cp>“Most of us deep down believe that a person who is creative will prevail regardless of the environment,” Csikszentmihalyi wrote. “But the reality appears to be different…. No matter how gifted a person is, he or she has no chance to achieve anything creative unless the right conditions are provided by the field.”\u003csup>3\u003c/sup> Csikszentmihalyi identifies “seven major elements in the social milieu that help make creative contributions possible: training, expectations, resources, recognition, hope, opportunity, and reward. Some of these are direct responsibilities of the field, others depend on the broader social system.”\u003csup>4\u003c/sup>\u003c/p>\n\u003cp>In a passage that seems especially pertinent to the question of Bay Area artist retention, Csikszentmihalyi wrote, “Training, expectations, resources, and recognition are to no avail, however, if the young person has no hope of using his or her skills in a productive career…. After hope, one needs to have real opportunities to act in the domain.”\u003csup>5\u003c/sup>\u003c/p>\n\u003cp>The number of these opportunities, especially at higher professional levels, was a critical factor influencing these artists’ decisions to stay or leave. Wofford elaborated:\u003c/p>\n\u003cp>\u003cem>The fact of the matter is I left because I wasn’t seeing new opportunities or stable income. Even after spending most of my life and my career committed to being in the Bay Area as an artist and arts educator, I was still not able to make a consistent, adult living for myself. Lots of great exhibitions, for sure, and some amazing teaching gigs, but nothing that was parlaying into increasing art sales or full-time, tenure-track jobs.\u003c/em>\u003c/p>\n\u003cp>I too have felt the frustrating sense of spinning my wheels as a Bay Area artist. The year 2008 marked my tenth year of exhibiting in group shows, and while I was grateful for past opportunities, I was also dissatisfied that so many goals remained elusive: gallery representation, sales, a solo show, reviews. Since then — through initiative and network support — I had a solo exhibition and sold a few works, but the fear that staying in the Bay Area might limit my advancement lingered. Paradoxically, moving to New York ameliorates that worry, even if I have nothing tangible to show for it yet.\u003c/p>\n\u003cp>\u003cstrong>San Francisco, Not New York\u003c/strong>\u003c/p>\n\u003cp>In my conversations, artists mentioned New York, but they didn’t see being there as essential. In fact, Spertus left New York — though it wasn’t easy, and she misses employment opportunities available in New York City.\u003csup>6\u003c/sup> “The fact that I left New York right after finishing the [MFA] program was a feat. I would say 99 percent of Hunter [MFA] alumni stay in New York in order to further their careers and utilize their contacts they have established. My friends thought it was crazy that I was leaving,” she wrote.\u003c/p>\n\u003cp>To Wofford, New York’s centrality is overblown. Even at a residency in Europe, she reproachfully recounted, “It was colossally predictable how often New York was asserted as the center of the conversation. \u003cem>In Italy\u003c/em>!”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/i2-10_Yap_Feature_Wofford.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003cem>Wedged Nurse\u003c/em>, Jenifer K Wofford, 2006. Courtesy of the Artist.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/I210_Yap.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003cem>think good thoughts / fortify good attitudes\u003c/em>, Christine Wong Yap, 2011. Courtesy of the Artist.\u003c/p>\n\u003cp>The \u003cem>Open Space\u003c/em> post and comments were peppered with references to New York — eighty-six times, by my count, compared to thirty-four mentions of Los Angeles — giving the impression that the Bay Area art community suffers from an inferiority complex, and has less than its fair share of art industry. That perspective discounts the area’s major museums, which initiate major exhibitions, host traveling shows, offer jobs, and provide forums for local artists.\u003csup>7\u003c/sup> Further, it overlooks the abundance of art schools, strong art programs, and well-regarded international residencies that draw artists to the area.\u003csup>8\u003c/sup> These exhibiting and academic institutions are set within a culture of progressive thought, a major center for technological and scientific innovation, and an impassioned food scene.\u003c/p>\n\u003cp>On its own terms, the Bay Area is vibrant. But even from a statistical perspective, the assumption that San Francisco ought to be able to compete with New York is preposterous. The nine-county San Francisco Bay Area holds 7.1 million residents, while the twenty-three-county Greater New York Metropolitan area is home to nineteen million, according to the U.S. Census Bureau’s 2009 Population Estimate. The Bureau also reports New York as the largest city in the United States, as it has done since the first census in 1790, sixty years before California achieved statehood and San Francisco incorporated.\u003c/p>\n\u003cp>In other words, any comparison between the two metropolitan areas places the Bay Area at a disadvantage from the outset.\u003c/p>\n\u003cp>\u003cstrong>What Artists Don’t Need: Perceptions as Prodigal Sons and Daughters\u003c/strong>\u003c/p>\n\u003cp>The persistence of the comparison and the resulting belief that the San Francisco Bay Area is inferior can lead to a cruel paradox for its expat artists, in which they see an increase in opportunities in the Bay Area after relocating to New York. Joining this bandwagon reinforces New York’s status as a validating agent, and minimizes local instincts and impacts. However, while the artists I spoke with acknowledged the Bay Area’s comparative limits, they also held its artistic production in high esteem. Syjuco, who has a significant history of exhibiting internationally, affirmed, “I really do think we have a world-class art scene here.”\u003c/p>\n\u003cp>One obvious counterpoint to New York-as-validator is the presence of many alternative art organizations, which successfully nurture local artists. “Advocacy for the arts by artists and arts professionals create an environment that cultivates, encourages, and generates production and goodwill,” wrote Arcega. He and Wofford listed numerous positive influences, including the \u003ca href=\"http://www.sfartscommission.org/\">San Francisco Arts Commission\u003c/a>, the \u003ca href=\"http://www.luggagestoregallery.org/\">Luggage Store Gallery\u003c/a>, \u003ca href=\"http://theintersection.org/\">Intersection for the Arts\u003c/a>, \u003ca href=\"http://www.thelab.org/\">The Lab\u003c/a>, \u003ca href=\"http://kearnystreet.org/\">Kearny Street Workshop\u003c/a>, and the \u003ca href=\"http://headlands.org/\">Headlands Center for the Arts\u003c/a>. They spoke of \u003ca href=\"http://soex.org/index.html\">Southern Exposure\u003c/a> with particular enthusiasm.\u003c/p>\n\u003cp>These kinds of nonprofit and civic organizations, along with artist-run spaces, are important stepping stones in the ecology of the local art scene.\u003csup>9\u003c/sup> They form a grassroots exhibition, commissioning, and employment strata of the art industry, a zone that funnels institutional and governmental resources toward emerging artists. As Syjuco extols, “We have a ridiculous amount of nonprofit and self-starter organizations. Everyone seems really pro-active about finding places to show or create opportunities….I’ve been really impressed with what I find is the tenacity of a local community to create opportunity.”\u003csup>10\u003c/sup>\u003c/p>\n\u003cp>\u003cstrong>A Reason to Stay and Go: E-Artists & Emissaries\u003c/strong>\u003c/p>\n\u003cp>The appreciation for both local validation and opportunities elsewhere was captured in a meme Pritikin proposed in response to Steve Lambert, a San Francisco artist who relocated to New York via a residency:\u003c/p>\n\u003cp>\u003cem>I think your career might be a new model! THE E-ARTIST, who doesn’t really live anywhere except where opportunity lies, and doesn’t valorize one community over another but takes each for what they have to offer and good-naturedly enjoys it all.\u003c/em>\u003c/p>\n\u003cp>This concept is promising, but it doesn’t account for the fact that awards, grants, commissions, and exhibition programs are sometimes earmarked for local artists. When I first approached Arcega about an interview, he was careful to explain that the teaching job was temporary and that he maintained a primary residence in San Francisco, so he would remain eligible for a local prize. This have-it-both-ways scenario does not always work. Since I moved, I excused myself from two nominations for Bay Area artist opportunities; in New York, I am ineligible to apply to the New York Foundation for the Arts programs for two years, creating a kind of bureaucratic limbo. The point of the e-artist concept is to lend the artist the advantages of multiple places, but these opportunities are not always available, and they can present ethical dilemmas when it comes to location-specific competitions.\u003c/p>\n\u003cp>While many of the respondents to Pritikin’s post took the opportunity to rant on the region’s shortcomings, no artists I corresponded with voiced an outright rejection of the Bay Area. Artists like Syjuco, Arcega, and Wofford simply see their horizons expanding, existing, as Wofford describes it, in a kind of transnationalism. They are staunchly attached to the Bay Area for personal and political reasons. Going further, they see themselves as ambassadors of sorts, sharing the work of Bay Area artists in their classes, and promulgating a community-minded spirit. Syjuco: “I talk of the Bay a lot when I’m traveling, trying to let folks know about what goes on here and how great it is.” Arcega wrote, “I try to bring a certain ethos into my classes — a code of responsibility toward the broader community, which I learned from living in San Francisco.”\u003c/p>\n\u003cp>\u003cstrong>A Reason to Stay: Thinking Globally, Acting Locally\u003c/strong>\u003c/p>\n\u003cp>Even from afar, Arcega, Wofford, and Syjuco stake a claim on their home via their art practice. Wofford wrote, “I’m happy to keep presenting, connecting, and initiating conversations beyond the Bay, but I’m certainly grateful for the ways that my practice and themes as an artist do have an implicit place and a conversation at home.” Syjuco said, “It’s still really important for me to exhibit locally…. Having a local gallery, Catharine Clark Gallery … situates me in a local dialogue and it’s sort of like being ‘counted’ [here].”\u003c/p>\n\u003cp>In addition, these artists focus their creative energy on local events and spaces. In doing so, artists create agency. They take actions to shape the art worlds they want to participate in, and expand the range of art activity in the Bay Area. Spertus, for example, was involved in the seminal zine \u003cem>\u003ca href=\"http://www.kitchensinkmag.com/\">Kitchen Sink\u003c/a>\u003c/em> and \u003ca href=\"http://www.rpscollective.com/\">Rock Paper Scissors Collective\u003c/a>, which she helped to found. DIY initiatives like these formed the groundwork for the vibrant Oakland gallery scene, which would have been unimaginable just fifteen years ago.\u003c/p>\n\u003cp>By becoming agents in their communities, these artists enact personal visions by exercising generosity and reciprocity. As Wofford wrote:\u003c/p>\n\u003cp>\u003cem>It wasn’t until I was an adult, and living in/participating in Bay Area communities (particularly working with nonprofits and public schools) that I finally understood the power of community. I’ve benefited deeply from it, and I like to return the favor where possible.\u003c/em>\u003c/p>\n\u003cp>This ethos so thoroughly pervades the region that it can be perplexing to those who don’t espouse it. In a \u003ca href=\"http://collapsiblebox.blogspot.com/2010/11/community_16.html\">recent blog post\u003c/a>, Guardiola wrote, “Since moving to San Francisco seven years ago, the Bay Area’s obsession with community has never ceased to shock and confound me.” I can appreciate his point about taking an ethos for granted. Perhaps, like the mild air we breathe, we are so accustomed to notions of community and loyalty, the thought that another city might better fit artists sparks shock and confusion in us.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/i2-10_Yap_Feature_Arcega.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003cem>Work In Progress\u003c/em>, Michael Arcega, 2010. Courtesy of the Artist and Marx & Zavattero, San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Perceptions of Freedom\u003c/strong>\u003c/p>\n\u003cp>According to cultural geographer Yi-Fu Tuan, “Place is security, space is freedom; we are attached to the one and long for the other.”\u003csup>11\u003c/sup> In this dichotomy, the San Francisco Bay Area can represent both security and freedom. For emerging artists, it can symbolize a space where artists are freed from market imperatives to experiment and grow. “As a young artist, San Francisco was a great place to kind of hunker down and grow a practice,” said Syjuco. When space becomes invested with meaning, it becomes a place, with the benefit of certainty. “I think a certain kind of security and sense of place engenders productive risk-taking, and that’s what the Bay Area has been for me,” says Wofford.\u003c/p>\n\u003cp>However, Tuan points out that place-hood can engender risks: “In time we become familiar with a place, which means that we can take more and more of it for granted.”\u003csup>12\u003c/sup> Thus, even artists who are Bay Area impresarios like Arcega will admit, “the fear of stagnation and becoming too regional are things that haunt me.” If Bay Area artists perceive that the region can only provide diminishing opportunities, it will become like a small town, “crowded in an economic sense because it did not provide enough jobs,” as Tuan describes this risk. One can readily imagine artists pushed to New York like young workers to cities, “where the young believed they could move ahead and better themselves.”\u003csup>13\u003c/sup>\u003c/p>\n\u003cp>Of course, looking past the promise of the unknown, cities like New York are not exempt from the crowding that changes a free space into a crowded place, either. As Csikszentmihalyi writes, “In sciences and the arts, the closer one is to major [institutions of the field], the easier it is for a new voice to be heard and appreciated. At the same time, there is a downside to being near the centers of power” — competition, pressure, and not enough time or space to incubate one’s ideas.\u003csup>14\u003c/sup> Spertus noted, “Everyone is working so hard [in New York,] it is easy to go to new productive levels yourself, if you can avoid the burnouts associated with such intense efforts.” In his comment on \u003cem>Open Space,\u003c/em> New Jersey-born Anthony Discenza explained his decision to stay in the Bay Area this way:\u003c/p>\n\u003cp>\u003cem>Although returning to NY might in theory increase my professional opportunities, functionally they would likely fall to zero, as I would find myself even more radically constrained in my ability to produce any actual work…. I decided I wasn’t willing to trade [what I have] for the dubious value of being able to go to openings at Gagosian every month.\u003c/em>\u003c/p>\n\u003cp>Whether the artists I spoke with choose to stay or go is a personal matter, related to shared issues of employment, financial stability, art opportunities, and community ethos, as well as unquantifiable personal reasons — most commonly, relationships. To them, the Bay Area functions as a free space for experimentation or a secure place for risk-taking, with its unique resources and practitioners. Quite often, artists who see themselves as agents, who engage and create the kind of art world they would like to participate in locally, invest deeply in reinforcing a local ethos. \u003c/p>\n\u003cp>As its practitioners spread out beyond the Bay Area, so too does its network. Here in New York, I’ve been part of a satellite community of California College of the Arts alumni and colleagues from San Francisco’s alternative art spaces. I continue to observe Bay Area art activity and participate in it whenever possible, because I am invested in its artists and spaces, and I find the work interesting and ideas vital. \u003cem>Open Space\u003c/em> is an example of a dialogue that spans a kind of Bay Area-art diaspora. Such conversations will be continued by the artists I corresponded with, who will be coming to and going from (and promoting, missing, and enjoying) the San Francisco Bay Area this spring.\u003c/p>\n\u003cp>________\u003c/p>\n\u003cp>NOTES:\u003c/p>\n\u003cp style=\"font-size: 10px\">1. Mihalyi Csikszentmihalyi, \u003cem>Creativity: Flow and The Psychology of Discovery and Invention\u003c/em> (New York: Harper Collins, 1997).\u003c/p>\n\u003cp style=\"font-size: 10px\">2. Various email messages to author, September 26–December 14, 2010.\u003c/p>\n\u003cp style=\"font-size: 10px\">3. “Creativity is any act, idea, or product that changes an existing domain, or that transforms an existing domain into a new one.” (Csikszentmihalyi 28) “Creativity results from the interaction of a system composed of three elements: a culture that contains symbolic rules, a person who brings novelty into the symbolic domain, and a field of experts who recognize and validate the innovation. All three are necessary for a creative idea or product to take place.” (Csikszentmihalyi 6). See also Csikszentmihalyi 330–3.\u003c/p>\n\u003cp style=\"font-size: 10px\">4. Csikszentmihalyi 330–3. It is notable that these elements are akin to Pritikin’s “\u003ca href=\"http://blog.sfmoma.org/2010/07/the-grass-is-always-greener/\">Prescription for a Healthy Art Scene\u003c/a>.”\u003c/p>\n\u003cp style=\"font-size: 10px\">5. Csikszentmihalyi 330–3.\u003c/p>\n\u003cp style=\"font-size: 10px\">6. From email conversation with artist, December 5, 2010.\u003c/p>\n\u003cp style=\"font-size: 10px\">7. These include: the (rapidly-expanding) \u003ca href=\"http://sfmoma.org/\">SFMOMA\u003c/a>, the \u003ca href=\"http://www.famsf.org/\">De Young Museum\u003c/a>, \u003ca href=\"http://ybca.org/\">Yerba Buena Center for the Arts\u003c/a>, the \u003ca href=\"http://museumca.org/\">Oakland Museum of California\u003c/a>, the \u003ca href=\"http://www.bampfa.berkeley.edu/\">Berkeley Art Museum\u003c/a>, the \u003ca href=\"http://www.sjmusart.org/\">San Jose Museum of Art\u003c/a>, the \u003ca href=\"http://www.wattis.org/\">CCA Wattis Institute for Contemporary Art\u003c/a>, the \u003ca href=\"http://www.asianart.org/\">Asian Art Museum\u003c/a>, and the \u003ca href=\"http://www.thecjm.org/\">Contemporary Jewish Museum\u003c/a>.\u003c/p>\n\u003cp style=\"font-size: 10px\">8. Bay Area art schools and programs include \u003ca href=\"http://www.cca.edu/\">California College of the Arts\u003c/a>, \u003ca href=\"http://www.sfai.edu/\">San Francisco Art Institute\u003c/a>, \u003ca href=\"http://www.mills.edu/\">Mills College\u003c/a>, \u003ca href=\"http://www.stanford.edu/\">Stanford University\u003c/a>, and the University of California and state schools. Residency programs include the \u003ca href=\"http://headlands.org/\">Headlands Center for the Arts\u003c/a>, the \u003ca href=\"http://montalvoarts.org/\">Montalvo Arts Center\u003c/a>, and the \u003ca href=\"http://www.djerassi.org/\">Djerassi Resident Artists Program\u003c/a>.\u003c/p>\n\u003cp style=\"font-size: 10px\">9. See \u003ca href=\"http://maps.google.com/maps/ms?hl=en&ie=UTF8&msa=0&msid=104757554013319515119.00046a4a283d8c57a1b55&ll=37.855881,-122.25071&spn=0.130657,0.218353&z=12\">Narangkar Glover’s \u003c/a>\u003cem>\u003ca href=\"http://maps.google.com/maps/ms?hl=en&ie=UTF8&msa=0&msid=104757554013319515119.00046a4a283d8c57a1b55&ll=37.855881,-122.25071&spn=0.130657,0.218353&z=12\">Artist Run Gallery Spaces of the Bay Area\u003c/a> \u003c/em>Google map.\u003c/p>\n\u003cp style=\"font-size: 10px\">10. Commercial galleries were mentioned in our dialogues to a lesser extent. These strata of the art ecology encompass a diverse array of galleries. A critical mass of commercial galleries can be found in downtown San Francisco, with looser networks in the Mission and South of Market neighborhoods, as well as those that comprise the scrappy \u003ca href=\"http://oaklandartmurmur.com/\">Oakland Art Murmur\u003c/a>.\u003c/p>\n\u003cp style=\"font-size: 10px\">11. Yi-Fu Tuan, \u003cem>Space and Place: The Perspective of Experience\u003c/em> (Minneapolis: University Minnesota, 1977), 3.\u003c/p>\n\u003cp style=\"font-size: 10px\">12. Tuan, 184.\u003c/p>\n\u003cp style=\"font-size: 10px\">13. Tuan, 60.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp style=\"font-size: 10px\">14. Csikszentmihalyi, 132.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last August, I shoehorned my studio into a pickup truck and moved to New York City. I had always lived in the San Francisco Bay Area and I enjoyed the perks of being a local: family, friends, community, a viable network in art and work, an active exhibition schedule, and a dreamy studio with interesting studio mates.\u003c/p>\n\u003cp>While my reasons were personal and pragmatic, I unwittingly trod a beaten path, following scores of artists who had moved to New York. Each of the profiles of contemporary artists in Calvin Tompkins’ \u003cem>The Lives of Artists\u003c/em> (2008) includes a story about arriving in New York. But every arrival in New York implies a departure from elsewhere. For me, the cliché about artists “making it” in New York wears thin quickly. The change in location is still registering with me; I feel like a Bay Area artist living in New York. I am trying to establish a new community, network, and locus of activity because I need tangible evidence of a practice; it is my campaign against a fuzzy sense of limbo.\u003c/p>\n\u003cp>\u003cstrong>Background\u003c/strong>\u003c/p>\n\u003cp>Last February, curator Renny Pritikin published “\u003ca href=\"http://blog.sfmoma.org/2010/02/artists-whove-left-town/\">Artists Who’ve Left Town\u003c/a>,” a post on SFMOMA’s \u003cem>Open Space\u003c/em> blog that proposed a thought experiment using quantitative evidence to address “why do [artists] stay or leave, and what objective information can we glean from the facts we have?” An outpouring of comments followed — ninety-six in three days, an overwhelming number considering the breadth of respondents and depth of reflections. The comments were predominantly qualitative, anecdotal, and personal, despite Pritikin’s intentions to seek hard data. But I suspect push-and-pull factors are too numerous and idiosyncratic to be quantified in statistics. Even when psychologist Mihaly Csikszentmihalyi and his students at the University of Chicago conducted ninety-one in-depth interviews with exceptionally creative artists, writers, scientists, and innovators between 1990 and 1995, his extrapolations included multiple paradoxes about creative lives.\u003csup>1\u003c/sup> So rather than asking for concrete data, I decided to seek insights about what compels Bay Area artists to stay or go from those with first-hand experience.\u003c/p>\n\u003cp>\u003cstrong>Some Who Stay, Some Who Go\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I approached three friends who claimed the Bay Area as a home, even though they were currently out of the state or country.\u003csup>2\u003c/sup> I think of them as particularly San Franciscan: community-minded, diversity-oriented, and international yet “super-local,” as Stephanie Syjuco calls herself and others who can claim to be “from here.”\u003c/p>\n\u003cp>\u003ca href=\"http://wofflehouse.com/\">Jenifer K Wofford\u003c/a> received her BFA from the San Francisco Art Institute (SFAI) and her MFA from UC Berkeley; she is a multidisciplinary artist and member of the performance group Mail Order Brides. Her recent drawings investigate semi-fictional Filipino American narratives. A longtime educator, Wofford relocated to Prague in 2009 after many years in Oakland; she returned to California to teach for the spring 2011 semester.\u003c/p>\n\u003cp>\u003ca href=\"http://www.stephaniesyjuco.com/\">Stephanie Syjuco\u003c/a>, who graduated from SFAI with her BFA and from Stanford University with her MFA, is a project-based sculptor and installation artist whose work often challenges conventional economics. A San Francisco native, she has recently completed a teaching stint in Pittsburgh and a residency at the International Studio and Curatorial Program in New York.\u003c/p>\n\u003cp>\u003ca href=\"http://arcega.us/\">Michael Arcega\u003c/a> also graduated from SFAI and Stanford University with his undergraduate and graduate degrees, respectively, but is originally from Manila via Los Angeles. His sculptures and installations are rooted in cross-cultural miscommunications. Arcega accepted a short-term teaching position in Virginia last fall.\u003c/p>\n\u003cp>I also corresponded with two artists who currently reside in the Bay Area. They both happen to make installations using photographs. I had seen \u003ca href=\"http://pabloguardiola.com/\">Pablo Guardiola\u003c/a>‘s conceptual spaces made with photographs of mundane objects around town. Originally from Puerto Rico, he received an MFA from SFAI and resides in San Francisco for now. \u003ca href=\"http://www.emmaspertus.com/\">Emma Spertus\u003c/a>‘ installations use photographs of vernacular architecture. Born and raised in Berkeley, Spertus attended college in Minneapolis and graduate school in New York, but emphatically calls Oakland home.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/i2-10_Yap_Feature_Spertus.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Detail of \u003cem>White Room\u003c/em>, Emma Spertus, 2010. Courtesy of White Columns, New York.\u003c/p>\n\u003cp>\u003cstrong>Primary Push/Pull Factors: Economics\u003c/strong>\u003c/p>\n\u003cp>Those who left the Bay Area did so reluctantly, but out of economic necessity. They told me they left for work, but would leave again, without pause, for opportunities to advance their art practices and careers.\u003c/p>\n\u003cp>Even with so many art schools, colleges, and universities in the region, they found the competition and conventions around seniority for young teachers to be almost insurmountable hurdles to securing decent, stable incomes. Arcega was lured to “a temporary teaching position at Virginia Commonwealth University… Overall, the move was for financial and employment stability.” Wofford noted that before she left, “as an adjunct professor, I was having classes either cancelled or yanked … by full-timers.” Spertus, who is deeply invested in her Oakland community, said, “The only thing that might compel me to leave the Bay is a teaching job at the college level.”\u003c/p>\n\u003cp>Guardiola stated it simply. The two reasons that he’d leave the Bay were the same reasons he would stay: “Better opportunities as an artist, or a better job.”\u003c/p>\n\u003cp>In some cases, I perceived that these artists were weighing their loyalties to a place against the sustainability of their practices. For example, Wofford said, “I absolutely think of myself as Bay Area. Proudly so,” yet qualified, “I am going to go where the opportunities are.” Syjuco wrote to me: “I would only leave again [to have a bigger studio and to fund ambitious projects] — for me it’s really about economics now and seeing to it that I can keep making the work that needs to be made.”\u003c/p>\n\u003cp>Whether or not the Bay Area could provide this support was up for debate. As Arcega pointed out, when weighing “things like retirement, healthcare, and savings … San Francisco is prohibitively expensive.” Syjuco also expressed some uncertainty: “My big hurdle in San Francisco is being able to afford everything and keep the art career going. I’m still not sure it’s possible in the long run.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/i2-10_Yap_Feature_Syjuco.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003cem>Particulate Matter (Things, Thingys, Thingies),\u003c/em> Stephanie Syjuco, 2010; installation view at Gallery 400, University of lllinois, Chicago; over seventy handmade objects based on ‘shared’ designs sourced from Google SketchUp and accompanying digital video projection; overall 35 x 30 x 6 ft. Courtesy of the Artist and Catharine Clark Gallery, San Francisco.\u003c/p>\n\u003cp>\u003cstrong>What Artists Need\u003c/strong>\u003c/p>\n\u003cp>“Most of us deep down believe that a person who is creative will prevail regardless of the environment,” Csikszentmihalyi wrote. “But the reality appears to be different…. No matter how gifted a person is, he or she has no chance to achieve anything creative unless the right conditions are provided by the field.”\u003csup>3\u003c/sup> Csikszentmihalyi identifies “seven major elements in the social milieu that help make creative contributions possible: training, expectations, resources, recognition, hope, opportunity, and reward. Some of these are direct responsibilities of the field, others depend on the broader social system.”\u003csup>4\u003c/sup>\u003c/p>\n\u003cp>In a passage that seems especially pertinent to the question of Bay Area artist retention, Csikszentmihalyi wrote, “Training, expectations, resources, and recognition are to no avail, however, if the young person has no hope of using his or her skills in a productive career…. After hope, one needs to have real opportunities to act in the domain.”\u003csup>5\u003c/sup>\u003c/p>\n\u003cp>The number of these opportunities, especially at higher professional levels, was a critical factor influencing these artists’ decisions to stay or leave. Wofford elaborated:\u003c/p>\n\u003cp>\u003cem>The fact of the matter is I left because I wasn’t seeing new opportunities or stable income. Even after spending most of my life and my career committed to being in the Bay Area as an artist and arts educator, I was still not able to make a consistent, adult living for myself. Lots of great exhibitions, for sure, and some amazing teaching gigs, but nothing that was parlaying into increasing art sales or full-time, tenure-track jobs.\u003c/em>\u003c/p>\n\u003cp>I too have felt the frustrating sense of spinning my wheels as a Bay Area artist. The year 2008 marked my tenth year of exhibiting in group shows, and while I was grateful for past opportunities, I was also dissatisfied that so many goals remained elusive: gallery representation, sales, a solo show, reviews. Since then — through initiative and network support — I had a solo exhibition and sold a few works, but the fear that staying in the Bay Area might limit my advancement lingered. Paradoxically, moving to New York ameliorates that worry, even if I have nothing tangible to show for it yet.\u003c/p>\n\u003cp>\u003cstrong>San Francisco, Not New York\u003c/strong>\u003c/p>\n\u003cp>In my conversations, artists mentioned New York, but they didn’t see being there as essential. In fact, Spertus left New York — though it wasn’t easy, and she misses employment opportunities available in New York City.\u003csup>6\u003c/sup> “The fact that I left New York right after finishing the [MFA] program was a feat. I would say 99 percent of Hunter [MFA] alumni stay in New York in order to further their careers and utilize their contacts they have established. My friends thought it was crazy that I was leaving,” she wrote.\u003c/p>\n\u003cp>To Wofford, New York’s centrality is overblown. Even at a residency in Europe, she reproachfully recounted, “It was colossally predictable how often New York was asserted as the center of the conversation. \u003cem>In Italy\u003c/em>!”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/i2-10_Yap_Feature_Wofford.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003cem>Wedged Nurse\u003c/em>, Jenifer K Wofford, 2006. Courtesy of the Artist.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/I210_Yap.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003cem>think good thoughts / fortify good attitudes\u003c/em>, Christine Wong Yap, 2011. Courtesy of the Artist.\u003c/p>\n\u003cp>The \u003cem>Open Space\u003c/em> post and comments were peppered with references to New York — eighty-six times, by my count, compared to thirty-four mentions of Los Angeles — giving the impression that the Bay Area art community suffers from an inferiority complex, and has less than its fair share of art industry. That perspective discounts the area’s major museums, which initiate major exhibitions, host traveling shows, offer jobs, and provide forums for local artists.\u003csup>7\u003c/sup> Further, it overlooks the abundance of art schools, strong art programs, and well-regarded international residencies that draw artists to the area.\u003csup>8\u003c/sup> These exhibiting and academic institutions are set within a culture of progressive thought, a major center for technological and scientific innovation, and an impassioned food scene.\u003c/p>\n\u003cp>On its own terms, the Bay Area is vibrant. But even from a statistical perspective, the assumption that San Francisco ought to be able to compete with New York is preposterous. The nine-county San Francisco Bay Area holds 7.1 million residents, while the twenty-three-county Greater New York Metropolitan area is home to nineteen million, according to the U.S. Census Bureau’s 2009 Population Estimate. The Bureau also reports New York as the largest city in the United States, as it has done since the first census in 1790, sixty years before California achieved statehood and San Francisco incorporated.\u003c/p>\n\u003cp>In other words, any comparison between the two metropolitan areas places the Bay Area at a disadvantage from the outset.\u003c/p>\n\u003cp>\u003cstrong>What Artists Don’t Need: Perceptions as Prodigal Sons and Daughters\u003c/strong>\u003c/p>\n\u003cp>The persistence of the comparison and the resulting belief that the San Francisco Bay Area is inferior can lead to a cruel paradox for its expat artists, in which they see an increase in opportunities in the Bay Area after relocating to New York. Joining this bandwagon reinforces New York’s status as a validating agent, and minimizes local instincts and impacts. However, while the artists I spoke with acknowledged the Bay Area’s comparative limits, they also held its artistic production in high esteem. Syjuco, who has a significant history of exhibiting internationally, affirmed, “I really do think we have a world-class art scene here.”\u003c/p>\n\u003cp>One obvious counterpoint to New York-as-validator is the presence of many alternative art organizations, which successfully nurture local artists. “Advocacy for the arts by artists and arts professionals create an environment that cultivates, encourages, and generates production and goodwill,” wrote Arcega. He and Wofford listed numerous positive influences, including the \u003ca href=\"http://www.sfartscommission.org/\">San Francisco Arts Commission\u003c/a>, the \u003ca href=\"http://www.luggagestoregallery.org/\">Luggage Store Gallery\u003c/a>, \u003ca href=\"http://theintersection.org/\">Intersection for the Arts\u003c/a>, \u003ca href=\"http://www.thelab.org/\">The Lab\u003c/a>, \u003ca href=\"http://kearnystreet.org/\">Kearny Street Workshop\u003c/a>, and the \u003ca href=\"http://headlands.org/\">Headlands Center for the Arts\u003c/a>. They spoke of \u003ca href=\"http://soex.org/index.html\">Southern Exposure\u003c/a> with particular enthusiasm.\u003c/p>\n\u003cp>These kinds of nonprofit and civic organizations, along with artist-run spaces, are important stepping stones in the ecology of the local art scene.\u003csup>9\u003c/sup> They form a grassroots exhibition, commissioning, and employment strata of the art industry, a zone that funnels institutional and governmental resources toward emerging artists. As Syjuco extols, “We have a ridiculous amount of nonprofit and self-starter organizations. Everyone seems really pro-active about finding places to show or create opportunities….I’ve been really impressed with what I find is the tenacity of a local community to create opportunity.”\u003csup>10\u003c/sup>\u003c/p>\n\u003cp>\u003cstrong>A Reason to Stay and Go: E-Artists & Emissaries\u003c/strong>\u003c/p>\n\u003cp>The appreciation for both local validation and opportunities elsewhere was captured in a meme Pritikin proposed in response to Steve Lambert, a San Francisco artist who relocated to New York via a residency:\u003c/p>\n\u003cp>\u003cem>I think your career might be a new model! THE E-ARTIST, who doesn’t really live anywhere except where opportunity lies, and doesn’t valorize one community over another but takes each for what they have to offer and good-naturedly enjoys it all.\u003c/em>\u003c/p>\n\u003cp>This concept is promising, but it doesn’t account for the fact that awards, grants, commissions, and exhibition programs are sometimes earmarked for local artists. When I first approached Arcega about an interview, he was careful to explain that the teaching job was temporary and that he maintained a primary residence in San Francisco, so he would remain eligible for a local prize. This have-it-both-ways scenario does not always work. Since I moved, I excused myself from two nominations for Bay Area artist opportunities; in New York, I am ineligible to apply to the New York Foundation for the Arts programs for two years, creating a kind of bureaucratic limbo. The point of the e-artist concept is to lend the artist the advantages of multiple places, but these opportunities are not always available, and they can present ethical dilemmas when it comes to location-specific competitions.\u003c/p>\n\u003cp>While many of the respondents to Pritikin’s post took the opportunity to rant on the region’s shortcomings, no artists I corresponded with voiced an outright rejection of the Bay Area. Artists like Syjuco, Arcega, and Wofford simply see their horizons expanding, existing, as Wofford describes it, in a kind of transnationalism. They are staunchly attached to the Bay Area for personal and political reasons. Going further, they see themselves as ambassadors of sorts, sharing the work of Bay Area artists in their classes, and promulgating a community-minded spirit. Syjuco: “I talk of the Bay a lot when I’m traveling, trying to let folks know about what goes on here and how great it is.” Arcega wrote, “I try to bring a certain ethos into my classes — a code of responsibility toward the broader community, which I learned from living in San Francisco.”\u003c/p>\n\u003cp>\u003cstrong>A Reason to Stay: Thinking Globally, Acting Locally\u003c/strong>\u003c/p>\n\u003cp>Even from afar, Arcega, Wofford, and Syjuco stake a claim on their home via their art practice. Wofford wrote, “I’m happy to keep presenting, connecting, and initiating conversations beyond the Bay, but I’m certainly grateful for the ways that my practice and themes as an artist do have an implicit place and a conversation at home.” Syjuco said, “It’s still really important for me to exhibit locally…. Having a local gallery, Catharine Clark Gallery … situates me in a local dialogue and it’s sort of like being ‘counted’ [here].”\u003c/p>\n\u003cp>In addition, these artists focus their creative energy on local events and spaces. In doing so, artists create agency. They take actions to shape the art worlds they want to participate in, and expand the range of art activity in the Bay Area. Spertus, for example, was involved in the seminal zine \u003cem>\u003ca href=\"http://www.kitchensinkmag.com/\">Kitchen Sink\u003c/a>\u003c/em> and \u003ca href=\"http://www.rpscollective.com/\">Rock Paper Scissors Collective\u003c/a>, which she helped to found. DIY initiatives like these formed the groundwork for the vibrant Oakland gallery scene, which would have been unimaginable just fifteen years ago.\u003c/p>\n\u003cp>By becoming agents in their communities, these artists enact personal visions by exercising generosity and reciprocity. As Wofford wrote:\u003c/p>\n\u003cp>\u003cem>It wasn’t until I was an adult, and living in/participating in Bay Area communities (particularly working with nonprofits and public schools) that I finally understood the power of community. I’ve benefited deeply from it, and I like to return the favor where possible.\u003c/em>\u003c/p>\n\u003cp>This ethos so thoroughly pervades the region that it can be perplexing to those who don’t espouse it. In a \u003ca href=\"http://collapsiblebox.blogspot.com/2010/11/community_16.html\">recent blog post\u003c/a>, Guardiola wrote, “Since moving to San Francisco seven years ago, the Bay Area’s obsession with community has never ceased to shock and confound me.” I can appreciate his point about taking an ethos for granted. Perhaps, like the mild air we breathe, we are so accustomed to notions of community and loyalty, the thought that another city might better fit artists sparks shock and confusion in us.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://www.artpractical.com/images/uploads/i2-10_Yap_Feature_Arcega.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003cem>Work In Progress\u003c/em>, Michael Arcega, 2010. Courtesy of the Artist and Marx & Zavattero, San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Perceptions of Freedom\u003c/strong>\u003c/p>\n\u003cp>According to cultural geographer Yi-Fu Tuan, “Place is security, space is freedom; we are attached to the one and long for the other.”\u003csup>11\u003c/sup> In this dichotomy, the San Francisco Bay Area can represent both security and freedom. For emerging artists, it can symbolize a space where artists are freed from market imperatives to experiment and grow. “As a young artist, San Francisco was a great place to kind of hunker down and grow a practice,” said Syjuco. When space becomes invested with meaning, it becomes a place, with the benefit of certainty. “I think a certain kind of security and sense of place engenders productive risk-taking, and that’s what the Bay Area has been for me,” says Wofford.\u003c/p>\n\u003cp>However, Tuan points out that place-hood can engender risks: “In time we become familiar with a place, which means that we can take more and more of it for granted.”\u003csup>12\u003c/sup> Thus, even artists who are Bay Area impresarios like Arcega will admit, “the fear of stagnation and becoming too regional are things that haunt me.” If Bay Area artists perceive that the region can only provide diminishing opportunities, it will become like a small town, “crowded in an economic sense because it did not provide enough jobs,” as Tuan describes this risk. One can readily imagine artists pushed to New York like young workers to cities, “where the young believed they could move ahead and better themselves.”\u003csup>13\u003c/sup>\u003c/p>\n\u003cp>Of course, looking past the promise of the unknown, cities like New York are not exempt from the crowding that changes a free space into a crowded place, either. As Csikszentmihalyi writes, “In sciences and the arts, the closer one is to major [institutions of the field], the easier it is for a new voice to be heard and appreciated. At the same time, there is a downside to being near the centers of power” — competition, pressure, and not enough time or space to incubate one’s ideas.\u003csup>14\u003c/sup> Spertus noted, “Everyone is working so hard [in New York,] it is easy to go to new productive levels yourself, if you can avoid the burnouts associated with such intense efforts.” In his comment on \u003cem>Open Space,\u003c/em> New Jersey-born Anthony Discenza explained his decision to stay in the Bay Area this way:\u003c/p>\n\u003cp>\u003cem>Although returning to NY might in theory increase my professional opportunities, functionally they would likely fall to zero, as I would find myself even more radically constrained in my ability to produce any actual work…. I decided I wasn’t willing to trade [what I have] for the dubious value of being able to go to openings at Gagosian every month.\u003c/em>\u003c/p>\n\u003cp>Whether the artists I spoke with choose to stay or go is a personal matter, related to shared issues of employment, financial stability, art opportunities, and community ethos, as well as unquantifiable personal reasons — most commonly, relationships. To them, the Bay Area functions as a free space for experimentation or a secure place for risk-taking, with its unique resources and practitioners. Quite often, artists who see themselves as agents, who engage and create the kind of art world they would like to participate in locally, invest deeply in reinforcing a local ethos. \u003c/p>\n\u003cp>As its practitioners spread out beyond the Bay Area, so too does its network. Here in New York, I’ve been part of a satellite community of California College of the Arts alumni and colleagues from San Francisco’s alternative art spaces. I continue to observe Bay Area art activity and participate in it whenever possible, because I am invested in its artists and spaces, and I find the work interesting and ideas vital. \u003cem>Open Space\u003c/em> is an example of a dialogue that spans a kind of Bay Area-art diaspora. Such conversations will be continued by the artists I corresponded with, who will be coming to and going from (and promoting, missing, and enjoying) the San Francisco Bay Area this spring.\u003c/p>\n\u003cp>________\u003c/p>\n\u003cp>NOTES:\u003c/p>\n\u003cp style=\"font-size: 10px\">1. Mihalyi Csikszentmihalyi, \u003cem>Creativity: Flow and The Psychology of Discovery and Invention\u003c/em> (New York: Harper Collins, 1997).\u003c/p>\n\u003cp style=\"font-size: 10px\">2. Various email messages to author, September 26–December 14, 2010.\u003c/p>\n\u003cp style=\"font-size: 10px\">3. “Creativity is any act, idea, or product that changes an existing domain, or that transforms an existing domain into a new one.” (Csikszentmihalyi 28) “Creativity results from the interaction of a system composed of three elements: a culture that contains symbolic rules, a person who brings novelty into the symbolic domain, and a field of experts who recognize and validate the innovation. All three are necessary for a creative idea or product to take place.” (Csikszentmihalyi 6). See also Csikszentmihalyi 330–3.\u003c/p>\n\u003cp style=\"font-size: 10px\">4. Csikszentmihalyi 330–3. It is notable that these elements are akin to Pritikin’s “\u003ca href=\"http://blog.sfmoma.org/2010/07/the-grass-is-always-greener/\">Prescription for a Healthy Art Scene\u003c/a>.”\u003c/p>\n\u003cp style=\"font-size: 10px\">5. Csikszentmihalyi 330–3.\u003c/p>\n\u003cp style=\"font-size: 10px\">6. From email conversation with artist, December 5, 2010.\u003c/p>\n\u003cp style=\"font-size: 10px\">7. These include: the (rapidly-expanding) \u003ca href=\"http://sfmoma.org/\">SFMOMA\u003c/a>, the \u003ca href=\"http://www.famsf.org/\">De Young Museum\u003c/a>, \u003ca href=\"http://ybca.org/\">Yerba Buena Center for the Arts\u003c/a>, the \u003ca href=\"http://museumca.org/\">Oakland Museum of California\u003c/a>, the \u003ca href=\"http://www.bampfa.berkeley.edu/\">Berkeley Art Museum\u003c/a>, the \u003ca href=\"http://www.sjmusart.org/\">San Jose Museum of Art\u003c/a>, the \u003ca href=\"http://www.wattis.org/\">CCA Wattis Institute for Contemporary Art\u003c/a>, the \u003ca href=\"http://www.asianart.org/\">Asian Art Museum\u003c/a>, and the \u003ca href=\"http://www.thecjm.org/\">Contemporary Jewish Museum\u003c/a>.\u003c/p>\n\u003cp style=\"font-size: 10px\">8. Bay Area art schools and programs include \u003ca href=\"http://www.cca.edu/\">California College of the Arts\u003c/a>, \u003ca href=\"http://www.sfai.edu/\">San Francisco Art Institute\u003c/a>, \u003ca href=\"http://www.mills.edu/\">Mills College\u003c/a>, \u003ca href=\"http://www.stanford.edu/\">Stanford University\u003c/a>, and the University of California and state schools. Residency programs include the \u003ca href=\"http://headlands.org/\">Headlands Center for the Arts\u003c/a>, the \u003ca href=\"http://montalvoarts.org/\">Montalvo Arts Center\u003c/a>, and the \u003ca href=\"http://www.djerassi.org/\">Djerassi Resident Artists Program\u003c/a>.\u003c/p>\n\u003cp style=\"font-size: 10px\">9. See \u003ca href=\"http://maps.google.com/maps/ms?hl=en&ie=UTF8&msa=0&msid=104757554013319515119.00046a4a283d8c57a1b55&ll=37.855881,-122.25071&spn=0.130657,0.218353&z=12\">Narangkar Glover’s \u003c/a>\u003cem>\u003ca href=\"http://maps.google.com/maps/ms?hl=en&ie=UTF8&msa=0&msid=104757554013319515119.00046a4a283d8c57a1b55&ll=37.855881,-122.25071&spn=0.130657,0.218353&z=12\">Artist Run Gallery Spaces of the Bay Area\u003c/a> \u003c/em>Google map.\u003c/p>\n\u003cp style=\"font-size: 10px\">10. Commercial galleries were mentioned in our dialogues to a lesser extent. These strata of the art ecology encompass a diverse array of galleries. A critical mass of commercial galleries can be found in downtown San Francisco, with looser networks in the Mission and South of Market neighborhoods, as well as those that comprise the scrappy \u003ca href=\"http://oaklandartmurmur.com/\">Oakland Art Murmur\u003c/a>.\u003c/p>\n\u003cp style=\"font-size: 10px\">11. Yi-Fu Tuan, \u003cem>Space and Place: The Perspective of Experience\u003c/em> (Minneapolis: University Minnesota, 1977), 3.\u003c/p>\n\u003cp style=\"font-size: 10px\">12. Tuan, 184.\u003c/p>\n\u003cp style=\"font-size: 10px\">13. Tuan, 60.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Maybe it was the combination of their bazaar-like setup and my own lack of sleep, but the various art fairs during the week of Miami Art Basel kept bringing to mind De Quincey’s \u003ca href=\"http://www.lycaeum.org/~sputnik/Ludlow/Texts/Opium/\">“Confessions of an English Opium Eater”\u003c/a>. It would not be an exaggeration to trace parallels between the fair-going experience (and the binge tendencies that surface in its subsequent stupor) with the consumption of opiates as described in De Quincey’s decadent ode to the dragon chase.\u003c/p>\n\u003cp>In Miami, I presented \u003ca href=\"http://www.hashtagclass.com/rank/festive-anthropophagy-through-reflected-imagery-a-performance-by-marcella-faustini-and-donna-huanca/\">a collaborative performance piece\u003c/a> included in William Powhida and Jen Dalton’s project, \u003ca href=\"http://www.hashtagclass.com/rank/rank-statement/\">\u003cb>#rank\u003c/b>,\u003c/a> which was part of \u003ca href=\"http://www.seven-miami.com/\">Seven\u003c/a>, a new fair located in Miami’s Wynwood district. Powhida and Dalton’s project addressed the hierarchical dynamics that are secluded and included within the art fair dynamic, which made my first-time fair experience even more glaringly absurd. Because I was also helping with Maria Robertson’s performance and because Wynwood was on the other side of town, I wasn’t able to participate more actively and make a careful assessment of the whole project. A hasty one would be that the project felt like an insider’s club, but Mr. Powhida offers a much more considered assessment on his \u003ca href=\"http://powhida.tumblr.com/\">blog\u003c/a>, albeit one that is colored by his own opinion.\u003c/p>\n\u003cp>At Basel, a handful of booths had a lingering effect, mostly because the relationships between the works displayed were carefully considered. \u003ca href=\"http://www.alexandergray.com/exhibitions/2010-12-02_art-basel-miami-beach/\">Alexander Gray\u003c/a> gallery, from New York, had an exhibition that showcased Latin American artists from two different generations: Luis Camnitzer and Paul Ramírez Jonas. Camnitzer’s 194-part artwork, \u003cb>Memorial \u003c/b>(2009), replicates the Montevideo, Uruguay, telephone directory, into which he meticulously inserted names of people that disappeared during the military dictatorship between 1973 and 1985. This list-making gesture renders the victims visible again, if only in the public eye, and places the victims side by side with survivors and perpetrators, evening out the roles. In Ramírez Jonas’ sculptural installation \u003cb>Publicar \u003c/b>(2010), public monuments usually memorialized with boulders and brass plaques are re-imagined and replaced by cork plaques affixed with pushpins, rendering them as democratic as a community bulletin board. Both artists propose an alternative imagining of possibilities in public artworks.\u003c/p>\n\u003cp>From Scotland, there was the extremely well-curated booth by \u003ca href=\"http://www.themoderninstitute.com/\">The Modern Institute\u003c/a>, which made the most of its space by dividing it with strategically placed walls. Featured artists included Simon Sterling, Jim Lambie, and Monika Sosnowska, as well as an impressive mini-solo show by Richard Hughes. \u003ca href=\"http://www.nordenhake.com/php/artist.php?RefID=58\">Nordenhake\u003c/a>, from Berlin, had a solo show by light-guided artist \u003ca href=\"http://www.spencerfinch.com/\">Spencer Finch\u003c/a>. \u003ca href=\"http://theapproach.co.uk/home/\">The Approach\u003c/a>, from London, had a perfect corner in its booth, which combined \u003ca href=\"http://theapproach.co.uk/artists/hill/\">Patrick Hill\u003c/a>‘s two small wall pieces, \u003cb>Lindsey \u003c/b>and\u003cb> Dancer\u003c/b> (both 2010), with a hanging elastic sculpture by \u003ca href=\"http://artbaselmiamibeach-online.com/index.php5?id=1270806&compact=0&path=Home&Action=showProduct\">Alice Channer\u003c/a> called \u003cem>Le Smoking\u003c/em> (2010). Both works offer counterpoints on the nature of dance and movement. I also saw a plethora of \u003ca href=\"http://artbaselmiamibeach-online.com/index.php5?id=1273411&path=Home&Action=showProduct\">George Condo’s\u003c/a> work at Basel. That made me very happy, since we most definitely share a common (however distorted) view of the human physiognomy.\u003c/p>\n\u003cp>The Nada Fair felt more adventurous and pleasurable than Basel due to the sometimes experimental nature of many of the spaces involved. The hallway was definitely one of the fair’s highlights, featuring smaller galleries like \u003ca href=\"http://179canal.com/179-canal-at-nada/\">179 canal\u003c/a>, which was showing collaborations between Margaret Lee and various artists featured at her former Chinatown space and \u003ca href=\"http://dispatchbureau.com/multiples/multiples.html\">Dispatch\u003c/a>, which displayed artists’ multiples. These booths gave a good idea of what is taking place in artist-run spaces in New York. \u003ca href=\"http://www.racheluffnergallery.com/\">Rachel Uffner Gallery\u003c/a> was another sure stop, where Anya Kielar’s all-white theatrical prop-like paintings contrasted with Pam Lins’ colorful take on compartmentalized sculpture. The \u003ca href=\"http://www.museum52.com/new_york/index2.php?page=artists\">Museum 52\u003c/a> booth had in its interior a perfect pairing between colors and shapes with Mariah Robertson’s photos and Sarah Braman’s tilted sculptures. On its outside walls, the booth displayed David Brooks’ works, which playfully contemplated our associations of levity and nature, pairing organic materials with poured cement. White Columns, which offered affordably priced limited editions in its booth, included works by outsider artist \u003ca href=\"http://www.whitecolumns.org/view.html?type=exhibitions&id=491\">Horst Ademeit\u003c/a>, including his obsessively annotated Polaroid diary/catalogue, which functions as a tool in his daily fight against the “cold rays” (see link for further information on this phenomena).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Outside the fairs, Miami is home to many private contemporary art collections. On my route, I chose the \u003ca href=\"http://www.delacruzcollection.org/index.html\">De la Cruz collection\u003c/a>. The collection is housed in a modern John Marquette building that is equipped with perfect interior corners that allow for many a surprising encounter. Included are works by Isa Genzken, Sterling Ruby, Ugo Rondinone, John Bock, Sarah Braman, and many others. 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I enjoyed participating in Mariah Robertson’s extravaganza for the \u003ca href=\"http://artbasel.aol.com/2010/12/03/synchronized-swimmers-and-a-conga-line-at-the-interview-magazine/\">PS 1/\u003cem>Interview\u003c/em> magazine party\u003c/a> and the \u003ca href=\"http://dismagazine.com/tag/art-basel-miami-2010/\">\u003cem>DIS\u003c/em> magazine parties\u003c/a>. In collaboration with Klaus Biesenbach, Robertson put together a choreographed party that included nude models, a mariachi band, two a capella Jewish choirs, synchronized swimmers, a modern dancer, a Yoga master as Scottish piper, a junkanoo band, and Hans Ulrich Obrist doing some interpretative dancing (just kidding). The party ended up on a rumba line at the beach. DIS magazine lived up to its wonderful dysfunctionalness outside the context of the Internet. There were three parties during the fair’s duration that could be democratically attended as long as the place wasn’t over maximum occupancy. David Benjamin Sherry and Ryan Trecartin were some of the co-hosts, and they even had a \u003ca href=\"http://newyork.going.com/event-751595;GHE20_GOTHIK\">Ghetto Gothik\u003c/a> night.\u003c/p>\n\u003cp>If one is not a collector or gallery, art fairs seem to be a fast, cheap, and out-of-control way of doing art tourism and catching up with friends. It is definitely worth experiencing it once, although an encore might shift the binge to an overdose.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Art Basel Miami Beach 2010 took place on December 2-5 2010, in Miami Beach, Florida.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe it was the combination of their bazaar-like setup and my own lack of sleep, but the various art fairs during the week of Miami Art Basel kept bringing to mind De Quincey’s \u003ca href=\"http://www.lycaeum.org/~sputnik/Ludlow/Texts/Opium/\">“Confessions of an English Opium Eater”\u003c/a>. It would not be an exaggeration to trace parallels between the fair-going experience (and the binge tendencies that surface in its subsequent stupor) with the consumption of opiates as described in De Quincey’s decadent ode to the dragon chase.\u003c/p>\n\u003cp>In Miami, I presented \u003ca href=\"http://www.hashtagclass.com/rank/festive-anthropophagy-through-reflected-imagery-a-performance-by-marcella-faustini-and-donna-huanca/\">a collaborative performance piece\u003c/a> included in William Powhida and Jen Dalton’s project, \u003ca href=\"http://www.hashtagclass.com/rank/rank-statement/\">\u003cb>#rank\u003c/b>,\u003c/a> which was part of \u003ca href=\"http://www.seven-miami.com/\">Seven\u003c/a>, a new fair located in Miami’s Wynwood district. Powhida and Dalton’s project addressed the hierarchical dynamics that are secluded and included within the art fair dynamic, which made my first-time fair experience even more glaringly absurd. Because I was also helping with Maria Robertson’s performance and because Wynwood was on the other side of town, I wasn’t able to participate more actively and make a careful assessment of the whole project. A hasty one would be that the project felt like an insider’s club, but Mr. Powhida offers a much more considered assessment on his \u003ca href=\"http://powhida.tumblr.com/\">blog\u003c/a>, albeit one that is colored by his own opinion.\u003c/p>\n\u003cp>At Basel, a handful of booths had a lingering effect, mostly because the relationships between the works displayed were carefully considered. \u003ca href=\"http://www.alexandergray.com/exhibitions/2010-12-02_art-basel-miami-beach/\">Alexander Gray\u003c/a> gallery, from New York, had an exhibition that showcased Latin American artists from two different generations: Luis Camnitzer and Paul Ramírez Jonas. Camnitzer’s 194-part artwork, \u003cb>Memorial \u003c/b>(2009), replicates the Montevideo, Uruguay, telephone directory, into which he meticulously inserted names of people that disappeared during the military dictatorship between 1973 and 1985. This list-making gesture renders the victims visible again, if only in the public eye, and places the victims side by side with survivors and perpetrators, evening out the roles. In Ramírez Jonas’ sculptural installation \u003cb>Publicar \u003c/b>(2010), public monuments usually memorialized with boulders and brass plaques are re-imagined and replaced by cork plaques affixed with pushpins, rendering them as democratic as a community bulletin board. Both artists propose an alternative imagining of possibilities in public artworks.\u003c/p>\n\u003cp>From Scotland, there was the extremely well-curated booth by \u003ca href=\"http://www.themoderninstitute.com/\">The Modern Institute\u003c/a>, which made the most of its space by dividing it with strategically placed walls. Featured artists included Simon Sterling, Jim Lambie, and Monika Sosnowska, as well as an impressive mini-solo show by Richard Hughes. \u003ca href=\"http://www.nordenhake.com/php/artist.php?RefID=58\">Nordenhake\u003c/a>, from Berlin, had a solo show by light-guided artist \u003ca href=\"http://www.spencerfinch.com/\">Spencer Finch\u003c/a>. \u003ca href=\"http://theapproach.co.uk/home/\">The Approach\u003c/a>, from London, had a perfect corner in its booth, which combined \u003ca href=\"http://theapproach.co.uk/artists/hill/\">Patrick Hill\u003c/a>‘s two small wall pieces, \u003cb>Lindsey \u003c/b>and\u003cb> Dancer\u003c/b> (both 2010), with a hanging elastic sculpture by \u003ca href=\"http://artbaselmiamibeach-online.com/index.php5?id=1270806&compact=0&path=Home&Action=showProduct\">Alice Channer\u003c/a> called \u003cem>Le Smoking\u003c/em> (2010). Both works offer counterpoints on the nature of dance and movement. I also saw a plethora of \u003ca href=\"http://artbaselmiamibeach-online.com/index.php5?id=1273411&path=Home&Action=showProduct\">George Condo’s\u003c/a> work at Basel. That made me very happy, since we most definitely share a common (however distorted) view of the human physiognomy.\u003c/p>\n\u003cp>The Nada Fair felt more adventurous and pleasurable than Basel due to the sometimes experimental nature of many of the spaces involved. The hallway was definitely one of the fair’s highlights, featuring smaller galleries like \u003ca href=\"http://179canal.com/179-canal-at-nada/\">179 canal\u003c/a>, which was showing collaborations between Margaret Lee and various artists featured at her former Chinatown space and \u003ca href=\"http://dispatchbureau.com/multiples/multiples.html\">Dispatch\u003c/a>, which displayed artists’ multiples. These booths gave a good idea of what is taking place in artist-run spaces in New York. \u003ca href=\"http://www.racheluffnergallery.com/\">Rachel Uffner Gallery\u003c/a> was another sure stop, where Anya Kielar’s all-white theatrical prop-like paintings contrasted with Pam Lins’ colorful take on compartmentalized sculpture. The \u003ca href=\"http://www.museum52.com/new_york/index2.php?page=artists\">Museum 52\u003c/a> booth had in its interior a perfect pairing between colors and shapes with Mariah Robertson’s photos and Sarah Braman’s tilted sculptures. On its outside walls, the booth displayed David Brooks’ works, which playfully contemplated our associations of levity and nature, pairing organic materials with poured cement. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Outside the fairs, Miami is home to many private contemporary art collections. On my route, I chose the \u003ca href=\"http://www.delacruzcollection.org/index.html\">De la Cruz collection\u003c/a>. The collection is housed in a modern John Marquette building that is equipped with perfect interior corners that allow for many a surprising encounter. Included are works by Isa Genzken, Sterling Ruby, Ugo Rondinone, John Bock, Sarah Braman, and many others. The collection also offers an artist residency program in partnership with New York’s Sculpture Center. At the time of the Miami Basel, \u003ca href=\"http://www.artlurker.com/2010/02/viking-funeral-interviewed-by-nicolas-lobo/\">Carlos Ascurra\u003c/a> was the artist in residency.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/01/20/artbasel2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Poolside performance orchestrated by Mariah Robertson for the P.S.1/\u003cem>Interview\u003c/em> magazine Party at the Delano Hotel, organized by Klaus Biesenbach. Photo courtesy of Elizabeth Lippman for the \u003cem>New York Times.\u003c/em>\u003c/center>\n\u003cp>The endless succession of parties that take place during Art Basel reveal what art fairs are — conventions for networking. I enjoyed participating in Mariah Robertson’s extravaganza for the \u003ca href=\"http://artbasel.aol.com/2010/12/03/synchronized-swimmers-and-a-conga-line-at-the-interview-magazine/\">PS 1/\u003cem>Interview\u003c/em> magazine party\u003c/a> and the \u003ca href=\"http://dismagazine.com/tag/art-basel-miami-2010/\">\u003cem>DIS\u003c/em> magazine parties\u003c/a>. In collaboration with Klaus Biesenbach, Robertson put together a choreographed party that included nude models, a mariachi band, two a capella Jewish choirs, synchronized swimmers, a modern dancer, a Yoga master as Scottish piper, a junkanoo band, and Hans Ulrich Obrist doing some interpretative dancing (just kidding). The party ended up on a rumba line at the beach. DIS magazine lived up to its wonderful dysfunctionalness outside the context of the Internet. There were three parties during the fair’s duration that could be democratically attended as long as the place wasn’t over maximum occupancy. David Benjamin Sherry and Ryan Trecartin were some of the co-hosts, and they even had a \u003ca href=\"http://newyork.going.com/event-751595;GHE20_GOTHIK\">Ghetto Gothik\u003c/a> night.\u003c/p>\n\u003cp>If one is not a collector or gallery, art fairs seem to be a fast, cheap, and out-of-control way of doing art tourism and catching up with friends. It is definitely worth experiencing it once, although an encore might shift the binge to an overdose.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Every two years, four Bay Area artists are given the SECA (Society for the Encouragement of Contemporary Art) award. It is a very big deal; the winners, selected by SFMoMA assistant curators Apsara DiQuinzio and Tanya Zimbardo, are chosen from a pool of over 250 nominees. Targeted at Bay Area artists who are working independently and are exceptionally talented, the SECA award is specifically designed to recognize those who have not yet received widespread attention. The prize will result in a group show at the SFMoMA next December, along with a corresponding catalog.\u003c/p>\n\u003cp>This year, which marks SECA’s 50th anniversary, the artists Mauricio Ancalmo, Colter Jacobsen, Ruth Laskey, and Kamau Amu Patton were selected. Working across video, installation, drawing, painting and embroidery, their grouping represents the diversity of artists working in the area, and their forthcoming group show promises to be every bit as dynamic. While the bi-annual exhibition always gets people talking, this year seems particularly exciting.\u003c/p>\n\u003cp>This essay features two of the award winners, Colter Jacobsen and Ruth Laskey (SFAI and CCA alumni, respectively). (We tried, but were unable to coordinate studio visits with the other two artists.) Living and working just a few miles apart in San Francisco, their studio practices could not be more divergent. Although both use rooms in their homes for studios, Jacobsen’s practice is messy and expansive. Laskey’s process, on the other hand, is contained and spare. Likewise, Jacobsen’s watercolor, found, and drawn pieces tap into a feeling of displaced nostalgia; Laskey’s work is more interested in formal abstraction and process-based material.\u003c/p>\n\u003cp>These are exciting differences. By selecting artists with such varying practices, the curators have acknowledged the breadth and scope of the work being made by younger artists in San Francisco and beyond. As Jacobsen points out, “I know so many artists who were up for the award, all of whom where more than worthy of it. In a way I am just one representing a large community.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/laskey-1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Ruth Laskey\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/laskey-2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Laskey at her loom\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/laskey-3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Laskey’s desk\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/laskey-4.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Laskey’s work\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/laskey-5.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Laskey in front of her warping board\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jacobsen-1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Colter Jacobsen\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jacobsen-2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Jacobsen’s planner\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jacobsen-3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Jacobsen’s desk\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jacobsen-4.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Translucent obituary piece in Jacobsen’s window\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jacobsen-5.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Found paintings in Jacobsen’s home\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jacobsen-6.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Jacobsen wears one of the masks he’s created\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jacobsen-7.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Jacobsen’s room\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jacobsen-8.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Jacobsen’s collaboration with Kevin Killian\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>All photos c. Carmen Winant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "We visited the home studios of Ruth Laskey and Colter Jacobsen, two of the four winners of this year's SECA (Society for the Encouragement of Contemporary Art) Awards.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every two years, four Bay Area artists are given the SECA (Society for the Encouragement of Contemporary Art) award. It is a very big deal; the winners, selected by SFMoMA assistant curators Apsara DiQuinzio and Tanya Zimbardo, are chosen from a pool of over 250 nominees. Targeted at Bay Area artists who are working independently and are exceptionally talented, the SECA award is specifically designed to recognize those who have not yet received widespread attention. The prize will result in a group show at the SFMoMA next December, along with a corresponding catalog.\u003c/p>\n\u003cp>This year, which marks SECA’s 50th anniversary, the artists Mauricio Ancalmo, Colter Jacobsen, Ruth Laskey, and Kamau Amu Patton were selected. Working across video, installation, drawing, painting and embroidery, their grouping represents the diversity of artists working in the area, and their forthcoming group show promises to be every bit as dynamic. While the bi-annual exhibition always gets people talking, this year seems particularly exciting.\u003c/p>\n\u003cp>This essay features two of the award winners, Colter Jacobsen and Ruth Laskey (SFAI and CCA alumni, respectively). (We tried, but were unable to coordinate studio visits with the other two artists.) Living and working just a few miles apart in San Francisco, their studio practices could not be more divergent. Although both use rooms in their homes for studios, Jacobsen’s practice is messy and expansive. Laskey’s process, on the other hand, is contained and spare. Likewise, Jacobsen’s watercolor, found, and drawn pieces tap into a feeling of displaced nostalgia; Laskey’s work is more interested in formal abstraction and process-based material.\u003c/p>\n\u003cp>These are exciting differences. By selecting artists with such varying practices, the curators have acknowledged the breadth and scope of the work being made by younger artists in San Francisco and beyond. As Jacobsen points out, “I know so many artists who were up for the award, all of whom where more than worthy of it. In a way I am just one representing a large community.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/laskey-1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Ruth Laskey\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/laskey-2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Laskey at her loom\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/laskey-3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Laskey’s desk\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/laskey-4.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Laskey’s work\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/laskey-5.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Laskey in front of her warping board\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jacobsen-1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Colter Jacobsen\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jacobsen-2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Jacobsen’s planner\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jacobsen-3.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Jacobsen’s desk\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jacobsen-4.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Translucent obituary piece in Jacobsen’s window\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jacobsen-5.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Found paintings in Jacobsen’s home\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jacobsen-6.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Jacobsen wears one of the masks he’s created\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jacobsen-7.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Jacobsen’s room\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jacobsen-8.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>Jacobsen’s collaboration with Kevin Killian\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>All photos c. Carmen Winant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "STUDIO INVASION: Serena Cole",
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"content": "\u003cp>The walls of Serena Cole’s CCA studio are populated by faces from fashion magazines. The models’ ferocious beauty is re-imagined with watercolor, and a certain murky darkness in their expressions and angular poses is revealed. We recently stopped by Cole’s studio and got to chatting about the evolution of beauty, her historical inspirations, and her almost \u003ci>Pretty Women\u003c/i>-esque high-end shopping spree.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-0.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>How would you describe your work to someone who hasn’t seen it?\u003c/i>\u003c/p>\n\u003cp>\u003cb>Serena Cole:\u003c/b> “I would say I make drawings and paintings that investigate aspects of fashion imagery that critique something about our society, and also points the finger at myself. I’m not criticizing it necessarily; I know I’m involved in the machine. I’m going at it like an anthropologist.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-20.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-9.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-10.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>How has your work changed since you started your MFA program?\u003c/i>\u003c/p>\n\u003cp>“One breakthrough is that I started categorizing the fashion ads I work with. I knew there were a lot of things in fashion that I was drawn to because they’re so weird, opulent, and fantastical. But once I started pulling them all out, I realized there were genres to these ads. And they encapsulated different fantasies we have. It’s not just an artsy photo, it’s made to grab your attention and capitalize on some kind of inner fantasy. I have tons of images of women that look dead. Maybe you’re flipping through a magazine, and you see it as a fashion ad. But then you start seeing them all together and you realize it’s a trope. I have categories like dead women with snakes, or ambivalent mothers, or models that look like creatures.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-13.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-15.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-16.jpg\">\u003c/p>\n\u003cp>\u003ci>Your work is very beautiful, but are you mostly talking about situations that aren’t so beautiful?\u003c/i>\u003c/p>\n\u003cp>“I’m interested in how our idea of beauty has changed. It went from glamorous, voluptuous movie stars like Marilyn Monroe, to the all American girl like Farrah Fawcett, and then the 90s heroin chic of Kate Moss, and now we’ve gone into an androgynous alien world. We’re trying to find people that are so beyond us. That’s what I think is so interesting about it: the escapism.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-30.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-11.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-8.jpg\">\u003c/p>\n\u003cp>\u003ci>What’s something specific that draws you to an image in a magazine?\u003c/i>\u003c/p>\n\u003cp>“Now that I’m capturing the idea of categories and tropes, I’m looking for faces that embody the trope itself. I have a category of violent images like this one [see below]. Even though she’s just wearing make-up, it looks like she was shot.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-2.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-3.jpg\">\u003c/p>\n\u003cp>“They have to have an expression that’s interesting. They can’t just be pretty; they have to communicate something. I think it’s fascinating that magazines show us eye shadow using somebody who looks like she’s crying. It’s really about the complication of these artistic images where they constantly have to outdo each other in order to get our attention.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-22.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-23.jpg\">\u003c/p>\n\u003cp>“There was an editorial in \u003ci>Italian Vogue\u003c/i> showing a woman in the oil fields in the South. When the oil disaster happened, Steven Meisel photographed the model kind of like a dead bird lying in pools of oil. People were really pissed off about it, but it’s so fantastical and dark all the time in magazines, so it makes perfect sense for them to use something that actually happened to make this dark art.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-26.jpg\">\u003c/p>\n\u003cp>\u003ci>Are the clothes and shoes in your paintings direct references to specific designers?\u003c/i>\u003c/p>\n\u003cp>“Yes. Before I wasn’t acknowledging it as much, but now I’m making it the most important part by naming the series after the clothes the figures are modeling, like “ecstasy in Prada.” By opening that door, you can see I’m commenting on what’s in front of me instead of trying to claim it as my own imagery. I didn’t make up most of what I’m painting. It was already there. I’m scavenging it and hopefully trying to get you to see it in a different way.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-6.jpg\">\u003c/p>\n\u003cp>\u003ci>Which historical figures inspire you, especially in regards to fashion?\u003c/i>\u003c/p>\n\u003cp>“My thesis is about fashion and power, and investigating Queen Elizabeth I and how she made herself kind of inhuman in the way she dressed. The way Napolean always projected himself is similar. Image plays a huge part in power. In my thesis, I talk about the Nazis and how they designed all their outfits and propaganda in a systematized way. They thought it was positive that they were futuristic, and terrifying, and cold. It was all on purpose, and it wasn’t just military stuff that’s utilitarian. People like Michael Jackson have appropriated it, and I found out that Hugo Boss made the Nazi uniforms. The guys that started Adidas were in the Nazi party. Louis Vuitton only made trunks and luxury goods, but they had to work with the Vichy French, who were Nazi sympathizers, in order to stay afloat. I think most fashion houses had to cooperate with the Germans if they were European.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-17.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-18.jpg\">\u003c/p>\n\u003cp>\u003ci>Do you ever go to luxury stores and handle the items you’re painting?\u003c/i>\u003c/p>\n\u003cp>“That’s a good question. This is all fantasy for me, it’s not part of my reality, and I used to just look at the images. But my advisor wanted me to really investigate. I had never been in any of those fancy stores like Prada, or Barney’s, or Dior. He went with me and took pictures and made me try on the clothes. Part of me thought I’d be sullying the clothes, but I realized the part I was intimidated about was worrying that the sales people would sniff out the fact that I don’t have any money, and they’d be mean to me like in \u003ci>Pretty Woman\u003c/i>. But then I took control of the situation and made up a story in my head that my advisor was my sugar daddy, and even if I looked like I didn’t have money, they wouldn’t know if he did or not. That was how I took the power from the situation.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-33.jpg\">\u003c/p>\n\u003cp>\u003ci>If your art had a soundtrack, what would it be?\u003c/i>\u003c/p>\n\u003cp>“I’m a closet Goth, so I would probably say Sisters of Mercy because it’s glamorous, dark, indulgent, and kind of mean.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Serena Cole’s work can be seen in \u003ca href=\"http://www.marxzav.com/artist.php?artistID=60\">“Fabrications,” a group exhibition at Marx & Zavattero\u003c/a> through February 5, 2011.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The walls of Serena Cole’s CCA studio are populated by faces from fashion magazines. The models’ ferocious beauty is re-imagined with watercolor, and a certain murky darkness in their expressions and angular poses is revealed. We recently stopped by Cole’s studio and got to chatting about the evolution of beauty, her historical inspirations, and her almost \u003ci>Pretty Women\u003c/i>-esque high-end shopping spree.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-0.jpg\">\u003c/p>\n\u003cp>\u003cb>EKG:\u003c/b> \u003ci>How would you describe your work to someone who hasn’t seen it?\u003c/i>\u003c/p>\n\u003cp>\u003cb>Serena Cole:\u003c/b> “I would say I make drawings and paintings that investigate aspects of fashion imagery that critique something about our society, and also points the finger at myself. I’m not criticizing it necessarily; I know I’m involved in the machine. I’m going at it like an anthropologist.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-20.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-9.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-10.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>How has your work changed since you started your MFA program?\u003c/i>\u003c/p>\n\u003cp>“One breakthrough is that I started categorizing the fashion ads I work with. I knew there were a lot of things in fashion that I was drawn to because they’re so weird, opulent, and fantastical. But once I started pulling them all out, I realized there were genres to these ads. And they encapsulated different fantasies we have. It’s not just an artsy photo, it’s made to grab your attention and capitalize on some kind of inner fantasy. I have tons of images of women that look dead. Maybe you’re flipping through a magazine, and you see it as a fashion ad. But then you start seeing them all together and you realize it’s a trope. I have categories like dead women with snakes, or ambivalent mothers, or models that look like creatures.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-13.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-15.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-16.jpg\">\u003c/p>\n\u003cp>\u003ci>Your work is very beautiful, but are you mostly talking about situations that aren’t so beautiful?\u003c/i>\u003c/p>\n\u003cp>“I’m interested in how our idea of beauty has changed. It went from glamorous, voluptuous movie stars like Marilyn Monroe, to the all American girl like Farrah Fawcett, and then the 90s heroin chic of Kate Moss, and now we’ve gone into an androgynous alien world. We’re trying to find people that are so beyond us. That’s what I think is so interesting about it: the escapism.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-30.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-11.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-8.jpg\">\u003c/p>\n\u003cp>\u003ci>What’s something specific that draws you to an image in a magazine?\u003c/i>\u003c/p>\n\u003cp>“Now that I’m capturing the idea of categories and tropes, I’m looking for faces that embody the trope itself. I have a category of violent images like this one [see below]. Even though she’s just wearing make-up, it looks like she was shot.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-2.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-3.jpg\">\u003c/p>\n\u003cp>“They have to have an expression that’s interesting. They can’t just be pretty; they have to communicate something. I think it’s fascinating that magazines show us eye shadow using somebody who looks like she’s crying. It’s really about the complication of these artistic images where they constantly have to outdo each other in order to get our attention.”\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-22.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-23.jpg\">\u003c/p>\n\u003cp>“There was an editorial in \u003ci>Italian Vogue\u003c/i> showing a woman in the oil fields in the South. When the oil disaster happened, Steven Meisel photographed the model kind of like a dead bird lying in pools of oil. People were really pissed off about it, but it’s so fantastical and dark all the time in magazines, so it makes perfect sense for them to use something that actually happened to make this dark art.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-26.jpg\">\u003c/p>\n\u003cp>\u003ci>Are the clothes and shoes in your paintings direct references to specific designers?\u003c/i>\u003c/p>\n\u003cp>“Yes. Before I wasn’t acknowledging it as much, but now I’m making it the most important part by naming the series after the clothes the figures are modeling, like “ecstasy in Prada.” By opening that door, you can see I’m commenting on what’s in front of me instead of trying to claim it as my own imagery. I didn’t make up most of what I’m painting. It was already there. I’m scavenging it and hopefully trying to get you to see it in a different way.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-6.jpg\">\u003c/p>\n\u003cp>\u003ci>Which historical figures inspire you, especially in regards to fashion?\u003c/i>\u003c/p>\n\u003cp>“My thesis is about fashion and power, and investigating Queen Elizabeth I and how she made herself kind of inhuman in the way she dressed. The way Napolean always projected himself is similar. Image plays a huge part in power. In my thesis, I talk about the Nazis and how they designed all their outfits and propaganda in a systematized way. They thought it was positive that they were futuristic, and terrifying, and cold. It was all on purpose, and it wasn’t just military stuff that’s utilitarian. People like Michael Jackson have appropriated it, and I found out that Hugo Boss made the Nazi uniforms. The guys that started Adidas were in the Nazi party. Louis Vuitton only made trunks and luxury goods, but they had to work with the Vichy French, who were Nazi sympathizers, in order to stay afloat. I think most fashion houses had to cooperate with the Germans if they were European.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-17.jpg\">\u003cbr>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-18.jpg\">\u003c/p>\n\u003cp>\u003ci>Do you ever go to luxury stores and handle the items you’re painting?\u003c/i>\u003c/p>\n\u003cp>“That’s a good question. This is all fantasy for me, it’s not part of my reality, and I used to just look at the images. But my advisor wanted me to really investigate. I had never been in any of those fancy stores like Prada, or Barney’s, or Dior. He went with me and took pictures and made me try on the clothes. Part of me thought I’d be sullying the clothes, but I realized the part I was intimidated about was worrying that the sales people would sniff out the fact that I don’t have any money, and they’d be mean to me like in \u003ci>Pretty Woman\u003c/i>. But then I took control of the situation and made up a story in my head that my advisor was my sugar daddy, and even if I looked like I didn’t have money, they wouldn’t know if he did or not. That was how I took the power from the situation.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cole-33.jpg\">\u003c/p>\n\u003cp>\u003ci>If your art had a soundtrack, what would it be?\u003c/i>\u003c/p>\n\u003cp>“I’m a closet Goth, so I would probably say Sisters of Mercy because it’s glamorous, dark, indulgent, and kind of mean.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Serena Cole’s work can be seen in \u003ca href=\"http://www.marxzav.com/artist.php?artistID=60\">“Fabrications,” a group exhibition at Marx & Zavattero\u003c/a> through February 5, 2011.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Philadelphia Museum Sells Objects To Get A Face-Lift",
"headTitle": "Philadelphia Museum Sells Objects To Get A Face-Lift | KQED",
"content": "\u003cp>The \u003ca href=\"http://www.philadelphiahistory.org/index.php\" target=\"_blank\" rel=\"noopener\">Philadelphia History Museum\u003c/a> has been closed for two years, and when it reopens this spring, it will display thousands of objects — everything from fine art to firearms. But more than 2,000 items from the museum’s collection will be more notable for their absence.\u003c/p>\n\u003cp>That’s because they were sold to help pay for the multimillion-dollar renovation of the museum’s 19th century building, sparking a debate in the field of museum ethics.\u003c/p>\n\u003cp>Viki Sand, the museum’s former director, says the renovation was essential to the museum’s conservation abilities.\u003c/p>\n\u003cp>“It does no good to conserve an individual object if you put it back into the very environment that caused it to deteriorate in the first place,” she says.\u003c/p>\n\u003cp>Sand says the museum lacked basics like adequate lighting and modern climate control systems. But that won’t be an issue after its $6 million renovation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“While the amount of money is not insignificant,” she says, it “gives the museum the opportunity to — in a new way for this city — be a compelling city history museum.”\u003c/p>\n\u003cp>But the museum’s renovation isn’t the issue. The issue is how it was financed. Over the past seven years, the Philadelphia History Museum — formerly known as the Atwater Kent Museum — quietly sold some 2,600 items from its collection. In the museum world, that’s known as deaccessioning, and it’s a loaded word.\u003c/p>\n\u003cp>Russell Lewis, chief historian at the Chicago History Museum, says his institution tries to avoid deaccessioning because of the message it can send to potential donors.\u003c/p>\n\u003cp>“It can be a slippery slope,” he says. “Why wouldn’t somebody say, ‘Why should I give this to you? What guarantee do I have that you’re not going to sell this tomorrow?’ “\u003c/p>\n\u003cp>That’s exactly why art museums have strict rules about what they can do with the proceeds from deaccessioning. The \u003ca href=\"http://www.aamd.org/\" target=\"_blank\" rel=\"noopener\">Association of Art Museum Directors\u003c/a> says you can only use deaccessioning funds to acquire more art, but the \u003ca href=\"http://www.aaslh.org/\" target=\"_blank\" rel=\"noopener\">American Association for State and Local History\u003c/a> takes a more nuanced position. Terry Davis, that association’s president, says, “As long as deaccessioning is done according to institutional policies that have been set ahead of time, for the long-term goal of taking care of collections, it’s a perfectly fine practice to do.”\u003c/p>\n\u003cp>That’s exactly what the Philadelphia History Museum says it did. Sand, the former director, says the museum only sold items that fell outside of its mission and that they’ve been careful to use the proceeds — nearly $3 million or half the cost of the renovation — to care for the collection.\u003c/p>\n\u003cp>“We’re not paying for paint. We’re not paying for lights. We’re not paying for development salaries,” Sand says. “We’re paying to create an environment where we can now exhibit the premier collection of Philadelphia material culture.”\u003c/p>\n\u003cp>Still, other Philadelphia institutions are troubled. Page Talbott sits on the board of the \u003ca href=\"http://www.hsp.org/default.aspx\" target=\"_blank\" rel=\"noopener\">Historical Society of Pennsylvania\u003c/a>, which had donated many of the items the history museum deaccessioned.\u003c/p>\n\u003cp>“If there are local institutions that care about this patrimony, give them the chance to raise the money to purchase the objects,” Talbott says. “Take the time to work within the community in a neighborly kind of way.”\u003c/p>\n\u003cp>Talbott says that while the museum did make an effort to get the word out, “it could have been done better.”\u003c/p>\n\u003cp>Local institutions are also unhappy about the museum’s decision to sell a painting by Raphaelle Peale, son of Charles Willson Peale who founded the country’s first art museum in Philadelphia in the 19th century.\u003c/p>\n\u003cp>Sand declines to comment about reports that the museum plans to raise an additional $1.5 million through the sale of a single object, but she says institutions \u003cem>did\u003c/em> know what her museum was selling and failed to come forward to talk about making a deal\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have tried in every way not to be secretive,” Sand says. “You know, we haven’t stood on a street corner and said, ‘We’re deaccessioning, we’re deaccessioning.’ But we have certainly not hidden it.”\u003c/p>\n\n",
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"excerpt": "When the Philadelphia History Museum reopens this year, it will put thousands of objects back on display -- but 2,600 items from its collection will be more notable for their absence. In a move that's sparked some debate, the museum sold those items to help pay for its renovation.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.philadelphiahistory.org/index.php\" target=\"_blank\" rel=\"noopener\">Philadelphia History Museum\u003c/a> has been closed for two years, and when it reopens this spring, it will display thousands of objects — everything from fine art to firearms. But more than 2,000 items from the museum’s collection will be more notable for their absence.\u003c/p>\n\u003cp>That’s because they were sold to help pay for the multimillion-dollar renovation of the museum’s 19th century building, sparking a debate in the field of museum ethics.\u003c/p>\n\u003cp>Viki Sand, the museum’s former director, says the renovation was essential to the museum’s conservation abilities.\u003c/p>\n\u003cp>“It does no good to conserve an individual object if you put it back into the very environment that caused it to deteriorate in the first place,” she says.\u003c/p>\n\u003cp>Sand says the museum lacked basics like adequate lighting and modern climate control systems. But that won’t be an issue after its $6 million renovation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“While the amount of money is not insignificant,” she says, it “gives the museum the opportunity to — in a new way for this city — be a compelling city history museum.”\u003c/p>\n\u003cp>But the museum’s renovation isn’t the issue. The issue is how it was financed. Over the past seven years, the Philadelphia History Museum — formerly known as the Atwater Kent Museum — quietly sold some 2,600 items from its collection. In the museum world, that’s known as deaccessioning, and it’s a loaded word.\u003c/p>\n\u003cp>Russell Lewis, chief historian at the Chicago History Museum, says his institution tries to avoid deaccessioning because of the message it can send to potential donors.\u003c/p>\n\u003cp>“It can be a slippery slope,” he says. “Why wouldn’t somebody say, ‘Why should I give this to you? What guarantee do I have that you’re not going to sell this tomorrow?’ “\u003c/p>\n\u003cp>That’s exactly why art museums have strict rules about what they can do with the proceeds from deaccessioning. The \u003ca href=\"http://www.aamd.org/\" target=\"_blank\" rel=\"noopener\">Association of Art Museum Directors\u003c/a> says you can only use deaccessioning funds to acquire more art, but the \u003ca href=\"http://www.aaslh.org/\" target=\"_blank\" rel=\"noopener\">American Association for State and Local History\u003c/a> takes a more nuanced position. Terry Davis, that association’s president, says, “As long as deaccessioning is done according to institutional policies that have been set ahead of time, for the long-term goal of taking care of collections, it’s a perfectly fine practice to do.”\u003c/p>\n\u003cp>That’s exactly what the Philadelphia History Museum says it did. Sand, the former director, says the museum only sold items that fell outside of its mission and that they’ve been careful to use the proceeds — nearly $3 million or half the cost of the renovation — to care for the collection.\u003c/p>\n\u003cp>“We’re not paying for paint. We’re not paying for lights. We’re not paying for development salaries,” Sand says. “We’re paying to create an environment where we can now exhibit the premier collection of Philadelphia material culture.”\u003c/p>\n\u003cp>Still, other Philadelphia institutions are troubled. Page Talbott sits on the board of the \u003ca href=\"http://www.hsp.org/default.aspx\" target=\"_blank\" rel=\"noopener\">Historical Society of Pennsylvania\u003c/a>, which had donated many of the items the history museum deaccessioned.\u003c/p>\n\u003cp>“If there are local institutions that care about this patrimony, give them the chance to raise the money to purchase the objects,” Talbott says. “Take the time to work within the community in a neighborly kind of way.”\u003c/p>\n\u003cp>Talbott says that while the museum did make an effort to get the word out, “it could have been done better.”\u003c/p>\n\u003cp>Local institutions are also unhappy about the museum’s decision to sell a painting by Raphaelle Peale, son of Charles Willson Peale who founded the country’s first art museum in Philadelphia in the 19th century.\u003c/p>\n\u003cp>Sand declines to comment about reports that the museum plans to raise an additional $1.5 million through the sale of a single object, but she says institutions \u003cem>did\u003c/em> know what her museum was selling and failed to come forward to talk about making a deal\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have tried in every way not to be secretive,” Sand says. “You know, we haven’t stood on a street corner and said, ‘We’re deaccessioning, we’re deaccessioning.’ But we have certainly not hidden it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Celebrating the Phillips Collection's 90th Birthday",
"headTitle": "Celebrating the Phillips Collection’s 90th Birthday | KQED",
"content": "\u003cp>In 1962, as newlyweds and new Washingtonians, my husband and I would stroll down Connecticut Avenue to the Phillips Collection on Sunday afternoons, arrange ourselves on a brocade love seat, light up cigarettes and read \u003cem>The New York Times \u003c/em>— looking up from time to time at a Matisse or a Manet. It was like visiting a really rich friend — with fabulous taste and a collector’s eye.\u003c/p>\n\u003cp>Duncan Phillips’ great-niece Alice Phillips Swistel remembers making similar visits as a child (although she didn’t smoke). Uncle Duncan, who founded the museum in 1921, once came into the nursery where Alice was playing.\u003c/p>\n\u003cp>“He sat and watched me blow soap bubbles,” she says. “He just loved the color of the bubbles, floating, and I thought, that’s very unusual for an adult, to want to sit here and not want to talk.”\u003c/p>\n\u003cp>He \u003cem>was\u003c/em>\u003cem> \u003c/em>unusual. Duncan Phillips loved to look. And he loved to buy what he loved. Phillips director Dorothy Kosinski says that Phillips looked with his eyes and his heart. “It was never about trophies — I don’t think he really thought in those terms,” she says of the art collector. “There’s the sense of a love affair, that Phillips looks at this and says, ‘Oh my god, I’ve got to have this.’ “\u003c/p>\n\u003cp>The Phillips Collection was created from tragedy. In 1917, Phillips buried his father. A year later, his beloved brother died. In his grief, the collector decided their memorial would be a museum — free and open to the public. He put new and recent artworks on view in his own home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He decided that art for him was a way to pull out of depression,” says Swistel. “And to stimulate his love of life and ideas and thinking.”\u003c/p>\n\u003cp>Since then, many have found strength as well as beauty at Duncan Phillips’ museum. I went there right after 9/11, to be surrounded, in the midst of all that horror and confusion, by some eternals — Renoir’s remarkable \u003cem>Luncheon of the Boating Party\u003c/em>. Goyas, Van Goghs, Cezannes.\u003c/p>\n\u003cp>“Someone once said the Phillips is like an easy armchair,” says artist William Christenberry, whose work is on display at the museum. He says that he loved the intimacy of the place — as do so many artists. Mark Rothko said it was his favorite museum.\u003c/p>\n\u003cp>Actor Alfred Molina — who recently portrayed Rothko on Broadway in the play \u003cem>Red\u003c/em> — says that he came to the Phillips Collection to really experience the painter. Years ago, seeing Rothkos in London, Molina says that he didn’t “get” the artist at first: “I thought, OK, they are a bit dull, a bit gloomy.”\u003c/p>\n\u003cp>But in preparing to play Rothko on stage, Molina read up on the painter and then visited the Phillips’ Rothko Room — a small and silent space, with a simple wooden bench in the center and big, dark, glowing canvases on all four walls.\u003c/p>\n\u003cp>“I found it very moving,” says the actor. “Looking at those paintings, in that room. The sense of getting lost inside them. I found it very emotional.”\u003c/p>\n\u003cp>Which is just what Rothko wanted, Molina says: “He didn’t want a room full of rational people saying, ‘Yes, I like the way the blue turns into green.’ He wanted someone to be moved, to be changed by them.”\u003c/p>\n\u003cp>“I’m here to stop your heart” says Rothko in \u003cem>Red\u003c/em>. “I’m not here to make pretty pictures.” And in the Phillips’ Rothko Room, Molina came to understand how to speak the line.\u003c/p>\n\u003cp>Another artist, author Julia Alvarez, says that she found courage at the Phillips. At the age of 34, divorced with no children (and so a “failure” in her Dominican Republic culture), Alvarez had spent years as a struggling writer.\u003c/p>\n\u003cp>“In fact, I called myself a migrant poet,” Alvarez says. “I’d go anywhere where I got a job, teaching poetry in the schools, in prisons, in nursing homes.”\u003c/p>\n\u003cp>In 1984, Alvarez got a teaching and writing position in Washington, and each day on her way to school, she passed the Phillips. One day, she decided to go inside. “I went in there and I wandered into this big wood-paneled room,” she says. “And I fell in love.”\u003c/p>\n\u003cp>She spotted a small painting from 1894 by Pierre Bonnard called \u003cem>The Circus Rider\u003c/em>.\u003c/p>\n\u003cp>“That little circus rider was on top of this horse that was such a powerful steed that it was racing off the canvas,” Alvarez recalls.\u003c/p>\n\u003cp>The rider Alvarez describes lies on one hip along the horse’s back. She’s holding on, not exactly for life, but with great purpose. Behind her, in the stands, some circus-goers are all clad in black. To Alvarez, they looked like judges, just waiting for the rider to lose her grip, but the rider held strong.\u003c/p>\n\u003cp>“She just stayed focused,” Alvarez muses about Bonnard’s painting. “She didn’t look down, because she would get terrified … and fall off. She didn’t look up at the figures of judgment because she would’ve gotten scared that they were being critical of her. She just stayed focused. And I thought, she’s telling me how to do this. So all that year, when I would have to give a big reading or teach a workshop, I would drop in and get my little infusion of hope. I really think she carried me through that year.”\u003c/p>\n\u003cp>Now a published, prize-winning author, Alvarez returned to Washington recently and went back to the Phillips. The museum had changed and grown since her last visit. There’s an admission fee now, plus several additions to Duncan Phillips’ original home.\u003c/p>\n\u003cp>Alvarez had to do some hunting before she found her circus rider once again. But when she found the painting, she says, “My eyes filled, and I said, ‘So here we are.’ And when no one was looking — and I’ll say this on public radio — I reached up and touched the canvas.”\u003c/p>\n\u003cp>Alvarez tells her students at Middlebury College about the Phillips Collection and its \u003cem>Circus Rider\u003c/em>. There’s a great lesson in it, she says — that it’s all about the work. It’s not about what people might say or about how dangerous it might get. But it’s about staying focused on what you do, and doing what you love.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Duncan Phillips lived that lesson when he began giving beauty to the public 90 years ago. The Phillips Collection remains a repository of lessons about beauty and generosity.\u003c/p>\n\n",
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"excerpt": "This year marks the 90th anniversary of The Phillips Collection, one of Washington D.C.'s premier art museums. Susan Stamberg reports on the man behind the museum, and what the space has meant to artists, writers and actors over time.",
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"description": "This year marks the 90th anniversary of The Phillips Collection, one of Washington D.C.'s premier art museums. Susan Stamberg reports on the man behind the museum, and what the space has meant to artists, writers and actors over time.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1962, as newlyweds and new Washingtonians, my husband and I would stroll down Connecticut Avenue to the Phillips Collection on Sunday afternoons, arrange ourselves on a brocade love seat, light up cigarettes and read \u003cem>The New York Times \u003c/em>— looking up from time to time at a Matisse or a Manet. It was like visiting a really rich friend — with fabulous taste and a collector’s eye.\u003c/p>\n\u003cp>Duncan Phillips’ great-niece Alice Phillips Swistel remembers making similar visits as a child (although she didn’t smoke). Uncle Duncan, who founded the museum in 1921, once came into the nursery where Alice was playing.\u003c/p>\n\u003cp>“He sat and watched me blow soap bubbles,” she says. “He just loved the color of the bubbles, floating, and I thought, that’s very unusual for an adult, to want to sit here and not want to talk.”\u003c/p>\n\u003cp>He \u003cem>was\u003c/em>\u003cem> \u003c/em>unusual. Duncan Phillips loved to look. And he loved to buy what he loved. Phillips director Dorothy Kosinski says that Phillips looked with his eyes and his heart. “It was never about trophies — I don’t think he really thought in those terms,” she says of the art collector. “There’s the sense of a love affair, that Phillips looks at this and says, ‘Oh my god, I’ve got to have this.’ “\u003c/p>\n\u003cp>The Phillips Collection was created from tragedy. In 1917, Phillips buried his father. A year later, his beloved brother died. In his grief, the collector decided their memorial would be a museum — free and open to the public. He put new and recent artworks on view in his own home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He decided that art for him was a way to pull out of depression,” says Swistel. “And to stimulate his love of life and ideas and thinking.”\u003c/p>\n\u003cp>Since then, many have found strength as well as beauty at Duncan Phillips’ museum. I went there right after 9/11, to be surrounded, in the midst of all that horror and confusion, by some eternals — Renoir’s remarkable \u003cem>Luncheon of the Boating Party\u003c/em>. Goyas, Van Goghs, Cezannes.\u003c/p>\n\u003cp>“Someone once said the Phillips is like an easy armchair,” says artist William Christenberry, whose work is on display at the museum. He says that he loved the intimacy of the place — as do so many artists. Mark Rothko said it was his favorite museum.\u003c/p>\n\u003cp>Actor Alfred Molina — who recently portrayed Rothko on Broadway in the play \u003cem>Red\u003c/em> — says that he came to the Phillips Collection to really experience the painter. Years ago, seeing Rothkos in London, Molina says that he didn’t “get” the artist at first: “I thought, OK, they are a bit dull, a bit gloomy.”\u003c/p>\n\u003cp>But in preparing to play Rothko on stage, Molina read up on the painter and then visited the Phillips’ Rothko Room — a small and silent space, with a simple wooden bench in the center and big, dark, glowing canvases on all four walls.\u003c/p>\n\u003cp>“I found it very moving,” says the actor. “Looking at those paintings, in that room. The sense of getting lost inside them. I found it very emotional.”\u003c/p>\n\u003cp>Which is just what Rothko wanted, Molina says: “He didn’t want a room full of rational people saying, ‘Yes, I like the way the blue turns into green.’ He wanted someone to be moved, to be changed by them.”\u003c/p>\n\u003cp>“I’m here to stop your heart” says Rothko in \u003cem>Red\u003c/em>. “I’m not here to make pretty pictures.” And in the Phillips’ Rothko Room, Molina came to understand how to speak the line.\u003c/p>\n\u003cp>Another artist, author Julia Alvarez, says that she found courage at the Phillips. At the age of 34, divorced with no children (and so a “failure” in her Dominican Republic culture), Alvarez had spent years as a struggling writer.\u003c/p>\n\u003cp>“In fact, I called myself a migrant poet,” Alvarez says. “I’d go anywhere where I got a job, teaching poetry in the schools, in prisons, in nursing homes.”\u003c/p>\n\u003cp>In 1984, Alvarez got a teaching and writing position in Washington, and each day on her way to school, she passed the Phillips. One day, she decided to go inside. “I went in there and I wandered into this big wood-paneled room,” she says. “And I fell in love.”\u003c/p>\n\u003cp>She spotted a small painting from 1894 by Pierre Bonnard called \u003cem>The Circus Rider\u003c/em>.\u003c/p>\n\u003cp>“That little circus rider was on top of this horse that was such a powerful steed that it was racing off the canvas,” Alvarez recalls.\u003c/p>\n\u003cp>The rider Alvarez describes lies on one hip along the horse’s back. She’s holding on, not exactly for life, but with great purpose. Behind her, in the stands, some circus-goers are all clad in black. To Alvarez, they looked like judges, just waiting for the rider to lose her grip, but the rider held strong.\u003c/p>\n\u003cp>“She just stayed focused,” Alvarez muses about Bonnard’s painting. “She didn’t look down, because she would get terrified … and fall off. She didn’t look up at the figures of judgment because she would’ve gotten scared that they were being critical of her. She just stayed focused. And I thought, she’s telling me how to do this. So all that year, when I would have to give a big reading or teach a workshop, I would drop in and get my little infusion of hope. I really think she carried me through that year.”\u003c/p>\n\u003cp>Now a published, prize-winning author, Alvarez returned to Washington recently and went back to the Phillips. The museum had changed and grown since her last visit. There’s an admission fee now, plus several additions to Duncan Phillips’ original home.\u003c/p>\n\u003cp>Alvarez had to do some hunting before she found her circus rider once again. But when she found the painting, she says, “My eyes filled, and I said, ‘So here we are.’ And when no one was looking — and I’ll say this on public radio — I reached up and touched the canvas.”\u003c/p>\n\u003cp>Alvarez tells her students at Middlebury College about the Phillips Collection and its \u003cem>Circus Rider\u003c/em>. There’s a great lesson in it, she says — that it’s all about the work. It’s not about what people might say or about how dangerous it might get. But it’s about staying focused on what you do, and doing what you love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>At year’s end, KQED partner Art Practical, an online magazine providing comprehensive analysis of Bay Area visual arts events and exhibitions, republished some of its best interviews from 2010. This article was \u003ca href=\"http://www.artpractical.com/feature/interview_with_steven_leiber/\">originally published\u003c/a> December 27, 2010.\u003c/i>\u003c/p>\n\u003cp>\u003cem>The following excerpted conversation is from an interview that took place on October 9, 2010, at Baer Ridgway Exhibitions in conjunction with Chris Duncan’s \u003c/em>\u003ca href=\"http://www.baerridgway.com/Baer_Ridgway_Exhibitions/Chris_Duncan_-_Exhibition__Eye_Against_I.html\">Eye Against I\u003c/a> \u003cem>exhibition there.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Brian Andrews:\u003c/strong> Welcome to Bad at Sports! I’m Brian Andrews, here with Patricia Maloney and Duncan MacKenzie.This time, we’re with Steven Leiber, who runs \u003ca href=\"http://stevenleiberbasement.com/\">Steven Leiber Basement\u003c/a> and deals in art books, editions, collectables, and art-related emphemera.\u003c/p>\n\u003cp>\u003cstrong>Steven Leiber:\u003c/strong> I’m a private art dealer, but in addition to selling art, I sell art books, artists’ books, and documents concerning contemporary art. I also publish editions under the imprint Right Editions. I do appraisals and archive appraisals. I consult with two collections, and spend some time working at the California College of the Arts as well.\u003c/p>\n\u003cp>\u003cstrong>Patricia Maloney:\u003c/strong> Here in the Bay Area, you are most strongly associated with the ephemera that you work with. So I want to start by asking about how you found yourself dealing in artists’ books and ephemera.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I initially started in the art world just selling regular works, photographs, and prints at a gallery here that no longer exists. At the same time, or soon thereafter, I was also going to law school. Then I had a small gallery of my own for a short period of time selling paintings, drawings, prints, and things like this.\u003c/p>\n\u003cp>I bought a collection in the late ’80s that came from an artist, \u003ca href=\"http://stendhalgallery.com/?p=3504\">Jeff Berner\u003c/a>, who was associated with \u003ca href=\"http://www.fluxus.org/12345678910.html\">Fluxus\u003c/a>. He had a Flux shop; I’m not sure how functional it was. What I mean is, I’m not sure it was a shop. It wasn’t clear to me that he sold very many editions. Granted, not that many Fluxus editions were sold between 1961 and 1978, so this guy had multiple copies of this or that edition. In addition, this collection also had a great deal of material concerning visual poetry, concrete poetry, and a certain amount of Beat and countercultural material from the ’60s. In the process of making sense of what this collection was — I mean it’s a bit of an exaggeration to call it a collection. It was twenty-one boxes of material without an index in no order, just twenty-one boxes of crap.\u003c/p>\n\u003cp>And I think I spent approximately a year with a colleague making sense of it. In the process, it became clear to me that what was most exciting was not the most obvious material, not the things that I actually went to buy, which was primarily the Fluxus material; it was the other things. For Fluxus events or festivals, there wasn’t necessarily a thing that would have come out of the exhibition. You didn’t buy a painting; you showed up, saw what went on, and in time, what becomes the collectable aspect of it is the flyer, the poster, the relic, the printed material that was generated from these events.\u003c/p>\n\u003cp>So I guess my interest in artist ephemera specifically, and art ephemera in general, grows out of that inquiry.\u003c/p>\n\u003cp>(In 2001), I curated a show, \u003ca href=\"ttp://www.wattis.org/exhibitions/extraart/\">\u003cem>Extra Art: Survey of Artists’ Ephemera\u003c/em>\u003c/a>, at the Wattis, along with a publication published by the Wattis and Smart Art Press. I essentially went deeper into that territory. I’ve stayed more or less constant with an interest in that kind of material, both as a collector and a dealer. I have an archive of the material that I deal in. In fact, at a certain moment in time, especially within the areas of artists’ books, artists’ ephemera, and Fluxus, I was selling only duplicates. I wanted to retain copies of these things.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> When you’re looking at ephemera, what are the particular things that you focus on for your own collection? Because it encompasses everything, including announcements, postcards, and posters.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I distinguish art ephemera from artist ephemera. In \u003cem>artist\u003c/em> ephemera, the artist specifically informs the design of the thing itself, or they’ve come up with the idea of it. The rest of the ephemera I just refer to as \u003cem>art\u003c/em> ephemera. And I collect both — I keep it because I have artist files on maybe a thousand artists — but my primary interest is in the artist ephemera.\u003c/p>\n\u003cp>In the process of doing the \u003cem>Extra Art\u003c/em> show, there was a very specific way I went about determining what material fell into this category. I contacted the included artists when they were alive and were contactable. In other cases, I worked from books that already included this type of material, such as their monographs.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> And is it through the artists that you primarily acquire this material, or do you also go through galleries?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I specialize in mostly material from the ’60s and ’70s for my collection. The material from the ’80s, ’90s, and present, I get when I go to gallery shows in Western Europe and America. I also receive the mail of three different collectors who either forward the mail to me or give it to me in bags every so often. I buy this type of material wherever you can imagine buying it. There have been collectors that I’ve bought hundreds of invitations, posters, and bits like this from.\u003c/p>\n\u003cp>There was a collection in Los Angeles that was put together by Charles Goodstein and his wife. They were consistent collectors; they were in the art world in L.A. from the ’60s until now, and somebody told the wife to call me because there aren’t that many people interested in this type of material.\u003c/p>\n\u003cp>They offered it to me. Basically the woman had various cabinets full of this material, and she just wanted to get rid of it. I purchased a large group of things at that point. Over the years, there have been many other collections that I found such material in. Big blocks of material coming from art historians and dealers. I bought duplicates from various museums. So anywhere you think you could buy such material, I’ve bought it.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> I understand that impulse to hold on to the announcements. When I started going to galleries as an undergraduate, I collected the cards from every single show. Initially it was for a class, and we had to show that we attended the exhibition, but it became almost a compulsion. I wanted to remember every exhibition that I went to by holding on to the postcard or the announcement. There was a moment when we were moving from New York to San Francisco that I had something like seven banker boxes full of these announcements. My husband was like, “\u003cem>Really\u003c/em>? These have to come? Why do these have to come? What do you do with these?” But it feels like it’s part of my history as someone engaged in the art world. Now many galleries create just an email or a Facebook announcement.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I think that’s why some people have held on to such material. But I wouldn’t say that that’s my interest. Although I collect possibly far too much material, I wouldn’t say that I’m looking to get every document that’s been published. In terms of the material that goes into these artist files, I’m even more focused on getting things like press releases, because they have more use value, or how I use it.\u003c/p>\n\u003cp>For example, with students, I’m often pulling out artist file material for them to review for, say, an essay on a particular artwork. I provide the students with the research material to write their essay. There’s basic information in these artist files. I keep clippings, photographs of works that I’ve sold or that were offered to me, price lists, as much documentation as I can or that I have access to, or that comes to me on the artist that I’m covering. I would say that for the type of material, I’m using it.\u003c/p>\n\u003cp>In terms of the artist ephemera, it’s another thing. I view those things as essentially being artwork-like production. If I had another kind of place, a different kind of housing for the material that I have, these things would be relegated to a different position than they are in my present archive. They’re primarily in flat files or file folders.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> What are the parameters that you set around whose work you’re collecting? Because you’re covering a pretty broad range of forty to fifty years at this point.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> In terms of the material from the ’60s and ’70s, it’s pretty simple. In terms of the artwork that I have in my collection — \u003cem>not\u003c/em> artist ephemera, but the artworks that I have in my collection — it’s mostly multiples, works on paper, drawings, and prints. I’ve collected Fluxus, Minimalism, Post-Minimalism, and Conceptual Art in some depth. It’s not a huge collection, but I’ve got about 125 works. Obviously there’s a certain number of players that are associated with Fluxus, with Minimalism, Conceptual Art, etc. The names are known. And that is the list I’m working off of essentially.\u003c/p>\n\u003cp>With regards to how I even got involved with documentation at all, I was using exhibition catalogues and monographs to find works that I was selling in the secondary market. And in the process of going to all the galleries that might have what I’m looking for, I was also going to all the bookstores. That’s when I was picking up these catalogues that we never saw in America. They had different types of information. At the same time, I became more involved with or aware of artists’ books.That’s how it built and how the expanse of artists that I’m collecting became identified.\u003c/p>\n\u003cp>\u003cstrong>SL \u003c/strong>: From the ’80s to what’s going on now, I would say it’s based on my understanding of what’s going on in the various cities that I know. I feel like I have a clue as to the galleries that are maybe more germane in San Francisco, Los Angeles, and New York, and the same thing in many of the European capitals. So while I don’t know each one of the artists’ works, if I’m getting a card or a poster from \u003ca href=\"http://www.greengrassi.com/\">Greengrassi\u003c/a>, in London, or \u003ca href=\"http://www.formerwest.org/ResearchLibrary/GaleriePeterPakesch19811993\" target=\"_blank\" rel=\"noopener\">Peter Pakesch\u003c/a>, in Austria, I have a sense of the lineage of these galleries, and some of the artists they show. If I get a document from one of these places, I’m more likely to archive it in some way.\u003c/p>\n\u003cp>\u003cstrong>Duncan MacKenzie:\u003c/strong> As a secondary dealer, I imagine that some of the stuff you have comes and goes, depending on your activity, but this large artist collection seems to have some other life on its own that you draw from. What sort of future or use do you see this collection that you’re so carefully building having? Or has in the world?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> If you’re speaking directly to the documentation — the art ephemera files — I would say that I don’t have a specific plan for it at the moment. I’m still using it. For the moment I can still house it. I don’t feel I spend enough time maintaining it, but to catalogue it, I’d have to hire somebody for some years to do it. And I couldn’t afford to maintain it in that way, and I don’t have the time at present to catalogue it. I think if it ever does reach a catalogue state, then I think it has different access points. I think it could be useful to others if it was an online archive.\u003c/p>\n\u003cp>For my ’90s collection of multiples — that’s another collection that I have — I was very conscious about collecting all the documents that tied to the artists in that collection, because I always conceived of doing an exhibition that combined all of it. I’m not sure how often you have seen exhibitions lately that incorporate both works and documentation of historical shows. Certainly in Europe, it’s become much more prevalent that institutions are showing both types of material simultaneously.\u003c/p>\n\u003cp>I’m going a little bit away from the question, but there seems to be a move toward this material. I think that newer museums don’t have this artist file material, and certain institutions that did have this material jettisoned it at some point for various reasons. It does require a lot of maintenance, and I could see how it doesn’t happen these days with budgets. It’s not clear to me that all researchers use this type of material. So I could see how it would be relegated to a less important position.\u003c/p>\n\u003cp>\u003cstrong>PM: \u003c/strong>It operates as this alternative but concurrent history to the majority of what one sees in the museums and institutions. Have there been things that you’ve teased out from your material that present an alternate view on the prevailing sensibility around an artist’s work, what they’re doing, or what their intentions are?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> Certainly the stories. What was so fascinating from the get-go in doing the \u003cem>Extra Art \u003c/em>exhibition was the fact that a lot of these bits and pieces of paper have very particular stories. And when one was in contact with these artists and when you heard these stories, all of a sudden you viewed their practice in a very different way.\u003c/p>\n\u003cp>There aren’t that many artists that see these as other spaces — the exhibition card space, the poster that they could have, or anything else they dream up that, as spaces that could be used to present work, which is what essentially they did, just not the kind of work that is for sale. Often these things were the key to the exhibition, where the fascinating aspect of the project was — not always the design of the works, but the stories.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> This is material that’s supposed to exist outside and beyond the exhibition itself. It’s described as ephemera, but essentially it’s the exhibition that is ephemeral, and this is what survives. And when you organize exhibitions of this material you’re bringing it back into that exhibition space. What is your thought process on presenting it so it doesn’t just get swallowed up by that overriding sense of the exhibition?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I guess it completely depends on the specific kind of exhibition. My thought in doing a survey exhibition that’s only covering this type of material was to make otherwise unknown material known. It was that simple. There was no larger premise to it. It wasn’t how something that was ephemeral, that basically was intended to announce a show plus more, would end up thirty years later being an exhibition in itself, and possibly the change of value of that type of material.\u003c/p>\n\u003cp>I thought that there was enough to let it be known that this type of material exists, and that these sorts of artists, besides making a floor piece in copper, also spend a great deal of time thinking about what was going on the invitation card.\u003c/p>\n\u003cp>So in terms of exhibitions that incorporate this kind of material now, as only an aspect of the material that’s shown, I feel that it contextualizes what’s in the show. You might say it sets the stage and it provides texture to an exhibition that otherwise might be just what you’re always expecting to see. These things provide the surprise, and sometimes provide a key to the work, or a key to understanding the work in a different way.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> I produce an online art journal, and it exists online in part because it’s much more affordable than producing something in print. And it creates a network of distribution. The (\u003cem>Bad at Sports\u003c/em>) podcast exists because it happens online. But that starts to undermine archives of art activities. Things can be digitally archived, but there’s this loss of the physical archive. I am curious to hear what you think about that.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> For me it certainly impacts the situation. When there’s less of this type of material being produced, I’m certainly going to have less, because I’m certain that I’m not going to be archiving what you’re doing. I’m not keeping my emails even if they’re from artists. When we’re producing editions, I’m not printing out every single email I get and putting it into a dossier.\u003c/p>\n\u003cp>But this is a major issue. You’re absolutely right. There are certainly conferences that are going on right now concerning exactly this. I guess if there is no more material like this produced then I can just catalogue what I’ve got. Not likely.\u003c/p>\n\u003cp>\u003cstrong>DMcK\u003c/strong>: It also seems that in this age of digital advertising for exhibitions, there has been at least a little bit of resistance. I think a lot more people are going back and intentionally producing posters for shows.\u003c/p>\n\u003cp>Primarily I teach printmaking, and I often would take a stance that as printmakers, the space that is most interesting to work in is the ephemera space. It’s not creating things — you know, we’re not all Gemini, we’re not all going to be master printers, and for the most part, let’s face it, printmaking wants desperately to be the next ceramics.\u003c/p>\n\u003cp>And so I constantly find myself trying to get my students to think about what they do in terms of printmaking and in artists’ book making, and all sorts of multiple-making as ephemera work. As though they are producing something for a wider culture. They’re having a wider cultural engagement, and that changes the space.\u003c/p>\n\u003cp>When \u003ca href=\"http://www.richardlong.org/\">Richard Long\u003c/a> takes his postcard and sends it out to ten thousand people, maybe a thousand of them are actually going to attend the exhibition. So this becomes a kind of access point to another kind of meaning. This is another space to play out ideas that can traffic more broadly.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> That’s the way the work gets known, by the broader distribution. Most people that received a Richard Long postcard for an exhibition in Korea are not going. I absolutely agree that the ephemera is pretty much the primary carrier of the work. It behooves the artist to pay attention.\u003c/p>\n\u003cp>\u003cstrong>DMcK:\u003c/strong> The other thing that occurs to me is that all artworks become artifacts, or all successful artworks become artifacts of the culture that produce them in some way. Those that don’t successfully make that transition to artifact just get lost in the shuffle. It’s interesting that you would focus primarily on that ephemera space as the space in which that most important meaning of transaction occurs and that is the most important space from these things.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> Thank you for putting that out there.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> We haven’t talked about the artists’ books at all. Maybe we can delve into that.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I think I already touched on how I started buying artists’ books for my own collection, in the process of doing research on the artists that I was covering. These books didn’t provide the research that I was looking for in terms of reproductions of works and exhibition history information, but they were clearly works. From there, I became more interested in artists’ books in the late ’80s and early ’90s when the art market went crap. I felt I might be able to start a variant of what I was doing by offering artists’ books for sale. So I went after collections of this sort of material, and that’s when I started making these catalogues. Probably the majority of my clients come from my activity as an artists’ book seller.\u003c/p>\n\u003cp>It is a passion of mine; it just got a a little crowded by my interest in ephemera over the years. But, I’m still very interested in such material, and my (catalogues are) primarily that type of material. One of the catalogues that we’re making right now for the upcoming \u003ca href=\"http://nyartbookfair.com/\">NY Art Book Fair\u003c/a> is going to concern only unique books by two twins from Germany named \u003ca href=\"http://stevenleiberbasement.com/unique.php?aoffst=22&typ_fltr2=unique&afltr=SCHMIDT-HEINS,%20GABRIELE\">Barbara and Gabriele Schmidt-Heins\u003c/a>, and the other is going to be a poster for my catalogue that’s going to have approximately a hundred special artists’ books primarily from the ’60s and ’70s.\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> Are you producing catalogues or are you producing some of these artists’ books?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> In terms of Right Editions, we’ve produced one multiple artist book. That’s a difficult example, it’s a ten-volume set in a slipcase, and it bears some relationship to a cube, so it has a kind of object quality, but you might say it’s a ten-volume artist book. But when I’m talking about catalogues, I’m talking about my dealer sales catalogues, which look a little bit different than many other people’s dealer sales catalogues.\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> Is there a meta level to this, to know that you’re actually producing and doing exhibitions and all this other stuff. Are you actually then generating your own ephemera? Do you have a file on yourself?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> Yeah, I mean I have an archive of what we’ve done. But no, it doesn’t say Steve Leiber. It’s actually too big to fit in the file.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To hear the full interview, listen to\u003ca href=\"http://badatsports.com/2010/episode-278-steven-leiber/\"> Episode 278 \u003c/a> on \u003cem>Bad at Sports\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>At year’s end, KQED partner Art Practical, an online magazine providing comprehensive analysis of Bay Area visual arts events and exhibitions, republished some of its best interviews from 2010. This article was \u003ca href=\"http://www.artpractical.com/feature/interview_with_steven_leiber/\">originally published\u003c/a> December 27, 2010.\u003c/i>\u003c/p>\n\u003cp>\u003cem>The following excerpted conversation is from an interview that took place on October 9, 2010, at Baer Ridgway Exhibitions in conjunction with Chris Duncan’s \u003c/em>\u003ca href=\"http://www.baerridgway.com/Baer_Ridgway_Exhibitions/Chris_Duncan_-_Exhibition__Eye_Against_I.html\">Eye Against I\u003c/a> \u003cem>exhibition there.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Brian Andrews:\u003c/strong> Welcome to Bad at Sports! I’m Brian Andrews, here with Patricia Maloney and Duncan MacKenzie.This time, we’re with Steven Leiber, who runs \u003ca href=\"http://stevenleiberbasement.com/\">Steven Leiber Basement\u003c/a> and deals in art books, editions, collectables, and art-related emphemera.\u003c/p>\n\u003cp>\u003cstrong>Steven Leiber:\u003c/strong> I’m a private art dealer, but in addition to selling art, I sell art books, artists’ books, and documents concerning contemporary art. I also publish editions under the imprint Right Editions. I do appraisals and archive appraisals. I consult with two collections, and spend some time working at the California College of the Arts as well.\u003c/p>\n\u003cp>\u003cstrong>Patricia Maloney:\u003c/strong> Here in the Bay Area, you are most strongly associated with the ephemera that you work with. So I want to start by asking about how you found yourself dealing in artists’ books and ephemera.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I initially started in the art world just selling regular works, photographs, and prints at a gallery here that no longer exists. At the same time, or soon thereafter, I was also going to law school. Then I had a small gallery of my own for a short period of time selling paintings, drawings, prints, and things like this.\u003c/p>\n\u003cp>I bought a collection in the late ’80s that came from an artist, \u003ca href=\"http://stendhalgallery.com/?p=3504\">Jeff Berner\u003c/a>, who was associated with \u003ca href=\"http://www.fluxus.org/12345678910.html\">Fluxus\u003c/a>. He had a Flux shop; I’m not sure how functional it was. What I mean is, I’m not sure it was a shop. It wasn’t clear to me that he sold very many editions. Granted, not that many Fluxus editions were sold between 1961 and 1978, so this guy had multiple copies of this or that edition. In addition, this collection also had a great deal of material concerning visual poetry, concrete poetry, and a certain amount of Beat and countercultural material from the ’60s. In the process of making sense of what this collection was — I mean it’s a bit of an exaggeration to call it a collection. It was twenty-one boxes of material without an index in no order, just twenty-one boxes of crap.\u003c/p>\n\u003cp>And I think I spent approximately a year with a colleague making sense of it. In the process, it became clear to me that what was most exciting was not the most obvious material, not the things that I actually went to buy, which was primarily the Fluxus material; it was the other things. For Fluxus events or festivals, there wasn’t necessarily a thing that would have come out of the exhibition. You didn’t buy a painting; you showed up, saw what went on, and in time, what becomes the collectable aspect of it is the flyer, the poster, the relic, the printed material that was generated from these events.\u003c/p>\n\u003cp>So I guess my interest in artist ephemera specifically, and art ephemera in general, grows out of that inquiry.\u003c/p>\n\u003cp>(In 2001), I curated a show, \u003ca href=\"ttp://www.wattis.org/exhibitions/extraart/\">\u003cem>Extra Art: Survey of Artists’ Ephemera\u003c/em>\u003c/a>, at the Wattis, along with a publication published by the Wattis and Smart Art Press. I essentially went deeper into that territory. I’ve stayed more or less constant with an interest in that kind of material, both as a collector and a dealer. I have an archive of the material that I deal in. In fact, at a certain moment in time, especially within the areas of artists’ books, artists’ ephemera, and Fluxus, I was selling only duplicates. I wanted to retain copies of these things.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> When you’re looking at ephemera, what are the particular things that you focus on for your own collection? Because it encompasses everything, including announcements, postcards, and posters.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I distinguish art ephemera from artist ephemera. In \u003cem>artist\u003c/em> ephemera, the artist specifically informs the design of the thing itself, or they’ve come up with the idea of it. The rest of the ephemera I just refer to as \u003cem>art\u003c/em> ephemera. And I collect both — I keep it because I have artist files on maybe a thousand artists — but my primary interest is in the artist ephemera.\u003c/p>\n\u003cp>In the process of doing the \u003cem>Extra Art\u003c/em> show, there was a very specific way I went about determining what material fell into this category. I contacted the included artists when they were alive and were contactable. In other cases, I worked from books that already included this type of material, such as their monographs.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> And is it through the artists that you primarily acquire this material, or do you also go through galleries?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I specialize in mostly material from the ’60s and ’70s for my collection. The material from the ’80s, ’90s, and present, I get when I go to gallery shows in Western Europe and America. I also receive the mail of three different collectors who either forward the mail to me or give it to me in bags every so often. I buy this type of material wherever you can imagine buying it. There have been collectors that I’ve bought hundreds of invitations, posters, and bits like this from.\u003c/p>\n\u003cp>There was a collection in Los Angeles that was put together by Charles Goodstein and his wife. They were consistent collectors; they were in the art world in L.A. from the ’60s until now, and somebody told the wife to call me because there aren’t that many people interested in this type of material.\u003c/p>\n\u003cp>They offered it to me. Basically the woman had various cabinets full of this material, and she just wanted to get rid of it. I purchased a large group of things at that point. Over the years, there have been many other collections that I found such material in. Big blocks of material coming from art historians and dealers. I bought duplicates from various museums. So anywhere you think you could buy such material, I’ve bought it.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> I understand that impulse to hold on to the announcements. When I started going to galleries as an undergraduate, I collected the cards from every single show. Initially it was for a class, and we had to show that we attended the exhibition, but it became almost a compulsion. I wanted to remember every exhibition that I went to by holding on to the postcard or the announcement. There was a moment when we were moving from New York to San Francisco that I had something like seven banker boxes full of these announcements. My husband was like, “\u003cem>Really\u003c/em>? These have to come? Why do these have to come? What do you do with these?” But it feels like it’s part of my history as someone engaged in the art world. Now many galleries create just an email or a Facebook announcement.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I think that’s why some people have held on to such material. But I wouldn’t say that that’s my interest. Although I collect possibly far too much material, I wouldn’t say that I’m looking to get every document that’s been published. In terms of the material that goes into these artist files, I’m even more focused on getting things like press releases, because they have more use value, or how I use it.\u003c/p>\n\u003cp>For example, with students, I’m often pulling out artist file material for them to review for, say, an essay on a particular artwork. I provide the students with the research material to write their essay. There’s basic information in these artist files. I keep clippings, photographs of works that I’ve sold or that were offered to me, price lists, as much documentation as I can or that I have access to, or that comes to me on the artist that I’m covering. I would say that for the type of material, I’m using it.\u003c/p>\n\u003cp>In terms of the artist ephemera, it’s another thing. I view those things as essentially being artwork-like production. If I had another kind of place, a different kind of housing for the material that I have, these things would be relegated to a different position than they are in my present archive. They’re primarily in flat files or file folders.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> What are the parameters that you set around whose work you’re collecting? Because you’re covering a pretty broad range of forty to fifty years at this point.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> In terms of the material from the ’60s and ’70s, it’s pretty simple. In terms of the artwork that I have in my collection — \u003cem>not\u003c/em> artist ephemera, but the artworks that I have in my collection — it’s mostly multiples, works on paper, drawings, and prints. I’ve collected Fluxus, Minimalism, Post-Minimalism, and Conceptual Art in some depth. It’s not a huge collection, but I’ve got about 125 works. Obviously there’s a certain number of players that are associated with Fluxus, with Minimalism, Conceptual Art, etc. The names are known. And that is the list I’m working off of essentially.\u003c/p>\n\u003cp>With regards to how I even got involved with documentation at all, I was using exhibition catalogues and monographs to find works that I was selling in the secondary market. And in the process of going to all the galleries that might have what I’m looking for, I was also going to all the bookstores. That’s when I was picking up these catalogues that we never saw in America. They had different types of information. At the same time, I became more involved with or aware of artists’ books.That’s how it built and how the expanse of artists that I’m collecting became identified.\u003c/p>\n\u003cp>\u003cstrong>SL \u003c/strong>: From the ’80s to what’s going on now, I would say it’s based on my understanding of what’s going on in the various cities that I know. I feel like I have a clue as to the galleries that are maybe more germane in San Francisco, Los Angeles, and New York, and the same thing in many of the European capitals. So while I don’t know each one of the artists’ works, if I’m getting a card or a poster from \u003ca href=\"http://www.greengrassi.com/\">Greengrassi\u003c/a>, in London, or \u003ca href=\"http://www.formerwest.org/ResearchLibrary/GaleriePeterPakesch19811993\" target=\"_blank\" rel=\"noopener\">Peter Pakesch\u003c/a>, in Austria, I have a sense of the lineage of these galleries, and some of the artists they show. If I get a document from one of these places, I’m more likely to archive it in some way.\u003c/p>\n\u003cp>\u003cstrong>Duncan MacKenzie:\u003c/strong> As a secondary dealer, I imagine that some of the stuff you have comes and goes, depending on your activity, but this large artist collection seems to have some other life on its own that you draw from. What sort of future or use do you see this collection that you’re so carefully building having? Or has in the world?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> If you’re speaking directly to the documentation — the art ephemera files — I would say that I don’t have a specific plan for it at the moment. I’m still using it. For the moment I can still house it. I don’t feel I spend enough time maintaining it, but to catalogue it, I’d have to hire somebody for some years to do it. And I couldn’t afford to maintain it in that way, and I don’t have the time at present to catalogue it. I think if it ever does reach a catalogue state, then I think it has different access points. I think it could be useful to others if it was an online archive.\u003c/p>\n\u003cp>For my ’90s collection of multiples — that’s another collection that I have — I was very conscious about collecting all the documents that tied to the artists in that collection, because I always conceived of doing an exhibition that combined all of it. I’m not sure how often you have seen exhibitions lately that incorporate both works and documentation of historical shows. Certainly in Europe, it’s become much more prevalent that institutions are showing both types of material simultaneously.\u003c/p>\n\u003cp>I’m going a little bit away from the question, but there seems to be a move toward this material. I think that newer museums don’t have this artist file material, and certain institutions that did have this material jettisoned it at some point for various reasons. It does require a lot of maintenance, and I could see how it doesn’t happen these days with budgets. It’s not clear to me that all researchers use this type of material. So I could see how it would be relegated to a less important position.\u003c/p>\n\u003cp>\u003cstrong>PM: \u003c/strong>It operates as this alternative but concurrent history to the majority of what one sees in the museums and institutions. Have there been things that you’ve teased out from your material that present an alternate view on the prevailing sensibility around an artist’s work, what they’re doing, or what their intentions are?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> Certainly the stories. What was so fascinating from the get-go in doing the \u003cem>Extra Art \u003c/em>exhibition was the fact that a lot of these bits and pieces of paper have very particular stories. And when one was in contact with these artists and when you heard these stories, all of a sudden you viewed their practice in a very different way.\u003c/p>\n\u003cp>There aren’t that many artists that see these as other spaces — the exhibition card space, the poster that they could have, or anything else they dream up that, as spaces that could be used to present work, which is what essentially they did, just not the kind of work that is for sale. Often these things were the key to the exhibition, where the fascinating aspect of the project was — not always the design of the works, but the stories.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> This is material that’s supposed to exist outside and beyond the exhibition itself. It’s described as ephemera, but essentially it’s the exhibition that is ephemeral, and this is what survives. And when you organize exhibitions of this material you’re bringing it back into that exhibition space. What is your thought process on presenting it so it doesn’t just get swallowed up by that overriding sense of the exhibition?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I guess it completely depends on the specific kind of exhibition. My thought in doing a survey exhibition that’s only covering this type of material was to make otherwise unknown material known. It was that simple. There was no larger premise to it. It wasn’t how something that was ephemeral, that basically was intended to announce a show plus more, would end up thirty years later being an exhibition in itself, and possibly the change of value of that type of material.\u003c/p>\n\u003cp>I thought that there was enough to let it be known that this type of material exists, and that these sorts of artists, besides making a floor piece in copper, also spend a great deal of time thinking about what was going on the invitation card.\u003c/p>\n\u003cp>So in terms of exhibitions that incorporate this kind of material now, as only an aspect of the material that’s shown, I feel that it contextualizes what’s in the show. You might say it sets the stage and it provides texture to an exhibition that otherwise might be just what you’re always expecting to see. These things provide the surprise, and sometimes provide a key to the work, or a key to understanding the work in a different way.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> I produce an online art journal, and it exists online in part because it’s much more affordable than producing something in print. And it creates a network of distribution. The (\u003cem>Bad at Sports\u003c/em>) podcast exists because it happens online. But that starts to undermine archives of art activities. Things can be digitally archived, but there’s this loss of the physical archive. I am curious to hear what you think about that.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> For me it certainly impacts the situation. When there’s less of this type of material being produced, I’m certainly going to have less, because I’m certain that I’m not going to be archiving what you’re doing. I’m not keeping my emails even if they’re from artists. When we’re producing editions, I’m not printing out every single email I get and putting it into a dossier.\u003c/p>\n\u003cp>But this is a major issue. You’re absolutely right. There are certainly conferences that are going on right now concerning exactly this. I guess if there is no more material like this produced then I can just catalogue what I’ve got. Not likely.\u003c/p>\n\u003cp>\u003cstrong>DMcK\u003c/strong>: It also seems that in this age of digital advertising for exhibitions, there has been at least a little bit of resistance. I think a lot more people are going back and intentionally producing posters for shows.\u003c/p>\n\u003cp>Primarily I teach printmaking, and I often would take a stance that as printmakers, the space that is most interesting to work in is the ephemera space. It’s not creating things — you know, we’re not all Gemini, we’re not all going to be master printers, and for the most part, let’s face it, printmaking wants desperately to be the next ceramics.\u003c/p>\n\u003cp>And so I constantly find myself trying to get my students to think about what they do in terms of printmaking and in artists’ book making, and all sorts of multiple-making as ephemera work. As though they are producing something for a wider culture. They’re having a wider cultural engagement, and that changes the space.\u003c/p>\n\u003cp>When \u003ca href=\"http://www.richardlong.org/\">Richard Long\u003c/a> takes his postcard and sends it out to ten thousand people, maybe a thousand of them are actually going to attend the exhibition. So this becomes a kind of access point to another kind of meaning. This is another space to play out ideas that can traffic more broadly.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> That’s the way the work gets known, by the broader distribution. Most people that received a Richard Long postcard for an exhibition in Korea are not going. I absolutely agree that the ephemera is pretty much the primary carrier of the work. It behooves the artist to pay attention.\u003c/p>\n\u003cp>\u003cstrong>DMcK:\u003c/strong> The other thing that occurs to me is that all artworks become artifacts, or all successful artworks become artifacts of the culture that produce them in some way. Those that don’t successfully make that transition to artifact just get lost in the shuffle. It’s interesting that you would focus primarily on that ephemera space as the space in which that most important meaning of transaction occurs and that is the most important space from these things.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> Thank you for putting that out there.\u003c/p>\n\u003cp>\u003cstrong>PM:\u003c/strong> We haven’t talked about the artists’ books at all. Maybe we can delve into that.\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> I think I already touched on how I started buying artists’ books for my own collection, in the process of doing research on the artists that I was covering. These books didn’t provide the research that I was looking for in terms of reproductions of works and exhibition history information, but they were clearly works. From there, I became more interested in artists’ books in the late ’80s and early ’90s when the art market went crap. I felt I might be able to start a variant of what I was doing by offering artists’ books for sale. So I went after collections of this sort of material, and that’s when I started making these catalogues. Probably the majority of my clients come from my activity as an artists’ book seller.\u003c/p>\n\u003cp>It is a passion of mine; it just got a a little crowded by my interest in ephemera over the years. But, I’m still very interested in such material, and my (catalogues are) primarily that type of material. One of the catalogues that we’re making right now for the upcoming \u003ca href=\"http://nyartbookfair.com/\">NY Art Book Fair\u003c/a> is going to concern only unique books by two twins from Germany named \u003ca href=\"http://stevenleiberbasement.com/unique.php?aoffst=22&typ_fltr2=unique&afltr=SCHMIDT-HEINS,%20GABRIELE\">Barbara and Gabriele Schmidt-Heins\u003c/a>, and the other is going to be a poster for my catalogue that’s going to have approximately a hundred special artists’ books primarily from the ’60s and ’70s.\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> Are you producing catalogues or are you producing some of these artists’ books?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> In terms of Right Editions, we’ve produced one multiple artist book. That’s a difficult example, it’s a ten-volume set in a slipcase, and it bears some relationship to a cube, so it has a kind of object quality, but you might say it’s a ten-volume artist book. But when I’m talking about catalogues, I’m talking about my dealer sales catalogues, which look a little bit different than many other people’s dealer sales catalogues.\u003c/p>\n\u003cp>\u003cstrong>BA:\u003c/strong> Is there a meta level to this, to know that you’re actually producing and doing exhibitions and all this other stuff. Are you actually then generating your own ephemera? Do you have a file on yourself?\u003c/p>\n\u003cp>\u003cstrong>SL:\u003c/strong> Yeah, I mean I have an archive of what we’ve done. But no, it doesn’t say Steve Leiber. It’s actually too big to fit in the file.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Is This The World's Most Coveted Painting?",
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"content": "\u003cp>It’s the size of a barn door, weighs more than an elephant, and is one of the most famous and coveted paintings in the world.\u003c/p>\n\u003cp>It’s the Ghent Altarpiece — also called \u003cem>Adoration of the Mystic Lamb, \u003c/em>after a central panel showing hordes of pilgrims gathered to pay homage to the Lamb of God.\u003c/p>\n\u003cp>Other panels depict the Annunciation, Adam and Eve, the Virgin Mary, John the Baptist and a crowned Christ in detail so exacting that you can pick out individual hairs in a beard, or dirt on a pilgrim’s foot.\u003c/p>\n\u003cp>Artist Jan van Eyck completed the Ghent Altarpiece around 1432. Author Noah Charney tells NPR’s Guy Raz that it’s arguably the single most important painting ever made.\u003c/p>\n\u003cp>“It’s the first great oil painting — it influenced oil painting for centuries to come,” Charney says. “It’s the first great panel painting of the Renaissance, a forerunner to artistic realism. The monumentality of it and the complexity of it fascinated people from the moment it was painted.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Charney’s new book, \u003cem>Stealing the Mystic Lamb: the True Story of the World’s Most Coveted Masterpiece\u003c/em>, traces the painting through six centuries of war, theft and intrigue.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ghent.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cstrong>150 Years Of Peace\u003c/strong>\u003c/p>\n\u003cp>The altarpiece was painted for the cathedral of St. Bavo, in Ghent. And during the first century of its existence, nothing much happened.\u003c/p>\n\u003cp>Then, in 1566, all hell broke loose. Protestant militants broke down the cathedral doors with an improvised battering ram, intending to burn the altarpiece, which they considered to be an example of Catholic idolatry and excess. But alert Catholic guards had disassembled the enormous work and hidden it in the cathedral tower, where it survived unscathed.\u003c/p>\n\u003cp>Over the next few centuries, the Ghent Altarpiece was taken as booty in the Napoleonic Wars and then returned to Ghent. Parts of it were stolen by a vicar at St. Bavo and ended up, after several sales, in a Berlin museum.\u003c/p>\n\u003cp>When World War I broke out, a brave cathedral canon hid the painting away in a junkman’s wagon for safety. It took the Treaty of Versailles to finally reunite all the panels in their original home.\u003c/p>\n\u003cp>\u003cstrong>Enduring Mystery\u003c/strong>\u003c/p>\n\u003cp>The Ghent Altarpiece didn’t stay safe for long. Thieves broke into the cathedral one night in 1934 and made off with the lower left panel.\u003c/p>\n\u003cp>“This is the enduring mystery that really is part of the popular cultural awareness of the people of Ghent still to this day,” Charney says.\u003c/p>\n\u003cp>The theft has never been solved. Visitors to St. Bavo Cathedral today will see a copy of the missing panel, painted during World War II. The copy is so good that many people thought it might be the original, hidden in plain sight, though recent conservation work has disproved that theory.\u003c/p>\n\u003cp>\u003cstrong>Raiders Of The Mystic Lamb\u003c/strong>\u003c/p>\n\u003cp>Missing panel and all, the Ghent Altarpiece was stolen one last time during World War II, on the orders of Nazi Gen. Hermann Goering.\u003c/p>\n\u003cp>“This may sound very silly,” says Charney, “but in fact, the Nazis and Hitler in particular were absolutely convinced that the occult and the supernatural was real,” and the Ghent Altarpiece was thought to be a sort of mystical treasure map showing the location of relics of Christ’s passion.\u003c/p>\n\u003cp>The altarpiece ended up hidden with thousands of other looted artworks in a converted salt mine in Austria. The local SS commander had wired the mine with dynamite, determined to destroy all the art as the Allies began closing in.\u003c/p>\n\u003cp>Charney says the Ghent Altarpiece was eventually saved through the heroism of salt miners who disabled the bombs, and the work of local Austrian resistance fighters and Allied “monuments men” whose job it was to hunt for stolen art.\u003c/p>\n\u003cp>“There was this race,” Charney says, “with the Allies trying to get to the mine before the SS could blow it up, and it was very close to every one of those works being completely destroyed.”\u003c/p>\n\u003cp>But the painting was saved, and you can see it today at the St. Bavo Cathedral in Ghent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Each time I see it, I notice something new,” Charney says. “For instance, I think it may be the first work of the pre-modern period to show someone laughing.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Charney’s new book, \u003cem>Stealing the Mystic Lamb: the True Story of the World’s Most Coveted Masterpiece\u003c/em>, traces the painting through six centuries of war, theft and intrigue.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ghent.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cstrong>150 Years Of Peace\u003c/strong>\u003c/p>\n\u003cp>The altarpiece was painted for the cathedral of St. Bavo, in Ghent. And during the first century of its existence, nothing much happened.\u003c/p>\n\u003cp>Then, in 1566, all hell broke loose. Protestant militants broke down the cathedral doors with an improvised battering ram, intending to burn the altarpiece, which they considered to be an example of Catholic idolatry and excess. But alert Catholic guards had disassembled the enormous work and hidden it in the cathedral tower, where it survived unscathed.\u003c/p>\n\u003cp>Over the next few centuries, the Ghent Altarpiece was taken as booty in the Napoleonic Wars and then returned to Ghent. Parts of it were stolen by a vicar at St. Bavo and ended up, after several sales, in a Berlin museum.\u003c/p>\n\u003cp>When World War I broke out, a brave cathedral canon hid the painting away in a junkman’s wagon for safety. It took the Treaty of Versailles to finally reunite all the panels in their original home.\u003c/p>\n\u003cp>\u003cstrong>Enduring Mystery\u003c/strong>\u003c/p>\n\u003cp>The Ghent Altarpiece didn’t stay safe for long. Thieves broke into the cathedral one night in 1934 and made off with the lower left panel.\u003c/p>\n\u003cp>“This is the enduring mystery that really is part of the popular cultural awareness of the people of Ghent still to this day,” Charney says.\u003c/p>\n\u003cp>The theft has never been solved. Visitors to St. Bavo Cathedral today will see a copy of the missing panel, painted during World War II. The copy is so good that many people thought it might be the original, hidden in plain sight, though recent conservation work has disproved that theory.\u003c/p>\n\u003cp>\u003cstrong>Raiders Of The Mystic Lamb\u003c/strong>\u003c/p>\n\u003cp>Missing panel and all, the Ghent Altarpiece was stolen one last time during World War II, on the orders of Nazi Gen. Hermann Goering.\u003c/p>\n\u003cp>“This may sound very silly,” says Charney, “but in fact, the Nazis and Hitler in particular were absolutely convinced that the occult and the supernatural was real,” and the Ghent Altarpiece was thought to be a sort of mystical treasure map showing the location of relics of Christ’s passion.\u003c/p>\n\u003cp>The altarpiece ended up hidden with thousands of other looted artworks in a converted salt mine in Austria. The local SS commander had wired the mine with dynamite, determined to destroy all the art as the Allies began closing in.\u003c/p>\n\u003cp>Charney says the Ghent Altarpiece was eventually saved through the heroism of salt miners who disabled the bombs, and the work of local Austrian resistance fighters and Allied “monuments men” whose job it was to hunt for stolen art.\u003c/p>\n\u003cp>“There was this race,” Charney says, “with the Allies trying to get to the mine before the SS could blow it up, and it was very close to every one of those works being completely destroyed.”\u003c/p>\n\u003cp>But the painting was saved, and you can see it today at the St. Bavo Cathedral in Ghent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Each time I see it, I notice something new,” Charney says. “For instance, I think it may be the first work of the pre-modern period to show someone laughing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"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"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"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",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"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"
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},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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